Ono no Komachi translations

These are my modern English translations of the ancient Japanese poems of Ono no Komachi…

As I slept in isolation
my desired beloved appeared to me;
therefore, dreams have become my reality
and consolation.
―Ono no Komachi, loose translation by Michael R. Burch

Submit to you, is that what you advise?
The way the ripples do
whenever ill winds arise?
―Ono no Komachi, loose translation by Michael R. Burch

Watching wan moonlight flooding tree limbs,
my heart also brims,
overflowing with autumn.
―Ono no Komachi, loose translation by Michael R. Burch

If fields of autumn flowers
can shed their blossoms, shameless,
why can't I also frolic here ...
as fearless and as blameless?
―Ono no Komachi, loose translation by Michael R. Burch

So cruelly severed,
a root-cut reed ...
if the river offered,
why not be freed?
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

I had thought to pluck
the flower of forgetfulness
only to find it
already blossoming in his heart.
―Ono no Komachi, loose translation by Michael R. Burch

That which men call "love" ...
is it not merely the chain
preventing our escape
from this world of pain?
―Ono no Komachi, loose translation by Michael R. Burch

Did you appear
only because I was lost in thoughts of love
when I nodded off, day-dreaming of you?
(If I had known that you
couldn't possibly be true,
I'd have never awakened!)
―Ono no Komachi, loose translation by Michael R. Burch

Sad,
the end that awaits me ...
to think that before autumn yields
I'll be a pale mist
shrouding these rice fields.
―Ono no Komachi, loose translation by Michael R. Burch

In this dismal world
the living decrease
as the dead increase...
oh, how much longer
must I bear this body of grief?
―Ono no Komachi, loose translation by Michael R. Burch

Once-colorful flowers faded,
while in my drab cell
life's impulse also abated
as the long dismal rains fell.
―Ono no Komachi, loose translation by Michael R. Burch

Now bitterly I watch fall winds
battering the rice stalks,
suspecting I'll never again
find anything to harvest.
―Ono no Komachi, loose translation by Michael R. Burch

This abandoned mountain shack ...
how many nights
has autumn sheltered there?
―Ono no Komachi, loose translation by Michael R. Burch

Am I to spend the night alone
atop this summit,
cold and lost?
Won't you at least lend me
your robes of moss?
—Ono no Komachi (GSS XVII:1195), loose translation by Michael R. Burch

Two things wilt without warning,
bleeding away their colors:
a flower and a man's heart.
—Ono no Komachi (KKS XV:797), loose translation/interpretation by Michael R. Burch

Alas, the beauty of the flowers came to naught
as I watched the rain, lost in melancholy thought ...
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Watching the long, dismal rains
inundating the earth,
my heart too is washed out, bleeds off
with the colors of the late spring flowers.
―Ono no Komachi, loose translation by Michael R. Burch

Wretched water-**** that I am,
severed from all roots:
if rapids should entice me,
why not welcome their lethal shoots?
―Ono no Komachi, loose translation by Michael R. Burch

Though I visit him
continually in my dreams,
the sum of all such ethereal trysts
is still less than one actual, solid glimpse.
―Ono no Komachi, loose translation by Michael R. Burch

I feel desire so intensely
in the lily-seed darkness
that tonight I'll turn my robe inside-out
before donning it.
—Ono no Komachi (KKS XII:554), loose translation/interpretation by Michael R. Burch

This vain life!
My looks and talents faded
like these cherry blossoms inundated
by endless rains
that I now survey, alone.
―Ono no Komachi, loose translation by Michael R. Burch

Autumn nights are "long"
only in verse and song:
for we had just begun
to gaze into each other's eyes
when dawn immolated the skies!
―Ono no Komachi, loose translation by Michael R. Burch

I think of you ceaselessly, with love...
and so... come to me at night,
for in the flight
of dreams, no one can disapprove!
―Ono no Komachi, loose translation by Michael R. Burch

On nights such as these
when no moon lights your way to me,
I lie awake, my passion blazing,
my breast an inferno wildly raging,
while my heart chars within me.
―Ono no Komachi, loose translation by Michael R. Burch

Since my body
was neglected by the one
who had promised faithfully to come,
I now lie here questioning its existence.
―Ono no Komachi, loose translation by Michael R. Burch

