Tag Archives: Iefusa

Autumn I: 16

Left.

宵の間の月待つ程の雲間より思はぬ影を見する稲妻

yoi no ma no
tsuki matsu hodo no
kumoma yori
omowanu kage o
misuru inazuma
In the early evening
While waiting for the moon,
From between the clouds
All unexpected is the light
Of lightning.

Lord Suetsune.

331

Right (Win).

夕月夜かげろふ宵の雲間より光をかへて照らす稲妻

yūzukuyo
kagerō yoi no
kumoma yori
hikari o kaete
terasu inazuma
The evening moon
Misty is at dusk, when
From between the clouds
Comes a different light:
A flash of lightning!

The Provisional Master of the Empress’ Household Office.

332

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

Shunzei, however, says, ‘Both poems contain the line “from between the clouds” (kumoma yori), with the Left “while waiting for the moon” (tsuki matsu hodo) and the Right “The evening moon misty is at dusk” (yūzukuyo kagerō yoi). In addition to the fact that “misty” is far more charming in relation to an “evening moon”, than “waiting for the moon”, “all unexpected is the light” (omowanu kage) is not an expression I find particularly pleasing. “Comes a different light” (hikari o kaete) seem much finer. Thus, I make the right the winner.’

Autumn I: 8

Left (Win).

呉竹に過ぐる秋風さ夜更けて奠るほどにや星合の空

kuretake ni
suguru akikaze
sayo fukete
matsuru hodo ni ya
hoshiai no sora
When the black bamboo
Is brushed by autumn breeze, and
Night falls,
Is it time to celebrate?
Stars meeting in the heavens…

Lord Kanemune.

315

Right.

九重に今日奠るをば七夕のたゞ一夜にも嬉しとや見る

kokonoe ni
kyō matsuru oba
tanabata no
tada hito yo ni mo
ureshi to ya miru
Within the Ninefold Palace walls
This day we celebrate,
The lovers on
Just a single night:
Are they pleased, I wonder?

The Provisional Master of the Empress’ Household Office.

316

The Right state, ‘“Is it time to celebrate? Stars meeting in the heavens” (matsuru hodo ni ya hoshiai no sora) – the one does not seem to follow from the other. The Left wonder, ‘why we have an annual rite describe as “a single night” (tada hito yo), and not “but one night a year” (toshi ni hito yo)?’

Shunzei merely remarks, ‘“Is it time to celebrate? Stars meeting in the heavens” – this certainly does follow on, and there is nothing wrong with it. The point about “a single night” is well made. The Left wins.’

Autumn I: 2

Round One-Hundred and Fifty-Two: Autumn – Lingering Heat.

Left.

水無月の照る日や影を殘しけん今朝吹く風の秋に知られぬ

minazuki no
teru hi ya kage o
nokoshiken
kesa fuku kaze no
aki ni shirarenu
The Waterless Month’s
Shining sun and light
Seem to linger on;
To this morning’s blowing breeze
Is autumn quite unknown.

Kenshō.

303

Right (Win).

秋を淺み照る日を夏とおぼめけば暮行空の荻の上風

aki o asami
teru hi o natsu to
obomekeba
kureuyuku sora no
ogi no uwakaze
In autumn ‘tis weak, yet
The shining sun, of summer
Yet has the feel;
From the dusking sky comes
The wind o’er the silver-grass.

The Provisional Master of the Empress Household Office.

304

The Right state, ‘It would have been far better to have “This morning’s blowing breeze brings no knowledge of autumn” (kesa fuku kaze no aki o shirasenu).’ The Left reply, ‘In the Right’s poem, the initial section fails to express the topic, and the latter part seems to have no purpose.’

Shunzei’s judgement is: ‘With regard to the Left’s poem, I cannot agree that “brings no knowledge of autumn” is any better than “is autumn quite unknown”. As for the Right, in general it is not considered that “the shining sun, of summer yet has the feel” (teru hi o natsu to obomekeba) provides suitable praise to the lingering heat of autumn. However, even in poems on the theme of lingering heat, it is appropriate to praise the coolness of early evening. Does not “From the dusking sky comes the wind o’er the silver-grass” (kureuyuku sora no ogi no uwakaze) do this? It must win.’

Summer II: 27

Left.

