咲きにけり苗代水に影見えて田中の里の山吹の花
sakinikeri
So, they have bloomed;
Taikenmon’in Horikawa
鳴るかみの夕立にこそ雨は降れ御手あら新井洗川の水まさるらし
narukami no
The thunder
Nōin
Composed at the River Ōi.
水もなくみえこそわたれ大井河岸の紅葉は雨とふれども
midu mo naku
No water
Fujiwara no Sadayori
稲筵川沿柳水行けばおきふしすれどそのねたえせず
inamushiro
On a rice-straw mat
At the waterfall at Ryūmon.
くる人もなき奥山の滝の糸は水のわくにぞまかせたりける
kuru Fito mo
No one is there
Middle Councillor Sadayori
行く水のうへにいはへる河社河浪高くあそぶなるかな
yuku midu no
The waters run, and
Ki no Tsurayuki
その駒ぞや 我に 我に草請ふ 草は取り飼はむ 水は取り飼はむや
sono koma ya
O, my steed,
Anonymous
水の面にをはうち触れて立つ鳥のやや天さかる人ぞ恋しき
mizu no omo ni
The face of the water,
Minamoto no Yorimasa
Left (Win).
yukusue no
In the future,
A Servant Girl .
Right.
musuban to
That we would be joined
Ietaka .
Both Left and Right state: there is no separation between man and woman.
In judgement: ‘Young shoot of wild rice at Yodo’ (yodo no wakagomo ) and ‘Ide’s jewelled waters’ (ide no tamamizu ) are both elegant in style, but the Left has pledged a more profound bond. The Right has ‘the slight reflection left’ (mada kage asaki ) and the Left is a poem about a vow which has been made. The Right is just referring to events of the past. Thus, ‘depth’ should win.
On frogs.
神なびの山下響み行く水にかはづ鳴くなり秋と言はむとや
kamunabi no
The sacred
Anonymous
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'Simply moving and elegant'