Tag Archives: Teika

Poetry Competition in Six Hundred Rounds

Autumn I: 10

Leave a comment

Left (Win).

秋ごとに絶えぬ星合のさ夜更て光傡ぶる庭の灯し火

akigoto ni
taenu hoshiai no
sayo fukete
hikari naraburu
niwa no tomoshibi		 Each and every autumn,
For the eternal meeting of the stars
Night falls, and
Lights align with
The palace garden lanterns.

Lord Sada’ie.

319

Right.

露深き庭の灯し火數消ぬ夜や更ぬらん星合の空

tsuyu fukai
niwa no tomoshibi
kazu kienu
yo ya fukenuran
hoshiai no sora		 Deep dewfall
Upon the garden lanterns
Extinguished a number;
Has night fallen, I wonder,
Upon the sky wherein stars meet?

Ietaka.

320

The Right have no comments to make about the Left’s poem this round, while the Left simply say the Right’s poem has ‘major faults’. (Criticising the use of the completive marker nu twice in quick succession: kienu, fukenuran.)

Shunzei ignores this point, simply saying, ‘The expression “Has night fallen, I wonder, upon the sky wherein stars meet?” (yo ya fukenuran hoshiai no sora) is splendid, but there is no reason for beginning the poem with “deep dewfall” (tsuyu fukaki). The Lefts’ poem has no faults – thus, it must win.’

Poetry Competition in Six Hundred Rounds

Autumn I: 5

Leave a comment

Left.

秋來ても猶夕風を松が根に夏を忘れし陰ぞたち憂き

aki kitemo
nao yū kaze wo
matsu ga ne ni
natsu o wasureshi
kage zo tachi uki		 Though the autumn has come,
Still, for an evening breeze,
Must I abide beneath the pines,
As did I to forget the summer,
Loath to leave the shade…

Lord Sada’ie.

309

Right.

夏衣まだ脱ぎやらぬ夕暮は袖に待たるゝ萩の上風

natsukoromo
mada nugiyaranu
yūgure wa
sode ni mataruru
hagi no uwakaze		 My summer garb
Have I not yet put away;
In the evening
My sleeves await
A breeze over the bush-clover.

Jakuren.

310

Neither team can find any fault with the other’s poem.

Shunzei, however, says, ‘With regard to the Right’s poem, one marks the change of clothing at the end of spring into summer, and the passage from autumn and the entrance to winter. Does one say that now it is autumn, one changes from summer clothes? The Left’s ‘beneath the pines’ must win, must it not?’

Poetry Competition in Six Hundred Rounds

Summer II: 25

Leave a comment

Left (Win).

あらし吹く梢はるかに鳴蝉の秋を近しと空に告ぐ也

arashi fuku
kozue haruka ni
naru semi no
aki o chikashi to
sora o tsugu nari		 A storm wind blows
The distant treetops, where
The cicadas sing
Of coming autumn
To the skies.

Lord Sada’ie.

289

Right.

茂りあふ青き紅葉の下涼み暑さは蝉の聲にゆづりぬ

shigeriau
aoki momiji no
shita suzumi
atsusa wa semi no
koe in yuzurinu		 Lush and
Green beneath the maple leaves
‘Tis cool;
The heat by cicadas
Song is summoned.

Nobusada.

290

The Right state that, ‘“Sing…to the skies” (sora o tsugu) goes against the spirit of the topic,’ while the Left wonder, ‘What we can make of “green maple leaves” (aoki momiji)?’

Shunzei states, ‘The Left’s “sing of coming autumn to the skies” (aki o chikashi to sora o tsugu nari) is superlative. The Right’s “green maple leaves” (aoki momiji) must mean that the poet, on seeing a tree which turns scarlet, rather than green, recollects the autumn colour. However, “the heat” and the diction in the concluding line are somewhat pedestrian and unpoetic. I must award the victory to the Left.’

Poetry Competition in Six Hundred Rounds

Summer II: 20

Leave a comment

Left (Tie).

枯れわたる軒の下草うちしほれ涼しくにほふ夕立の空

karewataru
noki no shitagusa
uchishiore
suzushiku niou
yūdachi no sora		 Withered are
The grasses ‘neath my eves
And drooping;
Scenting coolness in
A sky of evening showers.

Lord Sada’ie.

279

Right (Tie).

