Tag Archives: Love and Birds

Love VIII: 18

Left (Win)
鴨のゐる入江の浪を心にて胸と袖とにさはぐ戀かな

kamo no iru
irie no nami o
kokoro nite
mune to sode to ni
sawagu koi kana
Ducks flock on
The inlet’s waves
Within my heart, so
My breast and sleeves both
Are raucous with love!

Lord Sada’ie
1055

Right
佐保川の霧のまよひの程だにも妻もとむとて千鳥鳴夜を

saogawa no
kiri no mayoi no
hodo dani mo
tsuma motomu tote
chidori naku yo o
To the vernal river:
The mist brings confusion
And in its midst,
Seeking a mate,
A plover cries at night…

Jakuren
1056

The Gentlemen of the Right state: we wonder about the appropriateness of ‘my breast and sleeves both are raucous’ (mune to sode to ni sawagu)? The Left, in appeal, state: there is ‘the river-mouths of my sleeves’ (sode no minato) and ‘when I think, upon my breast’ (omoeba mune ni) so linking ‘breast’ and ‘sleeve’ is entirely uncontroversial. The Gentlemen of the Left state: we find no faults to mention in the Right’s poem.

In judgement: I understand the views of the Left’s poem held by both teams. It has also been said that the Right’s poem lacks faults. However, in ‘seeking a mate, a plover cries at night’ (tsuma motomu tote chidori naku yo o) only the two words ‘at night’ (yo o) have any conception of love. The remainder of the poem is simply about plovers, so there is little of love about it. ‘Breast and sleeves both’ (mune to sode to) should win.

Love VIII: 17

Left
山鳥のはつおの鏡掛けねども見し面影に音は泣かれけり

yamadori no
hatsuo no kagami
kakenedomo
mishi omokage ni
ne wa nakarekeri
A mountain pheasant’s
Tail of hempen cord this mirror
Does not suspend, yet
The face I saw there once
Makes me weep out loud…

Kenshō
1053

Right (Win)
面影をほの三嶋野に尋ぬれば行衛知られぬ鵙の草ぐき

omokage o
hono mishimano ni
tazunureba
yukue shirarenu
mozu no kusaguki
Her face
I did but briefly see at Mishimano
When I visited there;
I know not where has gone
The shrike hiding in the grasses.

Lord Takanobu
1054

The Gentlemen of the Right state: the Left’s poem has no faults to mention. The Gentlemen of the Left state: we wonder about the appropriateness of combining ‘Mishima Plain’ (mishimano) with ‘the shrike hiding in the grasses (mozu no kusaguki). Is there a poem as a precedent for this? If not, is it suitable?

In judgement: both poems have the conception of love: of imagining the pheasant and his mirror, and weeping at the memory of a lover’s face; and thinking of the shrike hiding in the grasses, visiting Mishima Plain, and recalling the past. However, what should we do about the matter of whether there is a precedent poem for ‘the shrike hiding in the grasses’ on Mishima Plain? Surely, it could be any plain, so there is no reason not to use this. The configuration of ‘I know not where has gone’ (yukue shirarenu) sounds better than that of ‘makes me weep out loud’ (ne wa nakarekeri). The Right, again, must win, I think.

 

Love VIII: 16

Left
玉章のたえだえになるたぐひかな雲井に雁の見えみ見えずみ

tamazusa no
taedae ni naru
tagui kana
kumoi ni kari no
miemi miezumi
His jewelled missives
Have become intermittent
It seems, just like
The geese up in the skies,
Glimpsed, and then not seen at all…

Lord Ari’ie
1051

Right (Win)
思かぬる夜はの袂に風ふけて涙の河に千鳥鳴くなり

omoikanuru
yowa no tamoto ni
kaze fukete
namida no kawa ni
chidori nakunari
Unable to bear my love,
At midnight my sleeve is
Stirred by the wind, and
Upon a river of tears
The plovers are crying…

Nobusada
1052

The Gentlemen of the Right state: we find no faults to mention in the Left’s poem. The Gentlemen of the Left state: we wonder about the reason for emphasising ‘upon a river of tears the plovers’ (namida no kawa ni chidori).

