Category Archives: Entō ōn’uta’awase

Entō ōn’uta’awase 40

Round Forty

Left (Win)

山もとの杜のしめ縄ながきよを秋のをしかの鳴きあかすらん

yamamoto no
mori no shimenawa
nagaki yo o
aki no oshika no
nakiakasuran
At the mountains’ foot lies
A sacred grove with garlands
Long as the nights
In autumn when the stag
Bells in the dawn.

Tomoshige
79

Right

なよ竹のよながき秋の山風に幾たび鹿のね覚しつらん

nayotake no
yo nagaki aki no
yamakaze ni
ikutabi shika no
nezameshitsuran
Green bamboo with
Knots as apart as the autumn night is long,
While with the mountain wind
How many times might the stag
Have awakened?[1]

Dharma Master Zenshin
80

The Left’s poem has ‘at the mountains’ foot lies a sacred grove with garlands long as the nights’ which sounds pleasant. The Right has ‘knots as apart as the autumn night is long, while with the mountain wind’—these, too, seem to have no clear winner or loser, yet still, the Left should be superior and should win.[2]


[1] An allusive variation on: Composed when the gentlemen in the Crown Prince’s service were presented with wine, on the occasion of Tadafusa being appointed Secretary of an embassy to China, during the reign of the Kanpyō emperor. なよ竹のよながきうへにはつしものおきゐて物を思ふころかな nayotake no / yo nagaki  ue ni / hatsushimo no / oki’ite mono o / omou koro kana ‘Green bamboo with / Knots as far apart as the night is long / While the first frost settles on my active / Thoughts these days!’ Fujiwara no Tadafusa (KKS XVIII: 993)

Entō ōn’uta’awase 39

Round Thirty-Nine

Left (Tie)

さをしかのふしどをあさみ吹く風に夜半に鳴く音ぞふかくなりゆく

saoshika no
fushido o asami
fuku kaze ni
yowa ni naku ne zo
fukaku nariyuku
The stag’s
Resting place disturbed by
The gusting wind
At midnight his belling cry
Comes from deeper in the mountains.

Chikanari
77

Right

さらでだにね覚かなしき秋風に夜しもなどか鹿の鳴くらん

sarade dani
nezame kanashiki
akikaze ni
yoru shimo nado ka
shika no nakuran
Even were it not so,
To waken is so sad
With the cruel autumn wind;
Why is it that above all at night
The stag should cry so?

Ie’kiyo
78

The Left poem’s ‘at midnight his belling cry comes from deeper’ does not sound especially elegant. The Right poem composes ‘why is it that above all at night the stag should cry so’, sounding like it is only at night that stags bell, but stags do this all the time in autumn. The Ancient and Modern also has the composition, ‘Mud-daubers buzzing / In the autumn bush clover; / Leaving with morning’.[1] The poems of Left and Right have no merits or faults between them—they should tie.


[1] This is a quotation from: Topic unknown. すがるなく秋のはぎはらあさたちて旅行く人をいつとかまたむ sugaru naku / aki no hagiwara / asa tachite / tabi yuku hito o / itsu to ka matan ‘Mud-daubers buzzing / In the autumn bush clover; / Leaving with morning, / Away on a journey: for him, / How long must I wait?’ Anonymous (KKS VIII: 366)

Entō ōn’uta’awase 38

Round Thirty-Eight

Left

今更にふしもさだめぬ鹿の音よ木葉の数のつもるよごとに

ima sara ni
fushi mo sadamenu
shika no ne yo
ko no ha no kazu no
tsumoru goto ni
At around this time,
With his bedding undecided,
The stag bells out!
Just as the leaves’ from on the trees numbers
Do mount up…

Shō
75

Right (Win)

木葉ちる夜半の嵐の月影に心すみてや鹿も鳴くらん

ko no ha chiru
yowa no arashi no
tsukikage ni
kokoro sumite ya
shika mo nakuran
Leaves scatter from the trees
In the midnight storm
In the moonlight
From his wild and earthy thoughts
Does the stag, too, cry out?

Nagatsuna
76

The Left’s ‘just as the leaves from on the trees numbers do mount up’ at night and so forth, appears to be a novel style, yet the Right poem sounds more gorgeous, so it wins.

Entō ōn’uta’awase 37

Round Thirty-Seven

Left (Tie)

むば玉のよやふけぬらんさをしかの声すみのぼるをのの草ぶし

mubatama no
yo ya fukenuran
saoshika no
koe suminoboru
ono no kusabushi
Might lily-seed dark
Night have fallen?
The stag’s
Cry clearly climbs
From where he lies among the meadow grasses.

