Tag Archives: breeze

Summer II: 6

Left (Win).

たち花の匂を風のさそい來て昔にかへす夜半のさ衣

tachibana no
nioi o kaze no
sasoikite
mukashi ni kaesu
yowa no sagoromo
Orange blossom
Scent upon the breeze
Urges
Me back to times gone by,
In my night-time garb…

Lord Ari’ie.

251

Right.

軒近き花たちばなに風過てにほひをのこす蝉の羽衣

noki chikaki
hana tachibana ni
kaze sugite
nioi o nokosu
semi no hagoromo
Close by my eaves
The orange blossom
Brushed by the breeze
Leaves its scent upon
The cicada’s gossamer garb.

Lord Takanobu.

252

The Right team have no particular criticisms to make this round. The Left, however, say that, ‘the expression “the orange blossom brushed by the breeze” (hana tachibana ni kaze sugite) sounds old-fashioned. Furthermore, “cicada’s gossamer garb” (semi no hagoromo) seems somewhat unexpected.’

Shunzei seems to agree, simply saying, ‘The Left’s “urges me back to times gone by, in my night-time garb’ (mukashi ni kaesu yowa no sagoromo) seems particularly fine. It must win.’

Summer II: 4

Left (Win).

重ねても涼しかりけり夏衣うすき袂にやどる月影

kasanetemo
suzushikarikeri
natsugoromo
usuki tamoto ni
yadoru tsukikage
Layered on, yet
‘Tis cool, upon
My summer garb’s
Flimsy sleeves
Rests moonlight.

A Servant Girl.

247

Right.

夏衣へだつともなき袂にも猶よそにこそ風は吹きけれ

natsugoromo
hedatsu mo naki
tamoto ni mo
nao yoso ni koso
kaze wa fukikere
My summer garb
Makes no hindrance
With its sleeves;
Far away is
The breeze a’blowing…

Ietaka.

248

Neither team can find any fault with the other’s poem this round.

Shunzei states, ‘The Left’s poem is perfectly balanced between beginning and end. Thus, it must win.’

Summer II: 3

Left (Win).

涼しとも思ひもはてず夏衣朝夕影のほどにぞ有ける

suzushi to mo
omoi mo hatezu
natsugoromo
asayūkage no
hodo ni zo arikeru
Of coolness,
Can I feel nothing in
My summer garb;
For ‘tween the light of morn and eve
Alone does it lie.

Lord Suetsune.

245

Right.

夏衣薄きかひこそなかりけれ袂涼しき風吹かねば

natsugoromo
usukai koso
nakarikere
tamoto suzushiki
kaze fukaneba
My summer garb is
Thin, yet effect
Has it none, when
Upon my sleeve a cool
Breeze blows not.

Lord Tsune’ie.

246

The Right remark that ‘the topic seems sidelined’ in the Left’s poem, to which the Left respond that their poem ‘is clearly about the appearance of the summer sun.’ The Left have no comments to make of the Right’s poem.

Shunzei states that ‘the Right’s “breeze blows not” (kaze fukaneba) is slightly less satisfactory than the Left’s approach, and their poem wins.’ (By this he means he prefers the more indirect statement on the heat of summer in the Left’s poem.)

Summer I: 14

Left (Tie).

むかしより君と神とに引分けてけふのあふひは二葉なりけり

mukashi yori
kimi to kami to ni
hikiwakete
kyō no aoi wa
futaba narikeri
Ever between
My Lord and the God
Has my loyalty been split;
Thus the hollyhocks, today,
Have leaves in pairs…

Kenshō.

207

Right (Tie).

昔よりいつきの宮に吹そめてけふは涼しき賀茂の河風

mukashi yori
itsuki no miya ni
fukisomete
kyō wa suzushiki
kamo no kawakaze
Long since upon
The princess of purity
Has it begun to blow;
Today, so cool is
The breeze from Kamo River…

Nobusada.

208

The Right have no particular comments to make about the Left’s poem, but the Left complain that the Right’s, ‘does not seem that clearly connected with the Kamo Festival. Moreover, “princess of purity” (itsuki no miya) properly refers to the Princess at Ise; the Kamo Princess should be “lady of purity” (itsuki no in), should it not?’

