Tag Archives: fisherfolk

SKKS VI: 704

Composed on the conception of the evening of the year by the sea, at the residence of the Tsuchimikado Palace Minister.

ゆくとしをゝじまのあまのぬれ衣かさねて袖になみやかくらん

yuku toshi o
ojima no ama no
nuregoromo
kasnete sode ni
nami ya kakuran
The parting year covers me with
Regret, as at Ojima the fisherfolk’s
Drenched robes are
Laid atop each other, with sleeves
Still washed by waves, it seems…

Fujiwara no Ari’ie

Naidaijin-ke uta’awase 4

Round Four: Showers

Left (Win – Mototoshi)

水鳥の青葉の山やいかならん梢をそむる今朝のしぐれに

midutori no
awoba no yama ya
ikanaran
kozuwe wo somuru
kesa no sigure ni
Waterbird
Aoba Mountain –
What is to become of you?
Your treetops dyed
By this morning’s drizzle…

Lord Akinaka
7

Right (Win – Toshinari)

かき曇り海人の小舟に吹く苫の下透るまで時雨しにけり

kakikumori
ama no wobune ni
Fuku toma no
sita toForu made
siguresinikeri
Clouds claw in and,
Upon the fisherfolk’s tiny boats
Do blow; until from the thatch,
Right through to beneath,
Do the showers fall…

Lord Michitsune
8

Toshinari states: to follow ‘waterbird Aoba Mountain’ (midutori no awoba no yama) with ‘treetops dyed’ (kozuwe wo somuru) is blatantly obvious; in the following poem, while referring to ‘fisherfolk’s tiny boats’ (ama no wobune) is stylistically unexpected, it is not a fault, so I feel it should win.

Mototoshi states: referring to ‘waterbird Aoba Mountain’ (midutori no awoba no yama) is extremely old-fashioned, but the poem of the Right has ‘clouds claw in and, upon the fisherfolks’ tiny boats do blow; until the thatch’ (kakikumori ama no wobune ni fuku toma), which are not things on which spring or summer showers fall, so there is no linking sense with ‘right through to beneath’ (sita toForu made). Thus, I must conclude that showers which dye the treetops is slightly superior.

Love VI: 30

Left (Tie).
奈呉の海士の塩燒く煙空にのみ我名を立てゝやまんとやする

nago no ama no
shio yaku kemuri
sora ni nomi
wa ga na wo tatete
yaman to ya suru
At Nago the fisherfolk’s
Salt-burning smoke fills
The skies; is that all
My names is to be? Gossip
And then the end?

Kenshō.
959

Right.
山田守るかひ屋が下の煙こそこがれもやらぬたぐひなりけれ

yamada moru
kaiya ga shita no
kemuri koso
kogare mo yaranu
tagui narikere
Warding the mountain fields
Beneath the heated hut
The smoke
Smoulders without end –
And so do I!

Jakuren
960

The Right state: the Left’s poem has no faults. The Left state: we wonder about the usage of ‘beneath the heated hut’ (kaiya ga shita) with ‘warding the mountain fields’ (yamada moru). In reply: in the Man’yōshū ‘heated hut’ (kaiya), is written with characters meaning ‘deer-repelling fire hut’. In addition, in territories where they wish to drive the deer away from their mountain paddies, they take things which smell foul when burnt, such as hair, and burn them, and in order that the fires are not put out by the rain, they build a roof over them. The common folk of these places call these things ‘heated huts’ (kaiya). So, the Man’yōshū’s usage corresponds with actual practice. Again, a further criticism from the Left: the Master of the Crown Prince’s Household Office composed a poem on salting. Atsutaka also includes ‘heated hut’ in the section on mosquito fires. Such are the ideas of our forebears. That ‘heated hut’ is written in Man’yōshū with characters meaning ‘deer-repelling fire’ and ‘scented fire’ is no proof of anything. Might it not have been written this way so that it would be read to mean ‘keep’? One certainly cannot sweepingly say that it means ‘deer-repelling fire’. A further response from the Right: our forebears have presented no definite evidence, and so it is difficult to accept this argument. In addition, has it not long been accepted that ‘morning haze’ can be used to refer to the smoke from deer-repelling fires, when composing on the haze spreading? Furthermore, in the Hitomaroshū, there is the poem ‘On Kogane Mountain / Beneath the heated hut / Frogs call’. Thus, it appears that this composition must refer to mountain fields.

