Tag Archives: Jien

Poetry Competition in Six Hundred Rounds

Autumn I: 15

Leave a comment

Left (Tie).

秋の夜に幾度ばかり照らむ稲葉の露に宿る稲妻

aki no yo ni
ikutabi bakari
terasuramu
inaba no tsuyu ni
yadoru inazuma		 On an autumn night
How many times does
It flash, I wonder?
In the dewfall on the seedling rice
Lightning has found a home.

Lord Kanemune.

329

Right (Tie).

山の端に殘れる雲の絶え間より鳥羽田の面に通ふ稲妻

yama no ha ni
nokoreru kumo no
taema yori
tobata no omo ni
kayou inazuma		 On the mountains’ edge
Rest clouds, and
From the space between
Across the face of Tobata field
Passes lightning.

Nobusada.

330

The Right state that they find the Left’s poem ‘commonplace’ [mezurashikarazu], while the Left remark that the Right’s poem ‘ has no faults, but we wonder about the utility of “Tobata”?’

Shunzei’s judgment: While the Left’s poem recalls the verse ‘How many times have I awakened’ (ikutabi bakari nezameshite), in form, I certainly feel it is good [utazama, yoroshiku koso haberumere]. As for the Right’s poem, though there is no particular wording which calls for the use of ‘Tobata’, as a large paddy field which is close to the capital, it does not seem that there is a reason not to use it. Thus, this round is a tie.

Poetry Competition in Six Hundred Rounds

Autumn I: 11

Leave a comment

Left (Win).

星合の空の光となる物は雲井の庭に照らす灯し火

hoshiai no
sora no hikari to
naru mono wa
kumoi no niwa ni
terasu tomoshibi		 The stars meeting in
The sky is lit
By
The Palace gardens’
Shining torches.

A Servant Girl.

321

Right.

七夕は雲の上より雲の上に心を分けて嬉しかるらん

tanabata wa
kumo no ue yori
kumo no ue ni
kokoro o wakete
ureshikaruran		 At Tanabata
Above the heavens’ clouds, and
Above the clouds on earth
Between them is the heart divided
In joy, no doubt!

Nobusada.

322

The Right state that the Left’s poem has no faults. The Left, on the other hand, say, ‘The Right’s poem seems to have very little of celebration about it. In addition, the expression “Above the heavens’ clouds, and above the clouds on earth” (kumo no ue yori kumo no ue ni) seems to have reversed the proper sense.’ (‘Above the clouds’ was a standard euphemism for the palace, and by association, the Emperor. Putting him in a secondary position here was perceived as a fault.)

Shunzei’s judgement: ‘“Above the heavens’ clouds, and above the clouds on earth” can be criticised, I think, for repeating the same phrase twice. And, what might one make of it having “reversed the proper sense”? The Left’s poem is faultless. The Right’s does, indeed, lack a conception of celebration, so the Left, again, win this round.’

Poetry Competition in Six Hundred Rounds

Autumn I: 6

Leave a comment

Left.

打ち寄する浪より秋の龍田川さても忘れぬ柳陰かな

uchiyosuru
nami yori aki no
tatsutagawa
satemo wasurenu
yanagikage kana		 Approaching on
The waves, comes autumn to
The Tatsuta River;
And yet, I cannot forget
The willows’ shade.

A Servant Girl.

311

Right.

秋淺き日影に夏は殘れども暮るゝ籬は荻の上風

aki asaki
hikage ni natsu wa
nokoredomo
kururu magaki wa
ogi no uwakaze		 Faintly autumnal is
The sunlight, with summer
Yet remaining;
At evening by the rough-woven fence
Blows a breeze o’er the silver-grass.

Nobusada.

312

The Right say the Left’s poem is ‘particularly good.’ The Left state that, ‘“Faintly autumnl” (aki asaki) grates on the ear, and we also cannot grasp the use of “evening by the rough-woven fence” (kururu magaki).’

Shunzei states, ‘The Left’s “approaching on the waves” (nami yori aki no), seems particularly charming, but when taken together with “willows’ shade” (yanagi kade)– the Tatsuta River has long been the subject of composition on “flowing scarlet autumn leaves”, and even now this gives a slightly poetic effect; “willows’ shade” has been used in composition, both in ancient times and more recently, but does it not seem commonplace now? The Right’s poem is in the same vein as that of the Right in Round One Hundred and Fifty-Two, yet I do not find “faintly autumnal” to be unpleasant. “Evening by the rough-woven fence”, too, has charm. The Left’s poem has vocabulary in accordance with the contents; the Right unusual expressions. In this combination, the round must tie.’

