Tag Archives: mushi

Love IX: 3

Left (Win)
さらぬだに身にしむ夜はの笛の音を憂き人ゆへに聞き明かしつる

saranu dani
mi ni shimu yowa no
fue no ne o
ukibito yue ni
kiki akashitsuru
Even were I not so in love,
On a night that chills the soul
The strains of a flute
For that cruel one
Drift to me ‘til the dawn…

Lord Kanemune
1085

Right
我ゆへに思はぬ夜はの笛の音も藻に棲む虫と袖は濡れけり

ware yue ni
omowanu yowa no
fue no ne mo
mo ni sumu mushi to
sode wa nurekeri
For my sake
I did not think this night
The flute’s strains –
A shrimp among the seaweed –
Soak the sleeves.

Jakuren
1086

The Right state: the Left’s poem is overly lacking in thought. The Left state: no faults.

In judgement: the Left has ‘for that cruel one’ (ukibito yue ni) – does this mean perhaps that one is unable to sleep as a result of someone’s cruelty? The reference to ‘a shrimp among the seaweed’ (mo ni sumu mushi) in the Right’s latter section feels overly abrupt and sounds lacking in connection to anything else in the poem. ‘That cruel one’ sounds somewhat insufficient, but it certainly has no faults. Thus, the Left wins.

Love VIII: 27

Left (Win)
蟲の音も秋を限りと恨むなりたえぬ思やたぐひなるらん

mushi no ne mo
aki o kagiri to
uramu nari
taenu omoi ya
tagui naruran
The insects’ cries do
Mark the bounds of autumn
With despair;
Are endless thoughts of love
To be my only fellow?

Lord Kanemune
1073

Right
夏蟲もうら山しきは秋の夜の露にはもえぬ思ひなりけり

natsumushi mo
urayamashiki wa
aki no yo no
tsuyu ni wa moenu
omoi narikeri
The fireflies are
A source of envy,
On an autumn night
When dewfall damps down
The fires of my passion…

Ietaka
1074

The Gentlemen of the Right: the Left’s poem has no faults to mention. The Gentlemen of the Left state: we wonder about the appropriateness of ‘dewfall damps down’ (tsuyu ni wa moenu).

In judgement: the Left’s poem has been stated to be without fault by the gentlemen present. In the Right’s poem, I wonder if saying, ‘dewfall damps down’ is meaning nothing burns in autumn? On the matter of using the term ‘summer insects’ (natsumushi) to refer to fireflies, I do wonder whether it is appropriate to imply with one’s composition that there are no such insects in autumn. Although in the Collection of Poems to Sing Aloud, fireflies occur in the Summer section, among the same collection’s Chinese poems there is ‘in the dark before dawn innumerable fireflies start from the autumn grasses’. Furthermore, in Pan Anren’s ‘Rhapsody on Autumn Inspirations’ he says, ‘Glittering fireflies shine by the palace gate, and crickets sing from the eaves of the fence’. Even though there are countless cases of Autumn fireflies, how can one have composed suggesting that there are not? Thus, the Left wins.

SZS IV: 256

Composed when a hundred poem sequence was presented to His Majesty, during the reign of Former Emperor Horikawa.

さまざまに心ぞとまる宮城野の花のいろいろ虫の声ごゑ

samazama ni
kokoro zo tomaru
miyagino no
Fana no iroiro
musi no kowegowe
So many things
Do rest within my heart:
On Miyagi plain
The multicoloured blossom and
The insects’ songs.

Minamoto no Toshiyori
源俊頼

This poem is also Horikawa hyakushu 1400.

GSIS IV: 270

Composed for a picture based on the Song of Everlasting Woe, for the scene where Xuanzong had returned home and the emperor was depicted weeping with insects calling from the withered cogon grass all around him.

ふるさとは浅茅が原と荒れはてて夜すがら虫の音をのみぞ鳴く

Furusato Fa
asadi ga Fara to
areFatete
yosugara musi no
ne nomi zo naku
My old home
With cogon grass is
Entirely overgrown;
All night the insects
Simply let forth their cries…

Dōmei
道命

Winter I: 18

Left (Tie).

