Category Archives: Poetry Competition in Six Hundred Rounds

Spring I: 30

Left (Tie).

もゝしきや射手引く庭の梓弓昔にかへる春に逢ふかな

momoshiki ya
ite hiku niwa no
azusa yumi
mukashi ni kaeru
haru ni au kana
Hundred fold, the palace, where
Archer draw, within the gardens
Bows of catalpa wood:
Olden times are recalled
And meet again, this springtime.

Lord Sada’ie

59

Right (Tie).

梓弓春の雲井に引つれてけしきことなるけふの諸人

azusa yumi
haru no kumoi ni
hikitsurete
keshiki kotonaru
kyô no morobito
Catalpa bows:
In springtime to the cloud-borne palace
They are brought;
How exceptional the scene:
A crowd of noble folk, this day.

Ietaka

60

The Right query why in the Left’s poem an annual festival should ‘recall olden times’, to which the Right respond that it is normal to compose poems about annual observances as if they had been discontinued and then revived. The Left make no comment about the Right’s poem.

Shunzei’s judgement is that, indeed, the Left’s poem had been composed as if an ancient rite had been revived and, furthermore with the reference to an ‘exceptional scene’ the intent had probably been to praise court festivals. Nevertheless, he has to adjudge the round a tie.

Spring I: 29

Left (Tie).

梓弓射手引く春のかひありてけふの諸矢は世にひゞく也

azusa yumi
ite hiku haru no
kai arite
kyō no moroya wa
yo ni hibiku nari
Catalpa bows,
Archers drawing them in springtime
Has an effect, indeed:
Today, the paired arrows
Resound throughout the world!

Kenshō

57

Right (Tie).

梓弓はる九重に散る雪をけふ立舞の袖に見るかな

azusa yumi
haru kokonoe ni
chiru yuki o
kyô tachimai no
sode ni miru kana
Catalpa bows:
Drawn in the ninefold palace walls, yet
Falling snow
This day’s dancing
Sleeves do seem!

Nobusada

58

The Right team have no comments to make about the Left’s poem, but the Left remark that ‘catalpa bow’ is a makura kotoba (a conventionalised poetic image) used with ‘spring’, and it is difficult to think that it is being used appropriately if related to ‘New Year archery’. (The complaint here seems to be related to the fact that in his original Nobusada writes haru, which I’ve translated here as ‘drawn’, phonetically, rather than with a Chinese character, making it initially seem like the verb haru ‘draw (a bow)’, rather than the homophonous ‘spring’.) The Left go on to make the aside that dancing took place within the palace on many other occasions besides the New Year Archery festival.

Shunzei, however, states bluntly that both poems contain ‘unnatural associations’ of ‘catalpa bow’ with ‘springtime effects’ for the Left, and ‘drawn in the ninefold palace’ for the right, so neither can be declared a winner.

Spring I: 28

Left (Win).

もゝしきに引つらなれる梓弓はるも鞆音の珍しき哉

momoshiki ni
hikitsuranareru
azusa yumi
haru mo tomone no
mezurashiki kana
By the hundredfold palace
Arrayed,
Catalpa bows:
Sprung in springtime, bowstring on bracer:
How rare the sound!

Lord Suetsune

55

Right.

舎人子が鞆うち鳴らす梓弓射手引わたる春は來にけり

toneriko ga
tomo uchinarasu
azusa yumi
ite hikiwataru
haru wa kinikeri
The guardsmen lads’
Bracers sound;
Catalpa bows,
Drawn by archers:
Springtime is here, indeed!

Lord Takanobu

56

Again, the Right team have no comments to make about the Left’s poem this round, but the Left say the initial line of the Right’s poem is ‘unsatisfactory’. Shunzei, once again, agrees, remarking that, ‘the initial line sounds like the name of the tree used when referring to adding water to an ink-stone. Again, the Left is the winner.’ What he means by this is that toneriko, ‘guardsmen lads’ was homophonous with the word for ‘ash tree’. The old Japanese extracted a wax from ash trees, which was used to ease the running of sliding doors and shutters, and so by association, toneriko was used in poetry to refer to adding water to an ink-stone so that the ink, produced in solid sticks, would slide over it more easily. This image is inappropriate for a poem about the New Year Archery festival, and so the poem is of inferior quality, compared to the Left’s offering.