In judgement: the Left on a lover’s letters becoming intermittent, and saying ‘the geese up in the skies, glimpsed, and then not seen at all’ (kumoi ni kari no miemi miezumi) has a charming conception, and elegant diction. The Right, saying ‘at midnight my sleeve is stirred by the wind’ (yowa no tamoto ni kaze fukete) and continuing ‘the plovers are crying’ (chidori nakunari) has a configuration and diction which sounds fine, too. The criticisms of the Gentlemen of the Left are nothing more than ‘a fisherman fishing beneath his pillow’! Although the conception of the Left’s poem is charming, the configuration of the Right’s poem is slightly more notable, so it should win.

Love VIII: 15

Left (Win)
鳥の音は戀しき人の何なれや逢夜はいとひ逢はぬ夜は待つ

tori no ne wa
koishiki hito no
nani nare ya
auyo wa itoi
awanu yo wa matsu
The cock’s crow:
For my darling,
What might it mean?
Hated on nights we meet, and
Longed for when we do not…

Lord Kanemune
1049

Right
いかにして空とる程もはし鷹のしばしもこひに身を休むらん

ika ni shite
sora toru hodo mo
hashitaka no
shibashi mo koi ni
mi o yasumuran
Why, when
Hunting in the skies, does
The sparrowhawk
Briefly in the trees
Take his ease?

Ietaka
1050

The Gentlemen of the Right state: ‘What might it mean?’ (nani nare ya) fails to match. Ending ‘longed for’ (matsu) is overly definite. The Gentlemen of the Left state: what has hunting in the skies got to do with love?

In judgement: it has been said that ‘cock’s crow’ (tori no ne) and ‘what might it mean’ fail to match. Then there is also ‘definite’ (futsugiri). These are nothing but expressions which I do not know and find difficult to understand. ‘The sparrowhawk hunting in the skies’ (hashitaka no sora toru hodo) and ‘take his ease in the trees’ (koi ni yasumuran) both have only a faint conception of love, and I wonder about alluding to hawking. The Left failing to match, too, may be a term used in coursing for deer. Well, even if the deer do not match, as it has the conception of love, the Left should win.

Love VIII: 14

Left (Tie)
人心常は卯月の時鳥ことかたらはん聲を聞かばや

hito kokoro
tsune wa uzuki no
hototogisu
koto kataran
koe o kikaba ya
Her heart is
Ever chill; O, for the Fourth Month
Cuckoo
To tell me
With a gentle song!

Lord Suetsune
1047

Right
足引の遠山鳥の一聲は我つまながらめづらしき哉

ashihiki no
tōyamadori no
hitogoe wa
ware tsumanagara
mezurashiki kana
Leg-wearying
The distant mountain pheasant’s
Call is
Even for his mate
A rare thing, indeed!

Lord Tsune’ie
1048

The Gentlemen of the Right state: the Left’s poem has no faults. The Gentlemen of the Left state: the initial part of the Right’s poem has an antiquated feel.

In judgement: the Left’s ‘cuckoo’ (hototogisu) and the Right’s ‘mountain pheasant’ (yamadori) are of the same level.

Love VIII: 13

Left
時しもあれ空飛ぶ鳥の一聲も思ふ方より來てや鳴らん

toki shi mo are
sora tobu tori no
hitogoe mo
omou kata yori
kite ya naruran
Now, when I am wondering,
A bird, soaring through the skies,
Gives a single call;
From whence I love
Does it come, I wonder?

A Servant Girl
1045

Right (Win)
天の戸を明けぬと告ぐる鳥の音も獨寢る夜はさもあらばあれ

ama no to o
akenu to tsuguru
tori no ne mo
hitori neru yo wa
sa mo araba are
“The gates of Heaven
Are open!” announces
A cock’s crow, though
On a night spent sleeping alone,
It matters not at all…

The Supernumerary Master of the Empress Household Office
1046

The Right state: what gives rise to the idea in the Left’s poem? The Gentlemen of the Left state: there are no faults we can find.

In judgement: what sort of bird is it that ‘soaring through the skies gives a single call’ (sora tobu tori no hitogoe)? I wonder if there is a suitable source for this? That being said, I doubt the Gentlemen of the Right’s point is pertinent. It has been stated that the Right’s poem lacks any faults. It must win.