New Year’s Day
もろ人の花見む春のはじめとや今日は思ひのひらけぬるかな
| morobito no hana mimu haru no hajime to ya kyō wa omoi no hirakenuru kana | For crowds of folk Does blossom viewing springtime Begin, I wonder? Today such thoughts Have opened up! |
Daishin
Monthly Archives: June 2019
Eikyū hyakushu 6
New Year’s Day
よきことをますみの鏡今日見ればかねて千年のかげぞうかべる
| yoki koto o masumi no kagami kyō mireba kanete chitose no kage zo ukaberu | When pleasant things In the clearest of glasses Today I see, Already a thousand years’ Sights have floated there… |
Higo
Eikyū hyakushu 5
New Year’s Day
冬の夜を旅の空にてあかしてや都に春の今朝は来るらむ
| fuyu no yo o tabi no sora nite akashite ya miyako ni haru no kesa wa kururamu | A winter’s night Spent under the skies a’travelling; With breaking dawn To the capital has spring Come this morning, I wonder? |
Kanemasa
Eikyū hyakushu 4
New Year’s Day
うちなびき今日立ちかへるとしなみのよらぬみぎははあらじとぞ思ふ
| uchinabiki kyō tachikaeru toshinami no yoranu migiwa wa araji to zo omou | Drifting along, Today breaks The year’s wave – An untouched shore Shall there be none, I feel! |
Tadafusa
Eikyū hyakushu 3
New Year’s Day
今日よりは我をもちゐの増鏡うれしきかげをうつしてぞ見む
| kyō yori wa ware o mochi’i no masukagami ureshiki kage o utsushite zo mimu | From today Holding me within shall This glass so clear A joyous face Reflected see! |
Toshiyori
Eikyū hyakushu 2
New Year’s Day
万代の春のはじめの今日しよりつかへまつらむとしにあひつつ
| yorozu yo no haru no hajime no kyō shi yori tsukaematsuramu toshi ni aitsutsu | Ten thousand years of Spring begins From today Shall we serve humbly Greeting the coming year… |
Nakazane
Eikyū hyakushu 1
New Year’s Day
たび人のかりのしの屋に年くれて今日ふたとせになりにけるかな
| tabibito no kari no shinoya ni toshi kurete kyō futa tose ni narinikeru kana | For a traveller In a rude hut roofed with coarse bamboo The year comes to an end, and From today, a second year Has arrived! |
Akinaka
Conclusion
住吉の松はあはれもかけやせむ八十過ぬる和歌の浦波
| sumiyoshi no matsu wa aware mo kake ya semu yasoji suginuru waka no uranami | At Sumiyoshi will The pines feel compassion For me? Spending more than eighty years Washed by the waves of Waka Bay… |
Judge
1201
和歌の浦のしるべとなれる老の浪げに住吉の松も知るらん
| waka no ura no shirube to nareru oi no nami geni sumiyoshi no matsu mo shiruran | To Waka Bay A guide have you become, Washed by waves of age; Truly, at Sumiyoshi The pines will know that well! |
A Servant Girl
1202
Love X: 30
Left
年深き入江の秋の月見ても別惜しまぬ人やかなしき
| toshi fukaki irie no aki no tsuki mitemo wakare oshimanu hito ya kanashiki | Late on in the year Above the bay one evening, Glimpsing the moon: That he cares not at their parting – Is that a source of sadness? |
A Servant Girl
1199
Right (Win)
ともすれば別を知らぬ浪の上にかきなす音をも人は問けり
| tomo sureba wakare o shiranu nami no ue ni kakinasu ne o mo hito wa toikeri | As ever, In ignorance of our parting, Upon the waves The strains I pluck Bring folk to ask me why… |
Ietaka
1200
Both Gentlemen state: the poems are based on ‘The Song of the Lute’ and have no faults to mention.
In judgement: both the Left and the Right are based on ‘The Song of the Lute’ and the Left, beginning with ‘late on in the year’ (toshi fukaki) is pleasant, but ‘that he cares not at their parting’ (wakare oshimanu) and what follows seems rather insufficient, in addition to simply seeming to recall Xunyang River and lack a conception of the poet’s own love. The Right has ‘in ignorance of our parting’ (wakare o shiranu), while ‘bring folk to ask me why’ (hito wa toikeri) also has a slight conception that the lady has not asked why either. Thus, the Right should win.
Love X: 29
Left (Win)
よそにても君をし三輪の市ならば行かふ賤に立もをくれじ
| yoso nite mo kimi o shi miwa no ichi naraba yukikau shizu ni tachi mo okureji | Far away At Miwa Market Had I met you, The peasants going back and forth Would not be arriving late… |
Lord Ari’ie
1197
Right
住わびて世をふる道は知らるとも難波の蘆のかりにだに見ん
| sumiwabite yo o furu michi wa shiraru tomo naniwa no ashi no kari ni dani min | Life is hard, as it is To make one’s way I know, yet At Naniwa the reeds I reap for a brief glimpse of you… |
Jakuren
1198
The Right state: the Left’s poem has no faults to indicate. The Left state: the Right’s poem is not bad.
In judgement: the Left’s ‘at Miwa had I met you’ (kimi o shi miwa no) is elegant, but the final section is lacks force. The Right’s reaping reeds at Naniwa has only a faint sense of a merchant. Thus, the Left’s ‘Miwa Market’ (miwa no ichi) wins.