Ronshunjū uta’awase 02

Left

こひするにわびしきことをくらぶるになつとふゆとはいづれまされり

koisuru ni
wabishiki koto o
kuraburu ni
natsu to fuyu to wa
izure masareri
When in love and
Its suffering
We compare,
Summer or winter,
Which is finer?

Kuronushi
11

Right

なきながすなみだもそでにそほちつつほせどかわかぬふゆはまされり

nakinagasu
namida mo sode ni
sōchitsutsu
hosedo kawakanu
fuyu wa masareri
Weeping, flow
Tears upon my sleeves
Leaving them ever drenched and
Though I hang them out, never do they dry—
Winter is finer.

Toyonushi
12

Left

いとどしくあつかはしきにこひにさへみのみこがるるなつはまされり

itodoshiku
atsukawashiki ni
koi ni sae
mi nomi kogaruru
natsu wa masareri
With dreadful
Heat and
Passion’s fire
My flesh simply smoulders—
Summer is finer.

Kuronushi
13

Right

きえかへりものおもふやどにいとどしくゆきのふりつむふゆはまされり

kiekaeri
mono’omou yado ni
itodoshiki
yuki no furitsumu
fuyu wa masareri
Vanishing inside
My home, filled with gloomy thoughts, and Dreadful
Snow falling in drifts—
Winter is finer.

Toyonushi
14

Left

こひわびてうちなくそらにせみのこゑしらべあはするなつはまされり

koiwabite
uchinaku sora ni
semi no koe
shirabe awasuru
natsu wa masareri
Suffering with love,
My cries rise into the skies, and
With the cicadas’ songs
Form a single refrain—
Summer is finer.

Kuronushi
15

Right

さむきよにうすきころもをかへしつつぬれどねられぬふゆはまされり

samuki yo ni
usuki koromo o
kaeshitsutsu
nuredo nerarenu
fuyu wa masareri
On nights so cold
My scanty robe
I ever turn inside out and
Lie me down, yet sleepless remain—
Winter is finer!

Toyonushi
16

Left

ながきひをおもひくらしてむしのねをよるはなきあかすなつはまされり

nagaki hi o
omoikurashite
mushi no ne o
yoru wa naki’akasu
natsu wa masareri
The long days
I spend burning with passion’s fire, and
As the insects cry throughout
The night, I greet the dawn with sobs—
Summer is finer.

Kuronushi
17

Right

くさもきもおもひもともにかれゆきてしぐれにぬるるふゆはまされり

kusa mo ki mo
omoi mo tomo ni
kareyukite
shigure ni nururu
fuyu wa masareri
Both trees and grass and
Passion’s fire, all
Wither away,
Soaked by showers,
Winter is finer!

Toyonushi
18

Left

くさもきもおもひもしげくなりゆきてつゆにそほつるなつはまされり

kusa mo ki mo
omoi mo shigeku
nariyukite
tsuyu ni sōtsuru
natsu wa masareri
Both trees and grass and
Passion’s fire lushly
Grow,
Drenched by dewfall,
Summer is finer!

Kuronushi
19

Right

ひとはこずこほりにやどはとぢられておきびにもゆるふゆはまされり

hito wa kozu
kōri ni yado wa
tojirarete
okibi ni moyuru
fuyu wa masareri
My man fails to come
To my house, with ice
Sealed up, where
Charcoal embers smoulder—
Winter is finer!

Toyonushi
20

Mitsune judges

いつもいつもいかでかこひのやすからむふかきこころぞわびしさはます

itsumo itsumo
ikade ka koi no
yasuraramu
fukaki kokoro zo
wabishisa wa masu
Always, always
How can I love’s pain
Ease?
A passionate heart with
Sorrow will always swell.

Sumiyoshi-sha uta’awase kaō ni-nen 13

Round Thirteen

Left

すみよしのあまくだりますまつのうへにそらよりかくる月のしらゆふ

sumiyoshi no
amakudarimasu
matsu no ue ni
sora yori kakuru
tsuki no shirayū
At Sumiyoshi
Did the Deity descend from Heaven
To the pines—upon them
From the skies are hung
The moon’s sacred streamers.