Spring I: 27

Left (Win).

梓弓はるの雲居にひゞくまで鞆音にかよふ的の音かな

azusa yumi
haru no kumoi ni
hibiku made
tomone ni kayou
mato no oto kana
Catalpa bows
In springtime round the cloud-borne palace
Resound;
Bowstring on bracer and
Arrow on target – what a sound!

Lord Kanemune

53

Right.

梓弓まうけの箭にやひかるらんはてまでけふは當りぬる哉

azusa yumi
môke no ya ni ya
hikaruran
hate made kyô wa
atarinuru kana
Catalpa bows’
Spare arrows: will they
Be drawn, I wonder?
By this day’s end
All will have struck the target…

Lord Tsune’ie

54

The Right team have no comments to make about the Left’s poem, but the Left state that the initial section of the Right’s poem is ‘prosaic [heikai]’. Shunzei agrees, saying that the term ‘spare arrows’ is ‘unsuitable diction for poetry’ [uta kotoba ni yoroshikarazaru] and so the Left’s poem must be adjudged the winner.

Spring I: 26

Left.

心ある射手の舎人のけしきかな玉敷く庭に鞆音ひゞきて

kokoro aru
ite no toneri no
keshiki kana
tama shiku niwa ni
tomone hibikite
Souls stirred,
The archers, guardsmen all,
Are a sight
Within the gem-strewn gardens,
As bowstring snaps to bracer!

Lord Ari’ie.

51

Right (Win).

梓弓引く手ばかりはよそなれど心にいるは雲の上人

azusayumi
hiku te bakari wa
yoso naredo
kokoro ni iru wa
kumo no uebito
A catalpa bow:
Drawn simply by the hand,
Distant, it is, yet
Letting fly, within their hearts, are
The folk above the clouds…

Jakuren.

52

The Right team remark here that they were ‘unable to grasp’ the first line of the Left’s poem, possibly suggesting a judgement that kokoro aru, which I’ve translated here as ‘Souls stirred’, and which refers to the ability to be moved emotionally by phenomena, or events, was an unsuitable expression for mere ‘guardsmen’. The Left team state bluntly that the reference to ‘the folk above the clouds’ was ‘unsuited to this rite’, meaning the New Year archery contest, in which members of the higher nobility, the ‘folk above the clouds’, did not participate.

Spring I: 25

Left (Win).

けふは我君がみまへに取る文のさしてかたまる梓弓かな

kyō wa wa ga
kimi ga mimae ni
toru fumi no
sashite katamaru
azusayumi kana
Today to Our
Lord’s Presence
We take, missives
Attached and drawn tight,
Bows of catalpa wood…

A Servant Girl.

49

Right.

百敷や近きまもりの梓弓わが引く方ぞ心にはいる

momoshiki ya
chikaki mamori no
azusayumi
wa ga hiku kata zo
kokoro ni wa iru
Hundred-fold, the palace;
Close by, sentries with
Catalpa bows:
Drawing them,
Their hearts fly forth!

The Provisional Master of the Empress Household Office.

50

The Right team state simply that they ‘don’t understand the content’ of the Left’s poem, while the Left remark airily of the Right’s that it ‘hits the topic dead on!’ Nevertheless, Shunzei says that the Left’s poem, ‘seems charming, with its image of letters to His Majesty attached to staves’, and awards it the victory.

Spring I: 24

eft (Tie).

雪消ゆる枯野の下の淺緑去年の草葉や根にかへるらん

yuki kiyuru
kareno no shita no
asamidori
kozo no kusaba ya
ne ni kaeruran
The snows are gone from off
The sere fields, and beneath,
Pale green:
Last year’s growth seems
To have returned to its roots…

A Servant Girl

47

Right (Tie).

