akihagi o kusa no makura ni musubite ya tsuma koikanete shika no fusuran
The autumn bush clover For a grassy pillow Has he woven—is that why Unable to love his mate The stag seems to lie?
Koreyuki 41
Right
妻こふる秋にしなればさをしかの床の山とてうちもふされじ
tsuma kouru aki ni shi nareba saoshika no toko no yama tote uchi mo fusareji
He yearns for his mate In autumn, above all, so In the stag’s Bed among the mountains He cannot lay him down, it seems.
Arifusa 42
The Left isn’t bad, but isn’t there Controller Kore’ie’s poem:
秋萩を草の枕にむすぶ夜はちかくもしかのこゑをきくかな
akihagi o kusa no makura ni musubu yo wa chikaku mo shika no koe o kiku kana
The autumn bush clover For a grassy pillow I weave tonight— Close by, truly, a stag’s Bell I hear! [1]
While there is this earlier example, neither core nor the conceptions of these poems are the same, and as the Right’s poem is not all that good, after careful consideration I make this a tie.
[1] On hearing a stag at his lodgings. KYS (3) III: 224
kusagakure mienu oshika mo tsuma kouru koe oba e koso shinobazarikere
Hidden by the grasses, Unseen, the stag, too Longing for his mate, His bell, indeed, is unable To conceal!
Lord Yorimasa 37
Right
秋の野の花のたもとに置く露や妻よぶしかの涙なるらむ
aki no no no hana no tamoto ni oku tsuyu ya tsuma yobu shika no namida naruramu
In the autumn meadows, Upon the blossoms’ sleeves Are the fallen dewdrops The stag—calling for his mate— Letting tears fall?
Narinaka 38
The Left is novel, and the Right charming, respectively. The Right’s poem does have a large number of identical syllables—while this is criticized in the Code of the Creation of Poetry as a ‘whole body fault’, it is not the case that poems containing this defect have not appeared in poetry matches from time to time, and I don’t feel it’s necessary to examine whether there are a large number of similar cases here: such things are simply a style of poetry.
kusakare no fushido sabishiku nariyukeba shika koso tsuma mo koishikarurame
Among the withered grasses He lies down, yet into lonely sadness Does he sink, so The stag his mate Seems to long for all the more…
Suketaka 35
Right (Win)
さをしかの声しきるなりみよしののいさかた山に妻やこもれる
saoshika no koe shikiru nari miyoshino no isakatayama ni tsuma ya komoreru
The stag’s Bell rends my heart— In fair Yoshino On Mount Isakata Is his mate secluded.
Tōren 36
I don’t believe I have heard a prior instance of the Right’s ‘Isakata Mountain’, have I? In addition, there doesn’t seem to be any reason for its use here. In general, it’s preferable to compose using terms which are familiar. As for the Left’s poem, it sounds as if the stag only cares for his mate when the grasses are withered, but implying that grass only withers in the Ninth and Tenth Months is at variance with the actual period when it happens, isn’t it? Moreover, it is dubious to compose pivoting around the topic—and doing this has been stated to be undesirable in poetry matches. Indeed, I recall that in the Poetry Match at the Palace in the Fields, when someone composed pivoting on ‘maidenflower’, the judge criticized it, saying, ‘it is mangling the words of our land to compose in this manner.’ Thus, although the poem does have a freshness about it, the Right must win, I think.
kiku hito no sode mo nurekeri aki no no no tsuyu wakete naku saoshika no koe
Folk who hear him Have dampened sleeves, too— Across the autumn meadows As he forges through the dewdrops The stag’s bell.
Lord Kinshige 33
Right
鹿の音の吹きくるかたにきこゆるはあらしやおのがたちどなるらん
shika no ne no fukikuru kata ni kikoyuru wa arashi ya ono ga tachidonaruran
The stag’s bell Comes, blown, I do hear— Has the storm, himself, Arisen there, I wonder?
Lord Kiyosuke 34
I do wonder about the Left, which implies that one would soak one’s sleeves with tears on hearing a stag belling, given that I am unable to bring to mind any prior poems composed in this vein. What are we to make of the fact that, while the poem by Toshiyori, which I mentioned earlier, was composed about tears, there is still no trace of this usage in any other poetry match? It does seem poetic overall, though. The Right’s ‘Has the storm, himself, arisen’ is remarkably startling, so it’s a personal poem. While it’s not the case that there are no prior compositions in this manner, poems for poetry matches have a certain way about them and that’s simply how it is. Thus, the Left wins.
tare yori mo aki no aware ya masaruran koe ni tatete wa shika zo nakunaru
Who might it be that The sadness of autumn Strikes more keenly? Lifting up his voice, It is the stag crying out!
Lord Yorisuke 29
Right
春夏はなにに心をなぐさめて秋のみ鹿の妻をこふらん
haru natsu wa nani ni kokoro o nagusamete aki nomi shika no tsuma o kouran
Spring and summer, too, How do they the heart Console? ‘Tis in autumn, alone, the stag Seems to yearn for his mate.
Kenshō 30
The Left charmingly sounds as if the scene it describes is entirely natural. The Right isn’t bad, but, I seem to recall that there was a poem in—I think it was the Poetry Match at Lord Aritsuna’s Residence—that has the phrase ‘In autumn, above all, / The stag seems to yearn for his mate’, so it would have better to refrain from the final two lines. The Left should win.
fuku kaze mo mi ni shimu aki no yūgure ni aware o souru shika no koe kana
The gusting wind Pierces my flesh on an autumn Evening, as Sadness laces The stag’s cry!
Lord Michyoshi 27
Right
妻こふるさ夜ふけがたの鹿のねに声うちそへて秋風ぞ吹く
tsuma kouru sayo fukegata no shika no ne ni koe uchisoete akikaze zo fuku
Yearning for his mate as Brief night wears on, A stag’s cry Is voiced, lacing The gusting autumn wind.
Tamechika 28
Both Left and Right have the same overall content, but the Left’s ‘yearning for his mate as / Brief night wears on’ reverses the appropriate order of the diction: it would be preferable to say ‘Brief night wears on as / Yearning for his mate’. The Left has no such issues and so it should win.