Tag Archives: tsuyu

Love IX: 21

Left
うちとけて誰に衣を重ぬらんまろがまろ寝も夜深き物を

uchitokete
tare ni koromo o
kasanuran
maro ga marone mo
yobukaki mono o
Loosening them,
With whom does he clothes
Pile together?
Sleeping all alone
How deep this night is…

A Servant Girl
1121

Right (Win)
思わび寝る夜の床の露しげみ身のしろ衣かす人もがな

omoiwabi
neru yo no toko no
tsuyu shigemi
mi no shirogoromo
kasu hito mo gana
In the grief of love,
Sleeping at night, my bed
Is soaked through with dew;
To lend me an over-mantle
Is there no one at all…

Lord Tsune’ie
1122

The Right state: the final section of the Left’s poem is difficult to grasp. The Left state: the Right’s poem has no faults to mention.

In judgement: the Left’s ‘sleeping all alone how deep this night is…’ (maro ga marone mo yobukaki mono o) does not sound as if it links with the initial section of the poem. ‘Alone’ (maro) is also unacceptable. The Right’s ‘to lend me an over-mantle’ (mi no shirogoromo) sounds elegant. I make it the winner.

Love IX: 15

Left (Win)
思あまり絵にかきとめてなぐさむる妹が上にも涙落ちけり

omoi amari
e ni kakitomete
nagusamuru
imo ta ue ni mo
namida ochikeri
Too much in love
I paint a picture for
Consolation, but
Upon my darling
Tears fall…

Lord Kanemune
1109

Right
かきとめて変らぬ色もをみなへしあはれと見れば露ぞこぼるる

kakitomete
kawaranu iro mo
ominaeshi
aware to mireba
tsuyu zo koboruru
Painted in
Changeless hues is my love –
A maidenflower
I glimpse in sorrow,
Drenched with dew…

Ietaka
1110

The Right state: the Left’s poem certainly has no faults. The Left state: the Right’s poem has no conception of Love.

In judgement: both Gentlemen’s pictures are ‘painted’ (kakitomete), with the Left then using ‘upon my darling’ (imo ga ue ni mo), which certainly has a conception of love. The Right simply draws a picture of a maidenflower and drenches it with dew, so it does not seem as if he is being moved by the sight of a person. Thus, again, the Left seems the superior poem.

Love VIII: 28

Left (Win)
あはれにぞ鳴あかすなる蛬われのみしぼる袖かと思ふに

aware ni zo
nakiakasunaru
kirigirisu
ware nomi shiboru
sode ka to omou ni
How sad it is –
Crying with the dawn is
The cricket, though
I alone am wringing
Out my sleeves, I feel.

Lord Suetsune
1075

Right
露深きあはれを思へきりぎりす枕の下の秋の夕暮

tsuyu fukaki
aware o omoe
kirigirisu
makura no shita no
aki no yūgure
Deep in dew and
Sad, I wish you were,
O, cricket,
Beneath my pillow
On this autumn evening…

Nobusada
1076

The Right state: the Left’s poem has no faults we can mention. The Gentlemen of the Left state: our feelings are the same as those of the Right

In judgement: both Left and Right are on ‘crickets’ (kirigirisu) and their configuration and diction sound equally elegantly beautiful. I feel that the Right, with ‘deep in dew and sad, I wish you were’ (tsuyu fukaki aware o omoe), is somewhat lacking in the conception of the poet’s own love, but the Left, with ‘I alone am wringing out my sleeves, I feel’ (ware nomi shiboru sode ka to omou ni), has an excellent conception of love, so I must state that the Left is the winner.

Love VIII: 27

Left (Win)
蟲の音も秋を限りと恨むなりたえぬ思やたぐひなるらん

mushi no ne mo
aki o kagiri to
uramu nari
taenu omoi ya
tagui naruran
The insects’ cries do
Mark the bounds of autumn
With despair;
Are endless thoughts of love
To be my only fellow?

Lord Kanemune
1073

Right
夏蟲もうら山しきは秋の夜の露にはもえぬ思ひなりけり

natsumushi mo
urayamashiki wa
aki no yo no
tsuyu ni wa moenu
omoi narikeri
The fireflies are
A source of envy,
On an autumn night
When dewfall damps down
The fires of my passion…

Ietaka
1074

The Gentlemen of the Right: the Left’s poem has no faults to mention. The Gentlemen of the Left state: we wonder about the appropriateness of ‘dewfall damps down’ (tsuyu ni wa moenu).

