Otagaki Rengetsu (1791～1875)

Last | Poems 721～750 (of 951) | Next

721 NotesThe prologue reads: “When an incident occurred at the beginning of Boshin Era...” (戊辰のはじめ、事ありしをり / Boshin no hajime, koto ari shi ori...), referring the the opening of the Boshin War (戊辰戦争 / Boshin Sensou), a civil war fought between 1868 and 1869, pitting Japan's ruling Tokugawa Shogunate (徳川幕府 / Tokugawa Bakufu) against forces, such as the Satsuma Clan (薩摩藩 / Satsuma han) (the dominant feudal domain of southwestern Japan) seeking to restore political power to the imperial court. The war ended in the fall of the shogunate and the return of the emperor to the helm of government.	Defeaters and defeated resolve your hearts— you are people of the same land.	うつ人もうたるる人もこころせよおなじ御國の御民ならずや	Utsu hito mo uta ruru hito mo kokoroseyo onaji mikuni no mitami nara zu ya.
うつひともうたるるひともこころせよおなしみくにのみたみならすやうつひともうたるるひともこころせよおなじみくにのみたみならずや
722 NotesThis poem shares a prologue with the preceding poem which reads: “When an incident occurred at the beginning of Boshin Era...” (戊辰のはじめ、事ありしをり / Boshin no hajime, koto ari shi ori...), referring the the opening of the Boshin War (戊辰戦争 / Boshin Sensou), a civil war fought between 1868 and 1869, pitting Japan's ruling Tokugawa Shogunate (徳川幕府 / Tokugawa Bakufu) against forces, such as the Satsuma Clan (薩摩藩 / Satsuma han) (the dominant feudal domain of southwestern Japan) seeking to restore political power to the imperial court. The war ended in the fall of the shogunate and the return of the emperor to the helm of government.	Foes and friends... whether they win or lose how miserable since I feel they are people of the same land.	あだみかたかつもまくるも哀なりおなじ御國の人とおもへば	Ada mikata katsu mo makuru mo awarenari onaji mikuni no hito to omoe ba.
あたみかたかつもまくるもあはれなりおなしみくにのひととおもへはあだみかたかつもまくるもあわれなりおなじみくにのひととおもえば
723 Notes	To true hearts and pure minds gods descend for earthly lodging— Ah, how fine the world!	ま心の清きをかみのやどりにてあまくだります御代ぞめでたき	Magokoro no kiyoki wo kami no yadori ni te amakudari masu miyo zo medetaki.
まこころのきよきをかみのやとりにてあまくたりますみよそめてたきまごころのきよきをかみのやどりにてあまくだりますみよぞめでたき
724 NotesThe title is: “With all respect, what I think of [when]...” In 1868, the Meiji Emperor (Meiji Tennou / 明治天皇, 1852~1912), moved to Tokyo permanently, ending nearly 1100 years of the imperial presence in Miyako (as Kyouto was then known). However, in the same year, on 22nd day of the 12th month, he returned for a short while. This poem and the one preceding it seem to have been made early in 1869, expressing Rengetsu's joy at his return.	The beautiful snows of yore which seemed to vanish remain in the sky high as the peak of Fuji brightening the world.	きゆとみしこぞのみゆきは富士のねのそらにひかりて猶いましけり	Kiyu to mi shi kozo no miyuki wa Fuji no ne no sora ni hikari te nao i mashi keri.
きゆとみしこそのみゆきはふしのねのそらにひかりてなほいましけりきゆとみしこぞのみゆきはふじのねのそらにひかりてなおいましけり
725 NotesThe title is “When I saw a beautiful Sugatama.” “Sugatama” is a non-standard name for kudatama (管玉), a glass ornament made in the Yayoi (弥生) and Kofun (古墳) eras, 3rd c BCE~6th c AD. They were 1~5 cm long, roughly cylindric in shape and made from, among other materials, glass, jasper, talc and tuff.	Heaven and earth seen through this... a symbol of this pure imperial reign― a cylindric jewel.	あめつちにすきてとほりて明らけき御代のためしのすが玉ぞこれ	Ametsuchi ni suki te toori te akirakeki miyo no tameshi no sugatama zo kore.
