Tag Archives: Kanemune

Love VI: 27

Left (Tie).
憂き人に思ひ消たるる身の程を知らぬは戀の煙也けり

ukibito ni
omoiketaruru
mi no hodo o
shiranu wa koi no
kemuri narikeri
From that cruel one’s
Thoughts, extinguished
I am, all
Unknowing of love’s
Embers smoking.

Lord Kanemune.
953

Right.
昔かく戀する人や富士の嶺の絶えぬ煙と燃えはじめけん

mukashi kaku
koisuru hito ya
fuji no ne no
taenu keburi to
moehajimeken
Long ago, in such
Love did folk as
The peak of Fuji
With everlasting smoke
Begin to burn?

The Supernumerary Master of the Empress’ Household Office.
954

The Right state: the Left’s poem has no faults. The Left state: the Right’s poem is pedestrian.

In judgement: the Left’s ‘cruel one’ (ukibito) and the Right’s ‘folk in love’ (koisuru hito) should tie.

Love VI: 21

Left (Tie).
かきくらし降りくる雨も君ならば濡るとてさらに厭はざらまし

kakikurashi
furikuru ame mo
kimi naraba
nuru tote sara ni
itowazaramashi
All is darkened by
The falling rain, but
Were that to be you, my love,
I would be drenched, but
It would not be unwelcome!

Lord Kanemune.
941

Right.
ひとり寢の床にしもなど音す覧しづかたにそゝく暁の雨

hitorine no
toko ni shimo nado
otosuran
shizukata ni sosoku
akatsuki no ame
Sleeping solo
In my bed, so why
Is there the sound
Of quiet dripping
Dawntime rain?

Lord Takanobu.
942

The Right state: while the Left’s poem does have a desirable sentiment, its expression is outrageous. The Left state: why, indeed, should there be a sound in the poet’s bed?

In judgement: the Left’s desirable sentiment is perfectly commonplace in poetry. The Right, with ‘dawntime rain’ (akatsuki no ame), is elegant. The poems are comparable and tie.

Love VI: 14

Left.
ひとり寢の床に吹くる秋風のまた我戀をおどろかす哉

hitorine no
toko ni fukikuru
akikaze no
mata wa ga koi o
odorokasu kana
Sleeping alone
To my bed comes blowing
The autumn wind, and
Again, all my love
Returns…

Lord Kanemune.
927

Right (Win).
つてにだにとはぬ君かな吹風もまつにはことに音する物を

tsute ni dani
towanu kimi kana
fuku kaze mo
matsu ni wa koto ni
otosuru mono o
If only it brought a rumour
Of you, who never comes!
The gusting wind
From the pines plucks special
Sounds…

The Provisional Master of the Empress’ Household Office.
928

The Right state: what need is there for ‘again’ (mata) in the Left’s poem? The Left state: the Right’s poem is difficult to recite.

In judgement: the Right’s final ‘from the pines plucks special’ (matsu ni wa koto ni) is fine. It must win.

Love VI: 9

Left.
戀わびて心空なる浮雲や行衛も知らずはてはなるべき

koi wabite
kokoro sora naru
ukigumo ya
yukue mo shirazu
hate ha narubeki
Suffering with love
My heart is as the sky-bound
Drifting clouds:
In some unknown place
Is where it will end…

Lord Kanemune.
917

Right (Win).
戀死ぬるよはの煙の雲とならば君が宿にやわきてしぐれん

koi shinuru
yowa no kemuri no
kumo to naraba
kimi ga yado ni ya
wakite shiguren
Should I die of love, and
Final smoke
Clouds become,
To your dwelling will I
Drift and descend?

Nobusada.
918

The Right state: does the Left’s poem really expresses the love of drifting clouds? The Left state: the Right’s poem is more suited to the topic of ‘Love and Smoke’.

In judgement: with regard to the Left’s poem, Lady Sagami’s poem from the Eishō Imperial Palace Poetry Competition: ‘Before I know it/In my heart, sky-bound/is my love’ (itsu to naku/kokoro sora naru/wa ga koi ya) would be a good prior example, but this poem inserts ‘drifting clouds’ (ukigumo ya), which is illogical. As for the Right’s poem, ‘To your dwelling will I drift and descend?’ (kimi ga yado ni ya wakite shiguren) sounds fine. Thus, and for this reason, the Right wins.

 

Love VI: 2

Left.
いかでなを戀しき人を山の端に待ち出で見る月と思はん

ikade nao
koshiki hito o
yama no ha ni
machi’ide miru
tsuki to omowan
Somehow
Awaiting the one I love is
From the mountains’ edge
Awaiting a glimpse
Of the emerging moon, I feel…

Lord Kanemune.
903

Right (Win).
雨降れとわびてもいかが秋の夜の月ゆへならで人を待べき

ame fure to
wabite mo ikaga
aki no yo no
tsuki yue narade
hito o matsubeki
Let the rain fall!
For what is my sorrow?
On this autumn night
If there were no moon
Would I await his coming?

Jakuren.
904

The Right state: the Left’s poem lacks any deep meaning. The Left state: we find no faults to mention.

In judgement: this round I will leave comment to the Gentlemen of both teams, and so make the Right the winner.

