Tag Archives: soko

Teiji-in uta’awase 14

Left

さはみづにかはづなくなりやまぶきのうつろふいろやそこにみゆらむ

sawamizu ni
kawazu nakunari
yamabuki no
utsurou iro ya
soko ni miyuramu
Among the marsh waters
The frogs are crying;
The kerria’s
Fading hues—might
They see them below the surface there?

27

Right (Win)

ちりてゆくかたをだにみむはるがすみはなのあたりはたちもさらなむ

chiriteyuku
kata o dani mimu
harugasumi
hana no atari wa
tachi mo sara namu
Scattering off
If only I might see them, but
The spring haze
Around the blossoms is
Already rising!

28

Sahyōe no suke sadafumi uta’awase 16

Love on Meeting

Left (Win)

人ごころいまはかぎりになりぬればみるこそみぬにおとらざりけれ

hitogokoro
ima wa kagiri ni
narinureba
miru koso minu ni
otorazarikere
My human heart
Now has its bound
Reached, so
Seeing you compared to not
Is no worse!

31

Right

わかれてはのちぞかなしきにごりえのそこともしらぬありかとおもへは

wakarete wa
nochi zo kanashiki
nigorie no
soko to mo shiranu
arika to omoeba
Parting does
Later bring such sadness:
A muddy inlet’s
Depths leave me unknowing
Of where she is, so…

Mitsune
32

Sahyōe no suke sadafumi uta’awase 7

The Middle of Autumn

Left (Tie)

くもゐよりてりやまさるときよたきのそこにてもみむあきのつきかげ

kumoi yori
teri ya masaru to
kiyotaki no
soko nite mo mimu
aki no tsukikage
From the clouds
Does it shine most bright?
On Kiyotaki’s
Riverbed I see
Autumn moonlight.

13

Right

人しれぬねをやなくらんあきはぎのはなさくまでにしかのこゑせぬ

hito shirenu
ne o ya nakuran
aki hagi no
hana saku made ni
shika no koe senu
That no one may know
Quietly, does he cry?
Until the autumn bush clover
Blooms flower
The stag’s bell stays silent.

Mitsune
14

Kanpyō no ōntoki kisai no miya uta’awase 79

Left

白露ぞ霜となりける冬のよはあまの河さへ水こほりけり

shiratsuyu zo
shimo to narikeru
fuyu no yo wa
ama no kawa sae
mizu kōrikeri
Silver dewdrops
Have turned to frost
On this winter’s night
Even the River of Heaven’s
Waters have frozen.

153

Right

冬の海に降りいる雪やそこにゐて春たつ浪の花とさくらん

fuyu no umi ni
furi’iru yuki ya
soko ni ite
haru tatsu nami no
hana to sakuran
Upon the sea in winter,
Falling down, is the snow:
Does it rest upon the bed and
With the waves breaking in springtime
Bloom into blossom?

154

Love VIII: 24

Left (Tie)
この比の心の底をよそに見ば鹿鳴く野邊の秋の夕暮

kono koro no
kokoro no soko o
yoso ni miba
shika naku nobe no
aki no yūgure
Of late
Of the depths of my heart
Were you to catch a distant glimpse:
A stag belling in the meadow
On an autumn evening…

A Servant Girl
1067

Right
暮れかゝる裾野の露に鹿鳴きて人待つ袖も涙そふ也

kurekakaru
susono no tsuyu ni
shika nakite
hito matsu sode mo
namida sou nari
Twilight
Drapes dewfall on the mountains’ skirts,
With a stag’s sad cry;
Awaiting him, my sleeves, too,
Are wet with tears.

Nobusada
1068

Left and Right together: we find no faults to mention.

In judgement: it would be impossible to ever exhaust the overtones of feeling in ‘a stag belling in the meadow on an autumn evening’ (shika naku nobe no aki no yūgure) in the Left’s poem; in the Right’s poem the configuration and conception of ‘awaiting him, my sleeves, too, are wet with tears’ (hito matsu sode mo namida sou nari) is richly evocative. I find it extremely hard to put both poems down, so this round, again, is a tie of quality.

Kanpyō no ōntoki kiku awase 2

From the pond at Ōsawa in Saga. From this point on, poems refer to flowers on the suhama.
人本と思ひしものを大沢の池の底にも誰か植ゑけむ

Fitomoto to
omoFisi mono wo
oFosaFa no
ike no soko ni mo
tare ka uwekemu
A single bloom
Did I think it was, but
In Ōsawa
Pond’s depths
Who might have planted it there?

Tomonori
2

A variant of this poem occurs in Kokinshū (V:275).

Love VII: 7

Left.
鯨取るさかしき海の底までも君だに住まば浪路しのがん

kujira toru
sakashiki umi no
soko made mo
kimi dani sumaba
namij shinoga
The whale-hunting
Savage sea’s
Depths: even there,
Should it be your dwelling,
Would I endure the waves…

Kenshō.
973

Right (Win).
石見潟千尋の底もたとふれば淺き瀬になる身の恨かな

iwamigata
chihiro no soko mo
tatoureba
asaki se ni naru
mi o urami kana
Iwamigata:
Your thousand fathom depths
I take as
A shallow shoal
For my despite.

Jakuren.
974

The Right state:  the Left’s poem leaves a fearsome impression, does it not? The Left state: we find no fault with the Right’s poem.

In judgement: The Left’s ‘whale hunting’ (kujira toran) I remember occurring in the Man’yōshū, but among many of that collection’s oddly-styled poems. However, it does sound extremely fearsome. When Emperor Qin Shihuang sought Mount Penglai, although he said to ‘shoot’ (iyo) great fish, I have not heard that he went so far as to ‘hunt’ (tore) them. Generally speaking, poems should evoke delicacy and charm, and what purpose is served, for the way of poetry, or for the individual, by frightening people deliberately? The Right’s Iwamigata and ‘For my despite’ (mi no urami kana) recalls an official complaining over being passed over for promotion. However, I cannot accept the Left’s poem. Thus, the Right wins.

SIS X: 616

A poem about the provinces for the enthronement ceremony in Tenroku 1 [970]: The Izumi River.

泉河のどけき水のそこ見れば今年葉陰ぞすみまさりける

idumigaFa
nodokeki midu no
soko mireba
kotosi Fakage zo
sumimasarikeru
At Izumi River
The peaceful waters’
Bed I see;
This year the shadows of the leaves
Are truly clear, indeed.

Taira no Kanemori
平兼盛