思ひ草葉末に結ぶ白露のたまたまきてば手にもかからず
| omoFigusa Fazuwe ni musubu siratuyu no tamatama kiteba te ni mo kakarazu |
The undergrowth’s Leaf tips are tangled With silver dewdrop Gems on occasion, but They touch not my hands… |
Minamoto no Toshiyori
源俊頼
Monthly Archives: September 2017
Sanboku kikashū VIII: 1155
Sanboku kikashū VII: 1101
Sanboku kikashū VII: 1070
Sanboku kikashū VII: 1026
Yorimasa-shū 338
GSS XV: 1104
When she had been living with Prince Motonaga for some time, as an amusement the Prince tied up a box with something in it with his under-belt and, saying he would be back for it, left it lying about somewhere; after he had gone out, she was abducted and hidden away by Prince Tsune’akira, and it was only after many days and months had gone by that she returned to her former house, and sent the box, with this to Prince Motonaga.
あけてだに何にかは見む水の江の浦島の子を思ひやりつつ
| akete dani nani ni ka Fa mimu mizu no e no urasima no ko wo omoFiyaritutu |
Even should I open it What is it that I might see? By the waters’ edge The lad from Urashima Is ever in my thoughts… |
Nakatsukasa
中務
GSS XII: 885
Love VII: 12
Left (Win).
與謝の海の沖つ潮風浦に吹けまつなりけりと人に聞かせん
| yosa no umi no oki tsu shio kaze ura ni fuke matsunarikeri to hito ni kikasen |
By the sea at Yosa, Tidewinds on the offing, Blow across the bay! That I am waiting without end, Tell him! |
A Servant Girl
983
Right.
浪かくるさしでの磯の岩根松ねにあらはれてかはくまもなし
| nami kakuru sashide no iso no iwane matsu ne ni arawarete kawaku ma mo nashi |
Waves beat Upon the shore at Sashide, where The pine trees on the crags Roots are bared and Never dry for but a moment. |
The Supernumerary Master of the Empress’ Household Office
984
The Right state: the Left’s poem lacks any faults. The Left state: the Right’s poem is pedestrian.
In judgement: the configuration of the Left’s ‘Blow across the bay!’ (ura ni fuke) and its links with the preceding and subsequent lines, sounds charming. The Right’s poem is stylistically elegant, but the poem more closely resembles a poem on the topic of ‘Love and Pine Trees’. Thus, the Left wins.
Love VII: 11
Left (Tie).
遠ざかる人の心は海原の沖行く舟の跡の潮風
| tōzakaru hito no kokoro wa unabara no oki yuku funa no ato no shiokaze |
Ever more distant grows His heart: Into the sea-plains of The offing goes a boat, Wake touched by the tidewinds… |
Lord Sada’ie
981
Right.
わたつ海の浪のあなたに人は住む心あらなん風の通ひ路
| wata tsu umi no nami no anata ni hito wa sumu kokoro aranan kaze no kayoiji |
The endless sea: Beyond its waves Does my love live; Had they any pity, The winds would make my path to her! |
Nobusada
982
The Gentlemen of the Right state: there are too many uses of no. Would it not have been better to reduce their number with, for example, ‘o, sea-plains!’ (unabara ya)? We also wonder about the use of ‘wake touched by the tidewinds’ (ato no shiokaze). The Gentlemen of the Left state: ‘does my love live’ (hito wa sumu) is grating on the ear.
In judgement: saying that the Left’s poem has too many identical words is clearly relying upon the long-established hornet-hip or crane-knee faults. In today’s poetry there are countless poems in which these faults can be identified. In addition, ‘into the sea-plains’ (unabara no) and ‘o, sea-plains’ (unabara ya) are the same. I may be wrong here, but it seems to me that in this poem, it has to be ‘into the sea-plains’. Finally, ‘wake touched by the tidewinds’ is elegant. As for the Right’s ‘beyond its waves does my love live’ (nami no anata ni hito wa sumu), this is not grating, is it? It seems that the Gentleman of the Right, being so well-read in Chinese scholarship, has required revisions to the faulty poem of the Left in the absence of the judge. Thus, what can a grand old fool do but make the round a tie.