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Poetry Competition in Six Hundred Rounds

Winter I: 3

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Left.

かつ惜しむ眺めも移る庭の色よ何を梢の冬に殘さん

katsuoshimu
nagame mo utsuru
niwa no iro yo
nani o kozue no
fuyu ni nokosan		 A slight regret I feel, as
My gaze shifts
With the garden’s hues;
What of the treetops
Will remain in winter?

Lord Sada’ie.

485

Right.

散り積もる紅葉かき分來て見れば色さへ深き山路なりけり

chiritsumoru
momiji kakiwake
kitemireba
iro sae fukaki
yamaji narikeri		 Fallen in drifts,
Forging through the scarlet leaves
I come, and see
The depth of colour laid
Upon the mountain paths.

Lord Takanobu.

486

The Right state that the Left’s poem is lacking in conception [kokoro yukazu]. The Left respond that the Right’s poem, as in the previous round, is old-fashioned in both conception and diction [kokoro kotoba onaji yō ni furumekashi].

Shunzei’s judgement: The Left’s poem does seem to have some conception about it, despite the Right’s criticism of this as lacking. Although the Right’s ‘depths of colour’ (iro sae fukaki) appears easy to grasp, again, the round should tie.

Poetry Competition in Six Hundred Rounds

Winter I: 2

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Left.

いかばかり散積もればか大井河流れもやらぬ紅葉なるらむ

ika bakari
chiritsumoreba ka
ōikawa
nagare mo yaranu
momiji naruramu		 How many
Have fallen altogether upon
Ōi River?
That its flow is stopped
With scarlet leaves…

Kanemune.

483

Right.

紅に關の小川は成にけり音羽の山に紅葉散るらし

kurenai ni
seki no ogawa wa
narinikeri
otowa no yama ni
momiji chirurashi		 Scarlet
Has the stream by the barrier
Become.
On Otowa Mountain
The leaves must be falling…

Lord Tsune’ie.

484

The Right state that the Left’s use of –ba ka is grating on the ear [kikinikushi], and query whether saying the ‘flow is stopped’ (nagare mo yaranu) is appropriate. The Left simply say the Right’s poem ‘seems old-fashioned’ [furumekashi].

Shunzei’s judgement: The diction used in the Left’s poem, -ba ka, is simply old-fashioned, and the Right’s criticism is misplaced [sama de arubekarazu]. In addition, I am dubious of their criticism of the latter part of the poem. A somewhat pretentious use of ‘falling leaves’, perhaps? In the Right’s poem, it is inappropriate to combine ‘Otowa Mountain’, ‘stream by the barrier’ and –rashi [because it is an archaic word]. It certainly does not resemble, for example, ‘Mountain dwellings of the gods scarlet leaves look to be falling’ (mimuro no yama ni momiji chirurashi). In addition, ‘Scarlet has the stream by the barrier become’, would mean an excessive fall of leaves, indeed! The Left’s ba ka should win.

Poetry Competition in Six Hundred Rounds

Autumn III: 19

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Left.

女郎花まだきに霜をいたゞきて盛り過ぬる氣色なる哉

ominaeshi
madaki ni shimo o
itadakite
morisuginuru
keshiki naru kana		 Upon the maidenflowers
Already has frost
Fallen, so
Past their prime
They look, indeed!

Lord Suetsune.

457

Right (Win).

もみぢ葉はをのが染たるいろぞかしよそげに置ける今朝の霜かな

momijiba wa
ono ga sometaru
iro zo kashi
yosoge ni okeru
kesa no shimo kana		 The autumn leaves –
‘Tis you have stained
Them with your hue!
Indifferently falling
Frost-flakes in the morning…

Nobusada.

458

The Right have no criticisms to make of the Left’s poem this round. The Left wonder about the appropriateness of ‘indifferently falling’ (yosoge ni okeru).

Shunzei’s judgement: The Left saying that on ‘maidenflowers frost falling’ (ominaeshi shimo o itadaki) would put them past their prime seems pointless [sada ni oyobazaru ka]. In addition the final ‘they look, indeed’ (keshiki naru kana) seems feeble [chikara naki]. The Right’s style is intriguing [fūtei kyō arite]. I must make it the winner.

Poetry Competition in Six Hundred Rounds

Autumn III: 7

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Left (Win).

舟止めぬ人はあらじな泉川柞の杜に紅葉しつれば

funa tomenu
hito wa araji na
izumigawa
hahaso no mori ni
momiji shitsureba		 Not pausing the boat –
No one would when
Izumi River
By the oak grove’s
Scarlet leaves is stained…

Lord Kanemune.

433

Right.

