Tag Archives: ariake

Autumn II: 19

Left.

薦枕高瀬の淀に立つ鴫の羽音もそそやあはれかくなり

komo makura
takase no yodo ni
tatsu shigi no
haoto mo soso ya
aware kaku nari
Pillowed on a mat of rush
Where the Yodo meets Takase
The starting snipe
With rustling wingbeats
Draw in my melancholy.

Kenshō.

397

Right (Win).

あはれさは萩吹く風の音のみか有明の月に鴫も鳴なり

awaresa wa
hagi fuku kaze no
oto nomi ka
ariake no tsuki ni
shigi mo nakunari
Melancholy is not
In the wind upon the bush clover’s
Sigh alone but
With the moon at break of dawn
The snipe a’crying.

The Provisional Master of the Empress Household Office.

398

The Right state that the Left’s poem is based on a misinterpretation of the song ‘The Spreading Moon Rises’, and this has led to the usage of ‘mat of rush’. Furthermore, in the absence of expressions such as ‘bush clover’ or ‘new grown rice’, ‘rustling’ lacks a context. The Left merely state that the initial section of the Right’s poem ‘does not sound attractive’.

Shunzei’s judgement: The gentlemen of the Right have already stated the issue with ‘rush mat’. As for ‘rustling’, I have already suggested that it was unsuitable in the earlier poem on bush clover in the topic of ‘Autumn Evenings’, and it is unfeasible to think that one could go so far as to use it in reference to ‘wing beats’. In regard to the Right’s poem, the initial line, indeed, sounds poor, and the central ‘alone but’ is also regrettable, but even so, it wins the round.

Autumn II: 18

Left (Win).

山遠き門田の末は霧晴て穂波に沈む有明の月

yama tōki
kadota no sue wa
kiri harete
honami ni shizumu
ariake no tsuki
By the distant mountains,
At the farthest reach of fields before my gates,
The mists are clearing, and
Sinking amongst the waves of rice-ears is
The dawntime moon…

A Servant Girl.

395

Right.

夕月夜ほのめく影も哀なり稲葉の風は袖に通ひて

yūzukuyo
honomeku kage mo
awarenari
inaba no kaze wa
sode ni kayoite
The autumn evening moon’s
Faint light is
Moving, indeed;
The wind upon the rice-stalks
Passing o’er my sleeves…

Lord Takanobu.

396

The Right simply say that the Left’s poem is ‘good’. The Left have no criticisms of the Right’s poem.

Shunzei’s judgement: The Left’s ‘dawntime moon’ (ariake no tsuki) and the Right’s ‘early evening moon’ are both deeply moving; the Left, continuing with ‘at the farthest reach of fields before my gates, the mists are clearing’ (kadota no sue wa kiri harete) is particularly fine, I feel. ‘Sinking amongst the waves of rice-ears’ (honami ni shizumu) is certainly technically proficient, and yet lacks a certain profundity. And yet, the initial ‘By the distant mountains’ (yama tōki) show a true depth. It should win.

Summer I: 27

Left.

夕涼み閨へも入らぬうたゝ寢の夢を殘して明くるしのゝめ

yū suzumi
neya e mo iranu
utatane no
yume o nokoshite
akuru shinonome
In the cool of evening
I’ve not taken to my bed, but
Dozing
Have dreamed on
In the dark before dawn’s light.

Lord Ari’ie.

233

Right (Win).

澄む月の光は霜とさゆれどもまだ宵ながら在明の空

sumu tsuki no
hikari wa shimo to
sayuredomo
mada yoi nagara
ariake no sora
The clear moon
Light is frost
Frigid, yet
Still ‘tis night
In the dawn-touched sky.

Ietaka.

234

Neither team has any criticisms to make this round.

Shunzei says, ‘The Left’s phrase “have dreamed on” (yume o nokoshite) is extremely good. The earlier “In the cool of evening” (yū suzumi) is a phrase often used in composition, but I dislike it. The Right’s poems is charming throughout. It should win.’

Spring III: 30

Left (Tie).

吉野山花の故郷跡たえてむなしき枝に春風ぞ吹く

yoshino yama
hana no furusato
ato taete
munashiki eda ni
haru kaze zo fuku
Upon Mount Yoshino –
The home of blossom –
Footprints fade away;
Now purposeless, the branches,
Shudder in the winds of spring.

A Servant Girl.

179

Right (Tie).

