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Love IX: 27

Left (Tie)
憂き身ゆへよがるる床のさむしろはしき忍び忍びてもかひやなからむ

ukimi yue
yogaruru toko no
samushiro wa
shikishinobitemo
kai ya nakaramu
My cruelty was it that
Kept him from my bed these many nights;
My blanket:
Should I spread it and think of him alone,
Would that have no effect at all?

Lord Kanemune
1133

Right
恋わびぬむなしき床のさむしろに幾夜いくたび寝覚しつらん

koiwabinu
munashiki toko no
samushiro ni
ikuyo ikutabi
nezameshitsuran
Sick am I of love –
In an empty bed’s
Blankets
How many nights, how many times,
Must I awake?

Nobusada
1134

Both Left and Right together state: we find no faults to mention.

In judgement: both of the ‘blankets’ (samushiro) of the Left and Right here seem elegant. The configuration of the Left’s ‘my cruelty was it that kept him from my bed these many nights; my blanket’ (ukimi yue yogaruru toko no samushiro) and the conception of the Right’s ‘sick am I of love – in an empty bed’s’ (koiwabinu munashiki toko no) are such that I find both difficult to put down. I must make the round a tie.

Love IX: 21

Left
うちとけて誰に衣を重ぬらんまろがまろ寝も夜深き物を

uchitokete
tare ni koromo o
kasanuran
maro ga marone mo
yobukaki mono o
Loosening them,
With whom does he clothes
Pile together?
Sleeping all alone
How deep this night is…

A Servant Girl
1121

Right (Win)
思わび寝る夜の床の露しげみ身のしろ衣かす人もがな

omoiwabi
neru yo no toko no
tsuyu shigemi
mi no shirogoromo
kasu hito mo gana
In the grief of love,
Sleeping at night, my bed
Is soaked through with dew;
To lend me an over-mantle
Is there no one at all…

Lord Tsune’ie
1122

The Right state: the final section of the Left’s poem is difficult to grasp. The Left state: the Right’s poem has no faults to mention.

In judgement: the Left’s ‘sleeping all alone how deep this night is…’ (maro ga marone mo yobukaki mono o) does not sound as if it links with the initial section of the poem. ‘Alone’ (maro) is also unacceptable. The Right’s ‘to lend me an over-mantle’ (mi no shirogoromo) sounds elegant. I make it the winner.

KKS XIX: 1004

An ancient-styled poem to supplement a long poem.

君が世に相坂山の岩清水木隠れたりと思ける哉

kimi ga yo ni
aFusakayama no
iFasimidu
kogakuretari to
omoFikeru kana
Your Majesty’s reign
Is welcome so, as on the mount of Meeting Hill,
Spring water from the crags
Is hidden in the trees, thus
I am I sunk in thought!

Mibu no Tadamine

Love IX: 13

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.

Love IX: 5

Left
笛竹のただ人ふしを契とてよよの恨を残せとや思ふ

fuetake no
tada hitofushi o
chigiri tote
yoyo no urami o
nokose to ya omou
A bamboo flute has
But a single joint – and for but one night
Did we join together, so
Night after night of despair
Did you think to leave behind?

Lord Sada’ie
1089

Right (Win)
はるばると浪路分来る笛竹をわが恋妻と思はましかば

harubaru to
namiji wakekuru
fuetake o
wa ga koizuma to
omowamashikaba
Along the distant
Sea-lanes, forging, came
A bamboo flute:
My own true love –
If only I could think it that!

The Supernumerary Master of the Empress’ Household Office
1090

The Right state: the Left’s poem lacks any faults to mention. The Left state: the Right’s poem has not faults to point out.

In judgement: ‘night after night of despair’ (yoyo no urami o) in the Left’s poem sounds profound, but in actual fact is quite prosaic. In the Right’s poem, ‘sea-lanes, forging, came a bamboo flute’ (namiji wakekuru takefue o) has, I think, the contemporary conception of ‘it has come forging through many waves’. It seems evocative. Thus, the Right must win.

Love IX: 4

Left (Tie)
うらやましわがりこちくと笛の音を頼むる中の人は聞くらん

urayamashi
wagari kochiku to
fue no ne o
tanomuru naka no
hito wa kikuran
O, how I envious I am!
To my house comes, a bamboo
Flute’s strains – from
A trustworthy, loving
Man, it sounds…

Lord Suetsune
1087

Right
より竹の君によりけんことぞ憂き一夜のふしに音のみ泣かれて

yoritake no
kimi ni yoriken
koto zo uki
hitoyo no fushi ni
ne nomi nakarete
Bamboo flotsam –
That you should draw near
Is cruel, indeed, for
A single night together, brings
Only the sound of weeping…

Lord Tsune’ie
1088

‘Flotsam of bamboo’ (yoritake) and ‘comes, a bamboo’ (kochiku) are equally unsatisfying.

In judgement: ‘Flotsam of bamboo’ and ‘comes, a bamboo’ are of equal quality.

Love VIII: 25

Left
起きもゐで年ふる戀はをのづから常世の神やしるし見すべき

oki mo ide
toshi furu koi wa
onozukara
tokoyo no kami ya
shirushi misubeki
Unable to arise
From love these many years,
May I
By the eternal gods
Be shown a sign!

