Composed on the conception of a pillow scented with orange blossom.
をりしもあれ花たちばなのかをるかなむかしをみつる夢の枕に
| orishi mo are hanatachibana no kaoru kana mukashi o mitsuru yume no makura ni | In days gone by and yet now still Orange blossoms Do I scent! A love long gone I glimpse when Dreaming on my pillow. |
Fujiwara no Kinhira
Love on Waking from Sleep 寝覚恋
おもふことなぐさむばかりかたらばやねさめの床の枕つたへは
| omou koto nagusamu bakari kataraba ya nezame no toko no makura tsutae wa | My thoughts Alone do bring my comfort; Were I to relate them, then On waking, in my bed ‘Twould be to my pillow! |
Daishin
Left (Tie)
よそにやは釣する志賀の海人を見ん枕の下を知らせだにせば
| yoso ni ya wa tsuri suru shiga no ama o min makura no shita o shirase dani seba | Unconnected with Fishing diver-girls At Shiga would I seem? When what lies beneath my pillow Is revealed… |
Lord Ari’ie
1173
Right
潮たるる袖にあはれの深きより心に浮ぶ海人の釣舟
| shio taruru sode ni aware no fukaki yori kokoro ni ukabu ama no tsuribune | Tide-spattered Sleeves: my sorrow is So deep that Floating upon my heart is A diver-girl’s fishing boat! |
Nobusada
1174
Left and Right together state: no faults.
In judgement: the poem of the Left has ‘unconnected with fishing diver-girls at Shiga would I seem?’ (yoso ni ya wa tsuri suru shiga no ama o min) and the poem of the Right has ‘floating upon my heart is a diver-girl’s fishing boat!’ (kokoro ni ukabu ama no tsuribune): both have profound conception and their diction sounds pleasant, so it is difficult to divide them into superior and inferior works. Thus, I make this a tie.
Left (Win)
一夜かす野上の里の草枕結びすてける人の契りを
| hitoyo kasu nogami no sato no kusamakura musubitekeru hito no chigiri o | For a single night you lent, At the estate of Nogami, Your pillow of grass to me; Entwined in A brief bond of love! |
Lord Sada’ie
1159
Right
恨むべき方こそなけれ東路の野上の庵の暮れ方の空
| uramubeki kata koso nakere azumaji no nogami no io no kurekata no sora | My despite Has no place to go; Upon the eastern roads Above a hut in Nogami The sky is filled with darkness… |
Jakuren
1160
The Right state: ‘for a single night you lent’ is grating on the ear. In addition, we wonder about the appropriateness of the final section. The Left state: the Right’s poem has no particular faults to mention.
In judgement: the Left’s ‘estate of Nogami’ (nogami no sato), and the Right’s ‘a hut in Nogami’ (nogami no io), then saying ‘entwined’ (musubitekeru) and ‘the sky is filled with darkness’ (kurekata no sora) – both poems have significant conception, but how should the initial section of the Right’s poem – ‘my despite has no place to go’ (uramubeki kata koso nakere) be understood? If it was a sky filled with light, then one would feel despite, but in the evening she would be lending her hut, surely. There is nothing unusual about the conclusion of the Left’s poem. It should win.
Left
独寝を今は何にかになぐさめん隣の笛も吹やみぬなり
| hitorine o ima wa nani ni ka nagusamen tonari no fue mo fukiyaminu nari |
Sleeping solo, Now, how can I Console myself? For the flute next door Has ceased to play… |
Kenshō
1081
Right (Win)
よなよなは枕になれし笛竹のいかなる床にふしかはるらん
| yonayona wa makura ni nareshi fuetake no ikanaru toko ni fushi kawaruran |
Night after night By my pillow used to be A flute, but What bed is it that He has gone to lie in now? |
Ietaka
1082
The Right state: the Left’s poem is mundane. The Left state: what does it mean that a flute is used to lying by a pillow?
