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Eien narabō uta’awase 34

Round Six

Left (Win)

うれしさはおほつのはまにたつなみのかずもしられぬきみがみよかな

ureshisa wa
ōtsu no hama ni
tatsu nami no
kazu mo shirarenu
kimi ga miyo kana
My joy is
Great, as upon Ōtsu Beach
Break waves
In numbers quite unknown,
Such is my Lord’s reign most fair!

Cell of Fragrant Cloud
67

Right

かすがやまみねのしらがしよろづよをきみにといへばかみもいさめず

kasugayama
mine no shiragashi
yorozuyo o
kimi ni to ieba
kami mo isamezu
Kasuga Mountain has
White-barked evergreen oaks upon its peak:
‘Ten thousand generations
For my Lord!’—should I say that,
The God will surely not refuse!

Cell of Compassionate Light
68

The poem of the Left’s ‘Great, as upon Ōtsu Beach’ and what follows is something that sounds grievously prosaic. With that said, there are many parts of the poem which are not. What is the poem of the Right’s ‘White-barked evergreen oaks on its peak / Ten thousand generations’ linked with in the remainder of the poem? I wonder what it’s composed about… The Left doesn’t contain any errors, so I still say it wins.

The Left’s poem, as I have said in an earlier round, appears to lack smoothness. Is the poem of the Right’s ‘white-barked evergreen oaks’ a long-standing expression? I can’t seem to recall a prior precedent. ‘The God will surely not refuse’ is vague, too. Is it asking the deity’s favour for the speaker? While I am somewhat hesitant, given my appallingly constricted knowledge, I will, fearfully, say that this is inferior.

Naidaijin-ke uta’awase 31

Round Seven

Left

恋せじとおもひなるせによる浪のかへりてそれもくるしかりけり

koiseji to
omoinaru se ni
yoru nami no
kaerite sore mo
kurushikarikeri
I’ll love you no more,
Did I come to think, the crash of
Breaking waves
Returning, but that, too
Has brought me pain.

Lord Kanemasa
61

Right (Both Judges – Win)

玉藻かる忍ぶの浦の蜑だにもいとかく袖はぬるるものかは

tamamo karu
shinobu no ura no
ama dani mo
ito kaku sode wa
nururu mono ka wa
Reaping gemweed
On Shinobu shore,
Do even the fisherfolk
Have sleeves so very
Drenched, indeed?

Lord Masamitsu
62

Toshiyori states: both of these are charming, however, a line from a famous poem is used for as the initial section, and in such cases the new poem should not closely evoke the source. Someone once said something similar, a long time ago. It’s a bit inferior, isn’t it.

Mototoshi states: neither of these contain any errors, yet the section following the central ‘crash of / Breaking waves’ seems intermittently painful, with sleeves damper than those of the fisherfolk on Shinobu shore. It seems a bit better at present.