すむ人もなき宿なれど荻のはの露を尋ねて秋はきにけり
| sumu hito mo naki yado naredo ogi no ha no tsuyu o tazunete aki wa kinikeri | Folk living at This house are there none, yet Of the silver-grass frond’s Dewdrops enquire and find that Autumn has arrived. |
Tag Archives: tsuyu
Kinkai wakashū 185
Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 19
Round Seven
Left (Tie)
草がくれ見えぬをしかも妻こふる声をばえこそ忍ばざりけれ
| kusagakure mienu oshika mo tsuma kouru koe oba e koso shinobazarikere | Hidden by the grasses, Unseen, the stag, too Longing for his mate, His bell, indeed, is unable To conceal! |
Lord Yorimasa
37
Right
秋の野の花のたもとに置く露や妻よぶしかの涙なるらむ
| aki no no no hana no tamoto ni oku tsuyu ya tsuma yobu shika no namida naruramu | In the autumn meadows, Upon the blossoms’ sleeves Are the fallen dewdrops The stag—calling for his mate— Letting tears fall? |
Narinaka
38
The Left is novel, and the Right charming, respectively. The Right’s poem does have a large number of identical syllables—while this is criticized in the Code of the Creation of Poetry as a ‘whole body fault’, it is not the case that poems containing this defect have not appeared in poetry matches from time to time, and I don’t feel it’s necessary to examine whether there are a large number of similar cases here: such things are simply a style of poetry.
Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 17
Round Five
Left (Win)
きく人の袖もぬれけり秋ののの露分けて鳴くさをしかのこゑ
| kiku hito no sode mo nurekeri aki no no no tsuyu wakete naku saoshika no koe | Folk who hear him Have dampened sleeves, too— Across the autumn meadows As he forges through the dewdrops The stag’s bell. |
Lord Kinshige
33
Right
鹿の音の吹きくるかたにきこゆるはあらしやおのがたちどなるらん
| shika no ne no fukikuru kata ni kikoyuru wa arashi ya ono ga tachidonaruran | The stag’s bell Comes, blown, I do hear— Has the storm, himself, Arisen there, I wonder? |
Lord Kiyosuke
34
I do wonder about the Left, which implies that one would soak one’s sleeves with tears on hearing a stag belling, given that I am unable to bring to mind any prior poems composed in this vein. What are we to make of the fact that, while the poem by Toshiyori, which I mentioned earlier, was composed about tears, there is still no trace of this usage in any other poetry match? It does seem poetic overall, though. The Right’s ‘Has the storm, himself, arisen’ is remarkably startling, so it’s a personal poem. While it’s not the case that there are no prior compositions in this manner, poems for poetry matches have a certain way about them and that’s simply how it is. Thus, the Left wins.
Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 12
Round Twelve
Left
我がやどものこる花なくうゑつれど野べのけしきは猶ぞ床しき
| wa ga yado mo nokoru hana naku uetsuredo nobe no keshiki wa nao zo yukashiki | At my dwelling Lingering blooms are there none Though I did plant them, The prospect of a meadow is Charming still! |
Lord Fujiwara no Kiyosuke, Senior Secretary of the Dowager Empress’ Household Office
23
Right
秋萩の枝もとををにおく露のはらはばあやな花やちりなん
| akihagi no eda mo tōo ni oku tsuyu no harawaba aya na hana ya chirinan | The autumn bush-clover Branches bent with Fallen dewdrops— Should I sweep them off, then Would the blossoms scatter, I wonder? |
Lay Priest and Master of the Left Capital Office Norinaga
24
Doesn’t the Right seem to resemble the poem in the Ancient and Modern Collection which says
をりてみば落ちぞしぬべき秋萩の枝もとををにおけるしら露
| oritemiba ochi zo shinubeki akihagi no eda mo tōo ni okeru shiratsuyu | Were I to pluck one, ‘Twould fall and smash: Autumn bush-clover’s Branches bent With fallen silver dewdrops. |
Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 09
Round Nine
Left (Win)
女郎花いづれの秋かみえざりし野原の霧に立ちなかくれそ
| ominaeshi izure no aki ka miezarishi nohara no kiri ni tachi na kakure so | O, maidenflower, In which autumn is it, that You have remained unseen? In the mists upon the meadow Stand and don’t hide yourself! |
Kataoka Shrine Priest Kamo no Masahira
17
Right
心から夜のまの露にしほたれてあさじめりする女郎花かな
| kokoro kara yo no ma no tsuyu ni shiotarete asajimerisuru ominaeshi kana | Her heart Throughout the night with dewdrops Drenches her, Dripping with morning tears is The maidenflower! |
Fujiwara no Koreyuki, Supernumerary Junior Assistant Minster of the Sovereign’s Household
18
The Left is extremely absorbingly composed. As for the Right, though, I wonder about the use of being ‘drenched with dewdrops’—while it does put me in mind of fisherfolk at Ise, because it fails to indicate anything in the conception of the topic, it should lose, I think.
Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 03
Round Three
Left
女郎花露もわきてやおきつらんしほれ姿のあてにも有るかな
| ominaeshi tsuyu mo wakite ya okitsuran shioresugata no ate ni mo aru kana | Upon the maidenflowers Might the dew discriminate In its falling? For its dampened form Is so fine! |
Lord Minamoto no Michiyoshi, Minor Captain of the Inner Palace Guards, Right Division
5
Right (Win)
もも草の花もあだにやおもふらんひと色ならずうつす心を
| momokusa no hana mo ada ni ya omouran hito iro narazu utsusu kokoro o | A multitude of grasses Blooms: do they play me false Should I think? For not to one hue alone Is my heart drawn… |
Kojijū, Court Lady to Her Majesty
6
The Left, by saying ‘Might the dew discriminate / In its falling?’ seems to want to describe the way that the flowers’ colours become deeper or fainter. It is not appropriate, however, to use ‘dampened form’ in this way. Furthermore, saying something ‘seems fine’ lacks elegance, doesn’t it. The Right does not lack the conception of the topic, so it should win.
Daikōtaigōgū no suke taira no tsunemori-ason ke uta’awase 02
Round Two
Left (Win)
花すすき誰ともわかずまねくにも心をとむる我やなになり
| hanasusuki tare tomo wakazu maneku ni mo kokoro o tomuru wa ya nani nari | The silver grass fronds Care not who They beckon, yet Entranced What am I to them them? |
Lord Taira no Tsunemori, Assistant Master of the Dowager Empress’ Household
3
Right
あだにおく夜のまの露にむすぼほれて思ひしほるる女郎花かな
| ada ni oku yo no ma no tsuyu ni musubōrete omoishioruru ominaeshi kana | Faithlessly falling In the night, the dewdrops Have drenched The dejected Maidenflower! |
Former Minor Captain, Lord Fujiwara no Kinshige
4
This round the poems, again, are equal in quality, but the Right’s use of ‘dejected’ as a piece of diction is vague, and in the absence of a prior example of usage, the Left should win.
Daikōtaigōgū daijin kiyosuke-ason ke uta’awase 28
Round Twenty-Eight
Left
わぎもこをかたまつよひの秋風はをぎのうはばをよきてふかなん
| wagimoko o kata matsu yoi no akikaze wa ogi no uwaba o yokite fukanan | For my darling girl I wait filled with longing, tonight I would the autumn wind The cogon grass fronds Pass by in its blowing! |
Shun’e
55
Right (Win)
朝夕におつる涙や恋草のしげみにすがる露と成るらん
| asayū ni otsuru namida ya koigusa no shigemi ni sugaru tsuyu to naruran | Morn and eve My falling tears to Love’s grasses Lush do cling and Turn to dewdrops. |
Atsuyori
56
The Right poem’s use of diction and expression has nothing wrong with it and is entirely appropriate.
Daikōtaigōgū daijin kiyosuke-ason ke uta’awase 20
Round Twenty
Scarlet Leaves
Left (Tie)
秋されば暁つゆにいもが袖まきぎの山ににほふもみぢば
| aki sareba akatsuki tsuyu ni imo ga sode makigi no yama ni niou momijiba | When the autumn comes, With the dawn, the dewdrops, as Upon a sweet girl’s sleeves, At Makigi Mountain Bring a lustre to the scarlet leaves… |
Masashige
39
Right
下染はおなじみどりにみし程も紅葉の色のうすくこきかな
| shitazome wa onaji midori ni mishi hodo mo momiji no iro no usuku koki kana | First dyed All with green, When I gazed upon them, now The scarlet leaves’ hues are Pale and vibrant both! |
Kūnin
40
The Left has a lofty tone, yet the Right is still smooth. Thus, I make this a tie.
