Tag Archives: Love

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: 15

Left
藻塩やく海人のまくかたならねども恋のそめきもいとなかりけり

moshio yaku
ama no makuka
tanaranedomo
koi no someki mo
ito nakarikeri
Burning seaweed for salt,
Scattering on the shore are the fisher-girls;
Not just so, but
From the tumult of love
Is there little respite.

Kenshō
1169

Right (Win)
思ひにはたぐひなるべき伊勢の海人も人を恨みぬ袖ぞ濡れける

omoi ni wa
taguinarubeki
ise no ama mo
hito o uraminu
sode zo nurekeru
In thoughts of love
Are we the same:
The diver girls at Ise,
Gazing at bay, with no sight of you
My sleeves are soaked.

Ietaka
1170

The Right state: there is a theory that ‘scattering on the shore’ (ama no makukata) is actually ‘waiting’ (matekata). How should this phrase be correctly be understood here? In response, the Left: the poem was composed from the standpoint that ‘scattering on the shore’ is correct. The Later Selection texts vary between ku and te, but ‘without surcease’ (itoma nami) is an appropriate expression for burning seaweed for salt. In both the Collection of a Myriad Leaves and the Tales of Ise there is the expression ‘ceaseless salt burning (shio yaku itoma nashi). In addition, there is the Ise Priestess Consort’s poem ‘Scattering on the shore, the fisher-girls rake seaweed’, where te would not be suitable. Izumi Shikibu’s poem:

伊勢の海の海人のあまたのまてかたにおりやとるらん浪の花なみ

ise no umi no
ama no amata no
matekata ni
ori ya toruran
nami no hananami
By the sea at Ise
Crowds of fisher-girls
A’waiting
To be plucked –
A row of blossoms on the waves.

is written with te, but ‘crowds of fisher-girls’ seems to suit the conception of burning seaweed. The Right still find fault: in the Muroyama Lay Priest’s Collection in a Tortoiseshell Mirror, Hideaki’s poem is written with mate. In addition, it evokes a scene of evaporation pools, and is there such an activity as scattering salt on the shore? In response: the salt kilns are on the shore. It is they which are scattered. People from the area have told me as much. In addition, mate could mean looking for razor clams (mategai) in the sand. And the girls would not be completely occupied doing this. In response, the Right: that is not the only possible meaning of mate. When the fisher-girls are busy with their work, and have no respite from it, one uses itoma nami. The Left have no criticisms to make of the Right’s poem.

In judgement: the Left’s poem, with the initial ama no makukata, followed by the final section ‘from the tumult of love is there little respite’ (koi no someki mo ito nakarikeri) fails to sound elegant. There should be no confusion over this issue. Lord Hide’aki’s poem in the Later Selection is plainly ‘a diver-girl does wait without surcease’ (ama no matekata itoma nami). On this matter, long ago when I was in attendance upon His Majesty, Emperor Sutoku, he presented me with the commentaries on problematic poems by a certain personage written as he remembered them, and His Majesty asked, ‘People say there are many errors in this text – is this true?’ to which I replied, ‘When it came to making things, there are errors in even those made by the wisest men of old. What you could call imperfect scholarship.’ In the midst of talking about this and that, I mentioned problems in the Later Selection, and that this matekata poem was written maku; I didn’t provide any commentary, just simply said, ‘This is matekata. The fact that there are texts which erroneously write maku have produced some doubt over this,’ and when people later heard that I had said this, his followers got confused and thought I meant maku was correct. ‘Without surcease’ (itoma nami) is particularly suitable for matekata. ‘Waiting’ (matekata) and ‘burning seaweed for salt’ (moshio yaku) are both things which fisher-girls do endlessly – there is no difference between them. Both the Collection of a Myriad Leaves and the Tales of Ise say ‘fisher-girls without surcease’ (ama no itoma nashi). Nowhere does it say ‘scattering’ (makukata). In addition, the shore where they burn seaweed for salt on the beach (hama ni shio yaku kata) bears no resemblance to scattering salt (shio o maku). Moreover, as for the Ise Virgin Consort’s poem, there are many texts which have mate, and any versions of both this anthology and of the Later Selection, too, which have maku are erroneous. There is also a poem in reply to the Consort’s poem ‘Scattered on the shore, / Raking, the fisher-girls gather / Sea-salt weed: / Where does the smoke / Rise to, I ask, my love?’ There are many who argue that this should be maku, but it simply means that the fisher-girls are busy. Matekata and itomanaki koto mean the same thing. In conclusion, we must have regard to the Later Selection poem. Hide’aki has left only a few poems, but was surrounded by poets of peerless talent. Whichever way one looks at it, he was not one to produce an erroneous poem. The Right’s poem has nothing special about it, but as the Left uses ‘from the tumult of love is there little respite’ which sounds old-fashioned and unpleasant, and there is no evidence that makukata is correct, the Right wins.

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 X: 8

Left
心ゆく野路の旅寝の友なくはいとど都や恋しからまし

kokoro yuku
noji no tabine no
tomo naku wa
itodo miyako ya
koishikaramashi
To ease my heart
While sleeping on my travels ‘tween the fields
I have no friend at all, so
How much more the capital
Does seem dear to me now!

Lord Kanemune
1155

Right (Win)
立ち宿る一夜ばかりの契だにさてながらふる人もある世を

tachiyadoru
hitoyo bakari no
chigiri dani
sate nagarauru
hito mo aru yo o
Lodging on one’s travels,
For just a single night,
A love
That lasts with
A lady does happen sometimes, yet…

Nobusada
1156

The Right state: the Left’s poem has no entertainers, or conception of love, either. The Left state: the Right’s poem lacks entertainers.

In judgement: it seems that the Gentlemen of both teams have already stated that both poems lack the conception of Love. However, they seem to me to both capture the conception of entertainers. The Right’s configuration and conception are fine. It should win, I think.

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: 28

Left
君とわが寝しさむしろの塵なれば形見がてらにうちも払はず

kimi to wa ga
neshi samushiro no
chiri nareba
katami ga tera ni
uchi mo harawazu
My love and I
Did sleep upon these blankets, so
Even the dust there
Is a memento –
I cannot brush it away!

Lord Suetsune
1135

Right (Win)
ひとり寝の床のさ筵朽ちにけり涙は袖をかぎるのみかは

hitorine no
toko no samushiro
kuchinikeri
namida wa sode o
kagiru nomi ka wa
Sleeping solo on
My bed’s blankets,
They have rotted away;
Tears on more than sleeves
Have that effect…

Ietaka
1136

The Right state: ‘did sleep’ (neshi) is particularly unimpressive. The Left state: ‘more than sleeves’ (sode o kagiru) is, perhaps, over-definite.

In judgement: in the Left’s poem, despite ‘did sleep upon these blankets’ (neshi samushiro) referring to something which definitely exists, it still sounds as if there is not much poetic expression in the poem. ‘Is a memento’ (katami ga tera) fails to resemble ‘for blossom viewing’ (hanami ga tera). As for the Right’s poem, I certainly would not say that ‘tears on more than sleeves have that effect’ (namida wa sode o kagiru nomi ka wa) is over-definite. It is somewhat difficult to make out on hearing, but the configuration is poetic, indeed, so the Right should win, it seems.