Tag Archives: rocks

Sankashū I: 10

Topic unknown.[i]

はるしれと谷のほそみづもりぞくるいはまの氷ひまたえにけり

haru shire to
tani no hosomizu
mori zo kuru
iwama no kōri
hima taenikeri
‘Realise ‘tis spring!’, says
The trickle of water through the valley
Leaking out from
The ice between the rocks, where
Cracks have appeared.[ii]

[i] This poem has an alternate headnote: ‘On mountain waters announcing [spring], when various people were composing poems for the Bosatsu’in Ise Virgin.’ Gotō (1982, 12) notes that this is an erroneous reference to Imperial Princess Muneko (Tōshi) 統子内親王 (1126-1189), later known as Jōsaimon’in 上西門院, who, in fact, served as Kamo Virgin.

[ii] Saigyō composed on a similar theme for the Mimosugawa uta’awase 御裳濯河歌合 (‘Mimosugawa Poetry Match’; 1187) of his own poems: 岩まとぢし氷もいまはとけ初めて苔の下水道もとむなり iwama tojishi / kōri mo ima wa / tokehajimete / koke no shitamizu / michi motomu nari ‘Cracks between the crags sealed / By ice, now / Beginning to melt, and / The water ‘neath the ice / Seeks to find its way.’(Mimosugawa uta’awase 22)

Shunzei-kyō no musume-shū 7

岩たたく谷の下水音わけてむすばぬ袖ぞまだきすずしき

iwa tataku
tani no shitamizu
oto wakete
musubanu sode zo
madaki suzushiki
Dripping on the rocks is
The water ‘neath the valley—
At the sound I feel that,
Though they cannot draw it up, my sleeves
Are swiftly cooled.[i]

7


[i] See, for example: Composed when he presented a hundred poem sequence during the reign of former Emperor Horikawa. みむろ山たににや春のたちぬらむ雪のした水いはたたくなり mimuro no yama / tani ni ya haru no / tachinuramu / yuki no shitamizu / iwa tataku nari ‘Upon Mount Mimuro, / In the valleys, I wonder, has spring /  Arisen? / For waters ‘neath the snow / Are dripping on the rocks…’ Middle Counsellor Kuninobu (Senzaishū I: 2); Composed on the conception of enjoying the cool of the evening, when Minister of Justice Yorisuke held a poetry match. いはたたく谷の水のみおとづれて夏にしられぬみ山べのさと iwa tataku / tani no mizu nomi / otozurete / natsu ni shirarenu / miyamabe no sato ‘Dripping on the rocks / The valley’s waters, alone, / Pay me a call, / All ignorant of summer / At my deep mountain retreat…’ Former Consultant Norinaga (Senzaishū III: 221); and: Composed on the conception of it being chilly bathing in a spring at night. さよふかきいづみの水のおときけばむすばぬそでもすずしかりけり sayo fukaki / izumi no mizu no / oto kikeba / musubanu sode mo / suzushikarikeri ‘Deep within a night so brief / When the water of a spring / I hear, / Though they cannot draw it up, my sleeves / Are cool, indeed.’ Minamoto no Morokata (Goshūishū III: 233)

SZS I: 2

Composed when he presented a hundred poem sequence during the reign of former Emperor Horikawa.

みむろ山たににや春のたちぬらむ雪のした水いはたたくなり

mimuro no yama
tani ni ya Faru no
tatinuramu
yuki no sitamidu
iFa tataku nari
Upon Mount Mimuro,
In the valleys, I wonder,
Has spring arisen?
For waters ‘neath the snow
Are dripping on the rocks…

Middle Counsellor Kuninobu

SZS III: 221

Composed on the conception of enjoying the cool of the evening, when Minister of Justice Yorisuke held a poetry match.

いはたたく谷の水のみおとづれて夏にしられぬみ山べのさと

iFa tataku
tani no midu nomi
otodurete
natu ni sirarenu
yamabe no sato
Dripping on the rocks
The valley’s waters, alone,
Pay me a call,
All ignorant of summer
At my deep mountain retreat…

Former Consultant Norinaga

Eien narabō uta’awase 29

Felicitations

Round One

Left

みどりなるまつかげひたすいけ水にちよのすみかとみゆるやどかな

midori naru
matsukage hitasu
ikemizu ni
chiyo no sumika to
miyuru yado kana
Evergreen
The pine tree’s shapes sink
Into the pond waters—
A residence for a thousand ages
Does that dwelling seem!

Lord Dainagon
57

Right (Win)

ちとせともいろにはいでていはし水ながれむほどは君がよなれば

chitose to mo
iro ni wa idete
iwashimizu
nagaremu hodo wa
kimi ga yo nareba
For a thousand years or more
Does its hue emerge—
Spring waters from the rocks
Might flow as long as
My Lord’s reign will be, so…

Lord Chūnagon
58

What on earth might be the colour of the Left poem’s ‘pine tree’s shapes sink’ and the Right poem’s ‘thousand years’ hue’? When one talks about ‘hue’ that means ‘scarlet’ and, in addition, it’s used of blossoms or autumn leaves. I have yet to see wisteria colouring the water in numerous private collections. The two poems are about the same, but the Right is marred by a series of faults.

The Left’s ‘shapes sink’ is extremely vague. ‘Sink’ means to submerge an object in water. One could certainly compose about a pine tree’s branches sinking, but how can we accept ‘shapes sink’ to mean an object’s reflection from beneath the water in the absence of a poem as precedent? The end is extremely, charming, though.

The poem of the Right doesn’t have anything special about it. It’s a pedestrian affair which doesn’t seem to show much evidence of thought. How are we to distinguish between a poem which is hackneyed but lacking any faults and one which is vague?

Naidaijin-ke uta’awase 27

Round Three

Left (Both Judges – Win)

いはぬまの下はふ蘆のねを重みひまなき恋を君知るらめや

iwanuma no
shitahau ashi no
ne o shigemi
himanaki koi o
kimi shirurame ya
Silently beneath the marsh rocks
Creep the reeds’
Roots in such profusion,
Not a space free from love, but
Does my lady know, I wonder?

A Court Lady
53

Right

身をつみて思ひや知るとこころみにながためつらき人もあらなん

mi o tsumite
omoi ya shiru to
kokoromi ni
na ga tame tsuraki
hito mo aranan
Pinching flesh,
Would you know passion’s fire?
To test it, I wish
For you there was a cruel
One, too…

Lord Masakane
54

Toshiyori states: the first poem is extremely charming. It seems to have no faults to mention. In the second poem, ‘For you there was a cruel one’ would be something quite impolite if said by a woman. Court ladies may lose their composure, yet they still appear to speak with dignity. In the absence of a prior poem as precedent, the first poem should win, I think.

Mototoshi states: this poem seems to have no faults to mention, and of the two, ‘beneath creep the reeds’ seems a bit more gently refined at present.