Category Archives: 1151-1200

Sumiyoshi-sha uta’awase kaō ni-nen 27

Round Two

Left (Win)

ならしばのたびのいほりにおとづれてしぐれもいまぞやまめぐりする

narashiba no
tabi no iori ni
otozurete
shigure mo ima zo
yama megurisuru
Oak boughs make
My traveller’s hut, where
I am visited by the sound of
Showers—they, too, now
Are on pilgrimage through the mountains.[1]

Shōkaku
53

Right

たびごろもうらがなしかるあさぢふによはのしぐれよいかにせよとぞ

tabigoromo
uraganashikaru
asajū ni
yowa no shigure yo
ika ni seyo to zo
In my traveller’s garb and
Sad at heart among
The clumps of cogon grass,
O, midnight shower,
Tell me, what I am I to do?[2]

Jakuchō
54

While both Left and Right sound pleasant, I make the Left the winner, because it sounds slightly more moving at present, with a traveller’s hut being visited by showers.


[1]Alluding to: Composed when caught in a shower, while making a pilgrimage to one hundred temples in Higashiyama.  もろともに山めぐりするしぐれかなふるにかひなき身とはしらずや morotomo ni / yamamegurisuru / shigure kana / furu ni kainaki / mi to wa shirazu ya  ‘Together with me / On my mountain pilgrimage are / The showers! / ‘Tis pointless to fall / On my sorry self, don’t you know!’ Master of the Left Capital Office Michimasa (SKS IV: 149)

[2] Alluding to: 旅ごろもうらがなしさにあかしかね草の枕は夢もむすばず tabigoromo / uraganashisa ni / akashikane / kusa no makura wa / yume mo musubazu  ‘In my traveller’s garb / My heart-sickness / I cannot lift, for / My grassy pillow / Brings no dreams, at all…’ Hikaru Genji (Genji monogatari 223)

Sumiyoshi-sha uta’awase kaō ni-nen 26

Showers at one’s lodgings on a journey

Round One

Left

しぐれするもみぢのにしきゆかしきにあけてをたたむふたむらのやま

shiguresuru
momiji no nishiki
yukashiki ni
akete o tatamu
futamura no yama
Under the showers
The scarlet leaves’ brocade
I long to see, so
With the dawn let’s set forth
To Mount Futamura!

Jakunen
51

Right (Win)

みやこにもおもひやすらむくさまくらうちしぐれたるよはのねざめを

miyako ni mo
omoiyasuramu
kusamakura
uchishiguretaru
yowa no nezame o
Even in the capital
Might you think of me?
On a grassy pillow
With a shower
Awoken at midnight…

Suke
52

The Left poem’s ‘With the dawn let’s set forth / To Mount Futamura’ sounds charming, but as we can see from Lord Kanesuke’s poem ‘Futami Bay / Let’s see with the dawn’, it is quite pedestrian. Then there is the expression ‘long to see’—this really isn’t appropriate diction for poetry. I will admit that it appears from time to time in imperial anthologies, and so it is certainly permissible depending upon the style of the poem, though. There’s also the term ‘long to know’—one really shouldn’t use diction in a poetry match which doesn’t express the poet’s true feelings. As for the Right’s poem, it’s also quite pedestrian to say that showers fall on one’s way on a journey, but don’t necessarily fall in the capital, but saying that folk there might think of you waking on your journey, well, why wouldn’t they do that? The conception of the poem is pleasant, and I make it the winner.

Sumiyoshi-sha uta’awase kaō ni-nen 25

Left (Tie)

まつかぜにふけゆく月のすみのえはなみのよるこそたちまさりけれ

matsukaze ni
fukeyuku tsuki no
suminoe wa
nami o yoru koso
tachimasarikere
The wind through the pines
Blows late upon the moon
At Suminoe, where
The night’s breaking waves
Rise strikingly!

