Tag Archives: Summer Greenery

Poetry Competition in Six Hundred Rounds

Summer I: 12

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Left.

夏草のもとも拂はぬ故郷に露よりうへを風通ふなり

natsu kusa no
moto mo harawanu
furusato ni
tsuyu yori ue o
kaze kayounari		 The summer grasses
Are yet uncut
At this ancient home of mine;
Over the fallen dewdrops,
The sound of gusting wind…

A Servant Girl.

203

Right (Win).

夏草のなかを露けみ分くる野はわが故郷の垣根なりけり

natsu kusa no
naka o tsuyukemi
wakuru no wa
wa ga furusato no
kakine narikeri		 Within the summer grasses
Dewy depths,
Forging ‘cross the plain and
My ancient home’s
Brushwood fence appears.

Nobusada.

204

The Right team query, ‘How is it that the wind can pass “over the fallen dewdrops” (tsuyu yori ue o)?’ The Left content themselves with saying that the Right’s poem is ‘difficult to grasp’.

Shunzei, though, remarks, ‘The Left’s “over the fallen dewdrops” is a wonderfully charming expression. It is the initial “are yet uncut” (moto mo harawanu) which is extremely difficult to understand. The Right’s configuration and diction seem particularly fine [sugata kotoba yoroshiku koso haberumere], though, so it is, just, the winner.’

Poetry Competition in Six Hundred Rounds

Summer I: 11

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Left (Tie).

夏山の草葉のたけぞ知られぬる春見し小松人し引かずは

natsuyama no
kusaba no take zo
shirarenuru
haru mishi komatsu
hito hikazu wa		 Summer in the mountains, and
The grasses reach so high, that
Had they but known
In springtime, on the glimpsed pine-seedlings
Folk would have laid no hand…

Lord Sada’ie.

201

Right (Tie).

道もなき夏野の草の庵かな花にけがるゝ庭と見しまに

michi mo naki
natsuno no kusa no
iori kana
hana ni kegaruru
niwa to mishi ma ni		 Within a trackless
Summer field does my grass
Hut stand now;
While on fallen blossom staining
My garden did I rest my gaze…

Jakuren.

202

The Right wonder, ‘Whether summer greenery recalls the mountains as much as it does the plains? The overall point of the poem seems difficult to grasp.’ The Left have no particular comments to make.

Shunzei states, ‘The gentlemen of the Right have already questioned the suitability of greenery in relation to mountains rather than the plains. In addition, what is one to make of blossom falling round a hut, as opposed to a mountain lodge. If the topic was “Field Lodges”, then there are some autumn blooms, but cherry and plum blossom, and the like, fail to fall that much on the plains. Thus, I would agree with the Right’s comments on the Left’s poem. The Right’s poem, though, lacks logic. The round must be a tie.’

Poetry Competition in Six Hundred Rounds

Summer I: 10

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Left.

夏來てぞ野中の庵は荒れまさる窓とぢてけり軒の下草

natsu kite zo
nonaka no io wa
aremasaru
mado tojitekeri
noki no shitagusa		 Summer has come, and
Out upon the plains, the hut
Has gone to ruin –
Windows sealed by
Grasses growing ‘neath the eaves.

Lord Ari’ie.

199

Right (Win).

わが宿のよもぎが庭は深し誰分けよとか打ちも拂はん

wa ga yado no
yomogi ga niwa wa
fukashi dare
wakeyo to ka
uchi mo harawan		 My dwelling’s
Garden is all overgrown
Deep as deep can be, but
With no-one to force a passage through
I’ll not sweep it back!

Lord Takanobu.

200

The Right have no criticisms to make of the Left’s poem. The Left, though, wonder, ‘What is the meaning of “sweep” (uchiharau) in relation to a garden?’

Shunzei comments: ‘The poems of both Left and Right are superb in configuration and diction [sugata kotoba yū ni haberi]. However, the Left, by saying “gone to ruin” (aremasaru) about a hut on the plains, gives the impression it is talking about the beginning of winter, just after the end of autumn. Furthermore, the poem also gives the impression of being composed on the topic of “Field Lodges” (notei). As for the Right, it is certainly possible to sweep away an overgrown garden, as well as the dust from one’s bed, so I see no problems with this usage. Saying “summer’s deep” is by no means unpleasant. The Right wins.”