Since there's obviously nothing to catch
in this barren bay,
how can he fail to understand:
the fisherman who persists in coming and going
until his legs collapse in the sand?
―Ono no Komachi, loose translation by Michael R. Burch

What do I know of villages
where fisherfolk dwell?
Why do you keep demanding
that I show you the seashore,
lead you to some pearly shell?
―Ono no Komachi, loose translation by Michael R. Burch

Yielding to a love
that recognizes no boundaries,
I will approach him by night ...
for the world cannot despise
a wandering dreamer.
―Ono no Komachi, loose translation by Michael R. Burch

Now that I approach
life's inevitable winter
your ardor has faded
like blossoms devastated
by late autumn rains.
―Ono no Komachi, loose translation by Michael R. Burch

Am I to spend another night alone
atop this ice-crag,
cold and lost?
Won't you at least lend me
your robes of moss?
―Ono no Komachi, loose translation by Michael R. Burch

"It's over!"
Your words drizzle like dismal rains,
bringing tears,
as I wilt with my years.
—Ono no Komachi (KKS XV:782), loose translation/interpretation by Michael R. Burch

I pursue you ceaselessly in my dreams ...
yet we've never met; we're not even acquainted!
—Ono no Komachi, loose translation by Michael R. Burch

Like flowers wilted by drenching rains,
my beauty has faded in the onslaught of my forlorn years.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Fiery coals searing my body
hurt me far less than the sorrow of parting.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Love is man's most unbreakable bond.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

This moonless night,
with no way to meet him,
I grow restless with longing:
my breast’s an inferno,
my heart chars within me.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

How brilliantly
tears rain upon my sleeve
in bright gemlets,
for my despair cannot be withstood,
like a surging flood!
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

This flower's color
has drained away,
while in idle thoughts
my life drained away
as the long rains fall.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Fatal reality!
You must do what you must, I suppose.
But even hidden in my dreams
from all prying eyes,
to watch you still pains me so!
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

In eye-opening daylight
much stands revealed,
but when I see myself
reflected in hostile eyes
even dreams become nightmares.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

I would meet him tonight
but the moon shows no path;
my desire for him,
smoldering in my breast,
burns my heart to ash!
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Sleepless with loneliness,
I find myself longing for the handsome moon.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Sotoba Komachi is a modern Noh play by Yukio Mishima (1925-1970). Mishima's play is based on an ancient work by Kan'ami Kiyotsugu (1333-1384). The first kanji means "stupa" (the dome of a shrine) while the second kanji means "belle" or "beautiful woman." So the title may be interpreted as something like "Beauty's Shrine" or "Shrine to Beauty." Kan'ami was the first playwright to incorporate the Kusemai song and dance style and Dengaku dances into plays. He founded a sarugaku theater group in the Kansai region of Honshu; the troupe later moved to Yamato and formed the Yuzaki theater company, which would become the school of Noh theater.

Excerpts from SOTOBA KOMACHI
by KWANAMI
loose translation/interpretation by Michael R. Burch

Priest of the Koyasan:

We who have built our homes on shallow slopes
now seek solitude in the heart's deep recesses.

Second Priest:

This single thought possessed me:
How I might bring a single seed to flower,
the wisdom of Buddha, the locus of our salvation,
until in despair I donned this dark cassock.

Ono no Komachi:

Lately so severed,
like a root-cut reed,
if the river offered,
why not be freed?

I would gladly go,
but here no wave stirs ...
I was once full of pride
now fled with the years,

gone with dark tresses
and with lustrous locks;
I was lithe as a willow
in my springtime frocks;

I once sang like a nightingale
sipping dew;
I was wild as the rose
when the skies shone blue ...
in those days before fall
when the long shadows grew.

But now I’ve grown loathsome
even to ******;
even urchins abhor me;
men treat me with scorn ...

Now I am nothing
but a poor, withered bough,
and yet there are wildflowers
in my heart, even now.

Only my body lingers, for my heart left this world long ago!

Priests (together):

O, piteous, piteous!
Is this the once-fabled flower-bright Komachi,
Komachi the Beautiful,
whose dark brows bridged eyes like young moons;
her face whitest alabaster forever;
whose many damask robes filled cedar-scented closets?



