Tag Archives: crags

Naidaijin-ke uta’awase 23

Round Eleven

Left (Both Judges – Tie)

こけのむす岩ねに残る八重ぎくはや千代さくとも君ぞみるべき

koke no musu
iwane ni nokoru
yaegiku wa
yachiyo saku tomo
kimi zo mirubeki
Choked with moss are
The crags where linger
Eightfold chrysanthemums:
E’en were they eight thousand ages a’bloom
My Lord would have beheld them, no doubt!

Lady Shinano
45

Right

霜がれに我ひとりとや白菊の色をかへても人にみすらん

shimogare ni
ware hitori to ya
shiragiku no
iro o kaetemo
hito ni misuran
‘Burned by frost
‘Tis me alone!’ thinks
A white chrysanthemum,
Changing hue
To show to folk, for sure.

Lord Tokimasa
46

Toshiyori states: I wonder if there is a poem as precedent for chrysanthemums lingering beneath moss-covered crags? If not, it’s a very crude expression. The ending of the poem is antiquated, too. As for the second poem ‘“Tis me alone!” thinks’ does not sound satisfactory. The assembled company settled the matter of the final ‘folk’, so I must make this a tie.

Mototoshi states: whether they are placed by a brushwood fence, or at the base of a crag, chrysanthemums feel like pines. As for the Right, having a chrysanthemum seem to think ‘‘tis me alone’ is speculative—had it been something like ‘this bloom opens’ then it would have been the poet’s thoughts. Neither of these is of quality to win or lose, so I make them a tie.

Kanpyō no ōntoki kisai no miya uta’awase 61

Winter Poems    Twenty Rounds

Left

かきくもりあられふりしけ白玉をしける庭とも人の見るがに

kakikumori
arare furishike
shiratama o
shikeru niwa to mo
hito no miru gani
Clouds rush in
Dropping scattered hailstones;
Pearl
Strewn, my garden
I would that he would see…

119

Right

天の河ふゆは空までこほるらし石間にたぎつ音だにもせず

ama no kawa
fuyu wa sora made
kōrurashi
iwama ni tagitsu
oto dani mo sezu
The River of Heaven in
Winter: the very skies
Seem frozen, with
Between the rocky crags rushing
No sound at all.

120

Horikawa-in enjo awase 1

This match took place when, hearing that his courtiers were composing poetry, His Majesty ordered them to compose love poems to the ladies in attendance.

おもひあまりいかでもらさんおく山の岩かきこむる谷の下みづ

omoi’amari
ikade morasan
okuyama no
iwa kakikomuru
tani no shitamizu
My passion’s full, so
How should it o’erflow?
Deep within the mountains
Hemmed in by crags are
The waters of the valley floor…

Major Counsellor Kinzane
1

In reply

いかなれば音にのみきく山川の浅きにしもはこころよすらん

ika nareba
oto ni nomi kiku
yamakawa no
asaki ni shimo wa
kokoro yosuran
For some reason,
I simply hear the sound
Of a mountain stream;
Into the shallows, indeed, has
Your heart been swept, it seems!

[Nakako,] The Suō Handmaid
2

KKS XIX: 1004

An ancient-styled poem to supplement a long poem.

君が世に相坂山の岩清水木隠れたりと思ける哉

kimi ga yo ni
aFusakayama no
iFasimidu
kogakuretari to
omoFikeru kana
Your Majesty’s reign
Is welcome so, as on the mount of Meeting Hill,
Spring water from the crags
Is hidden in the trees, thus
I am I sunk in thought!

Mibu no Tadamine

Love VIII: 11

Left
山深み種ある岩に生ふる松の根よりもかたき戀や何なる

yama fukami
tane aru iwa ni
ouru matsu no
ne yori mo kataki
koi ya nani naru
Deep with the mountains,
Upon the crags where seeds
Grow into pines,
Rooted firmly – how hard
Will our love be?

Lord Ari’ie
1041

Right (Win)
契きなまた忘れずよ初瀬河布留川野邊の二本の杉

chigirikina
mata wasurezu yo
hatsusegawa
furukawa nobe no
futamoto no sugi
You vowed it, did you not.
Not to forget me more.
In the River Hatsuse and
River Furu’s meadows
Stand twin cedars.