あめつちにすきてとほりてあきらけきみよのためしのすかたまそこれあめつちにすきてとおりてあきらけきみよのためしのすがたまぞこれ
726 NotesThe title is “Hakui [and] Shukusei.”Princes Hakui and Shukusei (はくいしゅくせい / 伯夷叔斉) were the sons of the vassal king who ruled “Kochiku Koku” (孤竹国), a domain of the ruling In Dynasty (殷? c.1100 B.C.E.), in what is now China. When the king died, Hakui, the elder brother, decided that Shukusei, the younger brother should ascend their father's throne. Shukusei hesitated and finally declined, thinking it improper to be king before his elder brother. Hakui was determined to make way for his younger brother and so moved afar to the kingdom of Shuu (周), which was ruled by vassal king Bun'ou (文王), and then, after his death, by his son Buou (武王). However, Shukusei gave up his claim to his father's throne and followed his brother. Buou thought Chuuou (紂王), the Emperor of the In Dynasty, misruled his lands and rebelled against him. Hakui and Shukusei tried to defend the emperor, but could not, and he was killed. The brothers, angry and grieving, felt they should no longer dwell in or take sustenance from the land of Shuu. They fled to Mount Shuyou (首陽山, whereabouts unknown) and, eating only bracken, died of hunger. Down through history they have been remembered for their compassion and filial piety.	Indeed a signpost pointing the way for monarch and subject. If one makes a misstep nothing goes well.	これぞこの君と臣との道しるべふみたがへてはゆかれざりけり	Kore zo ko no kimi to omi to no michishirube fumi tagae te wa yuka re zari keri.
これそこのきみとおみとのみちしるへふみたかへてはゆかれさりけりこれぞこのきみとおみとのみちしるべふみたがえてはゆかれざりけり
727 NotesThe prologue from the Complete Works of Otagaki Rengetsu is: “I made this poem upon seeing the dances at Mibudera.” It refers to “Mibu Kyogen” a kind comic theatre in which grotesque masks and costumes combine with lively acting to convey moral fables rooted in Buddhism.	A playful dance whose ancient hand gestures are enjoyable— another of the cherry trees of Miyako.	いにしへの手ぶりをかしきすさびかなこれも都の花のひともと	Inishie no teburi okashiki susabi kana kore mo miyako no hana no hitomoto.
いにしへのてふりをかしきすさひかなこれもみやこのはなのひともといにしえのてぶりおかしきすさびかなこれもみやこのはなのひともと
728 NotesThe prologue reads: “For a Painting of a Prostitute...” It seems the protagonist is remembering herself as a child in her hometown.	My figure back in the hometown I played in and knew well through springs and autumns... ah, such wistful memories...	はるあきにあそびなれにし古里のわがおもかげのなつかしき哉	Haruaki ni asobi nare ni shi furusato no wa ga omokage no natsukashiki kana.
はるあきにあそひなれにしふるさとのわかおもかけのなつかしきかなはるあきにあそびなれにしふるさとのわがおもかげのなつかしきかな
729 NotesThe title reads: “Upon Hearing from a Certain Person of their Hard Situation.” In this poem only “parted” is present in the Japanese, but since it is a fragment of the set phrase “parted the grasses” (here meaning “had trouble”), the second part of which has an important conceptual connection to the traces of dew in line four, the whole phrase has been included. The person who had such trouble has returned to Kyoto and related his/her hardships to Rengetsu.	Crying and crying you parted the grasses of Musashi Plain then came with traces of dew... ah, my wet sleeves...	なくなくも君がわけこし武蔵野のつゆのなごりにぬるる袖かな	Nakunaku mo kimi ga wake ko shi Musashino no tsuyu no nagori ni nururu sode kana.
なくなくもきみかわけこしむさしののつゆのなこりにぬるるそてかななくなくもきみがわけこしむさしののつゆのなごりにぬるるそでかな
730 Notes	Since this unusual night gale began to blow I only dream of my breasts feeling cold.	つねならぬよはのこがらしふきしより乳房さむけき夢のみぞみる	Tsune nara nu yowa no kogarashi fuki shi yori chibusa samukeki yume nomi zo miru.
