Tag Archives: dwelling

Dairi uta’awase – Tentoku yo nen 03

Round Three

Left (Win)

わがやどの梅がえになくうぐひすは風のたよりにかをやとめこし

wa ga yado no
ume ga e ni
naku uguisu wa
kaze no tayori ni
ka o ya tomekoshi
Upon my dwelling’s
Branch of plum a’singing,
Has the warbler
By a message on the breeze
Carrying fragrance perhaps been summoned? [i]

Asatada
5[ii]

Right

さほひめのいとそめかくるあをやぎをふきなみだりそ春の山風

saohime no
ito somekakuru
aoyagi o
fuki na midari so
haru no yamakaze
Princess Sao
Has dyed the dangling threads of
Green willow—
O, don’t blow them into tangles,
Spring breeze from the mountains!

Kanemori
6

Warblers should have appeared here, but this is a poem about willows, so it loses.

しろたへの雪ふりやまぬ梅がえにいまぞうぐひす花となくなる

shirotae no
yuki furiyamanu
ume ga e ni
ima zo uguisu
hana to nakunaru
White as mulberry cloth
The snow falls unceasing—
Upon the branch of plum,
Now, indeed, the warbler,
Sings of the blossom!

Kanemori
7

Despite the mistaken composition, His Majesty required the original poem and it was located and recited.

Lord Hiromasa, the Reciter for the Right, mistakenly recited the willow poem. The Left raised an objection, saying, ‘He should have recited the warbler poem but, instead, erroneously recited the willow poem. Should he really be allowed to recite the correct poem now?’ The substance of the Left’s objection was conveyed to His Majesty, who instructed, ‘Provide a report based on prior precedent.’

This minor official advised His Majesty, ‘The Left’s objection is not unreasonable. However, matters such as this are best determined according to the circumstance of the occasion. As this was simply human error, why discriminate against the poem?’

Thus, His Majesty ordered that the poem be recited.

When he did so, Lord Hiromasa turned pale and was unable to recite the poem straight away. Although he finally managed to do so, his voice trembled and the Left laughed at him. Furthermore, the poem’s diction contained the nonsensical expression ‘sings of the blossom’, and thus this was still a loss.


[i] An allusive variation on: A poem from the Empress’ poetry competition held in the Kanpyō period. 花の香を風のたよりにたぐへてぞ鶯さそふしるべにはやる hana no ka o / kaze no tayori ni / taguete zo / uguisu sasou / shirube ni wa yaru ‘The blossoms’ scent / Messaged on the breeze / Brings / An invitation to the warbler / To try and bring him forth!’ Ki no Tomonori (Kokinshū I: 13)

[ii] This poem was included in Gyokuyōshū (I: 42), attributed to Asatada, with the headnote ‘On warblers, from the Palace Poetry Match in Tentoku 4’.

SIS XVI: 1015

When various people had come to see the blossom blooming beautifully at his mountain retreat in Kitashirakawa.

春きてぞ人もとひける山ざとは花こそやどのあるじなりけれ

Faru kite zo
Fito mo toFikeru
yamazato Fa
Fana koso yado no
aruzi narikere
Spring has come, and
Folk visiting, too,
My mountain retreat:
The blossoms are the dwelling’s
Master, to be sure!

Kintō, Captain of the Outer Palace Guards, Right Division

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?

Kinkai wakashū 216

Composed when I had gone hawking to a place called Togami Plain, and saw orchids blooming before a ruined hut.

秋風になににほふらん藤ばかまぬしはふりにしやどとしらずや

akikaze ni
nani niouran
fujibakama
nushi wa furinishi
yado to shirazu ya
In the autumn breeze,
Why do they shine so bright?
Do the purple petals, that
The master of this ancient
Dwelling is no more, not know?

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 11

Round Eleven

Left (Win)

われこそは野べをば宿にうつしつれたがさそひこし虫の音ぞこは

ware koso wa
nobe oba yado ni
utsushitsure
ta ga sasoikoshi
mushi no nezoko wa
‘Twas I, indeed, who
The meadow to my dwelling
Shifted, but
Who is it has been invited here
By the insects’ songs?

Shun’e Tayū no kimi
21

Right

秋の野の千くさの花の色色を心ひとつにそめてこそみれ

aki no no no
chikusa no hana no
iroiro o
kokoro hitotsu ni
somete koso mire
The autumn meadows
Thousand grasses’ blooms
Have hues a’plenty, but
My heart, but one,
Has been dyed, you see!

Mikawa, Court Lady to His Excellency
22

The Left sounds as if the poet is being comforted by the insects which is at some variance from the essential meaning of the topic, and yet when I listen to it, it has an abundance of charm. The Right doesn’t differ, does it, from Kanemasa’s poem in the Poetry Match held at the Residence of the Minister of the Centre in Gen’ei 2 [1119]:

秋くれば千くさに匂ふ花の色の心ひとつにいかでしむらん

aki kureba
chikusa ni niou
hana no iro no
kokoro hitotsu ni
ikade shimuran
When the autumn comes
The thousand grasses glow
With flowers’ hues, but
Why, then, does my heart with but one
Seem to be stained?

Thus, the Left wins.