Tag Archives: nami

Spring III: 18

Left (Win).

桃の花枝さしかはす陰なれば浪にまかせんけふのさか月

momo no hana
eda sashikawasu
kage nareba
nami ni makasen
kyō no sakazuki
Peach blossoms
Thrust from the bough
Spreading shade, so
To the waves I shall entrust
My wine-cup today.

Lord Kanemune.

155

Right.

さか月の流れとゝもに匂らしけふの花吹く春の山風

sakazuki no
nagare totomo ni
niourashi
kyō no hana fuku
haru no yamakaze
With the wine-cups’
Drift
Scent seems to come:
Blowing through the blossoms today is
The mountains’ breath of spring.

Nobusada.

156

The Right state that it is ‘difficult to find any imperfections in the Left’s poem,’ while the Left say that the Right’s ‘blowing through the blossoms’ (hana fuku) is ‘grating on the ear.’ (They probably make this comment because hana fuku sounded too close to the verb hanafuku which had the rather prosaic meaning of ‘sneeze’!)

Shunzei’s judgement is, ‘The Left have stated that the Right’s hana fuku grates on the ear, but it would seem to be following the spirit of the lines:

Gently blows the breeze in early dawn;
Wordless,
A mouth starts to smile.

However, as has been said, there are no imperfections in the Left’s poem, as so it should win.’ (According to the commentators, ‘a wordless mouth’ was a metaphor used for blossom, although the source of the lines Shunzei quotes is now obscure.)

Spring I: 16

Left (Tie).

春風に池の氷や解けぬらん待たれぬ浪の花を見る哉

haru kaze ni
ike no kôri ya
tokenuran
matarenu nami no
hana o miru kana
In the breath of spring
Will the ice upon the pond
Melt?
Unanticipated blossom touched
Waves come into view…

Lord Kanemune.

31

Right (Tie).

鶯のなみだのつらゝ聲ながらたよりにさそへ春の山水

uguisu no
namida no tsurara
koe nagara
tayori ni sasoe
haru no yama mizu
The bush warbler’s
Tears of ice,
And song,
Issue an invitation!
To the mountain waters this springtime…

Jakuren.

32

The Right team have no comments to make about the Left’s poem this round, but the Left wonder whether the essence of the poem, of the warbler’s ‘tears of ice’ and song inviting the waters, might not be a bit much?

Shunzei remarks that the form and phrasing of the Left’s poem is ‘certainly charming’, and echoes their criticism of the Right’s poem, as having an ‘impossible essence’. He then goes on to say, ‘The Left is placidly charming; the Right’s essence must be excessive. They are equivalent and I judge this round a tie.’

Spring I: 14

Left (Tie).

氷ゐし水の白浪立かへり春風しるき池の面かな

kōri i
shimizu no shiranami
tachikaeri

harukaze shiruki
ike no omo kana
To the iced
Clear waters waves of white
Return again;
Spring’s breezes well know
This mere’s face.

Lord Sada’ie

27

Right (Tie).

諏方の海の氷のうへの通ひ路はけさ吹く風に跡絶えにけり

suwa no umi no
kōri no ue no
kayoiji wa
kesa fuku kaze ni
ato taenikeri
At the Sea of Suwa
Upon the ice
The trackways,
With the breath of wind this morning
Have left no trace at all…

The Master of the Empress’ Household Office.

28

The Right team state that the concluding line of the Left’s poem, ‘this mere’s face’ (ike no omo kana) is ‘weak’. The Left team reply that the first three lines of the Right’s poem are identical to those of a poem by Minamoto no Akinaka (1064-1138), in the Hundred Poem Sequence from the Reign of Former Emperor Horikawa (a sequence composed by a number of poets between 1104-07 and presented to Horikawa):

諏方の海の氷のうへの通ひ路は神の渡りて解くるなりけり

suFa no umi no
koFori no uFe no
kayoFidi Fa
kami no watarite
tokuru narikeri
At the Sea of Suwa
Upon the ice
The trackways,
With the passage of the God
Have melted.

and that this gave the poem its idea.

Shunzei comments that ‘waters waves of white/Return again’ is a ‘well-worn’ image with nothing special about it, and the Right team have already identified the weakness of the final line, and, of course, it ‘could not be as strong as a Deva King!’ As for the Right’s poem, he accepts the point made by the Left, but as it is not well-known that even in Hundred Poem sequences there are examples which are not ‘excellent work’, it is difficult to completely avoid composing poems with conceptions that resemble them. Thus, the round has to be a tie.

