After I had had various people compose on the scent of plum carried on the breeze.
このねぬるあさけの風にかをるなり軒ばの梅の春のはつ花
| kono nenuru asake no kaze ni kaoru nari nokiba no ume no haru no hatsubana | Having slept The dawntime breeze Is scented: Beneath my eaves the plum Shows spring’s first blossom. |
Plum blossom at an ancient estate.
たれにかもむかしをとはむ故郷の軒ばの梅は春をこそしれ
| tare ni kamo mukashi o towamu furusato no nokiba no ume wa haru o koso shire | Who is it that Of days long gone I might enquire? At this ancient estate The plum beneath the eaves Knows spring well, yet… |
人しれぬ袖ぞ露けき逢ふことはかれのみまさる山のした草
| hito shirenu sode zo tsuyukeki au koto wa kare nomi masaru yama no shitagusa | Unknown to all My sleeves are drenched with dew; For our meetings Excel only in being withered As the scrub grass on the mountainside. |
[Nakako,] The Suō Handmaid
29
In reply.
おく山の下かげ草はかれやする軒ばにのみはおのれなりつつ
| oku yama no shitakagegusa wa kare ya suru nokiba ni nomi wa onore naritsutsu | Deep within the mountains, have The grasses growing in the trees’ dark shade Really withered away? Simply beneath your eaves, Is where I ever am… |
The Consultant Middle Captain
30
Round Nine: Quiet thoughts at Tanabata
Left
八重葎しげる軒ばをかき分けて星合の空をながめつるかな
| yae mugura shigeru nokiba o kakiwakete hoshiai no sora o nagametsuru kana | Eightfold thickets Grow lushly beneath my eaves; Pulling them apart upon The sky of trysting stars Will I turn my gaze! |
Taira no Sadatsugu[1]
Right
七夕のあふよの程は思ひやる心さへこそ空にすみけれ
| tanabata no au yo no hodo wa omoiyaru kokoro sae koso sora ni sumikere | Tanabata is A night for meeting—throughout it I am filled with longing: Even my very heart Does dwell among the skies. |
Fujiwara no Kaneyuki[2]
[1] Taira no Sadatsugu 平貞継. The identity of this individual is unclear. This poem is his sole appearance in a poetry contest.
[2] 藤原兼行
Left (Tie)
思ひかねうち寢る宵もありなまし吹だにすさめ庭の松風
| omoikane uchineru yoi mo arinamashi fuki dani susame niwa no matsukaze |
Unable to bear the pains of love, and Dozing through the night – That happens sometimes; O, just blow gently, Breeze through the garden pines! |
A Servant Girl
1043
Right
思ひかねながむれば又夕日さす軒端の岡の松もうらめし
| omoikane nagamureba mata yūhi sasu nokiba no oka no matsu mo urameshi |
Unable to bear the pains of love, When I gaze out, once more The evening sun shines Past my eaves, where on the hillside Even the pines seem resentful… |
Ietaka
1044
Same as the previous round.
In judgement: here we have ‘O, just blow gently’ (fuki dani susame), and the Right has ‘Past my eaves, where on the hillside’ (nokiba no oka no): these recollect the poems ‘in the depths of sleep I tread to you’ (uchinuru naka ni yukikayou) and ‘the beams strike the hillside through the pine needles’ (sasu ya okabe no matsu no ha); both sound elegant. I make this round a tie.
Left (Win)
忘らるゝ人に軒端の忍ぶ草涙の雨ぞ露けかりける
| wasuraruru hito ni nokiba no shinobugusa namida no ame zo tsuyukekarikeru |
Forgotten by Him, beneath my eaves The ferns bring back memories; A rain of tears Leaves them dew-drenched. |
Lord Kanemune
1021
Right
戀づまのやがて軒端になり行けばいとど忍ぶの草ぞ茂れる
| koizuma no yagate nokiba ni nariyukeba itodo shinobu no kusa zo shigereru |
My man is Far away; beneath my eaves Are the signs: How many memories and Ferns grow thickly… |
Lord Tsune’ie
1022
Both Left and Right state: we find no faults to mention.
In judgement: both poems refer to ‘memory ferns’ (shinobugusa), and there is not a great deal of difference in quality between them, but the Left’s ‘rain of tears’ (namida no ame), with its association of dew, is slightly better than the Right’s ‘ferns grow thickly’ (kusa zo shigereru), and so should win.
Left (Win).
深き夜の軒の雫をかぞへても猶あまりぬる袖の雨哉
| fukaki yo no noki no shizuku o kazoetemo nao amari nuru sode no ame kana |
Late at night, From my eaves the droplets I number up, but Still much more drenching Is the rainfall on my sleeves. |
A Servant Girl.
947
Right.
雲とづる宿の軒端の夕ながめ戀よりあまる雨の音哉
| kumo tozuru yado no nokiba no yū nagame koi yori amaru ame no oto kana |
Closed in with cloud, From my dwelling’s eaves I gaze out in the evening; Overwhelming my love Is the sound of rain… |
Nobusada.
948
The Right state: the Left’s poem has no faults. The Left state: we do not understand the Right’s poem at all.
In judgement: the Left’s poem commences with ‘late at night’ (fukaki yo no) and then continues with mention of raindrops – this sounds extremely effective. The Right’s poem, too, starts ‘closed in with cloud’ (kumo tozuru) and concludes with ‘the sound of rain’ (ame no oto kana), which sounds charming, but because the poem is said to be ‘incomprehensible’ or ‘grating on the ear’, despite being one with both a significant conception and an unusual sound, there is no reason for me to shoehorn in my own views, even if much has been overlooked, so this round I will leave it at, the Right is entirely incomprehensible and the Left without fault. Thus, the Left wins.
Left (Tie).
隔てける籬の島のわりなきに住む甲斐なしや千賀の塩釜
| hedatekeru magaki no shima no warinasa ni sumu kai nashi ya chika no shiogama |
Barring our way is The fence – Magaki Isle: So unreasonable That living close is pointless, as if We were at Chika’s salt-kilns! |
Kenshō
885
Right.
忍ぶ草竝ぶ軒端の夕暮に思ひをかはすさゝがにの糸
| shinobugusa narabu nokiba no yūgure ni omoi o kawasu sasagani no ito |
A weeping fern lies Between our almost touching eaves; In the evening Love will pass Along the spider’s thread. |
Ietaka
886
The Right state: the Left’s ‘Magaki Isle’ (magaki no shima) and ‘Chika’s salt kiln’s’ (chika no shiogama) do not seem that nearby, do they? They only evoke closeness through wordplay. The Right state: we find no faults to indicated in the Left’s poem.
In judgement: the Left’s ‘Magaki Isle’ and ‘Chika’s salt kilns’, even if they are not that close, do not display a lack of technique in the conception of the current composition. I do wonder what to think about ‘so unreasonable’ (warinasa ni), though. The Right’s weeping ferns, with the spider’s behaviour transmitting the feelings of love, does not seem unreasonable either. This round, too, the poems are comparable and should tie.