Tag Archives: yama

Love III: 7

Left (Tie).

かたらひし我戀妻やほとゝぎすたまさか山に聲のほのめく

kataraishi
ware koizuma ya
hototogisu
tamasaka yama ni
koe no honomeku
I spoke once
With the girl I love;
A cuckoo
At Mount Tamasaka
Calling briefly

Kenshō.

733

Right.

絶果てぬ情の山に雲消えて晴るゝ心や星合の空

taehatenu
nasake no yama ni
kumo kiete
haruru kokoro ya
hoshiai no sora
Unending
Our gentle connection; the mountain
Freed from cloud,
Warming our hearts
Like, perhaps the skies where stars meet.

Nobusada.

734

The Right state: we do not like the Left’s poem, but find no specific faults worth mentioning. The Left state: we are not accustomed to the expression ‘gentle connection; the mountain’ (nasake no yama)

In judgement: Mount Tamasaka’s cuckoo and the Weaver Maid’s gentle mountain connection are of the same quality.

Winter II: 13

Left.

山里の寂しさ思ふ煙ゆへ絶え絶え立てる峯の椎柴

yamazato no
sabishisa omou
keburi yue
taedae tateru
mine no shiishiba
That mountain dwelling’s
Loneliness feeling,
The smoke,
Rising in sporadic strands:
The brushwood on the peak…

A Servant Girl.

565

Right (Win).

冬籠る草の戸ざしは霜枯れてま近き山の峯の椎柴

fuyugomoru
kusa no tozashi wa
shimogarete
majikaki yama no
mine no shiishiba
Sealed in winter
The blockading grasses are
Seared by frost, and
How much closer is the mountain
Peak’s brushwood.

Jakuren.

566

Both teams say that the conceptions of the two poems resemble each other closely [kokoro hōfutsu].

Shuzei’s judgement: The Left, by starting, ‘That mountain dwelling’s loneliness feeling, the smoke’ (yamazato no sabishisa omou keburi yue) sounds as if it is the brushwood itself which has some sensitivity to the situation, and are rising up from time to time. I wonder about that. The Right’s evergreen groves ‘nearing the mountain’ (majikaki yama) is what should win.

Winter II: 11

Left.

雪埋む松を緑に吹返し見せも聞かせも山おろしの風

yuki uzumu
matsu o midori ni
fukikaeshi
mise mo kikase mo
yama oroshi no kaze
Buried in the snows,
The pines to green
Are blown back,
Sight and sound both from
The wind down the mountains.

Lord Ari’ie.

561

Right.

さえさえて梢の雲を返す也尾上の松の雪の浦風

saesaete
kozue no kumo o
kaesu nari
onoue no matsu no
yuki no urakaze
Frozen with chill,
The treetop-touching clouds
Fly away;
The pines of Onoue,
Blown free from the snows by the wind from off the bay…

Ietaka.

562

Neither team finds any fault with the other’s poem.

Shunzei’s judgement: This round the poems of Left and Right both describe memorable scenes. The Left’s ‘pines to green are blown back’ (matsu o midori ni fukikaeshi) and the Right’s ‘pines of Onoue, blown free from the snows by the wind from off the bay’ (onoue no matsu no yuki no urakaze) are equivalently excellent in conception and diction [kokoro kotoba shōretsu naku miehaberi]. This must be a tie of quality [yoki ji].

Winter II: 1

Left.

山里は朝川渡る駒の音に瀬々の氷の程を知るかな

yamazato wa
asakawa wataru
koma no oto ni
seze no kōri no
hodo o shiru kana
Dwelling in the mountains,
Crossing the river in the morning,
The horses’ footfalls
Upon the ice within the shallows
Tells to me its depth…

Kenshō.

541

Right (Win).

谷河の氷るだにある山里に人も音せぬ今朝の白雪

tanikawa no
kōru dani aru
yamazato ni
hito mo oto senu
kesa no shirayuki
The streamlet,
Even, has frozen
At my mountain home;
No folks’ footfalls
On this snow-white morning…

Ietaka.

542

The Right have no criticisms to make of the Left’s poem. The Left just remark that the Right’s use of ‘even’ (dani aru) is ‘poor’ [yokarazu].

Shunzei’s judgement: Despite the Left starting their poem with ‘dwelling in the mountains’ (yamazato wa), even if it is on a winter morning, where must it take place? It must be at a riverside estate, or village. In addition, the only element of the conception of morning, is ‘crossing the river in the morning’ (asa kawa wataru). I do wonder about the sound of ‘even, has frozen’ (kōri dani aru), but the snow in the morning is more moving and charming [aware mo okashiku mo] than the Left’s mere sound of horses’ hooves on ice, so the Right’s is the better poem.

Winter I: 22

Left.

この山の峰のむら雲吹まよひ槇の葉傳ひ霙降り來ぬ

kono yama no
mine no murakumo
fukimayoi
maki no ha tsutai
mizore furikonu
About this mountain
Peak, crowding clouds
Go scudding by;
The yew leaves tell the tale
Of fallen sleet.

Lord Sada’ie.

523

Right (Win).

雪ならばかゝらましやはうち拂ふ袖もしほたるゝ霙降るなり

yuki naraba
kakaramashi ya wa
uchiharau
sode mo shiotaruru
mizore furunari
Were it snow
Would it be like this?
Sweeping on
My sleeves are drenched
With the sleet that’s fallen!

The Provisional Master of the Empress’ Household Office.

524

Neither Left nor Right find any fault.

Shunzei’s judgement: ‘Peak, crowding clouds go scudding by’ (mine no murakumo fukimayoi) sounds fine [yoroshiku kikoyuru], but preceding it with ‘About this mountain’ (kono yama no) is something I find myself particularly unable to accept, as I wonder to which mountain the poem refers. ‘Would it be like this? Sweeping on’ (kakaramashi ya wa uchiharau) connects well with what comes before and after it and sounds tasteful, more or less [nani to naku yū ni kikoehaberu]. The Right must win.

