Tag Archives: Lingering Heat

Autumn I: 6

Left.

打ち寄する浪より秋の龍田川さても忘れぬ柳陰かな

uchiyosuru
nami yori aki no
tatsutagawa
satemo wasurenu
yanagikage kana
Approaching on
The waves, comes autumn to
The Tatsuta River;
And yet, I cannot forget
The willows’ shade.

A Servant Girl.

311

Right.

秋淺き日影に夏は殘れども暮るゝ籬は荻の上風

aki asaki
hikage ni natsu wa
nokoredomo
kururu magaki wa
ogi no uwakaze
Faintly autumnal is
The sunlight, with summer
Yet remaining;
At evening by the rough-woven fence
Blows a breeze o’er the silver-grass.

Nobusada.

312

The Right say the Left’s poem is ‘particularly good.’ The Left state that, ‘“Faintly autumnl” (aki asaki) grates on the ear, and we also cannot grasp the use of “evening by the rough-woven fence” (kururu magaki).’

Shunzei states, ‘The Left’s “approaching on the waves” (nami yori aki no), seems particularly charming, but when taken together with “willows’ shade” (yanagi kade)– the Tatsuta River has long been the subject of composition on “flowing scarlet autumn leaves”, and even now this gives a slightly poetic effect; “willows’ shade” has been used in composition, both in ancient times and more recently, but does it not seem commonplace now? The Right’s poem is in the same vein as that of the Right in Round One Hundred and Fifty-Two, yet I do not find “faintly autumnal” to be unpleasant. “Evening by the rough-woven fence”, too, has charm. The Left’s poem has vocabulary in accordance with the contents; the Right unusual expressions. In this combination, the round must tie.’

Autumn I: 5

Left.

秋來ても猶夕風を松が根に夏を忘れし陰ぞたち憂き

aki kitemo
nao yū kaze wo
matsu ga ne ni
natsu o wasureshi
kage zo tachi uki
Though the autumn has come,
Still, for an evening breeze,
Must I abide beneath the pines,
As did I to forget the summer,
Loath to leave the shade…

Lord Sada’ie.

309

Right.

夏衣まだ脱ぎやらぬ夕暮は袖に待たるゝ萩の上風

natsukoromo
mada nugiyaranu
yūgure wa
sode ni mataruru
hagi no uwakaze
My summer garb
Have I not yet put away;
In the evening
My sleeves await
A breeze over the bush-clover.

Jakuren.

310

Neither team can find any fault with the other’s poem.

Shunzei, however, says, ‘With regard to the Right’s poem, one marks the change of clothing at the end of spring into summer, and the passage from autumn and the entrance to winter. Does one say that now it is autumn, one changes from summer clothes? The Left’s ‘beneath the pines’ must win, must it not?’

Autumn I: 4

Left.

岩間より漏り來る清水手にかけてまだ住む程ぞ秋の日數は

iwama yori
morikuru kiyomizu
te ni kakete
mada sumu hodo zo
aki no hikazu wa
From the cracks between the crags
Pours pure water,
Caught in my hands;
Many yet remain
Of the days of Autumn.

Lord Kanemune.

307

Right.

音にのみ哀れを添へていかなれば袖に知られぬ秋の初風

oto ni nomi
aware o soete
ikanareba
sode ni shirarenu
aki no hatsukaze
From its sound alone
Am I moved to feel,
And yet
My sleeves get no sense
Of Autumn’s first breeze.

Lord Takanobu.

308

The Right say, ‘Despite the fact that it has become customary to say that coolness arrives with the beginning of Autumn, the Left’s poem, as if this were taken for granted, says the beginning of Autumn is hot! What of this?’

In response, the Left say, ‘First of all, it is taken for granted that the beginning of Autumn is hot! As is plain from “Fiery heat yet remains”. There is nothing problematic in suggesting in this topic that the beginning of autumn is hot!’

Shunzei wonders, ‘what to make of the Left’s “caught in my hands” (te ni kakete), but this is, indeed, a poem on lingering heat. As for the Right’s “From its sound alone am I moved to feel” (oto ni nomi aware o soete) – I wonder whether such a wind would really not be felt on the sleeves as well? The Left should win.’

Autumn I: 3

Left (Tie).

秋風の吹も強らぬ眞葛原夏の氣色に猶かへる哉

aki kaze no
fuki mo tsuyoranu
makuzuwara
natsu no keshiki ni
nao kaeru kana
The autumn wind
Blows with such little strength that
The field of arrowroot
To its summer scene
Has yet returned.