Ono no Komachi wrote tanka (also known as waka), the most traditional form of Japanese lyric poetry. She is an excellent representative of the Classical, or Heian, period (circa 794-1185 AD) of Japanese literature, and she is one of the best-known poets of the Kokinshu (circa 905), the first in a series of anthologies of Japanese poetry compiled by imperial order. She is also one of the Rokkasen — the six best waka poets of the early Heian period, during which poetry was considered the highest art. Renowned for her unusual beauty, Komachi has become a synonym for feminine beauty in Japan. She is also included among the thirty-six Poetry Immortals. It is believed that she was born sometime between 820-830 and that she wrote most of her poems around the middle of the ninth century. She is best known today for her pensive, melancholic and ****** poems. Keywords/Tags: Ono no Komachi waka tanka translation Japanese love women womanhood feminist feminism

Donna kanji datta?
Ii kanji ka douka?
Tabun wakaranai kedo,
Mada kangaeshite agerun no na.

Moshi zutto ai suru kanatte naoshitette
Mata wa tabun gamanshimasu.
Dochira mo ii kanatte.*


What kind of feeling is this?
A better one or not so?
Maybe i can't say so but,
I still think of giving it...

If only love could heal it longer
Or maybe i could bear it again.
Whichever it is.

I

Head, shoulders, bees, and hands.
Stings and wings apart,
From the anatomy of art
Despite the stills and shakes.
Two of twos for many stands.

Though at the fore reside the restless digits
Every thought, they spark and fidget.
The point is impolite, but that widget-
My leg knuckles buckle thinking of the quakes,
It tore through my index like new nectar glands…

II

One for rest the other for tests
And one s for the possibilitie
None are hidden from the complete set
of peering palms

right like the leaves,
left like the breeze.
Like the future
Told with tea.

Where these wrinkles will write their say
While these prints will match their way
Whistling while working; these knuckles will play
Whether it be told or felt- make it chalantly
Waiting with a tale for two in every day

III

I set them
With just enough pressure
To hold a frog for fun
Or to annoy a lame nun
Squeal
Down, the cuticles cry

Chuckle cackle fiddle,
Ruckus rackets and riddles
Are really a lot of fun you should try it.
Simply pry the favored tendon
Over that big red button
Yes yes, the American kanji of dissonance!

Excuse the madness, I refuse the discord.
Sounds do not have to be met with pain,
And fear can avoid disdain...
It’s an odd thing that jesters are paid for.

There is an education…
But there is no degree.
I also, cannot waive its fee.
What I paid was from within me.

IV

I had known a good friend fellow
Who once let out a grand belch bellow
About his crimes of cheese and wine

Toward a beauty so sweet and discreet
Her spinning feet fleeting from new feats
Whereabouts to doubt, still flies more than fine

I said to him “your sense is jagged
and your breath is haggard-”
so he interrupted with one of brine…

The failure is in my nature’s course!
Then my dammed machinations make it worse,
It seems as though who I intended to be

And who I wanted you to see,
Are wholly revealed as two separate scenes.
I must leave your metals unmatched sheen.

Well…As I trust you heard before,
Your bust appears to be a dusty lore
I say, you can’t expect her eyes to wait for rust!

A firm grasp on the glass.
She clasps a diamond overhead.
I pointed out with a wave.
A slam,
     Then rotating prints on his glass.
The hopeless *****,
     At the cheek she turned.
Whilst I drew on a napkin the-
Legendary Ten-Pronged Opposition Foundry.

Of course, those lights would close..
Excuse me, one other blueprint is exposed.
Canvas of humility, lines drawn like, self-drawn pens.

Perhaps three could wring something useful from this science

V

Her plans! her plans!
They dance, they dance!
As my matrix unravels,
The hiding holes disband,
Its light skips through the land.
This heat, though discreet,
Will shoulder like a man!
Torching every grain of sand
In to a castle of glass
Where the magic is as-
Crafts…of her own hands.

This is where she sings, here
Ask for where, and no song is there
The Tale is strained into strands
She sings there,
Now, she sings there


VI

Imagine, the swinging trees
And busy birds between fronds
Of these leaves, of mine, you see?
To ensnare and percuss
With your singing wrist
Yet you persist,
to pant and seethe
in these gauntlets and greaves…

A moronic oxidative process it is,
To be here and be there both.
Now that I see more strings
I would rather design dreams
Than to meddle a mess
Out of the mettle you chose to test.

