Tag Archives: wakana

Ietaka-kyō hyakuban jika’awase 2

Left
けふも猶雪はふりつつ春霞たてるやいづこ若菜つみてむ

kyō mo nao
yuki wa furitsutsu
harugasumi
tateru ya izuko
wakana tsumitemu
Still yet, today
Is the snow falling;
O, spring haze
Where do you arise?
For I would go and pluck fresh herbs!

3
In no hyakushu, shodo, Eighth Month Shōji 2 [September 1200]

Right
朝氷たがため分て此川のむかへの野べに若菜つむらん

asagōri
ta ga tame wakete
kono kawa no
mukae no nobe ni
wakana tsumuran
This film of morning ice:
For who’s sake do I break it?
On this river’s
Yonder side within the fields
Would I pluck fresh herbs…

4
Naidaijinke hyakushu, Ninth Month Kenpō 3 [October 1215]

SKKS I: 13

A spring poem, presented in a hundred poem sequence during the reign of former Emperor Sutoku.

若菜摘む袖とぞ見ゆるかすがのゝとぶひのゝべの雪のむらぎえ

wakana tsumu
sode to zo miyuru
kasugano no
tobu hi no nobe no
yuki no muragie
Plucking fresh herbs,
Sleeves do I seem to see
On the plain at Kasuga,
Where the sun dances in the fields
On the patchy snow…

Former Consultant Norinaga

Spring II: 1

Left (Tie).

若菜摘む野邊をし見れば竹取の翁もむべぞたはれあひける

wakana tsumu
nobe o shimireba
takatori no
okina mo mube zo
taware aikeru
Fresh greens are picked from
The field I gaze upon;
The Bamboo Cutting
Ancient, too, perhaps
Once gambolled there!

Kenshō

61

Right (Tie).

若菜摘み子の日に出づる友なくは家路思はぬ旅寢せましや

wakana tsumi
ne no hi ni izuru
tomo naku wa
ieji omowanu
tabine semashi ya
Plucking fresh greens:
If, on the Rat’s Day, travelling
Comrades had I none,
Unthinking of the homeward path,
Might I sleep the night away?

Jakuren

62

The Right team state that ‘Bamboo Cutter’ (takatori), in the Left’s poem, is usually pronounced taketori, and wonder if the Left can cite an earlier poem as proof that this reading is possible. In reply, the Left say that both takatori and taketori can be found in the Man’yōshū, and in the Hundred Poem Sequence Composed for Former Emperor Horikawa, Minamoto no Morotoki had used this reading.

The Left then wonder whether ‘unthinking of the homeward path, sleeping away’, in the Right’s poem is something which would only be done on an excursion to the fields. The Right reply that the poem was most likely composed when recalling an excursion to pick fresh greens on the Day of the Rat, and thinking of the fields.

In his judgement, Shunzei states first of all that there is no doubt that both taka and take are possible readings for the Old Bamboo Cutter. As poetic evidence that takatori is a possible reading for the Old Man in this case, in the Man’yōshū, just in a headnote, it says, ‘In ancient times, there was an old man. His name was Bamboo Cutting Ancient (takatori no okina). In the Third Month, this old man climbed a hill to gaze into the distance, whereupon he suddenly came upon nine maidens brewing fresh greens. Their beauty was beyond description, with faces fairer by far than flowers. The maidens called mockingly to the old man, “Come here, old fellow! Blow on our fire!” “Oho!” said the Old Man, and slowly made his way up to them, arriving close by in due course. After a while, the Maidens said to one another, laughing, “Who called this old man here?” The Bamboo Cutting Ancient replied quickly, “Unintentionally have I encountered divinity. In my confused heart, I had no ill intent. Let me pay for the sin of approaching too closely with a poem.” This is the poem he promptly composed.’ (MYS XVI: 3791).

After this lengthy quotation, Shunzei goes on to say that it is ‘not unreasonable’ to refer to this in a poem on the topic of ‘Field Pleasures’. However, the Left have already mentioned that both readings are given in the Man’yōshū. After this anthology was converted to modern language by Minamoto no Shitagō, kana readings were attached to the Chinese characters. However, it is now impossible to refer to this text, and it is unclear who assigned the readings take and taka. Lord Morotoki’s reasoning agrees with this. Furthermore, in the poem by the old man to the nine maidens, the character ‘bamboo’ (take) does not appear – it is only in the head-note – and so this reading may not have been given by Shitagō.

In general, on the point that both readings are possible, take would be more usual – taka is written with the character for ‘bamboo grove’, and this accords too with Chinese rhyming patterns. It is also used for the name of the poet, Ono no Takamura. Thus, normally, take could be said to be correct. Regardless of which reading is used, however, besides the fact that there is nothing exceptional in this poem’s construction, it is undesirable to include the expression ‘Ancient, too, perhaps’ (okina mo mube zo) in a poem. Although the Right’s poem appears more commonplace, it is impossible to decide on a victor between the two, and so a tie is awarded.

Spring 1

In the Second Month of the Fourth Year of Kenpô (1216), I selected and ordered two hundred of my own meagre works. In the Sixth Month of the following year, I took the order apart and rearranged it somewhat. In the Seventh Year of Kenpô, I secretly presented it to His Majesty, and received an Imperial judgement upon it.

Left (Tie)

春日野にさくや梅が枝雪まより今は春べと若菜つみつゝ

kasugano ni
saku ya ume ga e
yukima yori
ima wa harube to
wakana tsumitsutsu
On Kasuga field,
O, branches of blooming plum blossom!
From the spaces in the snow,
‘Now Spring is come!’
Do we pluck fresh greens.

1

Right

消なくに又やみ山をうづむらん若菜つむ野も淡雪ぞ降

kienakuni
mata ya miyama o
uzumuran
wakana tsumu no mo
awayuki zo furu
Has it not gone, and yet
The mountains’ depths
Does bury?
Upon the fresh-green picking fields
A spume of snow falls on…

2