稀にきて稀にやどかる人もあらじ哀とおもへ庭のまつ風
| mare ni kite mare ni yado karu hito mo araji aware to omoe niwa no matsukaze | Even rarely coming, and Rarely borrowing my hut— There’s no such man, it seems, so Pity me, Pinewinds through my garden! |
590
Tag Archives: niwa
Kinkai wakashū 589
Composed on a large number of travellers being at mountain retreat surrounded by pine trees.
まれにきて聞くだにかなし山がつの苔のいほりの庭の松風
| mare ni kite kiku dani kanashi yamagatsu no koke no iori no niwa no matsukaze | Rarely do I come, but Even hearing it is so sad— In a woodcutter’s Mossy hut, The pinewinds through the garden.[i] |
589
[i] See: After the death of Sada’ie’s mother, around autumn time he was staying at a temple near her grave and composed this. まれにくる夜はもかなしき松風をたえずやこけのしたにきくらん mare ni kuru / yo wa mo kanashiki / matsu kaze o / taezu ya koke no / shita ni kikuran ‘Rarely did I come / At nights now I sorrowfully / Pine trees in the wind / Unceasingly beneath the moss / I wonder will you hear it?’ Master of the Dowager Empress’ Household Office Toshinari (Shinkokinshū VIII: 796)
Kinkai wakashū 510
Entō ōn’uta’awase 31
Round Thirty-One
Left
露すがる庭の萩原色付きぬいかなる人の思ひそむらん
| tsuyu sugaru niwa no hagiwara irozukinu ika naru hito no omoisomuran | All clung with dew, The bush clover grove in the grounds Has taken on such hues, that I wonder who it is Might have just fallen into passion’s flames? |
Chikanari
61
Right (Win)
おく露は秋のならひの萩が枝にあまるや雁の涙なるらん
| oku tsuyu wa aki no narai no hagi ga e ni amaru ya kari no namida naruran | Dewdrops falling is Autumn’s custom for The bush clover branches, but Added to them are the goose Tears, perhaps?[1] |
Ie’kiyo
62
The Left’s poem has a person’s feelings being dyed by the bush-clover, but I cannot think why this should be? The Right’s poem seems particularly pleasant. Thus, it wins.
[1] An allusive variation on: Composed on the occasion of a poetry competition at Prince Koresada’s house. 秋の夜のつゆをばつゆとおきながらかりの涙やのべをそむらむ aki no yo no / tsuyu oba tsuyu to / okinagara / kari no namida ya / nobe o somuran ‘On Autumn nights / The dew as dewdrops / Falls, but, / Perhaps goose tears / Stain the fields?’ Mibu no Tadamine (KKS V: 258)
Entō ōn’uta’awase 30
Round Thirty
Left (Tie)
玉をぬく真野の糸萩かたよりにおのれみだるる秋の夕暮
| tama o nuku mano no itohagi katayori ni onore midaruru aki no yūgure | Strung with gems The bush-clover twigs at Mano All align together In their own tangles On an autumn evening. |
Shō
59
Right
待ちわたる時や来ぬらん白露の玉しく庭の秋はぎの花
| machiwataru toki ya konuran shiratsuyu no tama shiku niwa no akihagi no hana | Has that long-awaited Time arrived, perhaps? When silver dewdrop Pearls will spread o’er the grounds From the autumn bush clover blooms… |
Nagatsuna
60
The poems of Left and Right have different diction, but the same configuration.
Kinkai wakashū 398
The end of the year[i]
塵をだにすゑじとや思ふ行く年の跡なき庭をはらふ松風
| chiri o dani sueji to ya omou yuku toshi no ato naki niwa o harau matsukaze | Will the dust Not even linger, I wonder; The departing year Leaves no footprints in my garden Swept by the wind from off the pines. |
398
Kinkai wakashū 384
Naidaijin-ke uta’awase 03
Round Three
Left (T – Win)
時雨には色ならぬ身の袖笠もぬるればかをる物にぞ有りける
| shigure ni wa iro naranu mi no sodegasa mo nurureba kaoru mono ni zo arikeru | When, amidst a shower My colourless Umbrella of sleeves Is soaked, something scented Does it become! |
Lady Shōshō
5
Right (M – Win)
冬くれば散りしく庭のならの葉に時雨音なふみ山べのさと
| fuyu kureba chirishiku niwa no nara no ha ni shigure oto nau miyamabe no sato | When the winter comes Scattered and spread across the grounds Are oak leaves, Sounding among the showers On this deep mountain estate… |
Lord Masakane
6
Toshiyori states: the first poem has ‘my colourless’—does this mean that the garment the poet is wearing is white? Or that the speaker is lacking in passion? If the garment is white, then it’s difficult to say that it changes colours, while if one is lacking in passion, it’s also difficult to see the connection with an umbrella of sleeves being scented. In general, though, the poem’s style is lacking in fault. The second poem appears to have replicated all the faults of an earlier work. While one can certainly say ‘Oak leaves / Scattered and spread’, saying ‘Scattered and spread / Oak leaves’ gives one the feeling that something is out of sequence. This is a bit unreasonable, but because it’s difficult to avoid the faults of its earlier model, I still feel it should lose.
Mototoshi states: one really wants to know what sort of lack there is. The poem says ‘soaked, something scented’, but doesn’t reference an earlier work which, for example, mentions plum blossom. Still, I feel that ‘Sounding among the showers / On this deep mountain’ is conspicuously good.