Novice Jakunen[1]
49

Right

しもならで月もるよひやかたそぎのゆきあはぬひまもかみはうれしき

shimo narade
tsuki moru yoi ya
katasogi no
yukiawanu hima mo
kami wa ureshiki
That ‘tis not frost, but
The moon, dripping at night
Through the ridge poles
Unmatched gaps,
Does the Deity feel joy?

Suke, from the Residence of the Former Minister of the Right[2]
50

The Left poem’s ‘Blows late upon the moon / At Suminoe’ sounds pleasant, but there have been recent poems, such as ‘Brings waves–that / I would tell you!’[3] and ‘Simply with the waves / Did seem to draw near with the night’[4] and while the initial section of the poem here differs, basing a poem on this is not that unusual, I think. The tone of the Right’s poem is charming, but it does not seem likely that the Deity would feel joy simply at the moon coming through the gaps in His ridgepoles. The Deity’s power is limitless and wards eighty isles beyond Sumiyoshi—indeed, there is nowhere in Tsumori’s shore or Sumiyoshi beach, above the waves or in the shad of the pines that it does not reach. I have discussed ridgepoles earlier. Nevertheless, the configuration of the poem isn’t bad, so these should tie, I think.


[1] Shami Jakunen 沙弥寂念

[2] Zen-udaijin no ie no Suke前右大臣家佐

[3] 人しれぬ思ひありそのはま風に浪のよるこそいはまほしけれ hito shirenu omoi ariso no hamakaze ni nami no yoru koso iwamahoshikere ‘Unknown to all / My passion burns—toward a rocky / Beach the breeze / Brings waves–that / I would tell you!’ Middle Captain Toshitada (Horikawa-in enjo awase 17/KYS (2) 468/500)

[4] Composed when he was asked by people in the capital what the moon had been like, when he had returned there, after going to Akashi to gaze upon it, at a time when it was particularly bright. 有明の月もあかしの浦風に波ばかりこそよるとみえしか ariake no tsuki mo akashi no urakaze ni nami bakari koso yoru to mieshika ‘The dawntime Moon’s brightness, with Akashi’s / Beach breezes / Simply with the waves / Did seem to draw near with the night…’ Taira no Tadamori (KYS (2) III: 216/KYS (3) III: 212)

Sumiyoshi-sha uta’awase kaō ni-nen 24

Left

あまくだるかみもひさしくみやゐして月ものどかにすみよしのうら

amakudaru
kami mo hisashiku
miya’ishite
tsuki mo nodoka ni
sumiyoshi no ura
Descending from Heaven,
The Deity, too, eternally
Manifests here, where
The moon, too, is calm
Above the bay of Sumiyoshi.

Venerable Dharma Eye Shōken[1]
47

Right (Win)

かみよよりたぐひなしともすみよしのまつやこよひの月をみるらむ

kamiyo yori
taguinashi tomo
sumiyoshi no
matsu ya koyoi no
tsuki o miruramu
Since the Age of Gods
Is there nothing to compare with,
At Sumiyoshi,
The pines tonight with
The moon filling my gaze?

Novice Jakuchō[2]
48

The Left appears to have a truly charming conception and configuration, but beginning with ‘The Deity, too, eternally’ and then saying ‘The moon, too, is calm’ and repeating the same word is discordant. The Right, in addition to having no particular faults to mention, has an extremely pleasant-sounding configuration with ‘The pines tonight’. Thus, I make this a win for the Right.


[1] Hōgen kashōi Shōkaku 法眼和尚位静賢

[2] Shami Jakuchō沙弥寂超

Sumiyoshi-sha uta’awase kaō ni-nen 23

Left (Tie)

すみよしのきしうつなみにてる月はこかげもあかしまつのむらだち

sumiyoshi no
kishi utsu nami ni
teru tsuki wa
kokage mo akashi
matsu no muradachi
At Sumiyoshi
Upon the waves, striking the shore,
Shines the moon—
The shadows of the trees are bright
Among the crowding pines.

