| 歌番号 |
001002 |
| 作者 |
つらゆき |
| 作者標準 |
貫之 |
| 性別 |
 |
| 作者英文 |
Ki no Tsurayuki |
| 題 |
ふるうたゝてまつりし時のもくろくのそのなかうた |
| 題仮名 |
ふるうたたてまつりしときのもくろくのそのなかうた |
| 題英語 |
A catalogue in the form of a long poem prepared on presenting the old poems to the Mikado. |
| 歌 |
ちはやふる／神のみよゝり／くれ竹の／世々にもたえす／あまひこの／をとはの山の／はるかすみ／おもひみたれて／さみたれの／空もとゝろに／さよふけて／山ほとゝきす／なくことに／たれもねさめて／からにしき／たつたの山の／もみちはを／見てのみしのふ＠／神無月／しくれ〈しくれ〉て／冬の夜の／庭もはたれに／ふる雪の／猶きえかへり／としことに／時につけつゝ／あはれてふ／ことをいひつゝ／君をのみ／ちよにといはふ／世の人の／おもひするかの／ふしのねの／もゆる思ひも／あかすして＠／わかるゝなみた／ふちころも／をれる心も／やちくさの／ことのはことに／すへらきの／おほせかしこみ／まき〈まき〉の／中につくすと／いせのうみの／浦のしほかひ／ひろひあつめ／とれりとすれと／たまのをの／みしかき心／思ひあへす／猶あらたまの＠／としをへて／大宮にのみ／久かたの／ひるよるわかす／つかふとて／かへりみもせぬ／わかやとの／しのふ草おふる／いたまあらみ／ふる春雨の／もりやしぬらん＠ |
| 歌仮名 |
ちはやふる／かみのみよより／くれたけの／よよにもたえす／あまひこの／おとはのやまの／はるかすみ／おもひみたれて／さみたれの／そらもととろに／さよふけて／やまほとときす／なくことに／たれもねさめて／からにしき／たつたのやまの／もみちはを／みてのみしのふ＠／かみなつき／しくれしくれて／ふゆのよの／にはもはたれに／ふるゆきの／なほきえかへり／としことに／ときにつけつつ／あはれてふ／ことをいひつつ／きみをのみ／ちよにといはふ／よのひとの／おもひするかの／ふしのねの／もゆるおもひも／あかすして＠／わかるるなみた／ふちころも／をれるこころも／やちくさの／ことのはことに／すへらきの／おほせかしこみ／まきまきの／なかにつくすと／いせのうみの／うらのしほかひ／ひろひあつめ／とれりとすれと／たまのをの／みしかきこころ／おもひあへす／なほあらたまの＠／としをへて／おほみやにのみ／ひさかたの／ひるよるわかす／つかふとて／かへりみもせぬ／わかやとの／しのふくさおふる／いたまあらみ／ふるはるさめの／もりやしぬらむ＠ |
| 歌岩波 |
ちはやぶる／かみのみよより／くれたけの／よよにもたえず＠あまびこの／おとはのやまの／はるがすみ／おもひみだれて＠さみだれの／そらもとどろに／さよふけて／やまほととぎす＠なくごとに／たれもねざめて／からにしき／たつたのやまの＠もみぢばを／みてのみしのぶ／かみなづき／しぐれしぐれて＠ふゆのよの／にはもはだれに／ふるゆきの／なほきえかへり＠としごとに／ときにつけつつ／あはれてふ／ことをいひつつ＠きみをのみ／ちよにといはふ／よのひとの／おもひするがの＠ふじのねの／もゆるおもひも／あかずして／わかるるなみだ＠ふぢごろも／おれるこころも／やちぐさの／ことのはごとに＠すべらぎの／おほせかしこみ／まきまきの／なかにつくすと＠いせのうみの／うらのしほがひ／ひろひあつめ／とれりとすれど＠たまのをの／みじかきこころ／おもひあへず／なほあらたまの＠としをへて／おほみやにのみ／ひさかたの／ひるよるわかず＠つかふとて／かへりみもせぬ／わがやどの／しのぶぐさおふる＠いたまあらみ／ふるはるさめの／もりやしぬらむ＠ |
| 歌品詞 |
ちはやぶる-枕@／かみ-名@の-格助@、みよ-名@より-格助@／くれたけ-名@の-格助@／よよ-名@に-格助@も-係助@、たえ-ヤ下二-未@ず-消-終@／＠あまびこ-名@の-格助@／おとは-名@の-格助@、やま-名-山@の-格助@／はるがすみ-名-春霞@／おもひみだれ-ラ下二-用@て-接助@／＠さみだれ-名@の-格助@／そら-名@も-係助@、とどろに-副@／さよ-名@、ふけ-カ下二-用@て-接助@／やまほととぎす-名@／＠なく-カ四-体@ごと-接尾@に-格助@／たれ-代@も-係助@、ねざめ-マ下二-用@て-接助@／からにしき-名@／たつた-名@の-格助@、やま-名-山@の-格助@／＠もみぢば-名@を-格助@／み-マ上一-用@て-接助@のみ-副助@、しのぶ-バ四-秀@／かみなづき-名@／しぐれ-名@、しぐれ-ラ下二-用@て-接助@／＠ふゆ-名@の-格助@、よ-名@の-格助@／には-名@も-係助@、はだれ-名@に-格助@／ふる-ラ四-体@、ゆき-名@の-格助@／なほ-副@、きえかへり-ラ四-用@／＠とし-名-年@ごと-接尾@に-格助@／とき-名@に-格助@、つけ-カ四-用@つつ-接助@／あはれ-名@てふ-連語@／こと-名@を-格助@、いひ-ハ四-用@つつ-接助@／＠きみ-代@を-格助@のみ-副助@／ちよ-名@に-格助@と-格助@、いはふ-ハ四-体@／よ-名@の-格助@、ひと-名@の-格助@／おもひ-名@、するが-名@の-格助@／／＠ふじ-名@の-格助@、ね-名@の-格助@／もゆる-ヤ下二-体@、おもひ-名@も-係助@／あか-カ四-未@ず-消-用@して-接助@／わかるる-ラ下二-体@、なみだ-名@／＠ふぢごろも-名@／おれ-ラ四-已@る-完-体@、こころ-名@も-係助@／やちぐさ-名@の-格助@／ことのは-名@ごと-接尾@に-格助@／＠すべらぎ-名@の-格助@／おほせ-サ下二-用@、かしこみ-マ四-用@／まきまき-名@の-格助@／なか-名@に-格助@、つくす-サ四-終@と-格助@／＠いせ-名@の-格助@、うみ-名@の-格助@／うら-名@の-格助@、しほがひ-名@／ひろひ-ハ四-用@、あつめ-マ下二-用@／とれ-ラ四-已@り-完-終@と-格助@、すれ-サ変-已@ど-接助@／＠たま-名@の-格助@、を-名@の-格助@／みじかき-形ク-体@、こころ-名@／おもひあへ-ハ下二-未@ず-消-終@／なほ-副@、あらたまの-枕@／＠とし-名-年@を-格助@、へ-ハ下二-用@て-接助@／おほみや-名@に-格助@のみ-副助@／ひさかたの-枕@／ひる-名@、よる-名@、わか-カ四-未@ず-消-終@／＠つかふ-ハ下二-終@とて-格助@／かへりみ-名@も-係助@、せ-サ変-未@ぬ-消-体@／わ-代@が-格助@、やど-名@の-格助@／しのぶぐさ-名@、おふる-ハ上二-体@／＠いたま-名@、あらみ-形ク-幹~み(理由)@／ふる-ラ四-体@、はるさめ-名@の-格助@／もり-ラ下二-已@や-係助-疑-係@、し-サ変-用@ぬ-完-終@らむ-現推-体-結@／＠ |
