風ふけば波うつきしの岩なれやかたくもあるか人のこころの
| kaze fukeba nami utsu kishi no iwa nare ya kataku mo aru ka hito no kokoro no | When the wind does blow, Waves strike the rocks Along the shore—are they As hard as My lady’s heart? |
446
Tag Archives: Kishi
Sumiyoshi-sha uta’awase kaō ni-nen 34
Round Nine
Left (Win)
うらさむくしぐるるよはのたびごろもきしのはにふにいたくにほひぬ
| ura samuku shigururu yowa no tabigoromo kishi no hanyū ni itaku nioinu | The bay is cold with Midnight showers, as My traveller’s robe With the shore’s ochre clay Is deeply stained. |
Taifu
67
Right
おもへただみやこのうちのねざめだにしぐるるそらはあはれならずや
| omoe tada miyako no uchi no nezame dani shigururu sora wa aware narazu ya | Simply think of me, when Within the capital You start from sleep— A showery sky is Sad, isn’t it? |
Sadanaga
68
While configuration of the Left’s poem, saying ‘With the shore’s ochre clay / Is deeply stained’ feels crude, it does appear to be in the style of the Myriad Leaves. As for the Right’s poem, its conception is good, but starting, ‘Simply think of me’ begs the question of who this is said to. Such diction is used in poetry exchanges or love poems, in particular. The Left’s poem is most likely superior.
Sumiyoshi-sha uta’awase kaō ni-nen 32
Round Seven
Left (Tie)
きしちかみたびねのとこをうつなみのかへるひまにぞしぐれとはしる
| kishi chikami tabine no toko o utsu nami no kaeru hima ni zo shigure to wa shiru | Close by the coast My journey’s bed is Struck by waves; In the space as they withdraw, I know that showers are falling. |
Dharma Master Yūsei
63
Right
しばのとをたたくあらしのおとにまたしぐれうちそふたびのよはかな
| shiba no to o tataku arashi no oto ni mata shigure uchisou tabi no yowa kana | Upon my brushwood door The storm wind came a’knocking; The sound then Laced with showers, At midnight on my travels! |
Norimori
64
In the Left’s poem, it sounds as if the shower is continuing to fall quietly, yet it then appears to have the conception that one knows the showers are falling in the gaps between the waves breaking. In the Right’s poem, ‘The storm wind came a’knocking; / The sound then’ sounds charming, but I do wonder about how it looks to have lines beginning beginning with both ‘brushwood door’ [shiba no to] and ‘showers’ [shigure]. Thus, again, these tie.
Sumiyoshi-sha uta’awase kaō ni-nen 31
Round Six
Left (Tie)
たびねするこやのしのやのひまをなみもらぬしぐれにぬるるそでかな
| tabinesuru koya no shinoya no hima o nami moranu shigure ni nururu sode kana | Dozing on my journey In Koya, beneath dwarf-bamboo thatch, No gaps has it, so No drips fall from the showers, yet Still my sleeves are soaked! |
Kunisuke
61
Right
しぐれつつものぞかなしきわすれぐさまくらにむすぶきしのたびねは
| shiguretsutsu mono zo kanashiki wasuregusa makura ni musubu kishi no tabine wa | In the ever-falling showers, I am sad, indeed, so Of forgetful day-lily My pillow will I weave, Napping on my travels by the coast… |
Horikawa
62
The Left’s poem is not bad in configuration and diction, but I would have preferred it had it said ‘no drips fall from the showers, too, yet’. As for the Right, saying that one is napping on one’s travels on the coast at Sumiyoshi, having woven a pillow from forgetful day-lilies does, indeed, sound evocative, but it would have been more so had there been a reason for the reference to day-lilies earlier in the poem. These tie, don’t they.
