Tag Archives: kage

Autumn I: 5

Left.

秋來ても猶夕風を松が根に夏を忘れし陰ぞたち憂き

aki kitemo
nao yū kaze wo
matsu ga ne ni
natsu o wasureshi
kage zo tachi uki
Though the autumn has come,
Still, for an evening breeze,
Must I abide beneath the pines,
As did I to forget the summer,
Loath to leave the shade…

Lord Sada’ie.

309

Right.

夏衣まだ脱ぎやらぬ夕暮は袖に待たるゝ萩の上風

natsukoromo
mada nugiyaranu
yūgure wa
sode ni mataruru
hagi no uwakaze
My summer garb
Have I not yet put away;
In the evening
My sleeves await
A breeze over the bush-clover.

Jakuren.

310

Neither team can find any fault with the other’s poem.

Shunzei, however, says, ‘With regard to the Right’s poem, one marks the change of clothing at the end of spring into summer, and the passage from autumn and the entrance to winter. Does one say that now it is autumn, one changes from summer clothes? The Left’s ‘beneath the pines’ must win, must it not?’

Summer II: 3

Left (Win).

涼しとも思ひもはてず夏衣朝夕影のほどにぞ有ける

suzushi to mo
omoi mo hatezu
natsugoromo
asayūkage no
hodo ni zo arikeru
Of coolness,
Can I feel nothing in
My summer garb;
For ‘tween the light of morn and eve
Alone does it lie.

Lord Suetsune.

245

Right.

夏衣薄きかひこそなかりけれ袂涼しき風吹かねば

natsugoromo
usukai koso
nakarikere
tamoto suzushiki
kaze fukaneba
My summer garb is
Thin, yet effect
Has it none, when
Upon my sleeve a cool
Breeze blows not.

Lord Tsune’ie.

246

The Right remark that ‘the topic seems sidelined’ in the Left’s poem, to which the Left respond that their poem ‘is clearly about the appearance of the summer sun.’ The Left have no comments to make of the Right’s poem.

Shunzei states that ‘the Right’s “breeze blows not” (kaze fukaneba) is slightly less satisfactory than the Left’s approach, and their poem wins.’ (By this he means he prefers the more indirect statement on the heat of summer in the Left’s poem.)

Summer I: 5

Left (Win).

わが宿の庭こそ暗くなりにけれ楢の廣葉の陰やそふらん

wa ga yado no
niwa koso kuraku
narinikere
nara no hiroha no
kage ya souran
My lodging’s
Garden much darker
Has become;
Have the broad-leaved oaks
Laid shadows down?

Lord Kanemune.

189

Right.

紅葉ゆへ植へし梢のあさみどり色には秋を思ふのみかは

momiji yue
ueshi kozue no
asamidori
iro ni wa aki o
omou nomi ka wa
For scarlet leaves
I planted trees – tops now
Pale green;
For the hues of autumn
Alone I hope no longer.

Ietaka.

190

The Right state bluntly, ‘Using ‘darker’ (kuraku) in this poem is highly vulgar!’ But the Left snap back, ‘Composing with “darker” is completely commonplace.’ They have no comments to make about the Right’s poem.

Shunzei remarks, ‘The Left’s “garden much darker” (niwa koso kuraku) has nothing problematic about it. “Broad-leaved oaks” (nara no hiroha), although a commonplace expression, is undesirable here. The purport of the Right’s “for the hues of autumn” (iro ni wa aki o) seems rather contrived, yet one wonders if “scarlet leaves” (momiji yue) might not be concealed beneath the “broad-leaved oaks”! The Left’s poem, being more unaffected, wins.’

Summer I: 4

Left.

影ひたす水さへ色ぞみどりなるよもの木ずゑのおなじ若葉に

kage hitasu
mizu sae iro zo
midorinaru
yomo no kozue no
onaji wakaba ni
Steeped in shade
Even the water’s hue
Has turned to green:
All around, the treetops
Loft the same new leaves…

Lord Sada’ie.

187

Right (Win).

をしなべて緑に見ゆる音羽山いづれか花のこずゑなりけむ

oshinabete
midori ni miyuru
otowayama
izure ka hana no
kozue narikemu
All has
Turned to green on
Otowa mountain;
Which were the blossomed
Treetops, I wonder?

The Provisional Master of the Empress’ Household Office.

188

The Right state, ‘The use of “steeped” (hitasu) is not at all laudable,’ to which the Left reply that it is ‘in the spirit of “shade-steeped southern mountain”’, referring to a line in a famous xinyuefu (新楽府; ‘new ballad’ – a Chinese poetic form), ‘Kunming Spring’ (昆明春). They then continue, ‘Why the particular reference to Otowa Mountain? In addition, doesn’t the poem seem redolent of a reversal of Lord [Minamoto no] Yorimasa’s “the cherries do appear in bloom” (sakura wa hana ni arawarenikeri)?’ The Right, rather tersely reply, ‘Such things are only to be expected.’

Shunzei acknowledges the Chinese model for the Left’s poem: ‘ “Shade-steeped southern mountain” appears in the Baishiwenji, yet in this poem it appears to give an inappropriate emphasis [on the water rather than the trees]. In the Right’s poem, Otowa Mountain could certainly be any mountain. As for the reference to Lord Yorimasa’s poem – this type of technique is becoming increasingly common nowadays. The Right should win.’

Spring II: 6

Left (Tie)

みな人の春の心のかよひ來てなれぬる野邊の花の陰哉

mina hito no
haru no kokoro no
kayoikite
narenuru nobe no
hana no kage kana
Everyone who
Loves the springtime
Come to
These familiar fields and rest
‘Neath the blossoms’ shade!

Lord Sada’ie.

71

Right (Tie)

思ふどちそこともいはず行暮ぬ花の宿かせ野邊の鶯

omoudochi
soko tomo iwazu
yukikurenu
hana no yado kase
nobe no uguisu
My friends,
Heedless of our place
Has darkness fallen:
Lend us your lodging ‘mongst the blooms,
O, warbler, in the fields!

Ietaka

72

Neither side has any comments to make about these two poems.

Shunzei says both poems possess a ‘scintillating beauty’, but wonders whether the Right’s hasn’t borrowed too heavily from the Monk Sosei’s poem:

Composed as a Spring Poem
おもふどち春の山邊に打群れてそこともいはぬ旅寢してしか

omoFudoti
Faru no yamabe ni
utimurete
soko tomo iFanu
tabine sitesika
My friends,
In springtime in the mountain meadows
Did we gather,
Heedless of our place,
Wanted we to sleep out on our trip!

KKS II: 126

However, using the variation to borrow lodging from a warbler is, indeed, ‘scintillating’ and neither poems ‘sounds the least bit old-fashioned’. Hence, the round must be a tie.