Tag Archives: Takanobu

Love VII: 25

Left (Win).
いざやさは君に逢はずは渡らじと身を宇治橋に書き付けてみん

iza ya sa wa
kimi ni awazu wa
wataraji to
mi o ujihashi ni
kakitsuketemin
So, then,
If I am not to meet you,
I’ll not cross
In my despair, the bridge at Uji,
But just inscribe this here…

Kenshō
1009

Right.
都思ふ濱名の橋の旅人や浪に濡れては恋渡るらむ

miyako omou
hamana no hashi no
tabibito ya
nami ni nurete wa
koiwataruran
His thoughts on the capital,
The bridge at Hamana,
Does a traveller,
Wet by the waves,
Cross while lost in love?

Lord Takanobu
1010

The Gentlemen of the Right state: the Left’s poem has no faults to indicate. The Gentlemen of the Left state: we wonder if the Right’s poem does not sound as if it is only the capital which the poet loves?

In judgement: in the Left’s poem, ‘If I am not to meet you, I’ll not cross’ (kimi ni awazu wa wataraji to)  is particularly charming, having the conception of the tale of Sima Xiangru in Mengqiu, at the bridge into the commandery of Shu, where he says, ‘If I am not aboard a four-horse carriage, I’ll never cross this bridge again!’, and then later was made a Cavalryman in Permanent Attendance, and entered as an imperial messenger. Metaphorically, it also evokes his meeting with Wenjun, and so seems particularly profound. The poem of the Right commences with ‘His thoughts on the capital’ (miyako omou) and then continues with ‘wet by the waves, cross while lost in love’ (nami ni nurete wa koiwataruran). I do not see how one can say that this poem lacks the conception of Love. However, the conception of the Left’s poem seems rare, indeed. Thus, it wins.

Love VII: 20

Left (Tie).
身に堪へぬ思ひを須磨の関据ゑて人に心をなどとどむらん

mi ni taenu
omoi o suma no
seki suete
hito ni kokoro ni
nado todomuran
Unable to endure
This love; at Suma
By the barrier am I placed;
Within my heart why
Does she remain so firmly?

Lord Sada’ie
999

Right.
逢坂の関のこなたに名をとめてこれより過ぐる嘆せよとや

ausaka no
seki no konata ni
na o tomete
kore yori suguru
nageki seyo to ya
On Meeting Hill
Barrier’s inner side
Must I stay, they say;
Ever pass your days
In grief! Is that your only message?

Lord Takanobu
1000

The Right state: ‘This love; at Suma’ (omoi o suma) sounds antiquated. In addition, how can one be placed by the barrier? The Left state: in the Right’s poem what is the ‘passing grief’ (suguru nageki)?

In judgement: the Gentlemen of the Right’s criticism of wondering ‘how one can be placed by the barrier’ suggests they have never been installed as Barrier Wardens! Both ‘at Suma by the barrier’ and ‘Meeting Hill Barrier’ are of the same quality. The round should tie.

Love VII: 16

Left.
つれなしと人をぞさらに思ひ河逢ふ瀬を知らぬ身を恨ても

tsurenashi to
hito o zo sara ni
omoigawa
ause o shiranu
mi o uramitemo
How cruel
She is, I ever feel,
My thoughts a river;
No rushed meetings between us –
I hate myself for that, and yet…

Lord Kanemune
991

Right (Win).
遥なる程とぞ聞し衣川かた敷く袖の名こそ有けれ

harukanaru
hodo to zo kikishi
koromogawa
katashiku sode no
na koso arikere
Far, far away
Lies, I have heard,
The River Robe:
For my single spread sleeve
How apt that name is!

Lord Takanobu
992

The Right state: we find the Left’s poem unconvincing. The Left state: the Right’s poem lacks any faults.

In judgement: in the Left’s poem, ‘my thoughts a river’ (omoigawa) is certainly not unconvincing. The latter section of the Right’s poem sounds fine. It should win.

Love VII: 9

Left (Win).
思ヘどもまだ見ぬ程は滿つ潮に入りぬる磯のためしだになし

omoedomo
mada minu hodo wa
mitsu shio ni
irinuru iso no
tameshi dani nashi
I love her, yet
Have not caught a glimpse;
The rising tide
Flooding the rocky shore –
There’s not even a case of that!

