Tag Archives: Arashi

Sumiyoshi-sha uta’awase kaō ni-nen 49

Round Twenty-Four

Left (Win)

かぜのおとにわきぞかねましまつがねのまくらにもらぬしぐれなりせば

kaze no oto ni
waki zo kanemashi
matsu ga ne no
makura ni moranu
shigure nariseba
The gusts of wind
I cannot tell apart from
The rustle of the pines roots
For my pillow should no drips
From the shower fall…

Lord Sanefusa
97

Right

たびのいほはあらしにたぐふよこしぐれしばのかこひにとまらざりけり

tabi no io wa
arashi ni taguu
yoko shigure
shiba no kakoi ni
tomarazarikeri
My traveller’s hut
Is lashed by the storm wind’s
Sideways showers—
The brushwood walls
Halt it not at all.

Lord Yorimasa
98

The conception and configuration of the poem of the Left, starting ‘I cannot tell apart from / The rustle of the pines’ and continuing ‘For my pillow should no drips / From the shower fall’ is, once again, truly exceptional! As for the poem of the Right, while it appears to have a charming style and use of diction, even if it is the case that ‘sideways showers’ are a genuine phenomenon, it fails to sound particularly elegant, doesn’t it. In addition, the latter section of the poem, ‘the brushwood walls’, feels slightly lacking in conception. Thus, I make the Left the winner.

Sumiyoshi-sha uta’awase kaō ni-nen 32

Round Seven

Left (Tie)

きしちかみたびねのとこをうつなみのかへるひまにぞしぐれとはしる

kishi chikami
tabine no toko o
utsu nami no
kaeru hima ni zo
shigure to wa shiru
Close by the coast
My journey’s bed is
Struck by waves;
In the space as they withdraw,
I know that showers are falling.

Dharma Master Yūsei
63

Right

しばのとをたたくあらしのおとにまたしぐれうちそふたびのよはかな

shiba no to o
tataku arashi no
oto ni mata
shigure uchisou
tabi no yowa kana
Upon my brushwood door
The storm wind came a’knocking;
The sound then
Laced with showers,
At midnight on my travels!

Norimori
64

In the Left’s poem, it sounds as if the shower is continuing to fall quietly, yet it then appears to have the conception that one knows the showers are falling in the gaps between the waves breaking. In the Right’s poem, ‘The storm wind came a’knocking; / The sound then’ sounds charming, but I do wonder about how it looks to have lines beginning beginning with both ‘brushwood door’ [shiba no to] and ‘showers’ [shigure]. Thus, again, these tie.

Kenreimon’in ukyō no daibu-shū 119

When she had gone to Kamo on a winter’s night when the moon was shining brightly.

神がきや松のあらしもおとさえて霜にしもしく冬の夜のつき

kamigaki ya
matsu no arashi mo
oto saete
shimo ni shimo shiku
fuyu no yo no tsuki
At the sacred grounds,
Storm winds through the pines
Sound so chill;
Frost atop of frost is spread,
The moon this winter’s night.

Kenreimon’in ukyō no daibu

Sumiyoshi-sha uta’awase kaō ni-nen 20

Left (Win)

たまがきにひかりさしそふゆふづくよかみにたむくるかげにやあるらむ

tamagaki ni
hikari sashisouru
yūzukuyo
kami ni tamukuru
kage ni ya aruramu
The jewelled fences,
Trailed with light,
On an early moonlit evening:
Is this to the Deity an offering
Of light, I wonder?

Lord Fujiwara no Kunisuke
Supernumerary Senior Secretary of the Empress Household Office
Exalted Junior Fifth Rank, Lower Grade
39

Right

くもはらふあらしのみがく月にまたひかりをそふるあけのたまがき

kumo harau
arashi no migaku
tsuki ni mata
hikari o souru
ake no tamagaki
Clouds swept away
By the storm wind, polish
The moon, so once more
Light trails across
The vermillion jewelled fences.

Horikawa, from the Residence of the Former Chancellor[1]
40

The Left’s poem is extremely charming with the solicitousness it displays in the sequence ‘On an early moonlit evening: / Is this to the Deity an offering’, but it is truly regrettable that it does not use the full moon or that at the dawn. The Right’s poem focusses on ‘light trailing’ and, as I get the impression that I have heard this a lot recently, the earlier instances have said all there is to say here, so once more the overall style of the Left is superior.


[1] Zen-dajō daijin no ie Horikawa 前太政大臣家堀川

Sumiyoshi-sha uta’awase kaō ni-nen 17

Left (Tie)

月さゆるつもりのうらのみづがきはふりしくゆきにいろもかはらず

tsuki sayuru
tsumori no ura no
mizukaki wa
furishiku yuki ni
iro wa kawarazu
The moon, so chill, shines
Upon the Bay of Tsumori,
Where the honored sacred grounds,
Spread with fallen snow
Remain unchanged in hue.

Taifu, in service to the Former Ise Virgin[i]
33

Right

あらしふくまつのこずゑにきりはれてかみもこころやすみのえの月

arashi fuku
matsu no kozue ni
kiri harete
kami mo kokoro ya
suminoe no tsuki
The storm wind blows
Across the treetops of the pines,
Clearing the mists away—
I wonder, is the Deity’s heart at
Suminoe beneath the moon?

Lord Fujiwara no Sadanaga
Junior Assistant Minister of Central Affairs
Exalted Fifth Rank, Lower Grade[ii]
34

The Left’s poem appears to be about chill fallen snow spread upon Tsumori Bay, so in saying that the waters bounding the sacred grounds cannot conceal the hue, it appears to be saying that the moon’s light is white, but I wonder if the diction is a bit insufficient to convey this? It seems to me that it simply says that although snow has fallen on the waters bounding the sacred grounds, their hue has not changed—doesn’t it? As for the Right’s poem, I can say that its conception and configuration are pleasant, but it begins with ‘the storm wind blows’ and one cannot say ‘storm wind’ along with ‘beach pines’. One can understand this based on the poem ‘Yes, the mountain wind / Is aptly named “Storm”‘. Still, the poem’s configuration does appear pleasant. Again, I make this a tie.


[i] Zen-saigū no Taifu 前斎宮大輔

[ii] Jūgoige-gyō nakatsukasa no shō Fujiwara ason Sadanaga 従五位下行中務少輔藤原朝臣定長

Izumi shikibu zokushū 7

Around the Ninth Month, when I had gone to stay at the palace for a certain reason, and I heard someone’s voice from the adjoining chamber, wrote this on the edge of my mat and had it left there.

うきよには嵐の風にさそはれてこしやまがはに袖もぬらしつ

ukiyo ni wa
arashi no kaze ni
sasowarete
koshiyamagawa ni
sode mo nurashitsu
In this world of sorrows
The storming wind
Has invited me, and
Koshi Mountain’s torrents
Have soaked my sleeves.