Tag Archives: mountain retreat

Naidaijin-ke uta’awase 12

Round Twelve

Left (T – Win)

柞原紅ふかく染めてけり時雨の雨はいろなけれども

hahasowara
kurenai fukaku
sometekeri
shigure no ame wa
iro nakeredomo
The oak groves
Deeply scarlet
Have been dyed,
Though the rain shower
Lacks any hue at all…

Lord Shigemoto
23

Right (M – Win)

山里はならのから葉の散敷きてしぐれの音もはげしかりけり

yamazato wa
nara no karaba no
chirishikite
shigure no oto mo
hageshikarikeri
My mountain retreat has
The oaks’ withered leaves
Scattered and spread around, so
The sound of showers is all
The more severe.

Lord Tamezane
24

Toshiyori states: the ‘oak grove’ poem, saying that plants fade and autumn leaves are dyed by things like dew and frost is as unremarkable as saying that one’s sweetheart’s skirt trails down. The ‘mountain retreat’ poem has ‘the oaks’ withered leaves’ and this is problematic. It would certainly have been better to avoid using ‘withered leaves’. In addition, I wonder about saying ‘the sound of showers is severe’? I feel it would be better to use this when looking down on the stony valley gate from the high peak of Mount Arachi. The first poem is slightly superior.

Mototoshi states; the poems of Left and Right are about the same quality, but the Left’s poem lacks a conception of showers and is entirely a poem on scarlet leaves, so in the current context ‘oaks’ withered leaves’ is slightly superior.

Kinkai wakashū 323

The wind through the pines sounding like a shower

神無月木のはふりにし山里は時雨にまがふ松のかぜかな

kamidazuki
ko no ha furinishi
yamazato wa
shigure ni magau
matsu no kaze kana
In the Godless Month
When all the leaves from the trees have fallen,
In a mountain retreat
Blending with the showers is
The wind in the pines!

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 24

Round Twelve

Left (Tie)

あらし吹くまくずが原に鳴く鹿は恨みてのみや妻をこふらん

arashi fuku
makuzu ga hara ni
naku shika wa
uramite nomi ya
tsuma o kouran
Storm winds blow
Across the arrowroot upon the plain
Where bells a stag—
Might it be with bitterness, alone, that
He yearns for a mate?

Shun’e
47

Right

山里は妻こひかぬる鹿の音にさもあらぬ我もねられざりけり

yamazato wa
tsuma koikanuru
shika no ne ni
sa mo aranu ware mo
nerarezarikeri
In a mountain retreat,
Filled with too much yearning for his mate
A stag bells out—
‘Tis not true of me, yet
Still I cannot sleep.

Lay Priest Master
48

The Left’s stag’s bell seeming to despise the arrowroot field and the Right’s inability to sleep on hearing a stag belling at a mountain retreat are both evocative of lonely sadness and neither sounds at all inferior to the other in the depths of the emotion they convey, so I find myself quite unable to distinguish between them.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 23

Round Eleven

Left

さをしかの空にあはれときこゆるは山のたかねになけばなりけり

saoshika no
sora ni aware to
kikoyuru wa
yama no takane ni
nakeba narikeri
A stag belling
To the skies, sadly
I hear—
Perhaps, because ‘tis on the mountain’s peak
He cries so…

Lord Masahira

45

Right (Win)

ゆふまぐれ霧のまがきのさびしさにをしか鳴くなり秋の山里

yūmagure
kiri no magaki no
sabishisa ni
oshika nakunari
aki no yamazato
Tangled in twilight
With mist around my brushwood fence,
Loneliness fills me, as
A stag bells, by
A mountain retreat in autumn

Shinkaku
46

What on earth is the conception of ‘sadly hearing something in the skies’? While no one can truly know why a stag bells, what is the point of saying that ‘sadness is in the skies’? And if one does hear it, it isn’t the case that anyone really knows that the stag is belling out of longing for his mate, is it. The stag seeming to bell by a brushwood fence in the mist, seems to sound a bit more moving at the moment.

Kinkai wakashū 57

On an occasion when I had many people compose on the same conception.

さくらばなさきちるみれば山里に我ぞおほくの春はへにける

sakurabana
saki chiru mireba
yamazato ni
ware zo ōku no
haru wa henikeru
When the cherry blossoms’
Early scattering I see,
That in this mountain retreat
I have many a
Springtime spent, I know.
A kuzushiji version of the poem's text.
Created with Soan.