First Part: 新しき春の初めをよろこびぬ

新しき (atarashiki) – "new" (classical form of 新しい)

春 (haru) – "spring"

の (no) – possessive particle, linking "spring" and "beginning"

初め (hajime) – "beginning"

を (o) – object marker

よろこびぬ (yorokobinu) – "rejoice," where よろこび (yorokobi) means "joy" and ぬ is a classical auxiliary verb indicating completion or certainty

➡️ "I rejoice in the beginning of the new spring."

Second Part: 冬籠てふかたちのままに

冬籠 (fuyugomori) – "winter seclusion" or "staying indoors during winter"

てふ (to iu) – contraction of という, meaning "called" or "so-called"

かたち (katachi) – "form" or "appearance"

の (no) – possessive particle, linking "form" and "as it is"

ままに (mama ni) – "as it is," "just as," "remaining in the same state"

➡️ "Remaining in the form of winter seclusion."

Overall Meaning

The poet expresses joy at the arrival of a new spring but notes that they are still in the same state as during winter—perhaps physically indoors or emotionally unready for the change in season. This conveys a sense of hesitation, nostalgia, or inertia despite the external shift to spring.

First Part: いつしかと椿の花のごとくにも

いつしか (itsushika) – "before I knew it," "so soon"

と (to) – quotation particle, often used to indicate thought or realization

椿 (tsubaki) – "camellia" (a flower known for its beauty and how it falls whole)

の (no) – possessive particle, linking "camellia" and "flower"

花 (hana) – "flower"

の (no) – possessive particle, linking "flower" and the following comparison

ごとくに (gotoku ni) – "like," "as if" (classical form of ごとく, meaning resemblance)

➡️ "Before I knew it, like a camellia flower..."

Second Part: 繫がれてゐし君とわれかな

繫がれてゐし (tsunagarete ishi) – "were bound together" - 繫がれて (tsunagarete) – passive/continuous form of 繫ぐ (tsunagu), meaning "to be connected" - ゐし (ishi) – classical form of いる (iru), indicating a continuing state

君 (kimi) – "you" (an affectionate term, often used for a loved one)

と (to) – "and" (connecting "you" and "I")

われ (ware) – "I" (a poetic or classical form of "me")

かな (kana) – exclamatory particle, often used to express deep emotion or wonder

➡️ "You and I were bound together."

Overall Meaning

The poem expresses a realization that the speaker and their loved one were deeply connected, much like camellia flowers, which are often associated with fleeting beauty and fateful bonds. The phrase "before I knew it" suggests a sense of inevitability, as if their connection was something natural and unspoken. The exclamatory かな at the end adds a wistful or reflective tone, implying deep emotion.

First Part: 信州の山また山のしら雪の

信州 (Shinshū) – "Shinshū" (an old name for Nagano Prefecture, known for its mountains)

の (no) – possessive particle, linking "Shinshū" and "mountains"

山また山 (yama mata yama) – "mountain after mountain," emphasizing an endless stretch of mountains

の (no) – possessive particle, linking "mountains" and "white snow"

しら雪 (shira yuki) – "white snow" (with しら being an older or poetic form of 白い)

の (no) – possessive particle, linking "white snow" to the next part

➡️ "The white snow on mountain after mountain in Shinshū..."

Second Part: 見つむる胸と思いがたかり

見つむる (mitsumuru) – "gazing at intently," from 見つむ (mitsumu) (to gaze upon)

胸 (mune) – "heart" or "chest," representing deep emotion

と (to) – quotation particle, indicating what is being thought or felt

思い (omoi) – "thoughts," "feelings"

が (ga) – subject marker

たかり (takari) – "is high," meaning "is elevated" or "is profound" (derived from 高し (takashi), meaning "high" or "lofty")

➡️ "My heart, gazing upon it, is filled with profound thoughts."

Overall Meaning

The poem describes the breathtaking sight of the snow-covered mountains of Shinshū, evoking deep and lofty emotions in the speaker. The repeated imagery of "mountain after mountain" emphasizes vastness and grandeur, while the mention of the heart gazing intently suggests contemplation, admiration, or even nostalgia. The phrase 思いがたかり conveys a sense of thoughts rising high, possibly indicating deep reverence or an overwhelming emotional response to the landscape.

