Tag Archives: Suma

KKS XVIII: 962

During the reign of the Tamura Emperor, when he was confined to Suma in the province of Tsu for certain reasons, he sent this to someone in the capital.

わくらばにとふ人あらばすまの浦にもしほたれつつわぶとこたへよ

wakuraba ni
toFu Fito araba
suma no ura ni
mosiFo taretutu
wabu to kotaFeyo
If of me
Folk should come enquiring, then as
On the beach at Suma
The seaweed ever drips,
I suffer—answer that!

Ariwara no Yukihira

Love VII: 24

Left (Tie).
故郷に見し面影も宿りけり不破の関屋の板間洩る月

furusato ni
mishi omokage mo
yadorikeri
fuwa no sekiya no
itama moru tsuki
Back home
I saw her face, and
It lodges here,
At the Barrier House at Fuwa,
In the moonlight leaking through the boards.

A Servant Girl
1007

Right.
人恋ふる我ながめよ思けり須磨の関屋の有明の月

hito kouru
ware nagameyo
omoikeri
suma no sekiya no
ariake no tsuki
Loving you,
I will ever gaze,
I thought,
At the Barrier House at Suma
On the dawntime moon.

Nobusada
1008

The Right state: the Left’s poem is good. The Left state: the Right’s poem lacks any faults to indicate.

In judgement: the Left’s ‘Barrier House at Fuwa’ (fuwa no sekiya) followed by ‘the moonlight leaking through the boards’ (itama moru tsuki) is truly charming. In addition, if one wonders why ‘I saw her face’ (mishi omokage mo) has been used, it is certainly reminiscent of the poem ‘The dawntime moon, too, lodges in the waters clear’, but an improvement on it. It is difficult to say, however, that the Right’s ‘At the Barrier House at Suma on the dawntime moon’ (suma no sekiya no ariake no tsuki) is in any way inferior.

Love VII: 21

Left.
夜を重ね心の関のかたきかなわが音は鳥の空音ならねば

yo o kasane
kokoro no seki no
kataki kana
wa ga ne wa tori no
sorane naraneba
Night upon night
The barriers upon your heart
Stand firm, indeed!
For the sounds I make are no cock’s
False crow!

Lord Ari’ie
1001

Right (Win).
人知れぬうらみにあまる浪の上を抑ふる袖や須磨の関守

hito shirenu
urami ni amaru
nami no ue o
osauru sode ya
suma no sekimori
She cannot know
The prospect of my despair;
Dashed upon the waves
Are my sleeves
Barrier Wardens at Suma?

Jakuren
1002

The Right state: why specifically refer to a ‘false crow’ (sorane)? This makes it sound as if the barrier would not be opened for a real bird’s cry. In response, the Left: as there is the precedent of a barrier being opened in response to a false crow, the poem draws upon this to refer to ‘the sounds I make’ (wa ga ne) – we fail to see why this is problematic. The Left state: we find no faults in need of identification in the Right’s poem.

In judgement: it seems difficult to distinguish between ‘the sounds I make’ and the ‘false crow’ in the Left’s poem, and the Right’s ‘dashed upon the waves are my sleeves’ (osauru sode) is pleasant. Thus, the Right wins.

Love VII: 20

Left (Tie).
身に堪へぬ思ひを須磨の関据ゑて人に心をなどとどむらん

mi ni taenu
omoi o suma no
seki suete
hito ni kokoro ni
nado todomuran
Unable to endure
This love; at Suma
By the barrier am I placed;
Within my heart why
Does she remain so firmly?

Lord Sada’ie
999

Right.
逢坂の関のこなたに名をとめてこれより過ぐる嘆せよとや

ausaka no
seki no konata ni
na o tomete
kore yori suguru
nageki seyo to ya
On Meeting Hill
Barrier’s inner side
Must I stay, they say;
Ever pass your days
In grief! Is that your only message?

Lord Takanobu
1000

The Right state: ‘This love; at Suma’ (omoi o suma) sounds antiquated. In addition, how can one be placed by the barrier? The Left state: in the Right’s poem what is the ‘passing grief’ (suguru nageki)?

In judgement: the Gentlemen of the Right’s criticism of wondering ‘how one can be placed by the barrier’ suggests they have never been installed as Barrier Wardens! Both ‘at Suma by the barrier’ and ‘Meeting Hill Barrier’ are of the same quality. The round should tie.