Tag Archives: kokoro

Love VIII: 7

Left
相思ふ中には枝も交しけり君が梢はいやおちにして

ai’omou
naka ni wa eda mo
kawashikeri
kimi ga kozue wa
iya’ochi ni shite
Joined in love
Branches meet and
Twine together, they say, yet
As the treetops, you fail to come
Again, and yet again.

Kenshō
1033

Right (Win)
人しれぬ心に君を楢柴のしばしもよそに思はずもがな

hito shirenu
kokoro ni kimi o
narashiba no
shibashi mo yoso ni
omowasu mogana
Unknown to all
My heart to you
Inclines among the oaks;
For just a while, as a stranger
I would you not think of me…

Lord Takanobu
1034

The Gentlemen of the Right state: ‘again, and yet again’ (iya’ochi) does not sound pleasant. The Gentlemen of the Left state: the Right’s poem has no faults to mention.

In judgement: the Left’s poem, having the conception of intertwined branches is pleasant, but ‘treetops at my house’ (yado no kozue) would be normal, so I wonder about ‘as the treetops, you fail to come’ (kimi ga kozue)? In the Right’s poem, although ‘among the oaks; for just a while’ (narashiba no shibashi) is commonplace, it is still more elegant than ‘again and yet again’.

Love VIII: 6

Left (Tie)
いはざりき我身古屋の忍ぶ草思ひたがへて種を播けとは

iwazariki
wa ga mi furuya no
shinobugusa
omoitagaete
tane o make to wa
I did not tell you:
My aged home’s
Fond ferns
To think so lightly of
That you scatter seeds about!

Lord Sada’ie
1031

Right
ながめする心の根より生ひそめて軒の忍ぶは茂る成るべし

nagamesuru
kokoro no ne yori
oisomete
noki no shinobu wa
shigerunarubeshi
Consoled,
My heart’s depths
Have grown old, as
Beneath my eaves the ferns
Have grown thick, indeed.

Nobusada
1032

The Gentlemen of the Right state: we wonder about the appropriateness of sowing seeds beneath eaves? The Left, in appeal: why not compose a poem in this manner, given ‘even the grass seeds, forgotten’? The Left state: this seems little different from Toshiyori’s poem, ‘Beneath the eaves, my thoughts run wild / As the growing plants…’ (omoinoki yori ouru narikeri).

In judgement: both poems refer to ferns, and the conception of ‘my aged home’ (wa ga mi furuya no) and ‘my heart’s depths’ (kokoro no ne yori) both sound suitable. I make this a tie.

Love VIII: 5

Left
人待ちし庭の淺茅生茂りあひて心にならす道芝の露

hito machishi
niwa no asajū
shigeriaite
kokoro ni narasu
michishiba no tsuyu
Awaiting him,
The cogon-grass in my garden
Has grown lush, indeed;
And I have taken to my heart
The dew that falls upon my lawn!

A Servant Girl
1029

Right (Win)
秋風になびく淺茅の色よりもかはるは人の心なりけり

akikaze ni
nabiku asaji no
iro yori mo
kawaru wa hito no
kokoro narikeri
With the autumn wind
Waves the cogon grass,
Colours
Changing less than her
Heart’s passions…

Ietaka
1030

The Gentlemen of the Right state: the Left’s poem has no faults to mention. The Gentlemen of the Left state: the intial part of the Right’s poem is derived from an old poem, and so does the end!

In judgement: I wonder whether the cogon-grass (asajū), mentioned initially, is as clearly conceived as the ‘lawn’ (michishiba) mentioned at the end? The Right’s poem refers to ‘So full are my thoughts,  what am I to do? With the autumn wind’, but reverses the beginning and end of that poem; it is extremely old-fashioned in style, but pleasant as it is plainly intended to be understood as a variant of its model. Thus, the Right wins over the combination of ‘cogon-grass’ and ‘lawn’.

