Tag Archives: yuki

Spring I: 10

Left (Win).

霞みあへず猶降る雪に空とぢて春物ふかき埋み火のもと

kasumi aezu
nao furu yuki ni
sora tojite
haru monofukaki
uzumibi no moto
No trace of haze and
Still the falling snow
Seals the sky;
Spring lies deep
Amongst the buried embers.

Lord Sada’ie

19

Right.

霞しくけさゝへ冴ゆる袂かな雪ふる年や身につもるらん

kasumi shiku
kesa sae sayuru
tamoto kana
yuki furu toshi ya
mi ni tsumoruran
Haze spreads:
Today, ‘tis clear
Upon my sleeve:
Is it with snow fall this year
That I am buried?

Lord Takanobu

20

The Right team state that the final line of the Left’s poem is ‘grating on the ear’, but that otherwise they can find nothing wrong with it. Shunzei remarks somewhat testily, that they are pre-empting his role as judge, but broadly agrees, finding the central image of snow ‘sealing the sky’ particularly fine. He finds the Right’s poem problematic in that ‘haze spreads’ in the middle of spring, and this poem is supposed to be describing the season’s beginning – it should be ‘haze rises’ (kasumi tatsu), and there is nothing remarkable about the rest of it. Thus, he awards the round to the Left.

Spring I: 9

Left (Win).

信樂の外山は雪も消えにしを冬を殘すや谷の夕風

shigaraki no
toyama wa yuki mo
kienishi o
fuyu o nokosu ya
tani no yūkaze
From Shigaraki’s
Mountains, the snow
Has gone, yet
Does winter remain in
The valleys’ evening breeze?

Kenshō

17

Right.

春風は吹くと聞けども柴の屋はなをさむしろにいこそ寢られね

haru kaze wa
fuku to kikedomo
shiba no ya wa
nao samushiro ni
i koso nerarene
The spring breeze
Blows, I hear, yet
My twig-roofed hut is
Yet chill: beneath a threadbare blanket
I cannot fall asleep.

Lord Tsune’ie

18

Shunzei states the first part of the Left’s poem is ‘elevated in tone’, but that the final line is problematic: a reference to ‘morning’ might have been better, or just to the ‘valleys’ breeze’, but this would not have fitted the syllable count. If the intention had been to add a sense of ‘darkness’ to the poem, an expression such as ‘the valleys, shadowed by the crags’ would have been better. As for the Right’s poem, the image of the ‘twig-roofed hut’ is lonely, but the overlaying of the ‘cold’ with ‘blanket’ (in the original poem ‘samushiro’ is a play-on-words with both senses) is pedestrian, and so the Left’s poem, despite its faults, is adjudged the winner.

Spring I: 8

Left (Tie).

春來ても猶しみこほる山里はかけひの水のをとづれもなし

haru kitemo
nao shimikōru
yamazato wa
kakehi no mizu no
otozure mo nashi
Though spring has come,
Yet chill seeps within
My mountain home:
Water from the pipes
Makes no sound at all…

Lord Kanemune

15

Right (Tie).

春來ても雪降る空をながむれば霞も冴ゆる心地こそすれ

haru kitemo
yuki furu sora o
nagamureba
kasumi mo sayuru
kokochi koso sure
Though spring has come
When on the sky, full of falling snow,
I gaze,
Even the haze of spring is clearly cold
I feel.

Ietaka

16

The Right team here disapprove of the Left’s use of shimikōru, calling it, ‘grating on the ear’ – Shunzei disagrees, saying that neither component, shimi or kōru, is ‘vulgar’. Both poems, he feels, start well, and the fourth line of the Right poem, kasumi mo sayuru, is particularly fine, but, once again, the round must be adjudged a tie.

Spring I: 7

Left (Tie).

なを冴ゆるけしきにしるし山ざくらまだ冬ごもる梢なるらん

nao sayuru
keshiki ni shirushi
yamazakura
mada fuyugomoru
kozue naruran
Still so clear
Is the scene: it must be a sign that
Mountain cherries are
Yet sealed in winter,
Outstanding on the treetops…

Lord Suetsune

13

Right (Tie).

したふべき冬には雪のをくれゐて春ともいはず冴えわたるらん

shitaubeki
fuyu ni wa yuki no
okureite
haru tomo iwazu
saewataruran
How it must long for
Winter – the snow
Remains,
Though ‘tis spring, needless to say:
That is clear, indeed!

The Provisional Assistant Master of the Empress’ Household Office

14

The Right state that as the entirety of the topic is expressed in the first line of the Left’s poem, it lack care [nen nashi]. The Left respond that saying that the characters of the topic appear in the first line of our poem suggest the Right is unable to count correctly! As for the Right’s poem, we find no particular faults, but it is ordinary [mezurashiki ni arazu].

