Tag Archives: Cathay

Love VIII: 23

Left (Tie)
身を捨てゝ思へといはゞ唐国の虎臥す谷に世をもつくさん

mi o sutete
omoe to iwaba
karakuni no
tora fusu tani ni
yo o mo tsukusan
‘Abandon all restraint, and
Love me!’ say that, and
In far Cathay,
In a valley where tiger’s lie
Would I end my life!

Kenshō
1065

Right
もろこしの虎臥す嶋もへだつらん思はぬ中のうときけしきは

morokoshi no
tora fusu shima mo
hedatsuran
omowanu naka no
utoki keshiki wa
In Cathay,
Isles where tigers lie
Stand in between:
A heedless love’s
Chill is such a sight!

Jakuren
1066

Left and Right together: both tigers do not seem to emphasise anything in particular.

In judgement:  both poems refer to ‘tigers’ (tora), with the Left having ‘a valley where tigers lie’ (tora fusu tani) and the Right ‘isles where tigers lie’ (tora fusu shima). These seem to be an attempt to differ from the standard ‘meadow’ (nobe). Saying ‘valley’ or ‘isles’ makes both poems sound modern. They are of the same quality.

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.

SKKS I: 5

On the conception of the beginning of spring, composed for a hundred poem sequence for the Lay Priest and former Regent and Chancellor, when he was Minister of the Right.

今日といへば大唐までもゆく春を都にのみと思ひけるかな

kyō to ieba
morokoshi made mo
yuku haru o
miyako ni nomi to
omoikeru kana
On this day, the spring that
Even unto Cathay
Will travel is
In the capital alone
I feel!

Master of the Dowager Empress’ Household Office Shunzei
皇太后宮大夫俊成

MYS XIX: 4153

Composed on the Third Day at a banquet at the estate of Yakamochi, Lord Ōtomo.

漢人も栰を浮べて遊ぶとふ今日そわが背子花蘰せな

karabito mo
pune wo ukabete
asobu topu
kepu so wa ga seko
pana kadurasena
The folk of Cathay, too,
Drift in their boats
At play, ‘tis said,
Upon this day, my love,
Won’t you wear, this garland, in your hair?

Ōtomo no Yakamochi

MYS XIX: 4262

[One of] two poems composed at the farewell festivities at the house of Ōtomo no Kojihi, Captain of the Outer Palace Bodyguards, for Ōtomo no Komaro, who was going as deputy ambassador on an embassy to China.

韓国に 行き足らはして帰り来むますら健男に御酒奉る

karakuni ni
yukitarapasite
kaperikomu
masura takewo ni
miki tatematuru
In Cathay when
All you have done
Return to us
O mighty man
To whom I proffer this esteemed draught!

Master of Hawks, Tajihi no Mahito
多治比真人

Love I: 18

Left.

唐土の見ず知らぬ世の人ばかり名にのみ聞きて止みねとや思ふ

morokoshi no
mizu shiranu yo no
hito bakari
na ni nomi kikite
yamine to ya omou
Distant Cathay:
Unseen and unknown once was to
Folk – every one;
With the report of your name, alone,
Will our love be over?

Lord Sada’ie.

635

Right.

いかにして露をば袖に誘ふらんまだ見ぬ里の萩の上風

ika ni shite
tsuyu o ba sode ni
sasouran
mada minu sato no
hagi no uwakaze
What am I to do?
Dewfall to my sleeves
Has come, brought from
A dwelling, yet unseen,
By breeze upon the bush-clover…

Jakuren.

636

The Right state that the Left’s use of ‘every one’ (bakari) connects poorly with the subsequent section [kakeawazu]. The Left state that the while the style of the Right’s poem seems elegant [sono tei yū ni niru to iedomo], ‘A dwelling, yet unseen bush-clover’ (mada minu sato no hagi) is hard to hear [kikigataku].