Takasuke
73

Right

秋のよはつまどふ鹿の深山出でていまだ旅なるをのの草ぶし

aki no yo wa
tsumadou shika no
miyama idete
imada tabi naru
ono no kusabushi
On an autumn night,
Seeking his bride, the stag
Emerges from the mountains’ depths,
And now on his travels
Lies among the meadow grasses.

Shimotsuke
74

Left and Right’s ‘lies among the meadow grasses’ have no merits or faults between them. A pleasant tie.

Entō ōn’uta’awase 36

Round Thirty-Six

Left

秋をおもふ涙やもろき夕月夜木葉がくれに鹿ぞ鳴くなる

aki o omou
namida ya moroki
yūzukuyo
ko no hagakure ni
shika zo nakunaru
Filled with autumn feelings
Do tears drip down?
On a moonlit evening
Hidden ‘mong the leafy trees,
A stag does call.

Dōchin
71

Right (Win)

を山田に風の吹きしくいなむしろよなよな鹿のふしどなりけり

oyamada ni
kaze no fukishiku
inamushiro
yonayona shika no
fushidonarikeri
Across the mountain paddies
The wind blows, spreading
The rice into a coverlet, where
Night after night, the stag
Does lay his head.

Dharma Master Nyokan
72

The Left’s poem does not appear to have any faults worth indicating, yet the Right’s poem is still more pleasant. It should win.

Entō ōn’uta’awase 35

Round Thirty-Five

Left (Tie)

おのがすむ嶺の木がらし寒き夜は鹿も紅葉の衣きるらし

ono ga sumu
mine no kogarashi
samuki yo wa
shika mo momiji no
koromo kirurashi
Where he dwells upon
The peak, the bitter wind
On a night so chill, for
The stag, of scarlet leaves
Does seem to make a robe.

The Supernumerary Major Counsellor
69

Right

すみのぼる月にうらむる声すなりねられぬ鹿や夜寒なるらん

suminoboru
tsuki ni uramuru
koesunari
nerarenu shika ya
yozamu naruran
Climbing clearly
At the moon, in despair
Does he cry—
Sleepless, does the stag
Feel night’s chill, perhaps?

Nobunari
70

The Left’s poem has ‘the stag, of scarlet leaves does seem to make a robe’ which sounds charming, and the Right’s poem has ‘sleepless, does the stag feel night’s chill, perhaps’, which appears refined. Thus, they tie.

Entō ōn’uta’awase 34

Round Thirty-Four

Left

もののふもあはれとおもへあづさ弓ひきのの夜半のさをしかの声

mononofu mo
aware to omoe
azusayumi
hikino no yowa no
saoshika no koe
Let even a warrior
Feel pity!
A catalpa bow drawn
On Hiki Plain at a midnight
Stag’s call.

The Former Minister of the Centre
67

Right (Win)

つれもなきつまをやたのむ秋風の身にさむき夜は鹿も鳴くなり

tsure mo naki
tsuma o ya tanomu
akikaze no
mi ni samuki yo wa
shika mo nakunari
Is it his heartless
Bride he seeks?
The autumn wind
Chills the bones at night
As the stag, too, does cry.[1]

Kozaishō
68

The Left’s poem seems to have no faults worth mentioning, but the Right’s poem is composed with the poem ‘The autumn wind / Chills my bones / As cold as / The woman I hope for / In the dark, night after night’ in mind and seems particularly pleasant, so it wins.


[1] An allusive variation on: Topic unknown. 秋風の身にさむければつれもなき人をぞたのむくるる夜ごとに aki kaze no / mi ni samukereba / tsuremonaki / hito o zo tanomu / kururu yo goto ni ‘The autumn wind / Chills my bones / As cold as / The woman I hope for / In the dark, night after night.’ Dharma Master Sosei (KKS XII: 555)

Entō ōn’uta’awase 33

Round Thirty-Three

Stags in the Night[1]

Left

久方のかつらの陰に鳴く鹿は光をかけて声ぞさやけき

hisakata no
katsura no kage ni
naku shika wa
hikari o kakete
koe zo sayakeki
In the eternal
Silver trees’ glow
The belling stag
Is limned with light, and
His voice sounds clear, indeed!

A Court Lady
65

Right (Win)

天川秋の一夜のちぎりだにかた野に鹿の音をや鳴くらん

ama no kawa
aki no hitoyo no
chigiri dani
katano ni shika no
ne o ya nakuran
By the River of Heaven
For a single autumn night’s
Brief bond—
Is that why a stag at Katano
Does cry out so?

