Tag Archives: Tsune’ie

Love IX: 17

Left (Tie)
ます鏡うつしかへけむ姿ゆへ影絶えはてし契をぞ知る

masukagami
utsushikaekemu
sugata yue
kage taehateshi
chigiri o zo shiru
A clear glass
Will reflect back
My true face, yet
A form fixed forever
Reveals his my vow to me…

A Servant Girl
1113

Right
戀妻に似てや書らん見つるより絵にも心をうつしつる哉

koizuma ni
nite ya kakuran
mitsuru yori
e ni mo kokoro o
utsushitsuru kana
My beloved wife:
Does this so resemble her, that at
The mere sight of
The painting, my heart
Does move?

Lord Tsune’ie
1114

The Right state: the Left’s poem has no faults. The Left state: the Right’s poems contains a fault, does it not?

In judgement: What are we to make of the Left’s ‘In a clear glass my ever-changing reflected’ (masukagami utsushikaekemu)? While I have the feeling that there is a source for this poem, this aged official is completely unable to grasp it what it might be. It is not the case that the poem is lacking in an elegant style. The Gentlemen of the Left have commented on the existence of a fault in the Right’s poem. Perhaps the two cranes (tsuru)? This type of issue relating to a poem’s formal diction does not seem that serious to me. However, saying ‘does this so resemble her, that at’ (nite ya kakuran) is insufficient in terms of expression. The Left’s ‘clear glass’ would win, if its source were clear, but in its absence, it is difficult to make it the winner.

Love IX: 9

Left
あはぬまは琴柱も知らずひく琴の聞きにくきまで音にや立ててむ

awanu ma wa
kotoji mo shirazu
hiku kono no
kikinikuki made
ne ni ya tatetemu
Yet untuned, and
Ignorant of where to place the bridge,
Playing such a zither is
Hard to hear, as
Are my constant sobs, perhaps…

Lord Kanemune
1097

Right (Win)
松風も琴のしらべに通ふなりわがひとり寝ぞ逢ふよしもなき

matsukaze mo
koto no shirabe ni
kayou nari
wa ga hitorine zo
au yoshi mo naki
The wind in the pines, as
Zithers’ harmony
Does blend;
Yet I am sleeping solo, with
No cause to meet at all…

Lord Tsune’ie
1098

The Right state: the Left’s poem is preposterous. The Left state: the Right’s poem has no faults to mention.

In judgement: the Left’s poem seems to be aping the style of the Left in the previous round. As for the Right’s poem, although ‘zithers’ harmony’ (koto no shirabe) sounds modern, it is in a standard style. It should win.

Love IX: 4

Left (Tie)
うらやましわがりこちくと笛の音を頼むる中の人は聞くらん

urayamashi
wagari kochiku to
fue no ne o
tanomuru naka no
hito wa kikuran
O, how I envious I am!
To my house comes, a bamboo
Flute’s strains – from
A trustworthy, loving
Man, it sounds…

Lord Suetsune
1087

Right
より竹の君によりけんことぞ憂き一夜のふしに音のみ泣かれて

yoritake no
kimi ni yoriken
koto zo uki
hitoyo no fushi ni
ne nomi nakarete
Bamboo flotsam –
That you should draw near
Is cruel, indeed, for
A single night together, brings
Only the sound of weeping…

Lord Tsune’ie
1088

‘Flotsam of bamboo’ (yoritake) and ‘comes, a bamboo’ (kochiku) are equally unsatisfying.

In judgement: ‘Flotsam of bamboo’ and ‘comes, a bamboo’ are of equal quality.

Love VIII: 29

Left (Win)
つらからん中こそあらめ萩原やした松蟲の聲をだに問へ

tsurakaran
naka koso arame
hagiwara ya
shita matsumushi no
koe o dani toe
Cold will
Our bond, no doubt, become, but
Among the bush clover
Eagerly awaiting, the bell-cricket’s
Call is all that I would ask…

A Servant Girl
1077

Right
夜もすがら人まつ蟲の鳴く聲を我身の上によそへてぞ聞く

yo mo sugara
hito matsu mushi no
naku koe o
wa ga mi no ue ni
yosoete zo kiku
All through the night
A cricket pines –
The song it sings
Upon myself does
Seem to dwell – or so it sounds…

Lord Tsune’ie
1078

The Gentlemen of the Right state: we have no reason to mention any faults in the Left’s poem. The Gentlemen of the Left state: the Right’s poem is pedestrian.

