Tag Archives: nami

Love III: 1

Left.

身にあまる恋は中々よかりけり人目を包む歎きなければ

mi ni amaru
koi wa nakanaka
yokarikeri
hitome o tsutsumu
nagekinakereba
Made known to all
Love is much
Better!
Hiding from prying eyes:
The grief of that is gone!

Lord Suetsune

721

Right (Win).

みさごゐる磯の松が根浪かけてあらわれにける戀ぞわりなき

misago iru
iso no matsu ga ne
nami kakete
arawarenikeru
koi zo warinaki
An osprey rests
Upon the sea-shore pine, roots
Washed by the waves, and
Revealed;
Love is hopeless…

Lord Tsune’ie

722

The Gentlemen of the Right state: ‘better’ (yokarikeri), really? The Left state: ‘hopeless’ (warinaki), too!

Shunzei’s judgement: the Right’s poem seems like it should win. With such a superlative use of ‘better’, I wonder if how good the poem can be!

Love I: 30

Left (Win)

面影は教へし宿に先立ちてこたへぬ風の松に吹聲

omokage wa
oshieshi yado ni
sakidachite
kotaenu kaze no
matsu ni fuku koe
I caught a glimpse, and
Heard of her house, but
She left, and
My only reply is the wind
Blowing through the pines…

Lord Sada’ie.

659

Right.

尋ぬればためしやはなき幻の世を隔てたる浪の上にも

tazunureba
tameshi ya wa naki
maboroshi no
yo o hedatetaru
nami no ue ni
When I go calling,
No guide is there to take
Me though the world of illusion
On my way
Across the waves…

Lord Takanobu.

660

The Gentlemen of both the Left and Right state that they find no faults in the opposing poem.

Shunzei’s judgement: both poems sound most tasteful [yū ni kikoehaberu], but the final section of the Left’s poem is slightly superior

Love I: 14

Left (Win).

聞わたる契りも深き縁あらば末も絶せじ中河の水

kikiwataru
chigiri mo fukaki
enishi araba
sue mo taeseji
nakagawa no mizu
Word reaches me
Of a bond whose depth
Reaches the life before – should it be so
Then it will endure to the very end,
As do the waters of the Naka River!

Kenshō.

627

Right.

見るめなき磯間隱れに寄る浪の音ばかりにも袖濡らせとや

mirume naki
isoma gakure ni
yoru nami no
oto bakari ni mo
sode nurase to ya
No algae grows
Hidden on this rocky shore
Where the breakers fall;
Is it their sound alone
That tells me to soak my sleeves?

Ietaka.

628

The Gentlemen of both Left and Right state: the other team’s poem lacks thought.

Shunzei’s judgement: Both are most poetic examples of examples of verses using the imagery of waves and waters, and there appears to be very little pointless space between them, but rather than being told to ‘soak one’s sleeves’ with no sight of the lady, the ‘deep bond’ of the ‘waters of the Naka River’ seems superior.

Love I: 11

Left.

氷ゐるみるめなぎさのたぐひかな上堰く袖の下のさゞ浪

kōri iru
mirume nagisa no
tagui kana
ue seku sode no
shita no sazanami
As ice-bound
Algae on the beach
Am I:
The surface stopped up, but my sleeves
Conceal a confusion of waves…

Lord Sada’ie.

621

Right.

我とはと思ふにかゝる涙こそ抑ふる袖の下になりぬれ

ware to wa to
omou ni kakaru
namida koso
osauru sode no
shita ni narinure
I should say nothing,
I feel, and yet
My tears,
Held down by my sleeves,
Do flow beneath them…

Nobusada.

622

The Gentlemen of the Right state: the Left do not seem to be expressing enough. The Gentlemen of the Left state: the initial line of the Right’s poem is difficult to pronounce. In addition, it is difficult to understand.

Shunzei’s judgement: the Left’s ‘the surface stopped up, but my sleeves’ (ue seku sode no) and the Right’s ‘held down by my sleeves’ (osauru sode no) are both elegant in form [yū naru sama], but no matter how much I ponder them I find them difficult to comprehend, so again, there is no clear winner or loser this round.

Winter I: 30

Left (Win).

芹河の浪も昔に立かへり御幸絶えせぬ嵯峨の山嵐

serikawa no
nami mo mukashi ni
tachikaeri
miyuki taesenu
saga no yama’arashi
Seri River’s
Waves, too, in ancient times,
Would rise and fall;
A Progress as endless as
The storm winds on Mount Saga.

A Servant Girl.

539

Right.

御幸せし野邊の古道踏み分て跡絶えせぬは芹川の水

miyuki seshi
nobe no furumichi
fumiwakete
ato taesenu wa
serikawa no mizu
A progress passed
Across the plain’s old trails,
Well trod,
The traces will endure
As do the waters of Seri River…

Lord Takanobu.

540

Neither team finds any fault this round.

Shunzei’s judgement: Both poems have the conception [kokoro] of ‘Seri River’ (serikawa) and ‘endless Progress’ (miyuki taesenu), and there is not much between them in terms of winning or losing, but the Left’s ‘storm winds on Mount Saga’ (saga no yama’arashi) seems to blow a bit more strongly today!

Autumn I: 6

Left.

打ち寄する浪より秋の龍田川さても忘れぬ柳陰かな

uchiyosuru
nami yori aki no
tatsutagawa
satemo wasurenu
yanagikage kana
Approaching on
The waves, comes autumn to
The Tatsuta River;
And yet, I cannot forget
The willows’ shade.

A Servant Girl.

311

Right.

