Here’s a short video in which I talk about the first two summer topics in Eikyū hyakushu, ‘The Kamo Festival’ (加茂祭 kamo no matsuri) and ‘Summer Garb’ (夏衣 natsugoromo), as well as going through the poems and providing some commentary on what the poems mean, and some of the vocabulary used.
Tag Archives: The Kamo Festival
Eikyū hyakushu 130
Eikyū hyakushu 129
Eikyū hyakushu 127
Summer I: 18
Left.
雲の上を出づる使のもろかづら向かふ日影にかざすけふかな
| kumo no ue o izuru tsukai no morokazura mukau hikage ni kazasu kyō kana |
From above the clouds The messengers emerge; Bearing branches, hollyhock decked, Bent towards the sun-bright power In adornment on this day. |
215
Right (Win).
ゆふだすきかけてぞ頼む玉かづらあふひうれしきみあれと思へば
| yūdasuki kakete zo tanomu tamakazura aoi ureshiki miare to omoeba |
With mulberry-cloth Garlanded, wishing for A jewelled belt of Hollyhocks, on this joyful Festive day… |
The Provisional Master of the Empress’ Household Office.
216
The Right have no particular remarks to make about the Left’s poem. The Left, however, comment, ‘“Festival” (matsuri)and “festive” (miare) are somewhat different. They do not refer to events held on the same day.’
Shunzei responds, ‘While the Left’s “Bent towards the sun-bright power” (mukau hikage) certainly provides no evidence of a lack of feeling, in overall form the Right’s poem seems more elegantly flowing [migi utazama, iinagasaretaru yō]. While it is true that the festive days begin two days prior to the festival itself, the term can also apply to the evening of the festival day, and so the two can be seen as synonymous. The Right would seem to win.’
Summer I: 17
Left (Win).
雲井より立つる使にあふひ草幾年かけつ賀茂の川波
| kumoi yori tatsuru tsukai ni aoigusa ikutose kaketsu kamo no kawanami |
From the palace ‘bove the clouds The messengers descend in Hollyhocks; How many years have They met the ripples on Kamo River? |
213
Right.
年ごとのけふのみあれにあふひ草かゝるかざしはあらじとぞ思
| toshigoto no kyō no miare ni aoigusa kakaru kazashi wa araji to zo omou |
Every year For the festival, today, Hollyhocks Apart, decorations Are there none! |
214
The Right remark that, ‘the waves appear somewhat abruptly’ in the Left’s poem, while the Left simply say, ‘from an unusual beginning, the Right’s poem says simply “decorations are there none”, which is obvious.’
Shunzei contents himself with, ‘The Left wins by a small margin.’
Summer I: 16
Left (Tie).
あふひ草かざすけふとぞ思しに花を折りても見えわたるかな
| aoigusa kazasu kyō to zo omoishi ni hana o oritemo miewataru kana |
With hollyhock I’d Deck myself today I thought, And found all blessed with blooms Within my sight! |
211
Right (Tie).
ちはやぶる賀茂のみあれのあふひ草ひきつゞきても渡るけふ哉
| chihayaburu kamo no miare no aoigusa hikitsuzukitemo wataru kyō kana |
To mighty Kamo for these three days have The hollyhocks In ever longer lines Processed toward this day. |
212
The Right, ‘wonder if the Left’s poem doesn’t make the hollyhock seem like an afterthought?’, while the Left content themselves with saying, ‘the initial section of the Right’s poems seems rather dated.’
Shunzei disagrees: ‘The Left’s poem does not make the hollyhocks secondary – rather than implying they are mere decorations, it suggests the beauty of everyone beautifully adorned proceeding toward the shrine. As for the Right’s poem, the use of old-fashioned terms is normal in the context. This makes both poems are equal, and the round should tie.’
Summer I: 15
Left.
