Tag Archives: chitose

Eien narabō uta’awase 32

Round Four

Left

うちむれていはねにねざすこまつばのきぎのちとせはきみぞかぞへむ

uchimurete
iwane ni nezasu
komatsuba no
kigi no chitose wa
kimi zo kazoemu
Crowding
At the crags’ foot, roots stretching,
The dwarf pines’ needles with
The trees’ thousand years—
My Lord may count them all!

Cell of the Fragrant Elephant
63

Right (Win)

たとふべきものこそなけれ君がよははまのまさごもかずなからめや

tatoubeki
mono koso nakere
kimi ga yo wa
hama no masago mo
kazu nakarame ya
A suitable metaphor
Is there none, at all!
My Lord’s reign:
Even the fair sands on the shore
Would not exceed its number…

Cell of Everlasting Truth
64

Both of the Left poem’s expressions, ‘crowding’ and ‘dwarf pines’ needles’, seem to sound awkward. ‘Crowding’ is used of cranes, while it would have been preferable to say ‘the needles of the dwarf pines’. The poem of the Right is not especially charming, but it is in a familiar style, so I feel that ‘the fair sands’ number’ is superior.

I feel that ‘crowding’ is better applied to human beings. Perhaps there’s a conception here of looking down on each and every one? This is a mistake, isn’t it? In addition, what is ‘dwarf pines’ needles’? Maybe the poet is trying to say ‘the needles of the dwarf pines’? Is there a prior poem as precedent? It’s a piece of awkward-sounding diction! The Right’s poem appears straightforward, but without errors.

Eien narabō uta’awase 31

Round Three

Left[i]

君が代は神にぞいのる住之江の松の千年をゆづれとおもへば

kimi ga yo wa
kami ni zo inoru
suminoe no
matsu no chitose o
yuzure to omoeba
My Lord’s reign:
To the gods I pray, that
Suminoe’s
Pines their thousand years
Pass on—that is my hope…

Retired from the World
61a

きみがへむやちよのかずはあめにますとよをかひめの神やしるらん

kimi ga hemu
yachiyo no kazu wa
ame ni masu
toyo’okahime no
kami ya shiruran
That my Lord will endure
The number of eight thousand ages—
Residing in the heavens,
The Goddess of the Eternal Hills,
The deity, knows well, no doubt!

Retired from the World
61b

Right (Win)

君がよはつきじとぞおもふ春の日の御笠の山にささむかぎりは

kimi ga yo wa
tsukiji to zo omou
haru no hi no
mikasa no yama ni
sasamu kagiri wa
My Lord’s reign
Will never fade, I feel!
While in spring the sun
Upon Mikasa Mountain
Shines down…

Senior Assistant Minister Past Lecturer
62

Both Left and Right have neither strengths nor weakness in their diction and sense, but I feel that ‘While in spring the sun / Upon Mikasa Mountain / Shines down’ is a bit more dependable at present than ‘Suminoe’s / Pines their thousand years’.

It is certainly not the case that there are no dubious elements about the Left’s poem. As ‘eight thousand ages’ is a definite number, what is it that the Goddess of the Eternal Hills is expected to know? If this is something in the deity’s hands, then it should be, ‘does not even know the number’. I’m sure the Goddess herself would ask what she’s expected to know. The Right seems stronger.


[i] There are different poems by Eien this round in different versions of the text of the contest. As can be inferred from the judgements, Mototoshi saw the first poem and Toshiyori the second. This strongly suggests that Mototoshi’s judgements were circulated before the text of the contest was submitted to Toshiyori, and Eien revised his poem this round as a result (Kubota et al. 2018, 308).

Eien narabō uta’awase 29

Felicitations

Round One

Left

みどりなるまつかげひたすいけ水にちよのすみかとみゆるやどかな

midori naru
matsukage hitasu
ikemizu ni
chiyo no sumika to
miyuru yado kana
Evergreen
The pine tree’s shapes sink
Into the pond waters—
A residence for a thousand ages
Does that dwelling seem!

Lord Dainagon
57

Right (Win)

ちとせともいろにはいでていはし水ながれむほどは君がよなれば

chitose to mo
iro ni wa idete
iwashimizu
nagaremu hodo wa
kimi ga yo nareba
For a thousand years or more
Does its hue emerge—
Spring waters from the rocks
Might flow as long as
My Lord’s reign will be, so…

Lord Chūnagon
58

What on earth might be the colour of the Left poem’s ‘pine tree’s shapes sink’ and the Right poem’s ‘thousand years’ hue’? When one talks about ‘hue’ that means ‘scarlet’ and, in addition, it’s used of blossoms or autumn leaves. I have yet to see wisteria colouring the water in numerous private collections. The two poems are about the same, but the Right is marred by a series of faults.

The Left’s ‘shapes sink’ is extremely vague. ‘Sink’ means to submerge an object in water. One could certainly compose about a pine tree’s branches sinking, but how can we accept ‘shapes sink’ to mean an object’s reflection from beneath the water in the absence of a poem as precedent? The end is extremely, charming, though.

The poem of the Right doesn’t have anything special about it. It’s a pedestrian affair which doesn’t seem to show much evidence of thought. How are we to distinguish between a poem which is hackneyed but lacking any faults and one which is vague?

Sumiyoshi-sha uta’awase kaō ni-nen 63

Round Thirteen

Left (Tie)

われもいかでよにながらへてすみよしのまつのちとせのゆくすゑもみむ

ware mo ikade
yo ni nagaraete
sumiyoshi no
matsu no chitose no
yukusue mo mimu
Somehow, I, too,
Would endure in this world, that
Sumiyoshi’s
Pine’s thousand years
End I would see!

