Tag Archives: willow

Autumn I: 6

Left.

打ち寄する浪より秋の龍田川さても忘れぬ柳陰かな

uchiyosuru
nami yori aki no
tatsutagawa
satemo wasurenu
yanagikage kana
Approaching on
The waves, comes autumn to
The Tatsuta River;
And yet, I cannot forget
The willows’ shade.

A Servant Girl.

311

Right.

秋淺き日影に夏は殘れども暮るゝ籬は荻の上風

aki asaki
hikage ni natsu wa
nokoredomo
kururu magaki wa
ogi no uwakaze
Faintly autumnal is
The sunlight, with summer
Yet remaining;
At evening by the rough-woven fence
Blows a breeze o’er the silver-grass.

Nobusada.

312

The Right say the Left’s poem is ‘particularly good.’ The Left state that, ‘“Faintly autumnl” (aki asaki) grates on the ear, and we also cannot grasp the use of “evening by the rough-woven fence” (kururu magaki).’

Shunzei states, ‘The Left’s “approaching on the waves” (nami yori aki no), seems particularly charming, but when taken together with “willows’ shade” (yanagi kade)– the Tatsuta River has long been the subject of composition on “flowing scarlet autumn leaves”, and even now this gives a slightly poetic effect; “willows’ shade” has been used in composition, both in ancient times and more recently, but does it not seem commonplace now? The Right’s poem is in the same vein as that of the Right in Round One Hundred and Fifty-Two, yet I do not find “faintly autumnal” to be unpleasant. “Evening by the rough-woven fence”, too, has charm. The Left’s poem has vocabulary in accordance with the contents; the Right unusual expressions. In this combination, the round must tie.’

Spring II: 22

Left (Win).

春來れば空に亂るゝいとゆふを一筋にやはありと頼まん

haru kureba
sora ni midaruru
itoyū wo
hito suji ni ya wa
ari to tanoman
When Spring is come,
The sky is disarrayed by
Heat haze, yet
For it to be all that is –
In that I cannot trust!

Lord Ari’ie.

103

Right.

春風のゝどかに吹けば青柳の枝もひとつに遊ぶ糸遊

haru kaze no
nodoka ni fukeba
aoyanagi no
eda mo hitotsu ni
asobu itoyū
When spring breezes
Gently blow
Fresh willow
Fronds as one are
Wavering hazes…

Jakuren.

104

Both teams find no particular faults with the other’s poems.

Shunzei, however, comments, ‘Both poems are excellent in appearance, but the Left has ‘The sky is disarrayed’ (sora ni midaruru). The Right is ‘Fresh willow fronds as one’ (aoyanagi no eda mo hitotsu ni asobu): does this not suggest that haze wavers only in the vicinity of willows? The Left must win.’

Spring II: 19

Left (Tie).

津の國のこやのわたりのながめには遊ぶ糸さへひまなかりけり

tsu no kuni no
koya no watari no
nagame ni wa
asobu ito sae
hima nakarikeri
In the land of Tsu,
When out from Koya
I turn my gaze,
Even the wavering hazes
Seem to take no rest.

Lord Suetsune.

97

Right (Tie).

春來ればなびく柳のともがほに空にまがふや遊ぶいとゆふ

haru kureba
nabiku yanagi no
tomogao ni
sora ni magau ya
asobu ito yū
When the spring is come,
Fluttering willow fronds’
Like,
In the skies can be perceived:
Wavering hazes.

Lord Takanobu.

98

The Right say that the Left’s poem, ‘suggests heat haze only occurs at Koya in Tsu,’ while the Left say, ‘what are we to make of phrasing such as “like” (tomogao ni)?’, obliquely suggesting that it’s inappropriate poetic diction.

Shunzei says simply that, ‘the purport of both sides’ comments about both poems is apposite,’ and makes the round a tie.