Tag Archives: shirayuki

Eien narabō uta’awase 28

Round Seven

Left (Win)

しらゆきのふりしきぬればかづらきやくめのいはばしそことしられず

shirayuki no
furishikinureba
kazuraki ya
kume no iwabashi
soko to shirarezu
Snow, so white
Has fallen, scattering
Upon Kazuraki, that
The broken stone bridge of Kume
Is there no one knows at all.

Lady Kazusa
55

Right

まきもくのあなしひばらもうづもれてかかるみゆきもふればふりけり

makimoku no
anashi hibara no
uzumorete
kakaru miyuki mo
fureba furikeri
In Makimoku
Anashi’s cypress groves
Are buried,
Such a fair fall of snow
Has there been.

Lady Shikibu
56

The Left has neither positives nor negatives. Up to ‘the broken stone bridge of Kume’ shows some imagination. It feels overly remote. The Right’s ‘Anshi’s cypress groves’ is something I’ve not encountered in a poem before. The standard usage is ‘cypress groves of Anashi’. Compared to this, I feel the expression is more unsatisfactory. ‘Such a fair fall of snow / Has there been’ is surprising, too, and not something I’m accustomed to seeing, so the Left seems a bit better at present.

The Left does not appear to have any significant faults. ‘That’ in ‘upon Kazuraki, that’ sounds a bit distant. If you’re talking about a bridge, you should say that you can see across it, shouldn’t you. It is a bridge which it’s impossible to cross, so that’s difficult to say. The Right’s expression ‘Anashi’s cypress groves’ is pedestrian so I would have preferred it omitted. In addition, the final ‘has there been’ feels commonplace. A win for the Left, perhaps.

Eien narabō uta’awase 24

Round Three

Left

おぼつかないづれいづちのみちならむしをりも見えずふれるしらゆき

obotsukana
izure izuchi no
michi naramu
shiori mo miezu
fureru shirayuki
How strange!
Which is which
Path, I wonder?
Even the laden branches go unseen
In the falling snow, so white.

Retired from the World
47

Right

雪ふかみとなりのさともうづもれてけぶりのみこそしるしなりけれ

yuki fukami
tonari no sato mo
uzumorete
keburi nomi koso
shirushi narikere
So deep the snow, that
The estate next door
Is buried;
Trails of smoke are the only
Sign it’s there!

Senior Assistant Minister Past Lecturer

48

The poem of the Left’s ‘even the laden branches go unseen’ and what follows is both poetic and a familiar usage. As for the Right’s poem, how can ‘the estate next door be buried’ unless it’s the only place that snow is falling and nowhere else? Thus, I feel that the snow falling to conceal the broken branches has more feeling to it.

The Left’s ‘which path’ gives me the impression that there are many of them. This sense of multiplicity is something I can imagine—which is a good thing—and, I think, see me using myself. ‘Laden branches’ are something which occur on peaks deep in the mountains. It might be a bit remiss of me, but I wonder whether I can imagine snow drifting so high on a mountain peak?

As for the Right’s poem, we use ‘next door’ when there’s a fence of some sort between one estate and another, don’t we? As such, saying that the smoke is the sign is rather vague. Even if there’s been a quite extraordinary snowfall, there would be something other to notice as well as the smoke, so this is an error, isn’t it. It would be acceptable to refer to smoke if the estate were further away.

Eien narabō uta’awase 23

Round Two

Left

ゆきふればしるしのすぎもはなさきてみわの山べもいかがたづねむ

yuki fureba
shirushi no sugi mo
hana sakite
miwa no yamabe mo
ikaga tazunemu
When the snow has fallen,
The symbolic cedars, too,
Bloom with blossom—
To Miwa’s mountainside
How might I make my way?

Lord Saburō
45

Right (Win)

しらゆきにふるの山みちうづもれてたどるばかりになりもゆくかな

shirayuki ni
furu no yamamichi
uzumorete
tadoru bakari ni
nari mo yuku kana
In snow, so white,
Furu’s ancient mountain paths
Are buried, so
Simply I must feel my way
As I go along!