In judgement: the Left’s poem has ‘for the flute next door has ceased to play’ (tonari no fue mo fukiyaminu nari), but I wonder if this should not be ‘for the flute next door will cease to play’ (tonari no fue mo fukiyamu). In the rhapsody which Xiang Xu wrote on thinking of times long gone, he says this about a neighbour playing an old flute, ‘Next door, there is a man who plays the flute. The sound emerges, echoing clear,’ without any suggestion that he has stopped playing, so I wonder how appropriate it is in this poem to say that the playing has stopped. The diction of the Right’s poem, ‘by my pillow use to be’ (makura ni nareshi) seems fine. Thus, the Right wins.
Left (Win)
あはれにぞ鳴あかすなる蛬われのみしぼる袖かと思ふに
| aware ni zo nakiakasunaru kirigirisu ware nomi shiboru sode ka to omou ni |
How sad it is – Crying with the dawn is The cricket, though I alone am wringing Out my sleeves, I feel. |
Lord Suetsune
1075
Right
露深きあはれを思へきりぎりす枕の下の秋の夕暮
| tsuyu fukaki aware o omoe kirigirisu makura no shita no aki no yūgure |
Deep in dew and Sad, I wish you were, O, cricket, Beneath my pillow On this autumn evening… |
Nobusada
1076
The Right state: the Left’s poem has no faults we can mention. The Gentlemen of the Left state: our feelings are the same as those of the Right
In judgement: both Left and Right are on ‘crickets’ (kirigirisu) and their configuration and diction sound equally elegantly beautiful. I feel that the Right, with ‘deep in dew and sad, I wish you were’ (tsuyu fukaki aware o omoe), is somewhat lacking in the conception of the poet’s own love, but the Left, with ‘I alone am wringing out my sleeves, I feel’ (ware nomi shiboru sode ka to omou ni), has an excellent conception of love, so I must state that the Left is the winner.
Left
明けぬ間に箱根の山の時鳥二声とだに鳴き渡るらむ
| akenu ma ni Fakone no yama no Fototogisu Futakowe to dani nakiwataruramu |
Before the dawn no Hakone Mountain Cuckoos’ Twin calls simply Seem to sing back and forth |
17
Right (Win)
深山出でていづこも旅ぞ時鳥ここにを結べ草の枕は
| miyama idete iduko mo tabi zo Fototogisu koko ni wo musube kusa no makura wa |
Emerging from the mountains’ depths Where does your journey take you, O, cuckoo? Here will I twine strands Of grass for my pillow… |
18
Left (Win).
夜とともに玉散る床の菅枕見せばや人に夜半の景色を
| yo to tomo ni tama tiru toko no sugamakura miseba ya Fito ni yowa no kesiki wo |
Together with the night Gemlets scatter on my bed’s Sedge-filled pillow; Should I show her This midnight sight? |
The Master 大夫
[Minamoto no Toshiyori 源俊頼]
27
Right.
波のよる岩根に立てる磯馴れ松また寝もいらで恋ひあかしつる
| nami no yoru iFane ni tateru sonare matu mata ne mo irade koFi akasituru |
The waves roll in To the cliffs where stands A hardy pine upon the rocks; Once more sleepless From love do I greet the dawn. |
The Assistant Master 佐
[Fujiwara no Mototoshi 藤原基俊]
28
薦枕高瀬の淀に刈る薦の刈るとも我は知らで頼まむ
| komo makura takase no yodo ni karu komo no karu tomo ware Fa sirade tanomamu |
Pillowed on a mat of rush Where the Yodo meets Takase, Reaped rushes Wither, yet I, All unknowing, will place my trust in them! |
Left (Tie).
故郷を出でしにまさる涙かな嵐の枕夢に別れて
| furusato ni ideshi ni masaru namida kana arashi no makura yume ni wakarete |
My home I left in floods Of tears; The wild wind round my pillow Breaks us apart in dreams… |
Lord Sada’ie
899
Right.
東路の夜半の眺めを語らなん都の山にかゝる月影
| azumaji no yowa no nagame o kataranan miyako no yama ni kakaru tsukikage |
Upon the eastern roads All night I turn my gaze – Tell him that, O moonlight, sinking Toward the mountains round the capital! |
Nobusada
900
Both Left and Right say they find no faults.
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.