ひまもなく信太の杜に聞ゆ也千枝にや來鳴く蝉の諸聲

hima mo naku
shinoda no mori ni
kikoyu nari
chie ni ya kinaku
semi no morogoe
Ceaselessly
In Shinoda forest
Does one hear
From the thousand branches of the camphor tree
The cicadas’ jostling songs?

Lord Suetsune.

293

Right (Win).

夏山の木ごとにひゞく心地して一方ならぬ蝉の諸聲

natsuyama no
ki goto ni hibiku
kokochishite
hitokata naranu
semi no morogoe
In the summer mountains
Every single tree resounds,
I feel,
From all sides comes
The cicadas’ jostling songs.

The Provisional Master of the Empress’ Household Office.

294

Both Left and Right state simply that they found the other’s poem ‘unsatsifying’.

Shunzei wonders, ‘Whether “Shinoda forest cicadas” (shinoda no mori no semi) is entirely appropriate? It has more the feeling of cuckoos, I think. “Every single tree resounds” (ki goto ni hibiku kokochi sen) is more like it. Thus, I would make Right the winner.’

Summer II: 23

Left.

夕立はなごりも見えず晴にけりいづら小河の音ばかりして

yūdachi wa
nagori mo miezu
harenikeri
izura ogawa no
oto bakarishite
The evening shower
Leaving no trace
Has cleared;
Where is the stream?
Amidst the sound of trickling water…

Lord Kanemune.

285

Right (Win).

初瀬山入日はさせど菅原や伏見の里は夕立の空

hatsuseyama
irihi wa sasedo
sugawara ya
fushimi no sato wa
yūdachi no sora
From Hatsuse Mountain
The setting sun does shine, yet
Above Sugawara and
The estate of Fushimi
Evening showers fill the sky.

The Provisional Master of the Empress’ Household Office.

286

Neither Left nor Right has anything to say this round.

Shunzei simply says, ‘The Right’s “The estate of Fushimi evening showers fill the sky” is particularly fine. The Right must win.’

Summer II: 13

Left.

片山の垣根の日影ほのみえて露にぞうつる花の夕顔

katayama no
kakine no hikage
honomiete
tsuyu ni zo utsuru
hana no yūgao
Facing the single mountainside
In evening sunlight upon the fence
Faintly seen,
Glistening with dew,
Is a bloom of moonflower.

A Servant Girl.

265

Right (Win).

折てこそ見るべかりけれ夕露に紐とく花の光ありとは

orite koso
mirubekarikere
yū tsuyu ni
himo toku hana no
hikari ari to wa
Plucked, that
I might gaze upon her,
Touched with evening dew,
Her belt undoing, this blossom
Is lustrous, indeed!

The Provisional Master of the Empress’ Household Office.

266

The Right wonder whether the Left’s poem, ‘lacks the emotional import of the topic [dai no kokoro kasuka ni ya], despite the mention of moonflowers?’ The Left counter that, ‘The Right’s poem simplistically recalls The Tale of Genji [genji no monogatari bakari o omoeru]– is this appropriate in a poetry contest [uta’awase no akashi to nasu ni, ikaga]?’

Shunzei states, ‘The Left certainly does lack the emotional import of the topic. Moreover, it does not use the expression “moonflower blossom” (yūgao no hana), but “bloom of moonflower” (hana no yūgao). This, too, is contrary to the topic [dai no mama narade] and, I have to say, an unusual choice of expression. The Right’s poem does simply refer to The Tale of Genji, but in form it cannot be said to be anything less than superb [utazama yū narazaru ni wa arazaru]. It is superior to a “bloom of moonflower”.’

Summer II: 9

Left (Win).

夕されば扇の風を手ならして月待つ程も涼しかりけり

yū sareba
ōgi no kaze o
te narashite
tsuki matsu hodo mo
suzushikarikeri
When the evening comes,
A fan-borne breeze
Wafted by hand makes
Waiting for the moon
All the cooler…

Kenshō.

257

Right.

夏の夜の月は入ぬるなぐさめにならす扇をたとふばかりぞ

natsu no yo no
tsuki wa irinuru
nagusame ni
narasu ōgi o
tatou bakari zo
On summer nights
After moon-set
A consolation is
A wafted fan:
A simple image.

