夜とともにほせとほされぬ衣かな身をやく恋はきえぬものから
| yo to tomo ni Fose to Fosarenu koromo kana mi wo yaku koFi Fa kienu mono kara |
With the coming of the night, Dry, or not, Will be my robes: For this fire of love burning in my flesh Will not go out at all… |
Composed for the Poetry Competition held at the Residence of Middle Councillor Toshitada.
くれなゐの濃染の衣うへにきむこひのなみたの色かくるやと
| kurenawi no kosome no koromo uFe ni kimu koFi no namida no iro kakuru ya to |
In scarlet Deeply dyed, a robe Would I put on That my tears of love’s Hue be concealed! |
Fujiwara no Akitsuna
藤原顕綱
Left.
もの思ふ我心にもたぐへばやあはれを添ふる明暮の空
| mono’omou wa ga kokoro ni mo tagueba ya aware o souru akegure no sora |
Sunk in lonely thought Does my heart Match it? Traced with sorrow, is The sky at dawn. |
Lord Kanemune.
782
Right.
恨み詫びかへす衣のしるしだになき暁はいかが悲しき
| urami wabi kaesu koromo no shirushi dani naki akatsuki wa ikaga kanashiki |
In despite and sorrow, I reversed my garb, but To no effect; Thus, this dawn Is so much more sad… |
The Provisional Master of the Empress’ Household Office.
783
The Right state: the use of the question in the Left’s poem, means that the comparison is not made sufficiently forcefully. The Left state: we find no faults worth mentioning in particular in the Right’s poem.
In judgement: neither poem seems to have any qualities which make them worthy of a win, or a loss.
Composed during the Engi Period for a folding screen, on the spirit of sacred music in the summer:
川社しのにおりはへ乾す衣いかに乾せばか七日干ざらん
| kawa yashiro shino ni orihae hosu koromo ikani hoseba ka nanoka hizaran |
At a river shrine Stems of bamboo wave freely The clothes I’d dry How should I do so? Seven days still damp… |
Ki no Tsurayuki
After Michisada had abandoned her, and gone to be governor of Michinoku, she sent him this.
もろともにたゝましものを陸奧の衣の關をよそにきくかな
| morotomo ni tatamasi mono wo mitinoku no koromo no seki wo yoso ni kiku kana |
Together Would we once have cut our way; but Of Michinoku’s Garment-the Barrier of Koromo– I hear from another. |
Izumi Shikibu
和泉式部