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Shiki koi sanshu uta’awase – Autumn

Autumn

Left

秋の夜の有明にみれど久堅の月のかつらはうつろはぬかな

aki no yo no
ariake ni miredo
hisakata no
tsuki no katsura wa
utsurouwanu kana
An autumn night’s
Dawn I see, yet
The eternal
Moon’s silver trees
Show no sign of fading!

13

秋萩の花咲く比の白露は下ばのためとわきて置くべし

aki hagi no
hana saku koro no
shiratsuyu wa
shitaba no tame to
wakite okubeshi
In autumn, the bush clover
Flowers bloom—just then
Silver dewdrops
For the under-leaves
Do fall, marking every one.

14

秋風はいなばもそよとふきつめりかりみる程と成りやしぬらん

akikaze wa
inaba mo soyo to
fukitsumeri
kari miru hodo to
nari ya shinuran
The autumn breeze
Seems to rustle the rice stalks
As it blows;
Seeing if ‘tis time to reap them—
Is that what it is, I wonder?

15

Right

銀河とわたる舟は花薄ほにいづるほどぞかげもみゆべき

ama no kawa
towataru fune wa
hanasusuki
ho ni izuru hodo zo
kage mo miyubeki
Across the River of Heaven
A boat goes ferrying:
When the silver grass
Ears burst into bloom,
Can its shape be seen.

16

女郎花さがの花をば色ながら秋をさかりといはれずもがな

ominaeshi
saga no hana oba
iro nagara
aki o sakari to
iwarezu mogana
Maidenflowers:
Blossoms from Saga
Reveal their hues, and
In autumn are most fine—that
Goes without saying!

17

小男鹿の朝たつ霧にうりふ山嶺の梢は色こかりけり

saoshika no
asa tatsu kiri ni
urifuyama
mine no kozue wa
iro kokarikeri
Stags
Within the rising morning mist on
Urifu Moutain, where
The treetops on the peak
Have taken darker hues.

18

FGS IV: 410

On summer trees, when His Majesty, the Former Emperor, ordered him to produce a thirty poem sequence.

虹のたつふもとの杉は雲にきえて峰よりはるるゆふだちのあめ

niji no tatsu
fumoto no sugi wa
kumo ni kiete
mine yori haruru
yūdachi no ame
A rainbow rises above
Cedars in the foothills,
Vanishing in the clouds
Clearing from the peaks,
With an evening shower of rain.

Former Senior Assistant Governor General of Dazai Toshikane

Fubokushō XXIV: 11156

From a poetry contest at Sadafun’s house.

みねはもえふもとはこほるふじ川のわれもうき世を住みぞわづらふ

mine Fa moe
Fumoto Fa koForu
FuzigaFa no
ware mo ukiyo wo
sumi zo waduraFu
At the peak it burns and
At the foot does freeze:
The Fuji River, just as
I, too, in this cruel world
Live and suffer.

Fukayabu

This is the sole surviving poem from ‘Sadafumi’s Poetry Contest‘.

Love VIII: 4

Left (Tie)
ももよ草百夜までなど頼めけむかりそめ臥しの榻のはしがき

momoyogusa
momoyo made nado
tanomekemu
karisome fushi no
shiji no hashigaki
A hundred nights upon the grass:
After a hundred nights, how
Can I trust we’ll meet?
Fitfully pillowed on
The scratches on my shaft stand…

Kenshō
1027

Right
逢事はいつといぶきの嶺に生ふるさしも絶せぬ思ひなりけり

au koto wa
itsu to ibuki no
mine ni ouru
sashimo taesenu
omoi narikeri
When will our meeting
Come? On Ibuki
Peak grows
Moxa, thus, endlessly
Burning, as do my fires of love.

The Supernumerary Master of the Empress Household Office
1028

The Gentlemen of the Right state: the Left’s poem has no faults to mention. The Gentlemen of the Left state: it is difficult to grasp that there is nothing said from ‘when will it come? On Ibuki’ (itsu to ibuki). ‘Moza, thus’ (sashimo) does not fit with the end of the poem.

In judgement: I do wonder about the sound of beginning a poem with momoyogusa. Furthermore, originally, the ‘one hundred nights’ (momoyo) would be placed upon the shaft stand. ‘When on Ibuki grows moxa’ (itsu to ibuki no sashimo), too, just as with Inaba’s pines, places too much stress on the peak. The poems are of the same quality and tie.

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

Love VI: 29

Left (Win).
忍びかね心の空に立つ煙見せばや富士の峰にまがへて

shinobikane
kokoro no sora ni
tatsu kemuri
miseba ya fuji no
mine ni magaete
I can bear no more:
Into the heavens of my heart
Smoke rises;
I would show her it is of Fuji’s
Peak an image!

A Servant Girl.
957

Right.
富士の嶺の煙も猶ぞ立のぼる上なき物は思ひなりけり

fuji no ne no
kemuri mo nao zo
tachinoboru
ue naki mono wa
omoi narikeri
The peak of Fuji:
Smoke yet
Rises there;
Higher than the highest is
My love.

Ietaka.
958

The Right state: we wonder about the meaning of ‘heavens of my heart’ (kokoro no sora). In reply, the Left: this is the same conception as the poem ‘into the heavens of my heart emerges the moon’. In reply, the Right: what is the point in using the smoke from Fuji as a metaphor? It seems as if the focus of the poem is the smoke. Furthermore, why have smoke rising in your heart without the smoke of passion? The Left state: the Right’s poem seems good.

In judgement: the Gentlemen of the competition seems to have sagaciously criticised the faults of the Left’s poem, but ‘I would show her it is of Fuji’s peak an image!’ (miseba ya fuji no mine ni magaete) is charming in configuration and diction. The Right’s poem, too, in the final section is elegant in configuration. However, I must make the Left the winner.