Chūnagon, in service to the Former Ise Virgin[1]
45

Right

としふりてかみさびにけるすみのえのきしのたまもをみがく月かげ

toshi furite
kamisabinikeru
suminoe no
kishi no tamamo o
migaku tsukikage
Ancient in years is
The dread
Suminoe
Shore, where gemweed
Is polished by the moonlight.

Novice Sokaku[2]
46

The Left’s poem has a truly charming conception, with ‘Upon the waves, striking the shore, / Shines the moon’ reflecting and making the pines’ shadows shine. However, what are we to make of the use of ‘bright’ here? My late master once stated that he had too often heard such diction being used. The poem of the right appears to have pleasant configuration and diction, but, while it is only natural to say that the Suminoe’s shore is dread, I wonder about the appropriateness of going so far as to say that gemweed is? It’s going a bit far, I think, to bring in ‘gemweed’ simply to link it to ‘polish’. Nevertheless, the configuration of the poem appears pleasant, so I call this a tie.


[1] Zen-saigū no Chūnagon前斎宮中納言

[2] Shami Sokaku沙弥素覚

Sumiyoshi-sha uta’awase kaō ni-nen 21

Round Twenty-One

Left

ひさかたの月もひかりをやはらげてしめのうちにはすむにやあるらむ

hisakata no
tsuki mo hikari o
yawaragete
shime no uchi ni wa
sumu ni ya aruramu
The eternal
Moon, too, his light
Has softened, that
Within the sacred grounds
Should be more clear, perhaps?

Lord Fujiwara no Asamune
Supernumerary Governor of Suruga
Junior Fifth Rank, Lower Grade[1]
41

Right (Win)

月かげをゆきかとみればすみよしのあけのたまがきいろもかくれず

tsukikage o
yuki ka to mireba
sumiyoshi no
ake no tamagaki
iro mo kakurezu
When, upon the moonlight,
I looked and wondered if ‘twas snow,
At Sumiyoshi
The vermillion jewelled fences’
Hues were not concealed at all.

Lord Fujiwara no Kanetsuna
Junior Fifth Rank, Lower Grade
Without Office[2]
42

The Left’s ‘Moon, too, his light / Has softened’ and so forth seems a charming configuration, but it is unclear from this whether the moon is shining more gently within the sacred grounds. Although I do wonder about the sound of beginning with ‘I looked and wondered if ‘twas snow’ and abruptly ending with ‘Hues were not concealed at all’, the conception seems clearly expressed in the diction and so I make the Right the winner.


[1] Suruga gonkami jūgoige Fujiwara ason Asamune駿河権守従五位下藤原朝臣朝宗

[2] San’i jūgoige Fujiwara ason Kanetsuna 散位従五位下藤原朝臣懐綱

Sumiyoshi-sha uta’awase kaō ni-nen 20

Left (Win)

たまがきにひかりさしそふゆふづくよかみにたむくるかげにやあるらむ

tamagaki ni
hikari sashisouru
yūzukuyo
kami ni tamukuru
kage ni ya aruramu
The jewelled fences,
Trailed with light,
On an early moonlit evening:
Is this to the Deity an offering
Of light, I wonder?

Lord Fujiwara no Kunisuke
Supernumerary Senior Secretary of the Empress Household Office
Exalted Junior Fifth Rank, Lower Grade
39

Right

くもはらふあらしのみがく月にまたひかりをそふるあけのたまがき

kumo harau
arashi no migaku
tsuki ni mata
hikari o souru
ake no tamagaki
Clouds swept away
By the storm wind, polish
The moon, so once more
Light trails across
The vermillion jewelled fences.

Horikawa, from the Residence of the Former Chancellor[1]
40

The Left’s poem is extremely charming with the solicitousness it displays in the sequence ‘On an early moonlit evening: / Is this to the Deity an offering’, but it is truly regrettable that it does not use the full moon or that at the dawn. The Right’s poem focusses on ‘light trailing’ and, as I get the impression that I have heard this a lot recently, the earlier instances have said all there is to say here, so once more the overall style of the Left is superior.


