Tag Archives: Yoshitsune

Love VII: 5

Left (Win).
末の松待つ夜幾度過ぬらん山超す浪を袖にまかせて

sue no matsu
matsu yo ikutabi
suginuran
yama kosu nami o
sode ni makasete
At the pines of Sué
How many nights have I spent
Pining for him?
As the waves break over the mountain
So let them on my sleeves…

A Servant Girl.
969

Right.
人知れず君に心を筑波山ひまなきものはなげき也けり

hito shirezu
kimi ni kokoro o
tsukubayama
himanaki mono wa
nageki narikeri
Secretly
For you has my heart
Yearned to exhaustion; as Tsukuba Mountain’s
Close packed trees, endless
Is my grief.

Lord Tsune’ie.
970

The Gentlemen of the Right state: in what way are the the waves ‘allowed’ in ‘let them on my sleeves’ (sode ni makasuru)? The Left state: the Right uses Tsukuba, followed by ‘close packed trees, endless’ (himanaki), and although this does have the same meaning, it would be more customary to use ‘verdant’ (shigeki).

In judgement: although the Left’s  ‘so let them on my sleeves’ (sode ni makasete) sounds somewhat unclear, the Right’s ‘Tsukuba Mountain’s close packed trees, endless’ suggests many layers of reed-thatch, I think. ‘As the waves break over the mountain’ (yama kosu nami) seems to reach greater heights.

Love VI: 29

Left (Win).
忍びかね心の空に立つ煙見せばや富士の峰にまがへて

shinobikane
kokoro no sora ni
tatsu kemuri
miseba ya fuji no
mine ni magaete
I can bear no more:
Into the heavens of my heart
Smoke rises;
I would show her it is of Fuji’s
Peak an image!

A Servant Girl.
957

Right.
富士の嶺の煙も猶ぞ立のぼる上なき物は思ひなりけり

fuji no ne no
kemuri mo nao zo
tachinoboru
ue naki mono wa
omoi narikeri
The peak of Fuji:
Smoke yet
Rises there;
Higher than the highest is
My love.

Ietaka.
958

The Right state: we wonder about the meaning of ‘heavens of my heart’ (kokoro no sora). In reply, the Left: this is the same conception as the poem ‘into the heavens of my heart emerges the moon’. In reply, the Right: what is the point in using the smoke from Fuji as a metaphor? It seems as if the focus of the poem is the smoke. Furthermore, why have smoke rising in your heart without the smoke of passion? The Left state: the Right’s poem seems good.

In judgement: the Gentlemen of the competition seems to have sagaciously criticised the faults of the Left’s poem, but ‘I would show her it is of Fuji’s peak an image!’ (miseba ya fuji no mine ni magaete) is charming in configuration and diction. The Right’s poem, too, in the final section is elegant in configuration. However, I must make the Left the winner.

 

Love VI: 24

Left (Win).
深き夜の軒の雫をかぞへても猶あまりぬる袖の雨哉

fukaki yo no
noki no shizuku o
kazoetemo
nao amari nuru
sode no ame kana
Late at night,
From my eaves the droplets
I number up, but
Still much more drenching
Is the rainfall on my sleeves.

A Servant Girl.
947

Right.
雲とづる宿の軒端の夕ながめ戀よりあまる雨の音哉

kumo tozuru
yado no nokiba no
yū nagame
koi yori amaru
ame no oto kana
Closed in with cloud,
From my dwelling’s eaves
I gaze out in the evening;
Overwhelming my love
Is the sound of rain…

Nobusada.
948

The Right state: the Left’s poem has no faults. The Left state: we do not understand the Right’s poem at all.

In judgement: the Left’s poem commences with ‘late at night’ (fukaki yo no) and then continues with mention of raindrops – this sounds extremely effective. The Right’s poem, too, starts ‘closed in with cloud’ (kumo tozuru) and concludes with ‘the sound of rain’ (ame no oto kana), which sounds charming, but because the poem is said to be ‘incomprehensible’ or ‘grating on the ear’, despite being one with both a significant conception and an unusual sound, there is no reason for me to shoehorn in my own views, even if much has been overlooked, so this round I will leave it at, the Right is entirely incomprehensible and the Left without fault. Thus, the Left wins.

