夜をかさね戸無瀬の方に見ゆる火は鵜舟に灯すか篝なりけり
| yo o kasane tonase no kata ni miyuru hi wa ubune ni tomosu kagari narikeri |
Night upon night Towards Tonase Can I see the lights; Kindled upon the cormorant boats Are torches. |
Tag Archives: torches
Tametadake shodo hyakushu 239
Tametadake shodo hyakushu 237
Tametadake shodo hyakushu 236
Tametadake shodo hyakushu 235
Eikyū hyakushu 189
Wakan rōeishū 190
Winter II: 28
Left.
あまたたび竹の灯し火かゝげてぞ三世の佛の名をば唱る
| amata tabi take no tomoshibi kakagete zo miyo no hotoke no na oba tonaeru |
Many times The torches of bamboo Are flourished, and The three worlds’ Buddhas’ Names proclaimed. |
595
Right.
明やらぬ夜の間の雪は積もるとも氷れる罪や空に消らん
| akeyaranu yo no ma no yuki wa tsumoru tomo kōreru tsumi ya sora ni kiyuran |
There’s no light Within this night of snowfall Drifting, yet My frozen sins Do vanish into the skies… |
596
The Gentlemen of the Right state: we must say that the Left’s poem has no faults. The Gentlemen of the Left state: we wonder about the expression ‘frozen sins’ (kōreru tsumi).
Shunzei’s judgement: saying ‘torches of bamboo’ (take no tomoshibi) in order to refer to the ‘three worlds’ Buddhas’, is a somewhat unusual expression. The Right’s ‘my frozen sins do vanish into the skies’ (kōreru tsumi ya sora ni kiyuran) seems elegant [yū ni miehaberu], but refers only to the sins vanishing, and the conception of the Buddhas’ names seems somewhat lacking. Comparing the two poems, they must tie.
Autumn I: 11
Left (Win).
星合の空の光となる物は雲井の庭に照らす灯し火
| hoshiai no sora no hikari to naru mono wa kumoi no niwa ni terasu tomoshibi |
The stars meeting in The sky is lit By The Palace gardens’ Shining torches. |
321
Right.
七夕は雲の上より雲の上に心を分けて嬉しかるらん
| tanabata wa kumo no ue yori kumo no ue ni kokoro o wakete ureshikaruran |
At Tanabata Above the heavens’ clouds, and Above the clouds on earth Between them is the heart divided In joy, no doubt! |
322
The Right state that the Left’s poem has no faults. The Left, on the other hand, say, ‘The Right’s poem seems to have very little of celebration about it. In addition, the expression “Above the heavens’ clouds, and above the clouds on earth” (kumo no ue yori kumo no ue ni) seems to have reversed the proper sense.’ (‘Above the clouds’ was a standard euphemism for the palace, and by association, the Emperor. Putting him in a secondary position here was perceived as a fault.)
Shunzei’s judgement: ‘“Above the heavens’ clouds, and above the clouds on earth” can be criticised, I think, for repeating the same phrase twice. And, what might one make of it having “reversed the proper sense”? The Left’s poem is faultless. The Right’s does, indeed, lack a conception of celebration, so the Left, again, win this round.’