夏の日を誰が住む里にいとふらん涼しくゝもる夕立の空

natsu no hi o
ta ga sumu sato ni
itouran
suzushiku kumoru
yūdachi no sora		 The summer sun:
Whose home does it
Seem to shun?
Coolly clouded
Evening showers fill the sky.

Ietaka.

280

The Right state that the Left’s poems has ‘no particular problems, while the Left simply remark that the latter section of the Right’s poem is ‘identical to one by En’i’.

Shunzei states, ‘The gentlemen of the Left have suggested that the latter section of the Right’s poem is identical to one by the Monk En’i. I, however, have no knowledge of such a poem. However, both ‘scenting coolness’ (suzushiku niou) and ‘coolly clouded’ (suzushiku kumoru) seem equivalent in quality.’

Poetry Competition in Six Hundred Rounds

Summer II: 16

Leave a comment

Left (Win).

暮そめて草の葉なびく風のまに垣根涼しき夕顔の花

kuresomete
kusa no ha nabiku
kaze no ma ni
kakine suzushiki
yūgao no hana		 At the first fall of dusk
Blades of grass rustle
In the breeze;
On the brushwood fence coolly
Blooms a moonflower.

Lord Sada’ie.

271

Right.

日數ふる雪にしほれし心地して夕顔咲ける賤が竹垣

hikazu furu
yuki ni shioreshi
kokochishite
yūgao sakeru
shizu ga takegaki		 Day after passing day
Of snowfall has draped it,
I feel,
Moonflowers blooming on
A peasant’s bamboo fence.

Lord Tsune’ie.

272

The Right state, ‘Both “first fall of dusk” (kuresomete) and “in the breeze” (kaze no ma ni) are unusual expressions.’ The Left in return say, ‘It sounds as if the bamboo fence is weighed down with moonflowers!’ (The Left here are interpreting the verb shioru to mean ‘bend down’ which is one of its senses. I have not followed this in my translation, in line with Shunzei’s judgement, below.)

Shunzei comments, ‘The gentlemen of the Right have stated that “first fall of dusk” (kuresomete) and “in the breeze” (kaze no ma ni) are unusual expressions, but I do not feel this to be particularly the case. As for yuki ni shiroreshi, surely this simply means that the fence is draped. In any case, however, “on the brushwood fence, coolly” is the superior poem in every way.’

Poetry Competition in Six Hundred Rounds

Summer II: 5

Leave a comment

Left (Tie).

尋入る楢の葉陰の重なりてさてしもかろき夏衣かな

tazuneiru
nara no hakage no
kasanarite
sateshimo karoki
natsugoromo kana		 Entering within
The oak leaves’ shade,
Layer upon layer;
Still, how light
Is my summer garb!

Lord Sada’ie.

249

Right (Tie).

花の色の袖は重ねし物なれどひとへに惜しき蝉の羽衣

hana no iro no
sode wa kasaneshi
mono naredo
hitoe ni oshiki
semi no hagoromo		 Cherry blossom hued
Sleeves lay one upon the other
And yet now,
A single, deep regret:
For the cicada’s gossamer garb…

The Provisional Master of the Empress’ Household Office.

250

Neither team has any criticisms to make this round.

Shunzei merely remarks, ‘The Left’s poem has “still, how light” (sateshimo karoki) and the Right’s “sleeves lay one upon the other and yet now” (sode wa kasaneshi mono naredo): both of these are only close to the topic, I feel. The round ties.’

Poetry Competition in Six Hundred Rounds

Summer I: 30

Leave a comment

Left (Win).

夏の夜はなるゝ清水の浮き枕むすぶ程なきうたゝ寢の夢

natsu no yo wa
naruru shimizu no
ukimakura
musubu hodo naki
utatane no yume		 On a summer night
Trickling water cools
Beside my drifting pillow;
No time to dip it
In a brief dozy dream.

Lord Sada’ie.

239

Right.

夏の夜の數にも入れじ時鳥來鳴かぬさきに明るしのゝめ

natsu no yo no
kazu ni mo ireji
hototogisu
kinakanu saki ni
akuru shinonome		 Among summer nights’
Number I’ll not count this one:
Before the cuckoo
Can come calling
Comes the dark before bright dawn.

Nobusada.

240

The Right wonder ‘whether “Trickling water beside my drifting pillow” (shimizu no ukimakura) is something that’s likely to occur?’ while the Right counter, ‘and what of “Among summer nights’ number I’ll not count this one” (natsu no yo no kazu ni mo ireji) – it seems somewhat excessive an expression.’ Shunzei states testily, ‘The gentlemen of the Right’s questioning of “drifting pillow” (ukimakura) is absurd, for has there not long been the image of pillowing on a flow? The Right’s “Among summer nights’ number I’ll not count this one”, unavoidably incurs criticism from the gentlemen of the Left. In addition, the Left’s final line is most fine. It should win.’

