Tag Archives: Katano

Nishinomiya uta’awase 17

Asters and the Same

Round Seventeen

Left

あふことは片野ののべの蘭たれきてみよと露のおくらん

au koto wa
katano no nobe no
fujibakama
tare kitemiyo to
tsuyu no okuran
Our meeting, so hard:
In the hillside meadows grow
Violet asters—
Who should to come to see them
Amongst the fallen dew?

Nakafusa, Former Governor of Awaji
33

Right

色もかもよそへてぞみる蘭ねずりの衣馴れしかたみに

iro mo ka mo
yosoete zo miru
fujibakama
nezuri no koromo
nareshi katami ni
Both scent and hue
Do I imagine seeing
Among the violet asters,
Of his patterned robe,
So familiar, a reminder they are…

Hyōenokami
34

These poems, both Left and Right, appear to be of about the same quality, but while I am familiar with robes patterned with purple gromwell, I do wonder what it is that is patterning the robes here. Is the poet composing on asters imagining them to be gromwell? Even if that’s the case, the conception is not particularly apparent, so I have to say that the Left is better.

Nishinomiya uta’awase 16

Round Sixteen

Left

荻のはは暮行く風に音すなり我がまつ人のかからましかば

ogi no ha wa
kureyuku kaze ni
otosu nari
wa ga matsu hito no
kakaramashikaba
The cogon grass fronds
With the falling twilight breezes
Sound out, though
Were it the man I’m waiting for
It would be better…

Major Controller of the Left Tametaka
31

Right

逢ふことはかた野にしげる荻の葉の音をばたつな秋ははつとも

au koto wa
katano ni shigeru
ogi no ha no
oto oba tatsu na
aki wa hatsu tomo
Our meeting, so hard:
On the hillside thickly growing,
O, cogon grass fronds
Do not make a sound!
For with autumn’s end I have had enough, yet..

Horikawa, Court Lady to Her Highness
32

I feel that the emotions encompassed by the sound of the wind in ‘Were it the man I’m waiting for / It would be better’ sounded more striking than ‘On the hillside thickly growing, / O, cogon grass fronds’.

Entō ōn’uta’awase 33

Round Thirty-Three

Stags in the Night[1]

Left

久方のかつらの陰に鳴く鹿は光をかけて声ぞさやけき

hisakata no
katsura no kage ni
naku shika wa
hikari o kakete
koe zo sayakeki
In the eternal
Silver trees’ glow
The belling stag
Is limned with light, and
His voice sounds clear, indeed!

A Court Lady
65

Right (Win)

天川秋の一夜のちぎりだにかた野に鹿の音をや鳴くらん

ama no kawa
aki no hitoyo no
chigiri dani
katano ni shika no
ne o ya nakuran
By the River of Heaven
For a single autumn night’s
Brief bond—
Is that why a stag at Katano
Does cry out so?

Ietaka
66

The Right’s poem, by beginning with ‘By the River of Heaven / For a single autumn night’s / Brief bond’ and then continuing with ‘a stag at Katano’ sounds particularly refined, evoking memories of bygone days when Prince Koretaka sought lodging from the Weaver Maid when hunting at Katano—how charming it is.[2] The Left’s poem overall is not particularly bad and seems to lack any obvious faults, but the Right’s poem surpasses it in every way: it is not one of the normal run of compositions and thus, it must win.


[1] 夜鹿 – there are early examples of poems on related topics in Kin’yōshū and Senzaishū.

[2] Gotoba is referring to a pair of poems in Kokinshū which are contextualized by an account of a hunting expedition by Prince Koretaka 惟喬 (844-897): Once, when he had gone hunting in the company of Prince Koretaka, they dismounted by the banks of a river called Ama no Gawa (River of Heaven), and while they were tippling, the Prince commanded that Narihira offer him a wine cup with a poem expressing the feelings of a hunter arriving at the river of Heaven, so he composed the following: かりくらしたなばたつめにやどからむあまのかはらに我はきにけり kari kurashi / tanabatatsume ni / yado karamu / ama no kawara ni / ware wa kinkeri  ‘While hunting night is falling, / So from the Weaver Maid / Let us beg lodging / For to the Riverbank of Heaven / Have we come!’ Ariwara no Narihira (KKS IX: 418); The prince recited the above poem many times, but was unable to think of a reply so, being one of the party, Aritsune composed this: ひととせにひとたびきます君まてばやどかす人もあらじとぞ思ふ hito tose ni / hito tabi kimasu / kimi mateba / yado kasu hito mo / araji to zo omou ‘In a single year / But once comes / The Lord she awaits, so / One who provides lodging / She is not, I’d say!’ Ki no Aritsune (KKS IX: 419). These poems were famously incorporated into chapter 82 of Ise monogatari with four others to provide an expanded context. See Horiuchi and Akiyama (1997, 157-160) for the original text and Mostow and Tyler (2010, 175-179) for an English translation and commentary.

Naidaijin-ke uta’awase 33

Round Nine

Left (M – Win)

逢ふことの今はかたのとなりぬればかりに問ひこし人もとひこず

au koto no
ima wa katano to
narinureba
kari ni toikoshi
hito mo toikozu
Meeting
Now hard as crossing Katano
Has become, so he who once
Briefly hunted me out
Never comes to call.

