The only surviving poem from this match[i] is by Kiyowara no Motosuke and is included in Shūishū (I: 42) with the headnote ‘From a poetry match held by the Reikeiden Junior Consort and Chūjō Lady of the Bedchamber during the reign of the Tenryaku Emperor’.
春霞立ちなへだてそ花ざかりみてだにあかぬ山のさくらを
harugasumi tachi na hedate so hanazakari mite dani akanu yama no sakura o
O, haze of spring, Arising, do not block The flowers’ profusion, for Even of the sight I cannot get my fill Of mountain cherry blossoms…
Given the lack of other evidence of this match, Hagitani (1958, 417) outlines various possibilities for its provenance, including that it might have originally been composed for the Tentoku 4 Palace Poetry Match (see above), but eventually concludes that due to the existence of other matches between ladies in the imperial harem from around this period, and that the women in question, the Reikeiden Junior Consort, Princess Sōshi 荘子女王 (930-1008) and the Chūjō Lady of the Bedchamber, Fujiwara no Shūshi 藤原修子 (dates unknown) were cousins and thus might have been closer than some of the other women in the rear palace, it is not inconceivable that they might have held a joint poetry match, and thus categorises this as coming from a separate event, the records of which have otherwise been lost. It is not possible to date this event with any accuracy, other than that it took place during Murakami’s reign (946-967), but the likelihood is that it was toward the end of the period.
Hagitani also notes the ‘identical construction’ of this poem and one included in Mototsuke’s personal collection:
When I had gone to a place called the Kawara Mansion with friends to view the plum blossom, and there was no plum blossom there, only the distant sight of cherry.
春霞たちななよりそうすくこき錦とみゆる山のさくらに
harugasumi tachi na na yori so usu koki nishiki to miyuru yama no sakura ni
O, haze of spring, Arise not and cover not, Either thick or thin, The seeming brocade of Cherry o’er the mountains…
This leads Komachiya (1990, 15) to categorise the poem from this match as ‘a blossom-viewing poem from the Kawara Mansion’ suggesting he considers it a reworking of Motosuke’s other work.
[i]Reikeiden no nyōgo chūjō miyasudokoro uta’awase 麗景殿女御・中将御息所歌合
aki sugite hanazakari naru kiku no hana iro ni taguite aki ya kaereru
Autumn is past and The flowers richly blooming are Chrysanthemums: With their hues Autumn does return!
Korenori 3
なみとのみうちこそみゆれすみのえのきしにのこれるしらぎくのはな
nami to nomi uchi koso miyure suminoe no kishi ni nokoreru shiragiku no hana
Simply as waves Do they, indeed, appear! At Suminoe Lingering on the shore White chrysanthemum blooms.
Korenori 4
わぎもこがひもゆふぐれのきくなればあかずぞはなのいろはみえける
wagimoko ga hi mo yūgure no kiku nareba akazu zo hana no iro wa miekeru
My darling girl Both day and eve is As a chrysanthemum, so Never sated am I with this flower’s Hues I see.
Korenori 5
きくのはなふゆののかぜにちりもせでけふまでとてやしもはおくらん
kiku no hana fuyu no kaze ni chiri mo sede kyō made tote ya shimo wa okuran
Chrysanthemum blooms In the winter wind Scatter not; Is it that up to today is when Frost is said to fall?
Korenori 6
かげさへやこよひはにほふきくのはなあまてるつきにかのそはるらん
kage sae ya koyoi wa niou kiku no hana ama teru tsuki ni ka no sowaruran
Even their shape Fills tonight with a scented glow; Chrysanthemum blooms To the heaven-shining moon Seem to add their fragrance.
Korenori 7
[i] Fujiwara no Suetada/Suenawa 藤原季縄 (?-919). Little is known of Suetada’s life, other than that he was apparently close to Ise 伊勢 and exchanged poems with her. The circumstances of his death, however, are recorded in Yamato monogatari, which relates that he fell ill in Engi 19 (919) when he held the position of Minor Captain in the Inner Palace Guards, Right Division (Ukonoe shōshō右近衛少将). On a day when he was due to be in attendance at the palace, he sent a message to Minamoto no Kintada 源公忠 (889-948), a Chamberlain and the Assistant Director of the Bureau of Housekeeping, to say that illness prevented his being there. Kintada replied that he should attend without fail on the day after tomorrow, but when that day came, Suetada sent him the following poem:
くやしくぞ のちにあはむと 契りける 今日をかぎりと 言はましものを
kuyashiku zo nochi ni awamu to chigirikeru kyō o kagiri to iwamashi mono o
I am struck with bitterness! Once more would we meet Did I vow, but Today I meet my end— That is what I would say…
SKKS VIII: 854
Concerned, Kintada ordered up a carriage and went immediately to Suetada’s residence, only to find he had died before he arrived. Greatly downcast, he returned to the palace and reported Suetada’s death to the emperor.
sumiyoshi to kikoyuru sato ni itowazu wa okidokoro naki mi o yadosaba ya
A pleasant place to live is Sumiyoshi’s Estate, or so I’ve heard, but If it provide no comfort, then My restless Self might it attract…
Lord Kinshige 103
Right
すぎていにしあきにおくれてしもがるるきくやわがみのたぐひなるらむ
sugite inishi aki ni okurete shimogaruru kiku ya wa ga mi no tagui naruramu
Past and gone is Autumn, but lingering, Frost-burned Chrysanthemums—is my sorry self Just like them, I wonder?
Enjitsu 104
Neither the poem of the Left, nor of the Right, sound as if they have any particular faults. Nevertheless, in the case of such poems the assessment varies depending upon the speaker. While the poem of the Left is, indeed, pitiful, it also sounds a bit crude. It would be elegant, I think, if it were a woman’s poem. As for the Right’s poem, if we take it as an expression of grief over orphanhood, then in the final analysis it’s charming as it matches the conception of a scion of a noble house picturing himself as the monarch of the flowers. Then again, we do have the poem by the Enkyū Third Prince:
うゑおきしきみもなきよにとしへたる花は我が身のここちこそすれ
ueokishi kimi mo naki yo ni toshi hetaru hana wa wa ga mi no kokochi koso sure
You planted them here, My Lord, though gone from this world, These many years past— The flowers and my sorry self Both feel the same…[1]
This would seem to be in the same vein. Given that the speaker of both poems is unclear, for the moment, these tie.
[1] Composed when viewing the blossom at the Enshūji and recalling former Emperor Gosanjō (KYS IX: 518).
