Tag Archives: Spring Dawn

Spring II: 27

Left (Tie).

これやこの心ある人のながむべき難波わたりの春の明ぼの

kore ya kono
kokoro aru hito no
nagamubeki
naniwa watari no
haru no akebono
Is this what
That man with soul
Should gaze upon?
Close by to Naniwa –
The dawn at springtime…

Lord Kanemune.

113

Right (Tie).

あはれさは古りゆくまゝにそへてけり高津の宮の春の明ぼの

awaresa wa
furiyuku mama ni
soetekeri
takatsu no miya no
haru no akebono
How moving!
As it ages, it
Affects one more:
The Palace at Takatsu,
In the dawn at Springtime.

The Provisional Master of the Empress’ Household Office.

114

Neither team has any particular remarks to make about the other’s poems this round.

Shunzei, too, merely says, ‘Both poems make splendid use of places such as ‘the Palace at Takatsu’ (takatsu no miya), ‘close by to Naniwa’ (naniwa watari) and ‘dawn’ (akebono). It is difficult to decide on which is better. The round must, therefore, be a tie.’

Spring II: 26

Left.

この世には心とめじと思ふまにながめぞはてぬ春のあけぼの

kono yo ni wa
kokoro tomeji to
omou ma ni
nagame zo hatenu
haru no akebono
From this world
I’ll sever all ties,
I vow, yet
I cannot, while gazing on
The dawn in springtime.

Kenshō.

111

Right (Win).

何となく心うきぬるひとり寢に明ぼのつらき春の色哉

nani to naku
kokoro ukinuru
hitorine ni
akebono tsuraki
haru no iro kana
For some reason
My heart’s unquiet;
In solitary sleep,
Comes the dawn with spiteful
Springtime hues…

Lord Takanobu.

112

The Right state that, ‘it does not seem as if much thought has been given to the placement of “the dawn in springtime” (haru no akebono). Given that it appears in the topic, why build up to it in such a roundabout way?’ The Left, however, have no comments to make on the Right’s poem.

Shunzei, however, states, ‘The Gentlemen of the Right’s statement of about the lack of thought given to “dawn” (akebono) is not reasonable. Even in topics which combine more than one element (musubidai 結題) , it has been said that there are characters which express these indirectly (mawasu moji まはす文字). In topics such as “Spring Dawn”, to fail to clearly mention it suggests nothing more than ignorance of composition. The use of “while” (ma ni), however, is a clear fault, and the Right’s poem is thus definitely superior.’

Spring II: 25

Left (Tie).

立ちわたる霞ばかりはほのかにてそことも見えずあけぐれの空

tachiwataru
kasumi bakari wa
honokanite
soko tomo miezu
akegure no sora
The drifting,
Misty haze
Blurs all;
Nowhere can I see
The softly lightening sky.

Lord Suetsune.

109

Right (Tie).

霞もや明けゆく空をおしむらん心ぼそげに立ちわたるかな

kasumi mo ya
akeyuku sora o
oshimuran
kokorobosogeni
tachiwataru kana
Does the haze, too,
The lightening sky
Regret?
In sad solitude
Does it cover all.

Lord Tsune’ie.

110

The Right team state that, ‘the expression ‘softly lightening’ (akegure) gives the impression that the scene is rather earlier than dawn,’ to which the Left snap back that ‘sad solitude’ (kokorobosogeni) is ‘puerile.’

Shunzei’s judgement is, ‘The comments by both teams are apt. The poems seem of equivalent quality.’