Love V: 27

Left (Tie).
思ひをく人ある身にはやがてこの旅の道こそ戀路なりけれ

omoi’oku
hito aru mi ni wa
yagate kono
tabi no michi koso
koiji narikere
Leaving behind one
In my thoughts, for me
All these
Roads I tread are but
The paths of love…

Lord Kanemune
893

Right.
變り行く涙の色ぞあはれなる草の枕の日數知られて

kawariyuku
namida no iro zo
awarenaru
kusa no makura no
hikazu shirarete
The shifting
Teardrops’ shades
Touch me deeply;
Pillowed on the grasses
And thinking on the days away…

Ietaka
894

Both Left and Right say together:   we can see no  faults to mention.

In judgement: the Left’s poem is charming in style. The conception of the Right’s  ‘teardrops’ shades’ (namida no iro) shifting is elegant, but  both poems seem to be simply lamenting that one has gone on a journey, and there is little conception of love in them. They are equivalent and the round should tie.

Love V: 20

Left (Win).
いかなれば程なき中の通ひ路も逢ひ見ぬ夜半は苦しかるらん

ika nareba
hodo naki naka no
kayoiji mo
aiminu yowa wa
kurushikaruran
Why is it that
We are so close in love
And distance, yet
Those nights we cannot meet
Are so painful still?

Lord Kanemune
879

Right.
思ひこそ遠き程だにしるべなれ手も通ひなん中の隔ては

omoi koso
tōki hodo dani
shirube nare
te mo kayoi nan
naka no hedate wa
Love’s flame
Across a distance far
Is a beacon; though
An outstretched hand
Is our only separation…

Lord Takanobu
880

As the previous round.

In judgement: the Right sounds as if the lovers are exceedingly close. The Left, that even when the distance separating you is not that great, it is still painful, is, indeed, the case. Thus, the Left wins.

 

Love V: 14

Left (Tie).
幾かへり我身の憂さも知らずして心尽しの人を戀ふらん

iku kaeri
wa ga mi no usa mo
shirazushite
kokoro tsukushi no
hito o kouran
How deep is
My despair?
I do not know, but
My heart, exhausted is in Tsukushi,
With the one I love…

Lord Kanemune.
867

Right.
君が住む阿武隈河は名のみしてよそながらのみ戀や渡覧

kimi ga sumu
abukumagawa wa
na nomi shite
yoso nagara nomi
koi ya wataruran
My darling dwells by
Abukuma River – known for meeting –
But that is all:
Simply far apart
Will our love ever be?

Lord Tsune’ie.
868

Both Left and Right state: the poem sounds antiquated.

In judgement: the Left’s ‘how deep is’ (iku kaeri) and the Right’s ‘simply far apart’ (yoso nagara nomi) once again, are of the same standard.

Love V: 9

Left.
思わく心も知らぬよそ人はまだいとけなき音とや聞く覧

omoiwaku
kokoro mo shiranu
yosobito wa
mada itokenaki
oto ya kikuran
An understanding
Of my heart is lacking, so
All those strangers
Still like a child
Do speak to me – that must be why!

Lord Kanemune.
857

Right (Win).
何となく遊び馴れぬる筒井つの影離れ行く音のみ泣かれて

nani to naku
asobinarenuru
tsutsuitsu no
kage hanareyuku
ne nomi nakarete
Simply
Was I used to playing, but
From the pipe-well
Our reflected faces have grown distant, so
I do but weep and sob…

Jakuren.
858

The Right state: the Left’s poem seems a bit too young. The Left state: ‘Simply was I used to playing’ (nani to naku asobinarenuru) seems rather prosaic diction.

In judgement: although the latter part of the Left’s poem and the initial section of the Right’s are both pleasant, the Left’s use of ‘speak’ (oto) feels unnecessary. The latter section of the Right’s poem seems particularly good. It should win.

 

Love V: 5

Left (Tie).
言はぬ間は思ふも心九十九髪さは僞りの夢や見てまし

iwanu ma wa
omou mo kokoro
tukumogami
sa wa itsuwari no
yume ya mitemashi
While he’s said not a word,
If love in his heart
Arrived for my white hair,
Then a false dream
Would I see in truth?

Lord Kanemune.
849

Right.
戀初めし心の色に積む年は我黒髪に現れにけり

koi someshi
kokoro no iro ni
tsumu toshi wa
wa ga kurogami ni
arawarenikeri
Since I first awoke to love
The hues of passion in my heart by
The drifting years
Upon my raven tresses
Are made clear.

Nobusada.
850

The Right state: is this a reference to the recent poem ‘seeing a dream with white hair’ (yume o miru to mo tsukumogami)? The Left state: ‘drifting years’ (tsumu toshi) is grating on the ear.

In judgement: both poems refer to hair, and the Gentlemen of the Right have asked whether the Left are referring to a ‘recent poem’, and I wonder when this poem might have been composed? It is impossible to entirely avoid referring to poems which are not included in the anthologies. Needless to say, though, it is normal for one’s poems not to resemble others to a great extent. In addition, I do not feel that ‘drifting years’ is that grating on the ear. However, simply saying ‘Upon my raven tresses are made clear’ (wa ga kurogami ni arawarenikeri) does not convey a strong sense of gray hair, I think. Finally, the configuration of the Left’s ‘then a false dream’ (sa wa itsuwari no) is particularly unacceptable, I think. So, a tie.