Tag Archives: iwane

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.

Sumiyoshi-sha uta’awase kaō ni-nen 72

Round Twenty-Two

Left

おひやらぬいはねのまつはわれなれやひさしくよよにみどりなるかな

oiyaranu
iwane no matsu wa
ware nare ya
hisashiku yoyo ni
midori naru kana
A spindly
Pine growing in the crag-cracks
Am I?
Forever through the years
I am stuck at green!

Minamoto no Munenaga
143

Right (Win)

いけみづのいひいでずともおもひかねふかきうれへをかみはしるらむ

ikemizu no
ii’idezu tomo
omoikane
fukaki uree o
kami wa shiruramu
As pond waters behind
A sluice gate, I say nothing, yet
I cannot help but wonder:
The depths of my despair—
Does the deity know it?

Fujiwara no Noritsune
144

The conception of the Left’s poem, saying, ‘Forever through the years’ sounds pleasant, but I feel it’s a bit hackneyed, given the poem, ‘Solitary pinecone / Is green!’[1] The poem of the Right’s ‘As pond waters behind / A sluice gate, I say’ is also pedestrian, yet ‘The depths of my despair— / Does the deity know it?’ contains some conception. It’s a little better, I’d say.


[1] Composed when he had gone to the residence of Narisuke, the Chief Priest of Kamo, when drunk, was sorrowing that he had yet to be promoted. もみぢするかつらのなかにすみよしのまつのみひとりみどりなるかな momijisuru / katsura no naka ni / sumiyoshi no / matsu no mi hitori / midori naru kana ‘Among the scarlet-leaved / Katsura, / Sumiyoshi’s / Solitary pinecone / Is green!’ Kunimoto, the Governor of Tsu (GSIS XVII: 987)

Horikawa-in Enjo Awase 12

つらしともいざやいかがはいはし水あふせまだきにたゆる心は

tsurashi to mo
iza ya ikaga wa
iwashimizu
ause madaki ni
tayuru kokoro wa
How cruel!
Why as
Spring waters rushing from the rocks did
Our meeting swiftly
Did you wish to end?

Kazusa, in service to the Empress
23

In reply

世世ふともたえじとぞ思ふ神がきの岩ねをくぐる水の心は

yo yo futomo
taeji to zo omou
kamigaki no
iwane o kuguru
mizu no kokoro wa
Age upon age may pass, yet
Never shall we end, I feel, as from
The sacred precinct’s
Rocky roots flow
Waters—that is my heart!

24

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.

Saishō chūjō kuninobu no ie no uta’awase 14

Left (Win).
夜とともに玉散る床の菅枕見せばや人に夜半の景色を

yo to tomo ni
tama tiru toko no
sugamakura
miseba ya Fito ni
yowa no kesiki wo
Together with the night
Gemlets scatter on my bed’s
Sedge-filled pillow;
Should I show her
This midnight sight?

The Master 大夫
[Minamoto no Toshiyori 源俊頼]
27

Right.
波のよる岩根に立てる磯馴れ松また寝もいらで恋ひあかしつる

nami no yoru
iFane ni tateru
sonare matu
mata ne mo irade
koFi akasituru
The waves roll in
To the cliffs where stands
A hardy pine upon the rocks;
Once more sleepless
From love do I greet the dawn.

The Assistant Master 佐
[Fujiwara no Mototoshi 藤原基俊]
28

Love VII: 9

Left (Win).
思ヘどもまだ見ぬ程は滿つ潮に入りぬる磯のためしだになし

omoedomo
mada minu hodo wa
mitsu shio ni
irinuru iso no
tameshi dani nashi
I love her, yet
Have not caught a glimpse;
The rising tide
Flooding the rocky shore –
There’s not even a case of that!

Lord Kanemune.
977

Right.
岩根打つ荒磯浪の高きこそまだよそながら袖は濡るなれ

iwane utsu
ara’iso nami no
takaki koso
mada yosonagara
sode wa nuru nare
Crashing on the crags by
The rocky shore, the waves
Are high, indeed;
Distant, perhaps, but
Still my sleeves are soaked…

Lord Takanobu.
978

Both Left and Right state that the opposing poem lacks a strong conception of the sea.

In judgement: I wonder whether the suggestion by both Left and Right that the poems lack a strong conception of the sea is correct. The Left has ‘the rising tide flooding the rocky shore’ (mitsu shio ni irinuru iso), while the Right has ‘crashing on the crags by the rocky shore’ (iwane utsu ara’iso). If these expressions do not strongly convey the conception of the sea, then I ask you, what would? I wonder, though, how one’s sleeves can get soaked if the waves, though high, are distant. The final section of the Left’s poem is elegant. It wins.