Tag Archives: midnight

GYS VI: 918

Composed on plovers.

沖つ潮指出の磯の浜千鳥風寒からし夜半に友呼ぶ

oki tsu shio
sashide no iso no
hama chidori
kaze samukarashi
yowa ni tomo yobu
From the offing the tides
Strike the shore at Sashide;
On the beach plovers,
Chilled by the wind
Call for their mates at midnight.

Supernumerary Middle Counsellor [Fujiwara no] Nagakata (1139-1191)
藤原長方

Plovers and a sand piper.

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.

Saishō chūjō kuninobu no ie no uta’awase 14

Left (Win).
夜とともに玉散る床の菅枕見せばや人に夜半の景色を

yo to tomo ni
tama tiru toko no
sugamakura
miseba ya Fito ni
yowa no kesiki wo
Together with the night
Gemlets scatter on my bed’s
Sedge-filled pillow;
Should I show her
This midnight sight?

The Master 大夫
[Minamoto no Toshiyori 源俊頼]
27

Right.
波のよる岩根に立てる磯馴れ松また寝もいらで恋ひあかしつる

nami no yoru
iFane ni tateru
sonare matu
mata ne mo irade
koFi akasituru
The waves roll in
To the cliffs where stands
A hardy pine upon the rocks;
Once more sleepless
From love do I greet the dawn.

The Assistant Master 佐
[Fujiwara no Mototoshi 藤原基俊]
28

Love VI: 3

Left (Tie).
つれもなき人をもさそへ夜はの月影ばかりだによそに見るやと

tsure mo naki
hito o mo sasoe
yowa no tsuki
kage bakari dani
yoso ni miru ya to
That heartless
Man, will you invite
O midnight Moon!
Even just an image
In the distance would I wish to see…

Lord Suetsune.
905

Right.
秋の月妹が面影さそひきて我心にも宿すなりけり

aki no tsuki
imo ga omokage
sasoikite
wa ga kokoro ni mo
yadosu narikeri
The autumn moon
My darling’s face
Does bring to me, and
Within my heart
Has it found a place to stay.

The Provisional Master of the Empress’ Household Office.
906

The Right state: if one is inviting someone to come and visit, then there is no reason to mention ‘just an image’ (kage bakari). We wonder whether the invitation is addressed to the sky? The Left state: the Right’s poem is pedestrian.

In judgement: both Left and Right have the same conception of an invitation addressed to the moon. The Round can only be a tie.