Tag Archives: sky

Eien narabō uta’awase 19

Round Five

Left

あきのよのふけゆくかぜにくもはれてはなだのそらにすめるつきかげ

aki no yo no
fukeyuku kaze ni
kumo harete
hanada no sora ni
sumeru tsukikage
As the autumn night
Wears on, the wind
Clears away the cloud, and
From the pale indigo sky
Comes clear moonlight.

Controller’s Graduate
37

Right

ふるさとのときぞともなきさびしさもなぐさむばかりすめる月かな

furusato no
toki zo tomonaki
sabishisa mo
nagusamu bakari
sumeru tsuki kana
In the ancient capital
Timeless is
The lonely sadness
Consoled only
By the clear, bright moon!

Kerin’in Graduate
38

The Left’s poem is a transparent copy of an older work. That poem is:

天の原四方のむら雲吹きはらひみどりの空にすめる月影

ama no hara
yomo no muragumo
fukiharai
midori no sora ni
sumeru tsukikage
Across the plain of Heaven
All the crowding clouds
Are blown away, and
From the sky so green
Comes clear moonlight.[i]

I don’t feel this is in any way different. As for the Right’s poem, while it is not the case that it is entirely without conception, it lacks any exemplary elements, so I don’t see how I can possibly recommend either of these.

The Left’s poem isn’t bad, but it should be revised to use ‘sky so green’, because using ‘pale indigo sky’ is vague. To decide in favour of it I would need there to be a prior poem as precedent. The Right’s poem is not particularly exemplary, but it does sound as if there are times like that. In the absence of a precedent for the Left, the poem of the Right wins.


[i] The source of this poem is unknown.

Eien narabō uta’awase 16

Round Two

Left (Win)

秋のよの月のひかりはかはらねどたびのそらこそあはれなりけれ

aki no yo no
tsuki no hikari wa
kawaranedo
tabi no sora koso
aware narikeri
On an autumn night
The moon’s light
Is unchanged, yet
The sky above me on my travels
Is so very sad, indeed.

Lord Saburō
31

Right

あきの夜はたのむる人もなきやどもありあけの月はなほぞまちいづる

aki no yo wa
tanomuru hito mo
naki yado mo
ariake no tsuki wa
nao zo machi’izuru
On an autumn night
With no man even expected
At my house,
It is the dawntime moon’s
Appearance that, indeed, I have awaited.

Ushigimi

32

The poem of the Left seems extremely well-trodden. It resembles a something sung as a popular song. As for the poem of the Right, ‘not…at my house’ is extraordinarily stilted, yet the poems are of the same quality, so I would say these tie.

The poem of the Left’s final ‘Is so very sad, indeed’ sounds pitiful and truly unskilled. The poem of the Right overemphasises ‘even’, and also appears to say that the dawntime moon is an element conveying a moving desolation. I wonder if this is appropriate for the topic of the ‘the moon’ in a poetry match? There needs to be a prior poem as precedent. It does say that the moon’s emergence after having waited for it is something precious, but the poem refers to the moon in the latter part of the month, after the twentieth day, doesn’t it? This would seem to be moving, for sure, but it’s something which doesn’t shed much light, so I would say that the Left wins.

Tsurayuki uta’awase 08

The Middle of Autumn

Left

大空の道みえぬまでふる霧は秋のなかばにとめむとかもし

ōzora no
michi mienu made
furu kiri wa
aki no nakaba ni
tomemu to kamo shi
Until all the endless sky
Ways unseen are
Descend the mists
In the heart of autumn—
Will they stay a while, I wonder?

15

Right

女郎花おほくの秋にあふものをからくもあだにおもひけるかな

ominaeshi
ōku no aki ni
au mono o
karaku mo ada ni
omoikeru kana
Maidenflowers
Many in autumn
Does one meet, but
Bitterly, faithless
Do I feel they are!

16

Sumiyoshi-sha uta’awase kaō ni-nen 34

Round Nine

Left (Win)

うらさむくしぐるるよはのたびごろもきしのはにふにいたくにほひぬ

ura samuku
shigururu yowa no
tabigoromo
kishi no hanyū ni
itaku nioinu
The bay is cold with
Midnight showers, as
My traveller’s robe
With the shore’s ochre clay
Is deeply stained.

Taifu
67

Right

おもへただみやこのうちのねざめだにしぐるるそらはあはれならずや

omoe tada
miyako no uchi no
nezame dani
shigururu sora wa
aware narazu ya
Simply think of me, when
Within the capital
You start from sleep—
A showery sky is
Sad, isn’t it?

Sadanaga
68

While configuration of the Left’s poem, saying ‘With the shore’s ochre clay / Is deeply stained’ feels crude, it does appear to be in the style of the Myriad Leaves. As for the Right’s poem, its conception is good, but starting, ‘Simply think of me’ begs the question of who this is said to. Such diction is used in poetry exchanges or love poems, in particular. The Left’s poem is most likely superior.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 42

Round Six

Left (Win)

山姫はもみぢのにしきおりてけりたちなやつしそ嶺の朝霧

yamahime wa
momiji no nishiki
oritekeri
tachi na yatsushi so
mine no asagiri
The mountain’s princess,
Of scarlet leaves brocade
Has woven;
In your rising don’t despoil it,
O, morning mists upon the peak!

Lord Kinshige
83

Right

しぐれには紅葉の色ぞまさりける又かきくもる空はいとはじ

shigure ni wa
momiji no iro zo
masarikeri
mata kakikumoru
sora wa itowaji
A shower makes
The scarlet leaves’ hues
Most fine;
So, the swiftly clouding
Sky I could not dislike.

Lord Masahira

84

The Right sounds as if the poet has just come to the revelation that, even though a showery sky is charming, can one possibly dislike it, given that it improves the hues of the scarlet leaves. The Left isn’t bad, but it does have two identical sounds ending lines, and this has been called the same-sounding rhyme fault, I believe. With that being said, in the Tentoku Poetry Match, there were some poems with this feature which were criticized, and some which were not, so I wonder if this is not something to particularly worry about. In this poem it doesn’t sound like a defect and, taking this together with the fact that the Right’s poem is poor, the Left should win.