Tag Archives: kumo

Spring II: 28

Left.

霞かは花鶯にとぢられて春にこもれる宿の明ぼの

kasumi ka wa
hana uguisu ni
tojirarete
haru ni komoreru
yado no akebono
Is this haze?
No, in blossom and warbler song
Am I sealed;
Shut in by springtime
Is my home this dawn.

Lord Sada’ie

115

Right (Win).

霞立つ末の松山ほのぼのと浪にはなるゝ橫雲の空

kasumi tatsu
sue no matsuyama
honobono to
nami ni hanaruru
yokogumo no sora
The hazes rise
Around the pine-clad peak of Sué;
Dimly
Departing from the waves,
Narrow clouds trail across the sky.

Ietaka.

116

The Right team have no particular remarks to make about the Left’s poem this round, but the Left state that the Right’s poem is ‘most satisfying.’

Shunzei’s judgement is: ‘The Left’s “Is this haze?” (kasumi ka wa) seems like it wants to be “Is this just haze?” (kasumi nomi ka wa). “In blossom and warbler song am I sealed” (hana uguisu ni tojirarete) and “my home this dawn” (yado no akebono) remind one of “the lofty palace of Shinsei stands behind warblers and blossom” and this is excellent. As for the Right’s poem, this is particularly moving, with its depiction of the scene “departing from the waves, narrow clouds trail across the sky” (nami ni hanaruru yokogumo no sora), recalling “the pine-clad peak of Sué” (sue no matsuyama). The poem does start with “hazes rise” (kasumi tatsu) and having “haze” (kasumi), “wave” (nami) and “cloud” (kumo) means the poem is somewhat overburdened with similar imagery. “Narrow clouds trail across the sky”, though, does make a particularly strong impression, and the Left’s poem is merely satisfying, as has been said. Thus, “my home this dawn” must lose, I think.’

Spring II: 15

Left (Win).

住みなるゝ床を雲雀のあくがれて行衛も知らぬ雲に入ぬる

suminaruru
toko o hibari no
akugarete
yukue mo shiranu
kumo ni irinuru
His marital
Bed, the skylark
Has left, and
Within the drifting
Clouds has vanished

Lord Ari’ie.

89

Right.

見わたせば燒野の草は枯れにけり飛び立つ雲雀寢床定めよ

miwataseba
yakino no kusa wa
karenikeri
tobitatsu hibari
nedoko sadameyo
Looking out,
The stubble-burned fields’ grasses
Are all withered:
O, skylark, flying forth,
Find your bed, somewhere!

Lord Tsune’ie.

90

The Right state that they would have preferred it if the Left’s poem had been phrased ‘the skylark’s bed’ (hibari no toko), rather than ‘bed, the skylark’ (toko o hibari no), which essentially is an argument in favour of avoiding the non-standard grammatical pattern of Direct Object-Subject. The Left’s criticism of the Right is on the grounds of content, saying, ‘Is it not the case that in a “stubble-burned field” (yakino) there would be nothing to “wither”? If something is burned, there is nothing left.’

Shunzei states that he finds it ‘difficult to agree’ with the Right’s criticism of the Left’s poem, and then goes on to state that ‘the stubble-burned fields’ grasses are all withered’ must mean either that they were burned after withering; or, that they withered after sprouting afresh following a burn. Though he does not say so explicitly, neither would be appropriate in a Spring poem, so ‘the Left must win.’

Spring II: 13

Left (Win).

末遠き若葉の芝生うちなびき雲雀鳴野の春の夕暮

sue tōki
wakaba no shibafu
uchinabiki
hibari naku no no
haru no yūgure
To the distance far
The growing greensward
Stretches;
Skylarks singing o’er the plain
In the springtime evening.

Lord Sada’ie

85

Right.

雲に入るそなたの聲をながむれば雲雀落ち來る明ぼのゝ空

kumo ni iru
sonata no koe no
nagamureba
hibari ochikuru
akebono no sora
From within the clouds
Comes song: thither
Staring,
Skylarks swooping
Through the skies at dawn.

Lord Takanobu.

86

The Right team question what it is that the greensward ‘streams’ (nabiku) towards, while the Left say that starting with ‘within the clouds’ (kumo ni iru) is ‘somewhat abrupt’.

Shunzei comments of the Right’s question, ‘whatever it streams towards, in truth, from point of view of form, it should not stream at all,’ meaning that there’s no need to use the expression at all in the poem. As for the Right’s poem, somewhat facetiously, he says, ‘what is “within the clouds” is, most likely a ball, and while gazing “thither at their song”, one would think that, no doubt, the skylark, too, would soon come swooping down, but one would have to stop staring in order to catch it!’ In addition, ‘wouldn’t it be to dark at dawn to distinguish a skylark?’ So, ‘Skylarks singing o’er the plain/In the springtime evening’ should be the winner.

Spring I: 26

Left.

心ある射手の舎人のけしきかな玉敷く庭に鞆音ひゞきて

kokoro aru
ite no toneri no
keshiki kana
tama shiku niwa ni
tomone hibikite
Souls stirred,
The archers, guardsmen all,
Are a sight
Within the gem-strewn gardens,
As bowstring snaps to bracer!

Lord Ari’ie.

51

Right (Win).

梓弓引く手ばかりはよそなれど心にいるは雲の上人

azusayumi
hiku te bakari wa
yoso naredo
kokoro ni iru wa
kumo no uebito
A catalpa bow:
Drawn simply by the hand,
Distant, it is, yet
Letting fly, within their hearts, are
The folk above the clouds…

Jakuren.

52

The Right team remark here that they were ‘unable to grasp’ the first line of the Left’s poem, possibly suggesting a judgement that kokoro aru, which I’ve translated here as ‘Souls stirred’, and which refers to the ability to be moved emotionally by phenomena, or events, was an unsuitable expression for mere ‘guardsmen’. The Left team state bluntly that the reference to ‘the folk above the clouds’ was ‘unsuited to this rite’, meaning the New Year archery contest, in which members of the higher nobility, the ‘folk above the clouds’, did not participate.