Tag Archives: Iefusa

Summer I: 18

Left.

雲の上を出づる使のもろかづら向かふ日影にかざすけふかな

kumo no ue o
izuru tsukai no
morokazura
mukau hikage ni
kazasu kyō kana
From above the clouds
The messengers emerge;
Bearing branches, hollyhock decked,
Bent towards the sun-bright power
In adornment on this day.

Lord Sada’ie.

215

Right (Win).

ゆふだすきかけてぞ頼む玉かづらあふひうれしきみあれと思へば

yūdasuki
kakete zo tanomu
tamakazura
aoi ureshiki
miare to omoeba
With mulberry-cloth
Garlanded, wishing for
A jewelled belt of
Hollyhocks, on this joyful
Festive day…

The Provisional Master of the Empress’ Household Office.

216

The Right have no particular remarks to make about the Left’s poem. The Left, however, comment, ‘“Festival” (matsuri)and “festive” (miare) are somewhat different. They do not refer to events held on the same day.’

Shunzei responds, ‘While the Left’s “Bent towards the sun-bright power” (mukau hikage) certainly provides no evidence of a lack of feeling, in overall form the Right’s poem seems more elegantly flowing [migi utazama, iinagasaretaru yō]. While it is true that the festive days begin two days prior to the festival itself, the term can also apply to the evening of the festival day, and so the two can be seen as synonymous. The Right would seem to win.’

Summer I: 8

Left (Win).

誰か行く夏野の草の葉末よりほのかに見ゆる三嶋菅笠

tare ka yuku
natsuno no kusa no
hazue yori
honoka ni miyuru
mishima sugagasa
Who is that a’coming?
Above the summer plains’ grass
Tips
Distantly appears
A Mishima sedge-hat!

Lord Suetsune.

195

Right.

夏草にの飼ひの駒もかくろへていばゆる聲ぞ人に知らるゝ

natsukusa ni
no kai no koma mo
kakuroete
ibayuru koe zo
hito ni shiraruru
Among the summer grasses
The herded horses, too,
Are hidden;
Whinnying neighs
Are what let folk know!

The Provisional Master of the Empress’ Household Office.

196

Neither team has any comments to make about the other’s poem this round.

Shunzei remarks, ‘While the Left’s poem is certainly affecting, might it not be the case that simply “someone” (tare ka yuku) seen at a distance wearing a Mishima sedge-hat is insufficiently moving? However, the conception of the Right’s poem is not that surprising [kokoro wa mezurashikaranedo], and the expression [kotoba] “are hidden” (kakuroete) is certainly inappropriate [yoroshiki kotoba ni arazarubeshi]. “Sedge-hat” should win, should it not!’

Summer I: 4

Left.

影ひたす水さへ色ぞみどりなるよもの木ずゑのおなじ若葉に

kage hitasu
mizu sae iro zo
midorinaru
yomo no kozue no
onaji wakaba ni
Steeped in shade
Even the water’s hue
Has turned to green:
All around, the treetops
Loft the same new leaves…

Lord Sada’ie.

187

Right (Win).

をしなべて緑に見ゆる音羽山いづれか花のこずゑなりけむ

oshinabete
midori ni miyuru
otowayama
izure ka hana no
kozue narikemu
All has
Turned to green on
Otowa mountain;
Which were the blossomed
Treetops, I wonder?

The Provisional Master of the Empress’ Household Office.

188

The Right state, ‘The use of “steeped” (hitasu) is not at all laudable,’ to which the Left reply that it is ‘in the spirit of “shade-steeped southern mountain”’, referring to a line in a famous xinyuefu (新楽府; ‘new ballad’ – a Chinese poetic form), ‘Kunming Spring’ (昆明春). They then continue, ‘Why the particular reference to Otowa Mountain? In addition, doesn’t the poem seem redolent of a reversal of Lord [Minamoto no] Yorimasa’s “the cherries do appear in bloom” (sakura wa hana ni arawarenikeri)?’ The Right, rather tersely reply, ‘Such things are only to be expected.’

Shunzei acknowledges the Chinese model for the Left’s poem: ‘ “Shade-steeped southern mountain” appears in the Baishiwenji, yet in this poem it appears to give an inappropriate emphasis [on the water rather than the trees]. In the Right’s poem, Otowa Mountain could certainly be any mountain. As for the reference to Lord Yorimasa’s poem – this type of technique is becoming increasingly common nowadays. The Right should win.’

Spring III: 25

Left (Tie).

