Left (Tie).
氷ゐし水の白浪立かへり春風しるき池の面かな
| kōri i shimizu no shiranami tachikaeri harukaze shiruki ike no omo kana |
To the iced Clear waters waves of white Return again; Spring’s breezes well know This mere’s face. |
27
Right (Tie).
諏方の海の氷のうへの通ひ路はけさ吹く風に跡絶えにけり
| suwa no umi no kōri no ue no kayoiji wa kesa fuku kaze ni ato taenikeri |
At the Sea of Suwa Upon the ice The trackways, With the breath of wind this morning Have left no trace at all… |
The Master of the Empress’ Household Office.
28
The Right team state that the concluding line of the Left’s poem, ‘this mere’s face’ (ike no omo kana) is ‘weak’. The Left team reply that the first three lines of the Right’s poem are identical to those of a poem by Minamoto no Akinaka (1064-1138), in the Hundred Poem Sequence from the Reign of Former Emperor Horikawa (a sequence composed by a number of poets between 1104-07 and presented to Horikawa):
諏方の海の氷のうへの通ひ路は神の渡りて解くるなりけり
| suFa no umi no koFori no uFe no kayoFidi Fa kami no watarite tokuru narikeri |
At the Sea of Suwa Upon the ice The trackways, With the passage of the God Have melted. |
and that this gave the poem its idea.
Shunzei comments that ‘waters waves of white/Return again’ is a ‘well-worn’ image with nothing special about it, and the Right team have already identified the weakness of the final line, and, of course, it ‘could not be as strong as a Deva King!’ As for the Right’s poem, he accepts the point made by the Left, but as it is not well-known that even in Hundred Poem sequences there are examples which are not ‘excellent work’, it is difficult to completely avoid composing poems with conceptions that resemble them. Thus, the round has to be a tie.