Tag Archives: suminoe

Eien narabō uta’awase 31

Round Three

Left[i]

君が代は神にぞいのる住之江の松の千年をゆづれとおもへば

kimi ga yo wa
kami ni zo inoru
suminoe no
matsu no chitose o
yuzure to omoeba
My Lord’s reign:
To the gods I pray, that
Suminoe’s
Pines their thousand years
Pass on—that is my hope…

Retired from the World
61a

きみがへむやちよのかずはあめにますとよをかひめの神やしるらん

kimi ga hemu
yachiyo no kazu wa
ame ni masu
toyo’okahime no
kami ya shiruran
That my Lord will endure
The number of eight thousand ages—
Residing in the heavens,
The Goddess of the Eternal Hills,
The deity, knows well, no doubt!

Retired from the World
61b

Right (Win)

君がよはつきじとぞおもふ春の日の御笠の山にささむかぎりは

kimi ga yo wa
tsukiji to zo omou
haru no hi no
mikasa no yama ni
sasamu kagiri wa
My Lord’s reign
Will never fade, I feel!
While in spring the sun
Upon Mikasa Mountain
Shines down…

Senior Assistant Minister Past Lecturer
62

Both Left and Right have neither strengths nor weakness in their diction and sense, but I feel that ‘While in spring the sun / Upon Mikasa Mountain / Shines down’ is a bit more dependable at present than ‘Suminoe’s / Pines their thousand years’.

It is certainly not the case that there are no dubious elements about the Left’s poem. As ‘eight thousand ages’ is a definite number, what is it that the Goddess of the Eternal Hills is expected to know? If this is something in the deity’s hands, then it should be, ‘does not even know the number’. I’m sure the Goddess herself would ask what she’s expected to know. The Right seems stronger.


[i] There are different poems by Eien this round in different versions of the text of the contest. As can be inferred from the judgements, Mototoshi saw the first poem and Toshiyori the second. This strongly suggests that Mototoshi’s judgements were circulated before the text of the contest was submitted to Toshiyori, and Eien revised his poem this round as a result (Kubota et al. 2018, 308).

Sumiyoshi-sha uta’awase kaō ni-nen 61

Round Eleven

Left

ねざめしてうきよをおもひあはすればまどろむゆめにかはらざりけり

nezameshite
uki yo o omoi
awasureba
madoromu yume ni
kawarazarikeri
When I awake, with
This cruel world my thoughts
Occupying,
The dream that filled my doze
Differed not at all…

Hyōenokami
121

Right (Win)

すみのえのうきにおひたるしをれあしをなみひきたてよかみのめぐみに

suminoe no
uki ni oitaru
shiore’ashi o
nami hikitateyo
kami no megumi ni
In Suminoe’s
Muddy waters grows,
Languishing, a reed:
O, waves, lift it upright!
To receive the deity’s blessing…

Lord Michichika
122

The poem of the Left appears to have an elegant sequence, saying, ‘This cruel world my thoughts / Occupying’, but the speaker does not appear to be particularly thinking of themselves—they are simply reflecting on the transience of this world and that’s how it is. The poem of the Right begins with ‘In Suminoe’ and then has ‘Muddy waters grows’, linking the particular shore with the content. The Right should win.

Sumiyoshi-sha uta’awase kaō ni-nen 53

Round Three

Left (Tie)

あはれとやかみもおもはむすみのえのふかくたのみをかくるみなれば

aware to ya
kami mo omowamu
suminoe no
fukaku tanomi o
kakuru mi nareba
‘How sad,’ does
The God, too, think?
For at Suminoe
Deep in devotions
Am I entangled…

Lord Tsunemori
105

Right

たのみつるこのひとむらの人ごとにちとせをゆづれすみよしのまつ

tanomitsuru
kono hitomura no
hito goto ni
chitose o yuzure
sumiyoshi no matsu
Devoted are
This group of folk, so
To each and every one
Grant a thousand years,
O, pines of Sumiyoshi!

Lord Yorisuke
106

The poem of the Left, saying ‘deep in devotions’ and suchlike, is pleasant, I have to say. Does the poem of the Right’s ‘this group of folk’ refer to the current poets or to the speaker’s own household? Well, whichever it is, the conception of devotion does not appear to be slight, but again I say this is a tie.

