Willow
いづれをかえだともわかむあをやぎのはなもひとつにあさみどりなる
| izure o ka eda tomo wakamu aoyagi no hana mo hitotsu ni asamidori naru | Which might it be? I would separate the branches Of fresh willow Blossoms that one Will turn pale green… |
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Tag Archives: willow
Kinkai wakashū 40
As a poem on willows.
青柳のいともてぬける白露の玉こきちらす春の山かぜ
| aoyagi no ito mo tenukeru shiratsuyu no tama kokichirasu haru no yamakaze | Pale green willow Threads are strung With silver dewdrops— Gems scattered by The breeze from off the mountains in springtime. |
Kinkai wakashū 39
As a poem on willows.
春くれば猶色まさる山しろのときはの杜の青柳のいと
| haru kureba nao iro masaru yamashiro no tokiwa no mori no aoyagi no ito | Spring has come, and Still their hues are beyond fine: In Yamashiro’s Evergreen forests— Pale green threads of willow. |
Teiji-in uta’awase 01
Spring
Ten Poems on the Second Month
Left
あをやぎのえだにかかれるはるさめはいともてぬけるたまかとぞみる
| aoyagi no eda ni kakareru harusame wa ito mo te nukeru tama ka to zo miru | Upon the green willow Branches hang Spring raindrops— As if each frond were hand-threaded With gems do they appear. |
Ise
1
Right
あさみどりそめてみだれるあをやぎのいとをばはるのかぜやよるらむ
| asamidori somete midareru aoyagi no ito oba haru no kaze ya yoruramu | Pale green Dyes the tangled Willow Fronds—do spring’s Breeze they seem to beckon? |
Korenori
2
I’d say both of these are good—a tie.
SShKKS XVII: 1626
Shiki koi sanshu uta’awase – Spring
Spring
Left
春のたつ霞の衣うらもなく年を経てこそ花の散りけれ
| haru no tatsu kasumi no koromo ura mo naku toshi o hete koso hana no chirikere | Spring does sew A robe of haze Without an underlay, The year passes by in A scattering of blossom |
1
春の野の雪間をわけていつしかと君がためとぞ若菜摘みつる
| haru no no no yuki ma o wakete itsushika to kimi ga tame to zo wakana tsumitsuru | Across the springtime meadows Do I forge between the snows, Eagerly, so eagerly, For you, my Lord, Have I gathered fresh herbs! |
2
春霞かすみこめたる山里はこほりとくともかげはみえじを
| harugasumi kasumi kometaru yamazato wa kōri toku tomo kage wa mieji o | The haze of spring Blurs all around A mountain retreat, Even were the ice to melt I could see no sign of it! |
3
Right
梅枝にきゐる鶯年毎に花の匂ひをあかぬ声する
| ume ga e ni ki’iru uguisu toshigoto ni hana no nioi o akanu koesuru | Upon the plum tree’s branches Has come to rest the warbler; Every single year, that Of the blossoms’ scent He cannot get his fill he sings. |
4
桜色に花さく雨はふりぬとも千しほぞそめてうつろふなそで
| sakurairo ni hana saku ame wa furinu tomo chishio zo somete utsurou na sode | Cherry-coloured Blossoms flower, as the rain Falls on, yet Dyed a thousand times Fade not, o, my sleeves! |
5
青柳のいとはるばると緑なる行末までも思ひこそやれ
| aoyagi no ito harubaru to midori naru yukusue made mo omoi koso yare | The willow’s Branches dangle lengthily So green Right to the very end Will I fondly think of you. |
6
Eikyū hyakushu 528
Kokin rokujō VI: 4155
KKS XX: 1081
Autumn I: 6
Left.
打ち寄する浪より秋の龍田川さても忘れぬ柳陰かな
| uchiyosuru nami yori aki no tatsutagawa satemo wasurenu yanagikage kana |
Approaching on The waves, comes autumn to The Tatsuta River; And yet, I cannot forget The willows’ shade. |
311
Right.
秋淺き日影に夏は殘れども暮るゝ籬は荻の上風
| aki asaki hikage ni natsu wa nokoredomo kururu magaki wa ogi no uwakaze |
Faintly autumnal is The sunlight, with summer Yet remaining; At evening by the rough-woven fence Blows a breeze o’er the silver-grass. |
312
The Right say the Left’s poem is ‘particularly good.’ The Left state that, ‘“Faintly autumnl” (aki asaki) grates on the ear, and we also cannot grasp the use of “evening by the rough-woven fence” (kururu magaki).’
Shunzei states, ‘The Left’s “approaching on the waves” (nami yori aki no), seems particularly charming, but when taken together with “willows’ shade” (yanagi kade)– the Tatsuta River has long been the subject of composition on “flowing scarlet autumn leaves”, and even now this gives a slightly poetic effect; “willows’ shade” has been used in composition, both in ancient times and more recently, but does it not seem commonplace now? The Right’s poem is in the same vein as that of the Right in Round One Hundred and Fifty-Two, yet I do not find “faintly autumnal” to be unpleasant. “Evening by the rough-woven fence”, too, has charm. The Left’s poem has vocabulary in accordance with the contents; the Right unusual expressions. In this combination, the round must tie.’