Tag Archives: Kenshō

Autumn I: 25

Left (Win).

萩が枝をしがらむ鹿も荒かりし風のねたさに猶しかずけり

hagi ga eda
oshigaramu shika mo
arakarishi
kaze no netasa ni
nao shikazukeri
Bush clover branches
Tangled, are trodden by deer;
The wild
Wind’s spite
O’erthrown.

Kenshō.

349

Right.

女郎花野分の風の荒さには靡きながらも露やこぼるゝ

ominaeshi
nowaki no kaze no
arasa ni wa
nabikinagaramo
tsuyu ya koboruru
Maidenflowers,
In the gusting gales
Rage,
Trembling,
Do they let fall their drops of dew?

Lord Tsune’ie.

350

The Right wonder, ‘Whether the conception of “autumn gales” is adequately expressed by “wild winds”?’ In response, the Left say, ‘Poems on “autumn gales” are not found in previous ages. But is this not what is intended by poems such as “Wild winds have left behind”? Furthermore, on the gentlemen of the Right’s poem, as “gales” (nowaki) contain the sense of “rage” (arasa ni wa), is it not superfluous? Moreover, in the final section, the poem could refer to any blossom – not just maidenflowers.’

Shunzei states: ‘The Left’s “o’erthrown’ (nao shikazukeri) feels old-fashioned, while the prior section’s “wind’s spite” (kaze no netasa) is more modern. This produces a result akin to seeing a peasant wearing smart shoes, I feel. The Right’s “gales” letting dewdrops fall is so obvious a situation as to be pedestrian. Thus, despite the mis-match between sections in the Left’s poem, it must win.’

Autumn I: 19

Left.

鷹の子を手にも据へねど鶉鳴く淡津の原に今日も暮しつ

taka no ko o
te ni mo suenedo
uzura naku
awazu no hara ni
kyō mo kurashitsu
A hawklet
On my arm have I not, yet
The quails are crying
On Awazu plain, as
The day turns dark.

Kenshō.

337

Right.

秋といへば鶉鳴くなり原鹿の音をこそ花に任すれ

aki to ieba
uzura naku nari
kohagiwara
shika no ne o koso
hana ni makasure
Autumn is
The quails crying, while
From a field of fresh bush clover,
The stags’ call,
Summoned by the blossoms.

Ietaka.

338

The Right state they have no particular criticisms of the Left this round. The Left, however, remark that, ‘“Quails” do not have such a general reputation. The use of “summoned by the blossoms” (hana ni makasure) is also dubious.’

Shunzei remarks, ‘The Left’s poem would seem to be in the spirit of the popular song “A Hawklet”, except that here the poet lacks the hawklet and “on Awazu plain, the day turns dark” (awazu no hara ni kyō mo kurashitsu). I can only think that he has spent the entire day there wondering about hunting quail! I also feel that the poem’s whole construction is rather commonplace. The Right’s poem is, indeed, poetic, and were there an exemplar poem for the blossoms summoning “the stags’ call” (shika no ne), I would make it the winner. In its absence, the round ties.’

Autumn I: 14

Left (Tie).

稲妻の光にのみやなぐさめむ田中の里の夕闇の空

inazuma no
hikari ni nomi ya
nagusamemu
tanaka no sato no
yūyami no sora
Is it lightning’s
Light alone, that
Can console?
Dwelling among the rice-fields
Beneath the blackened evening sky.

Kenshō.

327

Right (Tie).

賤の男が山田の庵の苫を粗み漏る稲妻を友とこそ見れ

shitsu no o ga
yamada no io no
toma o arami
moru inazuma o
tomo to koso mire
A peasant in
The mountain fields, whose hut has
A rough roof of straw:
The lightning dripping in
Seems his single friend.

Lord Tsune’ie.

328

As with the previous round, neither team can find fault with the other’s poem.

Shunzei, however, says, ‘The initial part of the Left’s poem is fine, indeed, but one wonders where the “dwelling among the rice fields” (tanaka no sato) is. I wonder whether nowadays poets can simply refer to a house among the rice fields. I do seem to have heard it before, but for the life of me I cannot remember where. As for the Right’s poem, this, too, has a perfectly standard beginning, but then has the expression “lightning dripping” (moru inazuma) – this seems rather new-fangled to me! Both poems are about the same.’

Autumn I: 12

Left (Win).

定め置く星合の空のしるしとて秋の調べに琴柱たつ也

sadameoku
hoshiai no sora no
shirushi tote
aki no shirabe ni
kotoji tatsu nari
Set,
The stars meet within the heavens
Signified by
The rhythms of autumn
Sounding ‘cross the zithers’ bridge.

Kenshō.

323

Right.

七夕の逢ふ夜の庭に置く琴のあたりにひくはさゝがにの糸

tanabata no
au yo no niwa ni
oku koto no
atari ni hiku wa
sasagani no ito
At Tanabata,
On the night of meeting, in the garden
Are the zithers placed;
All around for plucking are
Strands of spiders’ webs.

Jakuren.

324

The Right say, ‘“Set” (sadameoku) just does not sound very good.’ The Left: ‘ “Spiders” (sasagani no) seems to appear rather abruptly in the poem.’

Shunzei: ‘“Spiders’ webs” (sasagani no ito) would seem to be being used to evoke the playing of the zithers. Is “set” really all that bad in form? The Left’s “rhythms of autumn” (aki no shirabe) gets the victory.’

Autumn I: 2

Round One-Hundred and Fifty-Two: Autumn – Lingering Heat.

Left.

水無月の照る日や影を殘しけん今朝吹く風の秋に知られぬ

minazuki no
teru hi ya kage o
nokoshiken
kesa fuku kaze no
aki ni shirarenu
The Waterless Month’s
Shining sun and light
Seem to linger on;
To this morning’s blowing breeze
Is autumn quite unknown.

