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Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 31

Round Seven

Left (Tie)

あまつほしありともみえぬ秋のよの月はすずしき光なりけり

ama tsu hoshi
ari tomo mienu
aki no yo no
tsuki wa suzushiki
hikari narikeri
Stars in the heavens
Appear there to be none on
An autumn night when
The moon a cool
Light sheds.

Kojijū
61

Right

さ夜ふくる空にきえゆく浮雲の名残もみえぬ秋のよの月

sayo fukuru
sora ni kieyuku
ukigumo no
nagori mo mienu
aki no yo no tsuki
As brief night wears on
Vanishing from the skies are
The drifting clouds,
Leaving no keepsake for
The moon this autumn night.

Moromitsu
62

The Left, in addition to suffering from the Tree-Bank fault,[1] compounds this by adding a further line so all the first three lines begin with the same sound. This has been noted as a fault in earlier poetry matches. The Right, too, mentions ‘night’ twice and this is a significant fault, but I am unable to grasp the sense of the Left’s poem, so it’s difficult to make a judgement between them.


[1] Ganjubyō 岸樹病 (‘Tree-Bank fault’): this was one of the four poetic faults identified in the poetic treatise Waka sakushiki 倭歌作式 (‘Code of Creation of Japanese Poetry’), attributed to Kisen 喜撰 (fl. 810-824), hence the treatise’s alternative title of Kisenshiki 喜撰式 (‘Kisen’s Selected Codes’). This attribution is widely believed to be spurious, however, and that the work was probably written in the mid-Heian period. Ganjubyō refers to beginning the first and second ‘lines’ of a waka with the same syllable, in this case ‘a’.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 28

Round Four

Left (Win)

月きよみかひのしらねをながむればいつかは雪に空は晴れける

tsuki kiyomi
kai no shirane o
nagamureba
itsuka wa yuki ni
sora wa harekeru
When at the moon, so clear,
Above the white peak of Kai
I gaze, I wonder
When the snow
Will clear from the skies…

Shun’e
55

Right

くまもなき月みるほどの心にてやがて此よをすぐしてしかな

kuma mo naki
tsuki miru hodo no
kokoro nite
yagate kono yo o
sugushiteshi kana
When the cloudless
Moon I see,
My heart
Longs within this world
To ever stay!

Lord Michiyoshi
56

While the Left does contain some feelings, these seem not to be apparent in its diction. When moonlight is confused with snow, then I would want the composition to be about a location which has none, but mentioning the ‘white peak of Kai’ makes it unclear because it sounds as the composition is about its snow. Dropping a reference to Mount Obasute and replacing it with the ‘white peak of Kai’ sounds absurd and puts me in mind of the judgement in the Poetry Match at the Palace in the Fields. With all that being said, the Right’s poem appears pointlessly pedestrian, so the Left should win, I think.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 27

Round Three

Left (Tie)

おきあかしくまなき月をながむれば野原の草の露もかくれず

oki’akashi
kumanaki tsuki o
nagamureba
nohara no kusa no
tsuyu mo kakurezu
Lying awake ‘til dawn, and
Upon the cloudless moon
A’gazing—
Upon the grasses o’er the plain
Not a single dewdrop is concealed.

Mikawa
53

Right

月をみて心をこよひつくすかなくまなき空は又もこそあれ

tsuki o mite
kokoro o koyoi
tsukusu kana
kumanaki sora wa
mata mo koso are
Seeing the moon,
Tonight, my heart
Exhausts!
The cloudless skies
Once more are such!

Lord Kinshige
54

The Left’s ‘lying awake ‘til dawn, gazing’ suggests that the poet is at their own residence, but then it finally turns out that they are on the plain – what to make of this? It’s also the case that the moon doesn’t necessarily always appear over the plains. This poem should really have included a clearer reason for the poet’s journey. As for the Right, while it isn’t bad, the final line certainly regrettable, so this round is a tie.

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 23

Round Eleven

Left

さをしかの空にあはれときこゆるは山のたかねになけばなりけり

saoshika no
sora ni aware to
kikoyuru wa
yama no takane ni
nakeba narikeri
A stag belling
To the skies, sadly
I hear—
Perhaps, because ‘tis on the mountain’s peak
He cries so…

Lord Masahira

45

Right (Win)

ゆふまぐれ霧のまがきのさびしさにをしか鳴くなり秋の山里

yūmagure
kiri no magaki no
sabishisa ni
oshika nakunari
aki no yamazato
Tangled in twilight
With mist around my brushwood fence,
Loneliness fills me, as
A stag bells, by
A mountain retreat in autumn

Shinkaku
46

What on earth is the conception of ‘sadly hearing something in the skies’? While no one can truly know why a stag bells, what is the point of saying that ‘sadness is in the skies’? And if one does hear it, it isn’t the case that anyone really knows that the stag is belling out of longing for his mate, is it. The stag seeming to bell by a brushwood fence in the mist, seems to sound a bit more moving at the moment.

Teiji’in tenjōbito uta’awase 10

Left (Tie)

あかなくにわかれにしかばたなばたのおりきしそではいまやぬるらむ

akanaku ni
wakarenishikaba
tanabta no
orikishi sode wa
ima ya nururamu
If, though unsatisfied
She did part, then
Would the Weaver Maid’s
Woven and then worn sleeves
Now be truly drenched?

19

Right

たなばたのあひけむそらもおもほえじわかれてのちの心まどひに

tanabata no
aikemu sora mo
omohoeji
wakarete nochi no
kokoro madoi ni
The Weaver Maid
It seems, met him in the skies, but
It does not feel so,
After parting
Lost at heart…

20

Teiji’in tenjōbito uta’awase 03

Left (Tie)

あふことをまつとなげきしときよりもたなばたつめはいまやわぶらむ

au koto o
matsu to nagekishi
toki yori mo
tanabatatsume wa
ima ya waburamu
For a meeting
Did she pine and grieve,
But from that moment
The Weaver Maid
Now seems filled with lonely sadness.

5

Right

ながきよにつくすともなきたなばたのこひはそらにやもりわたるらん

nagaki yo ni
tsukusu tomo naki
tanabata no
koi wa sora ni ya
moriwataruran
The long night through
Did not exhaust at all
The Weaver Maid’s
Love into the skies
Seems to overflow.

6

Teiji’in tenjōbito uta’awase 01

Among the courtiers in service to His Majesty, former Emperor Uda, it was possible to pick out those who had some sensitivity and those who did not, so in a certain year, when the kōshin rite came around on the 7th day of the Seventh Month, those gentlemen who were thought to have this sensitivity spent the day composing poems on the topic of ‘feelings after meeting at Tanabata’ which were divided into teams and matched.

Left

としごとにこりずやあるらんたなばたのあひてこひしきわかれのみする

toshigoto ni
korizu ya aruran
tanabata no
aite koishiki
wakare nomi suru
Every single year
Does she never learn, I wonder?
The Weaver Maid
Meets and then with love
Does simply part.

1

Right (Win)

おもひやる心のそらにしらるればたなばたつめのわかれかなしな

omoiyaru
kokoro no sora ni
shirarureba
tanabatatsume no
wakare kanashiki
Yearning fills
The heavens of her heart—
How well she knows it, for
The Weaver Maid’s
Parting is so sad.

2