Shunzei’s judgement: The form of both poems is splendid [sugata wa yū ni koso haberumere]. In general, the mass of modern composition, whether or not it shows understanding of the form and diction of poetry [kinrai no utayomi no tomogara, sugata kotoba wa shireru ka shirazaru ka], also frequently fails to show enough attention to details of techique [bimyō no fūjō] and that I have cause to say this is certainly not laudable [kanshin serezaru koto]. However, the Right’s ‘the snow remains’ (yuki no okureite), seems somewhat contrived [sukoshi omoubeku], though the final one is excellent [yoroshikuhaberu]. Thus, it’s impossible to distinguish between the two poems.

Winter 50

Left (Win).

お泊瀬や峰のときは木吹しほり嵐にくもる雪の山本

ohatsuse ya
mine no tokiwagi
fukishiori
arashi ni kumoru
yuki no yamamoto
Upon Ohatsuse
Peak, the evergreens
Bow down before
The storm wind: clouds of
Snow around the mountain’s foot.

99

Right

白妙にたなびく雲を吹きまぜて雪にあまぎる峰の松風

shirotae ni
tanabiku kumo o
fukimazete
yuki ni amagiru
mine no matsukaze
A cloth of white
The streaming clouds
Are blown together with
The snow, shrouding the sky,
As zephyrs brush the peak-bound pines.

100

Winter 49

Left (Tie).

神さびていはふ御室の年ふりて猶ゆふかくる松の白雪

kamusabite
iwau mimuro no
toshi furite
nao yū kakuru
matsu no shirayuki
Upon the hallowed,
Celebrated shrine
Year piles on year;
Even now sacred cords hang,
Like snow upon the pines.

97

Right

ながめやる衣手さむく降雪にゆふやみしらぬ山の端の月

nagameyaru
koromode samuku
furu yuki ni
yūyami shiranu
yama no ha no tsuki
Gazing into space
My sleeves grow chill
With fallen snow;
The dark of night is all unknown,
The moon on the distant mountains’ edge.

98

Winter 48

Left (Tie).

雪折の竹の下道跡もなし荒れにしのちの深草の里

yuki ore no
take no shitamichi
ato mo nashi
arenishi nochi no
fukakusa no sato
Snow-snapped
Bamboo trails
Bear no tracks
After the storm
At the estate of Fukakusa.

95

Right

大伴の御津の濱風吹はらへ松とも見えじうづむ白雪

ōtomo no
mitsu no hama
kaze
fukiharae
matsu tomo mieji
uzumu shirayuki
In Ōtomo
Upon the beach at Mitsu, wind,
Blow clean
The pines, for they seem unlike themselves,
Buried in drifted snow.

96

Winter 47

Left (Tie).

駒とめて袖うちはらふかげもなし佐野ゝわたりの雪の夕暮

koma tomete
sode uchiharau
kage mo nashi
sano no watari no
yuki no yûgure
Halting my mount,
To sweep clear my sleeves,
Shelter is there none,
At the ferry port of Sano,
This snow-shrouded evening.

93

Right

待人の麓の道やたえぬ覧軒ばの杉に雪をもるなり

matsu hito no
fumoto no michi ya
taenuran
nokiba no sugi ni
yuki o morunari
My awaited guest’s
Path through the foothills
Must have vanished,
For the cedar by my eaves
Stands buried in the snow.

94

Winter 46

Left (Win).

浦風やとはに浪こす濱松のねにあらはれてなくちどりかな

ura kaze ya
towa ni nami kosu
hamamatsu no
ne ni arawarete
naku chidori kana
The breeze across the bay
Endlessly breaks waves upon
The beach-bound pines
Washed roots, as comes the sound of
Plover calls…

91

Right

志賀の浦や氷もいくえゐるたづの霜の上毛に雪は降つゝ

shiga no ura ya
kōri mo ikue
iru tazu no
shimo no uwage ni
yuki wa furitsutsu
In the bay at Shiga
Many-fold the layers of ice:
There, the cranes,
Frost upon their feathers stand
In the ever-falling snow.

92

Spring 9

Left (Tie).

みよしのは花にうつろふ山なれば春さへみゆき故郷の空

miyoshino wa
hana ni utsurou
yama nareba
haru sae miyuki
furusato no sora
When fair Yoshino is
Filled with fading flowers,
All across the mountain,
Still thick with spring snows are
The skies above my ancient home.

17

Right

櫻色の庭の春風跡もなしとはゞぞ人の雪とだに見ん

sakura iro no
niwa no haru kaze
ato mo nashi
towaba zo hito no
yuki to dani min
Cherry blossom hued
My garden has the spring breeze stained,
With not a dint upon it,
Should someone come calling,
He would swear snow had fallen.

18