Kiyomigata seki ni tomarade yuku fune wa arashi no sasou konoha narikeri - Senzai Wakashu(English Translation & Meaning)

清見潟関にとまらで行く船は
嵐の誘ふ木の葉なりけり

Roma-ji: Kiyomigata seki ni tomarade yuku fune wa arashi no sasou konoha narikeri
English Translation: At Kiyomigata
not halting at the barrier,
the boats that pass by
were the leaves of the trees
that the storm had lured away
Meaning: The boats that pass the barrier of Kiyomigata without stopping were, I found, leaves the storm had lured away.
Commentary: Book Five Autumn Poems II 362

Headnote continued from the preceding poem: "Composed on the topic 'Falling Leaves on the Road Through the Barrier' at the courtiers' poetry contest at the Hōjūji Palace in the second year of Kaō"
What seemed to be boats passing the barrier at Kiyomigata without stopping, the poet says, were in fact leaves the storm had lured away and scattered. The conceit likens fallen leaves drifting on the water to boats slipping past the barrier.
The author, "Ukon'e no Taishō Sanefusa," was the son of Palace Minister Fujiwara no Kiminori. He later rose to Minister of the Left and was called the Sanjō Minister of the Left.
Composed on the topic "Falling Leaves on the Road Through the Barrier" at the courtiers' poetry contest held in the second year of Kaō (1170) at the Hōjūji Palace of Retired Emperor Go-Shirakawa. It is the second of a run of five poems, 361 through 365, on this topic, which sing of barriers in many places: Suma, Kiyomigata, Ōsaka and Shirakawa.

First line, "Kiyomigata": a shore in Suruga where the Kiyomi barrier stood. Like "Suma" in the preceding poem, 361, it sings of a barrier by the sea.
Second line, "seki ni tomarade": "de" is a negative conjunction, "without stopping at the barrier."
Third line, "yuku fune wa": presenting the subject, whose true nature the lower verse reveals.
Fourth line, "arashi no sasou": "sasou" is for wind to lure away and scatter blossoms or leaves. Like "yamaoroshi" in the preceding poem, 361, the wind carries the leaves.
Fifth line, "konoha narikeri": "nari" is assertive and "keri" expresses realization, "what seemed boats were leaves," closing by revealing the likeness.
Author: Fujiwara no Sanefusa
Source: Senzai Wakashu
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