Love VIII: 3

Left (Tie)
うち頼む人のけしきの秋風に心の底の萱が下折れ

uchitanomu
hito no keshiki no
akikaze ni
kokoro no soko no
kaya ga shitaore
I did rely on
Him, but now in his look, is
The autumn wind; in
The depths of my heart are
Broken, drooping fronds of silver grass…

Lord Ari’ie
1025

Right
あさましやなどか思のさしも草露も置きあへずはては燃ゆらん

asamashi ya
nado ka omoi no
sashimogusa
tsuyu mo okiaezu
hate wa moyuran
How strange it is!
Why is it that my love’s fires, like
Moxa,
Not completely covered by the dew
Will at the end burst into flame once more?

Jakuren
1026

The Right state: the Left’s poem has no faults to indicate. The Left state: in the Later Collection of Gleanings there is a poem about Ibuki, which uses ‘burst into flame’ (moyu). We wonder about the suitability of using ‘burst into flame’ without also using Ibuki. The Right, in response: older poems used ‘burst entirely into flame’ (sashimoyu), and this composition is the same.

In judgement: I am not accustomed to hearing ‘the depths of my heart are silver grass’ (kokoro no soko no kaya) as in the Left’s poem. The image in the Right’s poem of moxa not completely covered with dew bursting into flame seems rather overblown. The strengths and weaknesses of the two poems are unclear, so the round should tie.

Love VIII: 2

Left (Win)
今はさはあはれと思へ菅の根の長き心の程は見つらん

ima wa sa wa
aware to omoe
suga no ne no
nagaki kokoro no
hodo wa mitsuran
Now, indeed, let you
Think fondly of me!
The grasses’ roots run
Long, my heart’s
Love will you see…

Lord Suetsune
1023

Right
世とゝもにかはくまもなき我袖や潮干もわかぬ浪の下草

yo to tomo ni
kawaku ma mo naki
wa ga sode ya
shioi mo wakanu
nami no shitagusa
With the passing time,
Not a moment dry
Are my sleeves;
Low tide does not reveal
The seaweed beneath the waves…

Lord Takanobu
1024

The Right state: the Left’s poem has no faults to indicate. The Left state: the Right’s poem is clichéd.

In judgement: the Right, in addition to being clichéd, can say no more than that love means wet sleeves. The Left’s ‘grasses’ roots’ (suga no ne) is certainly better.

Love VII: 26

Left.
人心緒絶えの橋に立かへり木の葉降りしく秋の通ひ路

hito kokoro
odae no hashi ni
tachikaeri
ko no ha furishiku
aki no kayoiji
Our hearts
On the broken bridge at Odae
Do stand;
Fallen leaves swept along
The autumn paths back and forth…

Lord Sada’ie.
1011

Right.
思はずに緒絶えの橋と成ぬれどなを人知れず戀わたるかな

omowazu ni
odae no hashi to
narinuredo
nao hito shirezu
koi watarukana
Unthinkingly
To the broken bridge of Odae
Have we come, yet
Still, unknown to all,
Might our love make a crossing?

Lord Tsune’ie.
1012

The Gentlemen of the Right state: we wonder about the purpose of ‘fallen leaves swept along’ (ko no ha furishiku) in the Left’s poem. The Gentlemen of the Left state: the Right’s poem is pedestrian.

In judgement: Both the poems of the Left and of the Right use ‘bridge of Odae’ (odae no hashi) which is tasteful. The Left’s ‘fallen leaves swept along’ must be following Ise Monogatari. The gentlemen of the Right must surely be pretending ignorance! The poem of the Right, too, has an elegant total configuration, but ‘unknown to all’ (hito shirezu) is at odds with the emotional overtones. Thus the Left’s ‘fallen leaves swept along the autumn paths back and forth’ is better. I make it the winner.

Love VII: 23

Left.
逢ひ見じと思かたむる中なれやかく解けがたき下紐の関

aimiji to
omoikatamuru
naka nare ya
kaku tokegataki
shimohimo no seki
Never to meet
Has she hardened her heart –
Is that to be our bond?
As hard to undo as
The barrier at Shitahimo!

Lord Suetsune
1005

Right (Win).
恋しともかくは人にも知られなんと思ふ心や文字の関守

koishitomo
kaku wa hito ni mi
shirarenan to
omou kokoro ya
moji no sekimori
The letters for love, should
I write, would she my feelings
Then understand, I
Wonder? Does her heart have
A barrier warden at Moji?

