Tag Archives: koi

Love X: 28

Left
辰の市や日を待つ賤のそれならばあす知らぬ身にかにかへて逢ははまし

tatsu no ichi ya
hi o matsu shizu no
sore naraba
asu shiranu mi ni
kaete awamashi
For Tatsu market’s
Day, a peasant waits;
If I were he
In ignorance of the day to come
I would trade places – for I would meet you!

Lord Sada’ie
1195

Right (Win)
心ざし阿倍の市路に立つ人は恋に命をかへむとやする

kokorozashi
abe no ichiji ni
tatsu hito wa
koi ni inochi o
kaemu to ya suru
Those feelings –
On the road to Abe Market –
Of someone standing there,
Life for love
Would he exchange, I wonder?

The Supernumerary Master of the Empress’ Household Office
1196

The Right state: the conclusion of the Left is unacceptable given its beginning. The Left state: there is no natural flow in ‘those feelings – Abe’ (kokorozashi abe).

In judgement: with regard to the Left’s poem, the Gentlemen of the Right have already stated that the conclusion is unacceptable given its beginning. The Right’s poem, too, lacks natural flow in ‘those feelings – Abe’. Furthermore, the Left’s diction of stating ‘if I were he’ (sore naraba) and then ‘I would trade places – for I would meet you!’ (kaete awamashi) sounds rather tense, but ‘life for love’ (koi ni inochi) certainly has impact. Thus, the Right should win.

Love X: 24

Left (Win)
山深み歎きこる男のをのれのみ苦しくまどふ恋の道かな

yama fukami
nageki koru o no
onore nomi
kurushiku madou
koi no michi kana
Deep within the mountains
Felling trees, a woodsman’s
Axe, my grief
Leaves me in pained confusion
On the paths of love…

Lord Sada’ie
1187

Right
山人の帰る家路を思ふにも逢はぬ歎きぞ休むまもなき

yamabito no
kaeru ieji o
omou ni mo
awanu nageki zo
yasumu ma mo naki
A mountain man,
Homeward bound,
Is in my thoughts, but
Unable to meet with you grief
Gives me no respite.

Ietaka
1188

Left and Right together state: no faults to mention.

In judgement: the Left has a profound conception of love. The Right’s ‘homeward bound’ (kaeru ieji) and ‘unable to meet with you grief’ (awanu nageki) are extremely difficult to grasp, I think. The Left should win.

Love X: 23

Left (Tie)
我恋はしげきみ山の山人のさすがにえしもこりはてぬ哉

wa ga koi wa
shigeki miyama no
yamabito no
sasuga ni e shimo
korihatenu kana
My love is
Lush as a tree in the mountains’ heart;
The mountain men with
Their hatchets cannot even
Begin to fell it!

Ari’ie
1185

Right
秋かけてつま木こり積む山人ももゆる思の程は知らじな

aki kakete
tsumagi koritsumu
yamabito mo
moyuru omoi no
hodo wa shiraji na
Into autumn
Gathering piles of kindling
Even a mountain man,
The burning fires of my passion
Can hardly know…

Jakuren
1186

The Right state: in the Left’s poem, ‘hatchets’ (sasuga) fails to match properly. The Left state: the Right’s poem lacks faults to indicate.

In judgement: indeed, in the Left’s poem ‘hatchets’ does not sound like it matches properly. The Right’s poem has the initial ‘into autumn’ (aki kakete), but the conception of autumn does not sound necessary here. They are of the same quality.

Love X: 22

Left (Win)
斧の柄を何かあやしと思けんしばしの恋も袖は朽ちけり

ono no e o
nani ka ayashi to
omoiken
shibashi no koi mo
sode wa kuchikeri
An axe haft –
What is there strange in that
I wonder?
For with this brief love
My sleeves have rotted…

Kenshō
1183

Right
あさましや心をしほる山人も身におふ程の歎きをぞこる

asamashi ya
kokoro o shioru
yamabito mo
mi ni ou hodo no
nageki o zo koru
How surprising!
Heartbroken
A woodcutter, too,
Is burdened by
The tree of grief he fells…

Lord Takanobu
1184

Left and Right together state: we find no faults to mention.

In judgement: For the Left, I wonder how long a ‘brief love’ (shibashi no koi) lasts? For one’s sleeves to have rotted, surely a certain amount of time must have passed, but in configuration the poem is certainly elegant. The Right’s woodcutter (yamabito) sounds like he is saying rather too much about himself. The Left should win.

Love X: 20

Left (Win)
うら山し賤も妻木を立てつめりいつ休むべき恋にかあるらん

urayamashi
shizu mo tsumagi o
tatetsumeri
itsu yasumubeki
koi ni ka aruran
How I envy
The mountain man who kindling
Has gathered all together!
When, though, will I find respite
From love?

Lord Suetsune
1179

Right
思ひ出るかひもなければ山人はあはぬつま木にこりやしぬらん

omoi’izuru
kai mo nakereba
yamabito wa
awanu tsumagi ni
kori ya shinuran
Remembering
Deeply serves no point, but
A mountain man
I am not – unable to meet her – kindling
Should I be cutting?

Lord Tsune’ie
1180

Left and Right together state: we find no faults to indicate.

