Charcoal kilns
雪ふりてけふともしらぬおく山にすみやくおきなあはれはかなみ
| yuki furite kyō to mo shiranu okuyama ni sumi yaku okina aware hakanami | As the snow falls Today in the unknown Mountains’ depths, Burning charcoal, an old man Feels sadness at the emptiness of all… |
390
Tag Archives: aware
Kinkai wakashū 389
Sumiyoshi-sha uta’awase kaō ni-nen 60
Round Ten
Left (Win)
かぞふればやとせへにけりあはれわがしづみしことはきのふとおもふに
| kasoureba yatose henikeri aware wa ga shizumishi koto wa kinō to omou ni | When I count them up, Many years have passed, but Sadness Overcomes me for the events Of yesterday, I feel… |
Lord Sanesada
119
Right
いたづらにふりぬるみをもすみよしのまつはさりともあはれしるらむ
| itazura ni furinuru mi o mo sumiyoshi no matsu wa sari tomo aware shiruramu | How quickly Age has come upon my flesh, too— Sumiyoshi’s Pines must that Sadness know too well… |
Lord Toshinari
120
The poem of the Left: these are not matters which could be understood by just anyone, yet even a superficial glance at it reveals that its conception and configuration display and exceptional sadness. How true it is that off all the myriad things in our lives it is the events of yesterday and today that we recall, and this is how we pass through the years and months, so how difficult, indeed, it is to supress the configuration of ‘When I count them up, / Many years have passed’! As for the Right’s poem, well, the conception of the initial section is pedestrian at best, although the latter section does seem to have some conception to it in places and shows some signs of thought. It is the poor composition of the judge, who is into his dotage. Once more, therefore, I have not rendered judgement, however, I feel that the deity would determine in favour of the Left.
Sumiyoshi-sha uta’awase kaō ni-nen 59
Round Nine
Left
いとふともなきものゆゑによのなかのあはれをさすがうちなげきつつ
| itou tomo naki mono yue ni yo no naka no aware o sasu ga uchinagekitsutsu | With despite I regard it not, yet This mundane world Has such sadness, that Ever am I grief-stricken… |
Lord Sanefusa
117
Right (Win)
いたづらにとしもつもりのうらにおふるまつぞわがみのたぐひなりける
| itazura ni toshi mo tsumori no ura ni ouru matsu zo wa ga mi no tagui narikeru | How quickly The years have piled up; on Tsumori Shore grow Pines – my sorry self, indeed, Do they resemble! |
Lord Yorimasa
118
The poem of the Left has a configuration which directly expresses a single emotion. Its conception sounds in keeping with this. The poem of the Right begins with ‘The years have piled up; on Tsumori / Shore grow’ and continues with ‘Pines – my sorry self, indeed’ which appears very pleasant. Thus, the Right wins.
Sumiyoshi-sha uta’awase kaō ni-nen 53
Round Three
Left (Tie)
あはれとやかみもおもはむすみのえのふかくたのみをかくるみなれば
| aware to ya kami mo omowamu suminoe no fukaku tanomi o kakuru mi nareba | ‘How sad,’ does The God, too, think? For at Suminoe Deep in devotions Am I entangled… |
Lord Tsunemori
105
Right
たのみつるこのひとむらの人ごとにちとせをゆづれすみよしのまつ
| tanomitsuru kono hitomura no hito goto ni chitose o yuzure sumiyoshi no matsu | Devoted are This group of folk, so To each and every one Grant a thousand years, O, pines of Sumiyoshi! |
Lord Yorisuke
106
The poem of the Left, saying ‘deep in devotions’ and suchlike, is pleasant, I have to say. Does the poem of the Right’s ‘this group of folk’ refer to the current poets or to the speaker’s own household? Well, whichever it is, the conception of devotion does not appear to be slight, but again I say this is a tie.