Kinkai wakashū 269
Sumiyoshi-sha uta’awase kaō ni-nen 23
Left (Tie)
すみよしのきしうつなみにてる月はこかげもあかしまつのむらだち
| sumiyoshi no kishi utsu nami ni teru tsuki wa kokage mo akashi matsu no muradachi | At Sumiyoshi Upon the waves, striking the shore, Shines the moon— The shadows of the trees are bright Among the crowding pines. |
Chūnagon, in service to the Former Ise Virgin[1]
45
Right
としふりてかみさびにけるすみのえのきしのたまもをみがく月かげ
| toshi furite kamisabinikeru suminoe no kishi no tamamo o migaku tsukikage | Ancient in years is The dread Suminoe Shore, where gemweed Is polished by the moonlight. |
Novice Sokaku[2]
46
The Left’s poem has a truly charming conception, with ‘Upon the waves, striking the shore, / Shines the moon’ reflecting and making the pines’ shadows shine. However, what are we to make of the use of ‘bright’ here? My late master once stated that he had too often heard such diction being used. The poem of the right appears to have pleasant configuration and diction, but, while it is only natural to say that the Suminoe’s shore is dread, I wonder about the appropriateness of going so far as to say that gemweed is? It’s going a bit far, I think, to bring in ‘gemweed’ simply to link it to ‘polish’. Nevertheless, the configuration of the poem appears pleasant, so I call this a tie.
[1] Zen-saigū no Chūnagon前斎宮中納言
[2] Shami Sokaku沙弥素覚
KKS XVII: 906
Sumiyoshi-sha uta’awase kaō ni-nen 09
Round Nine
Left
すみのえのこほりとみゆる月かげにとけやしぬらむかみのこころも
| suminoe no kōri to miyuru tsukikage ni toke ya shinuramu kami no kokoro mo | At Suminoe As ice appears The moonlight, but Is not, perhaps, melted Even the deity’s heart? |
Lord Fujiwara no Kinshige
Senior Fourth Rank, Lower Grade
Without Office[1]
17
Right (Win)
すみよしのおまへのきしのまつのはもかずかくれなくみゆる月かげ
| sumiyoshi no omae no kishi no matsu no ha mo kazu kakurenaku miyuru tsukikage | At Sumiyoshi On the coast before the shrine Even the pine needles Cannot hide their numbers, Appearing in the moonlight. |
Venerable Dharma Eye Enjitsu[2]
18
While in the Left ‘ice appears’ and ‘is not, perhaps, melted’ seem to have some kind of linkage, if we consider this as a Cathay-style poem saying ‘A chill night’s moon / Ice atop the swell’, then I would have preferred it to say ‘is, perhaps, bound’. An alternative version of this would, of course, be ‘A spring morn’s breeze / Ice on the eastern shore’ which could lead to ‘is not, perhaps, melted’, I think. The Right has ‘On the coast before the shrine / Even the pine needles’ and through this type of linkage expresses the brightness of the moon. While this type of smug-sounding expression also appeared in the round before last, the moon here does seem bright and so I can say that the Right wins.
[1] San’i shōyon’ige Fujiwara ason Kinshige 散位正四位下藤原朝臣公重
[2] Hōgen kashōi Enjitsu 法眼和尚位円実
Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 47
Round Eleven
Left
おぼつかないづれうらごの山ならんみなくれなゐにみゆる紅葉ば
| obotsukana izure urago no yama naran mina kurenai ni miyuru momijiba | How strange it is— Where is Urago Mountain, I wonder? When all the same scarlet Seem the autumn leaves… |
Kiyosuke
93
Right (Win)
大ゐ河きしのもみぢのちるをりは浪にたたするにしきとぞみる
| ōigawa kishi no momiji no chiru ori wa nami ni tatasuru nishiki to zo miru | At the River Ōi, When the scarlet leaves upon the bank Come to fall, Cut out by the waves, Does their brocade appear! |
Mikawa
94
When I listen to the Left I wonder what on earth it’s actually about—the end seems redolent of love. The Right doesn’t seem to have any particular faults, so it should win.
Dairi kiku awase 02
あきすぎてはなざかりなるきくのはないろにたぐひてあきやかへれる
| aki sugite hanazakari naru kiku no hana iro ni taguite aki ya kaereru | Autumn is past and The flowers richly blooming are Chrysanthemums: With their hues Autumn does return! |
Korenori
3
なみとのみうちこそみゆれすみのえのきしにのこれるしらぎくのはな
| nami to nomi uchi koso miyure suminoe no kishi ni nokoreru shiragiku no hana | Simply as waves Do they, indeed, appear! At Suminoe Lingering on the shore White chrysanthemum blooms. |
Korenori
4
