Tag Archives: sacred grove

Eien narabō uta’awase 09

Round Two

Left

をちかたやくも井の山のほととぎすあまつよそにもなきわたるかな

ochikata ya
kumoi no yama no
hototogisu
ama tsu yoso ni mo
nakiwataru kana
From the distant
Mount within the clouds
A cuckoo
In yonder heavens
Sings his song!

Lord Saburō
17

Right

ほととぎすしのだのもりのしのびねをたづねざりせばいかできかまし

hototogisu
shinoda no mori no
shinobine o
tazunezariseba
ikade kikamashi
A cuckoo
In Shinoda’s sacred grove
Lets out a hushed cry;
Had I not come to visit here,
How might I have heard it?

Ushigimi
18

In regards the poem of the Left’s ‘from the distant’ and what follows, extremely recently and colloquially, at the Nakatomi purification ceremony it seems there was a composition, ‘in the distance, below the trees so lush’. This diction is contrary to the expected style of waka and something which occurs only extremely rarely. Truly, one does not compose using such diction in a poetry match. The poem of the Right has nothing of interest about it, yet it also lack faults to mention, so it wins.

This round, neither poem appears bad. The Left has a novel style, while the Right seems cliched, but its expression is smooth. I wonder if we could see these as a tie.

Entō ōn’uta’awase 40

Round Forty

Left (Win)

山もとの杜のしめ縄ながきよを秋のをしかの鳴きあかすらん

yamamoto no
mori no shimenawa
nagaki yo o
aki no oshika no
nakiakasuran
At the mountains’ foot lies
A sacred grove with garlands
Long as the nights
In autumn when the stag
Bells in the dawn.

Tomoshige
79

Right

なよ竹のよながき秋の山風に幾たび鹿のね覚しつらん

nayotake no
yo nagaki aki no
yamakaze ni
ikutabi shika no
nezameshitsuran
Green bamboo with
Knots as apart as the autumn night is long,
While with the mountain wind
How many times might the stag
Have awakened?[1]

Dharma Master Zenshin
80

The Left’s poem has ‘at the mountains’ foot lies a sacred grove with garlands long as the nights’ which sounds pleasant. The Right has ‘knots as apart as the autumn night is long, while with the mountain wind’—these, too, seem to have no clear winner or loser, yet still, the Left should be superior and should win.[2]


[1] An allusive variation on: Composed when the gentlemen in the Crown Prince’s service were presented with wine, on the occasion of Tadafusa being appointed Secretary of an embassy to China, during the reign of the Kanpyō emperor. なよ竹のよながきうへにはつしものおきゐて物を思ふころかな nayotake no / yo nagaki  ue ni / hatsushimo no / oki’ite mono o / omou koro kana ‘Green bamboo with / Knots as far apart as the night is long / While the first frost settles on my active / Thoughts these days!’ Fujiwara no Tadafusa (KKS XVIII: 993)

Entō ōn’uta’awase 18

Round Eighteen

Left (Tie)

神さぶるなげきの森の時鳥ひくしめなはもなくなくやこし

kamu saburu
nageki no mori no
hototogisu
hiku shimenawa mo
nakunaku ya koshi
In divine
Nageki’s sacred grove
Does the cuckoo to
Where the holy garlands  
Are hung not, come to sing?[1]

The Former Minister of the Centre
35

Right

さとわかずなけや五月の郭公忍びし比は恨みやはせし

sato wakazu
nake ya satsuki no
hototogisu
shinobishi koro wa
urami ya wa seshi
In every hamlet
Sing, O, Fifth Month
Cuckoo!
For when you chirped before,
I did not hate you for it…

Kozaishō
36

The Left’s poem is based on ‘Prayers / Alone I seem to hear at / This shrine, indeed, but / In the end, passion to grief’s / Grove will turn, no doubt…’ and sounds pleasant. The Right’s poem says ‘For when you chirped before, / I did not hate you for it’ and has a graceful style—thus, they tie.


[1] An allusive variation on: Topic unknown. ねぎ事をさのみききけむやしろこそはてはなげきのもりとなるらめnegigoto o / sanomi kikikemu / yashiro koso / hate wa nageki no / mori to narurame ‘Prayers / Alone I seem to hear at / This shrine, indeed, but / In the end, passion to grief’s / Grove will turn, no doubt…’ Sanuki (KKS XIX: 1055)

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 37

Scarlet Leaves

Round One

Left (Win)

山姫やきてふる郷へ帰るらんにしきとみゆる衣手の杜

yamahime ya
kite furusato e
kaeruran
nishiki to miyuru
koromode no mori
Does the mountain princess
Wear it, when to her ancient home
Returning?
As brocade does seem
The sacred grove at Koromode…

Lord Shige’ie

73

Right

色色の木木のにしきを立田川ひとつはたにもおりながすかな

iroiro no
kigi no nishiki o
tatsutagawa
hitotsu hata ni mo
orinagasu kana
Many hued is
The trees brocade that
The Tatsuta River’s
Loom into one
Does weave and float along!

Shun’e
74

The Left’s ‘mountain princess’ is normally used, but where is the ‘ancient estate’? As for the Right, when the trees’ brocade is scattered, only then, indeed, can it be woven and made to flow along by a river. A long time ago there was a poem composed which, indeed, began, ‘The scarlet leaves in such confusion / Drift’ and then continued, ‘Were I to ford across, this brocade / Would be split in two, I’d say…’[1] Furthermore, what are we to make of ‘Tatsuta River’s / Loom into one’? There should be reference to a location which has some connection with looms, but to simply shoehorn in ‘Tatsuta River’s / Loom into one’ smacks of pleasing oneself. There is the earlier poem ‘Without a loom / Are brocade’,[2] too. The way in which this poem is constructed is charming, but these features are difficult to ignore, so thus the Left should win, I think.


[1] The poem is Kokinshū V: 283, with the headnote, ‘Topic unknown’. It is officially anonymous, but is accompanied by an endnote stating ‘It is said by some that this poem was composed by the Nara Emperor.’

[2] Topic unknown. から衣たつたの山のもみぢばははた物もなき錦なりけり karakoromo / Tatsuta no yama no / momijiba wa / hatamono mo naki / nishiki narikeri ‘A Cathay robe— / Tatsuta Mountain’s / Scarlet leaves, / Without a loom / Are brocade.’ Anonymous (GSS VII: 386)

GSIS III: 189

Composed at the poetry competition held at the residence of imperial princess Sukeko (Yūshi) on 5th day of the Sixth Month Eishō 5 (1051).

夜だにあけば尋ねてきかむ郭公信太の杜の方になくなり

yo dani akeba
tadunete kitamu
Fototogisu
sinoda no mori no
kata ni nakunari
With the simple break of dawn
Do they come to call:
The cuckoos
In Shinoda’s sacred grove
Do sing.

Nōin