shiogama no ura no higata no akebono ni kasumi ni nokoru ukishima no matsu
At Shiogama Bay uponn the tide-sands With the dawn Lingering in the haze are The pines on Ukishima.
A Court Lady 1
Right
春の夜の朧月夜の名残とや出づる朝日も猶かすむらん
haru no yo no oborozukiyo no nagori to ya izuru asahi mo nao kasumuran
A spring night’s Misty moon— Does it leave a keepsake in The rising sun Yet seeming hazed?
Ietaka, Junior Second Rank 2
Generally, for the judging of poetry, one chooses people who have been permitted to take this Way, who can distinguish the good from the bad among the reeds of Naniwa Bay and plumb the depths and shallows of the sea. And now I do so, when I have passed through the mulberry gate, but have no time for the Three Tiers and Nine Levels of Rebirth, or even for dipping into Tomi stream, and have but distantly heard the waves of Waka Bay these past sixteen springtimes, though I was wont, in the ancient blossom-filled capital, to string together a mere thirty-one syllables from time to time.
Though now I do not divert myself with this Way, Ietaka of the Junior Second Rank is a long-standing officer of the Poetry Office and a compiler of the New Ancient and Modern collection. His dewdrop life of almost eighty has begun to vanish now with the wind on Adashi Plain, but I thought to converse with him and just this once, debate over his deeply considered words and compare the configuration of his works. Thus, through the jewelled missives we exchanged, I had him assemble poems on ten topics by those from whom I am not estranged and write them down in pairs.
The numbers of such folk were not great, and among them are those who have only recently begun to have an interest in the learning the Six Principles. That the words of Shinobu’s sacred groves would be scattered by the wind and encounter hindrances here and there, I had thought, but in the end, I paid no heed to folk’s criticisms in order to avoid barriers on the path to rebirth. Among these, I match my own foolish compositions with those of Ietaka—it may not be an appropriate thing to do for the Way, but given our association, as ancient as Furu in Isonokami, I have done this out of special consideration for him.
Nevertheless, long ago I perused the poems of the Eight Anthologies from time to time, and they certainly have some spectacle about them, but yet many are now unclear. Indeed, among the poems of folk of modern times, over the past ten years I have not heard of even a single poem, for all that they are composed the same way, that it is possible to view as outstanding. Not only that, but as I approach my sixties and descend into my dotage, the signs of my own foolishness become increasingly apparent.
The first poem of the Left often wins, yet this has nothing remarkable about it. The Right’s poem, on the morning following a misty moonlit night, has a true link with the morning haze, and the sequencing of its diction and configuration are particularly charming. Nevertheless, the Left’s poem in the first round is in accordance with the matter, and I am thus not able to pick a winner or loser.
Around the time the Naka Chancellor had begun visiting her, on the morning following a night when he had failed to call, she composed this to say that this night’s dawn had been particularly hard to bear.
ひとりぬる人やしるらん秋の夜をながしとたれか君につげつる
Fitori nuru Fito ya siruran aki no yo wo nagasi to tareka kimi ni tugeturu
Sleeping alone I know it all too well—that An autumn night is Long to someone You’ve been telling!
