Entō ōn’uta’awase 40

Round Forty

Left (Win)

山もとの杜のしめ縄ながきよを秋のをしかの鳴きあかすらん

yamamoto no
mori no shimenawa
nagaki yo o
aki no oshika no
nakiakasuran
At the mountains’ foot lies
A sacred grove with garlands
Long as the nights
In autumn when the stag
Bells in the dawn.

Tomoshige
79

Right

なよ竹のよながき秋の山風に幾たび鹿のね覚しつらん

nayotake no
yo nagaki aki no
yamakaze ni
ikutabi shika no
nezameshitsuran
Green bamboo with
Knots as apart as the autumn night is long,
While with the mountain wind
How many times might the stag
Have awakened?[1]

Dharma Master Zenshin
80

The Left’s poem has ‘at the mountains’ foot lies a sacred grove with garlands long as the nights’ which sounds pleasant. The Right has ‘knots as apart as the autumn night is long, while with the mountain wind’—these, too, seem to have no clear winner or loser, yet still, the Left should be superior and should win.[2]


[1] An allusive variation on: Composed when the gentlemen in the Crown Prince’s service were presented with wine, on the occasion of Tadafusa being appointed Secretary of an embassy to China, during the reign of the Kanpyō emperor. なよ竹のよながきうへにはつしものおきゐて物を思ふころかな nayotake no / yo nagaki  ue ni / hatsushimo no / oki’ite mono o / omou koro kana ‘Green bamboo with / Knots as far apart as the night is long / While the first frost settles on my active / Thoughts these days!’ Fujiwara no Tadafusa (KKS XVIII: 993)

Entō ōn’uta’awase 39

Round Thirty-Nine

Left (Tie)

さをしかのふしどをあさみ吹く風に夜半に鳴く音ぞふかくなりゆく

saoshika no
fushido o asami
fuku kaze ni
yowa ni naku ne zo
fukaku nariyuku
The stag’s
Resting place disturbed by
The gusting wind
At midnight his belling cry
Comes from deeper in the mountains.

Chikanari
77

Right

さらでだにね覚かなしき秋風に夜しもなどか鹿の鳴くらん

sarade dani
nezame kanashiki
akikaze ni
yoru shimo nado ka
shika no nakuran
Even were it not so,
To waken is so sad
With the cruel autumn wind;
Why is it that above all at night
The stag should cry so?

Ie’kiyo
78

The Left poem’s ‘at midnight his belling cry comes from deeper’ does not sound especially elegant. The Right poem composes ‘why is it that above all at night the stag should cry so’, sounding like it is only at night that stags bell, but stags do this all the time in autumn. The Ancient and Modern also has the composition, ‘Mud-daubers buzzing / In the autumn bush clover; / Leaving with morning’.[1] The poems of Left and Right have no merits or faults between them—they should tie.


[1] This is a quotation from: Topic unknown. すがるなく秋のはぎはらあさたちて旅行く人をいつとかまたむ sugaru naku / aki no hagiwara / asa tachite / tabi yuku hito o / itsu to ka matan ‘Mud-daubers buzzing / In the autumn bush clover; / Leaving with morning, / Away on a journey: for him, / How long must I wait?’ Anonymous (KKS VIII: 366)

Entō ōn’uta’awase 38

Round Thirty-Eight

Left

今更にふしもさだめぬ鹿の音よ木葉の数のつもるよごとに

ima sara ni
fushi mo sadamenu
shika no ne yo
ko no ha no kazu no
tsumoru goto ni
At around this time,
With his bedding undecided,
The stag bells out!
Just as the leaves’ from on the trees numbers
Do mount up…

Shō
75

Right (Win)

木葉ちる夜半の嵐の月影に心すみてや鹿も鳴くらん

ko no ha chiru
yowa no arashi no
tsukikage ni
kokoro sumite ya
shika mo nakuran
Leaves scatter from the trees
In the midnight storm
In the moonlight
From his wild and earthy thoughts
Does the stag, too, cry out?

Nagatsuna
76

The Left’s ‘just as the leaves from on the trees numbers do mount up’ at night and so forth, appears to be a novel style, yet the Right poem sounds more gorgeous, so it wins.

Entō ōn’uta’awase 37

Round Thirty-Seven

Left (Tie)

むば玉のよやふけぬらんさをしかの声すみのぼるをのの草ぶし

mubatama no
yo ya fukenuran
saoshika no
koe suminoboru
ono no kusabushi
Might lily-seed dark
Night have fallen?
The stag’s
Cry clearly climbs
From where he lies among the meadow grasses.

Takasuke
73

Right

秋のよはつまどふ鹿の深山出でていまだ旅なるをのの草ぶし

aki no yo wa
tsumadou shika no
miyama idete
imada tabi naru
ono no kusabushi
On an autumn night,
Seeking his bride, the stag
Emerges from the mountains’ depths,
And now on his travels
Lies among the meadow grasses.

Shimotsuke
74

Left and Right’s ‘lies among the meadow grasses’ have no merits or faults between them. A pleasant tie.

Entō ōn’uta’awase 36

Round Thirty-Six

Left

秋をおもふ涙やもろき夕月夜木葉がくれに鹿ぞ鳴くなる

aki o omou
namida ya moroki
yūzukuyo
ko no hagakure ni
shika zo nakunaru
Filled with autumn feelings
Do tears drip down?
On a moonlit evening
Hidden ‘mong the leafy trees,
A stag does call.

Dōchin
71

Right (Win)

を山田に風の吹きしくいなむしろよなよな鹿のふしどなりけり

oyamada ni
kaze no fukishiku
inamushiro
yonayona shika no
fushidonarikeri
Across the mountain paddies
The wind blows, spreading
The rice into a coverlet, where
Night after night, the stag
Does lay his head.

Dharma Master Nyokan
72

The Left’s poem does not appear to have any faults worth indicating, yet the Right’s poem is still more pleasant. It should win.

Eien narabō uta’awase 05

Round Five

Left (Win)

さくらやまはなのさかりに風ふけばこずゑをこして白波ぞたつ

sakurayama
hana no sakari ni
kaze fukeba
kozue o koshite
shiranami zo tatsu
On the mount of Cherries
So fine is the blossom that
When the wind does blow,
Passing o’er the treetops,
Whitecaps arise!

Controller’s Graduate
9

Right

この春ははなにこころのあくがれてこのもとにてもくらしつるかな

kono haru wa
hana ni kokoro no
akugarete
ko no moto nite mo
kurashitsuru kana
This springtime
By the blossoms my heart
Is captivated, and
Beneath the trees
Does dwell!

Kerin’in Graduate
10

Both Left and Right, in terms of diction, tone and style are superb with no faults at all. Thus, this is a tie.

The final section of the Left’s poem lacks fluency, yet it has conception. As for the Right’s poem, in order for one’s heart to be captivated by the blossom on every single treetop, one would need to be walking around. If one is resting peacefully beneath the trees, then one should say that one’s heart is captured. This section sounds erroneous, so the Left should win.