Tag Archives: Jien

Spring II: 5

Left (Win)

都人宿を霞のよそに見て昨日もけふ野邊にくらしつ

miyakobito
yado o kasumi no
yoso ni mite
kinō mo kyō
nobe ni kurashitsu
Capital folk of
Their homes, through the haze,
Catch a distant glimpse
Yesterday, and again today,
Have they spent among the fields.

A Servant Girl.

69

Right.

これぞこの春の野邊よと見ゆるかな大宮人のうちむれてゆく

kore zo kono
haru no nobe yo to
miyuru kana
ōmiyabito no
uchimureteyuku
This,
For springtime in the fields
Is most apt, indeed:
Folk from the mighty palace
Gathering all together!

Nobusada.

70

For once, the Right describe the Left’s poem as ‘moving’ and have no criticisms to make of it. The Left merely wonder whether ‘folk from the mighty palace’ are entirely suited to the fields.

Shunzei agrees that the construction of ‘Their homes, through the haze,/Catch a distant glimpse’ is particularly good, and that it cannot be said that ‘folk from the mighty palace’ are appropriate for the fields in springtime, but that if they are gathering together, it might be possible. However, in this theme the poet should not be looking on, but be part of the scene, so the Left’s poem must be the winner.

Spring I: 29

Left (Tie).

梓弓射手引く春のかひありてけふの諸矢は世にひゞく也

azusa yumi
ite hiku haru no
kai arite
kyō no moroya wa
yo ni hibiku nari
Catalpa bows,
Archers drawing them in springtime
Has an effect, indeed:
Today, the paired arrows
Resound throughout the world!

Kenshō

57

Right (Tie).

梓弓はる九重に散る雪をけふ立舞の袖に見るかな

azusa yumi
haru kokonoe ni
chiru yuki o
kyô tachimai no
sode ni miru kana
Catalpa bows:
Drawn in the ninefold palace walls, yet
Falling snow
This day’s dancing
Sleeves do seem!

Nobusada

58

The Right team have no comments to make about the Left’s poem, but the Left remark that ‘catalpa bow’ is a makura kotoba (a conventionalised poetic image) used with ‘spring’, and it is difficult to think that it is being used appropriately if related to ‘New Year archery’. (The complaint here seems to be related to the fact that in his original Nobusada writes haru, which I’ve translated here as ‘drawn’, phonetically, rather than with a Chinese character, making it initially seem like the verb haru ‘draw (a bow)’, rather than the homophonous ‘spring’.) The Left go on to make the aside that dancing took place within the palace on many other occasions besides the New Year Archery festival.

Shunzei, however, states bluntly that both poems contain ‘unnatural associations’ of ‘catalpa bow’ with ‘springtime effects’ for the Left, and ‘drawn in the ninefold palace’ for the right, so neither can be declared a winner.

Spring I: 21

Left.

名に立てる老蘇の杜の下草も年若しとや二葉なるらん

na ni tateru
oiso no mori no
shita kusa mo
toshi wakashi to ya
futaba naruran
By repute,
Ancient is the sacred grove of Oiso, yet
Here, too, the undergrowth,
Perhaps with the year’s youth,
Puts forth new leaves.

Lord Suetsune

41

Right (Win).

霜置きし去年の枯葉の殘るませにそれとも見えぬ春の若草

shimo okishi
kozo no kareha no
nokoru mase ni
sore tomo mienu
haru no waka kusa
Frost fell
Last year on the withered leaves
Remaining on this brushwood fence, yet
It does not seem so for
The fresh growth of spring.

Nobusada

42

The Right team have nothing to say about the Left’s poem in this round, while the Left merely wonder whether the fact that the Right’s poem has six syllables in its middle line means that it doesn’t scan correctly.

Shunzei comments testily that fashionably using expressions with contradictory connotations, such as the ‘ancient sacred grove’ and ‘year’s youth’ is ‘platitudinous’. The Right’s poem, however, is ‘without doubt, extremely affecting’. There are many cases where lines with six or seven syllables are used in place of a five syllable one in the centre of a poem – particularly when the final line is ‘independent’, although this has yet to be ‘well understood’. So, for appropriately using this, the right deserves the victory.

Spring I: 18

Left (Tie).

木の間より日影や花をもらすらん松の岩根の水の白波

ko no ma yori
hikage ya hana o
morasuran
matsu no iwane no
mizu no shiranami
Between the trees,
The sunlight these blooms
Does seem to drench:
The pine-rooted crags’
White-capped waves of water.