Sumiyoshi-sha uta’awase kaō ni-nen 50
Round Twenty-Five
Left
うちしぐれものさびしかるあしのやのこやのねざめにみやここひしも
| uchishigure mono sabishikaru ashi no ya no koya no nezame ni miyako koishi mo | A slight shower is All the more lonely In a reed-roofed Hut in Koya, starting awake and Longing for the capital more… |
Lord Sanesada
99
Right
あはれにもよはにすぐなるしぐれかななれもやたびのそらにいでつる
| aware ni mo yowa ni sugu naru shigure kana nare mo ya tabi no sora ni idetsuru | How sad is At midnight a passing Shower! Have you, too, on a journey Into the skies departed? |
Lord Toshinari
100
The configuration of the Left’s poem, beginning with ‘All the more lonely’ and concluding with ‘Longing for the capital more’, has already penetrated the boundaries of mystery and depth. It sounds particularly pleasant. The poem of the Right is the judge’s own meagre work. Thus, in accordance with precedent I shall refrain from rendering a judgement.
Sumiyoshi-sha uta’awase kaō ni-nen 35
Round Ten
Left (Tie)
くさまくらしぐれもそでをぬらしけりみやこをこふるなみだならねど
| kusamakura shigure mo sode o nurashikeri miyako o kouru namida naranedo | On a pillow of grass The showers, too, my sleeves Have soaked; Longing for the capital These tears are not, yet… |
Hiromori
69
Right
かりいほさすならのからはのむらしぐれあはれはまきのおとばかりかは
| kari’io sasu nara no karawa no murashigure aware wa maki no oto bakari ka wa | Erecting a crude hut, The withered leaves of oak are Struck by cloudbursts; Does sadness in the evergreens’ Sound solely lie? |
Dharma Master Chikyō
70
Both Left and Right appear to have elegant configuration and diction, but the Left seems to presents the soaking of sleeves by showers as something novel, while the Right gives a feeling that it is only the sound of evergreens that makes one sad. Thus, these tie.
Sumiyoshi-sha uta’awase kaō ni-nen 34
Round Nine
Left (Win)
うらさむくしぐるるよはのたびごろもきしのはにふにいたくにほひぬ
| ura samuku shigururu yowa no tabigoromo kishi no hanyū ni itaku nioinu | The bay is cold with Midnight showers, as My traveller’s robe With the shore’s ochre clay Is deeply stained. |
Taifu
67
Right
おもへただみやこのうちのねざめだにしぐるるそらはあはれならずや
| omoe tada miyako no uchi no nezame dani shigururu sora wa aware narazu ya | Simply think of me, when Within the capital You start from sleep— A showery sky is Sad, isn’t it? |
Sadanaga
68
While configuration of the Left’s poem, saying ‘With the shore’s ochre clay / Is deeply stained’ feels crude, it does appear to be in the style of the Myriad Leaves. As for the Right’s poem, its conception is good, but starting, ‘Simply think of me’ begs the question of who this is said to. Such diction is used in poetry exchanges or love poems, in particular. The Left’s poem is most likely superior.
GSS XVIII: 1271
Composed when I was at a certain place and telling tales with sundry others before a lady’s curtains and heard a woman’s voice – one of her attendants, no doubt – say, ‘He seems to be strangely knowledgeable about matters of the heart for such an old man!’
あはれてふ事にしるしはなけれどもいはではえこそあらぬ物なれ
| aFare teFu koto ni sirusi Fa nakeredomo iFade Fa e koso aranu mono nare | Of sensitivity Surface signs Are their none, yet Saying nothing, indeed, is What makes it plain! |
Tsurayuki
Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 22
Round Ten
Left (Tie)
夜もすがら妻こふるまにさをしかのめさへあはでや鳴きあかすらん
| yomosugara tsuma kouru ma ni saoshika no me sae awade ya naki’akasuran | All night long, Yearning for his mate, Does the stag Fail to close his eyes, Belling until the dawn? |
Mikawa
43
Right
独のみみねのをしかのなくこゑにあはれ吹きそふ風の音かな
| hitori nomi mine no oshika no naku koe ni aware fukisou kaze no oto kana | A single, solitary, Stag from the peak Belling out Laces sadness into the gusting Sound of the wind! |
Kojijū
44
The Left’s ‘fail to close his eyes’ is a commonly utilised viewpoint, while the Right’s ‘lacing sadness into the gusts’ is unsatisfactory—simply ‘laced’ would be preferable. Nevertheless, neither of these are particularly significant faults, so these should tie.