Lord Ari’ie.

305

Right (Tie).

秋來てもまだひとへなる衣手に厭はぬ程の風ぞ吹なる

aki kitemo
mada hitoenaru
koromode ni
itowanu hodo no
kaze zo fukunaru
Autumn has come, and yet
For my still single-layered
Sleeves
There is no respite in
The breath of wind

Ietaka.

306

The Right state, ‘The expression “little strength” (tsuyoranu) is particularly grating on the ear.’ The Left respond, ‘And what are we really to make of the expression, “no respite in the breath of wind” (itowanu hodo no kaze)? Even in “O, blow my cares away,/First breeze of Autumn!” (kokorosite Fuke aki no Fatukaze), one does not get a sense of dislike for the wind. Furthermore, the core sense of the poem seems inappropriately chilly for the topic.’

Shunzei’s judgement is that, ‘the criticisms of both teams have merit. The Left’s “little strength” is as stated. As for the spirit of the Right’s poem, does not “O, blow my cares away” (kokorosite Fuke) mean that the coolness brings no respite? While the spirit of “Lingering Heat” certainly contains the key sense that things have become slightly cooler, as I said in the last round. In any case, this round is a tie.’

Autumn I: 2

Round One-Hundred and Fifty-Two: Autumn – Lingering Heat.

Left.

水無月の照る日や影を殘しけん今朝吹く風の秋に知られぬ

minazuki no
teru hi ya kage o
nokoshiken
kesa fuku kaze no
aki ni shirarenu
The Waterless Month’s
Shining sun and light
Seem to linger on;
To this morning’s blowing breeze
Is autumn quite unknown.

Kenshō.

303

Right (Win).

秋を淺み照る日を夏とおぼめけば暮行空の荻の上風

aki o asami
teru hi o natsu to
obomekeba
kureuyuku sora no
ogi no uwakaze
In autumn ‘tis weak, yet
The shining sun, of summer
Yet has the feel;
From the dusking sky comes
The wind o’er the silver-grass.

The Provisional Master of the Empress Household Office.

304

The Right state, ‘It would have been far better to have “This morning’s blowing breeze brings no knowledge of autumn” (kesa fuku kaze no aki o shirasenu).’ The Left reply, ‘In the Right’s poem, the initial section fails to express the topic, and the latter part seems to have no purpose.’

Shunzei’s judgement is: ‘With regard to the Left’s poem, I cannot agree that “brings no knowledge of autumn” is any better than “is autumn quite unknown”. As for the Right, in general it is not considered that “the shining sun, of summer yet has the feel” (teru hi o natsu to obomekeba) provides suitable praise to the lingering heat of autumn. However, even in poems on the theme of lingering heat, it is appropriate to praise the coolness of early evening. Does not “From the dusking sky comes the wind o’er the silver-grass” (kureuyuku sora no ogi no uwakaze) do this? It must win.’

Autumn I: 1

Left (Tie).

唐衣ひとへに夏の氣色にて袂に秋は知られざりけり

karakoromo
hitoe ni natsu no
keshiki nite
tamoto ni aki wa
shirarezarikeri
My Cathay robe:
A single layer has summer’s
Feel;
Upon my sleeves is autumn
Entirely unknown.

Lord Suetsune.

301

Right.

秋來ぬと風の氣色は見ゆれども猶涼しさは音せざりけり

aki kinu to
kaze no keshiki wa
miyuredomo
nao suzushisa wa
oto sezarekeri
When autumn came
In the breeze’s touch
Did I feel it,
Without coolness or
Sound.

Lord Tsune’ie.

302

The Right have no criticisms to make of the Left’s poem; the Left merely wonder ‘whether proceeding from ‘coolness’ (suzushisa) to ‘sound’ (oto) is appropriate expression, although it is in keeping with the spirit of the topic.’

Shunzei states, ‘The Left’s poem has no particular problems, but “My Cathay robe: a single layer” (karakoromo hitoe) is a somewhat old-fashioned expression, and saying “Upon my sleeves is autumn entirely unknown” (tamoto ni aki wa shirarezarikeri) seems rather pointless. In the Right’s poem, while it is in the spirit of “My eyes clearly” (me ni Fa sayakani), “Without coolness or sound” (nao suzushisa wa oto sezarekeri) is clumsy expression. Neither poem is a worthy victor this round.’