[1] Zen-dajō daijin no ie Horikawa 前太政大臣家堀川

Sumiyoshi-sha uta’awase kaō ni-nen 19

Left

さえわたる月のひかりやすみよしのまつのはしのぎふれるしらゆき

saewataru
tsuki no hikari ya
sumiyoshi no
matsu no ha shinogi
fureru shirayuki
So chill
The moon’s light, that
Sumiyoshi’s
Pines’ needles seem weighed down
With fallen snow.

Grand Dharma Master Yūsei[i]
37

Right (Win)

月のすむなにはのうらのけしきにはかみのこころもたえずやあるらむ

tsuki no sumu
naniwa no ura no
keshiki ni wa
kami no kokoro mo
taezu ya aruramu
The moon rising above
The bay of Naniwa—
At the scene
Even the Deity’s heart
Must be unable to endure…

Lord Fujiwara no Norimori
Junior Fifth Rank, Lower Grade
Without Office[ii]
38

The poem of the Left appears pleasant in configuration and sequencing, but it lacks any profundity of thought and simply seems to flow easily. The Right’s poem appears to have some conception, managing to follow ‘Having a sensitive heart: / To such a one would I show / The land of Tsu’[1] and also seems to sound as if it conveys the sense of the old poem about a man finding the bay of Naniwa unbearably fine[2]. With that being said, expanding this to the Deity’s heart as well is charming. Thus, the Right wins.


[1] Sent to someone’s residence, when he was in Tsu province around the beginning of the year. こころあらむ人にみせばやつのくにのなにはわたりのはるのけしきを kokoro aramu / hito ni miseba ya / tsu no kuni no / naniwa watari no / haru no keshiki o ‘I would to a sensitive / Soul show / The land of Tsu / Around Naniwa— / Truly, the scenery of spring!’ Dharma Master Dōin (GSIS I: 43)

[2] Composed as a spring poem, when he presented a hundred-poem sequence. 心なきわが身なれども津の国の難波の春にたへずも有るかな kokoro naki / wagami naredomo / tsu no kuni no / naniwa no haru ni / taezu mo aru kana ‘Insensitive / Is my sorry self, yet / In the land of Tsu / Naniwa in springtime is / Unbearably fine!’ Fujiwara no Suemichi (SZS II: 106/Kyūan hyakushu 413)


[i] Daihōshi Yūsei大法師祐盛

[ii] San’i jūgoige Fujiwara ason Norimori 散位従五位下藤原朝臣憲盛

Sumiyoshi-sha uta’awase kaō ni-nen 18

Left (Tie)

てる月もおのがひかりやたむくらむしらゆふかくるすみよしのまつ

teru tsuki mo
ono ga hikari ya
tamukuramu
shirayū kakuru
sumiyoshi no matsu
Does the shining moon
Of his own light
Make an offering?
Sacred white streamers hung
From the pines of Sumiyoshi.

Lord Fujiwara no Koretsuna
Junior Fifth Rank, Lower Grade
Without Office[i]
35

Right

かたそぎのゆきあはぬまよりもる月はしもにしもをやおきかさぬらむ

katasogi no
yukiawanu ma yori
moru tsuki wa
shimo ni shimo o ya
okikasanuramu
The ridge poles
Fail to meet and from the gaps
Drips moonlight—
Is it frost atop of frost
A’falling?

Lord Fujiwara no Suesada
Junior Fifth Rank, Lower Grade
Without Office[ii]
36

The Left appears elegant, but I do not feel that ‘his own’ is particularly appropriate here. The Right’s configuration of ‘Is it frost atop of frost’ seems charming. However, there is also the point that I sincerely feel that there is no good reason in the current composition to shoehorn in ‘The ridge poles / Fail to meet and from the gaps’, and thus these tie again.


[i] San’i jūgoige Fujiwara ason Koretsuna散位従五位下藤原朝臣伊綱

[ii] San’i jūgoige Fujiwara ason Suesada 散位従五位下藤原朝臣季定