つゆならぬよはのこからしふきしよりちふささむけきゆめのみそみるつねならぬよわのこがらしふきしよりちぶささむけきゆめのみぞみる
731 NotesSince “white wave” is a symbol for “thief” in Japanese poems, Rengetsu was probably referring to the burglar who came to rob her in when she lived in Okazaki, an episode found in Biography section of this site.	The traces of the white wave have disappeared but the sound of his coming remains.	白浪のあとはなけれど岡崎のよせきし音はなほ残りけり	Shiranami no ato wa nakere do Okazaki no yose ki shi oto wa nao nokori keri.
しらなみのあとはなけれとをかさきのよせきしおとはなほのこりけりしらなみのあとはなけれどおかざきのよせきしおとはなおのこりけり
732 NotesThe title reads: “A Peony-embroidered Cloth”	The color of my handplay is deep... seeing the embroidered figure of a peony I take it for the real thing!	手ずさびの色の匂ひのふかみ草そのおもかげによそへてぞ見る	Tezusabi no iro no nioi no fukamigusa so no omokage ni yosoe te zo miru.
てすさひのいろのにほひのふかみくさそのおもかけによそへてそみるてずさびのいろのにおいのふかみぐさそのおもかげによそえてぞみる
733 Notes	Overflowing leaves and vines have lengthened and made its form beautiful... ah, a bottle gourd...	葉もつるもところせきまでひろごりて身のうるはしくなるひさご哉	Ha mo tsuru mo tokoroseki made hirogori te mi no uruwashiku naru hisago kana.
はもつるもところせきまてひろこりてみのうるはしくなるひさこかなはもつるもところせきまでひろごりてみのうるわしくなるひさごかな
734 NotesThe prologue, from the Complete Works of Otagaki Rengetsu reads: “This is to Mr. Kuroda. For these years, we have been very close as teacher and student. I have made some things with clay as a commemoration of this world and made it my occupation. Now, I have gotten very old and I am dying, so...” It refers to Kuroda Koryro, Rengetsu's firing assistant and sometime collaborator for her ceramic works. Murakami Sodou believed Rengetsu made this poem to commemorate the passing of her Buddhist/artist's name to Kuroda-san who became Rengetsu II. The spines cupping an eggplant refers to the spiny calyces surrounding the stem of an eggplant.	Though my name like the spine of an eggplant suggests something lacking I shall, after disappearing hand it down to you.	あらざらんのちもなすびのへたの名を君がいへには猶のこさまし	Ara zara n nochi mo nasubi no heta no na wo kimi ga ie ni wa nao nokosa mashi.
あらさらんのちもなすひのへたのなをきみかいへにはなほのこさましあらざらんのちもなすびのへたのなをきみがいえにはなおのこさまし
735 NotesThe large cliff-dwelling eagle referred to in this poem as an Oowashi (大鷲 / オオワシ) is the Steller's Sea Eagle, aka Pacific or White-shouldered Eagle, native to coastal northeast Asia.	Flapping powerfully enough to destroy a cliff... to its mountain roost― a returning sea eagle.	山そはもくづるばかりにうち羽ぶき峰のねぐらにかへる大わし	Yamasowa mo kuzuru bakari ni uchi habuki mine no negura ni kaeru oowashi.
やまそはもくつるはかりにうちはふきみねのねくらにかへるおおわしやまそわもくずるばかりにうちはぶきみねのねぐらにかえるおおわし
736 NotesThe title is: “Magpies.” During the Star Festival on the seventh day of the seventh lunar month two celestial beings, the young cowherd Hikoboshi (彦星) and the weaver princess Orihime (織姫) are said come for their annual rendezvous in the heavens. Magpies are said to make this possible by lining up their wings to form a bridge on which one of them may cross to meet their lover (In Japanese lore, Hikoboshi crosses the bridge to meet Orihime, while in China, Orihime crosses to meet Hikoboshi). This poem points out that the converse is true as well, that the lovers' rendezvous provides an occasion for the magpies to meet.	Their rendezvous during the Star Festival also allows magpies to line up their wings and make a bridge.	棚ばたの中のちぎりもかささぎの羽根をならべて渡すかけ橋	Tanabata no naka no chigiri mo kasasagi no hane wo narabe te watasu kakehashi.