Kamo no Agatanushi Masahira
Kataoka Junior Assistant Priest[1]
25

Right (Win)

しめのうちにしらゆふかけぬひまぞなき月もたむけのこころありけり

shime no uchi ni
shirayū kakenu
hima zo naki
tsuki mo tamuke no
kokoro arikeri
Within the holy precints
Sacred streamers fail to hang
In not a single spot—
The moon to make an offering
Is of a mind.

Lord Fujiwara no Chikashige
Junior Fifth Rank, Upper Grade,
Without Office[2]
26

While the poem of the Left’s ‘From the skies are hung’ and so forth seems charming, I do wonder about the idea of the ‘Deity descending from Heaven / To the pines’—it’s vague. The poem of the Right’s conception and configuration of ‘The moon to make an offering’ appears pleasant, and thus it wins.


[1] Kataoka negi jūyon’ijō Kamo agatanushi Masahira 片岡禰宜従四位上賀茂県主政平

[2] San’i jūgoijō Fujiwara ason Chikashige 散位従五位上藤原朝臣親重

Sumiyoshi-sha uta’awase kaō ni-nen 12

Round Twelve

Left (Tie)

すみのぼる月のひかりにみがかれてくもりも見えずたまつしまひめ

suminoboru
tsuki no hikari ni
migakurete
kumori mo miezu
tamatsu shimahime
Climbing clearly
The moon’s light
Polishes, so that
No clouds appear above
The divine Princess of Tamatsu Isle!

Lord Fujiwara no Suetsune
Assistant Master of the Empress Household Office
Exalted Senior Fourth Rank, Lower Grade[1]
23

Right

すみよしのまつのこずゑにいる月はしづえのひまぞなほまたれける

sumiyoshi no
matsu no kozue ni
iru tsuki wa
shizue no hima zo
nao matarekeru
At Sumiyoshi
Into the treetops of the pines
Has sunk the moon—
The gaps ‘tween the lower boughs
Will ever be awaited!

Lord Fujiwara no Takanobu
Supernumerary Director of the Bureau of Horses, Right Division
Exalted Junior Fifth Rank, Upper Grade[2]
24

The conception of the Left’s poem of the moon’s light polishing Tamatsu Isle appears charming, but it would have been preferable to stop with ‘No clouds appear above / Tamatsu Isle’. Even though the poem wishes to say that ‘no clouds appear above’ her, the final use of ‘princess’ is a bit critical [for a poem mentioning a deity], isn’t it? As for the Right’s poem, while it does seem to have been composed with some attempt at conception, saying ‘Into the treetops of the pines / Has sunk the moon’ makes it sound as if the light can sink there, but this is what happens at the mountains’ edge, I feel. Thus, here we do have a reference to the moon over this particular shrine, while the Left is based on a reference to the Deity of Tamatsu Isle, and as both of these places are splendid, I hesitate to award a win or a loss and thus, once more, the round ties.


[1] Shōyon’ige-gyō chūgū no suke Fujiwara ason Suetsune正四位下行中宮亮藤原朝臣季経

[2] Jūgoijō-gyō uma no gonkami Fujiwara ason Takanobu 従五位上行右馬権頭藤原朝臣隆信

Sumiyoshi-sha uta’awase kaō ni-nen 11

Round Eleven

Left (Tie)

すみよしのかみさびにけるたまがきをみがくは月のひかりなりけり

sumiyoshi no
kamisabinikeru
tamagaki o
migaku wa tsuki no
hikari narikeri
Sumiyoshi’s
Awesome
Begemmed fences are
Polished by the moon’s
Light.

Hyōenokami, in service to the Junior Consort[1]
21

Right

くまもなくさえゆく月にみがかれてひかりをそふるあけのたまがき

kuma mo naku
saeyuku tsuki ni
migakurete
hikari o souru
ake no tamagaki
Not a cloud mars
The chill moon
Polishing
With trailing light
The vermillion begemmed fences.

