Topic unknown.
霜さえて枯行く小野の岡べなる楢の廣葉に時雨ふるなり
| simo saete kareyuku wono no wokabe naru nara no Firoba ni sigure Furunari |
The frost is chill, and In the withering meadows; On the hillsides Upon the broad leaves of oak Showers fall. |
Fujiwara no Mototoshi
下つ毛野みかもの山のこ楢のすまぐはし子ろは誰が笥か持たむ
| simotuke no mikamo no yama no konara no su magupasi koro pa ta ga ke ka motamu |
On Shimotsuke plain, Mikamo mountain’s Oaks, Fair that girl: I wonder whose dish she has now? |
Anonymous
Composed on seeming like the cool of an autumn evening at Lord Toshitsuna’s house.
夏山の楢の葉そよぐ夕暮はことしも秋の心地こそすれ
| natuyama no nara no Fa soyogu yuFugure Fa kotosi mo aki no kokoti koso sure |
In the summer mountains The oak leaves whisper softly With the evening: This year, too, autumn Feels upon me… |
Minamoto no Yoritsuna (1025-1097)
源頼綱
When the Biwa Minister of the Left, having some use for them, requested some oak leaves, and this was sent to the house of his acquaintence, Chikane, to obtain them.
我が宿を何時馴らしてか楢の葉を馴らし顔には折りにをこする
| wa ga yado wo itu narasite ka nara no Fa wo narasigaFo ni Fa wori ni okosuru |
With my home When did you become so familiar? That leaves of oak So freely Do you send to pick! |
Toshiko
俊子
During the Chōgan Era, when His Majesty enquired when the Man’yōshū was created, he composed this and presented it.
神無月時雨ふりをけるならの葉の名におふ宮の古ごとぞこれ
| kaminaduki sigure Furiwokeru nara no Fa no na ni oFu miya no Furugoto zo kore |
In the Godless Month Drizzle falls upon The leaves of Nara oak! The palace bearing that name Produced these ancient words! |
Fun’ya no Arisue
文屋有季
Three Envoys.
あをによし奈良にある妹が高々に待つらむ心しかにはあらじか
| awoniyosi nara ni naru imo ga takataka ni maturamu kokoro sika ni arazi ka |
As good blue-black clay, Nara is where your darling Eagerly Awaits you; her heart Will not always be so, will it? |
Cicadas (蟬)
夏山のならのひろ葉にかくろへてこのもかのもに鳴く蟬のこゑ
| natsuyama no nara no hiroha ni kakuroete konomo kanomo ni naku semi no koe | In the summer mountains In the broad-leaved oaks Concealed, From here and from there Are the cries of singing cicadas. |
Kanemasa
み狩りする雁羽の小野の櫟柴のなれはまさらず恋こそまされ
| mikarisuru karipa no wono no narasiba no nare pa masarazu kopi koso masare |
Hunting On the fields of Kariwa In the oaks and brushwood He shows me no kindness, but I love him all the more… |
声よわる虫の鳴く音のともかほに風もすくなきならの葉柏
| koe yowaru mushi no nakune no tomogao ni kaze mo sukunaki nara no hagashiwa |
Weakening is the sound Of the insects’ cries Just like There is a mere breath of wind Through the oak-trees’ leaves… |
Teika
Left (Tie).
尋入る楢の葉陰の重なりてさてしもかろき夏衣かな
| tazuneiru nara no hakage no kasanarite sateshimo karoki natsugoromo kana |
Entering within The oak leaves’ shade, Layer upon layer; Still, how light Is my summer garb! |
249
Right (Tie).
花の色の袖は重ねし物なれどひとへに惜しき蝉の羽衣
| hana no iro no sode wa kasaneshi mono naredo hitoe ni oshiki semi no hagoromo |
Cherry blossom hued Sleeves lay one upon the other And yet now, A single, deep regret: For the cicada’s gossamer garb… |
The Provisional Master of the Empress’ Household Office.
250
Neither team has any criticisms to make this round.
Shunzei merely remarks, ‘The Left’s poem has “still, how light” (sateshimo karoki) and the Right’s “sleeves lay one upon the other and yet now” (sode wa kasaneshi mono naredo): both of these are only close to the topic, I feel. The round ties.’