The Provisional Master of the Empress’ Household Office.

258

The Right state ironically, ‘“Waiting for the moon” certainly sounds hot!’, while the Left merely remark, ‘We have nothing special to mention, apart from the similarity to “When the moon is hid ‘hind rangéd mountains”.’

Shunzei judges, ‘In the Left’s poem, once the moon has come out, it would, indeed, be cool. It would be hot waiting, so there’s no reason not to compose this way. There is nothing special about the Right’s poem, apart from the resemblance to “When the moon is hid ‘hind rangéd mountains”, as has already been said. Shouldn’t we expect there to be something more? Thus, the Left’s poem is, just, the winner.’

Summer II: 5

Left (Tie).

尋入る楢の葉陰の重なりてさてしもかろき夏衣かな

tazuneiru
nara no hakage no
kasanarite
sateshimo karoki
natsugoromo kana
Entering within
The oak leaves’ shade,
Layer upon layer;
Still, how light
Is my summer garb!

Lord Sada’ie.

249

Right (Tie).

花の色の袖は重ねし物なれどひとへに惜しき蝉の羽衣

hana no iro no
sode wa kasaneshi
mono naredo
hitoe ni oshiki
semi no hagoromo
Cherry blossom hued
Sleeves lay one upon the other
And yet now,
A single, deep regret:
For the cicada’s gossamer garb…

The Provisional Master of the Empress’ Household Office.

250

Neither team has any criticisms to make this round.

Shunzei merely remarks, ‘The Left’s poem has “still, how light” (sateshimo karoki) and the Right’s “sleeves lay one upon the other and yet now” (sode wa kasaneshi mono naredo): both of these are only close to the topic, I feel. The round ties.’

Summer I: 28

Left (Win).

夏の夜は更けゆく程やなかるらん暮るればやがて明るしのゝめ

natsu no yo wa
fukeyuku hodo ya
nakaruran
kurureba yagate
akuru shinonome
On a summer night
Seems to grow late there’s
No time;
It falls and then
‘Tis the dark before bright dawn.

Lord Kanemune.

235

Right.

暮れぬとてたれこめたればやがて又ひまこそ白め夏の夜な夜な

kurenu tote
tare kometareba
yagate mata
hima kozo shirame
natsu no yonayona
Night’s fallen and
I’m curtained in my bed
And then
Through the cracks comes light
Night after summer night!

The Provisional Master of the Empress’ Household Office.

236

The Right state that, ‘The Left’s “seems…no time” feels overly feeble.’ The Left reply that the poet is exhausted by the heat.

Shunzei says, ‘The gentlemen of the Right have criticised the Left as overly feeble, but I wonder if their own poems are always forceful? In the summer, even if it has got completely dark, there’s no need to shut oneself up in one’s curtains, as in the Right’s poem. The Left must win.’

Summer I: 23

Left (Tie).

大井川なを山陰に鵜飼舟いとひかねたる夜半の月影

ōikawa
nao yamakage ni
ukaibune
itoikanetaru
yowa no tsukikage
Upon the Ōi River,
Yet beneath the mountain’s shadow are
Cormorant boats,
Impossible to avoid,
Within the midnight moonlight.

A Servant Girl.

225

Right (Tie).

松浦河七瀬の淀を鵜飼舟くだしもはてゞ明けぬこの夜は

matsuragawa
nanase no yodo o
ukaibune
kudashi mo hatede
akenu kono yo wa
Down Matsura River’s
Seven swifts and stills
The cormorant boats,
Descent unfinished,
Find dawn ending night.

The Provisional Master of the Empress’ Household Office.

226

The Right have two criticisms of the Left’s poem: ‘First, are cormorants used on moonlit nights? Moreover, why continue on from the “mountain’s shadow” (yamakage) with a moonlit night?’ In turn, the Left query, ‘Why continue on from “seven swifts and stills” (nanase no yodo) with cormorant boats?’

Shunzei comments, ‘The defects of the Left’s poem have already been adequately identified by the gentlemen of the other team. The Right’s sequence “Seven swifts and stills the cormorant boats” certainly seems poor. Furthermore, “dawn ending night” (akenu kono yo wa) has a somewhat pretentious air. There is nothing much to distinguish between them, and the round should tie.’