Tag Archives: plain

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 27

Round Three

Left (Tie)

おきあかしくまなき月をながむれば野原の草の露もかくれず

oki’akashi
kumanaki tsuki o
nagamureba
nohara no kusa no
tsuyu mo kakurezu
Lying awake ‘til dawn, and
Upon the cloudless moon
A’gazing—
Upon the grasses o’er the plain
Not a single dewdrop is concealed.

Mikawa
53

Right

月をみて心をこよひつくすかなくまなき空は又もこそあれ

tsuki o mite
kokoro o koyoi
tsukusu kana
kumanaki sora wa
mata mo koso are
Seeing the moon,
Tonight, my heart
Exhausts!
The cloudless skies
Once more are such!

Lord Kinshige
54

The Left’s ‘lying awake ‘til dawn, gazing’ suggests that the poet is at their own residence, but then it finally turns out that they are on the plain – what to make of this? It’s also the case that the moon doesn’t necessarily always appear over the plains. This poem should really have included a clearer reason for the poet’s journey. As for the Right, while it isn’t bad, the final line certainly regrettable, so this round is a tie.

Kyōgoku no miyasudokoro uta’awase 06

Original

うぐひすのなきつるなへにかすがののけふのみゆきをはなとこそみれ

uguisu no
nakitsuru nae ni
kasugano no
kyō no miyuki o
hana to koso mire
While the warbler
Sings on
Kasuga Plain
Today, accompanying the progress, snow
As blossom does appear.[1]

16

Left (Win)

いまはしもはなとぞいはむかすがののはるのみゆきをなにとかは見む

ima wa shimo
hana to zo iwamu
kasugano no
haru no miyuki o
nani to ka wa mimu
Now, of all,
The blossom, I would describe,
On Kasuga Plain, as
Springtime progress snow—
What else can I say?

17

Right

ふるさとにゆきまじりたるはなと見ばわれにおくるなのべのうぐひす

furusato ni
yukimajiritaru
hana to miba
ware ni okuru na
nobe no uguisu
Around the ancient capital
Have I gone amidst the snow—
If as blossom I did see it, then,
O, don’t send me off,
Warbler upon the plain!

18


[1] SIS 1044 attributed to Fujiwara no Tadafusa ‘Headnote ‘Among the many poems presented by provincial officials, when the Kyōgoku Lady of the Bedchamber visited Kasuga.’

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 24

Round Twelve

Left (Tie)

あらし吹くまくずが原に鳴く鹿は恨みてのみや妻をこふらん

arashi fuku
makuzu ga hara ni
naku shika wa
uramite nomi ya
tsuma o kouran
Storm winds blow
Across the arrowroot upon the plain
Where bells a stag—
Might it be with bitterness, alone, that
He yearns for a mate?

Shun’e
47

Right

山里は妻こひかぬる鹿の音にさもあらぬ我もねられざりけり

yamazato wa
tsuma koikanuru
shika no ne ni
sa mo aranu ware mo
nerarezarikeri
In a mountain retreat,
Filled with too much yearning for his mate
A stag bells out—
‘Tis not true of me, yet
Still I cannot sleep.

Lay Priest Master
48

The Left’s stag’s bell seeming to despise the arrowroot field and the Right’s inability to sleep on hearing a stag belling at a mountain retreat are both evocative of lonely sadness and neither sounds at all inferior to the other in the depths of the emotion they convey, so I find myself quite unable to distinguish between them.

Kyōgoku no miyasudokoro uta’awase 02

Original

さくらばなみかさのやまのかげしあればゆきとふるともぬれじとぞおもふ

sakurabana
mikasa no yama no
kage shi areba
yuki to furutomo
nureji to zo omou
When cherry blossom
Upon Mikasa mountain
Shows its shape,
Even should snow fall,
I’ll not get damp, I feel![1]

4

Left

このまよりはなのゆきのみちりくるはみかさのやまのもるにざるべき

ko no ma yori
hana no yuki nomi
chirikuru wa
mikasa no yama no
morunizarubeki
Between the trees
Simply a snow of blossom
Comes a’falling—
Mikasa mountain
Will certainly be covered![2]

5

Right (Win)

かすがのにゆきとふるてふはなみにぞみかさの山をさしてきにける

kasugano ni
yuki to furu chō
hanami ni zo
mikasa no yama o
sashite kinikeri
Upon Kasuga Plain,
Snow falls, they say—
Indeed, when viewing blossom
On Mikasa mountain, an umbrella
Raise up as you come!

6


[1] This is included in Shūishū (XVI: 1056) as an anonymous poem under the heading ‘Topic unknown’.