Jakuren
1042

Left and Right together state: we find no faults to mention.

In judgement: While there are such things in the heart of the mountains as ‘crags where seeds grow into pines’ (tane aru iwa ni ouru matsu), it is normally by the sea or on rocky coastlines that one finds firmly rooted pine trees. Surely, mountain pines are but lightly rooted? Cedars on River Hatsuse recollects ‘Nor will I ever; a solid brick-kiln’ (wasurezu yo kawaraya), but ‘You vowed it, did you not’ (chigirikina) also reminds me of the old phrase ‘Both our sleeves wringing out’ (katami ni sode o shiboritsutsu), which is most fine. Thus, the Right wins.

MYS XVII: 4003

A poem with two envoys, composed in respectful response to Tachiyama.

朝日さし そがひに見ゆる 神ながら 御名に帯ばせる 白雲の 千重を押し別け 天そそり 高き立山 冬夏と 別くこともなく 白栲に 雪は降り置きて 古ゆ あり来にければ こごしかも 岩の神さび たまきはる 幾代経にけむ 立ちて居て 見れども異し 峰高み 谷を深みと 落ちたぎつ 清き河内に 朝さらず 霧立ちわたり 夕されば 雲居たなびき 雲居なす 心もしのに 立つ霧の 思ひ過ぐさず 行く水の 音もさやけく 万代に 言ひ継ぎゆかむ 川し絶えずは

asapi sasi
sogapi ni miyuru
kamu nagara
mina ni obasesu
sirakumo no
tipe wo osiwake
ama sosori
takaki tatiyama
puyu natu to
waku koto mo naku
sirotape ni
yuki pa puri okite
inisipe yu
arikinikereba
kogosikamo
ipa no kamusabi
tama kiparu
ikuyo penikemu
tatiwite
miredomo ayasi
minedakami
tani wo pukami to
otitagitu
kiyoki ka puti ni
asa sarazu
kiri tati watari
yupu sareba
kumowi tanabiki
kumowi nasu
kokoro mo sino ni
tatu kiri no
omopi sugusazu
yuku midu no
woto mo sayakeku
yoroduyo ni
ipitugi yukamu
kapa si taezu wa
The morning sun shines
At my back,and
Divine
Your great name links:
Clouds of white
In a thousand layers, you pierce, and
Tower into the heavens,
Tall Tachiyama!
In winter and, in summer both
Indistinguishably are you
Clad in mulberry white
Fallen drifts of snow;
Since ancient days
Ever has been your estate,
Fastened round with
Crags divine;
‘til all souls end
Have countless ages passed!
Standing here,
I see you, yet am awed by
Your lofty peak and
Valley’s deep, where
Plunge seething cataracts of
Waters pure to pools where
Morning never leaves –
Mists rise and roll across, and
When the evening comes
Clouds trail in and
Cover all,
Even, with sadness, my heart, so
The rising mists
Never leave my thoughts, and of
Your running waters’
Clear, pure sound
Through ten thousand ages
Will I ever tell
Unending as a river’s flow…

Ōtomo no Ikenushi
大伴池主

Love VII: 12

Left (Win).
與謝の海の沖つ潮風浦に吹けまつなりけりと人に聞かせん

yosa no umi no
oki tsu shio kaze
ura ni fuke
matsunarikeri to
hito ni kikasen
By the sea at Yosa,
Tidewinds on the offing,
Blow across the bay!
That I am waiting without end,
Tell him!

A Servant Girl
983

Right.
浪かくるさしでの磯の岩根松ねにあらはれてかはくまもなし

nami kakuru
sashide no iso no
iwane matsu
ne ni arawarete
kawaku ma mo nashi
Waves beat
Upon the shore at Sashide, where
The pine trees on the crags
Roots are bared and
Never dry for but a moment.

The Supernumerary Master of the Empress’ Household Office
984

The Right state: the Left’s poem lacks any faults. The Left state: the Right’s poem is pedestrian.

In judgement: the configuration of the Left’s ‘Blow across the bay!’ (ura ni fuke) and its links with the preceding and subsequent lines, sounds charming. The Right’s poem is stylistically elegant, but the poem more closely resembles a poem on the topic of ‘Love and Pine Trees’. Thus, the Left wins.