Poetry Competition in Six Hundred Rounds

Summer I: 21

Leave a comment

Left.

をちこちにながめやかはす鵜飼舟闇を光の篝火の影

ochikochi ni
nagame ya kawasu
ukaibune
yami o hikari no
kagaribi no kage		 Near and far
My gaze goes back and forth;
Cormorant boats
Light the darkness with
Fishing-fires’ glow.

Lord Sada’ie.

221

Right (Win).

鵜飼舟あはれとぞ見るものゝふの八十宇治川の夕闇の空

ukaibune
aware to zo miru
mononofu no
yaso ujigawa no
yūyami no sora		 The cormorant boats
Seem so keen!
Warriors,
Eighty in all, on Uji River,
Beneath the darkening evening sky…

Nobusada.

222

The Right comment that, ‘In the Left’s poem, “light the darkness” (yami o hikari) does not seem that elegant an expression,’ while the Left can find no fault with the Right’s poem.

Shunzei agrees: ‘“Light the darkness with fishing-fires’ glow” (yami o hikari no kagaribi no kage) does not seem particularly satisfactory in sense. The Right’s “Eighty in all, on Uji River, beneath the darkening evening sky” (yaso ujigawa no yūyami no sora) is especially fine. There is no question but that it wins.’

Poetry Competition in Six Hundred Rounds

Summer I: 18

Leave a comment

Left.

雲の上を出づる使のもろかづら向かふ日影にかざすけふかな

kumo no ue o
izuru tsukai no
morokazura
mukau hikage ni
kazasu kyō kana		 From above the clouds
The messengers emerge;
Bearing branches, hollyhock decked,
Bent towards the sun-bright power
In adornment on this day.

Lord Sada’ie.

215

Right (Win).

ゆふだすきかけてぞ頼む玉かづらあふひうれしきみあれと思へば

yūdasuki
kakete zo tanomu
tamakazura
aoi ureshiki
miare to omoeba		 With mulberry-cloth
Garlanded, wishing for
A jewelled belt of
Hollyhocks, on this joyful
Festive day…

The Provisional Master of the Empress’ Household Office.

216

The Right have no particular remarks to make about the Left’s poem. The Left, however, comment, ‘“Festival” (matsuri)and “festive” (miare) are somewhat different. They do not refer to events held on the same day.’

Shunzei responds, ‘While the Left’s “Bent towards the sun-bright power” (mukau hikage) certainly provides no evidence of a lack of feeling, in overall form the Right’s poem seems more elegantly flowing [migi utazama, iinagasaretaru yō]. While it is true that the festive days begin two days prior to the festival itself, the term can also apply to the evening of the festival day, and so the two can be seen as synonymous. The Right would seem to win.’

Poetry Competition in Six Hundred Rounds

Summer I: 11

Leave a comment

Left (Tie).

夏山の草葉のたけぞ知られぬる春見し小松人し引かずは

natsuyama no
kusaba no take zo
shirarenuru
haru mishi komatsu
hito hikazu wa		 Summer in the mountains, and
The grasses reach so high, that
Had they but known
In springtime, on the glimpsed pine-seedlings
Folk would have laid no hand…

Lord Sada’ie.

201

Right (Tie).

道もなき夏野の草の庵かな花にけがるゝ庭と見しまに

michi mo naki
natsuno no kusa no
iori kana
hana ni kegaruru
niwa to mishi ma ni		 Within a trackless
Summer field does my grass
Hut stand now;
While on fallen blossom staining
My garden did I rest my gaze…

Jakuren.

202

The Right wonder, ‘Whether summer greenery recalls the mountains as much as it does the plains? The overall point of the poem seems difficult to grasp.’ The Left have no particular comments to make.

Shunzei states, ‘The gentlemen of the Right have already questioned the suitability of greenery in relation to mountains rather than the plains. In addition, what is one to make of blossom falling round a hut, as opposed to a mountain lodge. If the topic was “Field Lodges”, then there are some autumn blooms, but cherry and plum blossom, and the like, fail to fall that much on the plains. Thus, I would agree with the Right’s comments on the Left’s poem. The Right’s poem, though, lacks logic. The round must be a tie.’