Tag Archives: shigure

Naidaijin-ke uta’awase 12

Round Twelve

Left (T – Win)

柞原紅ふかく染めてけり時雨の雨はいろなけれども

hahasowara
kurenai fukaku
sometekeri
shigure no ame wa
iro nakeredomo
The oak groves
Deeply scarlet
Have been dyed,
Though the rain shower
Lacks any hue at all…

Lord Shigemoto
23

Right (M – Win)

山里はならのから葉の散敷きてしぐれの音もはげしかりけり

yamazato wa
nara no karaba no
chirishikite
shigure no oto mo
hageshikarikeri
My mountain retreat has
The oaks’ withered leaves
Scattered and spread around, so
The sound of showers is all
The more severe.

Lord Tamezane
24

Toshiyori states: the ‘oak grove’ poem, saying that plants fade and autumn leaves are dyed by things like dew and frost is as unremarkable as saying that one’s sweetheart’s skirt trails down. The ‘mountain retreat’ poem has ‘the oaks’ withered leaves’ and this is problematic. It would certainly have been better to avoid using ‘withered leaves’. In addition, I wonder about saying ‘the sound of showers is severe’? I feel it would be better to use this when looking down on the stony valley gate from the high peak of Mount Arachi. The first poem is slightly superior.

Mototoshi states; the poems of Left and Right are about the same quality, but the Left’s poem lacks a conception of showers and is entirely a poem on scarlet leaves, so in the current context ‘oaks’ withered leaves’ is slightly superior.

Naidaijin-ke uta’awase 11

Round Eleven

Left

さごろもの袂はせばしかづけども時雨の雨は心してふれ

sagoromo no
tamoto wa sebashi
kazukedomo
shigure no ame wa
kokoroshite fure
My night robe’s
Sleeves are narrow:
I cover myself, yet,
O rain shower,
Fall with care!

Lord Toshitaka
21

Right (Both Judges – Win)

はつ時雨音信しより水ぐきの岡の梢の色をしぞ思ふ

hatsushigure
otozureshi yori
mizuguki no
oka no kozue no
iro o shi zo omou
Since the first shower
Came to call,
Mizuguki
Hill’s treetops’
Hues fill my thoughts…

Lord Tokimasa
22

Toshiyori states: the poem on night robes has ‘Fall with care!’ – is this expressing regret over getting wet? In addition, there’s ‘I cover myself, yet’: it would have been preferable to have this element first. The poem on the ‘first shower’ is not that remarkable, yet it does sound smooth. ‘Hues fill my thoughts’ feels conspicuously old-fashioned, and yet composing using ‘Mizuguki’ seem superior.

Mototoshi states: what on earth is the poet doing saying his ‘night robe’ is ‘narrow’? In the Code of the Shijō Major Counsellor this is indicted to be a bad thing—‘a shallow poem with weighty words’! The poem of the Right has ‘Since the first shower / Came to call’ and I feel that this is how a poem on showers ought to be. Saying ‘Hill’s treetops’ / Hues fill my thoughts’ is a bit trite, but still charming, so this is superior, isn’t it.

Naidaijin-ke uta’awase 10

Round Ten

Left (T – Tie)

波よする蜑の苫やのひまをあらみもるにてぞしるよはのしぐれは

nami yosuru
ama no tomaya no
hima o arami
moru nite zo shiru
yowa no shigure wa
Waves break near
A sedge-thatched hut’s
Crude gaps
The leaks reveal
A midnight shower…

Lord Tadafusa
19

Right (M – Win)

ゆふ月よいるさの山の高根よりはるかにめぐる初しぐれかな

yūzukuyo
irusa no yama no
takane yori
haruka ni meguru
hatsushigure kana
On a moonlit night
From Irusa Mountain’s
High peak
In the distance circles
A first shower!

Lord Kanemasa
20

Toshiyori states: in the first poem, the shower sounds chilly! A shower is not something that one hears after getting up at dawn, yet this poem says that one first gets to know about it from the leaks, it seems that the poet has gone to bed, been leaked on, had his garments soaked and then got up and made a fuss. If he has not been leaked upon is this something he heard from someone else the following day? It really is very unclear. There’s a poem ‘Together with me / On my mountain pilgrimage’ which refers to showers falling on this mountain. The poem here refers to the same peak, so it sounds as if it’s referring to monks going around. Is that what it’s about? I am not just finding fault for the sake of it—these poems are unclear. As there’s only so much that can be understood from hearing them, they should tie.

Mototoshi states: one can compose about a shower falling anywhere and there’s no need to bring up a fisherman’s sedge-thatch hut, is there! Furthermore, one gets to know about a shower from the sound of it falling constantly on something like a roof of cedar boards, surely? Would one really be startled by rain of varying intensity falling soundlessly in spring? As for the poem of the Right, while it does not display a playfulness which would please the eye, ‘In the distance circles / A first shower’ is a bit better in the current context.

