Tag Archives: namida

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.

Love I: 7

Left (Win).

洩らすなよ雲ゐる嶺の初時雨木の葉は下に色變るとも

morasunayo
kumoiru mine no
hatsu shigure
ko no ha wa shita ni
iro kawarutomo
O, let it not leak out!
Though the cloud-capped peaks’
First shower of rain,
On the leaves’ underside
Has left a change of hue

A Servant Girl.

613

Right.

閨のうちは涙の雨に朽ち果てゝしのぶは茂る妻にぞ有ける

neya no uchi wa
namida no ame ni
kuchihatete
shinobu wa shigeru
tsuma ni zo arikeru
Within my bedchamber
A rain of tears
Has rotted all, so
The weeping ferns secretly grow thick
Around the edges…

The Provisional Master of the Empress’ Household Office.

614

The Gentlemen of the Right state: the Left’s poem has no defects worth criticising. The Gentlemen of the Left state: the initial and final sections of the Right’s poem lack connection with each other. Does the poem have a conception of hiddenness?

Shunzei’s judgement: The conception and configuration of the Left’s ‘cloud-capped peaks’ first shower of rain’ (kumoiru mine no hatsu shigure) seems charming [kokoro sugata okashiku mie]. On that basis, it should win.

Love I: 5

Left (Win).

錦木に書き添へてこそ言の葉も思ひそめつる色は見ゆらめ

nishikigi ni
kakisoete koso
koto no ha mo
omoisometsuru
iro wa miyurame
Upon the spindle trees
He writes
His words, yet will those leaves
With the first shadings
Of passionate hues, she see…

Kenshō.

609

Right.

思ふより憂きに馴れたる袂かな涙や戀の先に立つらん

omou yori
uki ni naretaru
tamoto kana
namida ya koi no
saki ni tatsuran
From these soft feelings
To heartbreak accustomed are
My sleeves!
Do tears always love
Precede, I wonder?

Jakuren.

610

The Gentlemen of the Right state: while it is well known that spindle trees are an expression of love, it is certainly not the case that letters are attached to them. In response, the Left: in the writings of Nōin, he says, ‘A spindle tree is one to which the country folk attach letters.’ The Gentlemen of the Left state: the Right’s poem is irredeemably archaic [muge ni furumekashi]. In addition, ‘From these soft feelings to heartbreak accustomed’ (omou yori uki ni naretaru) is poorly linked, and the use of ‘precede’ (saki ni tatsu), in the absence of the mention of a path in the poem, lacks connection.

Shunzei’s judgement: the Left’s use of ‘spindle tree’ (nishikigi) is familiar from many Love poems and so seems quite tediously mundane [rei no koto]. The Right seems to have followed to some extent the conception of a poem by the former Nijō Lord’s serving woman, Chikuzen. I included it in the Senzaishū, and will note it down after this. As a result, the poem using the spindle tree must win. Note:

思ふよりいつしかぬるゝたもとかな涙ぞ戀のしるべなりける

omou yori
itsu shika nururu
tamoto kana
namida zo koi no
shirube narikeru
From these soft feelings
How swiftly soaked are
My sleeves;
Tears, indeed, of love
Are such a sign!

The positioning of certain words does not differ to any great extent.

Love I: 2

Left (Win).

行末の涙のほどぞ知られぬる今日濡れそむる袖の雫に

yukusue no
namida no hodo zo
shirarenuru
kyō nuresomuru
sode no shizuku ni
On the path of
Tears ahead, the number to fall
I know now,
From today’s first soaked
Dripping sleeves…

Lord Suetsune.

603

Right.

聞きもせず聞かずしもなき君故に思ひ定めぬ戀もする哉

kiki mo sezu
kikazu shimo naki
kimi yue ni
omoisadamenu
koi mo suru kana
Hearing nothing, or
Not unhearing
Are you, so
All uncertain am I
Of my love…

Lord Tsune’ie.

604

The Gentlemen of the Right state: we find no fault with the Left’s poem. The Gentlemen of the Left state: do you need ‘hearing nothing, or not unhearing’ (kiki mo sezu kikazu shimo naki) in the Right’s poem? And, if you are ‘all uncertain’, how can you feel love at all?

Shunzei’s judgement: The Left’s ‘path ahead’ (yukusue) is not really saying enough. However, the Right’s conception and diction fail to convince [kokoro kotoba atokatanakarubeshi]. The Left should win.

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.’

Miscellaneous 89

Left (Tie).

世の中を思ふ軒端の忍草いく代の宿と荒れかはてなん

yo no naka o
omou nokiba no
shinobugusa
iku yo no yado to
are ka hatenan
The everyday world stands
In my thoughts, as beneath my eaves,
The ferns, each one a frond of memory:
How many ages has my dwelling stood,
Now falling to desolation?

177

Right (Tie).

たまゆらの露も涙もとゞまらずなき人こふる宿の秋風

tamayura no
tsuyu mo namida mo
todomarazu
nakibito kōru
yado no akikaze
Gemlet
Dewdrops and tears both,
Stay not;
She who is gone loved so
This house, brushed by autumn winds…

178

Love 70

Left.

あふことのまれなる色やあらはれん洩り出て染る袖の涙に

au koto no
marenaru iro ya
arawaren
moriidete somuru
sode no namida ni
Meeting her:
Is it that so rare does passion’s hue
Appear,
With a seeping stain
Of tears, my sleeves are marked?

139

Right (Win).

なく涙やしほの衣それながら馴ずは何の色かしのばむ

naku namida
yashio no koromo
sorenagara
narezu wa nan no
iro ka shinobamu
With fallen tears
Eightfold, my garb is dyed,
Yet,
As she knows me not, with which
Hue should I recall her?

140

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 58

Left (Win).

うへしげる垣根がくれの小篠原しられぬ戀はうきふしもなし

ueshigeru
kakinegakure no
ozasawara
shirarenu koi wa
ukifushi mo nashi
The fertile fronds
Conceal the fence within
A field of bamboo grass:
Knowing not of my love, she
Feels not its cruel cut.

115

Right.

夜な夜なの月も涙にくもりにき影だに見せぬ人をこふとて

yonayona no
tsuki mo namida ni
kumoriniki
kage dani misenu
hito o kou tote
Each and every night
The moon with tears
Is clouded;
For one who’ll show not e’en a hint
Is all that I do love.

116

Autumn 26

Left (Win).

天の原おもへばかはる色もなし秋こそ月の光なりけれ

ama no hara
omoeba kawaru
iro mo nashi
aki koso tsuki no
hikari narikeri
Upon the plain of heaven—
If you think upon it—extraordinary
Hues there are not one; yet
Autumn, unmistakeably, is
Lit by moonlight.

51

Right

いかにせむさらでうき世はなぐさまずたのみし月も涙をちけり

ika ni semu
sarade ukiyo wa
nagusamazu
tanomishi tsuki mo
namida ochikeri
What should I do?
This cruel world
Is without all consolation;
Even the gentle moon
Brings tears to my eyes.

52