Tag Archives: face

Love X: 11

Left (Tie)
東路や萱津の原の朝霧に起き別るらん袖はものかは

azumaji ya
kayatsu no hara no
asagiri ni
okiwakaruran
sode wa mono ka wa
On the eastern roads,
Upon the field of Kayatsu
With the morning mists
Does he rise and part, but
Are his sleeves as mine?

Lord Ari’ie
1161

Right
さまざまにうつる心も鏡山影見ぬ人を恋ふるものかは

samazama ni
utsuru kokoro mo
kagamiyama
kage minu hito o
kouru mono ka wa
Many
Hearts does she attract upon
Mirror Mount,
But with one whose face remains unseen
Would I fall in love?

Lord Takanobu
1162

The Right state: the Left’s poem is fine. The Left state: the Right’s poem has no faults to mention.

In judgement: both poems are certainly by men entranced by thoughts of player-girls. The configuration and diction of ‘are his sleeves as mine?’ (sode wa mono ka wa) and ‘would I fall in love?’ (kouru mono ka wa) are both not unpleasant. Thus, I make this a tie.

Love IX: 17

Left (Tie)
ます鏡うつしかへけむ姿ゆへ影絶えはてし契をぞ知る

masukagami
utsushikaekemu
sugata yue
kage taehateshi
chigiri o zo shiru
A clear glass
Will reflect back
My true face, yet
A form fixed forever
Reveals his my vow to me…

A Servant Girl
1113

Right
戀妻に似てや書らん見つるより絵にも心をうつしつる哉

koizuma ni
nite ya kakuran
mitsuru yori
e ni mo kokoro o
utsushitsuru kana
My beloved wife:
Does this so resemble her, that at
The mere sight of
The painting, my heart
Does move?

Lord Tsune’ie
1114

The Right state: the Left’s poem has no faults. The Left state: the Right’s poems contains a fault, does it not?

In judgement: What are we to make of the Left’s ‘In a clear glass my ever-changing reflected’ (masukagami utsushikaekemu)? While I have the feeling that there is a source for this poem, this aged official is completely unable to grasp it what it might be. It is not the case that the poem is lacking in an elegant style. The Gentlemen of the Left have commented on the existence of a fault in the Right’s poem. Perhaps the two cranes (tsuru)? This type of issue relating to a poem’s formal diction does not seem that serious to me. However, saying ‘does this so resemble her, that at’ (nite ya kakuran) is insufficient in terms of expression. The Left’s ‘clear glass’ would win, if its source were clear, but in its absence, it is difficult to make it the winner.

Love VIII: 17

Left
山鳥のはつおの鏡掛けねども見し面影に音は泣かれけり

yamadori no
hatsuo no kagami
kakenedomo
mishi omokage ni
ne wa nakarekeri
A mountain pheasant’s
Tail of hempen cord this mirror
Does not suspend, yet
The face I saw there once
Makes me weep out loud…

Kenshō
1053

Right (Win)
面影をほの三嶋野に尋ぬれば行衛知られぬ鵙の草ぐき

omokage o
hono mishimano ni
tazunureba
yukue shirarenu
mozu no kusaguki
Her face
I did but briefly see at Mishimano
When I visited there;
I know not where has gone
The shrike hiding in the grasses.

Lord Takanobu
1054

The Gentlemen of the Right state: the Left’s poem has no faults to mention. The Gentlemen of the Left state: we wonder about the appropriateness of combining ‘Mishima Plain’ (mishimano) with ‘the shrike hiding in the grasses (mozu no kusaguki). Is there a poem as a precedent for this? If not, is it suitable?

In judgement: both poems have the conception of love: of imagining the pheasant and his mirror, and weeping at the memory of a lover’s face; and thinking of the shrike hiding in the grasses, visiting Mishima Plain, and recalling the past. However, what should we do about the matter of whether there is a precedent poem for ‘the shrike hiding in the grasses’ on Mishima Plain? Surely, it could be any plain, so there is no reason not to use this. The configuration of ‘I know not where has gone’ (yukue shirarenu) sounds better than that of ‘makes me weep out loud’ (ne wa nakarekeri). The Right, again, must win, I think.

 

Love VII: 24

Left (Tie).
故郷に見し面影も宿りけり不破の関屋の板間洩る月

furusato ni
mishi omokage mo
yadorikeri
fuwa no sekiya no
itama moru tsuki
Back home
I saw her face, and
It lodges here,
At the Barrier House at Fuwa,
In the moonlight leaking through the boards.

A Servant Girl
1007

Right.
人恋ふる我ながめよ思けり須磨の関屋の有明の月

hito kouru
ware nagameyo
omoikeri
suma no sekiya no
ariake no tsuki
Loving you,
I will ever gaze,
I thought,
At the Barrier House at Suma
On the dawntime moon.

Nobusada
1008

The Right state: the Left’s poem is good. The Left state: the Right’s poem lacks any faults to indicate.