The Supernumerary Master of the Empress’ Household Office
1006

The Right state: ‘hardened her heart’ (omoikatamuru) is grating on the ear. The Left state: the Right’s poem has no faults to indicate.

In judgement: regardless of whether the Left’s poem sounds poor or not, having both ‘hardened’ (katamuru) and ‘hard’ (kataki) is a fault. So, ‘a barrier warden at Moji’ (moji no sekimori) wins.

Love VII: 21

Left.
夜を重ね心の関のかたきかなわが音は鳥の空音ならねば

yo o kasane
kokoro no seki no
kataki kana
wa ga ne wa tori no
sorane naraneba
Night upon night
The barriers upon your heart
Stand firm, indeed!
For the sounds I make are no cock’s
False crow!

Lord Ari’ie
1001

Right (Win).
人知れぬうらみにあまる浪の上を抑ふる袖や須磨の関守

hito shirenu
urami ni amaru
nami no ue o
osauru sode ya
suma no sekimori
She cannot know
The prospect of my despair;
Dashed upon the waves
Are my sleeves
Barrier Wardens at Suma?

Jakuren
1002

The Right state: why specifically refer to a ‘false crow’ (sorane)? This makes it sound as if the barrier would not be opened for a real bird’s cry. In response, the Left: as there is the precedent of a barrier being opened in response to a false crow, the poem draws upon this to refer to ‘the sounds I make’ (wa ga ne) – we fail to see why this is problematic. The Left state: we find no faults in need of identification in the Right’s poem.

In judgement: it seems difficult to distinguish between ‘the sounds I make’ and the ‘false crow’ in the Left’s poem, and the Right’s ‘dashed upon the waves are my sleeves’ (osauru sode) is pleasant. Thus, the Right wins.

MYS XVII: 4003

A poem with two envoys, composed in respectful response to Tachiyama.

朝日さし そがひに見ゆる 神ながら 御名に帯ばせる 白雲の 千重を押し別け 天そそり 高き立山 冬夏と 別くこともなく 白栲に 雪は降り置きて 古ゆ あり来にければ こごしかも 岩の神さび たまきはる 幾代経にけむ 立ちて居て 見れども異し 峰高み 谷を深みと 落ちたぎつ 清き河内に 朝さらず 霧立ちわたり 夕されば 雲居たなびき 雲居なす 心もしのに 立つ霧の 思ひ過ぐさず 行く水の 音もさやけく 万代に 言ひ継ぎゆかむ 川し絶えずは

asapi sasi
sogapi ni miyuru
kamu nagara
mina ni obasesu
sirakumo no
tipe wo osiwake
ama sosori
takaki tatiyama
puyu natu to
waku koto mo naku
sirotape ni
yuki pa puri okite
inisipe yu
arikinikereba
kogosikamo
ipa no kamusabi
tama kiparu
ikuyo penikemu
tatiwite
miredomo ayasi
minedakami
tani wo pukami to
otitagitu
kiyoki ka puti ni
asa sarazu
kiri tati watari
yupu sareba
kumowi tanabiki
kumowi nasu
kokoro mo sino ni
tatu kiri no
omopi sugusazu
yuku midu no
woto mo sayakeku
yoroduyo ni
ipitugi yukamu
kapa si taezu wa
The morning sun shines
At my back,and
Divine
Your great name links:
Clouds of white
In a thousand layers, you pierce, and
Tower into the heavens,
Tall Tachiyama!
In winter and, in summer both
Indistinguishably are you
Clad in mulberry white
Fallen drifts of snow;
Since ancient days
Ever has been your estate,
Fastened round with
Crags divine;
‘til all souls end
Have countless ages passed!
Standing here,
I see you, yet am awed by
Your lofty peak and
Valley’s deep, where
Plunge seething cataracts of
Waters pure to pools where
Morning never leaves –
Mists rise and roll across, and
When the evening comes
Clouds trail in and
Cover all,
Even, with sadness, my heart, so
The rising mists
Never leave my thoughts, and of
Your running waters’
Clear, pure sound
Through ten thousand ages
Will I ever tell
Unending as a river’s flow…

Ōtomo no Ikenushi
大伴池主