In judgement: the Left’s ‘At Nago the fisherfolk’ (nago no ama) links the initial and latter sections of the poem extremely well. There seems to be have been some discussion from both teams about the Right’s ‘beneath the heated hut the smoke’ (kaiya ga shita no kemuri). Prior to the to and fro about this poem, was there not a similar discussion about heated huts in the final section of spring poems about frogs? With the greatest respect, the discussion here seems little different. However, in regard to the Right’s poem, saying that love smoulders is the normal way of expressing matters. I do wonder about ‘smoulders without end’ (kogare mo yaranu), but this would certainly seem appropriate with the reference to a heated hut. The Left, in addition, with ‘salt burning smoke’ (yaku shio kemuri) lacks any faults to indicate, so with no clear winner or loser, I make this round a tie.

 

SCSS XI: 562

When she was asked about the possibility of a meeting.

みるめ刈る海人の行きかふ湊路に勿来の関も我は据ゑぬを

mirume karu
ama no yukikau
minatoji ni
nakoso no seki mo
ware wa suenu o
Gathering seaweed
The fisherfolk go back and forth
Along the harbour ways;
Come not to the barrier of Nakoso –
I have not placed it there, so…

Ono no Komachi
小野小町

This poem is also Komachi-shū 小町集 (late. C9th) 5.

Love I: 4

Left (Win).

靡かじな海士の藻塩火焚き初めて煙は空にくゆりわぶ共

nabikaji na
ama no moshiobi
takisomete
kemuri wa sora ni
kuyuriwabutomo
She has not so much as waved to me, yet
The fisher-folk salt fires
Have begun to kindle and
The smoke into the skies
Has yet to rise…

Lord Sada’ie.

607

ight.

葦の屋の隙漏る雨の雫こそ音聞かぬより袖は濡れけれ

ashi no ya no
hima moru ame no
shizuku koso
oto kikanu yori
sode wa nurekeri
Through a roof of reeds’
Chinks, drenching rain
Drops
Make no sound, yet
Soak my sleeves.

Lord Takanobu.

608

The Right state that it should be kuyuru in the Left’s poem – and that they are not accustomed to hearing kuyuri. The Left state that, ‘while the rain falling on a roof of reeds would make no sound, once it became drops dripping through, it would. In addition, while it “makes no sound”, how can it be love?’

Shunzei’s judgement: The gentlemen of the Right’s claim that the Left’s poem should be kuyuri is incorrect. This is simply a case of the same diction as in utsuru-utsuri, todomaru-todomari – I should not have to give more examples. In form the poems do have good and bad points [utazama zen’aku arubeki]. I have the feeling I have recently seen something similar to the Right’s metaphorical use of a roof of reeds. Or maybe it was not that recently. The Left’s ‘has yet to rise’ seems better. I shall make it the winner.

Spring III: 6

Left (Tie).

斧の柄をかくてや人はくたしけん山路おぼゆる春の空かな

ono no e o
kakute ya hito wa
kutashiken
yamaji oboyuru
haru no sora kana
‘His axe haft:
Is this how he
Let it rot away?’
I wonder on the mountain paths
Under the springtime skies.

Lord Kanemune.

131

Right (Tie).

春の日は灘の塩屋のあま人もいとまありてやくらしわぶらん

haru no hi wa
nada no shioya no
amabito mo
itoma arite ya
kurashiwaburan
In the springtime sun
At Nada, the salt-making
Fisher-folk, too,
Have time to spare, and
Live with it heavy on their hands…

Ietaka.

132

Both teams say they can find nothing to criticise in the other’s poem.

Shunzei agrees, saying, ‘You gentlemen have already stated that there is no reason to fault either poem. The round must be a tie.’