yuki tsumoru waka no matsubara furinikeri ikuyo henuran tamatsushimamori
Snow has drifted between Waka’s pine groves[i]— Grown so ancient— How many ages have you passed, O, Warden of Tamatsu Isle[ii]?[iii]
632
[i] The ‘pine groves of Waka’ (waka no matsubara 和歌の松原) were located in Ise, but Sanetomo mistakenly associates them with Waka Bay (waka no ura 和歌浦) in Kii—hence his reference to Tamatsushima in the poem.
[ii] In this context, ‘Tamatsu Isle’ (Tamatsushima 玉津島) is understood as referring to Tamatsushima Shrine which is located near the coast in Wakayama. One of the deities venerated at this shrine is Sōtorihime-no-mikoto 衣通姫尊, one of the patron gods of waka poetry, which Sanetomo evokes with his reference the ‘pine groves of Waka’.
The poem of the Left is entirely lacking in any interest. Isn’t this a sage’s jewelled tree? It really leaves me grief-stricken. The poem of the Right contains two faults in a single work. First, this is not the right time of year to be referring to a ‘verdant mountain’. Second, ‘vanishes from sight’ refers to disappearing in water. In the Collection of a Myriad Leaves ‘vanishing from sight’ is written as ‘hidden in the water’. Thus we have lines such as, ‘swarming frogs hiding in the weeds beneath the waves’. There are no prior poems mentioning ‘mountains vanishing from sight’ in either ancient or modern times.
On the matter of the ‘tree of gems’, I heard a long time ago that this might have appeared in an important source, but as this is something I know little about, even if this is a fault, it’s difficult for me to say anything about it. Well, in any case, it doesn’t sound bad. Would someone who knows all about this compose poorly? The Right’s poem lacks elegance, but it doesn’t sound like it has any other faults. It’s inferior to the Left only in ornamentation.
[i] Some sources identify Mototoshi as the composer of this poem.
[ii] This poem is included in Toshiyori’s personal collection, Sanboku kikashū (670), with the headnote, ‘Composed in place of someone for a poetry match in Nara’,
ochikata ya kumoi no yama no hototogisu ama tsu yoso ni mo nakiwataru kana
From the distant Mount within the clouds A cuckoo In yonder heavens Sings his song!
Lord Saburō 17
Right
ほととぎすしのだのもりのしのびねをたづねざりせばいかできかまし
hototogisu shinoda no mori no shinobine o tazunezariseba ikade kikamashi
A cuckoo In Shinoda’s sacred grove Lets out a hushed cry; Had I not come to visit here, How might I have heard it?
Ushigimi 18
In regards the poem of the Left’s ‘from the distant’ and what follows, extremely recently and colloquially, at the Nakatomi purification ceremony it seems there was a composition, ‘in the distance, below the trees so lush’. This diction is contrary to the expected style of waka and something which occurs only extremely rarely. Truly, one does not compose using such diction in a poetry match. The poem of the Right has nothing of interest about it, yet it also lack faults to mention, so it wins.
This round, neither poem appears bad. The Left has a novel style, while the Right seems cliched, but its expression is smooth. I wonder if we could see these as a tie.
yamamoto no mori no shimenawa nagaki yo o aki no oshika no nakiakasuran
At the mountains’ foot lies A sacred grove with garlands Long as the nights In autumn when the stag Bells in the dawn.
Tomoshige 79
Right
なよ竹のよながき秋の山風に幾たび鹿のね覚しつらん
nayotake no yo nagaki aki no yamakaze ni ikutabi shika no nezameshitsuran
Green bamboo with Knots as apart as the autumn night is long, While with the mountain wind How many times might the stag Have awakened?[1]
Dharma Master Zenshin 80
The Left’s poem has ‘at the mountains’ foot lies a sacred grove with garlands long as the nights’ which sounds pleasant. The Right has ‘knots as apart as the autumn night is long, while with the mountain wind’—these, too, seem to have no clear winner or loser, yet still, the Left should be superior and should win.[2]
[1] An allusive variation on: Composed when the gentlemen in the Crown Prince’s service were presented with wine, on the occasion of Tadafusa being appointed Secretary of an embassy to China, during the reign of the Kanpyō emperor. なよ竹のよながきうへにはつしものおきゐて物を思ふころかな nayotake no / yo nagaki ue ni / hatsushimo no / oki’ite mono o / omou koro kana ‘Green bamboo with / Knots as far apart as the night is long / While the first frost settles on my active / Thoughts these days!’ Fujiwara no Tadafusa (KKS XVIII: 993)
akenbono wa namida ya moroki hototogisu naku ne ni otsuru mori no shitazuyu
With the dawn Are you swiftly to tears moved By the cuckoo’s Calling cries, falling from The forest drip dewdrops?
Dōchin 39
Right
今もかも昔やこふる橘の花ちる里になく郭公
ima mo kamo mukashi ya kouru tachibana no hana chiru sato ni naku hototogisu
I wonder, is she now, As in days gone by, beloved Where orange Blossom falls on the estate— The calling cuckoo?[1]
Dharma Master Nyokan 40
Both Left and Right are of the same quality, yet I wonder about the sound of the Right poem’s final section, so the Left wins.
[1] An allusive variation on: A poem by the Governor-General of Dazai, Lord Ōtomo. 橘の花散る里の霍公鳥片恋しつつ鳴く日しぞ多き tachibana no / hana chiru sato no / hototogisu / kata koishitsutsu / naku hi shi zo ōki ‘Orange / Blossom scatters round my estate where / The cuckoo / For unrequited love / Does cry on many a day…’ Ōtomo no Tabito (MYS VIII: 1473)
kamu saburu nageki no mori no hototogisu hiku shimenawa mo nakunaku ya koshi
In divine Nageki’s sacred grove Does the cuckoo to Where the holy garlands Are hung not, come to sing?[1]
The Former Minister of the Centre 35
Right
さとわかずなけや五月の郭公忍びし比は恨みやはせし
sato wakazu nake ya satsuki no hototogisu shinobishi koro wa urami ya wa seshi
In every hamlet Sing, O, Fifth Month Cuckoo! For when you chirped before, I did not hate you for it…
Kozaishō 36
The Left’s poem is based on ‘Prayers / Alone I seem to hear at / This shrine, indeed, but / In the end, passion to grief’s / Grove will turn, no doubt…’ and sounds pleasant. The Right’s poem says ‘For when you chirped before, / I did not hate you for it’ and has a graceful style—thus, they tie.
[1] An allusive variation on: Topic unknown. ねぎ事をさのみききけむやしろこそはてはなげきのもりとなるらめnegigoto o / sanomi kikikemu / yashiro koso / hate wa nageki no / mori to narurame ‘Prayers / Alone I seem to hear at / This shrine, indeed, but / In the end, passion to grief’s / Grove will turn, no doubt…’ Sanuki (KKS XIX: 1055)