| 歌ローマ |
chihayaburu / kami no miyo yori / kuretake no / yoyo ni mo taezu / amabiko no / otowa no yama no / harugasumi / omoimidarete / samidare no / sora mo todoro ni / sayo fukete / yama hototogisu / naku goto ni / tare mo nezamete / kara nishiki / tatsuta no yama no / momijiba o / mite nomi shinobu / kannazuki / shigure shigurete / fuyu no yo no / niwa mo hadare ni / furu yuki no / nao kiekaeri / toshi goto ni / toki ni tsuketsutsu / aware cho~ / koto o iitsutsu / kimi o nomi / chiyo ni to iwau / yo no hito no / omoi suruga no / fuji no ne no / moyuru omoi mo / akazu shite / wakaruru namida / fujigoromo / oreru kokoro mo / yachi kusa no / koto no ha goto ni / suberagi no / o~se kashikomi / maki maki no / naka ni tsukusu to / ise no umi no / ura no shiogai / hiroiatsume / toreri to suredo / tama no o no / mijikaki kokoro / omoiaezu / nao aratama no / toshi o hete / o~miya ni nomi / hisakata no / hiru yoru wakazu / tsukaru tote / kaerimi mo senu / waga yado no / shinobugusa ouru / itama arami / furu harusame no / mori ya shi nuramu / |
| 歌英語 |
since the age of the / awesome gods never ceasing / during reigns profuse / as the joints of black bamboo / men have sung with thoughts / entangled by the spring mists / that drift over Mount / Otowa where echoes sound / unable to sleep / when awakened by the late / night cries of mountain / hototogisu echoing / through skies rumbling with / early summer thunderstorms / gazing lovingly / upon the bright brocade of / autumn leaves scattered / upon Tatsuta Mountain / when like the Tenth Month / showers chill winter's portent / like the snow that falls / in patches on the garden / during winter nights / they felt their hearts melt and fade / when as the cycle / of the year passed once more or / when especially / moved to express their feelings / they wished their lords a / lifespan of one thousand years / the burning desires / of the people of this worId / smoldering like the / molten core of Mount Fuji / in far Suruga / the tears of those who part too / soon the strands of grief / that bind hearts like skeins of fine / wisteria boughs / these words abundant as the / leaves of eight