Tag Archives: tsukikage

Tametada-ke godo hyakushu 369

小笹原末葉に結ぶ白露の光の間にも澄める月影

ozasawara
sueba ni musubu
shiratsuyu no
hikari no ma ni mo
sumeru tsukikage
In the groves of young broad-leaved bamboo
The leaf-tips are bound
With silver dewdrops:
In those bright fragments
Clearly shines the moonlight.

Fujiwara no Chikataka
藤原親隆

SKKS IV: 422

On the moon passing over the plain, when he presented a fifty poem sequence.

行く末は空もひとつの武蔵野に草の原より出づる月影

yukusue wa
sora mo hitotsu no
musashino ni
kusa no hara yori
izuru tsukikage
Its destination:
The skies, one with
Musashi Plain, where
From among the fields of grass
Emerges moonlight.

The Regent and Prime Minister (Fujiwara no Yoshitsune)

Love V: 30

Left (Tie).
故郷を出でしにまさる涙かな嵐の枕夢に別れて

furusato ni
ideshi ni masaru
namida kana
arashi no makura
yume ni wakarete
My home
I left in floods
Of tears;
The wild wind round my pillow
Breaks us apart in dreams…

Lord Sada’ie
899

Right.
東路の夜半の眺めを語らなん都の山にかゝる月影

azumaji no
yowa no nagame o
kataranan
miyako no yama ni
kakaru tsukikage
Upon the eastern roads
All night I turn my gaze –
Tell him that,
O moonlight, sinking
Toward the mountains round the capital!

Nobusada
900

Both Left and Right say they find no faults.

In judgement: the Left starts with ‘My home I left in floods’ (furusato ni ideshi ni masaru) and concludes with ‘the wild wind round my pillow breaks us apart in dreams’ (arashi no makura yume ni wakarete) – this is a form of words the quality of which I am entirely unable to convey with my own clumsy expressions, but the Right’s ‘O moonlight, sinking toward the mountains round the capital’ (miyako no yama ni kakaru tsukikage) is awash with a sense of tears, so it is most unclear which should win or lose. Both truly seem to reflect the conception of this topic ‘Love and Travel’ well. The poems have been so good every round that my brush is drenched with this old man’s tears, and I can find no other way to express it.

 

Autumn III: 29

Left.

有明の名ばかり秋の月影に弱り果てたる蟲の聲かな

ariake no
na bakari aki no
tsukikage ni
yowarihatetaru
mushi no koe kana
Dawn it is in
Name alone; in autumn
The moonlight is
At its faintest
As are the insects’ songs…

Lord Sada’ie.

477

Right (Win).

暮れて行秋の名残も山の端に月と共にや有明の空

kureteyuku
aki no nagori mo
yama no ha ni
tsuki to tomo ni ya
ariake no sora
Turning to dusk,
Is there a memento of autumn, too,
Upon the mountains’ edge
Together with the moon in
The dawning skies?

Jakuren.

478

The Right question the Left’s use of ‘Dawn it is in name alone’ (ariake no na bakari). The Left find no fault with the Right’s poem.

Shunzei’s judgement: I do not feel there is anything particularly wrong with ‘name alone; in autumn’ (na bakari aki no), but the Right’s ‘Together with the moon in the dawning skies’ (tsuki to tomo ni ya ariake no sora) seems most fine [yoroshikuhaberubeshi]. Thus, the Right wins.

Autumn II: 30

Left (Win).

心には見ぬ昔こそ浮びけれ月に眺むる廣澤の池

kokoro ni wa
minu mukashi koso
ukabikere
tsuki ni nagamuru
hirosawa no ike
Within my heart
Unseen times of old
Arise,
Gazing at the moon
Over Hirosawa Pond…

A Servant Girl.

419

Right.

行方なくながむる空も廣澤の池の心に澄める月影

yukuenaku
nagamuru sora mo
hirosawa no
ike no kokoro ni
sumeru tsukikage
Endlessly
Drawing my gaze: the skies, and
Hirosawa
Pond – right at the heart –
Bright moonlight.

Ietaka.

420

The Right state that the Left’s poem is ‘extraordinarily accomplished’ [sugoburu yoroshi]. The Left have no criticisms to make of the Right’s poem.

Shunzei’s judgement: The Left’s final section, ‘Gazing at the moon’ (tsuki ni nagamuru) is superb [yoroshiku haberi]. Thus, it must win.