Ietaka
66

The Right’s poem, by beginning with ‘By the River of Heaven / For a single autumn night’s / Brief bond’ and then continuing with ‘a stag at Katano’ sounds particularly refined, evoking memories of bygone days when Prince Koretaka sought lodging from the Weaver Maid when hunting at Katano—how charming it is.[2] The Left’s poem overall is not particularly bad and seems to lack any obvious faults, but the Right’s poem surpasses it in every way: it is not one of the normal run of compositions and thus, it must win.


[1] 夜鹿 – there are early examples of poems on related topics in Kin’yōshū and Senzaishū.

[2] Gotoba is referring to a pair of poems in Kokinshū which are contextualized by an account of a hunting expedition by Prince Koretaka 惟喬 (844-897): Once, when he had gone hunting in the company of Prince Koretaka, they dismounted by the banks of a river called Ama no Gawa (River of Heaven), and while they were tippling, the Prince commanded that Narihira offer him a wine cup with a poem expressing the feelings of a hunter arriving at the river of Heaven, so he composed the following: かりくらしたなばたつめにやどからむあまのかはらに我はきにけり kari kurashi / tanabatatsume ni / yado karamu / ama no kawara ni / ware wa kinkeri  ‘While hunting night is falling, / So from the Weaver Maid / Let us beg lodging / For to the Riverbank of Heaven / Have we come!’ Ariwara no Narihira (KKS IX: 418); The prince recited the above poem many times, but was unable to think of a reply so, being one of the party, Aritsune composed this: ひととせにひとたびきます君まてばやどかす人もあらじとぞ思ふ hito tose ni / hito tabi kimasu / kimi mateba / yado kasu hito mo / araji to zo omou ‘In a single year / But once comes / The Lord she awaits, so / One who provides lodging / She is not, I’d say!’ Ki no Aritsune (KKS IX: 419). These poems were famously incorporated into chapter 82 of Ise monogatari with four others to provide an expanded context. See Horiuchi and Akiyama (1997, 157-160) for the original text and Mostow and Tyler (2010, 175-179) for an English translation and commentary.

Entō ōn’uta’awase 32

Round Thirty-Two

Left (Tie)

上葉ふく朝の原の秋風におのれうつろふ萩の下露

uwaba fuku
ashita no hara no
akikaze ni
onore utsurou
hagi no shitazuyu
Blowing upon the upper leaves
Over Ashita Plain,
The autumn breeze touches,
Fading all of itself
The dripping dew upon the bush clover.

Tomoshige
63

Right

今よりはたが涙とか成りぬらん下葉色づく秋萩の露

ima yori wa
ta ga namida to ka
narinuran
shitaba irozuku
akihagi no tsuyu
From now on
Whose tears might
They become?
Colouring the underleaves
Are dewdrops upon the autumn bush clover…[1]

Dharma Master Zenshin
64

Left and Right are in the same style. The Right’s poem wonders ‘whose are these tears’ and has a person’s tears as the dew upon the grass, which is something one often hears. Using dew on the grass as a person’s tears is a bit vague, yet it’s not going so far as to be a definite fault. These should tie.


[1] An allusive variation on: Topic unknown. あきはぎのしたば色づく今よりやひとりある人のいねがてにする akihagi no / shitaba irozuku / ima yori ya / hitori aru hito no / inegatenisuru ‘The autumn bush clover’s / Underleaves are colouring / From this point on, / For one all alone / Will sleep be harder to find?’ Anonymous (KKS IV: 220)

Entō ōn’uta’awase 31

Round Thirty-One

Left

露すがる庭の萩原色付きぬいかなる人の思ひそむらん

tsuyu sugaru
niwa no hagiwara
irozukinu
ika naru hito no
omoisomuran
All clung with dew,
The bush clover grove in the grounds
Has taken on such hues, that
I wonder who it is
Might have just fallen into passion’s flames?

Chikanari
61

Right (Win)

おく露は秋のならひの萩が枝にあまるや雁の涙なるらん

oku tsuyu wa
aki no narai no
hagi ga e ni
amaru ya kari no
namida naruran
Dewdrops falling is
Autumn’s custom for
The bush clover branches, but
Added to them are the goose
Tears, perhaps?[1]

Ie’kiyo
62

The Left’s poem has a person’s feelings being dyed by the bush-clover, but I cannot think why this should be?  The Right’s poem seems particularly pleasant. Thus, it wins.


[1] An allusive variation on: Composed on the occasion of a poetry competition at Prince Koresada’s house. 秋の夜のつゆをばつゆとおきながらかりの涙やのべをそむらむ aki no yo no / tsuyu oba tsuyu to / okinagara / kari no namida ya / nobe o somuran ‘On Autumn nights / The dew as dewdrops / Falls, but, / Perhaps goose tears / Stain the fields?’ Mibu no Tadamine (KKS V: 258)