Tag Archives: Fukakusa

Yōzei-in uta’awase (Engi jūsan-nen kugatsu kokonoka) 15

Left

秋すぐとねをもなくかなふか草のかげとたのめるむしならなくに

aki sugu to
ne o mo naku kana
fukakusa no
kage to tanomeru
mushi naranaku ni
‘Autumn passes by!’
Goes the cry—though
Upon the deep grasses’
Shade relying
Are there no insects at all…

29

Right

いづかたに心をやらんあかずしてすぎゆく秋ををしみとどめで

izukata ni
kokoro o yaran
akazushite
sugiyuku aki o
oshimi todomede
Whither
Should I incline my heart?
Unsatisfied,
With autumn’s passing
Regrets linger on…

30

KKS XVI: 832

Composed when the Horikawa Grand Minister had died, after the cremation on Mount Fukakusa was over.

深草の野辺の桜し心あらばことし許はすみぞめに咲け

Fukakusa no
nobe no sakura si
kokoro araba
kotosi bakari Fa
sumizome ni sake
At Fukakusa
In the meadows, had the cherry trees
Any heart at all,
For just this year
Would they bloom in charcoal hues.

Kamutsuke no Mineo
上野岑雄

Winter II: 5

Left.

さびしさの始とぞ見る朝まだきはだれ霜降る小野の篠原

sabishisa no
hajime to zo miru
asa madaki
hadarejimo furu
ono no shinohara
The loneliness
Has begun, I feel,
Early in the morning, with
The dusting frost
On the arrow bamboo groves…

Lord Suetsune.

549

Right (Win).

朝戸明けて都の辰巳眺むれば雪の梢や深草の里

asado akete
miyako no tatsumi
nagamureba
yuki no kozue ya
fukakusa no sato
Opening my door one morning, and
South-east of the capital
Turning my gaze,
The snow-laden treetops recall
The depths of the estate at Fukakusa.

The Provisional Master of the Empress’ Household Office.

550

Both teams say the other’s poem ‘isn’t bad’ [ashikaranu].

Shunzei’s judgement: Although I feel that this topic of ‘Winter Mornings’ should express the conception of the latter half of winter [fuyu no nakaba sugitaru kokoro], the Left’s poem sounds like one from the beginning of winter, and I wonder about that. ‘South-east of the capital’ (miyako no tatsumi) is taken from the poem by Kisen on Mt Uji, which states ‘South east of the Capital, and so I dwell’ (miyako no tatsumi sika zo sumu). This conception [kokoro] of being there and ‘gazing south-east of the capital’ (miyako no tatsumi nagamureba) to the Fukakusa Estate, is charming [okashiku haberu]. Snow on the treetops in the morning, too, sounds pleasant [yoroshiku kikoyu]. Thus, the Right should win.

Autumn II: 22

Left (Tie).

明方に夜はなりぬとや菅原や伏見の田居に鴫ぞ立ちける

akekata ni
yo wa narinu to ya
sugawara ya
fushimi no tai ni
shigi zo tachikeru
Is it that dawn
Has come to break the night,
That from the sedge-lined
Fields of Fushimi
The snipe have started?

Lord Suetsune.

403

Right.

明ぬるか鴫の羽がき閨過ぎて袖に月もる深草の里

akenuru ka
shigi no hanegaki
neya sugite
sode ni tsuki moru
fukakusa no sato
Has dawn come?
The snipe’s wingbeats
Cross my bedchamber,
Sleeves lit by lonely moonlight
In the overgrown depths of Fukakusa…

Lord Takanobu.

404

The Right state, ‘There is no precedent for the addition of “fields” (tai) to “sedge-lined Fushimi” (sugawara ya fushimi). In addition, using ya at the end of both the second and third lines is grating on the ear.’ The Left merely remark, ‘“Fukakusa” is now, perhaps more commonly associated with quail.”

Shunzei’s judgement: ‘In regard to the Right’s poem, although one would really like there to be a precedent, and there are doubtless rice fields in “sedge-lined Fushimi”, I do still feel that “fields” here is a little outre, is it not? While the Left’s “sleeved lit by lonely moonlight” (sode ni tsuki moru) is superlative, I would prefer “quail” to be associated with “Fukakusa”. If snipe call for a place name, it is not Fukakusa, but Yamada, I would think. Both poems are excellent, but with faults, and for this reason the round ties.’

Summer I: 9

Left.

夏草の野嶋が崎の朝霧を分てぞ來つる萩の葉の摺り

natsukusa no
nojima ga saki no
asagiri o
wakete zo kitsuru
hagi no ha no suri
Summer grass grows high
On Nojima Point;
Through the morning mists
Have I come forging,
Robes patterned with bush-clover leaves.

Kenshō.

197

Right (Win).

茂き野と夏もなりゆく深草の里はうづらの鳴かぬばかりぞ

shigekino to
natsu mo nariyuku
fukakusa no
sato wa uzura no
nakanu
bakari zo
Ever thicker grow the grasses and
With the summer’s passing, too,
At Fukakusa – deep within the greenery –
The quails
Let out not a cry – that’s all…

Ietaka.

198

The Right have no criticisms to make of the Left’s poem. The Left, however, say, ‘Using “summer’s passing, too” (natsu mo) appears to suggest a foundation upon something definite. What is it, however?’ The Right reply, ‘As the source poem is “A quail I shall become and cry” (udura to narite nakiworan), the impression given is of Autumn. Thus, “summer’s passing, too”.’

Shunzei judges, ‘The Left’s poem has as its final line, “Robes patterned with bush-clover leaves” (hagi no ha no suri), and before it, where one would expect to find the reason why the poet is forging across Nojima Point, is only “summer grass” (natsukusa no). This is repetitive. The Right’s poem, though, commencing with “ever thicker grasses” (shigeki no) is particularly fine in terms of configuration [sugata yoroshiki ni nitari]. Thus, it is the winner, this round.’

Winter 48

Left (Tie).

雪折の竹の下道跡もなし荒れにしのちの深草の里

yuki ore no
take no shitamichi
ato mo nashi
arenishi nochi no
fukakusa no sato
Snow-snapped
Bamboo trails
Bear no tracks
After the storm
At the estate of Fukakusa.

95

Right

大伴の御津の濱風吹はらへ松とも見えじうづむ白雪

ōtomo no
mitsu no hama
kaze
fukiharae
matsu tomo mieji
uzumu shirayuki
In Ōtomo
Upon the beach at Mitsu, wind,
Blow clean
The pines, for they seem unlike themselves,
Buried in drifted snow.

96

SKKS XV: 1337

From the Minase 15 Love Poem Poetry Competition.

思いる身はふかくさのあきのつゆたのめしすゑやこがらしの風

omoiiru
mi wa fukakusa no
aki no tsuyu
tanomeshi sue ya
kogarashi no kaze
Dwelling on my thoughts
At Fukakusa, deep among the grasses,
The autumn’s dewfall comes
With your broken promises?
Or the chill and bitter wind…

Fujiwara no Ietaka
藤原家隆