Naidaijin-ke uta’awase 09

Round Nine

Left (T – Tie; M – Win)

神無月旅行く人もいづくにかたちかくるべき時雨もる山

kaminazuki
tabi yuku hito mo
izuku ni ka
tachikakurubeki
shigure moru yama
In the Godless Month
For folk gone travelling
Is there anywhere
To hide themselves away,
As the showers drip down on Mount Moru?

Lady Shinano
17

Right

くらぶ山いかがこゆべき神無月木の葉とともにしぐれ降るなり

kurabuyama
ikaga koyubeki
kaminazuki
ko no ha to tomo ni
shigure furu nari
Over gloomy Mount Kurabu
How can I find my way across?
In the Godless Month
Together with the leaves from the trees
A shower is falling…

Lord Nobutada
18

Toshiyori states: in the first poem, I do not feel that travelling is a natural continuation from ‘Godless Month’. ‘Is there anywhere’, too, does not sound smooth, does it. As for the second poem, if one mentions ‘gloomy Mount Kurabu’ and then follows it with ‘How can I find my way across?’, one should give a reason for the expression, whether it be because it’s gloomy, or because the sun is going down, otherwise it’s also unclear why one should be having difficulties crossing the mountain. If one is grieved by the falling leaves, then the poem sounds more like an ‘Scarlet Leaves’ one, and this is unreasonable. These both look to be about the same.

Mototoshi states: ‘showers drip down on Mount Moru’ is a bit better than ‘gloomy Mount Kurabu’, isn’t it. I feel it’s only logical that there should be no shadows in which one could hide oneself away.

Naidaijin-ke uta’awase 08

Round Eight

Left (Both Judges – Tie)

神無月三室の山の紅葉ばも色に出でぬべく降るしぐれかな

kaminazuki
mimuro no yama no
momijaba mo
iro ni idenubeku
furu shigure kana
In the Godless Month
On Mount Mimuro
The autumn leaves
Show no hues at all, despite
The falling showers!

Lord Morikata
15

Right

かみな月時雨れてわたるたびごとに生田の杜をおもひこそやれ

kaminazuki
shigurete wataru
tabi goto ni
ikuta no mori o
omoi koso yare
In the Godless Month
Showers pass by and
Every time
The sacred grove at Ikuta
I do recall.

Lord Tadataka
16

Toshiyori states: ‘Godless Month’ is the name given to a specific month of the year. It’s somewhat unclear why one would use ‘Godless Month’ in conjunction with ‘Mount Mimuro’ – is there a prior poem to evidence this? It’s quite normal for lines which would normally have five syllables to be written with six, or those with seven to have eight, and this can sound fine in some cases. Here, though, it does sound obviously excessive and I do wonder about that. The second poem is plainly based on an earlier work, and is not at all clear, but as it has precedent, these two are about the same.

Mototoshi states: neither of these poems appears bad, so I say they tie.

Naidaijin-ke uta’awase 06

Round Six

Left (M – Tie)

さもこそは槙のまやぶき薄からめもるばかりにもうつ時雨かな

samo koso wa
maki no mayabuki
usukarame
moru bakari ni mo
utsu shigure kana
Truly,
A roof of cedar boughs
Seems scanty, for
It simply leaks when
Struck by a shower!

Lord Morotoshi
11

Right (T – Win)

木の葉のみ染むるかとこそおもひしに時雨は人のみにしみにけり

ko no ha nomi
somuru ka to koso
omoishi ni
shigure wa hito no
mi ni shiminikeri
‘Is it the leaves upon the trees alone
It dyes?’
I wondered once, but
A shower on folk’s
Flesh does leave a mark…

Lord Masamitsu
12

Toshiyori states: the first poem deliberately starts with ‘A roof of cedar boughs’ and then concludes with ‘Struck by a shower’ which is vague. It does sound like the poet might have had ‘the lonely sighing sound of rain beating against my window’ in mind when composing. In any case, this is something which would have been better avoided. If he wished to compose on this sort of thing, and had done so without this element, then the poem would not be unpleasant. As for the Right, well, this does sound somewhat scanty! Still, what kind of colour might the poet’s flesh be marked? If it was the colour of the leaves, then this would be pretentious, wouldn’t it. If he wanted to refer to the hue of the wind in the pines, then why didn’t he say so? As a composition about a shower, though, this sounds slightly better.

