Tag Archives: autumn leaves

Autumn III: 4

Left (Win).

色變へぬ松の緑に這ふ蔦はをのが紅葉を譲る也けり

iro kaenu
matsu no midori ni
hau tsuta wa
ono ga momiji o
yuzuru narikeri
The unchanging hue of
The pine tree’s green,
Entwined with ivy:
Its own scarlet leaves
It has surrendered…

Lord Kanemune.

427

Right.

色變へぬ松の緑もなかりけりかゝれる蔦や紅葉しつらん

iro kaenu
matsu no midori mo
nakarikeri
kakareru tsuta ya
momiji shitsuran
The unchanging hue of
The pine tree’s green, too,
Has gone:
Has the festooning ivy
Turned scarlet?

Lord Tsune’ie.

428

The Right wonder about the appropriateness of ‘green entwined’ (midori ni hau), adding that ‘entwined with ivy’ (hau tsuta) also sounds unpleasant [kikiyokarazu]. The Left simply say that the Right’s poem is plainly pedestrian [rei no tsune no koto nari], but have no other criticisms.
Shunzei’s judgement: Although both Left and Right begin with ‘unchanging hue’ (iro kaenu) and there is little to distinguish between them, the Left’s ‘its own scarlet leaves’ (ono ga momiji o) is charmingly poetic style [okashikarubeki yō no fūtei nari]. The Right’s ‘festooning ivy’ (kakareru tsuta) appears as if the poet cannot distinguish between the two plants, which is foolish [orokanarubeshi]. What is there to the criticism of ‘entwined with ivy’? Thus, the Left wins.

Autumn III: 3

Left.

下枝までかゝれる蔦は紅葉して錦を張るは和田の笠松

shizue made
kakareru tsuta wa
momijishite
nishiki o haru wa
wada no kasamatsu
The lowest branches
All festooned with ivy
Turning scarlet,
All in brocade are
The parasol pines at Wada.

Lord Suetsune.

425

Right (Win).

絶え間なくかゝれる蔦の色づけば紅葉を囲ふ墻根とぞみる

taema naku
kakareru tsuta no
irozukeba
momiji o kakou
kakine to zo miru
There’s not a break
In the festooning ivy,
Taking on its hue:
Enveloped with scarlet leaves
Fenced around, it seems…

The Provisional Master of the Empress’ Household Office.

426

The Right state that the initial line in the Left’s poem, ‘the lowest branches’ (shizue made), fail to connect with the poem’s conclusion. The Left state that the Right’s poem is ‘pedestrian’ [tsune no koto], but have no other criticisms.

Shunzei’s judgement: Both poems are on ‘ivy’, with the Left referring to parasol pines covered in brocade, and the Right a fence joined with scarlet leaves. In conception, neither is unpleasant [kokoro, onoono, okashikarazaru ni arazu]. However, the final section of the Left’s poem is seems to be particularly lacking in poetic qualities [kotoni utashina naki ni nitari]. It would have been better had the Right avoided the artifice of the Left’s festooned parasols [kasahari nado wa sede] and simply mentioned ‘a fence, seemingly surrounded with scarlet leaves’ [momiji o kakouran kakine]. Nevertheless, it should win.

Autumn III: 1

Left.

常盤の茂みを染むる蔦の色のかゝらざりさば下紅葉やは

tokiwa no
shigemi o somuru
tsuta no iro no
kakarazarisaba
shita momiji ya wa
The evergreen
Profusion is dyed
By the ivy’s hues:
Were it not,
Would not the under-leaves turn scarlet?

Lord Ari’ie.

421

Right.

散ぬより紅葉に辿る山路かな岩根の蔦や色變るらむ

chiranu yori
momiji ni tadoru
yamaji kana
iwane no tsuta ya
iro kawaruramu
Not yet fallen are
The scarlet leaves – to track
Along the mountain paths,
Does the ivy at the rooted crags
Change its hue?

Ietaka.

422

The Right state that by continuing with ‘Profusion is dyed’ (shigemi o somuru) it sounds as if it is the evergreens themselves which are taking on autumn colours. The Left merely remark that saying ‘track’ (tadoru) is difficult to comprehend [kokoroegatashi].

Shunzei’s judgement: Is the Left’s poem that bad [ashiku ya wa], given that ‘Profusion is dyed’ is followed by ‘the ivy’s hues’ (tsuta no iro no)? The final section, though, is lacking and seems rather vague. I, too, wonder about the use of ‘track’. The round ties.

Summer I: 5

Left (Win).

わが宿の庭こそ暗くなりにけれ楢の廣葉の陰やそふらん

wa ga yado no
niwa koso kuraku
narinikere
nara no hiroha no
kage ya souran
My lodging’s
Garden much darker
Has become;
Have the broad-leaved oaks
Laid shadows down?

Lord Kanemune.

189

Right.