VII

Why would one bother,
Vex the metal man’s nerves
Of alloy he dare not name

Mecca’s bolts smother
The work his death deserves
So he limps slow shocked by shame.

Reliquary shammed,
In sardonic preserves
Dark like the grace in his dame

Her bolts monogrammed
By her lack of wild game
Blinded by white in her cold

Her arms gently fold
His rebirth now retold
His machinery, untame

These split heart horns rammed
Dancing, a light the lame.
Dreams may anchor another

Inspire the lover,
You musical mother
I know it,
Your arts heal hearts after any worked hurt.

VIII

Until vissictudes
Crash down,
I lay my back on grazed meadows
With only the sky to cast shadows
Spinning clouds
Of those crafts
In their hands.

I don't mind when white people wear

cat ears.
seifuku.
kimono.
kanji slapped on shirts.
(even if they don't know what it means)

Culture can be an aesthetic.
Just as long as they appreciate it,
We're friends.

tooth
rhyme
seal
parade
enamel:
ammunition
axis
body
seal
Luo
oil­
Cats


"Under jurisdiction"

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i met a mongol once in amsterdam, we exchanged a tearful stare and said a melancholic hello, as if we were to be brother in cement or sandstone of what the sun rememebred and man forgot but nonetheless carved for enshadowed suave of the shadowing hand on hand upon handed down remnant of the handless kanji... the motherless thus tongueless river of sight utilising hand and hand as sophistication of spying thanks to the hands’ shadows: thus no shadow tongue unless that shadow be thought or the abstract off thought: pre-meditation and the subsequent minded courtsey as requested of the blank page or the buddha’s slitted eyes faking intoxication by western standards of that green plant the mongols despise: and western societies fare to tax and thus exploit.*

and it would be easiest to withhold making talks
with the slavs
by compensation of the northern-most mosque
being established
as true progression...
but then having insulated the slavs
who are "primarily" plumbers and electricians
to make any dent in the politics of the other monotheists...
where the european excludes the european from europe
there you will see war as encouraging the asian
or the arab...
there you will see war, should a
european exclude european from europe
there you will see war
caucausian againts the rooster against the morn!
TAR TAR! TAR TAR! TAR! TAR!
(in japanese tora tora tora!)
because you did not cherish our shared values
thus become devalued therefore value your integral anti-economic
evaluations that have no place in my land
but concern of keeping brown in the noun and not in the verb
of racism and sun;
i've become a barabbas among you, you messiahs,
you messiah selfies and messiah implants,
what gave you the jews scorned has given
me you as the "jews" scorned in your disorientation
of the fathomed atom bomb already spoken of in
the book of the apocalypse....
but a man ejecting an european from europe
to fantacise a non-invoked colonialism will halve in carving
this world in half for multi-cultarism!
no pole ever spoke of colonialism to see you speak
of post-colonial re-colonialisation of remote areas so ardently cared for:
conquer... and subsequently fall: your sons the additive bullets:
я и pоссия demand: the caucaucus tribes to
fake unity with the danube fools of erected bohemia.

the language of my heart
reduces to symbols
unspeakable
kanjis whose colors are bright
precisely painted
with brushes, imbued with
unknown meanings
as read by blinded eyes
obscured deliberately, without
a key

without
God
a cipher is my heart
a living kanji whose meaning is
undiscoverable
without the cleansing
blood sacrifice of the sang real
a living grail
made unspeakable and holy by
Love


c. 2023 Roberta Compton Rainwater

Orange in spring,
pinkish-brown,
yellow into deep green
through summer,
and finally to crimson
in autumn when they fall,
these leaves of the acer griseum,
the Chinese paperbark maple.

On the tree its leaves are opposite,
not alternate, two leafstalks arising
from the same point on the twig.
This is how it must be, she thought.

She had waited for the first frost
and, gathered in a fold of her cloak,
let seven leaves fall
to scatter on her desk.
One leaf holds her gaze;
her fingers touch,
and turning it over
she places it ready
in the hand’s left palm,

Picking up her finest brush,
with sad and slight but heavy
emphasis required, she inscribes
the subtle downward strokes of
the kanji characters for crimson -
makka, the blood’s red,
the true essence of life.

crimson leaves
fallen now scattered
one is chosen.
my heart longs for love

So to the garden stream
she goes, and kneeling
beside its moving water
launches this leaf
from her cupped hand.