たなはたのなかのちきりもかささきのはねをならへてわたすかけはしたなばたのなかのちぎりもかささぎのはねをならべてわたすかけはし
737 NotesThe title is: “An Owl.” In Japanese folklore, an owl hooting promises the next day will be sunny.	A sign the rain will stop tomorrow is clear in what the owl said without being asked...	雨はれんあすのけしきはふくろふのとはずがたりにしるき宵哉	Ame hare n asu no keshiki wa fukurou no towa zu gatari ni shiruki yoi kana.
あめはれんあすのけしきはふくろふのとはすかたりにしるきよひかなあめはれんあすのけしきはふくろうのとわずがたりにしるきよいかな
738 NotesThe subject of the poem, both in the title and in line four of the Japanese, “A Cow” (ushi / うし / 牛) is a double entendre, since the word for “depressing” has the same sound (though its written form is 憂し).	From morning to night pulled and beaten... depressed and miserable as your name suggests you must wail aloud.	明くれに曳れうたれておのが名のうしつらしとや音にはなくらん	Akekure ni hika re uta re te ono ga na no ushi tsurashi to ya ne ni wa naku ran.
あけくれにひかれうたれておのかなのうしつらしとやねにはなくらんあけくれにひかれうたれておのがなのうしつらしとやねにはなくらん
739 Notes	Rabbits their robes of fur the color of cattails... as in the Age of the Gods they do not change.	うさぎらががまのほいろのけごろもは神代ながらにきかへざるらん	Usagi ra ga gamanoho iro no kegoromo wa kamiyo nagara ni ki kae zaru ran.
うさきらかかまのほいろのけころもはかみよなからにきかへさるらんうさぎらががまのほいろのけごろもはかみよながらにきかえざるらん
740 NotesAgemaki was a bobbed hair style worn by high born boys in ancient Japan. By the Edo (1600~1867) and Meiji Periods (1868~1912), it had evolved to mean a child young enough to wear such a bob. Funa (鮒 / フナ), at the end of line 5, refers to the Japanese crucian carp (Carassius cuvieri). This poem is based on one by Takayasuou (高安王 / ???~c.743) from the Manyoushu (万葉集) Oki e yuki / he wo yuki ima ya / imo ga tame / wa ga sunadore ru / mofushitsukafuna.	What a child fit for a bob caught and brought to a venerable person from the water weeds― a carp big as a fist.	めづらしき人のためにとあげまきがすなどりきつるもふしつかふな	Mezurashiki hito no tame ni to agemaki ga sunadori ki tsuru mofushitsukafuna.
めつらしきひとのためにとあけまきかすなとりきつるもふしつかふなめずらしきひとのためにとあげまきがすなどりきつるもふしつかふな
741 NotesA variant of this poem is found Furuzuka no Kitsune, fourth of its 17 poems, changing lines 1 and 2 from the standard form (“Yumiya tori / tachi sage haki te”) to “Uruwashiki / otoko to nari te.” This changes the meaning of the first four lines the English translation from “If in the coming world / I am born / grasping bow and arrow / and wearing a sword...” to “If in the coming world / I am born / to be / an outstanding man...”	If in the coming world I am born grasping bow and arrow and wearing a sword I shall serve your majesty.	弓矢とり太刀さげはきてこん世には君につかふる身とうまれてん	Yumiya tori tachi sage haki te ko n yo ni wa kimi ni tsukauru mi to uma re te n.
ゆみやとりたちさけはきてこんよにはきみにつかふるみとうまれてんゆみやとりたちさげはきてこんよにはきみにつかうるみとうまれてん
742 NotesRengetsu is referring here to the lost of two family members, probably her husband and a child.	I see this inconstant world as an unhappy thing... of three chestnuts only one remains lost in melancholy.	つねならぬよをうきものとみつぐりのひとり残りてものをこそおもへ	Tsune nara nu yo wo uki mono to mitsuguri no hitori nokori te mono wo koso omoe.
つねならぬよをうきものとみつくりのひとりのこりてものをこそおもへつねならぬよをうきものとみつぐりのひとりのこりてものをこそおもえ
743 Notes	One night my travels will end as I sleep crossing to the next world on a floating bridge at the edge of my dream.	いつかわがわたりもはてんねたる夜の夢よりのちの夢のうきはし	Itsu ka wa ga watari mo hate n ne taru yo no yume yori nochi no yume no ukihashi.