Sumiyoshi-sha uta’awase kaō ni-nen 41

Round Sixteen

Left

くさまくらたびねさびしきやまかげにこのはさそひてしぐれふるなり

kusamakura
tabine sabishiki
yamakage ni
ko no ha sasoite
shigure furunari
On a grassy pillow,
Dozing on my travels, lonely
In a mountain’s shade,
The rustling of the leaves invites
A shower to fall.

Hyōenosuke
81

Right (Win)

すみのえのまつがはひねをまくらにてなみうちそふるしぐれをぞきく

suminoe no
matsu ga haine o
makura nite
nami uchisouru
shigure o zo kiku
At Suminoe
Upon the crawling pine roots
Have I made my pillow, while
Laced with the breaking waves
I listen to the showers.

Lord Naganori
82

The Left’s configuration of ‘the rustling of the leaves invites’, while dozing on one’s journey in the shadow of a mountain, sounds pleasant. While I do wonder about the Right’s diction—concluding with ‘listen to the showers’—in addition to ‘laced with the breaking waves’ sounding pleasant, it also adds the conception of waves beneath ‘the pines of Suminoe’, doesn’t it. I make the Right the winner.

Sumiyoshi-sha uta’awase kaō ni-nen 25

Left (Tie)

まつかぜにふけゆく月のすみのえはなみのよるこそたちまさりけれ

matsukaze ni
fukeyuku tsuki no
suminoe wa
nami o yoru koso
tachimasarikere
The wind through the pines
Blows late upon the moon
At Suminoe, where
The night’s breaking waves
Rise strikingly!

Novice Jakunen[1]
49

Right

しもならで月もるよひやかたそぎのゆきあはぬひまもかみはうれしき

shimo narade
tsuki moru yoi ya
katasogi no
yukiawanu hima mo
kami wa ureshiki
That ‘tis not frost, but
The moon, dripping at night
Through the ridge poles
Unmatched gaps,
Does the Deity feel joy?

Suke, from the Residence of the Former Minister of the Right[2]
50

The Left poem’s ‘Blows late upon the moon / At Suminoe’ sounds pleasant, but there have been recent poems, such as ‘Brings waves–that / I would tell you!’[3] and ‘Simply with the waves / Did seem to draw near with the night’[4] and while the initial section of the poem here differs, basing a poem on this is not that unusual, I think. The tone of the Right’s poem is charming, but it does not seem likely that the Deity would feel joy simply at the moon coming through the gaps in His ridgepoles. The Deity’s power is limitless and wards eighty isles beyond Sumiyoshi—indeed, there is nowhere in Tsumori’s shore or Sumiyoshi beach, above the waves or in the shad of the pines that it does not reach. I have discussed ridgepoles earlier. Nevertheless, the configuration of the poem isn’t bad, so these should tie, I think.


[1] Shami Jakunen 沙弥寂念

[2] Zen-udaijin no ie no Suke前右大臣家佐

[3] 人しれぬ思ひありそのはま風に浪のよるこそいはまほしけれ hito shirenu omoi ariso no hamakaze ni nami no yoru koso iwamahoshikere ‘Unknown to all / My passion burns—toward a rocky / Beach the breeze / Brings waves–that / I would tell you!’ Middle Captain Toshitada (Horikawa-in enjo awase 17/KYS (2) 468/500)

[4] Composed when he was asked by people in the capital what the moon had been like, when he had returned there, after going to Akashi to gaze upon it, at a time when it was particularly bright. 有明の月もあかしの浦風に波ばかりこそよるとみえしか ariake no tsuki mo akashi no urakaze ni nami bakari koso yoru to mieshika ‘The dawntime Moon’s brightness, with Akashi’s / Beach breezes / Simply with the waves / Did seem to draw near with the night…’ Taira no Tadamori (KYS (2) III: 216/KYS (3) III: 212)

Sumiyoshi-sha uta’awase kaō ni-nen 23

Left (Tie)

すみよしのきしうつなみにてる月はこかげもあかしまつのむらだち

sumiyoshi no
kishi utsu nami ni
teru tsuki wa
kokage mo akashi
matsu no muradachi
At Sumiyoshi
Upon the waves, striking the shore,
Shines the moon—
The shadows of the trees are bright
Among the crowding pines.

Chūnagon, in service to the Former Ise Virgin[1]
45

Right

としふりてかみさびにけるすみのえのきしのたまもをみがく月かげ

toshi furite
kamisabinikeru
suminoe no
kishi no tamamo o
migaku tsukikage
Ancient in years is
The dread
Suminoe
Shore, where gemweed
Is polished by the moonlight.

