Tag Archives: iwane

Nishinomiya uta’awase 07

Insect and Evenings

Round Seven

Left

はふりこがしめゆふ野べの鈴虫は夕つけてこそふりたててなけ

hōriko ga
shimeyū nobe no
suzumushi wa
yū tsukete koso
furitatete nake
The priests have
Garlanded the meadows where
The bell crickets
With the fall of evening
Sing out so loud.

Major Archbishop
13

Right

神がきのいはねにさせる榊葉にゆふかけてなく鈴虫のこゑ

kamigaki no
iwane ni saseru
sakakiba ni
yū kakete naku
suzumushi no koe
Within the sacred precincts
At the crags’ foot thrust
Are leaves from the sacred tree
To the garlands clinging, as crying
Come the bell crickets’ songs.

Tadasue, Senior Assistant Minister of the Sovereign’s Household
14

I would say that both of these, Left and Right, are of the same quality in terms of diction and configuration.

Eien narabō uta’awase 32

Round Four

Left

うちむれていはねにねざすこまつばのきぎのちとせはきみぞかぞへむ

uchimurete
iwane ni nezasu
komatsuba no
kigi no chitose wa
kimi zo kazoemu
Crowding
At the crags’ foot, roots stretching,
The dwarf pines’ needles with
The trees’ thousand years—
My Lord may count them all!

Cell of the Fragrant Elephant
63

Right (Win)

たとふべきものこそなけれ君がよははまのまさごもかずなからめや

tatoubeki
mono koso nakere
kimi ga yo wa
hama no masago mo
kazu nakarame ya
A suitable metaphor
Is there none, at all!
My Lord’s reign:
Even the fair sands on the shore
Would not exceed its number…

Cell of Everlasting Truth
64

Both of the Left poem’s expressions, ‘crowding’ and ‘dwarf pines’ needles’, seem to sound awkward. ‘Crowding’ is used of cranes, while it would have been preferable to say ‘the needles of the dwarf pines’. The poem of the Right is not especially charming, but it is in a familiar style, so I feel that ‘the fair sands’ number’ is superior.

I feel that ‘crowding’ is better applied to human beings. Perhaps there’s a conception here of looking down on each and every one? This is a mistake, isn’t it? In addition, what is ‘dwarf pines’ needles’? Maybe the poet is trying to say ‘the needles of the dwarf pines’? Is there a prior poem as precedent? It’s a piece of awkward-sounding diction! The Right’s poem appears straightforward, but without errors.

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