Tag Archives: mountain man

Nishinomiya uta’awase 06

Round Six

Left

雲かかる高志のやまの明暮に妻まどはせるを鹿鳴くなり

kumo kakaru
takashi no yama no
akegure ni
tsuma madowaseru
oshika naku nari
All hung about with cloud
On Takashi Mountain
In the gloaming
Having lost his mate
A stag bells out.

Nakamasa
11

Right

山がつの先あかつきをしりがほに裾野に出でて鹿ぞ鳴くなる

yamagatsu no
mazu akatsuki o
shirigao ni
susono ni idete
shika zo naku naru
A mountain man
First of all, that ‘tis dawn
Knows plain upon his face,
As he sets out upon the slopes
As a stag bells out!

Head
12

The Left poem’s conclusion, ‘Having lost his mate / A stag bells out’ seems no different from that of a poem by Gō no Jijū in poetry match held by the First Princess.[1] As for the poem of the Right’s ‘A mountain man / Awaits the dawn / Knowing plain upon his face’—what on earth might a mountain man look like while waiting for dawn? There is the tale of Hangu Pass in Cathay, where the barrier guard was waiting for dawn and opened the gate after hearing a cock’s crow, but the expression ‘a mountain man awaits the dawn’ has never appeared before in a poem—either one of Cathay or in the words of Yamato, so I feel that both Left and Right lack any superlative qualities.


[1] Stags. をぐら山たちどもみえぬゆふぎりにつままどはせるしかぞなくなる ogurayama / tachidomo mienu / yūgiri ni / tsuma madowaseru / shika zo nakunaru ‘On gloomy Ogura Mountain / Stands unseen / Among the evening mists / Having lost his mate / A belling stag.’ (Yūshi naishinnō-ke uta’awase eishō go-nen 27). This event was held at the residence of Imperial Princess Sukeko (Yūshi) on the 5th day of the Sixth Month, Eishō 5 [26.10.1050]. The poem won its round, and was later included in Goshūishū (IV: 292).

Kinkai wakashū 49

Composed when I had held an archery entertainment, and made a model of Mount Yoshino, with a sage gazing at blossom upon it.

みよしのの山に入りけん山人となりみてしかな花にあくやと

miyoshino no
yama ni iriken
yamabito to
nari miteshi kana
hana ni aku ya to
Into fair Yoshino’s
Mountains would I go;
A mountain man
Having become
Might I have enough of blossom?
A kuzushiji version of the poem's text.
Created with Soan.

Sahyōe no suke sadafumi uta’awase 4

The Beginning of Summer

Left

ふるさとはこだかけれどもきみならぬほととぎすにもうとまれにけり

furusato wa
kodakakeredomo
kimi naranu
hototogisu ni mo
utomarenikeri
Around this ancient estate
The trees grow high, yet
Not by you alone,
By the cuckoo, too
Am I despised.

Tadamine
7

Right (Win)

やまがつのかきほにさけるうのはなはたがしろたへのころもかけしぞ

yamagatsu no
kakiho ni sakeru
u no hana wa
ta ga shirotae no
koromo kakeshi zo
Along the mountain man’s
Lattice fence bloom
Deutzia:
Whose white mulberry
Robes are hung there?

Mitsune
8

Kanpyō no ōntoki kisai no miya uta’awase 85

Left

つれもなき人をこふとて山びこのこたふるまでもなげきつるかな

tsure mo naki
hito o kou tote
yamabiko no
kotauru made mo
nagekitsuru kana
A heartless
Girl he loves, says he,
The mountain man,
Until she gives him her reply,
Is full of grief!

164

Right

我が恋は深山がくれの草なれやしげさまされど知る人のなき

wa ga koi wa
miyamagakure no
kusa nare ya
shigesa masaredo
shiru hito no naki
My love:
Hidden in the mountains’ heart are
Grasses-is that it?
Most lush, but
Unknown to all.

Ono no Yoshiki

165[1]


[1] Kokinshū XII: 560/Shinsen man’yōshū 462

Love X: 19

Left (Win)
恋路には風やはさそふ朝夕に谷の柴舟行帰れども

koiji ni wa
kaze ya wa sasou
asa yū ni
tani no shibabune
yukikaeredomo
Along the path of love
Does the wind beckon me?
Morning and evening
Along the valley boats of brushwood
Go back and forth, yet…

A Servant Girl
1177

Right
真柴こる賤にもあらぬ身なれども恋ゆへわれも歎きをぞ積む

mashiba koru
shizu ni mo aranu
mi naredomo
koi yue ware mo
nageki o zo tsumu
Cutting kindling as
A mountain man is not
My lot, yet
For love do I
Stack up my grief in logs!

The Supernumerary Master of the Empress’ Household Office
1178

Left and Right together state: there is no reason to make any criticisms here.

In judgement: although ‘beckon’ (sasou) in the Left’s poem should be ‘send’ (okuru), it is certainly elegant how it evokes thoughts of Captain Cheng travelling along the valley. The Right, beginning with ‘kindling’ (mashiba) and then having ‘grief in logs’ (nageki) sounds a little too similar, I think. The Left should win.

Horikawa hyakushu 496

山賤の背面に立つる蚊遣り火の下に燻りてやみぬべきかな

yamagatu no
sotomo ni taturu
kayaribi no
sita ni kuyurite
yaminubeki kana
A mountain man:
Behind him stands
A smudge fire
Drifting down –
Has he halted it, I wonder!

Kawachi, from the household of the Former Ise Virgin
前斎宮河内

Summer II: 17

Left (Tie).

をのづからなさけぞみゆる荒手組む賤がそともの夕顔の花

onozukara
nasake zo miyuru
arate kumu
shizu ga soto mo no
yūgao no hana
How natural
To be moved:
Twined roughly round the fence
Outside a peasant’s hut,
Moonflower blooms…

Kenshō.

273

Right (Tie).

山賤の契のほどや忍ぶらん夜をのみ待つ夕顔の花

yamagatsu no
chigiri no hodo ya
shinoburan
yoru o nomi matsu
yūgao no hana
Is it with the mountain man
Her time is pledged
So secretly?
For the night alone, awaiting,
The moonflower bloom.

Jakuren.

274

The Right state, ‘it is normal diction to say ‘roughly’ (arate) ‘hang’ (kaku). Is it possible to also use ‘twine’ (kumu)?’ In response from the Left, ‘Yes, one can.’ The Left have no criticisms to make of the Right’s poem.

Shunzei states, ‘Both poems are equally lacking in faults or merits. Whether one uses “roughly” twining or hanging, neither is particularly superlative, I think. “Her time is pledged” (chigiri no hodo ya) seems somehow lacking , too. This round must tie.’

Summer II: 14

Left.

これやこの人めも知らぬ山賤にさしのみ向かふ夕顔の花

kore ya kono
hitome mo shiranu
yamagatsu ni
sashi nomi mukau
yūgao no hana
Here
Hidden from all eyes,
To the mountain man
Alone, she turns
This moonflower bloom

Lord Kanemune.

267

Right (Win).

賤の男が片岡しめて住む宿をもてなす物は夕顔の花

shizu no o ga
kataoka shimete
sumu yado o
motenasu mono wa
yūgao no hana
The peasant
Hemmed in by hills around
His house,
Garlands it with
Moonflower blooms.

Nobusada.

268

The Right grumble that ‘alone, she turns’ (sashi nomi mukau) is ‘grating on the ear’, while the Left wonder if ‘gardlands’ (motenasu) is appropriate (it’s not standard in the lexicon of poetry).

Shunzei simply says, ‘Both poems are equally lacking in faults or merits, but yet I feel the Right should win.’