Lord Kanemune.
977

Right.
岩根打つ荒磯浪の高きこそまだよそながら袖は濡るなれ

iwane utsu
ara’iso nami no
takaki koso
mada yosonagara
sode wa nuru nare
Crashing on the crags by
The rocky shore, the waves
Are high, indeed;
Distant, perhaps, but
Still my sleeves are soaked…

Lord Takanobu.
978

Both Left and Right state that the opposing poem lacks a strong conception of the sea.

In judgement: I wonder whether the suggestion by both Left and Right that the poems lack a strong conception of the sea is correct. The Left has ‘the rising tide flooding the rocky shore’ (mitsu shio ni irinuru iso), while the Right has ‘crashing on the crags by the rocky shore’ (iwane utsu ara’iso). If these expressions do not strongly convey the conception of the sea, then I ask you, what would? I wonder, though, how one’s sleeves can get soaked if the waves, though high, are distant. The final section of the Left’s poem is elegant. It wins.

Love VII: 3

Left (Win).
戀ゆへに憂き世を捨て隱れなば忍ぶの山やすみかなるべき

koi yue ni
ukiyo o sutete
kakurenaba
shinobu no yama ya
sumika narubeki
If for love
I should depart this cruel world
And hide myself away,
Would Mount Shinobu
Then become my dwelling?

Lord Kanemune.
965

Right.
夢にだにまだふみも見ぬ忍山深き戀路をいかで尋ん

yume ni dani
mada fumi mo minu
shinobuyama
fukaki koiji o
ikade tazunen
Even in my dreams
Have I yet to tread – or send a note – so why
Do I to Mount Shinobu’s
Deep paths of love
Pay a visit?

Lord Takanobu.
966

Both Left and Right together state there are no faults to indicate in the opposing poem.

In judgement: I do wonder about the Left’s use of ‘and hide myself away’ (kakurenaba), but in addition to the Right’s ‘Have I yet to tread – or send a note’ (mada minu fumi) certainly evoking ‘the paths of Ikuno lie far away’ (ikuno no michi no tōkereba), ‘why to deep paths of love pay a visit’ (fukaki koiji o ikade tazunen), sounds as if the poet is wondering whether his love is shallow or not. The Left should win.

Love VI: 25

Left (Tie).
妹が住むとをちの里の煙だになど我方へなびかざるらん

imo ga sumu
tōchi no sato no
kemuri dani
nado wa ga kata e
nabikazaruran
My darling lives
In far distant Tōchi;
Even the smoke,
Somehow, will not
Stream my way…

Lord Suetsune.
949

Right.
つれなさに絶ずなりなん煙をも我ゆへとやはながめゝしもせん

tsurenasa ni
taezu narinan
kemuri o mo
ware yue to ya wa
nagamemeshi mo sen
Her cruelty
I can endure no more!
That the smoke
Is for her sake – will she
Find that consolation? No, surely not!

Lord Takanobu.
950

Both Left and Right together state that their opponent’s poem lacks anything unusual.

In judgement: that ‘far distant Tōchi’s smoke’ (tōchi no sato no kemuri) will not stream my way really has no significance. ‘Her cruelty I can endure no more! That the smoke’ (tsurenasa ni taezu narinan kemuri) must be being used to avoid mentioning dying of love as unpropitious, and certainly lacks clarity of expression. This is clearly insufficient. The round ties.

Love VI: 21

Left (Tie).
かきくらし降りくる雨も君ならば濡るとてさらに厭はざらまし

kakikurashi
furikuru ame mo
kimi naraba
nuru tote sara ni
itowazaramashi
All is darkened by
The falling rain, but
Were that to be you, my love,
I would be drenched, but
It would not be unwelcome!

Lord Kanemune.
941

Right.
ひとり寢の床にしもなど音す覧しづかたにそゝく暁の雨

hitorine no
toko ni shimo nado
otosuran
shizukata ni sosoku
akatsuki no ame
Sleeping solo
In my bed, so why
Is there the sound
Of quiet dripping
Dawntime rain?