花は猶その姿とも見え分る枯野は蟲の聲ぞ戀しき

hana wa nao
sono sugata tomo
miewakaru
kareno wa mushi no
koe zo koshiki
The blossoms are still
By their simple shapes
Revealed, but
On this withered field the insects’
Cries are what I miss…

Lord Kanemune.

515

Right.

秋の色の移ろふ野邊を來て見れば哀は枯れぬ物にぞ有ける

aki no iro no
utsurou nobe o
kitemireba
aware wa karenu
mono ni zo arikeru
Autumn’s hues
Have faded from this field
I see, but
My sorrow is something
Evergreen…

Nobusada.

516

The Right state that they are unable to understand [kokoro yukazu] the usage of ‘revealed’ (miewakaru) in the Left’s poem. The Left find no faults in the Right’s poem.

Shunzei’s judgement: The Left’s use of ‘revealed’ sounds appropriate [yoroshiku kikoehaberu] in this poem, and ‘on this withered field the insects’ (kareno wa mushi) is most tasteful [yū ni koso haberumere]. The conception of the Right’s ‘Autumn’s hues have faded from this field’ (aki no iro no utsurou nobe) where ‘sorrow is evergreen’ (aware wa karenu) is most moving, indeed; the Left, too, has a find conclusion to their poem, and so with both being heartfelt [kokoro utsurite], the round should tie.

Winter I: 16

Left (Win).

霜枯るゝ野原に秋の忍はれて心のうちに鹿ぞ鳴ぬる

shimo karuru
nohara ni aki no
shinobarete
kokoro no uchi ni
shika zo nakinuru
Burnt by frost
The fields autumn
Bring back to me, and
Within my heart
A stag cries out.

Lord Suetsune.

511

Right.

鹿の音も蟲もさまざま聲絶えて霜枯はてぬ宮城野の原

shika no oto mo
mushi mo samasama
koe taete
shimogarehatenu
miyagino no hara
The sound of stags and
All the insects varied
Cries are gone;
Completely burned by frost is
The plain of Miyagino.

Ietaka.

512

The Right say that the Left’s poem is ‘fine, perhaps’ [yoroshiki ka]. The Left reply that the Right’s ‘lacks any faults.’

Shunzei’s judgement: Both poems are on the topic of ‘withered fields’ and the Right has a fine final section with ‘the plain of Miyagino’ (miyagino no hara), but the initial section with ‘stags’ and ‘insects’ sounds as if the poet is enumerating members of list [kazoetatetaru yō ni ya kikoyu]. The Left, with its ‘The fields autumn bring back to me’ (nohara ni aki no shinobarete), followed by ‘Within my heart a stag cries out’ (kokoro no uchi ni shika zo nakinuru), is most fine. The Left should win.

Autumn III: 29

Left.

有明の名ばかり秋の月影に弱り果てたる蟲の聲かな

ariake no
na bakari aki no
tsukikage ni
yowarihatetaru
mushi no koe kana
Dawn it is in
Name alone; in autumn
The moonlight is
At its faintest
As are the insects’ songs…

Lord Sada’ie.

477

Right (Win).

暮れて行秋の名残も山の端に月と共にや有明の空

kureteyuku
aki no nagori mo
yama no ha ni
tsuki to tomo ni ya
ariake no sora
Turning to dusk,
Is there a memento of autumn, too,
Upon the mountains’ edge
Together with the moon in
The dawning skies?

Jakuren.

478

The Right question the Left’s use of ‘Dawn it is in name alone’ (ariake no na bakari). The Left find no fault with the Right’s poem.

Shunzei’s judgement: I do not feel there is anything particularly wrong with ‘name alone; in autumn’ (na bakari aki no), but the Right’s ‘Together with the moon in the dawning skies’ (tsuki to tomo ni ya ariake no sora) seems most fine [yoroshikuhaberubeshi]. Thus, the Right wins.