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Poetry Competition in Six Hundred Rounds

Summer II: 30

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Left (Win).

鳴蝉の羽に置く露に秋かけて木陰涼しき夕暮の聲

naru semi no
ha ni oku tsuyu ni
aki kakete
kokage suzushiki
yūkure no koe		 Upon the singing cicadas’
Wings fall dewdrops,
Heralding autumn;
Cool, and shaded by the trees
Are their evening songs…

A Servant Girl.

299

Right.

夏深き杜の梢にかねてより秋をかなしむ蝉の聲かな

natsu fukaki
mori no kozue ni
kanete yori
aki o kanashimu
semi no koe kana		 In the depths of summer
From the forest treetops,
Long before
Autumn, in sadness
Do the cicadas sing.

Jakuren.

300

Neither Left nor Right can find fault with the other’s poem this round.

Shunzei states, ‘It is rather difficult to know a cicada’s mind – as to whether or not it is mourning the coming of autumn long before it arrives. The Left’s “Wings fall dewdrops, heralding autumn” (ha ni oku tsuyu ni aki kakete), is particularly delicate in expression and charming. It must win.’

Poetry Competition in Six Hundred Rounds

Summer II: 29

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Left (Win).

夏山のこずゑも高く鳴蝉は中なか聲ぞかすかなりける

natsu yama no
kozue mo takaku
naru semi wa
nakanaka koe zo
kasukanarikeru		 In the summer mountains
Treetop high
The cicadas sing, yet
If anything, their songs
More distant have become.

Lord Kanemune.

297

Right.

秋近き木木の梢に風越えて下葉にうつる蝉の聲ごゑ

aki chikaki
kigi no kozue ni
kaze koete
shitaba ni utsuru
semi no koegoe		 Autumn draws near, and
The trees’ tops are
Brushed by breezes;
Shifted to the lower leaves are
The cicadas’ songs.

Ietaka.

298

The Right state the Left’s poem has nothing problematic about it. The Left wonder whether there is any evidence that cicadas move in response to wind.

Shunzei remarks, ‘The Right’s poem is, indeed, lacking in evidence. However, could it not be that cicadas would feel a sense of danger from the wind and move to a tree’s lower leaves? The Left’s poem is elegant, though, and must win.’

Poetry Competition in Six Hundred Rounds

Summer II: 28

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Left (Win).

ゆふま山松のは風にうちそへて蝉の鳴く音も峰渡るなり

yūma yama
matsu no ha kaze ni
uchisoete
semi no naku ne mo
mine wataru nari		 Upon Yūma Mountain
The wind passing o’er the pine needles:
Just so
Do the cicadas’ cries
Pass between the peaks.

Kenshō.

295

Right.

深山邊のふかみどりなる夏木立蝉の聲とてしげからぬかは

miyamabe no
fukamidorinaru
natsu kodachi
semi no koe tote
shigekaranu ka wa		 In the mountains’ heart
Of deepest green
Are the trees in summer, yet
The cicadas’ songs
Surpass them in profusion.

Lord Tsune’ie.

296

The Right state that, ‘the expression ha kaze is usually used in reference to birds.’ (Ha here used to mean ‘leaf’, was also the word for ‘wing’.) The Left query, ‘the use of tote,’ which is a particle not usually used in poetry. In addition, they say, ‘“Trees in summer” (natsu kodachi) is should only be used in poems on the topic of “Summer Greenery”.’

Shunzei states, ‘The expression “wind passing o’er the pine needles” (matsu no ha kaze) is not that common, however, it is certainly not the case that ha kaze can only be used in reference to birds. Are not “wind passing o’er the bamboo leaves” (take no ha kaze) or “wind passing o’er the silver grass fronds” (ogi no ha kaze) everyday expressions? However, would it not have been better to say “the wind, blowing ‘gainst the pines: just so” (matsu fuku kaze ni uchisoete)? The Right’s “trees in summer” (natsu kodachi) and “surpass them in profusion” are interesting but, still, “pass between the peaks” (mine wataru nari) and “Yūma Mountain” (yūma yama) are better, I think.’