Lord Michitsune
65

Right (T – Win)

おさふればあまる涙はもる山のなげきにあたる雫なりけり

osaureba
amaru namida wa
moruyama no
nageki ni ataru
shizuku narikeri
I hold them in, but,
Overflowing, my tears
Drip down—on Mount Moru
Gathering kindling—grief is plain
In every droplet.

Lord Tadataka
66

Toshiyori states: the first poem says ‘hard as crossing Katano has become’, but emphasizes that the lover did come briefly. It’s a mistake to then say that he ‘never comes’. The second poem has ‘Overflowing, my tears / Drip down—on Mount Moru’—it’s certainly not the case that feeling is lacking in the conception here, and it does sound like this is what one feels, so it’s not difficult at all to say this is the winner.

Mototoshi states: neither of these poems has any particular faults or anything outstanding between them, but that there is no one to visit the poet briefly appears, at present, to be slightly more desolate.

SKKS VI: 688

Composed on the conception of hawking.

かりくらしかたののましば折敷きてよどのかはせの月をみるかな

karikurashi
katano no mashiba
orishikite
yodo no kawase no
tsuki o miru kana
While hunting night has fallen, so
In Katano brushwood
I’ll break and spread around, then
In the Yodo’s rapids
I’ll gaze upon the moon!

Kinhira, Middle Captain of the Inner Palace Guards, Left Division

A kuzushiji version of the poem's text.
Created with Soan.

Winter I: 24

Left.

宇津の山夕越え來れば霙降り袖ほしかねつ哀この旅

utsu no yama
yū koekureba
mizore furi
sode hoshikanetsu
aware kono tabi
Gloomy in the Utsu Mountains,
Crossing them at dusk
In a fall of sleet;
I cannot dry my sleeves,
On this lonely journey.

Kenshō.

527

Right.

今日も又交野の御野に霙してかはく間もなき狩衣かな

kyō mo mata
katano no mino ni
mizore shite
kawaku ma mo naki
karigoromo kana
Today once more
On the royal hunting grounds at Katano
Sleet falls;
No time at all to dry
My hunter’s garb…

Lord Tsune’ie.

528

The Right find no faults with the Left’s poem. The Left merely say that the Right’s poem sounds old-fashioned [furumekashi].

Shunzei’s judgement: ‘The Left’s ‘I cannot dry my sleeves, on this lonely journey’ (sode hoshikanetsu aware kono tabi) has a strong sound of loneliness about it [sabite wa kikoehaberu], but there is a lack of anything connected to utsu no yama in this poem. In The Tales of Ise where it says ‘By Utsu Mount in reality‘ (utsu no yamabe no utsutsu ni mo), it does not seem that sleet was falling. If there is no reason for including utsu no yama to express the sense of sleet falling, there are many other places which could have been used to express a lonely journey. As there is no reason for including it, formally [sama de] there is a lack of connection to it. The Right’s katano no mino, too, as in the poem ‘To lend lodging to keep me dry, is there no one‘ is about hail, though hawking does take place there, so the poem does sounds slightly charming [sukoshi okashiku kikoyu]. Both Left and Right use utsu no yama and katano no mino, respectively, unnecessarily – anywhere would have done as well. Both poems are equal for this reason.’

Spring II: 8

Left (Win).

御狩する人や聞くらん杉の野にさをどるきゞす聲しきりなり

mikarisuru
hito ya kikuran
sugi no no ni
saodoru kigisu
koe shikirinari
Does the hunting
Party hear it?
Among the cypress groves
The waltzing pheasants’
Cries come clearly.

Lord Suetsune

75

Right.

雉鳴く交野の原のとだちこそまことにかりの宿りなりけれ

kigisu naku
katano no hara no
todachi koso
makoto ni kari no
yadorinarikere
The pheasants cry upon
The plain of Katano:
In the bird-brakes,
Truly, will they find only brief
Lodgings!

Lord Tsune’ie

76

The Right say they have no particular criticisms of the Left’s poem this round. The Right, on the other hand, say that ‘pheasants crying in the bird brakes’ (kigisu naku todachi) sounds ‘clumsy’. After all, a bird-brake is a place from where birds fly, and those birds are pheasants. The Left counter that Fujiwara no Kintō’s poem, ‘Of my mountain hut, the blossoms are the lodgings’ (yamazato Fa Fana koso yado no) is a similar case, as there is no difference between a ‘hut’ and ‘lodgings’, and there is nothing to criticise in this poem.

Shunzei begins by saying that the Left’s poem, below ‘cypress groves’ (sugi no no) is ‘old-fashioned’, while the top two stanzas are ‘modern poetry’, and wonders whether it is not ‘unsuitable’ to mix these styles in one poem. As to the question of whether the Right’s poem is ‘defective’, the poem they cite in its defence is ‘even more defective’ (meaning that the complete version of Kintō’s poem uses the same auxiliary verb (-keri) twice). However, in ancient times, and the past, too, it was the normal state of affairs that ‘such defects were not avoided.’ Is it not the case, he asks, whether ‘the anthologies and poetry competitions are entirely different?’ (The commentators take this as suggesting it’s better to avoid producing ‘defective’ poems in competition.) Thus, though he finds the use of old-fashioned expressions like ‘waltzing’ (saodoru) displeasing, the Left’s poem is not defective and so must win this round.