Miscellaneous 96

Left (Tie).

海渡る浦こぐ舟のいたづらに磯路を過てぬれし浪かな

umi wataru
ura kogu fune no
itazura ni
isoji o sugite
nureshi nami kana
Crossing the seas,
Within the bay, rowing boats
Futilely
Past the rocky shore of fifty years,
Wetted with waves of tears.

191

Right (Tie).

あれまくや伏見の里の出がてにうきをしらでぞ今日にあひぬる

aremaku ya
fushimi no sato
no
idegate ni
uki o shirade zo
kyō ni ainuru
All overgrown,
My estate at Fushimi I
Am unable to depart;
In ignorance of the sadness of the world
Have I come upon this day.

192

Love 74

Left (Win).

むせぶともしらじな心かはら屋に我のみ消たぬ下の煙は

musebu tomo
shiraji na kokoro
kawaraya ni
ware nomi ketanu
shita no keburi wa
Choking I may be, yet
All unknowing, her heart
Is changed; a brick kiln –
I alone, unextinguished,
Give vent to smoke…

147

Right.

松山とちぎりし人はつれなくて袖越す浪にやどる月影

matsuyama to
chigirishi hito wa
tsurenakute
sode kosu nami ni
yadoru tsukikage
‘As the eternal peak of Matsuyama’
She vowed, yet was
Heartless;
In the breaking waves upon my sleeves
Rests the chilly moonlight.

148

Love 59

Left.

我袖にむなしき浪はかけそめつ契もしらぬ床の浦風

wa ga sode ni
munashiki nami wa
kakesometsu
chigiri mo shiranu
toko no urakaze
Upon my sleeves,
Vacantly, waves
Have begun to break;
All unknowing of our vows is
The wind cross Bedding Bay…

117

Right.

白玉の緒斷の橋の名もつらしくだけておつる袖の涙に

shiratama no
odae no hashi no
na mo tsurashi
kudaketeotsuru
sode no namida ni
White jewels on
Broken-thread Bridge –
The name does pierce my heart;
A scattered fall of
Tears upon my sleeves.

118

Love 56

Left (Tie).

世とゝもに吹上の濱のしほ風に靡く眞砂のくだけてぞ思ふ

yo to tomo ni
fukiage no hama no
shio kaze ni
nabiku masago no
kudakete zo omou
Long lasting as the world,
Upon the beach at Fukiage
By the tide-borne wind
The streaming sands
Are shattered as my thoughts of you.

111

Right

住の江の松のねたくやよる浪のよるとはなげき夢をだに見で

sumi no e no
matsu no netaku ya
yoru nami no
yoru to wa nageki
yume o dani mide
The Suminoe
Pines: how I envy them! Roots
Washed by waves,
My night is sunk in sorrow,
Lacking e’en a glimpsed dream.

112

Love 52

Left (Win).

松が根をいそべの浪のうつたえにあらはれぬべき袖の上かな

matsu ga ne o
isobe no nami no
utsutae ni
arawarenubeki
sode no ue kana
The pine trees’ roots
By stony shore bound waves
Are struck, and
Must stand revealed
Upon my sleeves.

103

Right

初雁のとわたる風のたよりにもあらぬ思ひを誰につたへん

hatsukari no
towataru kaze no
tayori ni mo
aranu omoi o
tare ni tsutaen
The first, returning goose,
Borne before the gate of heaven, of the unseen wind
Is no harbinger;
Just so the fires of my love:
To whom should I reveal them?

104

Spring 14

Left (Tie).

網代木に櫻こませば行春のいさよふ浪をえやはとゞむる

ajirogi ni
sakura komaseba
yuku haru no
isayou nami o
e ya wa todomuru
Can stakes of fish traps,
Mixed with cherry petals,
Departing spring’s
Impeded waves
Bring to a halt, perhaps?

27

Right

あはれいかに霞も花もなれなれて雲しく谷に歸る鶯

aware ika ni
kasumi mo hana mo
narenarete
kumo shiku tani ni
kaeru uguisu
O, however much
The hazes and the blossoms
We have come to love,
To the cloud-strewn valleys
The warbler does return.

28