A Servant Girl

35

Right (Tie).

春來れば氷をはらふ谷風の音にぞつゞく山川の水

haru kureba
kōri o harau
tanikaze no
oto ni zo tsuzuku
yamakawa no mizu
Spring is come, so
Sweeping ‘way the ice,
The wind through the valley
Brings a constant sound:
Water in the mountain streams.

Nobusada

36

Neither team have any comments to make about the other’s poem.

Shunzei comments that both poems sound ‘excellent’, but the Left’s begins ‘between the trees’ (ko no ma yori) and then continues to mention ‘pines’: are the ‘trees’ pines? Or, are they a different type? Whichever is the case, this is, perhaps, a ‘compositional error’. As for the Right’s poem, the expression, ‘sweeping ‘way the ice/The wind through the valley’ (kôri o harau/tanikaze no) is ‘charming’, but he ‘greatly dislikes’ the use of tsuzuku. (It’s unclear why he says this, as he gives no further explanation: the commentators suggest that it could be that the word is too conventional, or that it was generally considered more attractive in poetry to have something ending, rather than continuing, or simply that he didn’t like the way the poem was read out on this occasion!) Given that both poems are ‘equally excellent’ , and that the Left is ‘unclear’ over its trees, a tie has to be awarded.

Spring I: 11

Left (Tie).

天の原春とも見えぬながめかなこぞのなごりの雪の明ぼの

ama no hara
haru tomo mienu
nagame kana
kozo no nagori no
yuki no akebono
Upon the plain of Heaven
Of Spring there is no sign
In sight:
A memento of the year that’s gone,
Snowfall with the dawning.

Lord Ari’ie

21

Right (Tie).

なごりには春の袂も冴えにけり霞より散る雪のけしきに

nagori ni wa
haru no tamoto mo
saenikeri
kasumi yori chiru
yuki no keshiki ni
The memento
Also upon my springtime sleeves
Stands clear:
Drifting from the haze,
A scene of snow.

Nobusada

22

In this round the Right team have no criticisms to make of the Left’s poem, but the Left query beginning a poem with ‘memento’, as the audience then immediately wonder, ‘A memento of what?’

Shunzei comments that the Left’s poem starts extremely well, but that, even though ‘in sight’ (nagame kana) has been frequently used in poetry recently, its spirit has yet to be fully determined, and so including it here must be considered a mistake. Furthermore, the concluding line, ‘snowfall with the dawning’ (yuki no akebono), has also been much used in recent poetry. As for the Right’s poem, he feels it ends extremely well, but echoes the criticism of the Left about the beginning. Thus, the best result for this round is a tie.

SKKS XX: 1933

Amongst some poems of reminiscences.

極樂へまだわが心ゆきつかずひつじのあゆみしばしとゞまれ

gokuraku e
mada wa ga kokoro
yuki tsukazu
hitsuji no ayumi
shibashi todomare
To Paradise
My soul is not yet
Prepared to go–
My sheep’s steps
I would halt, if only for a while…

Former Abbot Jien
慈円

SKKS XX: 1932

Amongst some poems of reminiscences.

とくみのりきくのしらつゆよるはをきてつとめてきえんことをしぞおもふ

toku minori
kiku no shiratsuyu
yoru wa okite
tsutomete kien
koto o shi zo omou
The Law teaches that
White dewdrops on chrysanthemums (Listen)
Fall at night (Arise from slumber)
And vanish with the dawn (Go to prayer, all will die)–
That is what I feel.

Former Abbot Jien
慈円

SKKS XX: 1931

Amongst some poems of reminiscences.

ねがはくはしばしやみぢにやすらひてかゝげやせまし法のともし火

negawaku wa
shibashi yamiji ni
yasuraite
kakage ya semashi
nori no tomoshibi
I have but one request:
That from these tracks of darkness for a while
I might escape–
O, I would raise high
The lantern of the Law.

Former Abbot Jien
慈円

SKKS XIX: 1904

On the spirit of reminiscence.

もろ人のねがひをみつのはま風に心すゞしきしでのをとかな

moro hito no
negai o mitsu no
hama kaze ni
kokoro suzushiki
shide no oto kana
A multitude of folk
Have made their pleas–at Mitsu
The breeze across the beach
Soothes my heart,
With the sound of offerings rattling.

Former Abbot Jien
慈円