Topic unknown.
さをしかのあさたつ野べの秋はぎに玉とみるまでおけるしらつゆ
| saoshika no asa tatsu nobe no akihagi ni tama to miru made okeru shiratsuyu | Stags Stand in the morning meadows, where Upon the autumn bush clover As gemstones appearing Have fallen silver dewdrops. |
Middle Counsellor Yakamochi[i]
[i] This poem is included in Man’yōshū (VIII: 1598).
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’,
Round Thirty
Left (Tie)
玉をぬく真野の糸萩かたよりにおのれみだるる秋の夕暮
| tama o nuku mano no itohagi katayori ni onore midaruru aki no yūgure | Strung with gems The bush-clover twigs at Mano All align together In their own tangles On an autumn evening. |
Shō
59
Right
待ちわたる時や来ぬらん白露の玉しく庭の秋はぎの花
| machiwataru toki ya konuran shiratsuyu no tama shiku niwa no akihagi no hana | Has that long-awaited Time arrived, perhaps? When silver dewdrop Pearls will spread o’er the grounds From the autumn bush clover blooms… |
Nagatsuna
60
The poems of Left and Right have different diction, but the same configuration.
Round Twenty-Eight
Left
故郷の萩の下葉も色づきぬ露のみふかき秋のうらみに
| furusato no hagi no shitaba mo irozukinu tsuyu nomi fukaki aki no urami ni | In this old, familiar place The bush clover’s underleaves, too, Have changed their hue— Only the dew is deep As autumn’s misery…[1] |
Dōchin
55
Right (Win)
白露の玉ぬきみだる萩が枝に涙かずそふ秋の夕暮
| shiratsuyu no tama nukimidaru hagi ga e ni namida kazusou aki no yūgure | Silver dewdrop Pearls are strung in tangles on The bush clover’s branches— Innumerable tears added On an autumn evening… |
Dharma Master Nyokan
56
Left and Right both have a refined style, yet the Right has a better tone and sounds elegant. Thus, it wins.
[1] An allusive variation on: 比日之 暁露丹 吾屋前之 芽子乃下葉者 色付尓家里 kono koro no / akatoki tsuyu ni / wa ga yado no / hagi no shitaba wa / irozukinikeri ‘Around thus time near / Dawn, the dewfall on / My dwelling’s / Bush clover underleaves / Has changed their hue!’ Anonymous (MYS X: 2182)
Round Twenty-Five
Dew on Bush Clover
Left
下葉には色なる玉やくだくらむ風の吹きしく萩の上の露
| shitaba ni wa iro naru tama ya kudakuramu kaze no fukishiku hagi no ue no tsuyu | From the underleaves Hues have the gemlets taken In their shattering? Spread by the gusting wind Are the dewdrops on the bush clover… |
A Court Lady
49
Right (Win)
又やみむ又や見ざらん白露の玉おきしける秋萩の花
| mata ya mimu mata ya mizaran shiratsuyu no tama okishikeru akihagi no hana | Will I see again, or Will I not Silver dewdrop Pearls spread upon The autumn bush clover blooms? |
Ietaka
50
The Left’s poem does not seem to have a particularly superlative style. The Right’s poem, saying ‘will I see again, or will I not silver dewdrops’ is particularly charming and moving. Thus, it wins.
保登等芸須 安不知能枝尓 由吉底居者 花波知良牟奈 珠登見流麻泥
ほととぎす あふちのえだに ゆきてゐば はなはちらむな たまとみるまで
| pototogisu aputi no eda ni yukite wiba pana pa tiramu na tama to miru made | If a cuckoo To the chinaberry’s branches Should come to rest, then Still would the blossoms scatter, for Gems do they but seem… |
Sent in reply on the 3rd day of the Fourth Month by Palace Attendant Ōtomo sukune Yakamochi from the capital at Kuni to his younger brother, Fumimochi.
珠尓奴久 安布知乎宅尓 宇恵多良婆 夜麻霍公鳥 可礼受許武可聞
たまにぬく あふちをいへに うゑたらば やまほととぎす かれずこむかも
| tama ni nuku aputi wo ipe ni uwetaraba yamapototogisu karezu komu kamo | Strung with gems A chinaberry at my house Should I plant, would A mountain cuckoo Constantly come visiting? |
This poem was sent on the 2nd day of the Fourth Month by Ōtomo sukune Fumimochi from his residence in Nara to his elder brother, Yakamochi.
Left – Dwarf bamboo[i]
たまとのみつゆのみゆるはささがにのいとををにしてぬけばなりけり
| tama to nomi tsuyu no miyuru wa sasagani no ito o o ni shite nukeba narikeri | Simply as jewels Do the dewdrops seem, when Making the tiny crab—the spider’s Web their thread, They are strung upon it… |
4
Right
(Missing)
[i] The topic of this poem is given as ‘Dew’ (Tsuyu 露) in the other text of the match, although the poem is identical. ‘Spider’ (sasgani) contains sasa (‘dwarf bamboo’)/
Round Four
Left
あくがるるたまとみえけむなつむしのおもひはいまぞおもひしりぬる
| akugaruru tama to miekemu natsumushi no omoi wa ima zo omoishirinuru | As my wandering Soul do appear The fireflies— Those feelings, now, How well I know! |
Kojijū
107
Right (Win)
いはずともおもひはそらにしりぬらむあまくだりますすみよしのかみ
| iwazu tomo omoi wa sora ni shirinuramu amakudarimasu sumiyoshi no kami | Needless to say My feelings within the skies Are well-known by The heaven-descended God of Sumiyoshi! |
Lord Sanemori
108
The poem of the Left appears to have a deep conception. However, this poem should be composed about the emotions expressed in Izumi Shikibu’s poem ‘Fireflies by the marsh: / From my breast’.[1] If so, then by having something like ‘As my wandering / Soul the fireflies / Do appear’, it appears as if you know how Izumi Shikibu felt. Here, though, we have ‘As my wandering / Soul do appear / The fireflies’ and this sounds as if you know how the fireflies feel—in which case it seems more in keeping with the poem by the Katsura Princess which says, ‘Their bodies bringing an excess / Of passion’s fires’.[2] Then again, does the diction, ‘As my wandering / Soul do appear’, perhaps, differ from this? The poem of the Right has nothing particularly evocative in its use of diction, but ‘My feelings within the skies’ and following this with ‘The heaven-descended’ at least sounds as if has a purpose to it. The Right wins, I should say.
[1] When she had been forgotten by a man, she went to Kibune, and composed this on seeing fireflies flitting about by the Mitarashi River. 物思へば澤の螢も我身よりあくがれ出づる玉かとぞみる mono’omoeba / sawa no hotaru mo / wa ga mi yori / akugare izuru / tama ka to zo miru ‘I’m at such a loss; / Fireflies by the marsh: / From my breast / Wanders out / My soul, or so it seems.’ Izumi Shikibu (GSIS XX: 1162)
[2] When Princess Katsura had said ‘Catch some fireflies,’ and one of the boys had them wrapped up in the sleeves of his jacket. つつめどもかくれぬ物は夏虫の身よりあまれる思ひなりけり tsutsumedomo / kakurenu mono wa / natsumushi no / mi yori amareru / omoinarikeri ‘Wrapped up, yet / Unconcealable are / The summer insects: / Their bodies bringing an excess / Of passion’s fires.’ Anonymous (GSS IV: 209)