First Part: 菜の花がところどころを卷繪して

菜の花 (na no hana) – "rapeseed flowers" or "mustard flowers," often associated with bright yellow fields in spring

が (ga) – subject marker, indicating that the flowers are the subject

ところどころ (tokorodokoro) – "here and there," meaning scattered or appearing in various spots

を (o) – object marker

卷繪して (makie shite) – "paint like a maki-e" - 卷繪 (maki-e) refers to a traditional Japanese lacquer painting technique that decorates surfaces with gold or silver powder - して (shite) is the continuative form of する (suru), meaning "to do" or "to appear as"

➡️ "The rapeseed flowers, scattered here and there, paint the field like a maki-e design..."

Second Part: かつ寂しけれ萬節の野は

かつ (katsu) – "at the same time," "yet," indicating contrast or simultaneity

寂しけれ (sabishikere) – "is lonely" or "feels desolate" (classical form of 寂しい (sabishii))

萬節 (yorozu no) – "countless seasons" or "eternity" (a poetic way of expressing the vastness of nature and time)

の (no) – possessive particle, linking "countless seasons" to "field"

野 (no) – "field" or "plain," representing the vast countryside

は (wa) – topic marker, emphasizing "the field" as the subject of reflection

➡️ "Yet, the vast field of countless seasons feels lonely."

Overall Meaning

The poem captures a striking contrast: the bright yellow rapeseed flowers, scattered across the field like an intricate maki-e painting, bring beauty to the landscape. However, despite this vivid imagery, there is an underlying sense of loneliness. The mention of 萬節 (yorozu no), meaning "countless seasons," suggests the vast, unchanging nature of time and the landscape, reinforcing a melancholic yet reflective tone. The tanka blends visual splendor with a quiet, wistful solitude.

First Part: 百斤の櫻の花の溜りたる

百斤 (hyakukin) – "one hundred kin" (a kin, 斤, is an old Japanese unit of weight, roughly 600g, so 100 kin is about 60 kg)

の (no) – possessive particle, linking "hundred kin" with "cherry blossoms"

櫻の花 (sakura no hana) – "cherry blossoms," emphasizing the sheer volume of fallen petals

の (no) – possessive particle, linking "cherry blossoms" to "accumulated"

溜りたる (tamari taru) – "have gathered," "have accumulated" (classical form of 溜まる (tamaru), meaning "to pile up")

➡️ "A hundred kin of cherry blossoms have gathered..."

Second Part: 伊豆のホテルの車寄せか

伊豆 (Izu) – "Izu" (a scenic coastal region in Japan, famous for its hot springs and resorts)

の (no) – possessive particle, linking "Izu" and "hotel"

ホテル (hoteru) – "hotel" (borrowed from English, representing a modern setting)

の (no) – possessive particle, linking "hotel" and "car porch"

車寄せ (kurumayose) – "car porch," the covered entrance where vehicles pull up to drop off guests

か (ka) – question marker, adding a sense of contemplation or wonder

➡️ "At the car porch of a hotel in Izu?"

Overall Meaning

The poem paints a striking image: a massive accumulation of cherry blossoms—so many that they are measured in hundreds of kin—gathered at the entrance of a hotel in Izu. The contrast between the delicate, fleeting nature of cherry blossoms and the modern, structured setting of a hotel’s car porch creates a unique juxtaposition. The final か suggests contemplation, as if the speaker is marveling at the unexpected beauty or pondering the transience of the scene.

First Part: 落日が枕にしたる橫雲の

落日 (rakujitsu) – "setting sun," referring to sunset

が (ga) – subject marker, indicating "the setting sun" as the subject

枕にしたる (makura ni shitaru) – "has used as a pillow" - 枕 (makura) means "pillow," and にする (ni suru) means "to make into" or "to use as" - したる (shitaru) is the classical form of した (shita), meaning "has done"

橫雲 (yokogumo) – "streaks of clouds" or "horizontal clouds," referring to clouds stretched across the horizon

の (no) – possessive particle, linking "horizontal clouds" to the next part

➡️ "The setting sun, using the horizontal clouds as its pillow..."

Second Part: なまめかしけれ直江津の海

なまめかしけれ (namamekashikere) – "is graceful, alluring, or sensual" - Classical form of なまめかしい (namamekashii), meaning "elegant" or "captivating"

直江津 (Naoetsu) – "Naoetsu," a coastal town in Niigata Prefecture, known for its scenic sea views

の (no) – possessive particle, linking "Naoetsu" and "sea"

海 (umi) – "sea," referring to the ocean at Naoetsu

➡️ "The sea of Naoetsu is alluring."