Lord Minamoto no Michichika,
Supernumerary Minor Captain in the Inner Palace Guards, Right Division,
Exalted Senior Fourth Rank, Upper Grade[2]
22

Both Left and Right take up the image of the moon’s light polishing the begemmed fences, and the Right’s final section expresses emotions which are frequently heard, while the Left, furthermore, is repetitive [it concludes two lines with the ending –keru/keri] and thus I make the round a tie.


[1] Nyōgo no ie Hyōenokami女御家兵衛督

[2] Shōyon’ige-gyō ukonoe gonshōjō Minamoto ason Michichika 正四位下行右近衛権少将源朝臣通親

Sumiyoshi-sha uta’awase kaō ni-nen 10

Round Ten

Left (Tie)

まつもみなしらゆふかけてすみよしの月のひかりもかみさびにけり

matsu mo mina
shirayū kakete
sumiyoshi no
tsuki no hikari mo
kamisabinikeri
The pine trees, every one,
Are hung with sacred streamers—
At Sumiyoshi
Even the moon’s light
Inspires awe.

Hyōenosuke, in service to the Junior Consort
(formerly Handmaid Mikawa, in service at the Nijō Palace)[1]
19

Right

かたそぎのゆきあはぬまよりもる月をさえぬしもとやかみは見るらむ

katasogi no
yuki awanu ma yori
moru tsuki o
saenu shimo to ya
kami wa miruramu
The ridge poles
Fail to entwine, and from the gaps
Drips moonlight—
As chill-less frost, I wonder,
Does the Deity regard it?

Lord Fujiwara no Naganori
Supernumerary Minor Captain in the Inner Palace Guards, Left Division
Exalted Senior Fourth Rank, Lower Grade[2]
20

The Left’s poem appears to have a pleasant configuration with ‘Even the moon’s light / Inspires awe’. The poem of the Right, furthermore, has a charming-sounding sequence with ‘As chill-less frost, I wonder, / Does the Deity regard it?’ but in composition one usually states that the moon is fair precisely because of its chill. Thus, when one compares it to true frost, can one say that it lacks it? While I do feel that this is somewhat vague, both the poems appear to pleasant configurations, so I make this a tie.


[1] Nȳogo no ie Hyōenosuke moto nijōin Mikawa no maishi女御家兵衛佐元二条院参河内侍

[2] Shōyon’ige-gyō konoe gonshōjō Fujiwara ason Naganori 正四位下行左近衛権少将藤原朝臣修範

Sumiyoshi-sha uta’awase kaō ni-nen 09

Round Nine

Left

すみのえのこほりとみゆる月かげにとけやしぬらむかみのこころも

suminoe no
kōri to miyuru
tsukikage ni
toke ya shinuramu
kami no kokoro mo
At Suminoe
As ice appears
The moonlight, but
Is not, perhaps, melted
Even the deity’s heart?

Lord Fujiwara no Kinshige
Senior Fourth Rank, Lower Grade
Without Office[1]
17

Right (Win)

すみよしのおまへのきしのまつのはもかずかくれなくみゆる月かげ

sumiyoshi no
omae no kishi no
matsu no ha mo
kazu kakurenaku
miyuru tsukikage
At Sumiyoshi
On the coast before the shrine
Even the pine needles
Cannot hide their numbers,
Appearing in the moonlight.

Venerable Dharma Eye Enjitsu[2]
18

While in the Left ‘ice appears’ and ‘is not, perhaps, melted’ seem to have some kind of linkage, if we consider this as a Cathay-style poem saying ‘A chill night’s moon / Ice atop the swell’, then I would have preferred it to say ‘is, perhaps, bound’. An alternative version of this would, of course, be ‘A spring morn’s breeze / Ice on the eastern shore’ which could lead to ‘is not, perhaps, melted’, I think. The Right has ‘On the coast before the shrine / Even the pine needles’ and through this type of linkage expresses the brightness of the moon. While this type of smug-sounding expression also appeared in the round before last, the moon here does seem bright and so I can say that the Right wins.