Poetry Competition in Six Hundred Rounds

Summer II: 27

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Left.

ひまもなく信太の杜に聞ゆ也千枝にや來鳴く蝉の諸聲

hima mo naku
shinoda no mori ni
kikoyu nari
chie ni ya kinaku
semi no morogoe		 Ceaselessly
In Shinoda forest
Does one hear
From the thousand branches of the camphor tree
The cicadas’ jostling songs?

Lord Suetsune.

293

Right (Win).

夏山の木ごとにひゞく心地して一方ならぬ蝉の諸聲

natsuyama no
ki goto ni hibiku
kokochishite
hitokata naranu
semi no morogoe		 In the summer mountains
Every single tree resounds,
I feel,
From all sides comes
The cicadas’ jostling songs.

The Provisional Master of the Empress’ Household Office.

294

Both Left and Right state simply that they found the other’s poem ‘unsatsifying’.

Shunzei wonders, ‘Whether “Shinoda forest cicadas” (shinoda no mori no semi) is entirely appropriate? It has more the feeling of cuckoos, I think. “Every single tree resounds” (ki goto ni hibiku kokochi sen) is more like it. Thus, I would make Right the winner.’

Poetry Competition in Six Hundred Rounds

Summer II: 26

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Left.

雲井までひゞきやすらん夏山の峰より高き蝉の諸聲

kumoi made
hibiki ya suran
natsuyama no
mine yori takaki
semi no morogoe		 To the very clouds
Do they resound?
In summer, the mountain
Peaks they do surpass:
The cicadas’ jostling songs.

Lord Ari’ie.

291

Right (Win).

鳴きすさむひまこそなけれをちこちにやがて待ち取る蝉の聲ごゑ

nakisusamu
hima koso nakere
ochikochi ni
yagate machitoru
semi no koegoe		 Respite from song,
However brief, there’s none!
Both near and far
Wait but a moment and a
Cicada calls.

Lord Takanobu.

292

The Right say, ‘The conception of the Left’s poem is trite. The comparison of these things (the cicadas’ songs and the mountains’ height) goes against the spirit of the topic.’ The Left have nothing, and no reason, to say anything.

Shunzei agrees: ‘Better than the over-wrought language of the Left’s poem, the Right’s “Both near and far wait but a moment” (ochikochi ni yagate machitoru) suits the topic well. The Right must win.’

Poetry Competition in Six Hundred Rounds

Summer II: 25

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Left (Win).

あらし吹く梢はるかに鳴蝉の秋を近しと空に告ぐ也

arashi fuku
kozue haruka ni
naru semi no
aki o chikashi to
sora o tsugu nari		 A storm wind blows
The distant treetops, where
The cicadas sing
Of coming autumn
To the skies.

Lord Sada’ie.

289

Right.

茂りあふ青き紅葉の下涼み暑さは蝉の聲にゆづりぬ

shigeriau
aoki momiji no
shita suzumi
atsusa wa semi no
koe in yuzurinu		 Lush and
Green beneath the maple leaves
‘Tis cool;
The heat by cicadas
Song is summoned.

Nobusada.

290

The Right state that, ‘“Sing…to the skies” (sora o tsugu) goes against the spirit of the topic,’ while the Left wonder, ‘What we can make of “green maple leaves” (aoki momiji)?’

Shunzei states, ‘The Left’s “sing of coming autumn to the skies” (aki o chikashi to sora o tsugu nari) is superlative. The Right’s “green maple leaves” (aoki momiji) must mean that the poet, on seeing a tree which turns scarlet, rather than green, recollects the autumn colour. However, “the heat” and the diction in the concluding line are somewhat pedestrian and unpoetic. I must award the victory to the Left.’

