Tag Archives: Jien

Autumn III: 30

Left.

龍田姫今はの比の秋風に時雨をいそぐ人の袖かな

tatsuta hime
ima wa no koro no
aki kaze ni
shigure o isogu
hito no sode kana
Princess Tatsuta,
At this time, now,
With the autumn winds
Does hurry along the showers
Upon folks’ sleeves.

A Servant Girl.

479

Right.

あはれなる身のたぐひとも思来し秋も今はの夕暮の空

awarenaru
mi no tagui tomo
omoikoshi
aki mo ima wa no
yūgure no sora
How sad
Am I and so, too,
I’d thought was
Autumn, now ended
With the evening skies.

Nobusada.

480

The Right state that ‘hurry along the showers’ (shigure o isogu) is lacking in technique [jutsu nashi]. The Left merely say that the Right’s poem ‘isn’t bad.’

Shunzei’s judgement: Both poems use ‘now’ (ima wa) in their diction [kotoba], in conjunction with a powerful [sechinaru] conception [kokoro] of regretting autumn’s passing. Nevertheless, the Gentleman of the Left has said the Right’s poem ‘isn’t bad’ and the Gentleman of the Right has said that of the Left ‘lacks technique’. I feel, however, that the initial conception ‘Princess Tatsuta, at this time, now’ (tatsuta hime ima wa) does not refer only to autumn [but could be used for winter, too]. The Right’s ‘Autumn, now ended with the evening skies’ (aki mo ima wa no yūgure no sora) is also somewhat lacking in technique, is it not? Thus, the round lacks a clear winner, or loser.

Autumn III: 19

Left.

女郎花まだきに霜をいたゞきて盛り過ぬる氣色なる哉

ominaeshi
madaki ni shimo o
itadakite
morisuginuru
keshiki naru kana
Upon the maidenflowers
Already has frost
Fallen, so
Past their prime
They look, indeed!

Lord Suetsune.

457

Right (Win).

もみぢ葉はをのが染たるいろぞかしよそげに置ける今朝の霜かな

momijiba wa
ono ga sometaru
iro zo kashi
yosoge ni okeru
kesa no shimo kana
The autumn leaves –
‘Tis you have stained
Them with your hue!
Indifferently falling
Frost-flakes in the morning…

Nobusada.

458

The Right have no criticisms to make of the Left’s poem this round. The Left wonder about the appropriateness of ‘indifferently falling’ (yosoge ni okeru).

Shunzei’s judgement: The Left saying that on ‘maidenflowers frost falling’ (ominaeshi shimo o itadaki) would put them past their prime seems pointless [sada ni oyobazaru ka]. In addition the final ‘they look, indeed’ (keshiki naru kana) seems feeble [chikara naki]. The Right’s style is intriguing [fūtei kyō arite]. I must make it the winner.

Autumn III: 18

Left (Win).

雲の上に待來し今日の白菊は人の詞の花にぞ有ける

kumo no ue ni
machikoshi kyō no
shiragiku wa
hito no kotoba no
hana ni zo arikeru
Above the clouds
Long have we waited for this day, when
The white chrysanthemums
Are the words in which folk
Blossom forth!

A Servant Girl.

455

Right.

今日といへば八重咲く菊を九重に重ねし跡もあらはれにけり

kyō to ieba
yae saku kiku o
kokonoe ni
kasaneshi ato mo
arawarenikeri
On this day
Upon the eight-fold blooming chrysanthemums,
A nine-fold layer

Was laid – a trace of it
Appearing…

Nobusada.

456

The Right have no criticisms to make of the Left’s poem. The Left state that the Right’s ‘Upon the eight-fold blooming chrysanthemums, a nine-fold layer’ (yae saku kiku o kokonoe ni) is lifted wholesale from an earlier famous poem.

Shunzei’s judgement: Both Left and Right charmingly express the conception [kokoro wa okashikuhaberu] of the Chrysanthemum Festival, but the Left’s ‘Are the words in which folk blossom forth!’ (hito no kotoba no hana ni zo arikeru) has a slightly better air about it at present.

Autumn III: 8

Left.

柞原涼みし夏の青木立色變りても猶ならすかな

hahasowara
suzumishi natsu no
aogidachi
iro kawarite mo
nao narasu kana
Beneath the oaks is
Cool in summer –
A fresh green grove;
Their hues have changed, but
Still, ‘tis where I take my rest…

Lord Suetsune.

435

Right (Win).

山巡る時雨の宿か柞原我が物顔に色の見ゆらん

yama meguru
shigure no yado ka
hahasowara
wa ga mono kao ni
iro no miyuran
Roaming round the mountains
Is the showers’ lodging
Above the oaks?
Such satisfaction in their
Hues, there seems to be!

Nobusada.

