Left
とどむれどいまはかぎりとゆく秋のわりなくをしくおもほゆるかな
| todomuredo ima wa kagiri to yuku aki no warinaku oshiku omohoyuru kana | It has lingered, yet Now is the end, and with Autumn’s leaving Beyond all reason, regret Do I feel! |
27
Right
あふさかのせきのもみぢし心あらばくれてゆくとも秋をとめなん
| ausaka no seki no momijishi kokoro araba kureteyuku to mo aki o tomenan | If at Meeting Hill’s Barrier autumn hues did Fill my heart, then As it passes into dusk I would hold the season here. |
28
Left (Tie)
ふくかぜにとまりもあへずちるときはやへやまぶきのはなもかひなし
| fuku kaze ni tomari mo aezu chiru toki wa yaeyamabuki no hana mo kainashi | The gusting wind Does never cease, so Scattering time has come upon The eightfold kerria Blooms—so little good they are! |
Okikaze
35
Right
をしめどもたちもとまらずゆくはるをなこしのやまのせきもとめなむ
| oshimedomo tachi mo tomarazu yuku haru o nakoshi no yama no seki mo tomenamu | How I regret it, yet Cannot halt the departure of Parting spring— O, that Nakoshi Mountain’s Barrier would hold it! |
Tsurayuki
36
Left
おとはやまおとにききつつあふさかのせきのこなたにひとをまつかな
| otowayama oto ni kikitsutsu ausaka no seki no konata ni hito o matsu kana | As wing-beats in the mountains Do I hear tell: That on Meeting Hill Barrier’s inner side Someone does await me! |
Motokata
29
Right
そのはらやふせやにおふるははきぎのありとてゆけどあはぬきみかな
| sonohara ya fuseya ni ouru hahakigi no ari tote yukedo awanu kimi kana | At Sonohara By the rest-stop grows A sacred tree, they say; I catch a glimpse, yet Cannot meet with you! |
30
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.
Left.
逢ひ見じと思かたむる中なれやかく解けがたき下紐の関
| aimiji to omoikatamuru naka nare ya kaku tokegataki shimohimo no seki |
Never to meet Has she hardened her heart – Is that to be our bond? As hard to undo as The barrier at Shitahimo! |
Lord Suetsune
1005
Right (Win).
恋しともかくは人にも知られなんと思ふ心や文字の関守
| koishitomo kaku wa hito ni mi shirarenan to omou kokoro ya moji no sekimori |
The letters for love, should I write, would she my feelings Then understand, I Wonder? Does her heart have A barrier warden at Moji? |
The Supernumerary Master of the Empress’ Household Office
1006
The Right state: ‘hardened her heart’ (omoikatamuru) is grating on the ear. The Left state: the Right’s poem has no faults to indicate.
In judgement: regardless of whether the Left’s poem sounds poor or not, having both ‘hardened’ (katamuru) and ‘hard’ (kataki) is a fault. So, ‘a barrier warden at Moji’ (moji no sekimori) wins.