Tag Archives: koto

Koresada shinnō-ke uta’awase 4

朝ごとに山にたちまふ朝霧は紅葉みせじとをしむなりけり

asagoto ni
yama ni tachimau
asagiri wa
momiji miseji to
oshimu narikeri
With every morning
Twining round the mountains
The morning mists – that
They cannot reveal the scarlet leaves
Is regrettable, indeed!

7

秋の夜は人をしづめてつれづれと掻きなす琴の音にぞたてつる

aki no yo wa
hito o shizumete
tsurezure to
kakinasu koto no
ne ni zo tatetsuru
On an autumn night
When folk are all abed,
Idly
Plucked a zither’s
Strains sound out.

8

Love IX: 14

Left (Win)
今さらにたれに心をうつうつすらむ我とすみ絵はかき絶えにけり

ima sara ni
tare ni kokoro o
utsusuramu
ware to sumi e wa
kakitaenikeri
Now, once again,
To whom will his heart
Shift? His reflection in
A drawing of ink, is all that’s left
Drawn, now he no longer lives with me…

Lord Ari’ie
1107

Right
跡もなく色になり行言の葉やすみ絵ををとむる木立成らん

ato mo naku
iro ni nariyuki
koto no ha ya
sumi e o tomuru
kodachi naruran
No lines remain,
All is turned to colour;
Will his leaves of words
Remain here at my home, as an ink
Sketch of a grove?

Lord Takanobu
1108

The Right state: the Left’s poem has no faults in particular. The Left state: why would you say that an ink drawing that remains ‘leaves no trace’? We would have preferred it had it been ‘colours most fair’ (iro masaru).

In judgement: both Left and Right have the conception of ‘ink drawings’ (sumie) and, when viewed together, I do not feel that they show much promise, but the Right, beginning with ‘no lines remain’ (ato mo naku) which I do not feel is in tune with the latter part of the poem, in addition, then concludes with ‘sketch of a grove’ (kodachi naruran) which is undesirable. The Left’s ‘a drawing of ink, is all that’s left’ (ware to sumi e wa) is a metaphorical expression which at least strives at charm. Thus, I must say that the Left is superior.