The Right state: the Left’s poem does not refer to a specific mountain – we wonder whether this is acceptable? In addition, ‘in autumn have my sleeves’ (aki ni naru sode) and ‘she…as a storm’ (hito no arashi) is difficult to understand. The Left state: the Right’s poem has no faults to indicate.
In judgement: in connection with the criticism made of the Left’s poem, I do not feel that it is always essential to refer to a specific mountain. The other matters are, indeed, difficult to understand. The underlying sense of the Right’s poem seems overly pretentious. It is reminiscent of the tales of Boyi and Shuqi, or of Jie Zhitui, and Mount Shouyang and Mount Mian. Really, it does put me in mind of the Four White-Headed Recluses of Mount Shang, where it says, ‘They emerged due to the plans of Zhang Liang, made for Huidi, who said, “Though I may lie down with the greybeards, enjoying Mount Shang myself, all, in the end, are people under Zhang Liang.”’ It is extremely difficult, in the end, to make these sentiments relevant to our own land. Thus, I find it inappropriate to accept the content of the Right’s poem. The Left’s poem has its faults, too, so cursorily, I make this round a tie.
In judgement: the Left starts with ‘My home I left in floods’ (furusato ni ideshi ni masaru) and concludes with ‘the wild wind round my pillow breaks us apart in dreams’ (arashi no makura yume ni wakarete) – this is a form of words the quality of which I am entirely unable to convey with my own clumsy expressions, but the Right’s ‘O moonlight, sinking toward the mountains round the capital’ (miyako no yama ni kakaru tsukikage) is awash with a sense of tears, so it is most unclear which should win or lose. Both truly seem to reflect the conception of this topic ‘Love and Travel’ well. The poems have been so good every round that my brush is drenched with this old man’s tears, and I can find no other way to express it.