Overall Meaning

This tanka creates a stunningly poetic scene: the setting sun rests on the streaked clouds as if using them as a pillow, casting a warm, dreamy atmosphere over the ocean at Naoetsu. The use of なまめかしけれ (meaning "alluring" or "graceful") adds a sensual, almost romantic quality to the scene. The contrast between the grand celestial imagery and the quiet, resting sun gives the poem a sense of tranquility and beauty.

First Part: いと白き梅の花かな

いと (ito) – "very," "extremely," emphasizing the purity of the color

白き (shiroki) – "white" (classical form of 白い (shiroi))

梅の花 (ume no hana) – "plum blossoms," known for their delicate beauty and symbolic association with purity and perseverance

かな (kana) – an exclamatory particle expressing admiration or wonder

➡️ "Ah, how purely white the plum blossoms are!"

Second Part: 男來て盜みがたかる心のやうに

男 (otoko) – "a man," referring to someone approaching

來て (kite) – "comes," or "approaches"

盜みがたかる (nusumi gatakaru) – "finds it difficult to steal" - 盜む (nusumu) means "to steal" - がたかる (gatakaru) is an archaic form meaning "to be difficult to do"

心のやうに (kokoro no yō ni) – "like a heart" or "as if it were a heart"

➡️ "Like a heart that is difficult to steal away when a man comes near."

Overall Meaning

This tanka creates a delicate yet profound metaphor: the whiteness of plum blossoms is compared to a heart that is difficult to steal away, even when a man approaches. The phrase 盜みがたかる心のやうに suggests an emotional resistance or a purity that is not easily taken. The admiration of the plum blossoms in the first half connects seamlessly with the second half’s deeper reflection on the heart’s resilience. The overall tone is wistful and poetic, blending nature with human emotions.

First Part: 散ることと見えず

散る (chiru) – "to scatter," "to fall" (referring to cherry blossoms)

こと (koto) – nominalizer, making "scattering" into a concept

と (to) – quotation particle, linking "scattering" to "not appearing"

見えず (miezu) – "does not appear," "does not seem" (classical negative form of 見える (mieru), meaning "to be visible")

➡️ "If cherry blossoms did not seem to fall..."

Second Part: 盛りの餘りをば人に贈れる

盛り (sakaeri) – "full bloom," "peak beauty"

の (no) – possessive particle, linking "full bloom" and "excess"

餘り (amari) – "excess," "that which is left over"

をば (wo ba) – emphatic object marker, highlighting "the excess of full bloom" as the object

人に (hito ni) – "to people," indicating the recipient

贈れる (okureru) – "could be given" (classical form of 贈る (okuru), meaning "to gift")

➡️ "And if the excess of their full bloom could be given to people..."

Final Part: 櫻ならまし

櫻 (sakura) – "cherry blossoms"

ならまし (nara mashi) – "if only they were," expressing a hypothetical wish

➡️ "...if only cherry blossoms were like that."

Overall Meaning

This tanka expresses a wistful wish: if only cherry blossoms did not appear to fall, and instead, their excess bloom could be shared with people as a gift. It reflects a longing for beauty that does not fade, a desire to preserve and distribute fleeting splendor rather than watch it disappear. The poem plays with the well-known transience of sakura, contrasting it with the idealized image of blossoms that could be shared endlessly.

First Part: ほととぎすは

ほととぎす (hototogisu) – "the cuckoo," a bird known for its distinctive call in early summer, often associated with love and longing in Japanese poetry

は (wa) – topic marker, indicating that the cuckoo is the subject of the poem

➡️ "The cuckoo..."

Second Part: 五更の浴槽に

五更 (gōkō) – "the fifth watch," or the early morning hours just before dawn, often a time of stillness and contemplation

の (no) – possessive particle, linking "the fifth watch" with "the bath tub"

浴槽 (yokusō) – "bathtub," here used as a metaphorical or poetic setting for the action taking place

に (ni) – directional particle, indicating the location or direction

➡️ "...in the bathtub at the fifth watch..."