いつかわかわたりもはてんねたるよのゆめよりのちのゆめのうきはしいつかわがわたりもはてんねたるよのゆめよりのちのゆめのうきはし
744 NotesThe prologue is “when people laughed at my many movings,” refers to her famous habit of moving house very often, sometimes more than ten times in a year. Disappearing refers to her passing.	Drifting here and there like a floating cloud— a diversion before disappearing.	浮雲のここにかしこにただよふも消せぬほどのすさびなりけり	Ukigumo no koko ni kashiko ni tadayou mo kie se nu hodo no susabi nari keri.
うきくものここにかしこにたたようもきえせぬほとのすさひなりけりうきぐものここにかしこにただようもきえせぬほどのすさびなりけり
745 Notes	On the road of words if I have become a beggar even so the falling, scattering dewdrops are jewels I long to gather up.	ことのはの道のかたゐとなりてだにおちちる露の玉ひろはばや	Kotonoha no michi no katai to nari te dani ochi chiru tsuyu no tama hirowa baya.
ことのはのみちのかたゐとなりてたにおちちるつゆのたまひろははやことのはのみちのかたいとなりてだにおちちるつゆのたまひろわばや
746 Notes“Hanetsurube” is special type of a well-and-bucket system which, instead of the usual pulley with a long rope, employs a lever with a short rope. Rengetsu exaggerated this fact in order to make a wordplay with “nawa naki,” a double entendre (kakekotoba) meaning “no rope” (the name of the object) and “not to have name” (the hidden meaning). She ponders aloud what she will say when asked what a “hanetsurabe” is, then exhorts the imaginary person asking (and the reader) to guess, sure that, as they turn it over in their mind(s), there will be a moment when the pun becomes clear.	If I am asked what should I answer... a ropeless well-bucket? Guess and you'll soon see that it doesn't have a name!”	とはれては何とこたへむはねつるべなはなきものとくみてこそしれ	Towa re te wa nani to kotae n hanetsurube na wa naki mono to kumi te koso shire.
とはれてはなにとこたへむはねつるへなはなきものとくみてこそしれとわれてはなにとこたえんはねつるべなはなきものとくみてこそしれ
747 NotesThe prologue reads: “When I Lived in a Hut in the Mountain Shadows.” In this poem, Rengetsu likens herself to dew she wishes to lay upon her hut (the grasses she wove). She both moved house often and was acutely aware of the transience of life, so when she wrote this poem she may have been thinking of when she would move again or when she would pass away.	I shall, for a moment lay my body fleeting as dew upon a pillow of grass in these mountain shadows.	つゆのみをただかりそめにおかんとて草ひきむすぶ山のしたかげ	Tsuyu nomi wo tada karisome ni oka n to te kusa hiki musubu yama no shitakage.
つゆのみをたたかりそめにおかんとてくさひきむすふやまのしたかけつゆのみをただかりそめにおかんとてくさひきむすぶやまのしたかげ
748 Notes	Done not for merit but for play... freely drawn lines from a brush.	なにごとをなすとはなしにたはむれにかきながしたる水莖のあと	Nanigoto wo nasu to wa nashi ni tawamure ni kaki nagashi taru mizuguki no ato.
なにことをなすとはなしにたはむれにかきなかしたるみつくきのあとなにごとをなすとはなしにたわむれにかきながしたるみずぐきのあと
749 Notes	This is a variant of Poem 297.	ぬば玉のくろだに山のふもとにてさやけからぬは心なりけり	Nubatama no Kurodaniyama no fumoto ni te sayakekara nu wa kokoro nari keri.
ぬはたまのくろたにやまのふもとにてさやけからぬはこころなりけりぬばたまのくろだにやまのふもとにてさやけからぬはこころなりけり
750 Notes	Though appearing bent mountain folk keep their hearts and sickles polished and clean.	かたちこそまがりてみゆれ山賤が心とがまはとぎすましてん	Katachi koso magari te miyure yamagatsu ga kokoro togama wa togi sumashi te n.
かたちこそまかりてみゆれやまかつかこころとかまはときすましてんかたちこそまがりてみゆれやまがつがこころとがまはとぎすましてん

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