別るれど安積の沼の駒なれば面影にこそ離れざりけれ
| wakaruredo asaka no numa no koma nareba omokage ni koso hanarezarikere |
We have parted, yet As Asaka Marsh’s Mount, Your face, of all things Has not left me! |
Nōin
能因
Tag Archives: face
Love VI: 3
Left (Tie).
つれもなき人をもさそへ夜はの月影ばかりだによそに見るやと
| tsure mo naki hito o mo sasoe yowa no tsuki kage bakari dani yoso ni miru ya to |
That heartless Man, will you invite O midnight Moon! Even just an image In the distance would I wish to see… |
Lord Suetsune.
905
Right.
秋の月妹が面影さそひきて我心にも宿すなりけり
| aki no tsuki imo ga omokage sasoikite wa ga kokoro ni mo yadosu narikeri |
The autumn moon My darling’s face Does bring to me, and Within my heart Has it found a place to stay. |
The Provisional Master of the Empress’ Household Office.
906
The Right state: if one is inviting someone to come and visit, then there is no reason to mention ‘just an image’ (kage bakari). We wonder whether the invitation is addressed to the sky? The Left state: the Right’s poem is pedestrian.
In judgement: both Left and Right have the same conception of an invitation addressed to the moon. The Round can only be a tie.
Love V: 29
Left (Tie).
象潟や妹戀ひしらにさ寢る夜の磯の寢覺に月傾きぬ
| kisakata ya koishirani sanuru yo no iso no nezame ni tsuki katabukinu |
In Kisakata and In love; I sleep the night away, and Awaking on the rocky shore Behold the moon descending. |
Kenshō
897
Right.
清見潟岩敷く袖の浪の上に思ふもわびし君が面影
| kiyomigata iwa shiku sode no nami no ue ni omou mo wabishi kimi ga omokage |
At Kiyomigata Sleeves spread atop the rocks, Waves breaking atop them; Heart filled with pain At the memory of your face… |
Jakuren
898
Left and Right both state that the opposing poem is pretentious.
In judgement: the Left’s poem seems well-constructed in its initial and final sections. However, as in Mototoshi’s poem long ago, ‘breaking a stem of miscanthus on the beach at Ise’, this seems to be a case of poetic allusion. The Right’s ‘Sleeves spread atop the rocks, waves breaking atop them’ (iwa shiku sode no nami no ue) seems to have been newly composed and seems elegant, but the final section is somewhat inferior. The Left has beginning and end matching. The Right has a superior initial section, but an inferior final one. Thus, the round ties.
Love V: 28
Left (Win).
旅寢する我をば床の主にて枕に宿る小夜の面影
| tabinesuru ware oba toko no aruji nite makura ni yadoru sayo no omokage |
When sleeping on my travels I of my bedding Am master! Lodging by my pillow is A face from a night too brief… |
Lord Ari’ie
895
Right.
まどろまぬその夜な夜なを數ふれば夢路も遠き草枕哉
| madoromanu sono yona yona o kazoureba yumeji mo tōki kusamakura kana |
Unable to even doze Night after night I count them up, and The path of dreams gets more Distant from my grassy pillow. |
Lord Takanobu
896
The Right state: the Left’s poem seems fine. The Left state: we find no faults to mention.
In judgement: the Right’s ‘the path of dreams gets more distant’ (yumeji mo tōki) sounds elegant, but the Left’s poem has already been assessed as ‘fine’ in the comments by the gentlemen of the Right. This round I will leave the judgement in their hands and make the Left the winner.
Yorimasa-shu 410
MYS XVI: 3796
SZS XVIII: 1166
Composed in the conception of travel, when he presented a hundred poem sequence.
東路の野島が埼の浜風に我が紐ゆひし妹がかほのみ面影に見ゆ
| azumadi no nozima ga saki no Famakaze ni wa ga Fimo yuFisi imo ga kaFo nomi omokage ni miyu |
On Eastern roads At Nojima Point In the breeze from off the beach: My belt was tied By my darling, her face, A vision, appears before me… |
Master of the Left Capital Office, Akisuke
左京大夫顕輔
Tsukimōdeshū III: 227
Love V: 3
Left.
いひわたる我年波を初瀬川映れる影もみつわさしつゝ
| iiwataru wa ga toshinami o hatsusegawa utsureru kage mo mitsuwashitsutsu |
Many times I have proposed, As the years come on me in waves By the River Hatsuse, But the reflection of my face Shows signs of stiffness… |
Kenshō.
845
Right.
姿こそ雪降りにたる身なれども袖は涙に色めきにけり
| sugata koso yuki furinitaru mi naredomo sode wa namida ni iromekinikeri |
My very form, Has snow drifts Upon me, but My sleeves with tears Have been strongly stained… |
Lord Tsune’ie.
846
Both Left and Right state together that they are unable to find any words of praise.
In judgement: ‘River Hatsuse’ (hatsusegawa) and ‘many times I have proposed’ (iiwataru) are the only expressions with some conception of love, but they seem somewhat lacking, do they not? A form with ‘snow drifts’ (yuki furinitaru), having ‘sleeves strongly stained with tears’ (sode no namida wa iromeku) has a profound conception of love.