Tag Archives: Nageki

Nishinomiya uta’awase 02

Round Two

Left

人しれずはれぬ歎きの有るものを普くてらせ秋のよの月

hito shirezu
harenu nageki no
aru mono o
amaneku terase
aki no yo no tsuki
Unknown to all
A grief which never clears
I have, so
Shine without restraint,
O, moon this autumn night!

His Excellency, Nagazane, Former Assistant Governor General of Dazai
3

Right

山の端のうき雲晴れてすみのぼる月と共にもゆくこころかな

yama no ha no
ukigumo harete
suminoboru
tsuki to tomo ni
yuku kokoro kana
At the mountains’ edge
The drifting clouds unfurl, and
Clearly climbing
With the moon
Goes my spirit!

Lady Hyōenokami
4

In the poem of the Left, the expression following ‘A grief which never clears / I have, so’ is both forceful and lacking in gentility; in addition, the poem of the Right’s ‘drifting clouds clear away’ and what follows seems stagnant, so the light of the moon these nights seems to be of the same standard.

Entō ōn’uta’awase 18

Round Eighteen

Left (Tie)

神さぶるなげきの森の時鳥ひくしめなはもなくなくやこし

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)

Naidaijin-ke uta’awase 33

Round Nine

Left (M – Win)

逢ふことの今はかたのとなりぬればかりに問ひこし人もとひこず

au koto no
ima wa katano to
narinureba
kari ni toikoshi
hito mo toikozu
Meeting
Now hard as crossing Katano
Has become, so he who once
Briefly hunted me out
Never comes to call.

Lord Michitsune
65

Right (T – Win)

おさふればあまる涙はもる山のなげきにあたる雫なりけり

osaureba
amaru namida wa
moruyama no
nageki ni ataru
shizuku narikeri
I hold them in, but,
Overflowing, my tears
Drip down—on Mount Moru
Gathering kindling—grief is plain
In every droplet.

Lord Tadataka
66

Toshiyori states: the first poem says ‘hard as crossing Katano has become’, but emphasizes that the lover did come briefly. It’s a mistake to then say that he ‘never comes’. The second poem has ‘Overflowing, my tears / Drip down—on Mount Moru’—it’s certainly not the case that feeling is lacking in the conception here, and it does sound like this is what one feels, so it’s not difficult at all to say this is the winner.

Mototoshi states: neither of these poems has any particular faults or anything outstanding between them, but that there is no one to visit the poet briefly appears, at present, to be slightly more desolate.

Love X: 24

Left (Win)
山深み歎きこる男のをのれのみ苦しくまどふ恋の道かな

yama fukami
nageki koru o no
onore nomi
kurushiku madou
koi no michi kana
Deep within the mountains
Felling trees, a woodsman’s
Axe, my grief
Leaves me in pained confusion
On the paths of love…

Lord Sada’ie
1187

Right
山人の帰る家路を思ふにも逢はぬ歎きぞ休むまもなき

yamabito no
kaeru ieji o
omou ni mo
awanu nageki zo
yasumu ma mo naki
A mountain man,
Homeward bound,
Is in my thoughts, but
Unable to meet with you grief
Gives me no respite.

Ietaka
1188

Left and Right together state: no faults to mention.

In judgement: the Left has a profound conception of love. The Right’s ‘homeward bound’ (kaeru ieji) and ‘unable to meet with you grief’ (awanu nageki) are extremely difficult to grasp, I think. The Left should win.

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.

KYS VIII: 448

Composed gazing at the moon when there were baseless rumours about her.

如何にせむ歎の杜は茂けれど木の間の月の隱れなき世を

ika ni semu
nageki no mori Fa
sigekeredo
ko no ma no tuki no
kakurenaki yo wo
What am I to do?
The sacred groves of Nageki with grief
Grow lush, yet
Between the trees, from the moon
There is no hiding in this world.

The Daughter of Tachibana no Toshimune
橘俊宗女