紅葉ゆへ植へし梢のあさみどり色には秋を思ふのみかは

momiji yue
ueshi kozue no
asamidori
iro ni wa aki o
omou nomi ka wa
For scarlet leaves
I planted trees – tops now
Pale green;
For the hues of autumn
Alone I hope no longer.

Ietaka.

190

The Right state bluntly, ‘Using ‘darker’ (kuraku) in this poem is highly vulgar!’ But the Left snap back, ‘Composing with “darker” is completely commonplace.’ They have no comments to make about the Right’s poem.

Shunzei remarks, ‘The Left’s “garden much darker” (niwa koso kuraku) has nothing problematic about it. “Broad-leaved oaks” (nara no hiroha), although a commonplace expression, is undesirable here. The purport of the Right’s “for the hues of autumn” (iro ni wa aki o) seems rather contrived, yet one wonders if “scarlet leaves” (momiji yue) might not be concealed beneath the “broad-leaved oaks”! The Left’s poem, being more unaffected, wins.’

Summer I: 1

Left (Tie).

龍田山わかみどりなる夏木立もみぢの秋もさもあらばあれ

tatsutayama
waka midorinaru
natsu kodachi
momiji no aki mo
sa mo araba are
On Tatsuta Mountain
The fresh, green
Summer clustered trees
Autumn’s scarlet leaves
Do match.

Kenshō.

181

Right (Tie).

面影は時雨し秋の紅葉にてうすもへぎなる神南備の森

omokage wa
shigureshi aki no
momiji nite
usumoeginaru
kamunabi no mori
Bringing to mind
Shower-dampened, autumn
Scarlet leaves:
The pale, grass-green
Sacred groves…

Lord Takanobu.

182

The Right say, ‘The Left’s poem seems to be have the same conception as the composition by Emperor Sūtoku, “Autumn’s clear moon/Do match” (tsuki sumu aki mo sa mo araba are).’ In reply, the Left say, ‘It is entirely to be expected that there should be such a resemblance,’ and then remark about the Right’s poem, ‘It sounds as if scarlet leaves are its main point, and the topic has been rendered secondary. Furthermore, “pale, grass-green” (usumoeginaru) does not seem to clearly relate to anything.’

Shunzei simply says, ‘“Tatsuta Mountain”(tatsutayama), “sacred groves” (kamunabi no mori), “fresh, green” (wakamidori) and “pale, grass-green” are all appropriate to the form, and there does not appear to be a clear winner, or loser.’

Miscellaneous 97

Left.

大井河まれの御幸に年へぬる紅葉のふなぢ跡は有りけり

ôikawa
mare no miyuki ni
toshi henuru
momiji no funaji
ato wa arikeri
Ôikawa
Rarely, now, does His Majesty come;
Year have passed, yet
Through the coat of autumn leaves the boat
Still leaves its wake.

193

Right (Win).

たらちめや又もろこしに松浦舟今年もくれぬ心づくしに

tarachime ya
mata morokoshi ni
matsurabune
kotoshi mo kurenu
kokorozukushi ni
Does my mother
Yet in Cathay
Await the boat from Matsura?
This year is done, and I am
Desolate, in Tsukushi.

194

Autumn 38

Left.

長月の月の有明の時雨ゆへ明日の紅葉の色もうらめし

nagatsuki no
tsuki no ariake no
shigure yue
asu no momiji no
iro mo urameshi
Late in autumn, when
The moon lingers in the sky at dawn,
From the drizzle,
In the morning scarlet leaves’
Hue is deepened—how I envy them!

75

Right (Win)

時わかぬ浪さへ色に泉河はゝそのもりにあらし吹らし

toki wakanu
nami sae iro ni
izumigawa
hahaso no mori ni
arashi fukurashi
The constant
Current: even it has broken out in hues anew;
By Izumi River
Through the oak forest has
The storm wind blown, no doubt!

76

Autumn 36

Left (Win).

時雨つゝ袖だにほさぬ秋の日にさこそ三室の山はそむらめ

shiguretsutsu
sode dani hosanu
aki no hi ni
sa koso mimuro no
yama wa somurame
Drizzling on and on, so
My sleeves are never dry
On this autumn day
Surely, the mount of Mimuro
Must be yet more deeply dyed.

71

Right

久方の月の桂の下紅葉宿かる袖ぞ色にいでゆく

hisakata no
tsuki no katsura
no
shimo momiji
yado karu sode zo
iro ni ideyuku
On the eternal
Moon, beneath the silver trees
Scarlet leaves
Find brief lodging: my sleeves
Are marked with similar hues.

72

Sanekata Shū 311

Composed at court, as a poem with ko as the last syllable, on the topic of ‘the mountains, dyed in autumn.’

紅葉見て山邊に今日は暮らしてむあればあれそをいもと寢るとこ

momidi mite
yamabe ni keFu Fa
kurasitemu
areba are so wo
imo to nuru toko
Gazing on the autumn leaves
Among the mountains, today
Let us remain ’til dark;
Heedless of whatever storms may rage,
Such is the bed I share with my love.