Poetry Competition in Six Hundred Rounds

Summer II: 25

Leave a comment

Left (Win).

あらし吹く梢はるかに鳴蝉の秋を近しと空に告ぐ也

arashi fuku
kozue haruka ni
naru semi no
aki o chikashi to
sora o tsugu nari		 A storm wind blows
The distant treetops, where
The cicadas sing
Of coming autumn
To the skies.

Lord Sada’ie.

289

Right.

茂りあふ青き紅葉の下涼み暑さは蝉の聲にゆづりぬ

shigeriau
aoki momiji no
shita suzumi
atsusa wa semi no
koe in yuzurinu		 Lush and
Green beneath the maple leaves
‘Tis cool;
The heat by cicadas
Song is summoned.

Nobusada.

290

The Right state that, ‘“Sing…to the skies” (sora o tsugu) goes against the spirit of the topic,’ while the Left wonder, ‘What we can make of “green maple leaves” (aoki momiji)?’

Shunzei states, ‘The Left’s “sing of coming autumn to the skies” (aki o chikashi to sora o tsugu nari) is superlative. The Right’s “green maple leaves” (aoki momiji) must mean that the poet, on seeing a tree which turns scarlet, rather than green, recollects the autumn colour. However, “the heat” and the diction in the concluding line are somewhat pedestrian and unpoetic. I must award the victory to the Left.’

Poetry Competition in Six Hundred Rounds

Summer II: 24

Leave a comment

Left.

鳴神は猶村雲にとゞろきて入日に晴るゝ夕立の空

narukami wa
nao murakumo ni
todorokite
irihi ni haruru
yūdachi no sora		 Thunder
Among the crowding clouds yet
Sounds, and
The setting sun shines from a clearing
Sky of evening showers.

Kenshō.

287

Right (Win).

これもやと人里遠き片山に夕立すぐる杉の村立

kore mo ya to
hito sato tōki
katayama ni
yūdachi suguru
sugi no muradachi		 Could that be it?
Far from human dwellings
In the distant mountains
Passed o’er by evening showers:
A grove of cedar trees…

Nobusada.

288

The Right wonder whether, ‘it is not overly similar to have both “thunder” (naru) and “sound” (todoroku) in a single poem?’ The Left have no comments to make.

Shunzei states, ‘The Left’s poem does seem to have some sort of style about it, but the Right’s “Could that be it?” (kore mo ya) contains many possible meanings, and the phrasing is also pleasant, as is “a grove of cedar trees” (sugi no muradachi), and thus, it must win.’

Poetry Competition in Six Hundred Rounds

Summer II: 14

Leave a comment

Left.

これやこの人めも知らぬ山賤にさしのみ向かふ夕顔の花

kore ya kono
hitome mo shiranu
yamagatsu ni
sashi nomi mukau
yūgao no hana		 Here
Hidden from all eyes,
To the mountain man
Alone, she turns
This moonflower bloom

Lord Kanemune.

267

Right (Win).

賤の男が片岡しめて住む宿をもてなす物は夕顔の花

shizu no o ga
kataoka shimete
sumu yado o
motenasu mono wa
yūgao no hana		 The peasant
Hemmed in by hills around
His house,
Garlands it with
Moonflower blooms.

Nobusada.

268

The Right grumble that ‘alone, she turns’ (sashi nomi mukau) is ‘grating on the ear’, while the Left wonder if ‘gardlands’ (motenasu) is appropriate (it’s not standard in the lexicon of poetry).

Shunzei simply says, ‘Both poems are equally lacking in faults or merits, but yet I feel the Right should win.’

Poetry Competition in Six Hundred Rounds

Summer II: 7

Leave a comment

Left.

手にならす夏の扇と思へどもたゞ秋風のすみかなりけり

te ni narasu
natsu no ōgi to
omoedomo
tada aki kaze no
sumika narikeri		 Wafting in hand
My fan in summer
And wonder if
‘Tis just here that the autumn breeze
Has found his lodging…

A Servant Girl.

253

Right (Win).

夕まぐれならす扇の風にこそかつがつ秋は立ちはじめけれ

yūmagure
narasu ōgi no
kaze ni koso
katsugatsu aki wa
tachihajimekere		 At eventide
Wafting a fan;
With the breeze
An early autumn
Rises, begun.

Nobusada.

254

The Right complain that in the Left’s poem ‘my fan in summer’ (natsu no ōgi) sounds old-fashioned, while ‘the autumn breeze has found his lodging’ (kaze no sumika) sounds modern. The Left comment, ‘The expression ‘rises begun’ (tachihajimu) seems to have little connection with fans,’ to which the Right reply, ‘It is normal to imply a relationship with autumn. There is also the example of “Lady Pan’s Fan” to build on.