SKKS IV: 422

On the moon passing over the plain, when he presented a fifty poem sequence.

行く末は空もひとつの武蔵野に草の原より出づる月影

yukusue wa
sora mo hitotsu no
musashino ni
kusa no hara yori
izuru tsukikage
Its destination:
The skies, one with
Musashi Plain, where
From among the fields of grass
Emerges moonlight.

The Regent and Prime Minister (Fujiwara no Yoshitsune)

Love VI: 17

Left.
いつも聞く物とや人の思らむ來ぬ夕暮れの秋風の聲

itsumo kiku
mono to ya hito no
omouramu
konu yūgure no
akikaze no koe
Always do I hear
The same, is that what
He thinks?
This evening, when he has not come
Whispers the autumn wind.

A Servant Girl.
933

Right (Win).
心あらば吹かずもあらなん宵宵に人待つ宿の庭の松風

kokoro araba
fukazu mo aranan
yoiyoi ni
hito matsu yado no
niwa no matsukaze
If you have any pity,
Then I would not have you blow
Night after night
While I wait for him, through my home’s
Garden pines, o, wind!

Nobusada.
934

Both Left and Right state: we can grasp the sense of the opposing poem.

In judgement: I am unable to tell what it is that ‘does not come one evening’ (konu yūgure). ‘Whispers the autumn wind’ (akikaze no koe) is also perhaps rather novel. The Right’s ‘Garden pines, o, wind!’ (niwa no matsukaze) sounds pleasant. It should win.

Love VI: 12

Left (Tie).
君がりと浮きぬる心まよふらん雲はいくへぞ空の通ひ路

kimigari to
ukinuru kokoro
mayouran
kumo wa iku e zo
sora no kayoiji
To your home
Drifts my heart
In seeming confusion;
How may layers must the clouds
Pass though on the heavenly paths?

A Servant Girl.
923

Right.
思やるながめも今は絶えぬとや心をうづむ夕暮の雲

omoiyaru
nagame mo ima wa
taenu to ya
kokoro o uzumu
yūgure no sora
Lost in thought
I gazed at you, but now
Is it that it’s done that
Buries my heart beneath
The evening skies?

Ietaka.
924

The Right state: we would have preferred it to have been ‘is it that my heart drifts?’ (ukinuru kokoro ya). The Left state: the Right’s poem lacks faults.

In judgement: the final sections of both poems seem fine. For strict correctness, the Left should have had ‘my drifting heart does seem confused’ (ukinuru kokoro wa mayourashi), but because this would not fit with the poem, he has left it as ‘in seeming confusion’ (mayouran). The poem is fine as it is, without introducing ‘is it that my heart’ (kokoro ya). I don’t know what to make of the expression ‘to your home’ (kimigari), but ‘how may layers must the clouds pass though on the heavenly paths?’ (kumo wa iku e zo sora no kayoiji) is charming. Then again, the Right’s ‘buries my heart beneath the evening skies?’ (kokoro o uzumu yūgure no sora) has a gentle beauty about it. Thus, the round should tie.

Love VI: 6

Left (Win).
袖のうへになるるも人の形見かは我と宿せる秋の夜の月

sode no ue ni
naruru mo hito no
katami ka wa
ware to yadoseru
aki no yo no tsuki
Resting atop my sleeves
Of my love so fond
Are these keepsakes?
Remaining with me, alone
Is the moon this autumn night…

A Servant Girl.
911

Right.
ひとり住む宿の気色とあはれとや憂き身とゝもに在明の月

hitori sumu
yado no keshiki to
aware to ya
ukimi to tomo ni
ariake no tsuki
Living alone,
Is the sight of my home
So pitiful?
Alike are we in desolation,
O, dawntime moon!