In judgement: the Left’s poem has been stated to be without fault by the gentlemen present. In the Right’s poem, I wonder if saying, ‘dewfall damps down’ is meaning nothing burns in autumn? On the matter of using the term ‘summer insects’ (natsumushi) to refer to fireflies, I do wonder whether it is appropriate to imply with one’s composition that there are no such insects in autumn. Although in the Collection of Poems to Sing Aloud, fireflies occur in the Summer section, among the same collection’s Chinese poems there is ‘in the dark before dawn innumerable fireflies start from the autumn grasses’. Furthermore, in Pan Anren’s ‘Rhapsody on Autumn Inspirations’ he says, ‘Glittering fireflies shine by the palace gate, and crickets sing from the eaves of the fence’. Even though there are countless cases of Autumn fireflies, how can one have composed suggesting that there are not? Thus, the Left wins.

Love VIII: 24

Left (Tie)
この比の心の底をよそに見ば鹿鳴く野邊の秋の夕暮

kono koro no
kokoro no soko o
yoso ni miba
shika naku nobe no
aki no yūgure
Of late
Of the depths of my heart
Were you to catch a distant glimpse:
A stag belling in the meadow
On an autumn evening…

A Servant Girl
1067

Right
暮れかゝる裾野の露に鹿鳴きて人待つ袖も涙そふ也

kurekakaru
susono no tsuyu ni
shika nakite
hito matsu sode mo
namida sou nari
Twilight
Drapes dewfall on the mountains’ skirts,
With a stag’s sad cry;
Awaiting him, my sleeves, too,
Are wet with tears.

Nobusada
1068

Left and Right together: we find no faults to mention.

In judgement: it would be impossible to ever exhaust the overtones of feeling in ‘a stag belling in the meadow on an autumn evening’ (shika naku nobe no aki no yūgure) in the Left’s poem; in the Right’s poem the configuration and conception of ‘awaiting him, my sleeves, too, are wet with tears’ (hito matsu sode mo namida sou nari) is richly evocative. I find it extremely hard to put both poems down, so this round, again, is a tie of quality.

Love VIII: 5

Left
人待ちし庭の淺茅生茂りあひて心にならす道芝の露

hito machishi
niwa no asajū
shigeriaite
kokoro ni narasu
michishiba no tsuyu
Awaiting him,
The cogon-grass in my garden
Has grown lush, indeed;
And I have taken to my heart
The dew that falls upon my lawn!

A Servant Girl
1029

Right (Win)
秋風になびく淺茅の色よりもかはるは人の心なりけり

akikaze ni
nabiku asaji no
iro yori mo
kawaru wa hito no
kokoro narikeri
With the autumn wind
Waves the cogon grass,
Colours
Changing less than her
Heart’s passions…

Ietaka
1030

The Gentlemen of the Right state: the Left’s poem has no faults to mention. The Gentlemen of the Left state: the intial part of the Right’s poem is derived from an old poem, and so does the end!

In judgement: I wonder whether the cogon-grass (asajū), mentioned initially, is as clearly conceived as the ‘lawn’ (michishiba) mentioned at the end? The Right’s poem refers to ‘So full are my thoughts,  what am I to do? With the autumn wind’, but reverses the beginning and end of that poem; it is extremely old-fashioned in style, but pleasant as it is plainly intended to be understood as a variant of its model. Thus, the Right wins over the combination of ‘cogon-grass’ and ‘lawn’.

Love VIII: 3

Left (Tie)
うち頼む人のけしきの秋風に心の底の萱が下折れ

uchitanomu
hito no keshiki no
akikaze ni
kokoro no soko no
kaya ga shitaore
I did rely on
Him, but now in his look, is
The autumn wind; in
The depths of my heart are
Broken, drooping fronds of silver grass…

Lord Ari’ie
1025

Right
あさましやなどか思のさしも草露も置きあへずはては燃ゆらん

asamashi ya
nado ka omoi no
sashimogusa
tsuyu mo okiaezu
hate wa moyuran
How strange it is!
Why is it that my love’s fires, like
Moxa,
Not completely covered by the dew
Will at the end burst into flame once more?

Jakuren
1026

The Right state: the Left’s poem has no faults to indicate. The Left state: in the Later Collection of Gleanings there is a poem about Ibuki, which uses ‘burst into flame’ (moyu). We wonder about the suitability of using ‘burst into flame’ without also using Ibuki. The Right, in response: older poems used ‘burst entirely into flame’ (sashimoyu), and this composition is the same.

In judgement: I am not accustomed to hearing ‘the depths of my heart are silver grass’ (kokoro no soko no kaya) as in the Left’s poem. The image in the Right’s poem of moxa not completely covered with dew bursting into flame seems rather overblown. The strengths and weaknesses of the two poems are unclear, so the round should tie.

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.