In judgement: the Left’s ‘Barrier House at Fuwa’ (fuwa no sekiya) followed by ‘the moonlight leaking through the boards’ (itama moru tsuki) is truly charming. In addition, if one wonders why ‘I saw her face’ (mishi omokage mo) has been used, it is certainly reminiscent of the poem ‘The dawntime moon, too, lodges in the waters clear’, but an improvement on it. It is difficult to say, however, that the Right’s ‘At the Barrier House at Suma on the dawntime moon’ (suma no sekiya no ariake no tsuki) is in any way inferior.

Love VII: 17

Left.
人心さのみはいかゞ水無瀬川我には淺き契なるらむ

hito kokoro
sa nomi wa ikaga
minasegawa
ware ni wa asaki
chigiri naruramu
Her heart
Is just like it; why as
The Minase River
So shallow for me
Should her feelings be?

Lord Suetsune
993

Right (Win).
いかにして影をも見まし澤田河袖つくほどの契りなりとも

ika ni shite
kage o mo mimashi
sawadagawa
sode tsuku hodo no
chigiri naritomo
No matter what
I would see her face in
The River Sawada,
Even if my sleeves get drenched
By my feelings…

Ietaka.
994

Both Left and Right together state: there are no faults to indicate.

In judgement: using ‘the Minase River’ (minasegawa) preceded by ‘is just like it; why as’ (sa nomi wa ika ni) sounds charming in style, but ‘should her feelings be?’ (chigiri naruramu) means the end of the poem is a bit dry! ‘The River Sawada, even if my sleeves get drenched’ (sawadagawa sode tsuku hodo no) sounds pleasant. Thus, the Right wins.

Love VII: 13

Left (Tie).
聞きわたるありなれ河の水にこそ影を傡べて住まゝほしけれ

kikiwataru
arinaregawa no
mizu ni koso
kage o narabete
sumamahoshikere
Echoes cross
The Arinare River’s
Waters;
Bringing to mind the face
Of the one I would be with…

Kenshō
985

Right.
涙川逢ふ瀬も知らぬみをつくし丈越す程になりにけるかな

namidagawa
ause mo shiranu
miotsukushi
take kosu hodo ni
narinikeru kana
A river of tears:
I know no way for us to meet, so
The channel buoys, my soul,
Are flooded over –
That is how they be!

Nobusada
986

The Gentlemen of the Right state: we are not accustomed to hearing the expression ‘Arinare River’ (arinaregawa), and the ending of the poem is old-fashioned. The Gentlemen of the Left state: ‘are flooded over’ (take kosu hodo) sounds excessively modern.

In judgement: ‘Arinare River’ is unusual, and the final section of the Left’s poem is certainly old-fashioned. The ‘river of tears’’ (namidagawa) ‘channel buoys’ (miotsukushi) do seem to be enduring an excess of water, don’t’ they! The round should tie.

Love VI: 3

Left (Tie).
つれもなき人をもさそへ夜はの月影ばかりだによそに見るやと

tsure mo naki
hito o mo sasoe
yowa no tsuki
kage bakari dani
yoso ni miru ya to
That heartless
Man, will you invite
O midnight Moon!
Even just an image
In the distance would I wish to see…

Lord Suetsune.
905

Right.
秋の月妹が面影さそひきて我心にも宿すなりけり

aki no tsuki
imo ga omokage
sasoikite
wa ga kokoro ni mo
yadosu narikeri
The autumn moon
My darling’s face
Does bring to me, and
Within my heart
Has it found a place to stay.

The Provisional Master of the Empress’ Household Office.
906

The Right state: if one is inviting someone to come and visit, then there is no reason to mention ‘just an image’ (kage bakari). We wonder whether the invitation is addressed to the sky? The Left state: the Right’s poem is pedestrian.

In judgement: both Left and Right have the same conception of an invitation addressed to the moon. The Round can only be a tie.

Love V: 29

Left (Tie).
象潟や妹戀ひしらにさ寢る夜の磯の寢覺に月傾きぬ

kisakata ya
koishirani
sanuru yo no
iso no nezame ni
tsuki katabukinu
In Kisakata and
In love;
I sleep the night away, and
Awaking on the rocky shore
Behold the moon descending.

Kenshō
897

Right.
清見潟岩敷く袖の浪の上に思ふもわびし君が面影

kiyomigata
iwa shiku sode no
nami no ue ni
omou mo wabishi
kimi ga omokage
At Kiyomigata
Sleeves spread atop the rocks,
Waves breaking atop them;
Heart filled with pain
At the memory of your face…

Jakuren
898

Left and Right both state that the opposing poem is pretentious.

In judgement: the Left’s poem seems well-constructed in its initial and final sections. However, as in Mototoshi’s poem long ago, ‘breaking a stem of miscanthus on the beach at Ise’, this seems to be a case of poetic allusion. The Right’s ‘Sleeves spread atop the rocks, waves breaking atop them’ (iwa shiku sode no nami no ue) seems to have been newly composed and seems elegant, but the final section is somewhat inferior. The Left has beginning and end matching. The Right has a superior initial section, but an inferior final one. Thus, the round ties.