Shunzei states, ‘Both Left and Right this round begin with a reference to the past (mukashi yori) and then continue with “my Lord and the God” (kimi to kami ni) and “the priestess of purity has it begun to blow” (itsuki no miya ni fukisomete) respectively; both are charming in form and spirit, but the gentlemen of the Left have criticised the failure to use “lady” (in). In poetry, though, how could we to use this word? Both the priestess at Ise and the priestess at Kamo are Imperial Princesses. Why, therefore, is it problematic to use the expression? Furthermore, Lord Sanekata composed a poem with the line, “Sleeping on my way to the princess of purity” (itsuki no miya no tabine ni wa), and at the Unrin Temple, in the Tale by the old man, Yotsugi, in praise of Princess Senshi it says, “although there were many princesses of purity in the world…”. This round must tie.’

Spring I: 16

Left (Tie).

春風に池の氷や解けぬらん待たれぬ浪の花を見る哉

haru kaze ni
ike no kôri ya
tokenuran
matarenu nami no
hana o miru kana
In the breath of spring
Will the ice upon the pond
Melt?
Unanticipated blossom touched
Waves come into view…

Lord Kanemune.

31

Right (Tie).

鶯のなみだのつらゝ聲ながらたよりにさそへ春の山水

uguisu no
namida no tsurara
koe nagara
tayori ni sasoe
haru no yama mizu
The bush warbler’s
Tears of ice,
And song,
Issue an invitation!
To the mountain waters this springtime…

Jakuren.

32

The Right team have no comments to make about the Left’s poem this round, but the Left wonder whether the essence of the poem, of the warbler’s ‘tears of ice’ and song inviting the waters, might not be a bit much?

Shunzei remarks that the form and phrasing of the Left’s poem is ‘certainly charming’, and echoes their criticism of the Right’s poem, as having an ‘impossible essence’. He then goes on to say, ‘The Left is placidly charming; the Right’s essence must be excessive. They are equivalent and I judge this round a tie.’

Spring I: 9

Left (Win).

信樂の外山は雪も消えにしを冬を殘すや谷の夕風

shigaraki no
toyama wa yuki mo
kienishi o
fuyu o nokosu ya
tani no yūkaze
From Shigaraki’s
Mountains, the snow
Has gone, yet
Does winter remain in
The valleys’ evening breeze?

Kenshō

17

Right.

春風は吹くと聞けども柴の屋はなをさむしろにいこそ寢られね

haru kaze wa
fuku to kikedomo
shiba no ya wa
nao samushiro ni
i koso nerarene
The spring breeze
Blows, I hear, yet
My twig-roofed hut is
Yet chill: beneath a threadbare blanket
I cannot fall asleep.

Lord Tsune’ie

18

Shunzei states the first part of the Left’s poem is ‘elevated in tone’, but that the final line is problematic: a reference to ‘morning’ might have been better, or just to the ‘valleys’ breeze’, but this would not have fitted the syllable count. If the intention had been to add a sense of ‘darkness’ to the poem, an expression such as ‘the valleys, shadowed by the crags’ would have been better. As for the Right’s poem, the image of the ‘twig-roofed hut’ is lonely, but the overlaying of the ‘cold’ with ‘blanket’ (in the original poem ‘samushiro’ is a play-on-words with both senses) is pedestrian, and so the Left’s poem, despite its faults, is adjudged the winner.

Summer 20

Left (Win).

蘆の屋のかりねの床のふしのまにみじかく明る夏の夜な夜な

ashi no ya no
karine no toko no
fushi no ma ni
mijikaku akuru
natsu no yonayona
Out cutting reeds,
Upon a fleeting bed
I lie; between one reed-knot and another,
So brief comes the dawn
Each passing night in summer.

39

Right

うちなびくしげみが下のさゆり葉のしられぬほどにかよふ秋風

uchinabiku
shigemi ga shita no
sayuriba no
shirarenu hodo ni
kayou akikaze
Aflutter
Beneath the growth
Lilies,
Unknown
to all,
Are passed by an autumn breeze.

40