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Sumiyoshi

住吉

[Genre]Sokyoku
[Estilo]Uta mono
[Escuela]Yamada Ryū - 山田
[Compuesto]Yamada Kengyō - Koto

Historia (Tsuge Gen'ichi):

Sumiyoshi is the name of a Shinto shrine in Settsu, a seaside resort in the southern part of the present Osaka. It attracted many pilgrims because of its beautiful beach and pine groves, and particularly for one of the venerable twin pines (called 'Ajoi no matsu'), which were regarded as the symbol of a long and happy married life. The god of Sumiyoshi was worshipped as the patron of art of poetry (waka).

This piece is one of Yamada's early works and is included in his 'Seven Popular Compositions,' which are classified in the naka (interior) category.

The composition is characterized by the inclusion of a kaeshi, a repetition of the melody with a slightly different verse (Wasuregai and Wasuregusa). Also in the last interlude (ainote), the first section of Rokudan no shirabe, a popular dan-mono piece, is skillfully incorporated. These are two of Yamada's original compositional devices.

Poema (translated by Tsuge Gen'ichi)

Aged for thousands of years,
Deep is the hue of the evergreen
Against the fresh snow.
At last my fervent wish
Is fulfilled:
Today I have arrived from afar
At the Sumiyoshi Shrine.

The year is new
And all is peaceful.
Visible above the waves
Until yesterday,
Awaji Island
Is now veiled in spring mists.
The spacious shrine precincts
In their sacred purity
Remind me of the mythological
Aoki Plain (1).

Year after countless year
Frost has formed
On the crossbeams of the shrine gable,
And the unchanging pine trees
Stand for the unbroken vow.
Compared to their
Bounteous leaves of words
My poems are fruitless efforts.
So I come to pray
To the god of Sumiyoshi,
The patron of the art of poetry.
Even more than
The four seasons
Love is a difficult subject
For poetry.

A verse may seem acceptable,
But it is not,
And one is at his wit's end
To be grammatical.
So high and low,
The pilgrims come
In hopes of improving
Their poetry.
The women of Naniwa (2)
Are known for their singing.
Even when they don't try,
They sing with style.

'Forgetting shells' don't really
Help to forget.
Once together, half shells
Split apart.
Since then I count the days
To the time
When together we may
View spring flowers again.

'Forgetting grass' doesn't really
Help to forget.
It may grow thick and luxuriant
But then it withers.
The nights pass one after the next
As I wait for the time
When together we may
View the autumn moon again.

Is there no way to forget?
The shining Prince Genji
Once visited this shrine
With his followers
To offer up his thanks (3).
This custom is followed
Even today.
Against the deep green
Of the pine trees,
Their robes were gorgeous,
Like the blossoms of spring
And the foliage of fall
Combined.
The sight was magnificent
Beyond words.

As evening fell
The moon rose,
And wind began to blow
Through the pines
On the beach,

The wind began to blow
Through the beach pines.
Surrounding like the koto which
First brought the two together (4).
May the blessings
Of the seven great shrines
Be bountiful
And eternal
And may the way of song
Prosper forever,
May the way of song
Prosper forever.

(1) Aoki Plain (Aokigahara) is a place name in northern Kyushu where, according to the Nihongi: Chronicles of Japan, Izanagi no Mikoto is said to have performed a certain purification rite.
(2) Naniwa is the old name for Osaka and is located near Sumiyoshi.
(3) This passage refers to an incident from the 'Channel Buoys' (Miotsukushi) chapter of 'The Tale of Genji,' when Genji visits the Sumiyoshi Shrine to offer up his thanks for his marriage to the Lady from Akashi.
(4) The sound of Genji's koto played a critical role in his first meeting with Lady Akashi.
(maebiki)

Issennen no
iro wa
yuki no uchi ni
fukaki negai mo
kyoo koso wa
harubaru kinuru
tabi-goromo

Hi mo uraraka ni
yomo no sora
kasuminikeri na
kinoo made
namima ni mieshi
awajishima
aokigahara mo
omoiyaru
geni hiromae no
sugasugashi

(ainote)

Katasogi no
yukiai no shimo no
ikukaeri
chigiri ya musubu
sumiyoshi no
matsu no omowan
kotonoha wo
waga mi ni hazuru
shikishima no
michi wo mamori no
kami nareba
shiki no gagame no
sono ue ni
koi wa kotosara
nandaigachi ni
(ai)
yometa yoo demo
yomioosarezu
teniha chigai ni
kokoro wo tsukushi
takai mo hikui mo
ayumi wo hakobu
nakaoshiteru ya
naniwame no
yoshi ashi to naku
karisome ni
ytoo hitofushi
miyabi naru

(ainote)

Wasuregai to no
na wa soragoto yo
oote wakarete
sono nochi wa
mata no hanami wo
tanoshimi ni
hikazu kazoete
omoidasu

(ainote)

Wasuregasa to no
na wa itsuwari wo
shigerite karete
sorekara wa
nochi no tsukimi wo
tanoshimi ni
yowa wo tsumitsutsu
omoidasu

Haru ya aki
sonokami
yo ni hikaru kimi
gotan-hatashi no
yossoi no
ima ni taesezu
oku wa nao
fukamidori naru
sono naka ni
hana ya momiji wo
hitotoki ni
kokichirashitaru
nigiwai wa
fude mo kotoba mo
oyobinaki

Orishimo tsuki no
ideshio ni
tsurete fukikuru
matsukaze no
tsurete

(ainote)

fukikuru
matsukaze no
kayoo wa koto no
negai mo mitsu ya
yotsu no yashiro no
on-megumi
nao ikuchiyo mo
kagiri naki
michi no sakae to
shukushikeri
michi no sakae to
shukushikeri

Sumiyoshi aparece en los siguientes álbumes

Álbum Artista

Hozumi Tsurezure Volume 2 Shamisen : Yamaguchi Hozumi
Koto : Ōtani Tosumi
Koto : Kimura Chizumi
Shakuhachi : Matsuyama Ryūmei

Sankyoku Gassō Dai Zenshū vol. 23 (三曲合奏大全集23) Shakuhachi : Mitsuhashi Kifu
Voz : Itō Mieko
Voz : Itō Manami
Koto : Itō Manami
Shamisen : Yamato Ikubo
Koto : Itō Shōchō I

Sokyoku Jiuta Taikei 49 Koto : Nakanoshima Kin'ichi
Voz : Nakanoshima Keiko

Yamada Kengyō wo Utao Disk 3 Voz : Fujii Chiyoga II