Tag Archives: thread

Tōgū gakushi noritada uta’awase 04

Maidens spinning thread

Left

てにかけてくるなつごとにわぎもこがおほくのいとをひきてけるかな

te ni kakete
kuru natsu goto ni
wagimoko ga
ōku no ito o
hikitekeru kana
Through her hands a’running
Again, with every summer’s coming,
My darling girl
So much thread
Has spun!

7

Right

てもたゆくひきおくいとのたえまなくきみがみちよのさかゆべきかな

te mo tayuku
hiki’oku ito no
taemanaku
kimi ga michiyo no
sakayubeki kana
Her weary hands
A’spinning thread,
Never ending
My Lord’s reign through three thousand years
Of prosperity!

8

‘Maidens spinning’ is about their expertise at it, and is not something that you need to need to ponder over and over like a peasant’s hempen thread or struggle to pull apart like a hardened silk cocoon, but both Left and Right really seem to have spun things out, and I feel that, although there’s an air of elegance to start with, the diction at the end of both poems is confused, so I would make these a tie.

hidari migi
hiku te mo tayuku
tatsu ito wa
izukata e ka wa
yorubekaruran
Left and Right,
The hands spinning wearily,
Produce thread that
Heads off but,
I wonder where to?

Judge 4

Tōin senzai awase 03

Left – Dwarf bamboo[i]

たまとのみつゆのみゆるはささがにのいとををにしてぬけばなりけり

tama to nomi
tsuyu no miyuru wa
sasagani no
ito o o ni shite
nukeba narikeri
Simply as jewels
Do the dewdrops seem, when
Making the tiny crab—the spider’s
Web their thread,
They are strung upon it…

4

Right

(Missing)


[i] The topic of this poem is given as ‘Dew’ (Tsuyu 露) in the other text of the match, although the poem is identical. ‘Spider’ (sasgani) contains sasa (‘dwarf bamboo’)/

Kinkai wakashū 256

Composed when I had instructed various people to compose on ‘In the autumn fields / Drop whitened dewdrops: / Can they be jewels’.[i]

ささがにの玉ぬくいとのををよわみ風にみだれて露ぞこぼるる

sasagani no
tama nuku ito no
o o yowami
kaze ni midarete
tsuyu zo koboruru
A tiny crab, the spider
Strings gems on her web,
Threads so fragile, that
Confused by the wind
The dewdrops scatter.

[i] A reference to: Composed at a poetry competition at Prince Koresada’s house. 秋ののにおくしらつゆは玉なれやつらぬきかくるくものいとすぢ  aki no no ni / oku shiratsuyu wa / tama nare ya / tsuranukikakuru / kumo no itosuji ‘In the autumn fields / Drop whitened dewdrops: / Can they be jewels, / Pierced through and strung / On spider webs?’ Fun’ya no Asayasu (KKS IV: 225). Sanetomo has used the initial part of the Kokinshū poem as the topic for composition.

Love V: 23

Left (Tie).
隔てける籬の島のわりなきに住む甲斐なしや千賀の塩釜

hedatekeru
magaki no shima no
warinasa ni
sumu kai nashi ya
chika no shiogama
Barring our way is
The fence – Magaki Isle:
So unreasonable
That living close is pointless, as if
We were at Chika’s salt-kilns!

Kenshō
885

Right.
忍ぶ草竝ぶ軒端の夕暮に思ひをかはすさゝがにの糸

shinobugusa
narabu nokiba no
yūgure ni
omoi o kawasu
sasagani no ito
A weeping fern lies
Between our almost touching eaves;
In the evening
Love will pass
Along the spider’s thread.

Ietaka
886

The Right state: the Left’s ‘Magaki Isle’ (magaki no shima) and ‘Chika’s salt kiln’s’ (chika no shiogama) do not seem that nearby, do they? They only evoke closeness through wordplay. The Right state: we find no faults to indicated in the Left’s poem.

In judgement: the Left’s ‘Magaki Isle’ and ‘Chika’s salt kilns’, even if they are not that close, do not display a lack of technique in the conception of the current composition. I do wonder what to think about ‘so unreasonable’ (warinasa ni), though. The Right’s weeping ferns, with the spider’s behaviour transmitting the feelings of love, does not seem unreasonable either. This round, too, the poems are comparable and should tie.