山の端ににほひし花の雲消えて春の日數は有明の月

yama no ha ni
nioishi hana no
kumo kiete
haru no hikazu wa
ariake no tsuki
Along the mountains’ edge
The glow of blossom
Clouds has faded;
The numbered days of Spring,
Revealed by the dawntime moon.

Nobusada.

180

Both teams proclaim themselves moved by the other’s poem.

Shunzei, however, has this to say. ‘The Left’s poem contains “purposeless, the branches, shudder in the winds of spring” (munashiki eda ni harukaze zo fuku), and despite the fact that poems on Mount Yoshino have a somewhat old-fashioned air, and that one might wonder on which peaks it is such clouds of blossom remain, even these moss-covered sleeves have become thoroughly soaked with tears at the thought that the Way of poetry has not reached its end; the Right’s poem has “The numbered days of Spring, revealed by the dawntime moon” (haru no hikazu wa ariake no tsuki), and this has moved even this old heart to thoughts of such a dawning sky, so it is impossible to distinguish between the two in quality. Of old, Spring poems had style, indeed, and to think that such form and spirit still combine to torment the soul is something for which I am thoroughly grateful. Truly, these moss-covered sleeves have been drenched by both Left and Right!’

Spring II: 30

Left (Tie).

さやかなる秋にもまされあはれかな月影かすむ有明の空

sayakanaru
aki no mo masare
aware kana
tsuki kage kasumu
ariake no sora
The clarity of
Autumn, too, is splendid and
Moving, indeed, I feel in
The hazy moonlight from
The daybreak sky.

Lord Ari’ie.

119

Right (Tie).

今はとてたのむの雁もうちわびぬ朧月夜の明ぼのゝ空

ima wa tote
tanomu no kari mo
uchiwabinu
oborozukiyo no
akebono no sora
‘Now we must return,’
The field resting geese
Lament, under the
Misty moonlit
Dawning sky.

Jakuren.

120

The Right team once again rate the Left’s poem as ‘satisfying’, while the Left say the Right’s is ‘especially satisfying. ’

Shunzei’s judgement is that ‘the Left’s “hazy moonlight from the daybreak sky” (tsuki kage kasumu ariake no sora) and the Right’s “Misty moonlit dawning sky” (oborozukiyo no akebono no sora) are both splendid. It is difficult, indeed, to decide between them. Another excellent tie.’

Miscellaneous 87

Left (Tie).

ことゝへよ思ひおきつの濱千鳥なくなくいでし跡の月影

koto toeyo
omoi okitsu no
hama chidori
nakunaku ideshi
ato no tsukikage
Ask after
Fond remembrances, Okitsu
Beach-bound plovers,
Crying, calling did I depart,
Merely moonlight remaining…

173

Right (Tie).

關の戸をさそひし人は出でやらで有明の月のさやの中山

seki no to o
sasoishi hito wa
ideyarade
ariake no tsuki no
saya no nakayama
To the barrier-gate
Did he invite me, yet
Left it not;
The dawnbreak moon upon
The mountain ‘tween brief nights.

174

Miscellaneous 81

Left.

おほかたの月もつれなき鐘の音に猶うらめしき有明の空

ôkata no
tsuki mo tsurenaki
kane no oto ni
nao urameshiki
ariake no sora
In general,
The moon, with the heartless,
Morning bell’s chime
I find ever more hateful as
The dawning sky.

161

Right (Win).

下もゆるなげきの煙空に見よ今も野山の秋の夕暮

shita moyuru
nageki no keburi
sora ni miyo
ima mo noyama no
aki no yûgure
Burning within,
My grief sends smoke into
The skies – behold it
Now above the mounts and plains
This autumn evening!

162

Love 65

Left (Tie).

あぢきなくつらきあらしの聲もうしなど夕暮に待ならひけん

ajikinaku
tsuraki arashi no
koe mo ushi
nado yûgure ni
matsu naraiken
Dreary,
The heartless storm-wind’s
Roar is cruel, indeed;
Why, at eventide
To wait, have I become accustomed?

129

Right (Tie).

歸るさのものとや人のながむ覧待夜ながらの有明の月

kaeru sa no
mono to ya hito no
nagamuran
matsu yo nagara no
ariake no tsuki
On his way home
Does he
Gaze upon it, I wonder?
While I wait the whole night through,
‘Til the moon meets daybreak…

130