[1] San’i shōyon’ige Fujiwara ason Kinshige 散位正四位下藤原朝臣公重

[2] Hōgen kashōi Enjitsu 法眼和尚位円実

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 48

Round Twelve

Left (Tie)

柞原しぐれにそむるくれなゐはこずゑの風や吹きてほすらん

hahasowara
shigure ni somuru
kurenai wa
kozue no kaze ya
fukitehosuran
The oak groves by
The showers are dyed
With scarlet—
Might the wind through the treetops,
Gusting, bring dryness?

Shinkaku
95

Right

紅葉ばは入日の影のさしそひてゆふくれなゐの色ぞことなる

momijiba wa
irihi no kage no
sashisoite
yūkurenai no
iro zo kotonaru
The autumn leaves
By sunset’s light
Are struck, and
Evening’s scarlet
Hue is startlingly fine!

Lay Priest Norinaga
96

In the Left’s poem I would want there to be an expression such as ‘robe’ or ‘brocade’ which is being blown. As for the Right, it lacks any unusual diction, but has no noticeable faults, so these should tie.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 47

Round Eleven

Left

おぼつかないづれうらごの山ならんみなくれなゐにみゆる紅葉ば

obotsukana
izure urago no
yama naran
mina kurenai ni
miyuru momijiba
How strange it is—
Where is Urago
Mountain, I wonder?
When all the same scarlet
Seem the autumn leaves…

Kiyosuke
93

Right (Win)

大ゐ河きしのもみぢのちるをりは浪にたたするにしきとぞみる

ōigawa
kishi no momiji no
chiru ori wa
nami ni tatasuru
nishiki to zo miru
At the River Ōi,
When the scarlet leaves upon the bank
Come to fall,
Cut out by the waves,
Does their brocade appear!

Mikawa
94

When I listen to the Left I wonder what on earth it’s actually about—the end seems redolent of love. The Right doesn’t seem to have any particular faults, so it should win.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 46

Round Ten

Left (Win)

一たびは風にちりにし紅葉ばをとなせの滝の猶おとすかな

hitotabi wa
kaze ni chirinishi
momijiba o
tonase no taki no
nao otosu kana
Once
Scattered by the wind
Scarlet leaves
Down the cateract at
Tonase Fall once more!

Arifusa
91

Right

色ふかき紅葉うつらぬ所こそ立田の川のあさせなりけれ

iro fukaki
momiji utsuranu
tokoro koso
tatsuta no kawa no
asase narikere
Deep the hues of
Scarlet leaves, reflected not
In this place above all:
The River Tatsuta’s
Shallow rapids.

Lay Priest Sanekiyo
92

The Left appears charming, but might have been slightly improved had it been composed about pleasure boating on the Ōi. As for the Right, it is erroneous to specify the shallow rapids as a place where scarlet leave are not reflected. Taken as a whole it is inferior.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 45

Round Nine

Left (Tie)

秋ごとに葉もりの神のつらきかな紅葉を風にまかすとおもへば

aki goto ni
hamori no kami no
tsuraki kana
momiji o kaze ni
makasu to omoeba
Every single autumn,
The guardian deity of the leaves is
Cruel, indeed!
The scarlet leaves to the wind
He does abandon, I feel…

Narinaka
89

Right

くれなゐに梢の色のかはるより風の音さへあらずなるかな

kurenai ni
kozue no iro no
kawaru yori
kaze no oto sae
arazunaru kana
Since to scarlet
The treetops hues
Have changed,
Even the sound of the wind is
Not as it was!

Tōren
90

The Left depicts things just as they are. If the Right has the same conception as the Cathay-style poem on the wind lessening every morning at Shanglin Park,[1] then it’s that one feels that after the leaves have turned, they’ll scatter, yet one has to think that, later, in summer the treetops will grow lush again, and the sounds do not resemble each other; neither of these are faults and so the round ties.


[1] Wakan rōeishū 312