Ushigimi
46

The Left’s poem is an entirely transparent adaptation of an earlier work. This poem is:

ふる雪に印の杉もうづもれていづこなるらむ三輪の山本

furu yuki ni
shirushi no sugi mo
uzumorete
izuko naruruamu
miwa no yamamoto
In the falling snow,
Even the symbolic cedars
Are buried
Where might be
Miwa mountain’s foot?[i]

The Right’s poem has nothing of interest about it, nor does it have any faults to indicate. Thus, there are insufficient grounds for judgement.

The Left’s poem follows the conception of a poem which appeared in the Kaya Palace Poetry Match.[ii] Although this is an earlier work, truly, it’s not that good, and so this poem doesn’t seem that superlative. Why couldn’t one visit if blossom has simply bloomed? The former poem says it would be difficult to get there because it’s buried in snow. The Right’s poem isn’t that good, but it seems better than the Left, so it should win.


[i] The source of this poem is unclear, however,

[ii] Snow. ふるゆきにすぎのあをばもうづもれてしるしも見えずみわのやまもと furu yuki ni / sugi no aoba mo / uzumorete / shirushi mo miezu / miwa no yamamoto ‘In the falling snow / The green cedar needles / Are buried, so / The symbol goes unseen, / Of Miwa mountain’s foot.’ Lady Settsu (Kaya no in shichiban uta’awase 55). This poetry match, Kaya no in shichiban uta’awase 高陽院七番歌合 (‘Seven Round Poetry Match held at the Kaya Palace’), was sponsored by Fujiwara no Morozane 藤原師実 (1042-1101) and held on the 19th day of the Eighth Month, Kahō 1 [1.10.1094]. The judge, Minamoto no Tsunenobu 源経信 (1016-1097), approved of this poem, saying it was ‘extremely charming’. It was later included in Kin’yōshū (IV: 285), with the headnote, ‘Composed on the conception of snow at the Poetry Match held at the Residence of the Former Uji Chancellor’.

Eien narabō uta’awase 22

Snow

Round One

Left (Win)

たまのきにははそのもりもなりにけりふるしらゆきのきえぬかぎりは

tama no ki ni
hahaso no mori mo
narinikeri
furu shirayuki no
kienu kagiri wa
Into trees of gems has
The oak forest
Turned
While the falling snow
Does not fade away…

Lord Dainagon
43[i]

Right

ゆきふればあをばの山も見がくれてときはのきをやけさはをるらむ

yuki fureba
aoba no yama mo
migakurete
tokiwa no ki o ya
kesa wa oruramu
Snow has fallen, so
The verdant mountain
Vanishes from sight—
Might the evergreens
Be broken the morning?

Lord Chūnagon
44[ii]

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’,

Fubokushō XXIX: 13961

From the Poetry Match held by Tsurayuki in the Second Month. Tengyō 2 – The Middle of Winter.

しら雪の降りつもりぬるおく山はあからがしはもうづもれにけり

shirayuki no
furitsumorinuru
okuyama wa
akaragashiwa
uzumorenikeri
Snow, so white,
Has fallen, drifted high,
Deep within the mountains
The scarlet-leaved oaks
Are completely buried.

Anonymous

Tsurayuki uta’awase 01

Tsurayuki’s Poetry Match,[i] 28th day of the Second Month, Tengyō 2[ii]

The beginning of spring.

Left

白雪のみにふりながら梅の花をりつるほどに春は来にけり

shirayuki no
mi ni furinagara
mume no hana
oritsuru hodo ni
haru wa kinikeri
Snow, so white,
Falling upon my flesh,
While the plum blossom,
Branches are breaking
Spring has come!

1

Right

鶯の巣立ちし日よりはるばるとおもひは音にぞまづなかれける

uguisu no
sudachishi hi yori
harubaru to
omoi wa ne ni zo
mazu nakareru
Since the day the bush warbler
Departed his nest,
Endlessly
Have I thought his song
For the present has not been here.

2


[i] Tsurayuki uta’awase 貫之歌合

[ii] 21 March 939