In judgement: although I wonder the extent to which the Left’s ‘how I envy’ (urayamashi) a mountain man resting is accurate, I also wonder whether this sort of back and forth upon the path is something which commonly appears, so the poem does not seem uninteresting. The Right’s ‘remembering deeply serves no point’ (omoi’izuru kai mo nakereba) does not sound particularly out of the ordinary. The Left wins somehow.

Love X: 14

Left (Win)
我恋はあまのさかてを打ち返し思ときてや世をも恨みん

wa ga koi wa
ama no sakate o
uchikaeshi
omoi tokite ya
yo o mo uramin
My love:
With my diver girl’s hands raised to heaven
I cast back
Knowing of these pains of love
The world is all despair!

Lord Kanemune
1167

Right
衣手はしほたるれどもみるめをばかづかぬ海人となりにけるかな

koromode wa
shiotaruredomo
mirume o ba
kazukanu ama to
narinikeru kana
Though my sleeves
Are drenched, as
Unable to catch a glimpse of seaweed
Like a hapless diver-girl
Have I become.

Lord Tsune’ie
1168

The Right state: there are various possible interpretations for ama no sakate. In addition, is it appropriate to compose a poem from the diver-girl’s perspective? The Left state: there is nothing to mention in the Right’s poem.

In judgement: the Left’s ama no sakate is not a particularly good expression, but I see no fault in composing from the diver-girl’s perspective. In recent times, people have come up with alternate interpretations for the phrase, but I see no reason for them. This old fool long ago composed a poem in this way. So I wonder, should I criticise my own composition? There is evidence for this in the Tales of Ise, and other texts, too. However, in poetry competitions, ama no sakate fails to sound appropriate. The Right’s diver-girl with sleeves drenched by the tide and unable to harvest seaweed seems incapable. She cannot be a genuine diver-girl. The Left’s sakate is not that elegant, but the girl is genuine. It wins.

Love X: 9

Left
うかれめの浮かれて歩く旅やかた住みつきがたき恋もする哉

ukareme no
ukarete ariku
tabiyakata
sumitsukigataki
koi mo suru kana
Player girls do
Drift around
The inn-houses;
As unsettled
Is the love they make…

Lord Suetsune
1157

Right (Win)
東路やゆききの人にうちとけて宿かりそめの契すらしも

azumaji ya
yukiki no hito ni
uchitokete
yado karisome no
chigiri sura shimo
Along the Eastern Roads
Folk go back and forth, and
To relieve them, the girls
Find brief lodging and even make brief
Vows of love…

The Supernumerary Master of the Empress’ Household Office
1158

The Right state: the Left’s poem has no matters we can criticize. The Left state: the conception of Love in the Right’s poem is vague.

In judgement: The Left’s poem seem certainly to capture the conceptions of both Love and player-girls. ‘Even’ (sura shimo) in the Right’s final section, sounds rather abrupt and portentous, but the initial section is certainly elegant. Thus, the Right should win.

Love IX: 30

Left (Win)
忘れずは馴し袖もやこほこほるらむ寝ぬ夜の床の霜のさむしろ

wasurezu wa
nareshi sode mo ya
kōruramu
nenu yo no toko no
shimo no samushiro
If she should forget me not,
Would those oh so familiar sleeves, too,
Freeze solid?
In bed on a sleepless night
Frost forms on my chilly blankets…

Lord Sada’ie
1139

Right
分てこそ中より塵は積もりぬれ恋の病に沈むさ筵

wakete koso
naka yori chiri wa
tsumorinure
koi no yamai ni
shizumu samushiro
Split down
The middle, dust
Has piled up!
Sunk in the sickness
Of love upon this blanket!

Lord Takanobu
1140

Left and Right together state: we find no faults to mention.

In judgement: the conception of being lost in thought of another’s sleeves ‘in bed on a sleepless night frost forms on my chilly blankets’ (nenu yo no toko no shimo no samushiro) is certainly elegant. The scene in the Right’s poem, with the blanket divided in half, with one covered with dust, and the other where the speaker lies lovesick, is distasteful and I do not find it appealing, so thus, the Left wins.

Love IX: 22

Left (Tie)
恋そめし思ひの妻の色ぞそれ見にしむ春の花の衣手

koisomeshi
omoi no tsuma no
iro zo sore
mi ni shimu haru no
hana no koromode
The first flush of love’s
Scarlet passion for her:
A hue that
Stains the flesh, as spring’s
Blossoms do the sleeves…

Lord Sada’ie
1123

Right
飽かざりしそのうつり香は唐衣恋をすすむる妻にぞ有りける

akazarishi
sono utsurika wa
karakoromo
koi o susumuru
tsuma ni zo arikeru
I cannot get enough of
Her scent transferred to
My Cathay robe:
Love for her begins
With a skirt!

The Supernumerary Master of the Empress’ Household Office
1124

The Right state: both the conception and diction of the Left’s poem are unclear. The Left state: the Right’s poem, in addition to being commonplace, has ‘begins’ (susumuru) which is unimpressive.

In judgement: in the Left’s poem, while ‘blossoms do the sleeves’ (hana no koromode) is evocative, ‘a hue that’ (iro zo sore) is certainly extremely difficult to understand. In the Right’s poem, both ‘Cathay robe’ (karakoromo) and ‘with a skirt’ (tsuma ni zo arikeru) seem elegant, but I wonder about the impression of ‘her scent transferred’ (sono utsurika) and ‘begins’. It is unclear which poem is superior or inferior, so the round should tie.