Poetry Competition in Six Hundred Rounds

Summer I: 9

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Left.

夏草の野嶋が崎の朝霧を分てぞ來つる萩の葉の摺り

natsukusa no
nojima ga saki no
asagiri o
wakete zo kitsuru
hagi no ha no suri		 Summer grass grows high
On Nojima Point;
Through the morning mists
Have I come forging,
Robes patterned with bush-clover leaves.

Kenshō.

197

Right (Win).

茂き野と夏もなりゆく深草の里はうづらの鳴かぬばかりぞ

shigekino to
natsu mo nariyuku
fukakusa no
sato wa uzura no
nakanu bakari zo		 Ever thicker grow the grasses and
With the summer’s passing, too,
At Fukakusa – deep within the greenery –
The quails
Let out not a cry – that’s all…

Ietaka.

198

The Right have no criticisms to make of the Left’s poem. The Left, however, say, ‘Using “summer’s passing, too” (natsu mo) appears to suggest a foundation upon something definite. What is it, however?’ The Right reply, ‘As the source poem is “A quail I shall become and cry” (udura to narite nakiworan), the impression given is of Autumn. Thus, “summer’s passing, too”.’

Shunzei judges, ‘The Left’s poem has as its final line, “Robes patterned with bush-clover leaves” (hagi no ha no suri), and before it, where one would expect to find the reason why the poet is forging across Nojima Point, is only “summer grass” (natsukusa no). This is repetitive. The Right’s poem, though, commencing with “ever thicker grasses” (shigeki no) is particularly fine in terms of configuration [sugata yoroshiki ni nitari]. Thus, it is the winner, this round.’

Poetry Competition in Six Hundred Rounds

Summer I: 8

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Left (Win).

誰か行く夏野の草の葉末よりほのかに見ゆる三嶋菅笠

tare ka yuku
natsuno no kusa no
hazue yori
honoka ni miyuru
mishima sugagasa		 Who is that a’coming?
Above the summer plains’ grass
Tips
Distantly appears
A Mishima sedge-hat!

Lord Suetsune.

195

Right.

夏草にの飼ひの駒もかくろへていばゆる聲ぞ人に知らるゝ

natsukusa ni
no kai no koma mo
kakuroete
ibayuru koe zo
hito ni shiraruru		 Among the summer grasses
The herded horses, too,
Are hidden;
Whinnying neighs
Are what let folk know!

The Provisional Master of the Empress’ Household Office.

196

Neither team has any comments to make about the other’s poem this round.

Shunzei remarks, ‘While the Left’s poem is certainly affecting, might it not be the case that simply “someone” (tare ka yuku) seen at a distance wearing a Mishima sedge-hat is insufficiently moving? However, the conception of the Right’s poem is not that surprising [kokoro wa mezurashikaranedo], and the expression [kotoba] “are hidden” (kakuroete) is certainly inappropriate [yoroshiki kotoba ni arazarubeshi]. “Sedge-hat” should win, should it not!’

Poetry Competition in Six Hundred Rounds

Summer I: 7

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Left (Win).

旅人や夏野の草を分けくらん菅の小笠の見え隱れする

tabibito ya
natsuno no kusa o
wakekuran
suge no ogasa no
miekakuresuru		 Does a traveller
Through the grasses on the summer plains
Come forging?
A woven hat of sedge
Revealed and then concealed…

Lord Kanemune.

193

Right.

夏草の茂みを行ば何となく露分け衣袖ぞ濡れける

natsu kusa no
shigemi o yukeba
nani to naku
tsuyu wake koromo
sode zo nurekeru		 Through the summer grass’
Lush growth a’going
Somehow
My robe’s dew breaking
Sleeves are drenched.

Lord Tsune’ie.

194

The Right have no criticisms to make of the Left’s poem, but the Left remark that, ‘the phrase “somehow” (nani to naku) is obscure and discordant.’

Shunzei comments, ‘While the style [fūtei] of the Left’s poem is somewhat lacking, it otherwise has no faults. The Right’s “robe’s dew breaking” (tsuyu wake koromo) is superb, but as a whole the expression in the poem is insufficient. The Left wins.’