Tag Archives: mountain paths

Eien narabō uta’awase 23

Round Two

Left

ゆきふればしるしのすぎもはなさきてみわの山べもいかがたづねむ

yuki fureba
shirushi no sugi mo
hana sakite
miwa no yamabe mo
ikaga tazunemu
When the snow has fallen,
The symbolic cedars, too,
Bloom with blossom—
To Miwa’s mountainside
How might I make my way?

Lord Saburō
45

Right (Win)

しらゆきにふるの山みちうづもれてたどるばかりになりもゆくかな

shirayuki ni
furu no yamamichi
uzumorete
tadoru bakari ni
nari mo yuku kana
In snow, so white,
Furu’s ancient mountain paths
Are buried, so
Simply I must feel my way
As I go along!

Ushigimi
46

The Left’s poem is an entirely transparent adaptation of an earlier work. This poem is:

ふる雪に印の杉もうづもれていづこなるらむ三輪の山本

furu yuki ni
shirushi no sugi mo
uzumorete
izuko naruruamu
miwa no yamamoto
In the falling snow,
Even the symbolic cedars
Are buried
Where might be
Miwa mountain’s foot?[i]

The Right’s poem has nothing of interest about it, nor does it have any faults to indicate. Thus, there are insufficient grounds for judgement.

The Left’s poem follows the conception of a poem which appeared in the Kaya Palace Poetry Match.[ii] Although this is an earlier work, truly, it’s not that good, and so this poem doesn’t seem that superlative. Why couldn’t one visit if blossom has simply bloomed? The former poem says it would be difficult to get there because it’s buried in snow. The Right’s poem isn’t that good, but it seems better than the Left, so it should win.


[i] The source of this poem is unclear, however,

[ii] Snow. ふるゆきにすぎのあをばもうづもれてしるしも見えずみわのやまもと furu yuki ni / sugi no aoba mo / uzumorete / shirushi mo miezu / miwa no yamamoto ‘In the falling snow / The green cedar needles / Are buried, so / The symbol goes unseen, / Of Miwa mountain’s foot.’ Lady Settsu (Kaya no in shichiban uta’awase 55). This poetry match, Kaya no in shichiban uta’awase 高陽院七番歌合 (‘Seven Round Poetry Match held at the Kaya Palace’), was sponsored by Fujiwara no Morozane 藤原師実 (1042-1101) and held on the 19th day of the Eighth Month, Kahō 1 [1.10.1094]. The judge, Minamoto no Tsunenobu 源経信 (1016-1097), approved of this poem, saying it was ‘extremely charming’. It was later included in Kin’yōshū (IV: 285), with the headnote, ‘Composed on the conception of snow at the Poetry Match held at the Residence of the Former Uji Chancellor’.

Eien narabō uta’awase 18

Round Four

Left

まくずはふ山ぢもはれてあきのよはこゆるたびびとやすき月かな

makuzu hau
yamaji mo harete
aki no yo wa
koyuru tabibito
yasuki tsuki kana
Kudzu vines crawl
Along the mountain paths, so clear
On an autumn night for
A traveller a’crossing
Lit by a clement moon!

Cell of the Fragrant Elephant
35

Right

くまもなきつきのひかりをながめてはひたけてぞしるよはあけにけり

kuma mo naki
tsuki no hikari o
nagamete wa
hi takete zo shiru
yo wa akenikeri
No cloud mars
The moon’s light,
Filling my gaze, as
A sun up high, telling me,
Night leads to bright dawn.

Cell of the Everlasting Truth
36

The poem of the Left has nothing to present in all of its syllables. The poem of the Right resembles a composition by someone drunk out of his mind. As a result, it’s impossible to decide between them.

In the poem of the Left, does ‘clement moonlight’ mean that the moon’s light enables one to traverse a mountain path, which normally one would be unable to make one’s way along because one would expect it to be dark? The diction here is insufficient. As it says in the preface to the Ancient and Modern Collection of Narihira’s poems, ‘excessive conception but lacking in diction, like withered flowers lacking colours, but with a lingering fragrance’. This is a poem in that style, isn’t it. As for the poem of the Right, this, too, has ‘night leads to bright dawn’—the diction here is stilted and the conception lacks elegance. I have to say these poems are of about the same standard.

SKKS X: 924

For the Hundred Poem Sequences Commemorating the Reign of Former Emperor Horikawa.

やまぢにてそほちにけりな白露のあかつきおきの木木のしづくに

yamaji nite
sōchinikeri na
shiratsuyu no
akatsuki oki no
kigi no shizuku ni
On a mountain path
How damp have I become!
Silver dewdrops
Fall with the dawn
In droplets from the trees…

Supernumerary Middle Counsellor Kunizane

A kuzushiji version of the poem's text.
Created with Soan.

Kanpyō no ōntoki kiku awase 17

Composed on someone passing through chrysanthemums to reach a sage’s dwelling.
濡れて干す山路の菊の露のまにいつか千歳を我は経にけむ

nurete Fosu
yamazi no kiku no
tuyu no ma ni
ituka titose wo
ware Fa Fenikemu
Drenched, then drying
On this mountain path with chrysanthemum
Dewdrops—in that little space
Has, somehow, a thousand years
Passed me by?

Sosei
17

This poems was included in Kokinshū (V: 273), where it has a somewhat different headnote.

MYS III: 382

A poem composed by Tajihi no Kunihito on climbing the hill of Tsukuba.

鶏が鳴く 東の国に 高山は さはにあれども 二神の 貴き山の 並み立ちの 見が欲し山と 神世より 人の言ひ継ぎ 国見する 筑波の山を 冬こもり 時じき時と 見ずて行かば まして恋しみ 雪消する 山道すらを なづみぞ我が来る

tori ga naku
aduma no kuni ni
takayama pa
sa pa aredomo
putagami no
taputoki yama no
namitati no
migaposi yama to
kamuyo yori
pito no ipitugi
kunimi suru
tukuba no yama wo
puyukomori
toki ziki toki to
mizute ikaba
masite koposimi
yukigesuru
yamamiti sura wo
nadumi zo wa ga keru
In the bird-calling
Eastern lands
Mighty mountains
Many lie, yet
Twin deities –
The sacred mountains
Lie side-by-side;
Never tiring of the sight
Since the age of Gods
Have folk told the tale;
Gazing at the land:
Mount Tsukuba
Lay sealed in winter;
Not the time to do it, but
Without gazing at the land I did go, and
Loved it all the more;
Snow melting on
The mountain paths, even them
Have I climbed straining!

Tajihi no Mahitokunihito
丹比真人国人