Novice Sokaku[2]
46

The Left’s poem has a truly charming conception, with ‘Upon the waves, striking the shore, / Shines the moon’ reflecting and making the pines’ shadows shine. However, what are we to make of the use of ‘bright’ here? My late master once stated that he had too often heard such diction being used. The poem of the right appears to have pleasant configuration and diction, but, while it is only natural to say that the Suminoe’s shore is dread, I wonder about the appropriateness of going so far as to say that gemweed is? It’s going a bit far, I think, to bring in ‘gemweed’ simply to link it to ‘polish’. Nevertheless, the configuration of the poem appears pleasant, so I call this a tie.


[1] Zen-saigū no Chūnagon前斎宮中納言

[2] Shami Sokaku沙弥素覚

Sumiyoshi-sha uta’awase kaō ni-nen 17

Left (Tie)

月さゆるつもりのうらのみづがきはふりしくゆきにいろもかはらず

tsuki sayuru
tsumori no ura no
mizukaki wa
furishiku yuki ni
iro wa kawarazu
The moon, so chill, shines
Upon the Bay of Tsumori,
Where the honored sacred grounds,
Spread with fallen snow
Remain unchanged in hue.

Taifu, in service to the Former Ise Virgin[i]
33

Right

あらしふくまつのこずゑにきりはれてかみもこころやすみのえの月

arashi fuku
matsu no kozue ni
kiri harete
kami mo kokoro ya
suminoe no tsuki
The storm wind blows
Across the treetops of the pines,
Clearing the mists away—
I wonder, is the Deity’s heart at
Suminoe beneath the moon?

Lord Fujiwara no Sadanaga
Junior Assistant Minister of Central Affairs
Exalted Fifth Rank, Lower Grade[ii]
34

The Left’s poem appears to be about chill fallen snow spread upon Tsumori Bay, so in saying that the waters bounding the sacred grounds cannot conceal the hue, it appears to be saying that the moon’s light is white, but I wonder if the diction is a bit insufficient to convey this? It seems to me that it simply says that although snow has fallen on the waters bounding the sacred grounds, their hue has not changed—doesn’t it? As for the Right’s poem, I can say that its conception and configuration are pleasant, but it begins with ‘the storm wind blows’ and one cannot say ‘storm wind’ along with ‘beach pines’. One can understand this based on the poem ‘Yes, the mountain wind / Is aptly named “Storm”‘. Still, the poem’s configuration does appear pleasant. Again, I make this a tie.


[i] Zen-saigū no Taifu 前斎宮大輔

[ii] Jūgoige-gyō nakatsukasa no shō Fujiwara ason Sadanaga 従五位下行中務少輔藤原朝臣定長

Sumiyoshi-sha uta’awase kaō ni-nen 09

Round Nine

Left

すみのえのこほりとみゆる月かげにとけやしぬらむかみのこころも

suminoe no
kōri to miyuru
tsukikage ni
toke ya shinuramu
kami no kokoro mo
At Suminoe
As ice appears
The moonlight, but
Is not, perhaps, melted
Even the deity’s heart?

Lord Fujiwara no Kinshige
Senior Fourth Rank, Lower Grade
Without Office[1]
17

Right (Win)

すみよしのおまへのきしのまつのはもかずかくれなくみゆる月かげ

sumiyoshi no
omae no kishi no
matsu no ha mo
kazu kakurenaku
miyuru tsukikage
At Sumiyoshi
On the coast before the shrine
Even the pine needles
Cannot hide their numbers,
Appearing in the moonlight.

Venerable Dharma Eye Enjitsu[2]
18

While in the Left ‘ice appears’ and ‘is not, perhaps, melted’ seem to have some kind of linkage, if we consider this as a Cathay-style poem saying ‘A chill night’s moon / Ice atop the swell’, then I would have preferred it to say ‘is, perhaps, bound’. An alternative version of this would, of course, be ‘A spring morn’s breeze / Ice on the eastern shore’ which could lead to ‘is not, perhaps, melted’, I think. The Right has ‘On the coast before the shrine / Even the pine needles’ and through this type of linkage expresses the brightness of the moon. While this type of smug-sounding expression also appeared in the round before last, the moon here does seem bright and so I can say that the Right wins.


[1] San’i shōyon’ige Fujiwara ason Kinshige 散位正四位下藤原朝臣公重

[2] Hōgen kashōi Enjitsu 法眼和尚位円実