春雨は去年見し野邊のしるべかは緑にかへる荻の燒原

harusame wa
kozo mishi nobe no
shirube ka wa
midori ni kaeru
ogi no yakehara
The gentle rains of spring:
To the fields I gazed upon last year
Do they show the way?
For greeness has returned,
To the burnt miscanthus grass…

Jakuren

48

Both teams state that the other’s poem was ‘in the same vein’.

Shunzei judges that the Left’s ‘Last year’s growth seems/To have returned to its roots’ and the Right’s ‘For greeness has returned,/To the burnt miscanthus grass’ are ‘pleasantly charming’, so neither poem can be adjudged the winner.

Spring I: 23

Left (Win).

をそくとくをのがさまざま咲く花も一つ二葉の春の若草

osoku toku
ono ga samazama
saku hana mo
hitotsu futaba no
haru no wakakusa
Slow, or distant,
Each has their own
Way to bloom, yet all the flowers
First put forth fresh leaves,
Fresh grasses in the springtime

Lord Sada’ie

45

Right.

いろいろの花咲くべしと見えぬかな草立ほどの野邊のけしきは

iroiro no
hana sakubeshi to
mienu kana
kusa tatsu hodo no
nobe no keshiki wa
In many colours
Will the flowers bloom –
The scene does not seem so,
When just the grass has sprouted
All across the plain…

Lord Tsune’ie

46

Both teams state that their poems are of the same order.

Shunzei remarks that both poems are in the spirit of the Kokinshū’s ‘In green/The grasses seem as one/When seen in springtime’, and neither has a substantial advantage over the other, except that the Right’s ‘when just the grass has sprouted’ might be an ‘undesirable expression’?

Spring I: 22

Left (Tie).

春日野の野邊の草葉やもえぬらんけさは雪間の淺緑なる

kasugano no
nobe no kusaba ya
moenuran
kesa wa yukima no
asamidori naru
On Kasuga Plain
Has the field grass
Begun to sprout?
This morning, the patches ‘tween the snow
Are palely green…

Lord Ari’ie

43

Right (Tie).

花をのみ待らん人に山里の雪間の草の春を見せばや

hana o nomi
matsuran hito ni
yamazato no
yukima no kusa no
haru o miseba ya
Blossoms, alone,
Awaiting – to those folk,
My mountain retreat,
With grasses growing ‘tween the snow,
In springtime would I show…

Ietaka

44

Neither team has any comments to make about the other’s poem.

Shunzei remarks tha the use of no in the Left’s poem is ‘repetitious’. The Right’s phrasing ‘My mountain retreat,/With grasses growing ‘tween the snow’ (yamazato no yukima no kusa) was ‘certainly unusual’, but the poem was ‘appealing’. However, the Left’s poem is successful in evoking Kasuga Plain, and hence it is ‘difficult to judge it lacking’. Thus, a tie is the fairest result.

Spring I: 21

Left.

名に立てる老蘇の杜の下草も年若しとや二葉なるらん

na ni tateru
oiso no mori no
shita kusa mo
toshi wakashi to ya
futaba naruran
By repute,
Ancient is the sacred grove of Oiso, yet
Here, too, the undergrowth,
Perhaps with the year’s youth,
Puts forth new leaves.

Lord Suetsune

41

Right (Win).

霜置きし去年の枯葉の殘るませにそれとも見えぬ春の若草

shimo okishi
kozo no kareha no
nokoru mase ni
sore tomo mienu
haru no waka kusa
Frost fell
Last year on the withered leaves
Remaining on this brushwood fence, yet
It does not seem so for
The fresh growth of spring.

Nobusada

42

The Right team have nothing to say about the Left’s poem in this round, while the Left merely wonder whether the fact that the Right’s poem has six syllables in its middle line means that it doesn’t scan correctly.

Shunzei comments testily that fashionably using expressions with contradictory connotations, such as the ‘ancient sacred grove’ and ‘year’s youth’ is ‘platitudinous’. The Right’s poem, however, is ‘without doubt, extremely affecting’. There are many cases where lines with six or seven syllables are used in place of a five syllable one in the centre of a poem – particularly when the final line is ‘independent’, although this has yet to be ‘well understood’. So, for appropriately using this, the right deserves the victory.