436

The Right state that ‘a fresh green grove’ (aogidachi) in the Left’s poem is difficult to accept [kikinikushi].The Left wonder what is meant by ‘Such satisfaction in their hues, there seems to be!’ (wa ga mono kao ni iro no miyuran).

Shunzei’s judgement: With regard to the Left’s poem, the cool of summer is usually evoked by phrases such as ‘the shade of the cedars by the Barrier springs’, or ‘’neath the pines growing by waters flowing from the rocks’, and so one wonders why a fresh green grove of oaks has been used. When the focus [mune] in a poem is autumn leaves, using ‘yet’ (nao) suggests that the poet has something else in mind. The Right’s poem is charming in conception [kokoro wa okashiku kikoyuru], but ‘lodging’ (yado ka) as a piece of diction is insufficiently heartfelt [kotoba no shokisubekarazu]. However, the Left’s poem is lacks sufficient feeling throughout [kotogoto ni kanshinserarezu]. Thus, I make the Right the winner.

Autumn III: 2

Left.

見るに猶住まゝほしきは色いろに蔦這ふ小屋のよそめ也けり

miru ni nao
sumamahoshiki wa
iroiro ni
tsuta hau koya no
yosome narikeri
Gazing, again
Would I dwell there:
Many-hued
Ivy creeping round the hut,
Seen from afar.

Kenshō.

423

Right (Win).

年を經て苔に埋るゝ古寺の簷に秋ある蔦の色かな

toshi o hete
koke ni mumoruru
furu tera no
noki ni aki aru
tsuta no iro kana
The years pass by and,
Buried in moss,
The ancient temple’s
Eaves in autumn take
On ivy’s hues…

Nobusada.

424

The Right say, ‘If by Koya the Left means the place Koya in the Province of Tsu, there are no other connections in the poem. If, however, it is just referring to a hut (koya), we wonder about that composition [sayō ni mo yomamu ni ya].’ The Left respond, ‘It is perfectly normal when referring to a hut, to just have “hut” in the poem! In the Right’s poem, though, “Buried, the ancient temple” (mumoruru furu tera) sounds unpleasant [kikiyokarazu].’

Shunzei’s judgement: In the Left’s poem, if it is not referring to Koya in the Province of Tsu, I have no recollection of it being normal to just refer to a hut in a poem. Even if there was an earlier poem for evidence of this, the word ‘hut’ has no connections within anything in this poem, either. The Right’s ‘buried in moss’ (koke ni mumoruru) is splendid [yū ni koso habere]. As for ‘ancient temple’ (furu tera), although it is splendid in Chinese poetry to write [shi ni kaku wa yū ni haberedo] phrases like ‘the ancient temple, situated on the mountaintop’, this is not particularly elegant in waka [uta ni wa en narazaru]. However, besides the use of koya being poor, ‘eaves in autumn’ (noki ni aki aru) sounds charming [okashiku kikoyu]. The Right must win.

Autumn II: 28

Left (Tie).

眺めやる心の末も泊まれとや月に宿貸す廣澤の池

nagameyaru
kokoro no sue mo
tomare to ya
tsuki ni yado kasu
hirosawa no ike
‘Your wandering gaze
Will find a resting place
Here!’, is that what you say?
Lending lodging to the moon,
O, pond at Hirosawa!

Lord Kanemune.

415

Right (Tie).

更科も明石もこゝに誘ひ來て月の光は廣澤の池

sarashina mo
akashi mo koko ni
sasoikite
tsuki no hikari wa
hirosawa no ike
Should I Sarashina and
Akashi bring
here,
The best moonlight would be on
Hirosawa Pond.

Nobusada.

416

Neither Left nor Right have any criticisms to make this round.

Shunzei’s judgement: The Left’s “‘Will find a resting place here!’, is that what you say?” (kokoro no sue mo tomare to ya) seems particularly fine [yoroshiku koso miehaberu], but so is the Right’s “Akashi bring here” (akashi mo koko ni sasoikite) in form and diction [sugata kotoba] and so it is impossible to say it is inferior to the Left. This is a solid tie [yoki ji].

Autumn II: 20

Left (Win).

唐衣裾野の庵の旅枕袖より鴫の立つ心地する

karakoromo
susono no io no
tabimakura
sode yori shigi no
tatsu kokochisuru
Clothed in Cathay robes
In a hut at Susono
My traveller’s pillow –
My sleeve – from which the snipe
I feel are starting.

Lord Sada’ie.

399

Right.

旅衣夜半のあはれも百羽がき鴫立つ野邊の暁の空

tabi makura
yowa no aware mo
momohagaki
shigi tatsu nobe no
akatsuki no sora
Clad in traveller’s garb
All night long in lonely reverie
As beating wings time and again
Snipe start from the fields
Into the dawning sky.

