Tag Archives: Ari’ie

Love VI: 22

Left.
独のみ寢屋の板間もあはずして雨も涙も所せきまで

hitori nomi
neya no itama mo
awazushite
ame mo namida mo
tokoroseki made
All alone, and
The boards above my bedchamber
Fail to come together;
Until with raindrops and tears both
I am excessively…

Lord Ari’ie.
943

Right (Win).
深き夜の寢覺に何を思けむ窓打ちてすさむ暁の雨

fukaki yo no
nezame ni nani o
omoikemu
mado uchisusamu
akatsuki no ame
Late within the night,
I start awake; what
Was in my thoughts?
Beating against my window is
The dawntime rain.

Jakuren.
944

The Right state: we cannot grasp the sense of the Left’s use of ‘until’ (made). The Left state: the Right’s poem is certainly not easy to understand on hearing.

In judgement: is not the use of ‘until’ (made) simply because it is appropriate to conclude a poem with that syllable? I can see nothing problematic with the use of ‘beating against my window’ (mado uchisusamu) in the Right’s poem. Thus, I make the Right the winner.

 

Love VI: 18

Left (Win).
さらでだに恨みんと思ふ我妹子が衣の裾に秋風ぞ吹く

sarade dani
uramin to omou
wagimoko ga
koromo no suso ni
akikaze zo fuku
That is not it, yet even so,
I do think to hate
My darling girl,
Her robe hem
Blown by the autumn wind…

Lord Ari’ie.
935

Right.
いかなれば露をば払ふ風の音に物思ふ袖の濡れまさるらん

ika nareba
tsuyu o harau
kaze no oto ni
mono’omou sode no
nuremasaruran
For some reason
Dewdrops blown by
The wind – the mere sound
Brings to my gloomy sleeves
A dampness most extreme…

Jakuren.
936

The Right state: the Left’s poem is most admirable. The Left state: the Right’s poem is definitely not!

In judgement: to give the gist of the comments by the Gentlemen of the Left and the Right, the Left’s poem is admirable, and the Right’s poem is not admirable at all. I see no need to make much more of this round that that, so, the Left wins.

Love VI: 11

Left (Tie).
我戀や晴れゆくままの空の雲よそにのみして消ぬべき哉

wa ga koi ya
hareyuku mama no
sora no kumo
yoso ni nomi shite
kienubeki kana
Is my love
As the clearing
Clouds with within the skies?
While you remain distant
Must I fade away…

Lord Ari’ie.
921

Right.
をのづから閨もる月も影消えてひとりかなしき浮雲の空

onozukara
neya moru tsuki mo
kage kiete
hitori kanashiki
ukigumo no sora
From my
Bedchamber the flooding moon
Light has vanish;
To be alone is sad, as
The heartless drifting, clouds.

Lord Takanobu.
922

The Right state: the central line of the Left’s poem is stiff. The Left state: the Right’s poem has no particular faults.

In judgement: the statements in regard to both poems are at variance with my own opinion. I will refrain from expressing that here, although I do regret that, somewhat. If, indeed, a central line is core, then it is better for it to lack connection with the remainder of the poem. In the case of the Left’s poem, however, it seems well linked with what follows. As for the Right’s poem, ‘bedchamber the flooding moon’ (neya moru tsuki) is not phrasing which is acceptable to me. However, the Left’s initial section seems pleasant, and the Right’s final section is elegant. Thus, the round is a tie.

Love VI: 4

Left.
物思ふと月ゆへならで月を見て幾夜くもらぬ空もくもりぬ

mono’omou to
tsuki yue narade
tsuki o mite
ikuyo kumoranu
sora mo kumorinu
My gloomy thoughts
Are not for the moon;
The moon I saw
For many nights, unclouded,
The skies, now clouded.

Lord Ari’ie.
907

Right (Win).
いかにして殘る心のありければ人をうらみて月を見るらん

ika ni shite
nokoru kokoro no
arikereba
hito o uramite
tsuki o miruran
What is it that
In my heart remains
That
Hating her
I gaze upon the moon?

Ietaka.
908

The Right state: we find no faults to mention in the Left’s poem. The Left state: the Right’s poem is outstandingly good.

In judgement: it has been stated that the Left’s poem lacks faults, but having ‘Are not for the moon; the moon I saw’ (tsuki yue narade tsuki o mite), ‘unclouded’ (kumoranu) and then ‘clouded’ (kumorinu) is a superfluity of similar vocabulary, which is most disquieting. I wonder, too, the basis on which the Right’s poem can be judged outstandingly good? ‘In my heart remains that’ (nokoru kokoro no arikereba) sounds like a most unacceptable configuration, and overall, I am unable to grasp its meaning. Thus, I will judge according to the Gentlemen of the Left’s remarks, and make the Right the winner.

Love V: 28

Left (Win).
旅寢する我をば床の主にて枕に宿る小夜の面影

tabinesuru
ware oba toko no
aruji nite
makura ni yadoru
sayo no omokage
When sleeping on my travels
I of my bedding
Am master!
Lodging by my pillow is
A face from a night too brief…

Lord Ari’ie
895

Right.
まどろまぬその夜な夜なを數ふれば夢路も遠き草枕哉

madoromanu
sono yona yona o
kazoureba
yumeji mo tōki
kusamakura kana
Unable to even doze
Night after night
I count them up, and
The path of dreams gets more
Distant from my grassy pillow.

Lord Takanobu
896

The Right state: the Left’s poem seems fine. The Left state: we find no faults to mention.

