Tag Archives: storm wind

Eien narabō uta’awase 21

Round Seven

Left

秋の夜はながゐのうらにとまりしてのどかにてらすありあけの月

aki no yo wa
nagai no ura ni
tomarishite
nodoka ni terasu
ariake no tsuki
Autumn nights
Are long at Nagai Bay
Lodging, and
Gently shining
The dawntime moon.

Lady Kazusa
41

Right (Win)

秋の夜のくもふきはらふあらしこそ月みるひとのこころなりけれ

aki no yo no
kumo fuki’harau
arashi koso
tsuki miru hito no
kokoro narikere
On an autumn night
The clouds a’blowing away,
The storm wind, truly,
As someone gazing upon the moon
Has the selfsame heart!

Lady Shikibu
42

The poem of the Left certainly imagines the scene just as it is. With that being said, however, the dawntime moon is not present long enough. The Right’s poem simply sounds like one composed by Atsutaka for the ‘Poetry Match held at the Residence of the Former Captain of the Outer Palace Guards, Left Division’.[i] Thus, it’s impossible for me to determine a winner or loser.

It’s a poem which we see in the Poetry Match at Lord Moroyori’s Residence.

冬のよの雲ふきはらふ木枯や月見る人の心なるらむ

fuyu no yo no
kumo fuki’harau
kogarashi ya
tsuki miru hito no
kokoro naruramu
On a winter’s night
The clouds a’blowing away,
The bitter wind, indeed,
As someone gazing upon the moon
The same heart seems to have![ii]

In the poem of the Left, is it the moon or the poet who is lodging at Nagai Bay? If it’s the moon, then ‘lodging’ is erroneous; if it’s the poet, then ‘gently shining’ doesn’t work. In addition to this vagueness, I do also question whether ‘dawntime’ sounds appropriate. As for the Right’s poem, ‘as someone gazing at the moon / Has the selfsame heart!’ is an elegant conception, and the diction is also smooth. It reminds me of an earlier work by someone else. Thus, it wins.


[i] This match has a several different titles, Mototoshi refers to here as both: Zen sa-hyōe no kami no ie no uta’awase 前左兵衛督家歌合 and also Moriyori-kyō no ie uta’awase 師頼卿家歌合, but it is also known as the ‘Poetry Match held by the Late Master of the of the Crown Prince’s Household’ (Ko-tōgū daibu ie uta’awase 故東宮大夫家歌合) and the ‘Poetry held by Moroyori, Captain of the Outer Palace Guards, Right Division’ (U-hyōe no kami moroyori uta’awase 右兵衛督師頼歌合): the text of this match is no longer extant, but it is known to have taken place in the winter Tennin 天仁 2 (1109). Fujiwara no Kiyosuke notes that it was judged by Toshiyori, but Mototoshi disagreed with his assessments and submitted at set of judgements of his own in appeal (Fujioka 1995, 212).

[ii] This poem is included in Shoku shikashū (VI: 293), attributed to Moroyori, with the headnote, ‘Composed on the moon in winter’.

Sumiyoshi-sha uta’awase kaō ni-nen 49

Round Twenty-Four

Left (Win)

かぜのおとにわきぞかねましまつがねのまくらにもらぬしぐれなりせば

kaze no oto ni
waki zo kanemashi
matsu ga ne no
makura ni moranu
shigure nariseba
The gusts of wind
I cannot tell apart from
The rustle of the pines roots
For my pillow should no drips
From the shower fall…

Lord Sanefusa
97

Right

たびのいほはあらしにたぐふよこしぐれしばのかこひにとまらざりけり

tabi no io wa
arashi ni taguu
yoko shigure
shiba no kakoi ni
tomarazarikeri
My traveller’s hut
Is lashed by the storm wind’s
Sideways showers—
The brushwood walls
Halt it not at all.

Lord Yorimasa
98

The conception and configuration of the poem of the Left, starting ‘I cannot tell apart from / The rustle of the pines’ and continuing ‘For my pillow should no drips / From the shower fall’ is, once again, truly exceptional! As for the poem of the Right, while it appears to have a charming style and use of diction, even if it is the case that ‘sideways showers’ are a genuine phenomenon, it fails to sound particularly elegant, doesn’t it. In addition, the latter section of the poem, ‘the brushwood walls’, feels slightly lacking in conception. Thus, I make the Left the winner.