[2] This poem is included in Shinsenzaishū (II: 152), as an anonymous poem with the headnote: ‘Composed in reply to “When cherry blossom / Upon Mikasa mountain / Shows its shape, / Even should snow fall, / I’ll not get damp, I feel!”, which was among twenty-one poems by provincial officials, when the Kyōgoku Lady of the Bedchamber went to Kasuga.’

Kyōgoku no miyasudokoro uta’awase 01

Original

めづらしきけふのかすがのやをとめをかみもこひしとしのばざらめや

mezurashiki
kyō no kasuga no
yaotome o
kami mo koishi to
shinobazarame ya
Charming,
Today at Kasuga
Were maidens eight—
Would the deity, too, such yearning
Be unable to recall?[1]

1

In reply:

Left (Tie)

やをとめをかみししのばばゆふだすきかけてぞこひむけふのくれなば

yaotome o
kami shi shinobaba
yūdasuki
kakete zo koimu
kyō no kurenaba
If maidens eight
The deity does recall, then
Cords of mulberry cloth
Would he hang that on this beloved
Day evening should not fall…

2

Right

ちはやぶるかみしゆるさばかすがのにたつやをとめのいつかたゆべき

chihayaburu
kami shi yurusaba
kasuga no ni
tatsu yaotome no
itsuka tayubeki
Should the mighty
Deity permit,
Upon Kasuga plain
Stand maidens eight—
How long would they endure?

3


[1] A variant of this poem occurs in Shūishū: Composed when officials from the provinces presented twenty-one poems on the occasion of an imperial progress to Kasuga by the former Teiji Emperor in Engi 20: めづらしきけふのかすがのやをとめを神もうれしとしのばざらめや mezurashiki / kyō no kasuga no / yaotome o / kami mo ureshi to / shinobazareme ya ‘Charming, / Today at Kasuga / Were maidens eight— / Would the deity, too, such joy / Be unable to recall?’ Fujiwara no Tadafusa (SIS X: 620)

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 16

Round Four

Left

さをしかのなくねはよそにききつれど涙は袖の物にぞ有りける

saoshika no
naku ne wa yoso ni
kikitsuredo
namida wa sode no
mono ni zo arikeru
The stag’s
Sad bell in the distance
Did I hear, yet still
My tears my sleeves
Have covered.

Sadanaga
31

Right (Win)

山たかみおろすあらしやよわるらんかすかに成りぬさをしかの声

yama takami
orosu arashi ya
yowaruran
kasuka ni narinu
saoshika no koe
From the mountain’s heights
Descending, has the storm wind
Weakened?
Faintly comes
The stag’s bell.

Lord Suetsune
32

I do wonder about the Left, given that there appears to be a poem by the late Lord Toshiyori:

さをしかのなくねは野べにきこゆれどなみだは床の物にぞ有りける

saoshika no
naku ne wa nobe ni
kikoyuredo
namida wa toko no
mono ni zo arikeru[1]
The stag’s
Sad bell upon the plain
I heard, yet
My tears my bed
Have covered.

I am a little leery of the Right’s central line, but overall it is not the case that this poem lacks conception, so it should win.


[1] KYS (3) III: 225 Composed on ‘listening to stags in a hut in the fields’. Also SZS V: 310 ‘Composed when he heard a stag belling while at a mountain retreat in Tanakami’. Also Sanboku kikashū 451 ‘Listening to stags in a hut in the fields’.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 08

Round Eight

Left (Tie)

うづら鳴く遠里小野の小萩はら心なき身も過ぎうかりけり

uzura naku
tōsato ono no
kohagiwara
kokoronaki mi mo
sugi’ukarikeri
Quails cry from
Tōsato plain’s
Bush-clover groves—
Even one as insensitive as I
Finds it hard to pass them by.

Kenshō Sukenokimi
15

Right

あきの野の花に心をそめしよりくさかやひめもあはれとぞ思ふ

aki no no no
hana ni kokoro o
someshi yori
kusakayahime mo
aware to zo omou
Since the autumn meadows’
Blooms my heart
Did fill, for
Kusakayahime
Fondness, I feel!

Tōren
16

As for the Left, if one is composing about bush-clover groves, then I would want the poem to mention Miyagi Plain. As for the Right’s Kusakayahime, I wondered if she appeared in the Chronicles of Japan, but in that work you have Izanagi-no-miko and Izanami-no-miko, who wed and create the first land, Akitsushima, and then many provinces, mountains, rivers and seas and thus trees and plants, too. It further states that the primordial tree was Kukunochi and the primordial plant was Kayanohime. The conception of the Right’s poem does not differ from this, yet it continues to mention Kusakayahime, which is unclear. I get the feeling that this poem was composed with the works composed for the banquet held for the completion of the Chronicles of Japan in mind, which refer to each and every spring and the ancient Kayanohime, but even these poems did not differ in conception from that of the main work. It’s impossible to pick a loser or winner.