はかなしやいつまで花の散らじとて春をとめたる景色なるらん

hakanashi ya
itsu made hana no
chiraji tote
haru o tometaru
keshiki naruran
How piteous!
That the blossom should never
Fall – the words
Cling on to spring,
Or so it seems…

Kenshō.

169

Right (Tie).

飽かざりし花のかたみと見る春をいま幾日かはあらんとすらん

akazarishi
hana no katami to
miru haru o
ima ikuka wa
aran to suran
Never surfeited of
Blossom are my memories
Of Spring;
Now, a few days:
Do only they remain?

The Provisional Master of the Empress’ Household Office.

170

The Right say that the Left’s poem ‘gives the impression that Spring has passed and yet blossoms remain’ (meaning it’s unsuited to the topic, which is about the last days of spring), while the Left say the final line of the Right’s poem, ‘sounds weak.’

Shunzei disagrees, ‘The final section of the Right’s poem gives an emphatic impression. However, both ‘ should never’ (itsu made) and ‘now, a few days’ (ima ikuka wa) jointly have such a similar spirit [of spring shortly ending] that it is not possible to determine a winner or loser between the two poems.’

Spring III: 20

Left.

追風にすだく河づのもろ聲も浪も寄り來る井手の川水

oikaze ni
sudaku kawazu no
morogoe mo
nami mo yorikuru
ide no kawamizu
Carried on the wind
The swarming frogs’
Chorus, too,
Comes with the waves
To the waters of Idé.

Lord Ari’ie.

159

Right (Win).

漕ぎすぐる舟さへとよむ心地して堀江の河づ聲しきるなり

kogisuguru
fune sae toyomu
kokochishite
horie no kawazu
koe shikirunari
Rowed too far,
Even the boat echoes,
it does seem;
The Horie frogs
Crying all together.

The Assistant Master of the Empress’ Household Office.

160

The Right remark that as the Left’s poem contains “carried on the wind” (oikaze ni), it would have been desirable for it to also contain “boat”. The Left content themselves with saying that the reference to “frogs crying” seems “bombastic”.

Shunzei judges, ‘It is as the Right have stated with regard to “carried on the wind.” “Comes with the waves” (nami mo yorikuru) and its associated section, too, sounds impressive, but is really not so. There is logic in the criticism of the Right’s poem for “frogs crying”, but this is how the Horie frogs sound. Thus, the Right should win.’

Spring III: 13

Left (Tie).

さかづきの流れにつけて唐人の船乘りすなるけふをしぞ思

sakazuki no
nagare ni tsukete
karahito no
fune norisu naru
kyō o shi zo omou
As the wine cups
Flow,
Cathay folk,
Boarding boats
This day, comes to my mind.

Kenshō.

145

Right (Tie).

ゆく水に浮ぶる花のさか月や流れての代のためしなるらん

yuku mizu ni
ukaburu hana no
sakazuki ya
nagarete no yo no
tameshi naruran
Upon the flowing waters
Floating flowers of
Wine cups!
In times gone by,
Was there ever such a thing?

The Provisional Master of the Empress’ Household Office.

146

Both Left and Right say they have no criticisms to make this round.

Shunzei says, ‘The Left’s poem recalls an ancient Chinese festival, while the Right’s mentions one from our own Court. In terms style and form, neither poem has any particular problems. The round must tie.’

Spring III: 12

Left (Tie).

をちかたやまだ見ぬ峰は霞にて猶花思ふ志賀の山越え

ochikata ya
mada minu mine wa
kasumi nite
nao hana omou
shiga no yamagoe
In the distance far
As yet unseen peaks
Are shrouded in the haze;
Yet I think on blossom on
The path across the Shiga Mountains.

A Servant Girl.

143

Right (Tie).

春深み花のさかりに成ぬれば雲を分け入る志賀の山越え

haru fukami
hana no sakari ni
narinureba
kumo o wakeiru
shiga no yamagoe
Spring is at its height, and
The blossoms their peak
Have reached, so
I pass between the clouds
On the path across the Shiga Mountains.

The Provisional Master of the Empress’ Household Office.

144

The Right say that ‘shrouded in the haze’ (kasumi nite) in the Left’s poem is ‘somewhat grating on the ear’ [isasaka mimi ni tatsu], while the Left reply that the Right’s is ‘rather old-fashioned’ [furumekashiki] and ‘there would be people complaining it was similar to their own work!’

