Tag Archives: tsuyu

Autumn I: 25

Left (Win).

萩が枝をしがらむ鹿も荒かりし風のねたさに猶しかずけり

hagi ga eda
oshigaramu shika mo
arakarishi
kaze no netasa ni
nao shikazukeri
Bush clover branches
Tangled, are trodden by deer;
The wild
Wind’s spite
O’erthrown.

Kenshō.

349

Right.

女郎花野分の風の荒さには靡きながらも露やこぼるゝ

ominaeshi
nowaki no kaze no
arasa ni wa
nabikinagaramo
tsuyu ya koboruru
Maidenflowers,
In the gusting gales
Rage,
Trembling,
Do they let fall their drops of dew?

Lord Tsune’ie.

350

The Right wonder, ‘Whether the conception of “autumn gales” is adequately expressed by “wild winds”?’ In response, the Left say, ‘Poems on “autumn gales” are not found in previous ages. But is this not what is intended by poems such as “Wild winds have left behind”? Furthermore, on the gentlemen of the Right’s poem, as “gales” (nowaki) contain the sense of “rage” (arasa ni wa), is it not superfluous? Moreover, in the final section, the poem could refer to any blossom – not just maidenflowers.’

Shunzei states: ‘The Left’s “o’erthrown’ (nao shikazukeri) feels old-fashioned, while the prior section’s “wind’s spite” (kaze no netasa) is more modern. This produces a result akin to seeing a peasant wearing smart shoes, I feel. The Right’s “gales” letting dewdrops fall is so obvious a situation as to be pedestrian. Thus, despite the mis-match between sections in the Left’s poem, it must win.’

Autumn I: 23

Left (Win).

ひとり寢る葦の丸屋の下露に床を傡べて鶉鳴く也

hitori nuru
ashi no maruya no
shimo tsuyu ni
toko o narabete
uzura nakunari
Sleeping singly
In a reed-roofed hut,
Dripped with dew,
Beside my bed
The quails are crying.

A Servant Girl.

345

Right.

秋風に靡く尾花の夕露や鶉が閨の雨と散るらむ

akikaze ni
nabiku obana no
yūzuyu ya
uzura ga neya no
ame to chiruramu
In the autumn breeze
Flutter fronds of silvergrass,
Scattering dewdrops
On the quails’ roost –
How like rain…

The Provisional Master of the Empress’ Household Office.

346

The Right state that the Left’s poem has no faults. The Left state that, ‘“On the quails’ roost – how like rain” (uzura ga neya no ame) suggests that this is what it actually is.’

Shunzei disagrees: ‘It is not the case that uzura ga neya no ame definitely implies that it is actually rain, particularly with the scene set by dew on silvergrass. However, “beside my bed” (toko o narabete) is particularly attractive in expression. It should win.’

Autumn I: 18

Left (Left).

風渡る淺茅が上の露にだに宿りも果てぬ宵の稲妻

kaze wataru
asaji ga ue no
tsuyu ni dani
yadori mo hatenu
yoi no inazuma
Brushed by the breeze,
Atop the cogon grass
The dewdrops but
Briefly rest:
Lightning at dusk.

Lord Ari’ie.

335

Right.

眺むれば風吹く野邊の露にだに宿りも果てぬ稲妻の影

nagamureba
kaze fuku nobe no
tsuyu ni dani
yadori mo hatenu
inazuma no kage
Idly gazing
Across the windblown meadow;
The dewdrops but
Briefly rest:
Lightning’s light.

Ietaka.

336

The Right simply say, ‘The Left’s poem is fine, is it not!’ The Left, however, grumble, ‘We cannot see how the final phrase relates to what has come before.’

Shunzei states, ‘Both poems are remarkably similar in spirit and diction, with the Left concluding “lightning at dusk” (yoi no inazuma) and the Right with “lightning’s light” (inazuma no kage) – is there really much to choose between them? The Left wins.’

Autumn I: 17

Left (Win).

はかなしや荒れたる宿のうたゝ寢に稲妻通ふ手枕の露

hakanashi ya
aretaru yado no
utatane ni
inazuma kayou
tamakura no tsuyu
How brief it was!
In a ruined dwelling
Dozing, when
Lightning crossed
The dewdrops on my pillowing arm…

A Servant Girl.

333

Right.

すだき來し澤の螢は影消てたえだえ宿る宵の稲妻

sudakikoshi
sawa no hotaru wa
kage kiete
taedae yadoru
yoi no inazuma
All together have
The fireflies above the marsh
Lost their light;
Briefly remaining,
Lightning at the dusk…

Jakuren.

334

The Right state that they have no criticisms of the Left’s poem. The Left wonder about the suitability of fireflies disappearing in the autumn.

Shunzei feels, ‘The Left’s poem is certainly charming in form and expression, but more thought should have been given to the initial phrase “How brief it was!” (hakanashi ya). The Right’s poem, too, is charming, and as for fireflies being a topic for summer poetry alone, in autumn it is acceptable to compose on the failing of their light, is it not? Did not Anjin compose “Fireflies flashing on the palace stairs and gates/Crickets crying from the eaves and tiles”? There is also the example from the Collection of Songs to Sing Aloud of “Seeking cuckoo calls in the dawntime clouds/Innumerable fireflies flit among the autumn grasses”. Still, the Left’s “dewdrops on my pillowing arm” wins, I think.’