柞原染むる時雨もある物をしばしな吹きそ木枯らしの風

hahasowara
somuru shigure mo
aru mono o
shibashi na fuki so
kogarashi no kaze		 The oak trees are being
Stained by showers
And so
For just a while blow not,
O, withering wind!

Lord Tsune’ie.

434

As the previous round.

Shunzei’s judgement: The style [fūtei] of both poems is such that neither has an particular points worth criticising, or praising either. However, the Right’s ‘blow not’ (na fuki so) seems insufficient. The Left wins.

Poetry Competition in Six Hundred Rounds

Autumn III: 4

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Left (Win).

色變へぬ松の緑に這ふ蔦はをのが紅葉を譲る也けり

iro kaenu
matsu no midori ni
hau tsuta wa
ono ga momiji o
yuzuru narikeri		 The unchanging hue of
The pine tree’s green,
Entwined with ivy:
Its own scarlet leaves
It has surrendered…

Lord Kanemune.

427

Right.

色變へぬ松の緑もなかりけりかゝれる蔦や紅葉しつらん

iro kaenu
matsu no midori mo
nakarikeri
kakareru tsuta ya
momiji shitsuran		 The unchanging hue of
The pine tree’s green, too,
Has gone:
Has the festooning ivy
Turned scarlet?

Lord Tsune’ie.

428

The Right wonder about the appropriateness of ‘green entwined’ (midori ni hau), adding that ‘entwined with ivy’ (hau tsuta) also sounds unpleasant [kikiyokarazu]. The Left simply say that the Right’s poem is plainly pedestrian [rei no tsune no koto nari], but have no other criticisms.
Shunzei’s judgement: Although both Left and Right begin with ‘unchanging hue’ (iro kaenu) and there is little to distinguish between them, the Left’s ‘its own scarlet leaves’ (ono ga momiji o) is charmingly poetic style [okashikarubeki yō no fūtei nari]. The Right’s ‘festooning ivy’ (kakareru tsuta) appears as if the poet cannot distinguish between the two plants, which is foolish [orokanarubeshi]. What is there to the criticism of ‘entwined with ivy’? Thus, the Left wins.

Poetry Competition in Six Hundred Rounds

Autumn III: 3

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Left.

下枝までかゝれる蔦は紅葉して錦を張るは和田の笠松

shizue made
kakareru tsuta wa
momijishite
nishiki o haru wa
wada no kasamatsu		 The lowest branches
All festooned with ivy
Turning scarlet,
All in brocade are
The parasol pines at Wada.

Lord Suetsune.

425

Right (Win).

絶え間なくかゝれる蔦の色づけば紅葉を囲ふ墻根とぞみる

taema naku
kakareru tsuta no
irozukeba
momiji o kakou
kakine to zo miru		 There’s not a break
In the festooning ivy,
Taking on its hue:
Enveloped with scarlet leaves
Fenced around, it seems…

The Provisional Master of the Empress’ Household Office.

426

The Right state that the initial line in the Left’s poem, ‘the lowest branches’ (shizue made), fail to connect with the poem’s conclusion. The Left state that the Right’s poem is ‘pedestrian’ [tsune no koto], but have no other criticisms.

Shunzei’s judgement: Both poems are on ‘ivy’, with the Left referring to parasol pines covered in brocade, and the Right a fence joined with scarlet leaves. In conception, neither is unpleasant [kokoro, onoono, okashikarazaru ni arazu]. However, the final section of the Left’s poem is seems to be particularly lacking in poetic qualities [kotoni utashina naki ni nitari]. It would have been better had the Right avoided the artifice of the Left’s festooned parasols [kasahari nado wa sede] and simply mentioned ‘a fence, seemingly surrounded with scarlet leaves’ [momiji o kakouran kakine]. Nevertheless, it should win.

Poetry Competition in Six Hundred Rounds

Autumn III: 1

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Left.

常盤の茂みを染むる蔦の色のかゝらざりさば下紅葉やは

tokiwa no
shigemi o somuru
tsuta no iro no
kakarazarisaba
shita momiji ya wa		 The evergreen
Profusion is dyed
By the ivy’s hues:
Were it not,
Would not the under-leaves turn scarlet?

Lord Ari’ie.

421

Right.

散ぬより紅葉に辿る山路かな岩根の蔦や色變るらむ

chiranu yori
momiji ni tadoru
yamaji kana
iwane no tsuta ya
iro kawaruramu		 Not yet fallen are
The scarlet leaves – to track
Along the mountain paths,
Does the ivy at the rooted crags
Change its hue?

Ietaka.

422

The Right state that by continuing with ‘Profusion is dyed’ (shigemi o somuru) it sounds as if it is the evergreens themselves which are taking on autumn colours. The Left merely remark that saying ‘track’ (tadoru) is difficult to comprehend [kokoroegatashi].