Mototoshi states: having such a thin roof of cedar boughs struck by a passing shower feels frightening for the people under it. At the beginning of the world, rain as thick as axles fell, I hear—what a terrifying shower that must have been! The expression ‘rain beating against my window’ occurs in a poem from Cathay, referring, it seems, to rain blown by the wind horizontally striking one’s fence. Thus, it does sound extremely moving to compose about rains striking one’s window and keeping one awake, but, then again, while it’s certainly true that showers dye the treetops on the mountains in all directions, what sort of mark would they leave on a person’s flesh? It sounds like the old tale of the well-warden’s sign, doesn’t it! This round, both poems are about the same.

Naidaijin-ke uta’awase 05

Round Five

Left (T – Tie)

時雨には菅の小笠も水もりて遠の旅人ぬれやしぬらん

shigure ni wa
suga no ogasa mo
mizu morite
ochi no tabibito
nure ya shinuran
In such a shower
A little hat of woven sedge, too,
Drips with water;
A distant traveller
Is drenched, no doubt…

Lady Kazusa
9

Right (M – Win)

霜さえて枯行くをのの岡べなるならの朽葉にしぐれ降るなり

shimo saete
kareyuku ono no
okabe naru
nara no kuchiba ni
shigure furu nari
Chill the frost upon
The sere meadows on
The hillside where
Upon the withered oak leaves
A shower is falling.

Lord Mototoshi
10

Toshiyori states: In the first poem, ‘drips with water’ is vague. In the second poem, ‘hillside where’ lacks smoothness. What are we to make of ‘withered oak leaves’? If leaves have withered away, then they wouldn’t make any sound, would they. Is this even possible?

Mototoshi states: the diction of ‘In such a shower / A little umbrella of woven sedge, too, / Drips with water’ is something which lacks any prior precedent. ‘Dripping with water’ give the impression of a painted pot with a crack in it, so what kind of shower can this be? It would be more normal to refer to having to shelter beneath one’s sleeves. While it is lacking in any superlative features, I feel that the sound of a shower on withered oak leaves is somewhat more commonplace.

Naidaijin-ke uta’awase 04

Round Four

Left (M – Win)

水鳥の青葉の山やいかならん梢をそむる今朝のしぐれに

mizutori no
aoba no yama ya
ika naran
kozue o somuru
kesa no shigure ni
Waterfowl fly above
Aoba Mountain—
O, what is to become
Of the treetops dyed
By this morning’s shower?

Lord Akinaka
7

Right (T – Win)

かきくもり蜑の小ぶねにふく苫の下とほるまで時雨れしにけり

kakikumori
ama no obune ni
fuku toma no
shita tōru made
shigureshinikeri
Clouds rake in above
The fisher’s tiny boat—
Through its rush-woven roof
And even beneath
A shower has fallen.

Lord Michitsune
8

Toshiyori states: Continuing on from ‘Waterfowl fly above / Aoba Mountain’ with ‘the treetops dyed’ is simple and straightforward. The latter poem’s emphasis on the fisher’s tiny boat is an unexpected expression, yet because it is not a fault, I make this poem the winner.

Mototoshi states: saying ‘Waterfowl fly above / Aoba Mountain’ is extremely hackneyed, yet the poem of the Right has ‘Clouds rake in above / The fisher’s tiny boat— / Through its rush-woven roof’: both spring showers and summer ones, too, are not things which fall constantly, so it is difficult to believe that they could fall ‘even beneath’. So, I have to determine that a shower dyeing the treetops is a little better.

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.

Naidaijin-ke uta’awase 01

Showers

Round One

Left (Win – Both judges)

終夜嵐の音にたぐひつつ木の葉とともに降るしぐれかな

yomosugara
arashi no oto ni
taguitsutsu
ko no ha to tomo ni
furu shigure kana
All night long
The sound of storm winds
Is laced
With that of leaves and
Falling showers!

Lady Settsu, in service to the Empress
1

Right

おぼつかないかにしぐるる空なればうらごの山のかたみなせなる

obotsukana
ika ni shigururu
sora nareba
urago no yama no
kataminase naru
How puzzling it is!
What sort of shower
From the skies is it that
Makes Urago Mountain
Show such a thing?

Lord Toshiyori
2

Toshiyori states: While the conception and diction of the first poem are not that unusual, it appears to have no errors to indicate. The second poem’s choice of diction—using ‘show such a thing’—is vague: I wonder if when composing about this mountain that’s what one does? Nevertheless, the assembled company have stated that ‘Urago Mountain’ feels unpoetic as a piece of diction, and thus I make the Left the winner.

Mototoshi states: I feel that ‘With that of leaves and / Falling showers!’ is a moving and charming conception, but find it impossible to understand why Urago Mountain should ‘show such a thing’ in the poem of the Right! I have to say that the Left is superior.