Autumn I: 13

Left (Win).

影宿す程なき袖の露の上に馴れても疎き宵の稲妻

kage yadosu
hodo naki sode no
tsuyu no ue ni
naretemo utoki
yoi no inazuma
The light dwells
But for an instant on my sleeves
Where dewdrops rest;
Accustomed to it though I am, how distant is
Lightning in the evening.

Lord Sada’ie.

325

Right.

むば玉の闇をあらはす稲妻も光の程ははかなかりけり

mubatama no
yami o arawasu
inazuma mo
hikari no hodo wa
hakanakarikeri
Lily-seed
Dark, broken by
Lightning;
The flash,
So brief.

Lord Takanobu.

326

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

Shunzei feels, ‘The spirit of “an instant on my sleeves” (hodo naki sode) is particularly fine, is it not? Prefacing “dark, broken by” (yami o arawasu) with “lily-seed” (mubatama no), seems somewhat overblown, and then concluding with “so brief” (hakanakarikeri) contradicts the initial statement. “Lightning in the evening” (yoi no inazuma) should win.’

Autumn I: 10

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.’

Summer II: 30

Left (Win).

鳴蝉の羽に置く露に秋かけて木陰涼しき夕暮の聲

naru semi no
ha ni oku tsuyu ni
aki kakete
kokage suzushiki
yūkure no koe
Upon the singing cicadas’
Wings fall dewdrops,
Heralding autumn;
Cool, and shaded by the trees
Are their evening songs…

A Servant Girl.

299

Right.

夏深き杜の梢にかねてより秋をかなしむ蝉の聲かな

natsu fukaki
mori no kozue ni
kanete yori
aki o kanashimu
semi no koe kana
In the depths of summer
From the forest treetops,
Long before
Autumn, in sadness
Do the cicadas sing.

Jakuren.

300

Neither Left nor Right can find fault with the other’s poem this round.

Shunzei states, ‘It is rather difficult to know a cicada’s mind – as to whether or not it is mourning the coming of autumn long before it arrives. The Left’s “Wings fall dewdrops, heralding autumn” (ha ni oku tsuyu ni aki kakete), is particularly delicate in expression and charming. It must win.’

Summer II: 13

Left.

片山の垣根の日影ほのみえて露にぞうつる花の夕顔

katayama no
kakine no hikage
honomiete
tsuyu ni zo utsuru
hana no yūgao
Facing the single mountainside
In evening sunlight upon the fence
Faintly seen,
Glistening with dew,
Is a bloom of moonflower.

A Servant Girl.

265

Right (Win).

折てこそ見るべかりけれ夕露に紐とく花の光ありとは

orite koso
mirubekarikere
yū tsuyu ni
himo toku hana no
hikari ari to wa
Plucked, that
I might gaze upon her,
Touched with evening dew,
Her belt undoing, this blossom
Is lustrous, indeed!

The Provisional Master of the Empress’ Household Office.

266

The Right wonder whether the Left’s poem, ‘lacks the emotional import of the topic [dai no kokoro kasuka ni ya], despite the mention of moonflowers?’ The Left counter that, ‘The Right’s poem simplistically recalls The Tale of Genji [genji no monogatari bakari o omoeru]– is this appropriate in a poetry contest [uta’awase no akashi to nasu ni, ikaga]?’

Shunzei states, ‘The Left certainly does lack the emotional import of the topic. Moreover, it does not use the expression “moonflower blossom” (yūgao no hana), but “bloom of moonflower” (hana no yūgao). This, too, is contrary to the topic [dai no mama narade] and, I have to say, an unusual choice of expression. The Right’s poem does simply refer to The Tale of Genji, but in form it cannot be said to be anything less than superb [utazama yū narazaru ni wa arazaru]. It is superior to a “bloom of moonflower”.’

Summer I: 12

Left.

夏草のもとも拂はぬ故郷に露よりうへを風通ふなり

natsu kusa no
moto mo harawanu
furusato ni
tsuyu yori ue o
kaze kayounari
The summer grasses
Are yet uncut
At this ancient home of mine;
Over the fallen dewdrops,
The sound of gusting wind…

A Servant Girl.

203

Right (Win).

夏草のなかを露けみ分くる野はわが故郷の垣根なりけり

natsu kusa no
naka o tsuyukemi
wakuru no wa
wa ga furusato no
kakine narikeri
Within the summer grasses
Dewy depths,
Forging ‘cross the plain and
My ancient home’s
Brushwood fence appears.

Nobusada.

204

The Right team query, ‘How is it that the wind can pass “over the fallen dewdrops” (tsuyu yori ue o)?’ The Left content themselves with saying that the Right’s poem is ‘difficult to grasp’.

Shunzei, though, remarks, ‘The Left’s “over the fallen dewdrops” is a wonderfully charming expression. It is the initial “are yet uncut” (moto mo harawanu) which is extremely difficult to understand. The Right’s configuration and diction seem particularly fine [sugata kotoba yoroshiku koso haberumere], though, so it is, just, the winner.’