Cherry blossom in the rain.
雨ふるとたちかくるれば山桜花のしづくにそほちぬるかな
ame furu to tachi kakurureba yamazakura hana no shizuku ni sōchinuru kana | In the falling rain When I stood to shelter beneath A mountain cherry, Droplets from the blossom Did drench me! |
Left
さかざらむものならなくにさくらばなおもかげにのみまだきみゆらむ
sakazaramu mono naranaku ni sakurabana nao mo kage ni nomi madaki miyuramu | Wishing not to bloom Will not remain The cherry blossom, but Even so their shape alone Swiftly, I would wish to see! |
Mitsune
3
Right
やまざくらさきぬるときはつねよりもみねのしらくもたちまさりけり
yamazakura sakinuru toki wa tsune yori mo mine no shirakumo tachimasarikeri | When the mountain cherry Has bloomed, Earlier than usual Clouds of white around the peak Do rise spectacularly! |
Tsurayuki
4[i]
The Left uses ‘wish’[ii] twice; the Right places the mountain cherries at a distance—that make the round a tie.
[i] This poem is included in Gosenshū (I: 118), with the headnote, ‘A poem from Former Emperor Uda’s Poetry Contest’.
[ii] Uda is objecting to Mitsune’s double usage of the auxiliary verb -ramu in his judgement here.
Composed when he had gone to Michinoku, and saw the flowers blooming at the barrier of Nakoso.
吹く風を勿来の関と思へども道もせに散る山桜かな
Fuku kaze wo nakoso no seki to omoFedomo mitimose ni tiru yamazakura kana |
The gusting wind Comes not to the barrier of Nakoso, I thought, yet The road is blocked with fallen Mountain cherry blossom. |
Minamoto no Yoshi’ie (1039-1106)
源義家
Left (Win).
忘れずよほのぼの人を三嶋江のたそがれなりし蘆のまよひに
wasurezu yo honobono hito o mishimae no tasogare narishi ashi no mayoi ni |
Never will I forget you Who I glimpsed faintly In the dusk of Mishima Bay A single reed Causes confusion. |
647
Right.
花の色に移る心は山櫻霞のまより思ひそめてき
hana no iro ni utsuru kokoro wa yamazakura kasumi no ma yori omoisometeki |
A blossom’s hue Has caught my heart; A mountain cherry Through the parted mists Has set me on the path of love. |
648
The Gentlemen of the Right state: saying simply ‘dusk’ (tasogare) when it should be ‘the hour of dusk’ (tasogare toki) sounds somewhat strange. The Gentlemen of the Left state: the Right’s poem is composed to recall the Kokinshū’s ‘A mountain cherry through the drifting mists’ (yamazakura kasumi no ma yori), but is inferior to the original.
Shunzei’s judgement: in regard to the Left’s poem, it is certainly the case that, even without the ‘hour’, ‘in the dusk’ is a standard expression. The Right’s poem sounds old-fashioned. The Left, though, does not sound unpleasant, even though its mentioning of ‘never will I forget’ (wasurezu yo) recollects ‘a tiled kiln’. It should win.
Left (Tie).
なを冴ゆるけしきにしるし山ざくらまだ冬ごもる梢なるらん
nao sayuru keshiki ni shirushi yamazakura mada fuyugomoru kozue naruran |
Still so clear Is the scene: it must be a sign that Mountain cherries are Yet sealed in winter, Outstanding on the treetops… |
13
Right (Tie).
したふべき冬には雪のをくれゐて春ともいはず冴えわたるらん
shitaubeki fuyu ni wa yuki no okureite haru tomo iwazu saewataruran |
How it must long for Winter – the snow Remains, Though ‘tis spring, needless to say: That is clear, indeed! |
The Provisional Assistant Master of the Empress’ Household Office
14
The Right state that as the entirety of the topic is expressed in the first line of the Left’s poem, it lack care [nen nashi]. The Left respond that saying that the characters of the topic appear in the first line of our poem suggest the Right is unable to count correctly! As for the Right’s poem, we find no particular faults, but it is ordinary [mezurashiki ni arazu].
Shunzei’s judgement: The form of both poems is splendid [sugata wa yū ni koso haberumere]. In general, the mass of modern composition, whether or not it shows understanding of the form and diction of poetry [kinrai no utayomi no tomogara, sugata kotoba wa shireru ka shirazaru ka], also frequently fails to show enough attention to details of techique [bimyō no fūjō] and that I have cause to say this is certainly not laudable [kanshin serezaru koto]. However, the Right’s ‘the snow remains’ (yuki no okureite), seems somewhat contrived [sukoshi omoubeku], though the final one is excellent [yoroshikuhaberu]. Thus, it’s impossible to distinguish between the two poems.
Left (Tie).
名取河春の日數は顯て花にぞしづむせゞの埋木
natorigawa haru no hi kazu wa arawarete hana ni zo shizumu seze no mumoregi |
The river Natori: The days of spring have reached Their span, and Blossom swamps The drowned tree upon the shoals. |
23
Right
名もしるし峰のあらしも雪とふる山櫻戸のあけぼのゝ空
na mo shirushi mine no arashi mo yuki to furu yamasakurado no akebono no sora |
It’s all in the name: Storm winds from the peak Scatter a snowstorm of blossom; My mountain cherry door Open upon a dawning sky. |
24
When people were composing poems on blossom at the house of Princess Yūshi (1038-1105).
はなの色にあまぎるかすみたちまよひそらさへにほふ山桜かな
hana no iro ni amagiru kasumi tachi mayoi sora sae niou yamazakura kana |
The blossoms’ hue within the Sky-shading mist Does swirl; The very heavens glow With mountain cherry. |
Provisional Major Councillor[Fujiwara no] Naga’ie (1005-1064)
Composed on the spirit of desiring mountain blossoms, when he was Great Minister of the Centre.
白雲のたなびく山のやま桜いづれを花とゆきておらまし
shirayuki no tanabiku yama no yamazakura izure o hana to yukite oramashi |
Snow, white, Trails across the mountain’s Cherries; Knowing which are blossom I would go, and pluck them. |
The Former Kyōgoku Regent and Prime Minister [Fujiwara no Morozane (1042-1101)]