Tag Archives: tsukikage

Autumn II: 29

Left (Tie).

廣澤の池冴えわたる月影は都まで敷く氷成けり

hirosawa no
ike saewataru
tsukikage wa
miyako made shiku
kōri narikeri
Upon Hirosawa
Pond, so brightly falls
The moonlight that
All up to the capital is spread
A sheet of ice, or so it seems.

Kenshō.

417

Right.

月清み都の空も雲清みて松風拂ふ廣澤の池

tsuki kiyomi
miyako no sora mo
kumo sumite
matsukaze harau
hirosawa no ike
The moon, so clear;
The skies above the capital
Swept clean of cloud by
Winds rustling in the pines
Round Hirosawa Pond.

Jakuren.

418

Both Left and Right state that their opinions are as in the previous round.

Shunzei’s judgement: I do wonder about ‘Upon Hirosawa Pond, so brightly falls’ (hirosawa no ike saewataru) followed by ‘All up to the capital is spread a sheet of ice’ (miyako made shiku kōri). ‘The skies above the capital swept clean of cloud by winds rustling in the pines’ (miyako no sora mo kumo sumite matsukaze harau) is elevated in expression [take aru sama], and although ‘the moon, so clear’ (tsuki kiyomi) is archaic diction [furuki kotoba], in this poem it may be difficult to judge it entirely appropriate [yoroshi to mo kikinashigataku]. Thus, this round should tie.

Autumn II: 25

Left (Win).

眺めやる心のはては廣澤の池より遠ちに出る月影

nagameyaru
kokoro no hate ha
hirosawa no
ike yori ochi ni
izuru tsukikage
Gazing out
My heart goes
From Hirosawa
Pond somewhere far away
With the moonlight…

Lord Suetsune.

409

Right.

廣澤の池には沈む月影の音羽の山に立ちのぼる哉

hirosawa no
ike ni wa shizumu
tsukikage no
otowa no yama ni
tachinoboru kana
Into Hirosawa
Pond sinks
Moonlight:
Above Mount Otowa
Does it rise again?

The Provisional Master of the Empress’ Household Office.

410

The Right can find no fault with the Left’s poem this round. The Left, on the other hand, say that the Right’s poem, ‘is more redolent of Otowa Mountain than Hirosawa Pond’.

Shunzei’s judgement: The Right seem to be gazing too far away. The Left must win.

Summer II: 11

Left.

風通ふ扇に秋のさそはれてまづ手なれぬる閨の月影

kaze kayou
ōgi ni aki no
sasowarete
mazu te narenuru
neya no tsukikage
The breeze wafted
By my fan to autumn
Beckons;
Accustomed before me to have
A moonlit bed.

Lord Sada’ie.

261

Right (Win).

うちはらふ扇の風のほどなきに思ひこめたる荻の音かな

uchiharau
ōgi no kaze no
hodo naki ni
omoikometaru
ogi no oto kana
Sweeping
My fan, the breeze
Ceaselessly
Brings thoughts of
Rustling silver grass.

Ietaka.

262

Both teams consider the other’s poems to be ‘not bad’ this round.

Shunzei, however, finds fault with both: ‘The Left’s “bed” (neya) does occur in both Chinese poetry and our own, however, I cannot help but find it undesirable. The Right’s “Sweeping my fan” (uchiharau ōgi) and “Brings thoughts of silver grass” (omoikometaru ogi) are both fine examples of mangled expression, and are, moreover, unclear. Thus, “a moonlit bed” must win, I feel.

Summer II: 4

Left (Win).

重ねても涼しかりけり夏衣うすき袂にやどる月影

kasanetemo
suzushikarikeri
natsugoromo
usuki tamoto ni
yadoru tsukikage
Layered on, yet
‘Tis cool, upon
My summer garb’s
Flimsy sleeves
Rests moonlight.

A Servant Girl.

247

Right.

夏衣へだつともなき袂にも猶よそにこそ風は吹きけれ

natsugoromo
hedatsu mo naki
tamoto ni mo
nao yoso ni koso
kaze wa fukikere
My summer garb
Makes no hindrance
With its sleeves;
Far away is
The breeze a’blowing…

Ietaka.

248

Neither team can find any fault with the other’s poem this round.

Shunzei states, ‘The Left’s poem is perfectly balanced between beginning and end. Thus, it must win.’

Summer I: 23

Left (Tie).

大井川なを山陰に鵜飼舟いとひかねたる夜半の月影

ōikawa
nao yamakage ni
ukaibune
itoikanetaru
yowa no tsukikage
Upon the Ōi River,
Yet beneath the mountain’s shadow are
Cormorant boats,
Impossible to avoid,
Within the midnight moonlight.

A Servant Girl.

225

Right (Tie).

