Former Emperor Yōzei, on the 15th day of the Ninth Month, when it fell upon the day of Elder Brother-Metal Monkey, held a poetry match of the Left and Right with his eldest son’s daughters, the First Princess and the Second Princess, as the leaders of the two teams, composing poems in response to prior poems on the conception of the end of autumn.
Original
つきかげのやましたまでにさやけきはよるももみぢのいろをみよとや
tsukikage no yamashita made ni sayakeki wa yoru mo momiji no iro o miyo to ya
The moonlight To the mountains’ foot Is clear, so At night, too, the scarlet leaves’ Hues behold—I wonder if they say!
1
Left
もみぢせぬあきのやまべのあらばこそつきのひかりをたづねてもみめ
momiji senu aki no yamabe no araba koso tsuki no hikari o tazunete mo miyu
Should scarlet leaves be not Upon the autumn mountainside Then, surely, still The moon’s light Would I visit to see.
makuzu hau yamaji mo harete aki no yo wa koyuru tabibito yasuki tsuki kana
Kudzu vines crawl Along the mountain paths, so clear On an autumn night for A traveller a’crossing Lit by a clement moon!
Cell of the Fragrant Elephant 35
Right
くまもなきつきのひかりをながめてはひたけてぞしるよはあけにけり
kuma mo naki tsuki no hikari o nagamete wa hi takete zo shiru yo wa akenikeri
No cloud mars The moon’s light, Filling my gaze, as A sun up high, telling me, Night leads to bright dawn.
Cell of the Everlasting Truth 36
The poem of the Left has nothing to present in all of its syllables. The poem of the Right resembles a composition by someone drunk out of his mind. As a result, it’s impossible to decide between them.
In the poem of the Left, does ‘clement moonlight’ mean that the moon’s light enables one to traverse a mountain path, which normally one would be unable to make one’s way along because one would expect it to be dark? The diction here is insufficient. As it says in the preface to the Ancient and Modern Collection of Narihira’s poems, ‘excessive conception but lacking in diction, like withered flowers lacking colours, but with a lingering fragrance’. This is a poem in that style, isn’t it. As for the poem of the Right, this, too, has ‘night leads to bright dawn’—the diction here is stilted and the conception lacks elegance. I have to say these poems are of about the same standard.
aki no yo no tsuki no hikari wa kawaranedo tabi no sora koso aware narikeri
On an autumn night The moon’s light Is unchanged, yet The sky above me on my travels Is so very sad, indeed.
Lord Saburō 31
Right
あきの夜はたのむる人もなきやどもありあけの月はなほぞまちいづる
aki no yo wa tanomuru hito mo naki yado mo ariake no tsuki wa nao zo machi’izuru
On an autumn night With no man even expected At my house, It is the dawntime moon’s Appearance that, indeed, I have awaited.
Ushigimi
32
The poem of the Left seems extremely well-trodden. It resembles a something sung as a popular song. As for the poem of the Right, ‘not…at my house’ is extraordinarily stilted, yet the poems are of the same quality, so I would say these tie.
The poem of the Left’s final ‘Is so very sad, indeed’ sounds pitiful and truly unskilled. The poem of the Right overemphasises ‘even’, and also appears to say that the dawntime moon is an element conveying a moving desolation. I wonder if this is appropriate for the topic of the ‘the moon’ in a poetry match? There needs to be a prior poem as precedent. It does say that the moon’s emergence after having waited for it is something precious, but the poem refers to the moon in the latter part of the month, after the twentieth day, doesn’t it? This would seem to be moving, for sure, but it’s something which doesn’t shed much light, so I would say that the Left wins.
hisakata no katsura no kage ni naku shika wa hikari o kakete koe zo sayakeki
In the eternal Silver trees’ glow The belling stag Is limned with light, and His voice sounds clear, indeed!
A Court Lady 65
Right (Win)
天川秋の一夜のちぎりだにかた野に鹿の音をや鳴くらん
ama no kawa aki no hitoyo no chigiri dani katano ni shika no ne o ya nakuran
By the River of Heaven For a single autumn night’s Brief bond— Is that why a stag at Katano Does cry out so?
Ietaka 66
The Right’s poem, by beginning with ‘By the River of Heaven / For a single autumn night’s / Brief bond’ and then continuing with ‘a stag at Katano’ sounds particularly refined, evoking memories of bygone days when Prince Koretaka sought lodging from the Weaver Maid when hunting at Katano—how charming it is.[2] The Left’s poem overall is not particularly bad and seems to lack any obvious faults, but the Right’s poem surpasses it in every way: it is not one of the normal run of compositions and thus, it must win.
[1] 夜鹿 – there are early examples of poems on related topics in Kin’yōshū and Senzaishū.
[2] Gotoba is referring to a pair of poems in Kokinshū which are contextualized by an account of a hunting expedition by Prince Koretaka 惟喬 (844-897): Once, when he had gone hunting in the company of Prince Koretaka, they dismounted by the banks of a river called Ama no Gawa (River of Heaven), and while they were tippling, the Prince commanded that Narihira offer him a wine cup with a poem expressing the feelings of a hunter arriving at the river of Heaven, so he composed the following: かりくらしたなばたつめにやどからむあまのかはらに我はきにけり kari kurashi / tanabatatsume ni / yado karamu / ama no kawara ni / ware wa kinkeri ‘While hunting night is falling, / So from the Weaver Maid / Let us beg lodging / For to the Riverbank of Heaven / Have we come!’ Ariwara no Narihira (KKS IX: 418); The prince recited the above poem many times, but was unable to think of a reply so, being one of the party, Aritsune composed this: ひととせにひとたびきます君まてばやどかす人もあらじとぞ思ふ hito tose ni / hito tabi kimasu / kimi mateba / yado kasu hito mo / araji to zo omou ‘In a single year / But once comes / The Lord she awaits, so / One who provides lodging / She is not, I’d say!’ Ki no Aritsune (KKS IX: 419). These poems were famously incorporated into chapter 82 of Ise monogatari with four others to provide an expanded context. See Horiuchi and Akiyama (1997, 157-160) for the original text and Mostow and Tyler (2010, 175-179) for an English translation and commentary.
yawaraguru hikari o tanomu shirushi ni wa komu yo no yami o terasazarame ya
The God has dimmed His light, but rely on it As a sign, I will, that In the darkness of the world to come He will surely shine…
Dharma Master Yūsei 137
Right
かみにわれたのみをかけてまつなればすみよしにこそみをばやどさめ
kami ni ware tanomi o kakete matsu nareba sumiyoshi ni koso mi oba yadosame
In the God, I Place my trust, and Await, with the pines, so At Sumiyoshi, surely, Will I make my lodging!
Norimori 138
The Left’s poem does not have a particularly remarkable conception, but with that being said, while its flow appears smooth, the expression of its core sentiment is, indeed, moving. As for the poem of the Right, while ‘Place my trust, and / Await, with the pines, so’ seems charming, the elevated tone of the Left is slightly superior, I think.
