Icicles
つららゐてまもる岩まの関なればよをへてかたく成りまさるかな
| tsurara ite mamoru iwama no seki nareba yo o hete kataku narimasaru kana | Icicles hang Warding the space between the rocks, and Forming a barrier, so As the night goes by their hardness Grows even greater! |
Toshiyori
Composed on the conception of Lingering Cold.
衣手のうすきや冬のせきならんわが身はいとどしみこほりつつ
| koromode no usuki ya fuyu no seki naran wa ga mi wa itodo shimikōritsutsu | Do my sleeves, So scanty, winter’s Barrier gate mark? My flesh is still so Pierced with icy chills! |
Love Separated by Distant Roads 隔遠路恋
都人恋しきまでにおとせぬはなこその関をさはるにやあらん
| miyakobito koishiki made ni oto senu wa nakoso no seki o sawaru ni ya aran | My lady in the capital Is more dear than Words can tell, so Why should the Barrier at Nakoso, Close by, stand between us? |
Kanemasa
Love Separated by Distant Roads 隔遠路恋
すくせかななどいなむやの関をしもへだてて人にねをなかすらん
| sukuse kana nado inamuya no seki o shimo hedatete hito ni ne o nakasuran | It must be fate! Why is it that with even Inamuya’s Barrier gate Between them, folk Must make such cries? |
Toshiyori
Composed for a folding screen with a picture suited to a month of the year upon it.
あふさかの関のし水に影見えて今やひくらんもち月のこま
| aFusaka no seki no simidu ni kage miete ima ya Fikuran motiduki no koma | In Ausaka Barrier’s spring waters Are they reflected; Is it now they’re taken hence, The colts of Mochizuki? |
Ki no Tsurayuki
Left (Win)
主やたれ見ぬ世の色を写しをく筆のすさびにうかぶ面影
| nushi ya tare minu yo no iro o utsushioku fude no susabi ni ukabu omokage |
Who painted you? Unseen in this present world, hues, Reflected by A comforting brush, Bring her visage before me… |
Lord Sada’ie
1105
Right
水茎の跡に堰きをく瀧津瀬をまことに落とすわが涙かな
| mizukuki no ato ni sekioku taki tsu se o makoto ni otosu wa ga namida kana |
Faint brush-strokes Traces place a barrier, but A cataract in torrents Truly drops – My tears… |
Jakuren
1106
The Right state: the Left’s poem is rather casual about the person whom he loves. The Left state: the Right’s poem has no faults we can identify.
In judgement: the Gentlemen of the Right have stated that the Left seems somewhat blasé about the object of his affections, and this is certainly true. The Right’s poem, though, says that the poet is looking at a painting on something like a folding screen, where a waterfall is depicted, and he weeps in reality – this seems like he was simply moved by the painting. I feel that there is a stronger conception of love in seeing a painting and fondly recalling the face of one now long gone, than there is in being moved by the sight of a mountain stream.
Left.
逢ひ見じと思かたむる中なれやかく解けがたき下紐の関
| aimiji to omoikatamuru naka nare ya kaku tokegataki shimohimo no seki |
Never to meet Has she hardened her heart – Is that to be our bond? As hard to undo as The barrier at Shitahimo! |
Lord Suetsune
1005
Right (Win).
恋しともかくは人にも知られなんと思ふ心や文字の関守
| koishitomo kaku wa hito ni mi shirarenan to omou kokoro ya moji no sekimori |
The letters for love, should I write, would she my feelings Then understand, I Wonder? Does her heart have A barrier warden at Moji? |
The Supernumerary Master of the Empress’ Household Office
1006
The Right state: ‘hardened her heart’ (omoikatamuru) is grating on the ear. The Left state: the Right’s poem has no faults to indicate.
In judgement: regardless of whether the Left’s poem sounds poor or not, having both ‘hardened’ (katamuru) and ‘hard’ (kataki) is a fault. So, ‘a barrier warden at Moji’ (moji no sekimori) wins.
Left (Tie).
先の世に契らざりける身の憂さや逢坂山の君が関守
| saki no yo ni chigirazarikeru mi no usa ya ausakayama no kimi ga sekimori |
In a previous life We made no vow – Is that why all’s so cruel? On the Mount of Meeting Hill Barrier wardens stand before you! |
Lord Kanemune
1003
Right.
頼めてもまだ越えぬまは相坂の関も名こその心地こそすれ
| tanometemo mada koenu ma wa ausaka no seki mo na koso no kokochi koso sure |
However much I hope While I have yet to cross Meeting Hill’s Barrier, of Nakoso does it Just remind me! |
Ietaka
1004
The Right state: we wonder about the use of ‘Barrier wardens stand before you’ (kimi ga sekimori). The Left state: the Right’s poem lacks any faults to indicate.
In judgement: both Left and Right’s ‘Meeting Hills’ lack faults or merits. Thus, the round ties.
Left (Tie).
身に堪へぬ思ひを須磨の関据ゑて人に心をなどとどむらん
| mi ni taenu omoi o suma no seki suete hito ni kokoro ni nado todomuran |
Unable to endure This love; at Suma By the barrier am I placed; Within my heart why Does she remain so firmly? |
Lord Sada’ie
999
Right.
逢坂の関のこなたに名をとめてこれより過ぐる嘆せよとや
| ausaka no seki no konata ni na o tomete kore yori suguru nageki seyo to ya |
On Meeting Hill Barrier’s inner side Must I stay, they say; Ever pass your days In grief! Is that your only message? |
Lord Takanobu
1000
The Right state: ‘This love; at Suma’ (omoi o suma) sounds antiquated. In addition, how can one be placed by the barrier? The Left state: in the Right’s poem what is the ‘passing grief’ (suguru nageki)?
In judgement: the Gentlemen of the Right’s criticism of wondering ‘how one can be placed by the barrier’ suggests they have never been installed as Barrier Wardens! Both ‘at Suma by the barrier’ and ‘Meeting Hill Barrier’ are of the same quality. The round should tie.
Left.
逢ふ事は苗代水を引き止めて通しはてぬや小山田の關
| au koto wa nawashiro mizu o hikitomete tōshihatenu ya oyamada no seki |
Can a meeting, like The waters round the rice seedlings Be stopped In their endless flow Past the Oyamada Barrier? |
Kenshō
997
Right (Win).
衣手は清見が關にあらねども絶ゆるよもなき涙也けり
| koromode wa kiyomi ga seki ni aranedomo tayuru yo mo naki namida narikeri |
My sleeves as The Barrier at Kiyomi Are not, yet Without cease Are my tears… |
Lord Tsune’ie.
998
The Right state: we are unfamiliar with the expression ‘Oyamada Barrier’ (oyamada no seki). The Left state: it sounds as if it is tears that are ceaseless at the Barrier at Kiyomi.
In judgement: the Left’s poem is stylistically tasteful, but with only ‘can a meeting, like the waters round the rice seedlings’ (au koto wa nawashiro mizu) the conception of love is weak is it not? The Right’s poem metaphorically has tears ceaseless at the Barrier at Kiyomi, and with the ta present, I accept the Left’s point to a certain extent, but this type of thing is not unusual in metaphorical poems. In addition, there is little reason to imagine the waters round the rice-seedlings being blocked. As it has a stronger focus on Love, the Right wins.