Kenshō
1069

Right (Win)
獨臥すながながし夜のかなしきを語らひあかすきりぎりす哉

hitori fusu
naganagashi yo no
kanashiki o
katarai akasu
kirigirisu kana
Lying alone,
So long, long the night’s
Sorrow;
Lightening it with chatter
Are the crickets!

The Supernumerary Master of the Empress’ Household Office
1070

The Gentlemen of the Right state: what is the meaning of ‘the eternal gods’ (toko no kami). In appeal, the Left: in the Chronicles of Japan, insects are worshipped under the name of ‘the eternal gods’ and made to seem like men. The Left state: what can an insect chatter about?

In judgement: in regard to the Left’s poem, while it is true that insects were worshipped, a poem on ‘Love and Insects’ with no insect is lacking something from the start. This poem would seem to be more a case of ‘Love and Prayers’. Thus, this is nothing enduring. A prior example has been contrived, but this is ineffective. It does not seem as if this insect’s nature has any relation to the topic. The Right’s poem has a commonplace cricket. Where is the fault in having it lighten one’s mood with chatter? Thus, the Right must win.

Love VIII: 18

Left (Win)
鴨のゐる入江の浪を心にて胸と袖とにさはぐ戀かな

kamo no iru
irie no nami o
kokoro nite
mune to sode to ni
sawagu koi kana
Ducks flock on
The inlet’s waves
Within my heart, so
My breast and sleeves both
Are raucous with love!

Lord Sada’ie
1055

Right
佐保川の霧のまよひの程だにも妻もとむとて千鳥鳴夜を

saogawa no
kiri no mayoi no
hodo dani mo
tsuma motomu tote
chidori naku yo o
To the vernal river:
The mist brings confusion
And in its midst,
Seeking a mate,
A plover cries at night…

Jakuren
1056

The Gentlemen of the Right state: we wonder about the appropriateness of ‘my breast and sleeves both are raucous’ (mune to sode to ni sawagu)? The Left, in appeal, state: there is ‘the river-mouths of my sleeves’ (sode no minato) and ‘when I think, upon my breast’ (omoeba mune ni) so linking ‘breast’ and ‘sleeve’ is entirely uncontroversial. The Gentlemen of the Left state: we find no faults to mention in the Right’s poem.

In judgement: I understand the views of the Left’s poem held by both teams. It has also been said that the Right’s poem lacks faults. However, in ‘seeking a mate, a plover cries at night’ (tsuma motomu tote chidori naku yo o) only the two words ‘at night’ (yo o) have any conception of love. The remainder of the poem is simply about plovers, so there is little of love about it. ‘Breast and sleeves both’ (mune to sode to) should win.

Love VIII: 15

Left (Win)
鳥の音は戀しき人の何なれや逢夜はいとひ逢はぬ夜は待つ

tori no ne wa
koishiki hito no
nani nare ya
auyo wa itoi
awanu yo wa matsu
The cock’s crow:
For my darling,
What might it mean?
Hated on nights we meet, and
Longed for when we do not…

Lord Kanemune
1049

Right
いかにして空とる程もはし鷹のしばしもこひに身を休むらん

ika ni shite
sora toru hodo mo
hashitaka no
shibashi mo koi ni
mi o yasumuran
Why, when
Hunting in the skies, does
The sparrowhawk
Briefly in the trees
Take his ease?

Ietaka
1050

The Gentlemen of the Right state: ‘What might it mean?’ (nani nare ya) fails to match. Ending ‘longed for’ (matsu) is overly definite. The Gentlemen of the Left state: what has hunting in the skies got to do with love?

In judgement: it has been said that ‘cock’s crow’ (tori no ne) and ‘what might it mean’ fail to match. Then there is also ‘definite’ (futsugiri). These are nothing but expressions which I do not know and find difficult to understand. ‘The sparrowhawk hunting in the skies’ (hashitaka no sora toru hodo) and ‘take his ease in the trees’ (koi ni yasumuran) both have only a faint conception of love, and I wonder about alluding to hawking. The Left failing to match, too, may be a term used in coursing for deer. Well, even if the deer do not match, as it has the conception of love, the Left should win.

Love VIII: 13

Left
時しもあれ空飛ぶ鳥の一聲も思ふ方より來てや鳴らん

toki shi mo are
sora tobu tori no
hitogoe mo
omou kata yori
kite ya naruran
Now, when I am wondering,
A bird, soaring through the skies,
Gives a single call;
From whence I love
Does it come, I wonder?

A Servant Girl
1045

Right (Win)
天の戸を明けぬと告ぐる鳥の音も獨寢る夜はさもあらばあれ

ama no to o
akenu to tsuguru
tori no ne mo
hitori neru yo wa
sa mo araba are
“The gates of Heaven
Are open!” announces
A cock’s crow, though
On a night spent sleeping alone,
It matters not at all…

The Supernumerary Master of the Empress Household Office
1046

The Right state: what gives rise to the idea in the Left’s poem? The Gentlemen of the Left state: there are no faults we can find.

In judgement: what sort of bird is it that ‘soaring through the skies gives a single call’ (sora tobu tori no hitogoe)? I wonder if there is a suitable source for this? That being said, I doubt the Gentlemen of the Right’s point is pertinent. It has been stated that the Right’s poem lacks any faults. It must win.