Lord Takanobu.
942

The Right state: while the Left’s poem does have a desirable sentiment, its expression is outrageous. The Left state: why, indeed, should there be a sound in the poet’s bed?

In judgement: the Left’s desirable sentiment is perfectly commonplace in poetry. The Right, with ‘dawntime rain’ (akatsuki no ame), is elegant. The poems are comparable and tie.

Love VI: 15

Left.
心あひの風いづかたへ吹かぬらん我には散らす言の葉もなし

kokoro ai no
kaze izukata e
fukanuran
ware ni wa chirasu
koto no ha mo nashi
This pleasant
Breeze: whither
Does it blow?
To me not one scattered
Leaf or word has it delivered.

Kenshō.
929

Right (Win).
色に出し言の葉もみなかれはてゝ涙を散らす風の音哉

iro ni idashi
koto no ha mo mina
karehatete
namida o chirasu
kaze no oto kana
The bright hues of passion
In these leaves and your words
Have all withered away;
Tears scattering with
The sound of the wind…

Lord Takanobu.
930

The Right state: ‘Breeze: whither’ (kaze izukata e) seems lacking. The Left state: the Right’s poem has no faults to indicate.

In judgement: in the Left’s poem, I wonder whether ‘breeze: wither’ really is lacking. ‘This pleasant’ (kokoro no ai) would seem to be an expression deriving from ‘At the head of the road’. I seem to recall it coming after ‘In Kofu in Takefu / Will I be’, but that is not a suitable source. The Right’s poem, as the Gentlemen of the Left have said, appears to have no faults. It should win.

Love VI: 11

Left (Tie).
我戀や晴れゆくままの空の雲よそにのみして消ぬべき哉

wa ga koi ya
hareyuku mama no
sora no kumo
yoso ni nomi shite
kienubeki kana
Is my love
As the clearing
Clouds with within the skies?
While you remain distant
Must I fade away…

Lord Ari’ie.
921

Right.
をのづから閨もる月も影消えてひとりかなしき浮雲の空

onozukara
neya moru tsuki mo
kage kiete
hitori kanashiki
ukigumo no sora
From my
Bedchamber the flooding moon
Light has vanish;
To be alone is sad, as
The heartless drifting, clouds.

Lord Takanobu.
922

The Right state: the central line of the Left’s poem is stiff. The Left state: the Right’s poem has no particular faults.

In judgement: the statements in regard to both poems are at variance with my own opinion. I will refrain from expressing that here, although I do regret that, somewhat. If, indeed, a central line is core, then it is better for it to lack connection with the remainder of the poem. In the case of the Left’s poem, however, it seems well linked with what follows. As for the Right’s poem, ‘bedchamber the flooding moon’ (neya moru tsuki) is not phrasing which is acceptable to me. However, the Left’s initial section seems pleasant, and the Right’s final section is elegant. Thus, the round is a tie.

Love VI: 1

Left (Win).
なぐさめし月にもはてはねをぞ泣く戀やむなしき空に滿つらん

nagusameshi
tsuki ni mo hate wa
ne o zo naku
koi ya munashiki
sora ni mitsuran
Comforted was I once by
The moon, but at the end
My sobs
For love, the vast spaces of
The heavens do seem to fill…

Kenshō
901

Right.
月よなをくまこそなけれかきくらす戀の涙は雨と降れども

tsuki yo nao
kuma koso nakare
kakikurasu
koi no namida wa
ame to furedomo
O, Moon! Before
You there is not a cloud, yet
Dimmed
With tears for love
The rain does fall…

Lord Takanobu.
902

The Right state: we find no faults to mention in the Left’s poem. The Left state: in the Right’s poem ‘O, Moon! Before’ (tsuki ya nao) is somewhat grating on the ear. In addition, the final section is clichéd.

In judgement: in the Left’s poem, ‘The moon, but at the end’ (tsuki ni mo hate wa) is certainly elegant. The Right’s poem begin’s ‘O, Moon!’ (tsuki yo) but lacks anything connected to it at the end. Thus, the Left must win.