na ni shi owaba shiite tanomamu ominaeshi hito no kokoro no aki wa uku tomo
If the name fits, then Strongly, would I ask you, Maidenflower: Though folk’s full hearts In autumn, be cruel…
aki no yo o hitori netaramu ama no kawa fuchise tadorazu iza watarinamu
On an autumn night, I sleep alone, it seems, for To the River of Heaven’s Depths and shallows I will not make my way— However can I cross them?
Shinchokusenshū 242; also a minor variant occurs in Kokin rokujō (3368) なにしおはばしひてたのまんをみなへし花の心の秋はうくともna ni shi owaba / shiite tanomamu / ominaeshi / hana no kokoro no / aki wa uku tomo ‘If the name fits, then / Forcefully, would I trust you, / Maidenflower: / Though a flower’s heart / In autumn, be cruel…’ Tsurayuki.
kaiya ga shita no
kogare mo yaranu
Warding the mountain fields
Beneath the heated hut
Smoulders without end –
And so do I!
The Right state: the Left’s poem has no faults. The Left state: we wonder about the usage of ‘beneath the heated hut’ (kaiya ga shita) with ‘warding the mountain fields’ (yamada moru). In reply: in the Man’yōshū ‘heated hut’ (kaiya), is written with characters meaning ‘deer-repelling fire hut’. In addition, in territories where they wish to drive the deer away from their mountain paddies, they take things which smell foul when burnt, such as hair, and burn them, and in order that the fires are not put out by the rain, they build a roof over them. The common folk of these places call these things ‘heated huts’ (kaiya). So, the Man’yōshū’s usage corresponds with actual practice. Again, a further criticism from the Left: the Master of the Crown Prince’s Household Office composed a poem on salting. Atsutaka also includes ‘heated hut’ in the section on mosquito fires. Such are the ideas of our forebears. That ‘heated hut’ is written in Man’yōshū with characters meaning ‘deer-repelling fire’ and ‘scented fire’ is no proof of anything. Might it not have been written this way so that it would be read to mean ‘keep’? One certainly cannot sweepingly say that it means ‘deer-repelling fire’. A further response from the Right: our forebears have presented no definite evidence, and so it is difficult to accept this argument. In addition, has it not long been accepted that ‘morning haze’ can be used to refer to the smoke from deer-repelling fires, when composing on the haze spreading? Furthermore, in the Hitomaroshū, there is the poem ‘On Kogane Mountain / Beneath the heated hut / Frogs call’. Thus, it appears that this composition must refer to mountain fields.
In judgement: the Left’s ‘At Nago the fisherfolk’ (nago no ama) links the initial and latter sections of the poem extremely well. There seems to be have been some discussion from both teams about the Right’s ‘beneath the heated hut the smoke’ (kaiya ga shita no kemuri). Prior to the to and fro about this poem, was there not a similar discussion about heated huts in the final section of spring poems about frogs? With the greatest respect, the discussion here seems little different. However, in regard to the Right’s poem, saying that love smoulders is the normal way of expressing matters. I do wonder about ‘smoulders without end’ (kogare mo yaranu), but this would certainly seem appropriate with the reference to a heated hut. The Left, in addition, with ‘salt burning smoke’ (yaku shio kemuri) lacks any faults to indicate, so with no clear winner or loser, I make this round a tie.
Lord Ōtomo no Sadehiko, on receiving a special imperial command, was sent to a distant land as an ambassador. Readying his boat, he set sail and gradually became more distant on the aquamarine surface of the sea. His wife, Matsura no Sayohime, grieving at how easily people were parted in this world, sorrowed at the thought of how difficult it would be to meet her husband once more. So, she climbed to the top of Mount Takayama and, gazing at the boat growing ever more distant, in an extreme of loss cut open her belly, feeling that her soul was gone and the world was in darkness before her eyes. Then, at the last, she waved her stole. Of the folk who accompanied her, there was not one who was not in tears. It was from these events that the peak became known as Mount Hirefuri (‘Stole-wave’), and this poem was composed.
topo tsu pito
pire purisi yori
operu yama no na
A distant man
Awaiting, did Matsura no Sayohime
Loving her man
Wave her stole, and ever since
Has this mountain borne that name!