Nobusada.

400

The Right query whether it is possible to draw an association between ‘Cathay robes’ and snipe? The Left wonder about the usage of’lonely reverie as beating wings’.

Shunzei’s judgement: The criticisms from both teams are ones I have encountered before. As the poet has used ‘My sleeve – from which the snipe’ (sode yori shigi), and ‘a hut at Susono’ (susono no io), it requires the use of ‘Cathay robes’ (kara koromo) – there is no more to it than that. As for the Right, saying ‘Snipe start from the fields’ (shigi tatsu nobe) and ‘All night long in lonely reverie as beating wings time and again’ (yowa no aware mo momohagaki) – there is no fault to be found here, either. However, saying ‘My sleeve – from which the snipe’ is better. It must win.

Autumn II: 11

Left (Tie).

物思はでかゝる露やは袖に置く眺めてけりな秋の夕暮

mono’omoi wa de
kakaru tsuyu ya wa
sode ni oku
nagametekerina
aki no yūgure
Without deep thought
Would such dewdrops
Fall upon my sleeves?
No, my gaze has, indeed, been lost
Upon this autumn evening…

A Servant Girl.

381

Right (Tie).

さてもさはいかにかすべき身の憂さを思果つれば秋の夕暮

sate mo sa wa
ika ni kasubeki
mi no usa o
omoihatsureba
aki no yūgure
And so
How should I escape
From my misery?
I thought t’was done and yet
Am faced with a lonely autumn evening…

Nobusada.

382

Both teams feel the other’s poem is ‘most fine’.

Shunzei’s judgement: Both poems take the topic of ‘Autumn evenings’ and present one type of emotional import before reversing it, making it difficult to judge between them. It would seem arbitrary to assign a winner and loser between such phrases as the Left’s initial section ‘Would such dewdrops fall upon my sleeves?’ (kakaru tsuyu ya wa sode ni oku) and the Right’s final section ‘I thought t’was done and yet am faced with a lonely autumn evening…’ (omoihatsureba aki no yūgure). Thus, the round ties.

Autumn I: 28

Left (Win).

萩の葉にかはりし風の秋の聲やがて野分の露砕く也

hagi no ha ni
kawarishi kaze no
aki no koe
yagate nowaki no
tsuyu kudakunari
Bush clover leaves
Brushed by the breeze
Speak of autumn;
Swift comes the gale,
Scattering dewdrops…

Lord Sada’ie.

355

Right.

靡き行く尾花が末に浪越えて眞野の野分に續く濱風

nabikiyuku
obana ga sue ni
nami koete
mano no nowaki ni
tsuzuku hamakaze
Streaming
Miscanthus fronds
Wave
At Mano in the gales
Born from breezes off the beaches.

Nobusada.

356

The Left’s ‘speak of autumn’ (aki no koe) and the Right’s ‘born from’ (tsuzuku) are each found unsatisfactory by the opposing team.

Shunzei states, ‘Both the poems of the Left and Right have been found unsatisfactory by a number of modern poets, and is this not reasonable? However, the Left’s “Brushed by the breeze speak of autumn” (kawarishi kaze no aki no koe) is particularly fine. The Right’s “born from” is not a turn of phrase which could be considered pleasant; starting with “streaming” (nabikiyuku) and then continuing to “breezes off the beaches” (hamakaze) which lead to “Mano in the gales” (mano no nowaki ni) suggests an implicit meaning, but the Left’s upper and lower sections are finer. It should win.’

Autumn I: 22

Left.

夕間暮あはれこもれる野原かな霧の籬に鶉鳴く也

yūmagure
aware komoreru
nohara kana
kiri no magaki ni
uzura nakunari
In the early evening dusk
How melancholy is
The plain;
From beyond a fence of mist
The quails are crying.

Lord Ari’ie.

343

Right.

移し植へし萩が籬の荒れ行をまことの野邊となす鶉哉

utsushiueshi
hagi ga magaki no
areyuku o
makoto no nobe to
nasu usura kana
My transplanted
Bush clover by the fence is
Disturbed and
Truly, ‘tis the plain
Again, with quails.

Nobusada.

344

The Right state that ‘“Fence of mist” (kiri no magaki) is an unclear expression.’ The Left counter that they are ‘unaccustomed to the expression “bush clover by the fence” (hagi ga magaki).’

Shunzei states, ‘With regard to the respective criticisms of the gentlemen of the Left and Right, in this context “fence of mist” is a perfectly standard expression. “Bush clover by the fence”, too, needs no real explanation. In fact, the Left’s poem is straightforward, and the Right’s charming: melancholy in the mists, and the charming cries from beneath the bush clover – it is impossible to say which is the winner, and so the round must tie.