In judgement: the Right’s ‘the path of dreams gets more distant’ (yumeji mo tōki) sounds elegant, but the Left’s poem has already been assessed as ‘fine’ in the comments by the gentlemen of the Right. This round I will leave the judgement in their hands and make the Left the winner.

 

Love V: 19

Left (Tie).
聞き馴れてきては心も慰まず聲の通ふは甲斐無かりけり

kikinarete
kite wa kokoro mo
nagusamazu
koe no kayou wa
kai nakarikeri
Familiar to the ear
It comes, but my heart
Has no consolation;
The interplay of voices is
Pointless, indeed.

Lord Ari’ie
877

Right.
睦言の通はぬ中と成ぬれば聲は聞けども甲斐無かりけり

mutsugoto no
kayowanu naka to
narinureba
koe wa kikedomo
kai nakarikeri
Sweet words do we
Exchange
No more, so
Even if I hear your voice, it is
Pointless, indeed.

Lord Tsune’ie
878

Left and Right both state: no faults.

In judgement: the conception of both poems ‘interplay of voices’ (koe kayou), is of the same quality.

Love V: 13

Left (Tie).
行通ふ心の戀をしるべにてまだ見ぬ峰を幾重越ゆらん

yukikayou
kokoro no koi o
shirube nite
mada minu mine o
ikue koyuran
Crossing distances, with
Our hearts’ love
As a guide;
How many unseen peaks
Must I yet cross…

Lord Ari’ie.
865

Right.
尋ぬべき程を聞くにもいとゞしく心の道ぞまづ迷ひぬる

tazunubeki
hodo o kiku ni mo
itodoshiku
kokoro no michi zo
mazu mayoinuru
The distance I must travel:
When I ask how far it is,
More and more
Does my heart upon the path
Begin by wandering lost.

Lord Takanobu.
866

The Right state: we wonder about the appropriateness of the expression ‘our hearts’ love’ (kokoro no koi)? The Left state: the Right’s poem has no faults to mention.

In judgement: the Left’s ‘our hearts’ love’ is something I am completely unaccustomed to hearing. The Right’s poem does have ‘my heart upon the path’ (kokoro no michi), but the use of ‘more and more’ (itodoshiku) means it is difficult to make it a winner. The round should tie.

Love V: 8

Left.
いかにして戀てふことを知りぬらん物の心も昨日今日こそ

ika ni shite
koi chō koto o
shirinuran
mono no kokoro mo
kinō kyō koso
How did
Love
Then seem to me?
When the truth of things
Has come to me now…

Lord Ari’ie.
855

Right (Win).
今はさは思亂ると知らせてん振分髪も肩過ぎにけり

ima wa sa wa
omoimidaru to
shiraseten
furuwakegami mo
kata suginikeri
Now it is that
I am in a tangle of love,
Let me tell you!
For my hair, bunched on either side,
Has come to brush my shoulders!

The Provisional Master of the Empress’ Household Office.
856

The Right state: the Left’s poem is facetious. The Left state: the Right’s poem has no faults to mention.

In judgement: the Right’s poem is elegant. It certainly wins over the Left.

Love V: 2

Left (Tie).
逢見ても身にやは年の積るべき我老いらくになしと答ふな

aimite mo
mi ni ya wa toshi no
tsumorubeki
wa ga oiraku ni
nashi to kotauna
Even should you meet me
Upon you the years
Would the years pile up?
So to this old man
I would not have you say no…

Lord Ari’ie.
843

Right.
包めども老蘇の森の薄紅葉たへでも色に出でにける哉

tsutsumedomo
oiso no mori no
usumomiji
taedemo iro ni
idenikeru kana
Although they may be hidden in
The sacred grove of Oiso,
The pale scarlet leaves’
Hues may not endure, but
Still have appeared…

The Provisional Master of the Empress Household Office.
844

The Right state: the Left’s poem’s conception is vague. The Left state: the Right’s poem has no faults to indicate.

In judgement: the Left is unclear in style, but the configuration of ‘upon you the years’ (mi ni ya wa toshi no) is pleasant. Although one wonders why ‘pale scarlet leaves’ (usumomiji) is used, the following ‘hues may not endure’ (taedemo iro ni) is elegant. The round should tie.

Love IV: 29

Left.
寢覺まで猶苦しき行歸り足も休めぬ夢の通ひ路

nezame made
nao kurushiki
yukikaeri
ashi mo yasumenu
yume no kayoiji
Until I awaken
It is ever painful
Going back and forth
My feet not resting once
Upon the path of dreams.

Lord Ari’ie.
837

Right.
忘らるゝ身をば思はで龍田山心にかゝる沖つ白波

wasuraruru
mi o ba omowade
tatsuta yama
kokoro ni kakaru
oki tsu shiranami
Forgotten
I think not on myself, but
On Mount Tatsuta
Dwells my heart
Whipped by whitecaps…

Jakuren.
838

The Gentlemen of the Right: no faults to mention. The Gentlemen of the Left state: the Right’s poem does not have anything to say beyond what is contained in its origin poem.

In judgement: the Left’s poem takes the conception of Komachi’s poem ‘my feet don’t rest, constantly trailing to you, yet’ (ashi mo yasumezu kayoedomo) and skilfully adds ‘Until I awaken it is ever painful’ (nezame made nao kurushiki). The Right’s poem is based upon the poem ‘where, through night’s depths, my Lord’ (yowa ni ya kimi ga), but then says ‘Dwells my heart whipped by whitecaps’ (kokoro ni kakaru oki tsu shiranami), which sounds pleasant, too. They are comparable and should tie.