Category Archives: Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase

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

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 44

Round Eight

Left (Tie)

紅葉ばは紅ふかく成りゆけど独さめたる松の色かな

momijiba wa
kurenai fukaku
nariyukedo
hitori sametaru
matsu no iro kana
The autumn leaves
Deeply scarlet
Are becoming, yet
Singly, all the more aware am I
Of the pine tree’s hues!

Koreyuki
87

Right

ははそ原しぐるるままにときは木のまれなりけるも今ぞみえける

hahasowara
shigururu mama ni
tokiwagi no
marenarikeru mo
ima zo miekeru
As the oak groves
Linger under showers,
An evergreen,
So rare, is
What appears to me now.

Kojijū
88

Both Left and Right drop scarlet leave and are composed on evergreens, so they lack the essence of the topic, don’t they. The Right has the finer configuration, but autumn leaves, pointlessly, fail to appear in it. In addition, somewhat distastefully, it puts me in mind of the poem, ‘…Truly, evergreen / The pine tree seems’,[1] so the best these can do is tie.


[1] A poem from a poetry contest held by Her Majesty, the Empress, in the Kanpyō period. 雪ふりて年のくれぬる時こそつひにもみぢぬ松も見えけれ yuki furite / toshi no kurenuru / toki ni koso / tsui ni momijinu / matsu mo miekere ‘Snow falls and /The year reaches its evening, / It is at this time that / Truly, evergreen / The pine tree seems.’ Anonymous (KKS VI: 340)

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 43

Round Seven

Left (Tie)

色色にそむる紅葉に立田姫心のほどのみえもするかな

iroiro ni
somuru momiji ni
tatsutahime
kokoro no hodo no
mie mo suru kana
In the multitude of shades
Dyeing the scarlet leaves,
Princess Tatsuta’s
Deep thought and care
Can be seen!

Sadanaga
85

Right

いろいろにとり染めてけり立田姫はしむらごなる衣手の杜

iroiro ni
torisometekeri
tatsutahime
hashi muragonaru
koromode no mori
In a multitude of shades
Has her dye taken;
Princess Tatsuta stains
The edges dark and light of
The sacred grove at Koromode.

Lord Suetsune
86

The Left has nothing remarkable about it, and its ending is old-fashioned, I think. The Right, too, seems to be in the eccentric style, and so it’s impossible for me to say anything else about either of them.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 42

Round Six

Left (Win)

山姫はもみぢのにしきおりてけりたちなやつしそ嶺の朝霧

yamahime wa
momiji no nishiki
oritekeri
tachi na yatsushi so
mine no asagiri
The mountain’s princess,
Of scarlet leaves brocade
Has woven;
In your rising don’t despoil it,
O, morning mists upon the peak!

Lord Kinshige
83

Right

しぐれには紅葉の色ぞまさりける又かきくもる空はいとはじ

shigure ni wa
momiji no iro zo
masarikeri
mata kakikumoru
sora wa itowaji
A shower makes
The scarlet leaves’ hues
Most fine;
So, the swiftly clouding
Sky I could not dislike.

Lord Masahira

84

The Right sounds as if the poet has just come to the revelation that, even though a showery sky is charming, can one possibly dislike it, given that it improves the hues of the scarlet leaves. The Left isn’t bad, but it does have two identical sounds ending lines, and this has been called the same-sounding rhyme fault, I believe. With that being said, in the Tentoku Poetry Match, there were some poems with this feature which were criticized, and some which were not, so I wonder if this is not something to particularly worry about. In this poem it doesn’t sound like a defect and, taking this together with the fact that the Right’s poem is poor, the Left should win.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 41

Round Five

Left

あさひ山みねの紅葉をみわたせばよもの木末に照りまさりけり

asahiyama
mine no momiji o
miwataseba
yomo no kozue ni
terimasarikeri
When upon Asahi Mountain’s
Peak of scarlet leaves
I turn my gaze,
All over, the treetops
Shine most bright!

Tamechika
81

Right (Win)

紅のやしほの色にめかれすなおなじはもりの神といへども

kurenai no
yashio no iro ni
mekaresu na
onaji hamori no
kami to iedomo
From the scarlet,
Deeply dyed, hues
O, avert not your eyes!
Though the same leaves’ guardian
Deity you are called…

Moromitsu
82

The Left has nothing particular to say and its expression is awkward. As for the Right, a number of learned men seem to have said that one does not compose about the guardian deity of the leaves in relation to trees in general, but about oak trees, yet a great many things have deities to protect them, so I wonder if the guardian deity of the leaves could be a deity for all types of tree—couldn’t it protect any of them? Thus, in this poem, too, couldn’t that be the case? While the concluding ‘though you are called’sounds overly direct, it appears it should win.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 40

Round Four

Left (Win)

色ふかきやしほの岡の紅葉ばに心をさへもそめてけるかな

iro fukaki
yashio no oka no
momijiba ni
kokoro o sae mo
sometekeru kana
Deep the hues
On Yashio Hill
Of the scarlet leaves—
Even my heart, too,
Have they dyed!

Lord Yorisuke
79

Right

しぐれつつ秋こそふかく成りにけり色どりわたるやのの神山

shiguretsutsu
aki koso fukaku
narinikeri
irodori wataru
yano no kamiyama
With constant showers
Autumn has, indeed, deeper
Grown;
A change of hue all across
Sacred Mount Yano.

Lord Michiyoshi
80

While the Left sounds well-worn, it flows smoothly. As for the Right, it sounds to me as if the poet has simply picked and placed a location from the Collection of a Myriad Leaves into his poem, so ‘a change of hue all across sacred Mount Yano is stylistically archaic—thus the Left wins.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 39

Round Three

Left

くれなゐのこぞめの色とみえつるや八しほの岡の紅葉なるらん

kurenai no
kozome no iro to
mietsuru ya
yashio no oka no
momiji naruran
With scarlet
Hues deeply dyed
Do, perhaps, seem
Yashio Hill’s
Autumn leaves?

Kenshō
77

Right (Win)

初時雨ふりにし里をきてみればみかきが原は紅葉しにけり

hatsu shigure
furinishi sato o
kitemireba
mikaki ga hara wa
momijinishikeri
The first showers
Have fallen on this ancient estate
I have come to see:
Mikaki Field has
All turned to autumn hues.

Suketaka
78

While the Left displays great technical skill in juxtaposing ‘deeply dyed with scarlet hues’ and ‘Yashio Hill’, the Right at present is conclusively composed with a somewhat more decorous configuration relaxed manner. In this it conveys emotion as poems of old did, and so I believe it should certainly win.