Masahira
125

Right

たとへけむなみはわがみにあらはれぬこぎゆくふねのあとはほかかは

tatoekemu
nami wa wagami ni
arawarenu
kogiyuku fune no
ato wa hoka ka wa
Might I compare
The waves, which on my sorry self
Have made their mark, with
A boat rowing out, leaving
A wake, or if not that then what? [1]

Chikashige
126

The Left seems to be imagining something very unrealistic. The Right has the poem ‘To what should I compare it? / Just as dawn is breaking’ in mind, and appears to have the charming conception of sorrowing over the face of Grand Duke Jiang appearing in the waves on the Wei River, but ‘if not that then what?’ sounds a bit overblown. With that being said, the Left feels like a plea for good fortune, and the Right evokes impermanence. The matters are only distantly connected, and thus in terms of faults and merits they are equal.


[1] An allusive variation on: Topic unknown. 世の中をなににたとへむあさぼらけこぎゆく舟のあとのしら浪 yo no naka o / nani ni tatoemu / asaborake / kogiyuku fune no / ato no shiranami ‘This mundane world: / To what should I compare it? / Just as dawn is breaking, / A boat rows out / Whitecaps in its wake.’ Novice Mansei (SIS XX: 1327)

Tōin senzai awase 01

The Garden Match held by the Chancellor at the Eastern Mansion

When His Lordship, the Chancellor, was having the Eastern Mansion refurbished, he divided his sons into teams and having a large number of charming plants grown in pots on the eastern and western sides of the main hall, he matched poems composed on the names of these plants. These poems are as follows.

Left – Pine

あだしきのちるにもさらににぬまつはちとせこえふるしるべなりけり

adashiki no
chiru ni mo sara ni
ninu matsu wa
chitose koefuru
shirube narikeri
The other trees’
Scattering is e’en more
Unlike the pines—
Passing through a thousand years
Is their singular sign.

1a

あたらしき春にもさらににぬまつはちとせこえこぬしるべなりけり

atarashiki
haru ni mo sara ni
ninu matsu wa
chitose koekonu
shirube narikeri
A new
Spring is e’en more
Unlike the pines—
That it last not a thousand years
Is a singular sign.

1b

Right

たれもみなちとせこえくるまつにのみひさしきことはならへとぞ思ふ

tare mo mina
chitose koekuru
matsu ni nomi
hisashiki koto wa
narae to zo omou
Every single one, without exception,
Passes through a thousand years—
That the pines, alone,
Are eternal:
Learn that! Or so I feel…

2

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.

Daigo ōntoki kiku awase 03

ももしきにしもはおくともきくの花ちよの冬までうつろふなゆめ

momoshiki ni
shimo wa okutomo
kiku no hana
chiyo no fuyu made
utsurounayume
Upon the hundred-fold palace
The frost may fall, yet
These chrysanthemum blooms,
Though winter last a thousand ages,
Will not fade, at all…

[Minamoto no] Koremochi
5

きくのはなちとせみまくのほしければをしみしよるのあくるもしらず

kiku no hana
chitose mimaku no
hoshikereba
oshimi yoru no
akuru mo shirazu
O, chrysanthemums!
For a thousand years to gaze on them
Is my desire, then
The regrets of night’s
Dawn I would never know!

[Fujiwara no] Kunimoto
6

Kyōgoku no miyasudokoro uta’awase 15

Original

こまなべてきみがみにくるかすがのはまつかさしげしあめにさはるな

koma nabete
kimi ga mi ni kuru
kasugano wa
matsukasa shigeshi
ame ni sawaru na
Mounts aligned,
My Lord has come to see
Kasuga Plain, where
The plentiful pinecones mean
He’ll be untroubled by rain!

43

Left (Win)

ぬれつつもあめにはゆかむまつかさのちとせのはるをもらさざらなむ

nuretsutsu mo
ame ni wa yukamu
matsukasa no
chitose no haru o
morasazaranamu
Even dampened
By the rain, let us go!
For the pinecones
Over a thousand years of springtimes
Will surely not allow a single drip!

44[1]

Right

かすがののまつかさだにもなかりせばあめふるさとにわれこましやは

kasugano no
matsukasa dani mo
nakariseba
ame furu sato ni
ware komashi ya wa
If on Kasuga Plain
Even pinecones
Were there not, then,
To the rainswept ancient capital
Why would I come at all?

45


[1] This poem is included in Ise-shū (107) with the headnote ‘From the time of the Kasuga Poetry Match’, implying that this is Ise’s work, even if she is not identified as the poet in the text here.

Kyōgoku no miyasudokoro uta’awase 11

Original

かすがののけふのみゆきをまつばらのちとせのはるはきみがまにまに

kasugano no
kyō no miyuki o
matsubara no
chitose no haru wa
kimi ga manimani
On Kasuga Plain
Today’s progress
Awaited have the pine groves,
A thousand years of springtimes,
Just as my Lady’s thoughts. [1]

Mitsune
31

Left

ゆくさきのはるをとほくしまかすればいまはちとせのうたがひもなし

yukusaki no
haru o tōkushi
makasureba
ima wa chitose no
utagai mo nashi
Future
Springtimes to distant times
May we entrust, for
Now that she will live a thousand years more
There is no doubt, at all.

32

Right (Win)

むれたちてわれをまつてふかすがののみどりふかくやおもひそめけむ

muretachite
ware o matsu chō
kasugano no
midori fukaku ya
omoisomekemu
Growing crowded together, and
Awaiting me are the pines
On Kasuga Plain—
Why should their green so deeply
Seem to think of me?

33


[1] A minor variant of this poem occurs in Mitsune-shū (325) with the same headnote as for poem (22), above.