Tag Archives: trees

Tōin senzai awase 01

The Garden Match held by the Chancellor at the Eastern Mansion

When His Lordship, the Chancellor, was having the Eastern Mansion refurbished, he divided his sons into teams and having a large number of charming plants grown in pots on the eastern and western sides of the main hall, he matched poems composed on the names of these plants. These poems are as follows.

Left – Pine

あだしきのちるにもさらににぬまつはちとせこえふるしるべなりけり

adashiki no
chiru ni mo sara ni
ninu matsu wa
chitose koefuru
shirube narikeri
The other trees’
Scattering is e’en more
Unlike the pines—
Passing through a thousand years
Is their singular sign.

1a

あたらしき春にもさらににぬまつはちとせこえこぬしるべなりけり

atarashiki
haru ni mo sara ni
ninu matsu wa
chitose koekonu
shirube narikeri
A new
Spring is e’en more
Unlike the pines—
That it last not a thousand years
Is a singular sign.

1b

Right

たれもみなちとせこえくるまつにのみひさしきことはならへとぞ思ふ

tare mo mina
chitose koekuru
matsu ni nomi
hisashiki koto wa
narae to zo omou
Every single one, without exception,
Passes through a thousand years—
That the pines, alone,
Are eternal:
Learn that! Or so I feel…

2

Yasuakira shinnō tachihaki no jin uta’awase 05

Autumn Moon

Left (Tie)

しらつゆのそこにひかりはやどれどもとまらでぞゆくあきのつきかげ

shiratsuyu no
soko ni hikari wa
yadoredomo
tomarade zo yuku
aki no tsukikage
At silver dewdrops
Base its light
Does lodge, yet
Never stays, but departs—
The autumn moonlight.

Fujiwara no Kakena
9

Right

あきのつきこのしたなべてあかければこのもかのものかげだにもせず

aki no tsuki
ko no shita nabete
akakereba
kono mo kano mo no
kage dani mo sezu
When the autumn moon
Aligns beneath the trees
So bright,
Each and every one
Casts no shadow at all.

Miyaji no Sukeon
10

Kinkai wakashū 323

The wind through the pines sounding like a shower

神無月木のはふりにし山里は時雨にまがふ松のかぜかな

kamidazuki
ko no ha furinishi
yamazato wa
shigure ni magau
matsu no kaze kana
In the Godless Month
When all the leaves from the trees have fallen,
In a mountain retreat
Blending with the showers is
The wind in the pines!

Sumiyoshi-sha uta’awase kaō ni-nen 23

Left (Tie)

すみよしのきしうつなみにてる月はこかげもあかしまつのむらだち

sumiyoshi no
kishi utsu nami ni
teru tsuki wa
kokage mo akashi
matsu no muradachi
At Sumiyoshi
Upon the waves, striking the shore,
Shines the moon—
The shadows of the trees are bright
Among the crowding pines.

Chūnagon, in service to the Former Ise Virgin[1]
45

Right

としふりてかみさびにけるすみのえのきしのたまもをみがく月かげ

toshi furite
kamisabinikeru
suminoe no
kishi no tamamo o
migaku tsukikage
Ancient in years is
The dread
Suminoe
Shore, where gemweed
Is polished by the moonlight.

Novice Sokaku[2]
46

The Left’s poem has a truly charming conception, with ‘Upon the waves, striking the shore, / Shines the moon’ reflecting and making the pines’ shadows shine. However, what are we to make of the use of ‘bright’ here? My late master once stated that he had too often heard such diction being used. The poem of the right appears to have pleasant configuration and diction, but, while it is only natural to say that the Suminoe’s shore is dread, I wonder about the appropriateness of going so far as to say that gemweed is? It’s going a bit far, I think, to bring in ‘gemweed’ simply to link it to ‘polish’. Nevertheless, the configuration of the poem appears pleasant, so I call this a tie.


[1] Zen-saigū no Chūnagon前斎宮中納言

[2] Shami Sokaku沙弥素覚

Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 37

Scarlet Leaves

Round One

Left (Win)

山姫やきてふる郷へ帰るらんにしきとみゆる衣手の杜

yamahime ya
kite furusato e
kaeruran
nishiki to miyuru
koromode no mori
Does the mountain princess
Wear it, when to her ancient home
Returning?
As brocade does seem
The sacred grove at Koromode…

Lord Shige’ie

73

Right

色色の木木のにしきを立田川ひとつはたにもおりながすかな

iroiro no
kigi no nishiki o
tatsutagawa
hitotsu hata ni mo
orinagasu kana
Many hued is
The trees brocade that
The Tatsuta River’s
Loom into one
Does weave and float along!

Shun’e
74

The Left’s ‘mountain princess’ is normally used, but where is the ‘ancient estate’? As for the Right, when the trees’ brocade is scattered, only then, indeed, can it be woven and made to flow along by a river. A long time ago there was a poem composed which, indeed, began, ‘The scarlet leaves in such confusion / Drift’ and then continued, ‘Were I to ford across, this brocade / Would be split in two, I’d say…’[1] Furthermore, what are we to make of ‘Tatsuta River’s / Loom into one’? There should be reference to a location which has some connection with looms, but to simply shoehorn in ‘Tatsuta River’s / Loom into one’ smacks of pleasing oneself. There is the earlier poem ‘Without a loom / Are brocade’,[2] too. The way in which this poem is constructed is charming, but these features are difficult to ignore, so thus the Left should win, I think.


[1] The poem is Kokinshū V: 283, with the headnote, ‘Topic unknown’. It is officially anonymous, but is accompanied by an endnote stating ‘It is said by some that this poem was composed by the Nara Emperor.’

[2] Topic unknown. から衣たつたの山のもみぢばははた物もなき錦なりけり karakoromo / Tatsuta no yama no / momijiba wa / hatamono mo naki / nishiki narikeri ‘A Cathay robe— / Tatsuta Mountain’s / Scarlet leaves, / Without a loom / Are brocade.’ Anonymous (GSS VII: 386)