Poetry Competition in Six Hundred Rounds

Summer II: 6

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Left (Win).

たち花の匂を風のさそい來て昔にかへす夜半のさ衣

tachibana no
nioi o kaze no
sasoikite
mukashi ni kaesu
yowa no sagoromo		 Orange blossom
Scent upon the breeze
Urges
Me back to times gone by,
In my night-time garb…

Lord Ari’ie.

251

Right.

軒近き花たちばなに風過てにほひをのこす蝉の羽衣

noki chikaki
hana tachibana ni
kaze sugite
nioi o nokosu
semi no hagoromo		 Close by my eaves
The orange blossom
Brushed by the breeze
Leaves its scent upon
The cicada’s gossamer garb.

Lord Takanobu.

252

The Right team have no particular criticisms to make this round. The Left, however, say that, ‘the expression “the orange blossom brushed by the breeze” (hana tachibana ni kaze sugite) sounds old-fashioned. Furthermore, “cicada’s gossamer garb” (semi no hagoromo) seems somewhat unexpected.’

Shunzei seems to agree, simply saying, ‘The Left’s “urges me back to times gone by, in my night-time garb’ (mukashi ni kaesu yowa no sagoromo) seems particularly fine. It must win.’

Poetry Competition in Six Hundred Rounds

Summer II: 5

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Left (Tie).

尋入る楢の葉陰の重なりてさてしもかろき夏衣かな

tazuneiru
nara no hakage no
kasanarite
sateshimo karoki
natsugoromo kana		 Entering within
The oak leaves’ shade,
Layer upon layer;
Still, how light
Is my summer garb!

Lord Sada’ie.

249

Right (Tie).

花の色の袖は重ねし物なれどひとへに惜しき蝉の羽衣

hana no iro no
sode wa kasaneshi
mono naredo
hitoe ni oshiki
semi no hagoromo		 Cherry blossom hued
Sleeves lay one upon the other
And yet now,
A single, deep regret:
For the cicada’s gossamer garb…

The Provisional Master of the Empress’ Household Office.

250

Neither team has any criticisms to make this round.

Shunzei merely remarks, ‘The Left’s poem has “still, how light” (sateshimo karoki) and the Right’s “sleeves lay one upon the other and yet now” (sode wa kasaneshi mono naredo): both of these are only close to the topic, I feel. The round ties.’

Poetry Competition in Six Hundred Rounds

Summer II: 2

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Left (Tie).

脱ぎ代へし蝉の羽衣あつきまでいかになりゆく夏の日數ぞ

nugikaeshi
semi no hagoromo
atsuki made
ikani nariyuku
natsu no hikazu zo		 Stripped off to change,
A cicada-silk robe, yet
Why, this heavy hotness
Do I feel?
As the summer days go on…

Lord Kanemune.

243

Right (Tie).

橘のにほひも深し夏衣花ゆへたれかいとひそめけん

tachibana no
nioi mo fukashi
natsugoromo
hana yue tare ka
itoisomeken		 Orange blossom
Scent lies thick
Upon my summer garb;
For the cherry blossom’s sake
Should I begin to hate it?

Jakuren.

244

The Right state they find themselves ‘unable to agree’ with the Left’s ‘Why, this heavy heat do I feel?’ (atsuki made ikani nariyuku), while the Left remark that ‘it is perhaps too similar to introduce a poem with “orange blossom” (tachibana) and conclude it with “cherry blossom” (hana).’

Shunzei simply asks, ‘Can the Left’s “do I feel” really be disagreeble? The Right’s “For the cherry blossom’s sake should I begin to hate it?” (hana yue tare ka itoisomeken) recollects the poem on “regret on changing clothes” by Minamoto no Shigeyuki, does it not? Furthermore, it is not implying that summer garb is necessarily fragranced by orange blossom. I question, though,the Left’s use of “heat”. The round should, therefore, tie.’