Winter I: 19

Left (Win).

風寒み今日も霙の降る里は吉野の山の雪げなりけり

kaze samumi
kyō mo mizore no
furu sato wa
yoshino no yama no
yukige narikeri
A chill breeze brings
Sleet, today,
Falling as on the ancient estate on
Yoshino mountain
Did snows fall once…

A Servant Girl.

517

Right.

嵐吹く木葉こきまぜ霙降りさびしかりける山の奧かな

arashi fuku
konoha kokimaze
mizore furi
sabishikarikeru
yama no oku kana
The storm wind blows
Leaves mixed in with
Falling sleet;
How lonely it is
Here within the mountains…

Takanobu.

518

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

Shunzei’s judgement: The Left’s ‘Sleet, today, falling as on the ancient estate’ (kyō mo mizore no furu sato wa), preceding ‘on Yoshino mountain did snows fall once’, reflects the conception of ‘Where once I lived, to the mount of Yoshino was so close’ (Furusato Fa yosino no yama si tikakereba) and seems splendid [ito yoroshiku miehabere]. The Right’s ‘How lonely it is here within the mountains’ (sabishikarikeru yama no oku kana) as a final section is most acceptable in terms of style [mottomo shokisubeki no tei], but the initial ‘leaves mixed in’ (konoha kokimaze) sounds as if this had been done with some human hand. Thus, the Left with matched initial and final sections, must win.

Autumn III: 8

Left.

柞原涼みし夏の青木立色變りても猶ならすかな

hahasowara
suzumishi natsu no
aogidachi
iro kawarite mo
nao narasu kana
Beneath the oaks is
Cool in summer –
A fresh green grove;
Their hues have changed, but
Still, ‘tis where I take my rest…

Lord Suetsune.

435

Right (Win).

山巡る時雨の宿か柞原我が物顔に色の見ゆらん

yama meguru
shigure no yado ka
hahasowara
wa ga mono kao ni
iro no miyuran
Roaming round the mountains
Is the showers’ lodging
Above the oaks?
Such satisfaction in their
Hues, there seems to be!

Nobusada.

436

The Right state that ‘a fresh green grove’ (aogidachi) in the Left’s poem is difficult to accept [kikinikushi].The Left wonder what is meant by ‘Such satisfaction in their hues, there seems to be!’ (wa ga mono kao ni iro no miyuran).

Shunzei’s judgement: With regard to the Left’s poem, the cool of summer is usually evoked by phrases such as ‘the shade of the cedars by the Barrier springs’, or ‘’neath the pines growing by waters flowing from the rocks’, and so one wonders why a fresh green grove of oaks has been used. When the focus [mune] in a poem is autumn leaves, using ‘yet’ (nao) suggests that the poet has something else in mind. The Right’s poem is charming in conception [kokoro wa okashiku kikoyuru], but ‘lodging’ (yado ka) as a piece of diction is insufficiently heartfelt [kotoba no shokisubekarazu]. However, the Left’s poem is lacks sufficient feeling throughout [kotogoto ni kanshinserarezu]. Thus, I make the Right the winner.

Autumn II: 18

Left (Win).

山遠き門田の末は霧晴て穂波に沈む有明の月

yama tōki
kadota no sue wa
kiri harete
honami ni shizumu
ariake no tsuki
By the distant mountains,
At the farthest reach of fields before my gates,
The mists are clearing, and
Sinking amongst the waves of rice-ears is
The dawntime moon…

A Servant Girl.

395

Right.

夕月夜ほのめく影も哀なり稲葉の風は袖に通ひて

yūzukuyo
honomeku kage mo
awarenari
inaba no kaze wa
sode ni kayoite
The autumn evening moon’s
Faint light is
Moving, indeed;
The wind upon the rice-stalks
Passing o’er my sleeves…

Lord Takanobu.

396

The Right simply say that the Left’s poem is ‘good’. The Left have no criticisms of the Right’s poem.

Shunzei’s judgement: The Left’s ‘dawntime moon’ (ariake no tsuki) and the Right’s ‘early evening moon’ are both deeply moving; the Left, continuing with ‘at the farthest reach of fields before my gates, the mists are clearing’ (kadota no sue wa kiri harete) is particularly fine, I feel. ‘Sinking amongst the waves of rice-ears’ (honami ni shizumu) is certainly technically proficient, and yet lacks a certain profundity. And yet, the initial ‘By the distant mountains’ (yama tōki) show a true depth. It should win.

Summer II: 29

Left (Win).

夏山のこずゑも高く鳴蝉は中なか聲ぞかすかなりける

natsu yama no
kozue mo takaku
naru semi wa
nakanaka koe zo
kasukanarikeru
In the summer mountains
Treetop high
The cicadas sing, yet
If anything, their songs
More distant have become.

Lord Kanemune.

297

Right.

秋近き木木の梢に風越えて下葉にうつる蝉の聲ごゑ

aki chikaki
kigi no kozue ni
kaze koete
shitaba ni utsuru
semi no koegoe
Autumn draws near, and
The trees’ tops are
Brushed by breezes;
Shifted to the lower leaves are
The cicadas’ songs.

Ietaka.

298

The Right state the Left’s poem has nothing problematic about it. The Left wonder whether there is any evidence that cicadas move in response to wind.

Shunzei remarks, ‘The Right’s poem is, indeed, lacking in evidence. However, could it not be that cicadas would feel a sense of danger from the wind and move to a tree’s lower leaves? The Left’s poem is elegant, though, and must win.’