thousand / grasses upon the meadows / humbly receiving / that imperial command / in scroll upon scroll / I gathered selecting them / as one collects shells / by the waters of Ise still / my heart's measure was / insuffcient to embrace / the jewels I'd found / each year I greet the New Year / having spenth the old / entirely in the palace / in the service of / my lord working day and night / neath skies light and dark / never looking back upon / my own beloved home / where grasses of longing grow / through widening cracks / do spring rains seep through / while verses yet elude me / |
| 解釈 |
The "old poems" catalogued are the poems presented to Daigo tenno~ in the form of the Kokinshu~. Lines 1-5- "Chihayaburu" is a makurakotoba for "kami" (gods). "Kuretake no" (of the black bamboo) is a makurakotoba modifying "yoyo" in line 4,which refers both to the segments of the bamboo and to generations. Lines 6-10- For Otowa Mountain, sec 142. Lines 5-8 are the spring segment of this catalogue of poetic topics. Lines 11-15- Lines 9-14 present summer subjects. "Kara nishiki" (Chinese brocade) is a makurakotoba for "tatsu" (to cut out)/Tatsuta(place name). Lines 16-20- For Tatsuta Mountain, see 108. Lines 21-25- Lines 15-18 describe autumn, and lines 19-24 treat the topic of winter. Lines 26-30- Lines 25-30 treat congratulatory subjects. Lines 31-34- "Suru" (to do)/Suruga(place name) is a kakekotoba. "Omo(h)i" (longings) contains the word "hi" (fire). For Suruga, see 534. "Fuji no ne no " (of the base of Fuji) is a makurakotoba for "moyuru" (burning). Lines 31-34 represent love poetry. Lines 35-40- Lines 35 and 36 represent poems of parting and travel. For fuji-goromo(wisteria robe), see 654. Lines 37 and 38 represent the poems of grief. Lines 39 and 40 represent the miscellaneous poems and conclude the catalogue. The last lines tell of the diffuculties endured by the compilers. Lines 45-50- Lines 45 and 46(the salty shells of the bay of the sea of Ise) are a jo linked to "hiroiatsume" (gathering up). "Tama no o no" (of the jewels' string) is a makurakotoba for "mijikaki" (short). Lines 50-54- "Aratama no" (of rough jewels; or newly minted-?@) is a makurakotoba for "toshi" (year). "O~miya" (the palace)in line 54 refers to the palace building in which the work of compiling the Kokinnshu~ was carried out. Lines 55-59- "Hisakata no" is here a makurakotoba for "hiru" (daytime). Lines 60-64- "Furu harusame no" (the falling spring rain) is a jo linked to the kakekotoba "mori" (seeping; being omitted). |