Spring I: 29

Left (Tie).

梓弓射手引く春のかひありてけふの諸矢は世にひゞく也

azusa yumi
ite hiku haru no
kai arite
kyō no moroya wa
yo ni hibiku nari
Catalpa bows,
Archers drawing them in springtime
Has an effect, indeed:
Today, the paired arrows
Resound throughout the world!

Kenshō

57

Right (Tie).

梓弓はる九重に散る雪をけふ立舞の袖に見るかな

azusa yumi
haru kokonoe ni
chiru yuki o
kyô tachimai no
sode ni miru kana
Catalpa bows:
Drawn in the ninefold palace walls, yet
Falling snow
This day’s dancing
Sleeves do seem!

Nobusada

58

The Right team have no comments to make about the Left’s poem, but the Left remark that ‘catalpa bow’ is a makura kotoba (a conventionalised poetic image) used with ‘spring’, and it is difficult to think that it is being used appropriately if related to ‘New Year archery’. (The complaint here seems to be related to the fact that in his original Nobusada writes haru, which I’ve translated here as ‘drawn’, phonetically, rather than with a Chinese character, making it initially seem like the verb haru ‘draw (a bow)’, rather than the homophonous ‘spring’.) The Left go on to make the aside that dancing took place within the palace on many other occasions besides the New Year Archery festival.

Shunzei, however, states bluntly that both poems contain ‘unnatural associations’ of ‘catalpa bow’ with ‘springtime effects’ for the Left, and ‘drawn in the ninefold palace’ for the right, so neither can be declared a winner.

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