Sumiyoshi-sha uta’awase kaō ni-nen 32

Round Seven

Left (Tie)

きしちかみたびねのとこをうつなみのかへるひまにぞしぐれとはしる

kishi chikami
tabine no toko o
utsu nami no
kaeru hima ni zo
shigure to wa shiru
Close by the coast
My journey’s bed is
Struck by waves;
In the space as they withdraw,
I know that showers are falling.

Dharma Master Yūsei
63

Right

しばのとをたたくあらしのおとにまたしぐれうちそふたびのよはかな

shiba no to o
tataku arashi no
oto ni mata
shigure uchisou
tabi no yowa kana
Upon my brushwood door
The storm wind came a’knocking;
The sound then
Laced with showers,
At midnight on my travels!

Norimori
64

In the Left’s poem, it sounds as if the shower is continuing to fall quietly, yet it then appears to have the conception that one knows the showers are falling in the gaps between the waves breaking. In the Right’s poem, ‘The storm wind came a’knocking; / The sound then’ sounds charming, but I do wonder about how it looks to have lines beginning beginning with both ‘brushwood door’ [shiba no to] and ‘showers’ [shigure]. Thus, again, these tie.

Sumiyoshi-sha uta’awase kaō ni-nen 20

Left (Win)

たまがきにひかりさしそふゆふづくよかみにたむくるかげにやあるらむ

tamagaki ni
hikari sashisouru
yūzukuyo
kami ni tamukuru
kage ni ya aruramu
The jewelled fences,
Trailed with light,
On an early moonlit evening:
Is this to the Deity an offering
Of light, I wonder?

Lord Fujiwara no Kunisuke
Supernumerary Senior Secretary of the Empress Household Office
Exalted Junior Fifth Rank, Lower Grade
39

Right

くもはらふあらしのみがく月にまたひかりをそふるあけのたまがき

kumo harau
arashi no migaku
tsuki ni mata
hikari o souru
ake no tamagaki
Clouds swept away
By the storm wind, polish
The moon, so once more
Light trails across
The vermillion jewelled fences.

Horikawa, from the Residence of the Former Chancellor[1]
40

The Left’s poem is extremely charming with the solicitousness it displays in the sequence ‘On an early moonlit evening: / Is this to the Deity an offering’, but it is truly regrettable that it does not use the full moon or that at the dawn. The Right’s poem focusses on ‘light trailing’ and, as I get the impression that I have heard this a lot recently, the earlier instances have said all there is to say here, so once more the overall style of the Left is superior.


[1] Zen-dajō daijin no ie Horikawa 前太政大臣家堀川

Sumiyoshi-sha uta’awase kaō ni-nen 17

Left (Tie)

月さゆるつもりのうらのみづがきはふりしくゆきにいろもかはらず

tsuki sayuru
tsumori no ura no
mizukaki wa
furishiku yuki ni
iro wa kawarazu
The moon, so chill, shines
Upon the Bay of Tsumori,
Where the honored sacred grounds,
Spread with fallen snow
Remain unchanged in hue.

Taifu, in service to the Former Ise Virgin[i]
33

Right

あらしふくまつのこずゑにきりはれてかみもこころやすみのえの月

arashi fuku
matsu no kozue ni
kiri harete
kami mo kokoro ya
suminoe no tsuki
The storm wind blows
Across the treetops of the pines,
Clearing the mists away—
I wonder, is the Deity’s heart at
Suminoe beneath the moon?

Lord Fujiwara no Sadanaga
Junior Assistant Minister of Central Affairs
Exalted Fifth Rank, Lower Grade[ii]
34

The Left’s poem appears to be about chill fallen snow spread upon Tsumori Bay, so in saying that the waters bounding the sacred grounds cannot conceal the hue, it appears to be saying that the moon’s light is white, but I wonder if the diction is a bit insufficient to convey this? It seems to me that it simply says that although snow has fallen on the waters bounding the sacred grounds, their hue has not changed—doesn’t it? As for the Right’s poem, I can say that its conception and configuration are pleasant, but it begins with ‘the storm wind blows’ and one cannot say ‘storm wind’ along with ‘beach pines’. One can understand this based on the poem ‘Yes, the mountain wind / Is aptly named “Storm”‘. Still, the poem’s configuration does appear pleasant. Again, I make this a tie.


[i] Zen-saigū no Taifu 前斎宮大輔

[ii] Jūgoige-gyō nakatsukasa no shō Fujiwara ason Sadanaga 従五位下行中務少輔藤原朝臣定長