In judgement: both poems refer to ‘bell crickets’, with the Left saying, ‘our bond, no doubt, become’ (naka koso arame), then ‘call is all that I would ask’ (koe o dani toe), and ‘eagerly awaiting, the bell cricket’ (shita matsumushi) – all of these are extremely difficult to grasp, however, the Right’s poem is pointlessly pedestrian. So, the Left wins.

Love VIII: 19

Left (Tie)
うち頼む人の心は荒熊のおそろしきまでつれなかりけり

uchitanomu
hito no kokoro wa
arakuma no
osoroshiki made
tsurenakarikeri
I placed all my trust
In her, but that heart is
As a wild bear,
Frightening in its
Cold cruelty!

Lord Kanemune
1057

Right
戀をのみすがの荒野にはむ熊のおぢられにける身こそつらけれ

koi o nomi
suga no arano ni
hamu kuma no
ojirarenikeru
mi koso tsurakere
Simply in love, but as
On the wild plain of Suga,
A hunting bear,
Fleeing in fear,
Pitiful am I, indeed!

Lord Tsune’ie
1058

Both Left and Right together state: the opposing poem is essentially the same as Toshiyori’s poem:

信濃なるすがの荒野にはむ熊のおそろしきまで濡るゝ袖哉

shinano naru
suga no arano ni
hamu kuma no
osoroshiki made
nururu sode kana
In Shinano
On the wild plain of Suga,
Of a hunting bear
I am so afraid
My sleeves are soaked!

In judgement: both poems are about ‘bears’ and sound old-fashioned, as the Gentlemen have said. They must tie.

Love VIII: 14

Left (Tie)
人心常は卯月の時鳥ことかたらはん聲を聞かばや

hito kokoro
tsune wa uzuki no
hototogisu
koto kataran
koe o kikaba ya
Her heart is
Ever chill; O, for the Fourth Month
Cuckoo
To tell me
With a gentle song!

Lord Suetsune
1047

Right
足引の遠山鳥の一聲は我つまながらめづらしき哉

ashihiki no
tōyamadori no
hitogoe wa
ware tsumanagara
mezurashiki kana
Leg-wearying
The distant mountain pheasant’s
Call is
Even for his mate
A rare thing, indeed!

Lord Tsune’ie
1048

The Gentlemen of the Right state: the Left’s poem has no faults. The Gentlemen of the Left state: the initial part of the Right’s poem has an antiquated feel.

In judgement: the Left’s ‘cuckoo’ (hototogisu) and the Right’s ‘mountain pheasant’ (yamadori) are of the same level.

Love VIII: 10

Left (Win)
うかりける我み山木の契かな連なる枝もありとこそ聞け

ukarikeru
wa ga mi yamagi no
chigiri kana
tsuranaru eda mo
ari to koso kike
In despair
Am I: hidden among the mountain trees
Is my love;
Though once branches lay atop each other
I did hear…

Lord Suetsune
1039

Right
涙には憂き深山木も朽ちぬべし沖つ小嶋のひさきならねど

namida ni wa
uki fukayamagi mo
kuchinubeshi
oki tsu kojima no
hisaki naranedo
Among my tears,
Drift, despairing, trees from the mountain deeps,
Rotting all away, though
On islets in the offing
On bush-covered beaches, they are not…

Lord Tsune’ie
1040

Both Left and Right state: we find no faults.

In judgement: both Left and Right use the image of ‘trees from the mountain deeps’ (fukayamagi), and neither is superior, or inferior, to the other in this, but I would have to say that the Left’s ‘though once branches lay atop each other I did hear…’ (tsuranaru eda mo ari to koso kike) is somewhat better than the Right’s ‘on bush-covered beaches, they are not…’ (hisaki naranedo).