秋淺き日影に夏は殘れども暮るゝ籬は荻の上風

aki asaki
hikage ni natsu wa
nokoredomo
kururu magaki wa
ogi no uwakaze
Faintly autumnal is
The sunlight, with summer
Yet remaining;
At evening by the rough-woven fence
Blows a breeze o’er the silver-grass.

Nobusada.

312

The Right say the Left’s poem is ‘particularly good.’ The Left state that, ‘“Faintly autumnl” (aki asaki) grates on the ear, and we also cannot grasp the use of “evening by the rough-woven fence” (kururu magaki).’

Shunzei states, ‘The Left’s “approaching on the waves” (nami yori aki no), seems particularly charming, but when taken together with “willows’ shade” (yanagi kade)– the Tatsuta River has long been the subject of composition on “flowing scarlet autumn leaves”, and even now this gives a slightly poetic effect; “willows’ shade” has been used in composition, both in ancient times and more recently, but does it not seem commonplace now? The Right’s poem is in the same vein as that of the Right in Round One Hundred and Fifty-Two, yet I do not find “faintly autumnal” to be unpleasant. “Evening by the rough-woven fence”, too, has charm. The Left’s poem has vocabulary in accordance with the contents; the Right unusual expressions. In this combination, the round must tie.’

Summer I: 13

Left (Win).

けふ祭る神の恵みはかねてより卯月の忌のさして知りにき

kyō matsuru
kami no megumi wa
kanete yori
uzuki no imi no
sashite shiriniki
Today we celebrate
The blessings of the god;
For days of
Seclusion the Fourth Month
Known.

Lord Suetsune.

205

Right.

あすは又加茂の河波たちかへり紫野にや色をそふべき

asu wa mata
kamo no kawa nami
tachikaeri
murasakino ni ya
iro o soubeki
Tomorrow, once more,
The waves on Kamo River
Will rise, borne on strains of song, returning
Through the violet plains
With the touch of colour.

Lord Takanobu.

206

The Right question, ‘Whether saying “known for days” (kanete shiriniki) implies whether the god’s blessings are only provided on the day of the festival?’ The Left reply, ‘The blessings provided on the day of the festival are different from those given at other times. Where is there a problem with this?’ Somewhat testily, they then continue, ‘The initial section of the Right’s poem is about the river, but it then continues to with the violet fields. The subject changes. Furthermore, “violet fields” (murasakino ni ya) is a displeasing expression.’

Shunzei says simply, ‘Both poems seem to be of the same quality [ryōshu no utazama wa dōka narubeshi]. However, the Right passes over the festival day to focus on the violet fields the following day, while the Left remains focussed on the day of the festival. It should win.’

Spring III: 24

Left (Tie).

もろ聲にいたくな鳴きそさもこそはうき沼の池のかはづ成とも

morogoe ni
itaku na naki so
samo koso wa
ukinu no ike no
kawazu naritomo
O, that in such a chorus
They would not sing!
However much
A swamp the pond of
Frogs may be!

Lord Kanemune.

167

Right (Tie).

夜とゝもに浪の下にて鳴くかはづ何ゆへ深き恨みなるらん

yo to tomo ni
nami no shita nite
naku kawazu
nani yue fukaki
urami naruran
With nightfall from
Beneath the wavelets
Call the frogs;
For what are such depths
Of despair…

Lord Takanobu.

168

Once again, neither team has anything special to say this round.

Shunzei’s judgement is, ‘Both poems are similar in expression, mentioning “frogs” (kawazu), “swamp” (ukinu) and “depths of despair” (fukaki urami). The round should tie.’

Spring III: 23

Left (Win).

雨そゝく池の浮草風こえて浪と露とにかはづ鳴くなり

ame sosoku
ike no ukikusa
kaze koete
nami to tsuyu to ni
kawazu nakunari
Rain drifts down
Upon the duckweed in the pond,
Driven by the wind
Among wavelets and dewfall
The frogs are calling.

A Servant Girl.

165

Right.

庭の面はひとつに見ゆる浮草をこゝぞ汀とかはづ鳴なり

niwa no omo wa
hitotsu ni miyuru
ukikusa o
koko zo migiwa to
kawazu nakunari
The garden’s face
Seems as one
With the duckweed;
‘Here lies the water’s edge,’
The frogs are calling…

Jakuren.

166

Neither Right nor Left has any particular remarks to make about the other’s poem this round.

Shunzei says, ‘Both poems are splendid in form, but the Left’s ‘among the wavelets and dewfall’ (nami to tsuyu to ni) is particularly pleasing. It must win.

Spring III: 21

Left (Win).

ほのかなる霞の末の荒小田に河づも春の暮れ恨むなり

honokanaru
kasumi no sue no
araoda ni
kawazu mo haru no
kure uramunari
Faintly
Through the haze upon
The unplanted paddy fields
The frogs, too, spring’s
Passing mourn.

Lord Sada’ie.

161

Right.

みがくれて井手の河づはすだけども浪のうへにぞ聲は聞ゆる

migakurete
ide no kawazu wa
sudakedomo
nami no ue ni zo
koe wa kikoyuru
Hidden in the waters,
The frogs of Ide
Swarm, yet
Across the waves
Come their cries.

Lord Tsune’ie.

162

The Right wonder about the appropriateness of ‘through the haze upon’ (kasumi no sue), while the Left content themselves with saying the Right’s poem is ‘trite.’

Shunzei states that, ‘“Through the haze upon the unplanted paddy fields” (kasumi no sue no araoda) is a particularly desolate image, but I do wonder if it’s appropriate here. “Hidden in the waters, the frogs of Ide swarm” (migakurete ide no kawazu) certainly sounds as if it were based on a prior example, but I find myself unable to recall it at present. Having both “across the waves” (nami no ue) and “the frogs of Ide” (ide no kawazu), however, is excessive. The left seems the winner.’