松浦河七瀬の淀を鵜飼舟くだしもはてゞ明けぬこの夜は

matsuragawa
nanase no yodo o
ukaibune
kudashi mo hatede
akenu kono yo wa
Down Matsura River’s
Seven swifts and stills
The cormorant boats,
Descent unfinished,
Find dawn ending night.

The Provisional Master of the Empress’ Household Office.

226

The Right have two criticisms of the Left’s poem: ‘First, are cormorants used on moonlit nights? Moreover, why continue on from the “mountain’s shadow” (yamakage) with a moonlit night?’ In turn, the Left query, ‘Why continue on from “seven swifts and stills” (nanase no yodo) with cormorant boats?’

Shunzei comments, ‘The defects of the Left’s poem have already been adequately identified by the gentlemen of the other team. The Right’s sequence “Seven swifts and stills the cormorant boats” certainly seems poor. Furthermore, “dawn ending night” (akenu kono yo wa) has a somewhat pretentious air. There is nothing much to distinguish between them, and the round should tie.’

Spring II: 30

Left (Tie).

さやかなる秋にもまされあはれかな月影かすむ有明の空

sayakanaru
aki no mo masare
aware kana
tsuki kage kasumu
ariake no sora
The clarity of
Autumn, too, is splendid and
Moving, indeed, I feel in
The hazy moonlight from
The daybreak sky.

Lord Ari’ie.

119

Right (Tie).

今はとてたのむの雁もうちわびぬ朧月夜の明ぼのゝ空

ima wa tote
tanomu no kari mo
uchiwabinu
oborozukiyo no
akebono no sora
‘Now we must return,’
The field resting geese
Lament, under the
Misty moonlit
Dawning sky.

Jakuren.

120

The Right team once again rate the Left’s poem as ‘satisfying’, while the Left say the Right’s is ‘especially satisfying. ’

Shunzei’s judgement is that ‘the Left’s “hazy moonlight from the daybreak sky” (tsuki kage kasumu ariake no sora) and the Right’s “Misty moonlit dawning sky” (oborozukiyo no akebono no sora) are both splendid. It is difficult, indeed, to decide between them. Another excellent tie.’

Miscellaneous 87

Left (Tie).

ことゝへよ思ひおきつの濱千鳥なくなくいでし跡の月影

koto toeyo
omoi okitsu no
hama chidori
nakunaku ideshi
ato no tsukikage
Ask after
Fond remembrances, Okitsu
Beach-bound plovers,
Crying, calling did I depart,
Merely moonlight remaining…

173

Right (Tie).

關の戸をさそひし人は出でやらで有明の月のさやの中山

seki no to o
sasoishi hito wa
ideyarade
ariake no tsuki no
saya no nakayama
To the barrier-gate
Did he invite me, yet
Left it not;
The dawnbreak moon upon
The mountain ‘tween brief nights.

174

Miscellaneous 85

Left (Win).

忘るなよやどるたもとは變るともかたみにしぼる袖の月かげ

wasuru na yo
yadoru tamoto wa
kawaru tomo
katami ni shiboru
sode no tsukikage
O, forget me not!
In your journey’s lodging, your sleeves
May change, yet
For a keepsake wring
From them drops of moonlight.

169

Right.

わかれても心へだつな旅衣幾えかさなる山路なりとも

wakaretemo
kokoro hedatsu na
tabi koromo
ikue kasanaru
yamaji naritomo
Though we may part,
Keep me not from your heart,
Though journey garb
In many piled layers
Of mountain paths lie in-between.

170

Miscellaneous 84

Left (Win).

もしほ汲袖の月かげをのづからよそにあかさぬ須磨の浦人

moshio kumu
sode no tsukikage
onozukara
yoso ni akasanu
suma no urabito
Scooping seaweed salt,
With moon-drenched sleeves:
Naturally,
This brings no light to
The folk of Suma Bay.

167

Right.

蟲明の松としらせよ袖の上にしぼりしまゝの波の月かげ

mushiake no
matsu to shiraseyo
sode no ue ni
shiborishi mama no
nami no tsukikage
‘At Mushiake
I pine!’ – tell him that;
From my sleeves
Have I ever wrung
Waves of moonlight.

168

Love 74

Left (Win).

むせぶともしらじな心かはら屋に我のみ消たぬ下の煙は

musebu tomo
shiraji na kokoro
kawaraya ni
ware nomi ketanu
shita no keburi wa
Choking I may be, yet
All unknowing, her heart
Is changed; a brick kiln –
I alone, unextinguished,
Give vent to smoke…

147

Right.

松山とちぎりし人はつれなくて袖越す浪にやどる月影

matsuyama to
chigirishi hito wa
tsurenakute
sode kosu nami ni
yadoru tsukikage
‘As the eternal peak of Matsuyama’
She vowed, yet was
Heartless;
In the breaking waves upon my sleeves
Rests the chilly moonlight.

148