竜田山松のあなたの薄紅葉時雨おくある秋の色かな
| tatsutayama matsu no anata no usumomiji shigure oku aru aki no iro kana |
On Tatsuta Mountain Beyond the pines Faint tints of scarlet leaves Where showers fall Mark the hues of autumn. |
Tag Archives: Tatsuta
MYS X: 2194
MYS XX: 4395
MYS VII: 1181
MYS XV: 3722
MYS VI: 971
A poem composed on the 17th day of the Eighth Month Tempyō 4 by Takahashi no Mushimaro, when Fujiwara no Umakai was sent into the west to inspect the military forces there.
白雲の 龍田の山の 露霜に 色づく時に うち越えて 旅行く君は 五百重山 い行きさくみ 敵守る 筑紫に至り 山のそき 野のそき見よと 伴の部を 班ち遣はし 山彦の 答へむ極み たにぐくの さ渡る極み 国形を 見したまひて 冬こもり 春さりゆかば 飛ぶ鳥の 早く来まさね 龍田道の 岡辺の道に 丹つつじの にほはむ時の 桜花 咲きなむ時に 山たづの 迎へ参ゐ出む 君が来まさば
| sira kumo no tatuta no yama no tuyusimo ni iroduku toki ni utikoete tabi yuku kimi pa ipopeyama iyukisakumi adamamoru tukusi ni itari yamanosoki no nosoki miyo to tomo no be wo akati tukapasi yamabiko no kotapemu kipami taniguku no sawataru kipami kunikata wo misitamapite puyugomori paru sariyukaba tobu tori no payaku kimasane tatsutadi no wokabe no miti ni nitutuzi no nipopamu toki no sakurabana sakinamu toki ni yamatadu no mukaemawidemu kimi ga kimasaba |
Clouds of white On Tatsuta Mountain When the frosty dewfall Shades it, Across it You will go, my Lord, Many mountains Passing, and At foe-warding Tsukushi arrive; On the mountains end, On the plains end, gazing; Sentry squads Dividing for despatch; Echoes from the mountains’ Bounds, Toad Testing limits Of the land A’viewing; Sealed in winter, then When spring comes once more As a soaring bird Swiftly return! When upon the trails of Tatsuta Upon the hillside paths Ochre azaleas Bloom brightly; When cherry blossom Blooms, Bearing elder flowers Will we come to greet you! Should you come home again… |
Shun’e
俊恵
MYS X: 2294
Autumn III: 30
Left.
龍田姫今はの比の秋風に時雨をいそぐ人の袖かな
| tatsuta hime ima wa no koro no aki kaze ni shigure o isogu hito no sode kana |
Princess Tatsuta, At this time, now, With the autumn winds Does hurry along the showers Upon folks’ sleeves. |
479
Right.
あはれなる身のたぐひとも思来し秋も今はの夕暮の空
| awarenaru mi no tagui tomo omoikoshi aki mo ima wa no yūgure no sora |
How sad Am I and so, too, I’d thought was Autumn, now ended With the evening skies. |
480
The Right state that ‘hurry along the showers’ (shigure o isogu) is lacking in technique [jutsu nashi]. The Left merely say that the Right’s poem ‘isn’t bad.’
Shunzei’s judgement: Both poems use ‘now’ (ima wa) in their diction [kotoba], in conjunction with a powerful [sechinaru] conception [kokoro] of regretting autumn’s passing. Nevertheless, the Gentleman of the Left has said the Right’s poem ‘isn’t bad’ and the Gentleman of the Right has said that of the Left ‘lacks technique’. I feel, however, that the initial conception ‘Princess Tatsuta, at this time, now’ (tatsuta hime ima wa) does not refer only to autumn [but could be used for winter, too]. The Right’s ‘Autumn, now ended with the evening skies’ (aki mo ima wa no yūgure no sora) is also somewhat lacking in technique, is it not? Thus, the round lacks a clear winner, or loser.
Autumn I: 6
Left.
打ち寄する浪より秋の龍田川さても忘れぬ柳陰かな
| uchiyosuru nami yori aki no tatsutagawa satemo wasurenu yanagikage kana |
Approaching on The waves, comes autumn to The Tatsuta River; And yet, I cannot forget The willows’ shade. |
311
Right.
秋淺き日影に夏は殘れども暮るゝ籬は荻の上風
| aki asaki hikage ni natsu wa nokoredomo kururu magaki wa ogi no uwakaze |
Faintly autumnal is The sunlight, with summer Yet remaining; At evening by the rough-woven fence Blows a breeze o’er the silver-grass. |
312
The Right say the Left’s poem is ‘particularly good.’ The Left state that, ‘“Faintly autumnl” (aki asaki) grates on the ear, and we also cannot grasp the use of “evening by the rough-woven fence” (kururu magaki).’
Shunzei states, ‘The Left’s “approaching on the waves” (nami yori aki no), seems particularly charming, but when taken together with “willows’ shade” (yanagi kade)– the Tatsuta River has long been the subject of composition on “flowing scarlet autumn leaves”, and even now this gives a slightly poetic effect; “willows’ shade” has been used in composition, both in ancient times and more recently, but does it not seem commonplace now? The Right’s poem is in the same vein as that of the Right in Round One Hundred and Fifty-Two, yet I do not find “faintly autumnal” to be unpleasant. “Evening by the rough-woven fence”, too, has charm. The Left’s poem has vocabulary in accordance with the contents; the Right unusual expressions. In this combination, the round must tie.’
Summer I: 1
Left (Tie).
龍田山わかみどりなる夏木立もみぢの秋もさもあらばあれ
| tatsutayama waka midorinaru natsu kodachi momiji no aki mo sa mo araba are |
On Tatsuta Mountain The fresh, green Summer clustered trees Autumn’s scarlet leaves Do match. |
181
Right (Tie).
面影は時雨し秋の紅葉にてうすもへぎなる神南備の森
| omokage wa shigureshi aki no momiji nite usumoeginaru kamunabi no mori |
Bringing to mind Shower-dampened, autumn Scarlet leaves: The pale, grass-green Sacred groves… |
182
The Right say, ‘The Left’s poem seems to be have the same conception as the composition by Emperor Sūtoku, “Autumn’s clear moon/Do match” (tsuki sumu aki mo sa mo araba are).’ In reply, the Left say, ‘It is entirely to be expected that there should be such a resemblance,’ and then remark about the Right’s poem, ‘It sounds as if scarlet leaves are its main point, and the topic has been rendered secondary. Furthermore, “pale, grass-green” (usumoeginaru) does not seem to clearly relate to anything.’
Shunzei simply says, ‘“Tatsuta Mountain”(tatsutayama), “sacred groves” (kamunabi no mori), “fresh, green” (wakamidori) and “pale, grass-green” are all appropriate to the form, and there does not appear to be a clear winner, or loser.’