Tag Archives: asaji

SKS IX: 337

Composed on the conception of the Song of the Everlasting Woe.

おもひかねわかれし野べをきてみればあさぢが原に秋かぜぞふく

omoFikane
wakaresi nobe wo
kitemireba
asadi ga hara ni
akikaze zo Fuku
Unable to bear my longing
To the meadows where we parted
Have I come and fixed my gaze, but
Across the cogon grass upon the plain
Indeed, the autumn wind is blowing.

Minamoto no Michinari

A kuzushiji version of the poem's text.
Created with Soan.

Minshū 2819

[One of] Five love poems in a Twenty Poem Sequence composed in his retreat in Kenryaku 2 [1212].

あらち山やた野の浅茅色付きぬ人の心の峰の淡雪

arachiyama
yatano no asaji
irozukinu
hito no kokoro no
mine no awayuki
By Arachi Mountain,
In Yata meadow the cogon grass
Has taken on passion’s hues, but
My lady’s heart is
A peak covered in snow-spume.

Ietaka

A kuzushiji version of the poem's text.
Created with Soan.

SKKS XVIII: 1850

Topic unknown.

秋かぜになびくあさぢのすゑごとにおくしら露のあはれ世中

akikaze ni
nabiku asaji no
sue goto ni
oku shiratsuyu no
aware yo no naka
In the autumn breeze
The cogon grass trails back and forth;
On every single frond
Drop silver dewdrops—
So sad is this mundane world of ours.

Semimaru

A kuzushiji version of the poem's text.
Created with Soan.

Love VIII: 22

Left (Win)
唐国の虎臥す野邊に入るよりもまどふ戀路の末ぞあやうき

karakuni no
tora fusu nobe ni
iru yori mo
madou koiji no
sue zo ayauki
In far Cathay are
Meadows where tigers lie,
But rather than entering there,
The confusing paths of love
Are, at the end, more dangerous…

Lord Ari’ie
1063

Right
我宿は人もかれ野の淺茅原通ひし駒の跡もとゞめず

wa ga yado wa
hito mo kareno no
asajiwara
kayoishi koma no
ato mo todomezu
At my home
Is only a withered field
Of cogon grass;
The mount who once did cross it
Has left no lingering tracks…

Ietaka
1064

The Gentlemen of the Right state: how can love be dangerous? The Gentlemen of the Left state: the Right’s poem has no faults to mention.

In judgement: saying that the ‘paths of love are, at the end’ (koiji no sue) dangerous is perfectly commonplace. ‘Is only a withered field of cogon grass’ (hito mo kareno no asajiwara) seems to simply have taken the poem ‘Sedge fields lie / Around the estate of Fushimi, / All long overgrown; / He who passed across them / Has left no tracks at all…’ and swapped in ‘mount who once did cross it’ (kayoishi koma). Changing a man into a mount is discomposing, indeed. Again, the Left should win.

GSIS IV: 270

Composed for a picture based on the Song of Everlasting Woe, for the scene where Xuanzong had returned home and the emperor was depicted weeping with insects calling from the withered cogon grass all around him.

ふるさとは浅茅が原と荒れはてて夜すがら虫の音をのみぞ鳴く

Furusato Fa
asadi ga Fara to
areFatete
yosugara musi no
ne nomi zo naku
My old home
With cogon grass is
Entirely overgrown;
All night the insects
Simply let forth their cries…

Dōmei
道命

Love III: 25

Left (Win).
末までといひしばかりに浅茅原宿も我名も朽や果てなん

sue made to
iishi bakari ni
asajibara
yado mo wa ga na mo
kuchi ya hatenan
‘Until the very end,’
You simply said, but
A field of cogon grass
Surrounds my house; my name, too,
Will it wither away…?

A Servant Girl
769

Right.
斧の柄も年経る程は知る物をなど我恋の朽つる世もなき

ono no e mo
toshi heru hodo wa
shiru mono o
nado wa ga koi no
kutsuru yo mo naki
Even my axe handle,
Endures through the passing years,
I know it, but
Why is it that this love
Does not rot from this world?

Jakuren
770

Neither poem has any errors.

In judgement: ‘My house; my name, too’ (yado mo wa ga na mo) sounds better than ‘Why is it that this love’ (nado wa ga koi). The Left wins.

Winter I: 1

Left (Tie).

晴曇る時雨に色を染ながら隙なく降るは木葉成けり

harekumoru
shigure ni iro o
somenagara
himanaku furu wa
ko no ha narikeri
From the unsettled skies
Drizzle with colour
Stains
The ever-falling
Leaves from the trees.

Kenshō.

481

Right.

時雨つる嶺の叢雲晴のきて風より降るは木葉なりけり

shiguretsuru
mine no murakumo
harenokite
kaze yori furu wa
ko no ha narikeri
Drizzle done,
The peaks the clearing clouds
Reveal;
Now the winds are done, fallen are
The leaves from the trees.

Nobusada.

482

Both teams state they find no particular faults with the other’s poem this round.

Shunzei’s judgement: Both poems are on the topic of ‘falling leaves’, and both ‘The ever-falling leaves from the trees’ (himanaku furu wa ko no ha) and ‘Now the winds are done, fallen are’ (kaze yori furu wa), in conception and diction, are charming [kokoro kotoba tomo no okashiku kikoyu]. They must tie.