Tag Archives: blooms

Summer II: 16

Left (Win).

暮そめて草の葉なびく風のまに垣根涼しき夕顔の花

kuresomete
kusa no ha nabiku
kaze no ma ni
kakine suzushiki
yūgao no hana
At the first fall of dusk
Blades of grass rustle
In the breeze;
On the brushwood fence coolly
Blooms a moonflower.

Lord Sada’ie.

271

Right.

日數ふる雪にしほれし心地して夕顔咲ける賤が竹垣

hikazu furu
yuki ni shioreshi
kokochishite
yūgao sakeru
shizu ga takegaki
Day after passing day
Of snowfall has draped it,
I feel,
Moonflowers blooming on
A peasant’s bamboo fence.

Lord Tsune’ie.

272

The Right state, ‘Both “first fall of dusk” (kuresomete) and “in the breeze” (kaze no ma ni) are unusual expressions.’ The Left in return say, ‘It sounds as if the bamboo fence is weighed down with moonflowers!’ (The Left here are interpreting the verb shioru to mean ‘bend down’ which is one of its senses. I have not followed this in my translation, in line with Shunzei’s judgement, below.)

Shunzei comments, ‘The gentlemen of the Right have stated that “first fall of dusk” (kuresomete) and “in the breeze” (kaze no ma ni) are unusual expressions, but I do not feel this to be particularly the case. As for yuki ni shiroreshi, surely this simply means that the fence is draped. In any case, however, “on the brushwood fence, coolly” is the superior poem in every way.’

Summer II: 15

Left (Tie).

蚊遣火の煙いぶせき賤の庵にすゝけぬ物は夕顔の花

kayaribi no
kemuri ibuseki
shizu no io ni
susukenu mono wa
yūgao no hana
Mosquito smudge fires’
Fumes fill the dreary
Peasant’s hut; but
Untouched by soot are
The moonflower blooms.

Lord Suetsune.

269

Right (Tie).

煙立つ賤が庵か薄霧のまがきに咲ける夕顔の花

kemuri tatsu
shizu no iori ka
usugiri no
magaki ni sakeru
yūgao no hana
Is this smoke rising from
The peasants’ huts?
Faintly misted
Blooming on the rough-hewn fence
Are moonflowers…

Ietaka.

270

The Right have no criticisms to make this round. The Left simply say the phrase ‘huts? Faintly misted’ (iori ka usugiri) ‘stands out’.

Again, Shunzei is blunt: ‘The Left’s “untouched by soot” (susukenu) and the Right’s “faintly misted” (usugiri) are both equally poor. The round should tie.’

Summer I: 16

Left (Tie).

あふひ草かざすけふとぞ思しに花を折りても見えわたるかな

aoigusa
kazasu kyō to zo
omoishi ni
hana o oritemo
miewataru kana
With hollyhock I’d
Deck myself today
I thought,
And found all blessed with blooms
Within my sight!

Lord Kanemune.

211

Right (Tie).

ちはやぶる賀茂のみあれのあふひ草ひきつゞきても渡るけふ哉

chihayaburu
kamo no miare no
aoigusa
hikitsuzukitemo
wataru kyō kana
To mighty
Kamo for these three days have
The hollyhocks
In ever longer lines
Processed toward this day.

Jakuren.

212

The Right, ‘wonder if the Left’s poem doesn’t make the hollyhock seem like an afterthought?’, while the Left content themselves with saying, ‘the initial section of the Right’s poems seems rather dated.’

Shunzei disagrees: ‘The Left’s poem does not make the hollyhocks secondary – rather than implying they are mere decorations, it suggests the beauty of everyone beautifully adorned proceeding toward the shrine. As for the Right’s poem, the use of old-fashioned terms is normal in the context. This makes both poems are equal, and the round should tie.’

Spring III: 27

Left.

かねて思ふわりなかるべき名殘かな飽かれぬ花も根に歸りなば

kanete omou
warinakarubeki
nagori kana
akarenu hana mo
ne ni kaerinaba
Long have I thought that
Hopeless would be
My regret,
Should the blooms – unsurfeited –
Return to their roots.

Lord Suetsune.

173

Right (Win).

わがおしむ歎きにそへて思ふかな花にをくるゝ春の心を

wa ga oshimu
nageki ni soete
omou kana
hana ni okururu
haru no kokoro o
Upon my regretful
Sorrow is heaped
Yet more grief:
With the blossoms gone
That is the sense of spring…

Lord Takanobu.

174

The Right remark that ‘unsurfeited’ (akarenu) in the Left’s poem is ‘grating on the ear’, while the Left suggest that ‘upon my regretful’ (wa ga oshimu) in the Right’s is less than entirely admirable.

