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Dairi uta’awase – Tentoku yo-nen 14

Round Fourteen

Left (Tie)

さよふけてねざめざりせばほととぎす人づてにこそきくべかりけれ

sayo fukete
nezamezariseba
hototogisu
hitozute ni koso
kikubekarikere
When brief night broke, and
I failed to awaken to
The cuckoo,
Via a message, indeed,
Was I able to hear it!

Tadami
27

Right

人ならばまててふべきをほととぎすふたこゑとだにきかですぎぬる

hito naraba
mate chōbeki o
hototogisu
futa koe to dani
kikade suginuru
Were you a man,
‘Wait!’ is what I’d tell you,
O, cuckoo!
For without even a second call
For me to hear have you passed by.

Motozane
28

The Left’s poem, where the poet seems to awaken without a thought of hearing the cuckoo, is certainly somewhat odd. Nevertheless, the poem overall is charming. As for the Right’s poem, well, what is the poet trying to say by asking the cuckoo to wait when he will hear its first call, if it were a man? Is the conception, perhaps, for the cuckoo to wait a while? There’s not enough diction for the conception here, I feel. Both of these are about the same standard, so I make this a tie.

Dairi uta’awase – Tentoku yo-nen 11

Round Eleven

The Beginning of Summer[1]

Left (Tie)

なくこゑはまだきかねどもせみのはのうすきころもをたちぞきてける

naku koe wa
mada kikanedomo
semi no ha no
usuki koromo wa
tachi zo kitekeru
Their buzzing song
Is not yet to be heard, yet
Cicada wing
Light clothing
Has been cut to wear today.

Yoshinobu

22[2]

Right

夏ごろもたちいづるけふは花ざくらかたみのいろもぬぎやかふらん

natsugoromo
tachi’izuru kyō wa
hanazakura
katami no iro mo
nugi ya kauran
Summer garb:
Cut out from today, departing
The blossom of the cherries’
Hues—a keepsake—, too,
Will I put off and change?

Nakatsukasa

23

The Left’s poem gives the impression of the beginning of summer, but the Right’s ‘Sewn from today, departing’ suggests that it is the year that is doing so. In addition, it seems to use ‘put off and change’, and so sounds as if time has passed more swiftly than in the Left’s poem. Thus, because the poems’ quality is about the same, I make this a tie.


[1] Shuka 首夏. This Sinitic expression was also used to refer to the the Fourth Month.

[2] This poem was included in Shūishū (II: 79).

SKKS XVII: 1683

To say that from now on they should rest and relax in the pines’ shade, when he visited someone’s house.

かげにとて立ちかくるれば唐衣ぬれぬ雨ふるまつの声かな

kage ni tote
tachikakurureba
karakoromo
nurenu ame furu
matsu no koe kana
In the shade, I say,
To stand and hide myself away, for
Upon my Cathay robe
Will fall soughing rain—
The sound of pines!

Tsurayuki

Yōzei’in ichi no miko himegimi uta’awase 02

Original

さよふかくこひするしかのこゑきけばわれさへあやなそでのひづかな

sayo fukaku
koisuru shika no
koe kikeba
ware sae ayana
sode no hizu kana
Deep within a night so brief,
A’loving, the stag’s
Cry I hear
Even my sleeves, strangely,
Never dry at all!

4

きくひとのそでさへひづるしかのねにあきのしぐれのふりでてぞなく

kiku hito no
sode sae hizuru
shika no ne ni
aki no shigure no
furidete zo naku
Folk hearing,
With even their sleeves never drying,
At a stag’s bell—
An autumn shower
Falling with a cry!

5

Only one poem was requested in response this round.

Yōzei’in miko futari uta’awase 18

Left

したひもをゆふつけどりのこゑたちてけさのわかれになきぞわびぬる

shitahimo o
yūtsukedori no
koe tachite
kesa no wakare ni
naki zo wabinuru
Underbelt
Tying with the cockerel’s
Crow, arising,
At this morning’s parting
I weep, all forlorn!

34

Right

かぎりとはおもはぬものをあかつきのわかれのとこはおきうかりけり

kagiri to wa
omowanu mono o
akatsuki no
wakare no toko wa
oki’ukarikeri
My limits
I have not reached, I think, but
At dawn
Parting from your bed,
Rising is so wretched.

35

Yōzei’in miko futari uta’awase 14

Left

はるのよのあかぬわかれのあかつきはちへのにしきをたつにざりける

haru no yo no
akanu wakare no
akatsuki wa
chie no nishiki o
tatsu ni zarikeru
After a spring night,
Unsatisfied, parting at
The dawn,
Sewn a thousandfold, the brocade
Through which I go!

26

Right

あけぬてふこゑもなみだももろともにうちいづるからにそでぞぬれける

akenu chō
koe mo namida mo
morotomo ni
uchi’izuru kara ni
sode zo nurekeru
‘Tis dawn, say
Birdsongs and tears
Both,
Bursting out, so
My sleeves are soaked!

27

Nishinomiya uta’awase 08

Round Eight

Left

風さむみゆふかげ草にかくろへてはたおる虫の声聞ゆなり

kaze samumi
yūkage kusa ni
kakuroete
hataorumushi no
koe kikoyu nari
Chill the wind
Upon the evening grasses, from
Whence, concealed,
The crickets’
Cries I hear.

Chikafusa
15

Right

誰がためとあやめも見えぬ夕ざれにはたおる虫の声聞ゆらん

ta ga tame to
ayame mo mienu
yūzare ni
hataorumushi no
koe kikoyuran
For whose sake
Amidst the gloam
Of eventide, might
The crickets’
Cries I hear?

Lady Hȳoe
16

At present, ‘Amidst the gloam / Of eventide’ appears to have a bit more conception than ‘the evening grasses, from / Whence, concealed, / The crickets’.

Yōzei’in miko futari uta’awase 11

Partings at Dawn

Left

ひとしれぬわがみとおもへばあかつきのとりとともにやなきてかへらん

hito shirenu
wa ga mi to omoeba
akatsuki no
tori to tomo ni ya
nakite kaeran
No one knew
Of my sorry state, I thought, so
With the dawn
Birds’ chorus should I,
Sobbing, make my way home?

20

Right

ひとしれずあかでわかるるあかつきにうちなきそふるをしのこゑかな

hito shirezu
akade wakaruru
akatsuki ni
uchinaki souru
oshi no koe kana
No one knows
How unsatisfied I am to part
With the dawn
Sobs overlaying
The cries of the mandarin ducks!

21

Yōzei’in miko futari uta’awase 02

Left

ひとしれずねざめのこひはよぶこどりよぶかきこゑはきくひともなし

hito shirezu
nezame no koi wa
yobukodori
yobukaki koe wa
kiku hito mo nashi
Unknown to all
I awake and yearn:
A songbird
Late at night sings
With no one listening at all.

3

Right

おもひやるこころしゆかばさよふけておきゐてこふとつぐべきものを

omoiyaru
kokoro shi yukaba
sayo fukete
oki’ite kou to
tsugubeki mono o
If, steadfast,
My heart but was, then
As brief night wore on
I’d arise and my love
Be able to announce, but…

4