Shunzei’s judgement: ‘Distant Cathay unseen and unknown once’ (morokoshi no mizu shiranu yo) must be referring to the Three Histories and Eight Dynasties. This seems to be meaningful, but does not really indicate anything profound. As for ‘a dwelling, yet unseen bush-clover’, whichever way you look at it, it is modified by ‘dewfall has come’ (tsuyu o sasouran). However, the Left also has the recollection of Cathay, so the two poems are comparable.

Autumn II: 20

Left (Win).

唐衣裾野の庵の旅枕袖より鴫の立つ心地する

karakoromo
susono no io no
tabimakura
sode yori shigi no
tatsu kokochisuru
Clothed in Cathay robes
In a hut at Susono
My traveller’s pillow –
My sleeve – from which the snipe
I feel are starting.

Lord Sada’ie.

399

Right.

旅衣夜半のあはれも百羽がき鴫立つ野邊の暁の空

tabi makura
yowa no aware mo
momohagaki
shigi tatsu nobe no
akatsuki no sora
Clad in traveller’s garb
All night long in lonely reverie
As beating wings time and again
Snipe start from the fields
Into the dawning sky.

Nobusada.

400

The Right query whether it is possible to draw an association between ‘Cathay robes’ and snipe? The Left wonder about the usage of’lonely reverie as beating wings’.

Shunzei’s judgement: The criticisms from both teams are ones I have encountered before. As the poet has used ‘My sleeve – from which the snipe’ (sode yori shigi), and ‘a hut at Susono’ (susono no io), it requires the use of ‘Cathay robes’ (kara koromo) – there is no more to it than that. As for the Right, saying ‘Snipe start from the fields’ (shigi tatsu nobe) and ‘All night long in lonely reverie as beating wings time and again’ (yowa no aware mo momohagaki) – there is no fault to be found here, either. However, saying ‘My sleeve – from which the snipe’ is better. It must win.

Spring III: 13

Left (Tie).

さかづきの流れにつけて唐人の船乘りすなるけふをしぞ思

sakazuki no
nagare ni tsukete
karahito no
fune norisu naru
kyō o shi zo omou
As the wine cups
Flow,
Cathay folk,
Boarding boats
This day, comes to my mind.

Kenshō.

145

Right (Tie).

ゆく水に浮ぶる花のさか月や流れての代のためしなるらん

yuku mizu ni
ukaburu hana no
sakazuki ya
nagarete no yo no
tameshi naruran
Upon the flowing waters
Floating flowers of
Wine cups!
In times gone by,
Was there ever such a thing?

The Provisional Master of the Empress’ Household Office.

146

Both Left and Right say they have no criticisms to make this round.

Shunzei says, ‘The Left’s poem recalls an ancient Chinese festival, while the Right’s mentions one from our own Court. In terms style and form, neither poem has any particular problems. The round must tie.’

Miscellaneous 97

Left.

大井河まれの御幸に年へぬる紅葉のふなぢ跡は有りけり

ôikawa
mare no miyuki ni
toshi henuru
momiji no funaji
ato wa arikeri
Ôikawa
Rarely, now, does His Majesty come;
Year have passed, yet
Through the coat of autumn leaves the boat
Still leaves its wake.

193

Right (Win).

たらちめや又もろこしに松浦舟今年もくれぬ心づくしに

tarachime ya
mata morokoshi ni
matsurabune
kotoshi mo kurenu
kokorozukushi ni
Does my mother
Yet in Cathay
Await the boat from Matsura?
This year is done, and I am
Desolate, in Tsukushi.

194

Love 76

Left (Win).

袖の浦かりにやどりし月草のぬれてのゝちを猶やたのまん

sode no ura
kari ni yadorishi
tsukigusa no
nurete no nochi o
nao ya tanoman
Upon the sands of my sleeves,
You were briefly beached:
In a dayflower
Drenched,
Can I place my trust?

151

Right.

はるかなる人の心のもろこしはさはぐ湊にことづてもなし

harukanaru
hito no kokoro no
morokoshi wa
sawagu minato
ni
kotozute mo nashi
Distant,
Her heart as
Cathay:
To the harbour tumult,
Comes not a single word…

152