Shunzei contents himself with simply saying that, ‘The Left’s “unsurfeited” sounds worse than the Right’s “upon my regretful”.’

Spring III: 19

Left (Win).

山吹の花のさかりになりぬとや折知りがほに蛙鳴くらん

yamabuki no
hana no sakari ni
narinu to ya
ori shirigao ni
kawazu nakuran
Golden kerria
Blooms their peak
Have reached, so
Seeming to know the season
Do the frogs sing on.

Lord Suetsune.

157

Right.

谷水の岩もる音はうづもれてすだく河づの聲のみぞする

tanimizu no
iwa moru oto wa
uzumorete
sudaku kawazu no
koe nomi zo suru
Waters in the valley
Soak the rocks – the sound
Swallowed by
Swarming frogs’
Singular songs.

Ietaka.

158

Both teams say that they consider the other’s poem to be ‘trite’ [kyūbutsu] this round.

Shunzei’s judgement: The Left’s poem certainly certainly has a conception [kokoro] which one is well-accustomed to hearing, but I am unable to recall exactly where. In form it is well-constructed [utazama yoroshikuhaberubeshi]. The Right’s initial “Waters in the valley soak the rocks – the sound swallowed” (tanimizu no iwa moru oto wa uzumorete) is excellent [yū], but the latter part is definitely old-fashioned [furite]. Thus, the Left must win.

Spring II: 6

Left (Tie)

みな人の春の心のかよひ來てなれぬる野邊の花の陰哉

mina hito no
haru no kokoro no
kayoikite
narenuru nobe no
hana no kage kana
Everyone who
Loves the springtime
Come to
These familiar fields and rest
‘Neath the blossoms’ shade!

Lord Sada’ie.

71

Right (Tie)

思ふどちそこともいはず行暮ぬ花の宿かせ野邊の鶯

omoudochi
soko tomo iwazu
yukikurenu
hana no yado kase
nobe no uguisu
My friends,
Heedless of our place
Has darkness fallen:
Lend us your lodging ‘mongst the blooms,
O, warbler, in the fields!

Ietaka

72

Neither side has any comments to make about these two poems.

Shunzei says both poems possess a ‘scintillating beauty’, but wonders whether the Right’s hasn’t borrowed too heavily from the Monk Sosei’s poem:

Composed as a Spring Poem
おもふどち春の山邊に打群れてそこともいはぬ旅寢してしか

omoFudoti
Faru no yamabe ni
utimurete
soko tomo iFanu
tabine sitesika
My friends,
In springtime in the mountain meadows
Did we gather,
Heedless of our place,
Wanted we to sleep out on our trip!

KKS II: 126

However, using the variation to borrow lodging from a warbler is, indeed, ‘scintillating’ and neither poems ‘sounds the least bit old-fashioned’. Hence, the round must be a tie.

Spring I: 18

Left (Tie).

木の間より日影や花をもらすらん松の岩根の水の白波

ko no ma yori
hikage ya hana o
morasuran
matsu no iwane no
mizu no shiranami
Between the trees,
The sunlight these blooms
Does seem to drench:
The pine-rooted crags’
White-capped waves of water.

A Servant Girl

35

Right (Tie).

春來れば氷をはらふ谷風の音にぞつゞく山川の水

haru kureba
kōri o harau
tanikaze no
oto ni zo tsuzuku
yamakawa no mizu
Spring is come, so
Sweeping ‘way the ice,
The wind through the valley
Brings a constant sound:
Water in the mountain streams.

Nobusada

36

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

Shunzei comments that both poems sound ‘excellent’, but the Left’s begins ‘between the trees’ (ko no ma yori) and then continues to mention ‘pines’: are the ‘trees’ pines? Or, are they a different type? Whichever is the case, this is, perhaps, a ‘compositional error’. As for the Right’s poem, the expression, ‘sweeping ‘way the ice/The wind through the valley’ (kôri o harau/tanikaze no) is ‘charming’, but he ‘greatly dislikes’ the use of tsuzuku. (It’s unclear why he says this, as he gives no further explanation: the commentators suggest that it could be that the word is too conventional, or that it was generally considered more attractive in poetry to have something ending, rather than continuing, or simply that he didn’t like the way the poem was read out on this occasion!) Given that both poems are ‘equally excellent’ , and that the Left is ‘unclear’ over its trees, a tie has to be awarded.

Sanekata Shū 250

When I had begun speaking to the Junior Assistant Handmaid, and our relationship was a great secret.

忍び音も苦しきものをほととぎすいざ卯の花のかげにかくれむ

sinobine mo
kurusiki mono wo
Fototogisu
iza u no Fana no
kage ni kakuremu
A whispered secret night together
Is wretched, indeed, so
Cuckoo,
Let us, in the summer snow blooms’
Shade, find shelter.