Tag Archives: akikaze

Love VI: 14


hitorine no
toko ni fukikuru
akikaze no
mata wa ga koi o
odorokasu kana
Sleeping alone
To my bed comes blowing
The autumn wind, and
Again, all my love

Lord Kanemune.

Right (Win).

tsute ni dani
towanu kimi kana
fuku kaze mo
matsu ni wa koto ni
otosuru mono o
If only it brought a rumour
Of you, who never comes!
The gusting wind
From the pines plucks special

The Provisional Master of the Empress’ Household Office.

The Right state: what need is there for ‘again’ (mata) in the Left’s poem? The Left state: the Right’s poem is difficult to recite.

In judgement: the Right’s final ‘from the pines plucks special’ (matsu ni wa koto ni) is fine. It must win.

Love VI: 13


hitorine no
ukimi ni naruru
akikaze o
tsurenaki hito no
kokoro tomo gana
To sleeping alone
In desolation am I accustomed;
O, that the autumn wind were
My cruel love’s

Lord Suetsune.

Right (Win).

fukikuru aki no
hatsukaze wa
koisenu hito mo
mi ni ya shimuran
In the evening’s dusk
Comes blowing autumn’s
First breeze;
Will one who loves not
Be pierced as am I?

Lord Tsune’ie.

Both Left and Right together state: we have nothing we feel we should say.

In judgement: the final section of the Left’s poem is clichéd. I also wonder about the sound of ‘in desolation am I’ (ukimi). The Right’s poem has nothing particularly remarkable about it, but it should win

Horikawa hyakushu 1412


ashigara no
yama no momijiba
chiru nae ni
kiyomi ga seki wa
akikaze zo fuku
At Ashigara,
The mountain is all scarlet leaves:
Just when they fall, at
The barrier of Kiyomi
Blows the autumn wind.

Minamoto no Moroyori (1068-1139)

Love III: 30


wa ga koi wa
furuno no michi no
iku akikaze ni
tsuyu koborekinu
My love is as
The path to Furuno through
The bamboo groves:
With the coming of the autumn winds
An endless fall of dewdrops.

Lord Ari’ie.


koi someshi
kokoro wa itsu zo
miyako no oku no
yūgure no sora
When did this love
First touch my soul?
The ancient
Capital’s heart, gazing
At the evening skies.


The Right wonder with it sounds appropriate for the Left’s poem to end with kinu. The Left say that the Right’s ‘Capital’s heart’ (miyako no oku) is a vague expression.

In judgement: ‘The faults of both poems this round are so minor as not to be worth criticism. The Left’s ‘path to Furuno through the bamboo groves’ (furuno no michi no osasawara) followed with ‘the coming of the autumn winds an endless fall of dewdrops’ (iku aki kaze ni tsuyu koborekinu) sounds particularly fine [yoroshiku koso kikoe]. I wonder whether the Right’s ‘ancient’ (Isonokami) followed by ‘capital’s heart’ (miyako no oku) is really that vague? People who make such criticisms must not read poetry in the same way as this old fool. What a sad situation this is! However, the round is a good tie.’

Autumn III: 30



tatsuta hime
ima wa no koro no
aki kaze ni
shigure o isogu
hito no sode kana
Princess Tatsuta,
At this time, now,
With the autumn winds
Does hurry along the showers
Upon folks’ sleeves.

A Servant Girl.




mi no tagui tomo
aki mo ima wa no
yūgure no sora
How sad
Am I and so, too,
I’d thought was
Autumn, now ended
With the evening skies.



The Right state that ‘hurry along the showers’ (shigure o isogu) is lacking in technique [jutsu nashi]. The Left merely say that the Right’s poem ‘isn’t bad.’

Shunzei’s judgement: Both poems use ‘now’ (ima wa) in their diction [kotoba], in conjunction with a powerful [sechinaru] conception [kokoro] of regretting autumn’s passing. Nevertheless, the Gentleman of the Left has said the Right’s poem ‘isn’t bad’ and the Gentleman of the Right has said that of the Left ‘lacks technique’. I feel, however, that the initial conception ‘Princess Tatsuta, at this time, now’ (tatsuta hime ima wa) does not refer only to autumn [but could be used for winter, too]. The Right’s ‘Autumn, now ended with the evening skies’ (aki mo ima wa no yūgure no sora) is also somewhat lacking in technique, is it not? Thus, the round lacks a clear winner, or loser.