流れての世のためしとてかたがたの使立ち來賀茂の川波
| nagarete no yo no tameshi tote katagata no tsukai tachikuru kamo no kawa nami |
From times of old Has it been the custom in this world For every Messenger to come flowing in Ripples on Kamo River. |
209
Right (Win).
あふひ草秋の宮人かけそへてのどかに渡る賀茂の河水
| aoigusa aki no miyabito kakesoete nodoka ni wataru kamo no kawamizu |
With hollyhocks have Her Majesty’s men Garlanded the carriage; Calmly crossing The waters of Kamo River. |
210
Neither team has any criticisms to make.
Shunzei states that, ‘Both poems are certainly effortlessly worthy of victory, but “calmly crossing the waters of Kamo River” (nodoka ni wataru kamo no kawamizu) sounds slightly more peaceful than “messenger to come flowing in ripples on Kamo River” (tsukai tachikuru kamo no kawa nami), so it should win.’
Summer I: 14
Left (Tie).
むかしより君と神とに引分けてけふのあふひは二葉なりけり
| mukashi yori kimi to kami to ni hikiwakete kyō no aoi wa futaba narikeri |
Ever between My Lord and the God Has my loyalty been split; Thus the hollyhocks, today, Have leaves in pairs… |
207
Right (Tie).
昔よりいつきの宮に吹そめてけふは涼しき賀茂の河風
| mukashi yori itsuki no miya ni fukisomete kyō wa suzushiki kamo no kawakaze |
Long since upon The princess of purity Has it begun to blow; Today, so cool is The breeze from Kamo River… |
208
The Right have no particular comments to make about the Left’s poem, but the Left complain that the Right’s, ‘does not seem that clearly connected with the Kamo Festival. Moreover, “princess of purity” (itsuki no miya) properly refers to the Princess at Ise; the Kamo Princess should be “lady of purity” (itsuki no in), should it not?’
Shunzei states, ‘Both Left and Right this round begin with a reference to the past (mukashi yori) and then continue with “my Lord and the God” (kimi to kami ni) and “the priestess of purity has it begun to blow” (itsuki no miya ni fukisomete) respectively; both are charming in form and spirit, but the gentlemen of the Left have criticised the failure to use “lady” (in). In poetry, though, how could we to use this word? Both the priestess at Ise and the priestess at Kamo are Imperial Princesses. Why, therefore, is it problematic to use the expression? Furthermore, Lord Sanekata composed a poem with the line, “Sleeping on my way to the princess of purity” (itsuki no miya no tabine ni wa), and at the Unrin Temple, in the Tale by the old man, Yotsugi, in praise of Princess Senshi it says, “although there were many princesses of purity in the world…”. This round must tie.’
Summer I: 13
Left (Win).
けふ祭る神の恵みはかねてより卯月の忌のさして知りにき
| kyō matsuru kami no megumi wa kanete yori uzuki no imi no sashite shiriniki |
Today we celebrate The blessings of the god; For days of Seclusion the Fourth Month Known. |
205
Right.
あすは又加茂の河波たちかへり紫野にや色をそふべき
| asu wa mata kamo no kawa nami tachikaeri murasakino ni ya iro o soubeki |
Tomorrow, once more, The waves on Kamo River Will rise, borne on strains of song, returning Through the violet plains With the touch of colour. |
206
The Right question, ‘Whether saying “known for days” (kanete shiriniki) implies whether the god’s blessings are only provided on the day of the festival?’ The Left reply, ‘The blessings provided on the day of the festival are different from those given at other times. Where is there a problem with this?’ Somewhat testily, they then continue, ‘The initial section of the Right’s poem is about the river, but it then continues to with the violet fields. The subject changes. Furthermore, “violet fields” (murasakino ni ya) is a displeasing expression.’
Shunzei says simply, ‘Both poems seem to be of the same quality [ryōshu no utazama wa dōka narubeshi]. However, the Right passes over the festival day to focus on the violet fields the following day, while the Left remains focussed on the day of the festival. It should win.’