Shunzei’s judgement: Is the Left’s poem that bad [ashiku ya wa], given that ‘Profusion is dyed’ is followed by ‘the ivy’s hues’ (tsuta no iro no)? The final section, though, is lacking and seems rather vague. I, too, wonder about the use of ‘track’. The round ties.

Poetry Competition in Six Hundred Rounds

Summer II: 25

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Left (Win).

あらし吹く梢はるかに鳴蝉の秋を近しと空に告ぐ也

arashi fuku
kozue haruka ni
naru semi no
aki o chikashi to
sora o tsugu nari		 A storm wind blows
The distant treetops, where
The cicadas sing
Of coming autumn
To the skies.

Lord Sada’ie.

289

Right.

茂りあふ青き紅葉の下涼み暑さは蝉の聲にゆづりぬ

shigeriau
aoki momiji no
shita suzumi
atsusa wa semi no
koe in yuzurinu		 Lush and
Green beneath the maple leaves
‘Tis cool;
The heat by cicadas
Song is summoned.

Nobusada.

290

The Right state that, ‘“Sing…to the skies” (sora o tsugu) goes against the spirit of the topic,’ while the Left wonder, ‘What we can make of “green maple leaves” (aoki momiji)?’

Shunzei states, ‘The Left’s “sing of coming autumn to the skies” (aki o chikashi to sora o tsugu nari) is superlative. The Right’s “green maple leaves” (aoki momiji) must mean that the poet, on seeing a tree which turns scarlet, rather than green, recollects the autumn colour. However, “the heat” and the diction in the concluding line are somewhat pedestrian and unpoetic. I must award the victory to the Left.’

Poetry Competition in Six Hundred Rounds

Summer I: 5

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Left (Win).

わが宿の庭こそ暗くなりにけれ楢の廣葉の陰やそふらん

wa ga yado no
niwa koso kuraku
narinikere
nara no hiroha no
kage ya souran		 My lodging’s
Garden much darker
Has become;
Have the broad-leaved oaks
Laid shadows down?

Lord Kanemune.

189

Right.

紅葉ゆへ植へし梢のあさみどり色には秋を思ふのみかは

momiji yue
ueshi kozue no
asamidori
iro ni wa aki o
omou nomi ka wa		 For scarlet leaves
I planted trees – tops now
Pale green;
For the hues of autumn
Alone I hope no longer.

Ietaka.

190

The Right state bluntly, ‘Using ‘darker’ (kuraku) in this poem is highly vulgar!’ But the Left snap back, ‘Composing with “darker” is completely commonplace.’ They have no comments to make about the Right’s poem.

Shunzei remarks, ‘The Left’s “garden much darker” (niwa koso kuraku) has nothing problematic about it. “Broad-leaved oaks” (nara no hiroha), although a commonplace expression, is undesirable here. The purport of the Right’s “for the hues of autumn” (iro ni wa aki o) seems rather contrived, yet one wonders if “scarlet leaves” (momiji yue) might not be concealed beneath the “broad-leaved oaks”! The Left’s poem, being more unaffected, wins.’

Poetry Competition in Six Hundred Rounds

Summer I: 1

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Left (Tie).

龍田山わかみどりなる夏木立もみぢの秋もさもあらばあれ

tatsutayama
waka midorinaru
natsu kodachi
momiji no aki mo
sa mo araba are		 On Tatsuta Mountain
The fresh, green
Summer clustered trees
Autumn’s scarlet leaves
Do match.

Kenshō.

181

Right (Tie).

面影は時雨し秋の紅葉にてうすもへぎなる神南備の森

omokage wa
shigureshi aki no
momiji nite
usumoeginaru
kamunabi no mori		 Bringing to mind
Shower-dampened, autumn
Scarlet leaves:
The pale, grass-green
Sacred groves…

Lord Takanobu.

182

The Right say, ‘The Left’s poem seems to be have the same conception as the composition by Emperor Sūtoku, “Autumn’s clear moon/Do match” (tsuki sumu aki mo sa mo araba are).’ In reply, the Left say, ‘It is entirely to be expected that there should be such a resemblance,’ and then remark about the Right’s poem, ‘It sounds as if scarlet leaves are its main point, and the topic has been rendered secondary. Furthermore, “pale, grass-green” (usumoeginaru) does not seem to clearly relate to anything.’

Shunzei simply says, ‘“Tatsuta Mountain”(tatsutayama), “sacred groves” (kamunabi no mori), “fresh, green” (wakamidori) and “pale, grass-green” are all appropriate to the form, and there does not appear to be a clear winner, or loser.’