Shunzei’s judgement short, and to the point, ‘The Left’s “‘Tis just here that the autumn breeze” (tada aki kaze no) is not as good as the Right’s “An early autumn” (katsugatsu aki wa) and so the latter wins.’’

Poetry Competition in Six Hundred Rounds

Summer II: 1

Leave a comment

Left (Win).

裏もなき名立ながら夏衣たもとに風はなを隔てけり

ura mo naki
natachinagara
natsugoromo
tamoto ni kaze wa
nao hedatekeri		 Unlined
By repute is
Summer garb,
But this sleeve to the wind
Does pose some hindrance.

Kenshō.

241

Right.

夏衣ひとへなれども中なかにあつさぞまさる裏となりける

natsugoromo
hitoe naredomo
nakanaka ni
atsusa zo masaru
ura to narikeru		 Summer garb
Is but a single layer, yet
This slight
Heat overpowers
To lie beneath it.

Nobusada.

242

The Right team state that they ‘cannot comprehend the use of “by repute” (natachinagara)’, while the Left counter that they ‘do not understand the use of “slight” (nakanaka ni) before saying that the heat gets under one’s clothing.’

Shunzei responds by stating, ‘The Left’s “by repute” is simply a conventional companion to the statement that summer garb is but a single layer – that is just what one says. It would also seem to suggest the rise of a rumour about an affair, would it not? Nor is there any reason to be puzzled by the Right’s statement of heat beneath one’s clothes; I do wonder, though about “slight” in conjunction with “this heat” (atsusa zo). Thus, even though the rumour in the Left’s poem is unclear, its concluding line is most fine, and it should be the winner.’

Poetry Competition in Six Hundred Rounds

Summer I: 30

Leave a comment

Left (Win).

夏の夜はなるゝ清水の浮き枕むすぶ程なきうたゝ寢の夢

natsu no yo wa
naruru shimizu no
ukimakura
musubu hodo naki
utatane no yume		 On a summer night
Trickling water cools
Beside my drifting pillow;
No time to dip it
In a brief dozy dream.

Lord Sada’ie.

239

Right.

夏の夜の數にも入れじ時鳥來鳴かぬさきに明るしのゝめ

natsu no yo no
kazu ni mo ireji
hototogisu
kinakanu saki ni
akuru shinonome		 Among summer nights’
Number I’ll not count this one:
Before the cuckoo
Can come calling
Comes the dark before bright dawn.

Nobusada.

240

The Right wonder ‘whether “Trickling water beside my drifting pillow” (shimizu no ukimakura) is something that’s likely to occur?’ while the Right counter, ‘and what of “Among summer nights’ number I’ll not count this one” (natsu no yo no kazu ni mo ireji) – it seems somewhat excessive an expression.’ Shunzei states testily, ‘The gentlemen of the Right’s questioning of “drifting pillow” (ukimakura) is absurd, for has there not long been the image of pillowing on a flow? The Right’s “Among summer nights’ number I’ll not count this one”, unavoidably incurs criticism from the gentlemen of the Left. In addition, the Left’s final line is most fine. It should win.’

Poetry Competition in Six Hundred Rounds

Summer I: 21

Leave a comment

Left.

をちこちにながめやかはす鵜飼舟闇を光の篝火の影

ochikochi ni
nagame ya kawasu
ukaibune
yami o hikari no
kagaribi no kage		 Near and far
My gaze goes back and forth;
Cormorant boats
Light the darkness with
Fishing-fires’ glow.

Lord Sada’ie.

221

Right (Win).

鵜飼舟あはれとぞ見るものゝふの八十宇治川の夕闇の空

ukaibune
aware to zo miru
mononofu no
yaso ujigawa no
yūyami no sora		 The cormorant boats
Seem so keen!
Warriors,
Eighty in all, on Uji River,
Beneath the darkening evening sky…

Nobusada.

222

The Right comment that, ‘In the Left’s poem, “light the darkness” (yami o hikari) does not seem that elegant an expression,’ while the Left can find no fault with the Right’s poem.

Shunzei agrees: ‘“Light the darkness with fishing-fires’ glow” (yami o hikari no kagaribi no kage) does not seem particularly satisfactory in sense. The Right’s “Eighty in all, on Uji River, beneath the darkening evening sky” (yaso ujigawa no yūyami no sora) is especially fine. There is no question but that it wins.’