In response, Shunzei says, ‘The Left’s ‘shrouded in haze’ certainly is somewhat grating in form [mimi ni tatsubeku ya], but seeing blossom scattered on a mountain path and wondering about the situation on peaks ahead hidden in the haze, seems well in keeping with the conception of the topic [amari no kokoro ni ya haberan]. As for the Right, on first impression it is splendid [yū], and as for it seeming old-fashioned, and people complaining about it: well, I wonder if there ever was anyone who composed in such a manner [kayō no kokoro ni koso yomeru hai ni ya]? At the present time I have no recollection of anyone. Thus, I cannot decide on a winner between the two.’

Spring III: 4

Left (Win).

ながめわびぬ光のどかに霞む日に花咲く山は西を分かねど

nagame wabinu
hikari nodoka ni
kasumu hi ni
hana saku yama wa
nishi o wakanedo
Surfeited with gazing,
In the tranquil light
Of the hazy sun,
At the mountain – blossom-covered –
Yet not on its western side alone…

Lord Sada’ie.

127

Right.

つれづれとくらしぞかぬる山里の花咲かぬまの春の心は

tsurezure to
kurashi zo kanuru
yamazato no
hana sakanu ma no
haru no kokoro wa
In this tedium
I cannot spend my days:
Dwelling on a mountain,
The blossoms not yet blooming
In springtime – or so I feel!

The Provisional Master of the Empress’ Household Office.

128

Both teams say their feelings are as in the previous round.

Shunzei says, ‘The final stanza ‘At the mountain – blossom-covered – yet not on its western side alone…’ (hana saku yama wa nishi o wakanedo) appears particularly splendid. The Right’s ‘I cannot spend my days: dwelling on a mountain’ (kurashi zo kanuru yamazato no) is also good, but ‘The blossoms not yet blooming’ (hana sakanu ma) would be more appropriate for a poem on the end of the First, or beginning of the Second Month. Wouldn’t it?’

Spring II: 27

Left (Tie).

これやこの心ある人のながむべき難波わたりの春の明ぼの

kore ya kono
kokoro aru hito no
nagamubeki
naniwa watari no
haru no akebono
Is this what
That man with soul
Should gaze upon?
Close by to Naniwa –
The dawn at springtime…

Lord Kanemune.

113

Right (Tie).

あはれさは古りゆくまゝにそへてけり高津の宮の春の明ぼの

awaresa wa
furiyuku mama ni
soetekeri
takatsu no miya no
haru no akebono
How moving!
As it ages, it
Affects one more:
The Palace at Takatsu,
In the dawn at Springtime.

The Provisional Master of the Empress’ Household Office.

114

Neither team has any particular remarks to make about the other’s poems this round.

Shunzei, too, merely says, ‘Both poems make splendid use of places such as ‘the Palace at Takatsu’ (takatsu no miya), ‘close by to Naniwa’ (naniwa watari) and ‘dawn’ (akebono). It is difficult to decide on which is better. The round must, therefore, be a tie.’

Spring II: 23

Left (Win).

面影に千里をかけて見するかな春のひかりに遊ぶいとゆふ

omokage ni
chisato o kakete
misuru kana
haru no hikari ni
asobu itoyū
A vision from
Across a thousand leagues
Appears,
In the spring sunlight
Wavering ‘midst the haze.

A Servant Girl.

105

Right.

見わたせばあるかなきかに亂れつゝ心ぼそくも遊ぶいとゆふ

miwataseba
aru ka naki ka ni
midaretsutsu
kokorobosoku mo
asobu itoyū
When I look out
Is it there, or not?
Disordered and
Forlorn,
Wavering haze.

The Provisional Master of the Empress’ Household Office.

106

The Right say they have nothing particular to remark upon about the Left’s poem, but the Left wonder whether ‘forlorn’ (kokorobosoku mo) forms an appropriate linkage with the final line. (The point they are making is that in the original poem the final line starts asobu, which literally means ‘enjoy oneself’ or ‘play’, and thus ‘forlorn’ seems an incongruous prequel to it. In all the ‘Heat Haze’ poems I’ve translated asobu as ‘wavering’, as it’s use in this context is not for its sense, but as an addition piece of orthographic wordplay, as ‘heat haze’ (itoyū), is written with the characters for ‘threads’ (ito 糸) and ‘play’ ( 遊).)

Shunzei’s judgement is: ‘One has to wonder about the suitability of the final line of the Right’s poem, as is the gist of the Left’s remarks; by contrast, the ending of the Left’s poems seems particularly good. It has to be the winner.’