Kenshō.

303

Right (Win).

秋を淺み照る日を夏とおぼめけば暮行空の荻の上風

aki o asami
teru hi o natsu to
obomekeba
kureuyuku sora no
ogi no uwakaze
In autumn ‘tis weak, yet
The shining sun, of summer
Yet has the feel;
From the dusking sky comes
The wind o’er the silver-grass.

The Provisional Master of the Empress Household Office.

304

The Right state, ‘It would have been far better to have “This morning’s blowing breeze brings no knowledge of autumn” (kesa fuku kaze no aki o shirasenu).’ The Left reply, ‘In the Right’s poem, the initial section fails to express the topic, and the latter part seems to have no purpose.’

Shunzei’s judgement is: ‘With regard to the Left’s poem, I cannot agree that “brings no knowledge of autumn” is any better than “is autumn quite unknown”. As for the Right, in general it is not considered that “the shining sun, of summer yet has the feel” (teru hi o natsu to obomekeba) provides suitable praise to the lingering heat of autumn. However, even in poems on the theme of lingering heat, it is appropriate to praise the coolness of early evening. Does not “From the dusking sky comes the wind o’er the silver-grass” (kureuyuku sora no ogi no uwakaze) do this? It must win.’

Summer II: 28

Left (Win).

ゆふま山松のは風にうちそへて蝉の鳴く音も峰渡るなり

yūma yama
matsu no ha kaze ni
uchisoete
semi no naku ne mo
mine wataru nari
Upon Yūma Mountain
The wind passing o’er the pine needles:
Just so
Do the cicadas’ cries
Pass between the peaks.

Kenshō.

295

Right.

深山邊のふかみどりなる夏木立蝉の聲とてしげからぬかは

miyamabe no
fukamidorinaru
natsu kodachi
semi no koe tote
shigekaranu ka wa
In the mountains’ heart
Of deepest green
Are the trees in summer, yet
The cicadas’ songs
Surpass them in profusion.

Lord Tsune’ie.

296

The Right state that, ‘the expression ha kaze is usually used in reference to birds.’ (Ha here used to mean ‘leaf’, was also the word for ‘wing’.) The Left query, ‘the use of tote,’ which is a particle not usually used in poetry. In addition, they say, ‘“Trees in summer” (natsu kodachi) is should only be used in poems on the topic of “Summer Greenery”.’

Shunzei states, ‘The expression “wind passing o’er the pine needles” (matsu no ha kaze) is not that common, however, it is certainly not the case that ha kaze can only be used in reference to birds. Are not “wind passing o’er the bamboo leaves” (take no ha kaze) or “wind passing o’er the silver grass fronds” (ogi no ha kaze) everyday expressions? However, would it not have been better to say “the wind, blowing ‘gainst the pines: just so” (matsu fuku kaze ni uchisoete)? The Right’s “trees in summer” (natsu kodachi) and “surpass them in profusion” are interesting but, still, “pass between the peaks” (mine wataru nari) and “Yūma Mountain” (yūma yama) are better, I think.’

Summer II: 24

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.’

Summer II: 17

Left (Tie).

をのづからなさけぞみゆる荒手組む賤がそともの夕顔の花

onozukara
nasake zo miyuru
arate kumu
shizu ga soto mo no
yūgao no hana
How natural
To be moved:
Twined roughly round the fence
Outside a peasant’s hut,
Moonflower blooms…

Kenshō.

273

Right (Tie).

山賤の契のほどや忍ぶらん夜をのみ待つ夕顔の花

yamagatsu no
chigiri no hodo ya
shinoburan
yoru o nomi matsu
yūgao no hana
Is it with the mountain man
Her time is pledged
So secretly?
For the night alone, awaiting,
The moonflower bloom.

Jakuren.

274

The Right state, ‘it is normal diction to say ‘roughly’ (arate) ‘hang’ (kaku). Is it possible to also use ‘twine’ (kumu)?’ In response from the Left, ‘Yes, one can.’ The Left have no criticisms to make of the Right’s poem.

Shunzei states, ‘Both poems are equally lacking in faults or merits. Whether one uses “roughly” twining or hanging, neither is particularly superlative, I think. “Her time is pledged” (chigiri no hodo ya) seems somehow lacking , too. This round must tie.’

Summer II: 9

Left (Win).

夕されば扇の風を手ならして月待つ程も涼しかりけり

yū sareba
ōgi no kaze o
te narashite
tsuki matsu hodo mo
suzushikarikeri
When the evening comes,
A fan-borne breeze
Wafted by hand makes
Waiting for the moon
All the cooler…

Kenshō.

257

Right.

夏の夜の月は入ぬるなぐさめにならす扇をたとふばかりぞ

natsu no yo no
tsuki wa irinuru
nagusame ni
narasu ōgi o
tatou bakari zo
On summer nights
After moon-set
A consolation is
A wafted fan:
A simple image.

The Provisional Master of the Empress’ Household Office.

258

The Right state ironically, ‘“Waiting for the moon” certainly sounds hot!’, while the Left merely remark, ‘We have nothing special to mention, apart from the similarity to “When the moon is hid ‘hind rangéd mountains”.’

Shunzei judges, ‘In the Left’s poem, once the moon has come out, it would, indeed, be cool. It would be hot waiting, so there’s no reason not to compose this way. There is nothing special about the Right’s poem, apart from the resemblance to “When the moon is hid ‘hind rangéd mountains”, as has already been said. Shouldn’t we expect there to be something more? Thus, the Left’s poem is, just, the winner.’

Summer II: 1

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.’