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Poetry Competition in Six Hundred Rounds

Summer I: 6

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Left.

花は散りぬいかにいひてか人待たん月だにもらぬ庭の梢に

hana wa chirinu
ika ni iite ka
hito matan
tsuki dani moranu
niwa no kozue ni		 The blossoms all are fallen, and
What am I to say?
Does it await folk visiting?
The moonlight, leaving untouched
The treetops in my garden…

A Servant Girl.

191

Right (Win).

春深き野邉の景色と見しほどに緑は宿のこずゑ也けり

haru fukaki
nobe no keshiki to
mishi hodo ni
midori wa yado no
kozue narikeri		 Spring lay deep
Across the fields
I saw, and then
The green was on my lodgings’
Treetops!

Jakuren.

192

Neither team has any comments to make about the other’s poem.

Shunzei states, ‘Both of these poems are superlative in configuration and diction [sugata kotoba tomo ni yū], but the Left’s “await folk visiting” (hito matan) seems slightly unsatisfying. The Right’s “green on my lodgings” (midori wa yado no) gives it a slight edge in configuration [sutata sukoshi wa masarubeku], and so it should win.”

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: 4

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Left.

影ひたす水さへ色ぞみどりなるよもの木ずゑのおなじ若葉に

kage hitasu
mizu sae iro zo
midorinaru
yomo no kozue no
onaji wakaba ni		 Steeped in shade
Even the water’s hue
Has turned to green:
All around, the treetops
Loft the same new leaves…

Lord Sada’ie.

187

Right (Win).

をしなべて緑に見ゆる音羽山いづれか花のこずゑなりけむ

oshinabete
midori ni miyuru
otowayama
izure ka hana no
kozue narikemu		 All has
Turned to green on
Otowa mountain;
Which were the blossomed
Treetops, I wonder?

The Provisional Master of the Empress’ Household Office.

188

The Right state, ‘The use of “steeped” (hitasu) is not at all laudable,’ to which the Left reply that it is ‘in the spirit of “shade-steeped southern mountain”’, referring to a line in a famous xinyuefu (新楽府; ‘new ballad’ – a Chinese poetic form), ‘Kunming Spring’ (昆明春). They then continue, ‘Why the particular reference to Otowa Mountain? In addition, doesn’t the poem seem redolent of a reversal of Lord [Minamoto no] Yorimasa’s “the cherries do appear in bloom” (sakura wa hana ni arawarenikeri)?’ The Right, rather tersely reply, ‘Such things are only to be expected.’

Shunzei acknowledges the Chinese model for the Left’s poem: ‘ “Shade-steeped southern mountain” appears in the Baishiwenji, yet in this poem it appears to give an inappropriate emphasis [on the water rather than the trees]. In the Right’s poem, Otowa Mountain could certainly be any mountain. As for the reference to Lord Yorimasa’s poem – this type of technique is becoming increasingly common nowadays. The Right should win.’

Poetry Competition in Six Hundred Rounds

Summer I: 3

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Left (Tie).

色かへぬよはひは知らず夏木立みどりは松にかはらざりけり

iro kaenu
yowai wa shirazu
natsu kodachi
midori wa matsu ni
kawazarikeri		 Are their hues unchanging
Through the ages – that I do no know;
Summer clustered trees’
Green on the pines
Will alter not!

Lord Suetsune.

185

Right (Tie).

あらはれん秋をも知らぬかえでかなときはの色をしばし盗みて

arawaren
aki o mo shiranu
kaede kana
tokiwa no iro o
shibashi nusumite		 They’ll be found out!
All unknowing of the autumn are
The maple trees;
The eternal pine trees’ hue
Steal, if only briefly…

Nobusada.

186

The Right simply say, ‘The Left’s poem contains major faults,’ while the Left reply, ‘The Right’s poem’s “maple trees” (kaede kana) and “Steal, if only briefly” (shibashi nusumite) are vulgar in the extreme!’ (By this they mean that nusumu (‘steal’) is inappropriate for poetry, as is the impression given that the maples have volition.)

Shunzei comments, ‘That the Left’s poem contains faults has already been mentioned by the Right. The Right’s poem though has the form of an eccentric poem, and one must wonder about granting sensitivity to maple trees, so the round must tie.’

Poetry Competition in Six Hundred Rounds

Summer I: 2

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Left (Win).

花はみな散りはてにけり夏木立みどりも春の色ならぬかは

hana wa mina
chirihatenikeri
natsu kodachi
midori mo haru no
iro naranu ka wa		 The blossoms have all
Finished falling, but
The summer clustered trees’
Green – of spring
Is it not, too, a shade?

Lord Ari’ie.

183

Right.

夏衣うすもへぎなるわかゝえで秋染めかへむ色ぞゆかしき

natsu koromo
usu moeginaru
waka kaede
akizome kaemu
iro zo yukashiki		 The summer garb of
Pale grass-green
Young maple trees
To autumn shades will change;
How I long to see those hues!

Lord Tsune’ie.

184

The Right state, ‘In the previous round there was an assessment that our poem was inappropriate: if so, this poem of the Left’s seems to contain a concealed longing for Spring.’ The Left reply, ‘The previous poem concluded with “sacred groves” (kamunabi no mori). This poem has “Is it not, too, a shade?” (iro naranu ka wa), and so a spirit of appreciation of summer. It is the same as Right’s poem in the previous round.’

Shunzei’s judgement is, ‘Although I have little liking for “summer clustered trees” (natsu kodachi), “green – of spring” (midori mo haru no) seems particularly fine. The Right’s poem does not appear to be appreciating new trees and, saying “To autumn shades will change; How I long to see those hues!” (akizome kaemu iro zo yukashiki) is contrary to the central meaning of the topic. Furthermore, “how I long” (yukashiki) is an unsuitable expression. The Left must win.’

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.’