Lord Tsune’ie.
912

The Right state: the Left’s poem has no faults. The Left state: the Right’s poem lacks a clear conception of love.

In judgement: the Left’s poem, indeed, has no faults. It should win.

Love V: 25

Left (Win).
枕にも跡にも露の玉散りてひとり起きゐる小夜の中山

makura ni mo
ato ni mo tsuyu no
tama chirite
hitori oki’iru
sayo no naka yama
Upon my pillow and
My foot prints both, dew
Drops have fallen
Awakening alone in
Sayo-no-Nakayama.

A Servant Girl
889

Right.
草枕ひとりあかしの浦風にいとゞ涙ぞ落ちまさりける

kusamakura
hitori akashi no
ura kaze ni
itodo namida zo
ochimasarikeru
Pillowed on the grass,
Alone at dawn in Akashi,
The breeze from the bay
Makes even more tears
Fall.

Lord Tsune’ie.
890

The Right state they have no criticisms of the Left’s poem. The Left merely say that the Right’s poem is ‘old-fashioned’.

Shunzei’s judgement: The Left’s ‘dew drops’ (tsuyu no tama) falling so widely at Sayo-no-Nakayama one can surmise to be deeply expressive of the concept of travel. The Right’s Akashi Bay is a place strongly associated with the sad sound of the wind and the waves, but the final ‘makes even more fall’ (ochimasarikeru) is insufficient. Thus, the Left should win.

Love V: 24

Left.
葦垣の上吹越ゆる夕風に通ふもつらき荻の音かな

ashigaki no
ue fukikoyuru
yūkaze ni
kayou mo tsuraki
ogi no oto kana
The rush-wood fence is
Brushed over
By the evening breeze;
So hard, its coming
In the sound of the silver grass…

A Servant Girl
887

Right (Win).
葦垣の間近き程に住む人のいつか隔てぬ中となるべき

ashigaki no
majikaki hodo ni
sumu hito no
itsuka hedatenu
naka to narubeki
The rush-wood fence:
So near
She lives;
When will unblocked
Our bond be?

The Provisional Master of the Empress’ Household Office
888

The Right state: the Left’s poem has no faults. The Left state: the Right’s poem is old-fashioned.

In judgement: both poems start with ‘rush-wood fence’ (ashigaki); the Left’s sound of the silver grass passed over by the evening wind sounds pleasant, but simply saying that the sound is hard means that the conception of Love in the poem is weak. While the initial section of the Right’s poem does sound antiquated, it is quite normal for this to be the case, and the lower section is certainly elegant. The conception of Love also seems clear, so the Right should win.

Love V: 18

Left (Tie).
戀しとは便りにつけていひやりつ年は返りぬ人は歸らず

koishi to wa
tayori ni tsukete
iiyaritsu
toshi wa kaerinu
hito wa kaerazu
I love you,
I put in a letter, and
Sent it off;
The years have gone by, but
He has not returned.

A Servant Girl
875

Right.
遥かなり幾草枕結びてかその下紐の解けんとすらん

harukanari
iku kusamakura
musubite ka
sono shitahimo no
token to sururan
A great distance –
How many times pillowed on the grass?
Tied tight
My under-belt –
I wonder when I will undo it?

Nobusada
876

The Right state: the Left’s poem seems comic. The Left state: the initial line of the Right’s poems does not seem to have much to say.

In judgement: I wonder if it really is comic? It’s just a poem in one particular style. The conception of the poem ‘I do not await / The new year, yet it is here; / The Winter plants’ is especially charming. As for the Right, the Gentlemen have stated that the first line ‘has nothing much to say’, but I feel it is appropriately placed. Furthermore, I wonder what to think about the final ‘my under-belt’ (sono shitahimo), but, then again, the configuration of ‘How many times pillowed on the grass’ (iku kusa makura) is evocative. The poems are comparable, and again, they tie. Alas, my judgement here suggests I know nothing of poetry. It is most difficult when one realises how times have changed. How sad it is…