Third Part: 恋の涙を洗はんとする

恋 (koi) – "love," often romantic love, symbolizing emotional intensity and longing

の (no) – possessive particle, linking "love" to "tears"

涙 (namida) – "tears," symbolizing sorrow, longing, or deep emotion

を (wo) – object marker, indicating that the tears are the object of the action

洗はん (arawan) – "to wash" (classical form of 洗う (arau), meaning "to wash"), here in the form expressing intention or purpose

とする (to suru) – verb construction expressing an attempt or intention to do something, here meaning "to try to wash" or "intend to wash"

➡️ "...trying to wash away the tears of love."

Overall Meaning

This tanka creates a strikingly emotional image: the cuckoo, symbolizing love and longing, is pictured in the early morning hours (the fifth watch), attempting to wash away the tears of love in a bathtub. The juxtaposition of the bird’s natural cry with the human-like act of washing tears creates a vivid metaphor for emotional cleansing and the struggle to let go of sorrow. The setting in the stillness of dawn adds to the sense of quiet contemplation and yearning.

First Part: とこしへに

とこしへ (tokoshie) – "for eternity," "forever," expressing something that lasts indefinitely

➡️ "For eternity..."

Second Part: 同じ枝には

同じ (onaji) – "same," "identical," referring to something shared

枝 (eda) – "branch," often used as a symbol of connection or family

に (ni) – directional particle, indicating the branch as the location or the place of action

➡️ "...on the same branch..."

Third Part: 住みがたき身となりぬらし

住みがたき (sumigataki) – "difficult to live in," "hard to dwell in," expressing a state of hardship or impossibility

身 (mi) – "body," referring to the self or the human condition

となりぬらし (to narinurashi) – "has become," indicating transformation, with ぬらし (nurashi) being a classical form that implies the process of becoming something

➡️ "...has become a body difficult to live in..."

Final Part: おちばと落葉

おちば (ochiba) – "fallen leaves," symbolizing things that have fallen, come to the end of their cycle

と (to) – linking particle, connecting the "fallen leaves" with the next part

落葉 (rakuyō) – "falling leaves," which intensifies the sense of decay and impermanence

➡️ "...like fallen leaves, like withered leaves."

Overall Meaning

This tanka reflects on the impossibility of staying forever on the same path or branch in life, as symbolized by the "same branch" and the "difficult-to-live-in body." The "fallen leaves" metaphor represents the inevitable fall or end of something, suggesting that even though one may wish for eternity, the natural course of things—like leaves falling—is an unavoidable part of existence. It expresses both a sense of longing and acceptance of impermanence.

First Part: 顧て末は

顧て (kaette) – "to look back," "to turn around," often used in the sense of reflecting on the past

末 (sue) – "end," or "later," referring to the future or a time that has passed

は (wa) – topic marker, indicating the subject of the reflection is the future or end of something

➡️ "Looking back, at the end..."

Second Part: 鉛の手ざはりに

鉛 (namari) – "lead," symbolizing heaviness, dullness, or perhaps the burden of time

手ざはり (tezawari) – "touch," "feel," referring to the sensation of something, possibly an emotional weight or a tactile reminder of something past

に (ni) – directional particle, indicating the destination of the touch or feeling

➡️ "...feeling like the touch of lead..."

Third Part: 暮れつる年もなつかしきかな

暮れつる (kuretsuru) – "having passed," or "having ended," referring to the passing of a year

年 (toshi) – "year," symbolizing the passage of time

も (mo) – "also," adding an additional element to the reflection

なつかしき (natsukashiki) – "nostalgic," "fondly remembered," indicating a longing or sentimental feeling toward the past

かな (kana) – exclamatory particle, expressing emotion, often wistful or reflective

➡️ "...the year that has passed feels nostalgic..."

Final Part: 何時となく思ひ上がれる

何時となく (itsu to naku) – "sometime," "at any time," or "without a specific moment" (meaning this feeling happens at unpredictable times)

思ひ上がれる (omoi agaru) – "rising thoughts," "elevated thoughts," meaning thoughts of longing or a deep, intense feeling that arises spontaneously

➡️ "...thoughts of longing rise up at any time."

Overall Meaning

This tanka reflects a deep, wistful longing as the speaker looks back at the passing year, feeling the heaviness and nostalgia of time that has passed. The "lead touch" symbolizes the weight of memories or emotions tied to the past. The poet experiences a recurring feeling of longing that rises unexpectedly, showing how the past continues to affect the present in unpredictable ways. The overall tone is one of reflection, nostalgia, and the bittersweet passage of time.