Love VIII: 1

Left (Win)
忘らるゝ人に軒端の忍ぶ草涙の雨ぞ露けかりける

wasuraruru
hito ni nokiba no
shinobugusa
namida no ame zo
tsuyukekarikeru
Forgotten by
Him, beneath my eaves
The ferns bring back memories;
A rain of tears
Leaves them dew-drenched.

Lord Kanemune
1021

Right
戀づまのやがて軒端になり行けばいとど忍ぶの草ぞ茂れる

koizuma no
yagate nokiba ni
nariyukeba
itodo shinobu no
kusa zo shigereru
My man is
Far away; beneath my eaves
Are the signs:
How many memories and
Ferns grow thickly…

Lord Tsune’ie
1022

Both Left and Right state: we find no faults to mention.

In judgement: both poems refer to ‘memory ferns’ (shinobugusa), and there is not a great deal of difference in quality between them, but the Left’s ‘rain of tears’ (namida no ame), with its association of dew, is slightly better than the Right’s ‘ferns grow thickly’ (kusa zo shigereru), and so should win.

Love VII: 26

Left.
人心緒絶えの橋に立かへり木の葉降りしく秋の通ひ路

hito kokoro
odae no hashi ni
tachikaeri
ko no ha furishiku
aki no kayoiji
Our hearts
On the broken bridge at Odae
Do stand;
Fallen leaves swept along
The autumn paths back and forth…

Lord Sada’ie.
1011

Right.
思はずに緒絶えの橋と成ぬれどなを人知れず戀わたるかな

omowazu ni
odae no hashi to
narinuredo
nao hito shirezu
koi watarukana
Unthinkingly
To the broken bridge of Odae
Have we come, yet
Still, unknown to all,
Might our love make a crossing?

Lord Tsune’ie.
1012

The Gentlemen of the Right state: we wonder about the purpose of ‘fallen leaves swept along’ (ko no ha furishiku) in the Left’s poem. The Gentlemen of the Left state: the Right’s poem is pedestrian.

In judgement: Both the poems of the Left and of the Right use ‘bridge of Odae’ (odae no hashi) which is tasteful. The Left’s ‘fallen leaves swept along’ must be following Ise Monogatari. The gentlemen of the Right must surely be pretending ignorance! The poem of the Right, too, has an elegant total configuration, but ‘unknown to all’ (hito shirezu) is at odds with the emotional overtones. Thus the Left’s ‘fallen leaves swept along the autumn paths back and forth’ is better. I make it the winner.

Love VII: 19

Left.
逢ふ事は苗代水を引き止めて通しはてぬや小山田の關

au koto wa
nawashiro mizu o
hikitomete
tōshihatenu ya
oyamada no seki
Can a meeting, like
The waters round the rice seedlings
Be stopped
In their endless flow
Past the Oyamada Barrier?

Kenshō
997

Right (Win).
衣手は清見が關にあらねども絶ゆるよもなき涙也けり

koromode wa
kiyomi ga seki ni
aranedomo
tayuru yo mo naki
namida narikeri
My sleeves as
The Barrier at Kiyomi
Are not, yet
Without cease
Are my tears…

Lord Tsune’ie.
998

The Right state: we are unfamiliar with the expression ‘Oyamada Barrier’ (oyamada no seki). The Left state: it sounds as if it is tears that are ceaseless at the Barrier at Kiyomi.

In judgement: the Left’s poem is stylistically tasteful, but with only ‘can a meeting, like the waters round the rice seedlings’ (au koto wa nawashiro mizu) the conception of love is weak is it not? The Right’s poem metaphorically has tears ceaseless at the Barrier at Kiyomi, and with the ta present, I accept the Left’s point to a certain extent, but this type of thing is not unusual in metaphorical poems.  In addition, there is little reason to imagine the waters round the rice-seedlings being blocked. As it has a stronger focus on Love, the Right wins.