Tag Archives: crane

SKKS XVIII: 1723

Composed when he was far from courtier’s hall.

あまつ風ふけひの浦にゐるたづのなどか雲井にかへらざるべき

ama tsu kaze
fukei no ura ni
iru tazu no
nado ka kumoi ni
kaerazarubeki
Heaven’s breezes
Blow upon the shore at Fukei, where
Rests a crane:
Why, beyond the clouds,
May he not return?

Fujiwara no Kiyotada
藤原清正[1]


[1] Fujiwara no Kiyotada 藤原清正 (?-953): one of the Thirty-Six Poetic Immortals and a minor courtier. As well as being included in Shinkokinshū, this poem is also listed in Wakan rōeishū (II: 453), Kiyotada’s personal collection, Kiyotada-shū (89) and also the personal collection of Fujiwara no Tadami 藤原忠見, Tadami-shū (143). While Wakan rōeishū simply gives the topic of the poem as ‘Cranes’, the personal collections provide more information. Tadami states that the poem was ‘Sent to the Shōni Palace Lady to present in his place when he was of about the age to be admitted to the Courtier’s Hall and had become Governor of Kii’ making the waka a plea for further advancement at court. Kiyotada himself simply says ‘When I had become Governor of Kii and had not yet been permitted to enter the Courtier’s Hall.’ Tanaka and Akase (1992, 502)  note that Kiyotada was appointed Governor of Kii while still a Chamberlain at Sixth Rank, when this was usually a post held by someone of Junior Fifth Rank, Lower Grade, the lowest rank at which a man would be permitted to enter the Courtier’s Hall (tenjō no ma 殿上間) and have direct contact with the emperor. The poem is, thus, simultaneously, an expression of gratitude for imperial favour (the ‘heavenly wind’) to him (‘the crane’) which has made him Governor of Ki – the province where Fukei is located, and a plea that he be allowed above ‘the clouds’ (into the Courtier’s Hall), which is subtly laced with resentment (‘Why haven’t I had the promotion in rank which this post would normally bring?’)!

San’i minamoto no hirotsune ason uta’awase 16

Cranes in a garden (庭上鶴馴)

Left

庭の面に人になれたるあしたづはよはひをきみにゆづるなるべし

niwa no omo ni
hito ni naretaru
ashitazu wa
yowai o kimi ni
yuzurunarubeshi
Upon this garden’s face stands,
Accustomed to folk,
A crane;
His years to my Lord
Will he bestow, no doubt!

A Court Lady
31

Right

千とせふるやどのけしきやしるからん汀のたづのなれにけるかな

chitose furu
yado no keshiki ya
shirukaran
migiwa no tazu no
narenikeru kana
Is it that a thousand years old
This dwelling does appear?
For to the muddy
Water’s edge the cranes
Have become accustomed!

A Court Lady
32

Love IX: 11

Left (Tie)
君ゆへもかなしき琴の音は立てつ子を思ふ鶴に通ふのみかは

kimi yue mo
kanashiki koto no
ne wa tatetsu
ko o omou tsuru ni
kayou nomi ka wa
For you
In sadness has my zither
Put forth strains, so
Can a crane calling for her chick
Be the only one to cry?

A Servant Girl
1101

Right
よそになる人だにつらき琴の音に子を思ふ鶴も心知られて

yoso ni naru
hito dani tsuraki
koto no ne ni
ko o omou tsuru mo
kokoro shirarete
Strangers to me –
Even they the pain
Within my zither’s strains,
As a crane calling for her chick,
Feel in their hearts!

Ietaka
1102

Left and Right together: no faults to mention.

In judgement: both Left and Right mention ‘a crane calling for her chick’ (ko o omou tsuru). This would appear to be after the conception of the pentachord in Bai’s Works: ‘The third and fourth strings are chill, and at night a crane, loving her chick, calls from her cage.’ This is not the usual zither with seven strings, but it is certainly also a kind of zither. In the topic ‘On Zithers’ there is certainly no issue with alluding to Japanese zithers or Chinese ones, is there? In any case, neither poem seems greatly inferior or superior, so the round ties.