The Right state: the Left’s poem certainly has no faults. The Left state: the Right’s poem has no conception of Love.
In judgement: both Gentlemen’s pictures are ‘painted’ (kakitomete), with the Left then using ‘upon my darling’ (imo ga ue ni mo), which certainly has a conception of love. The Right simply draws a picture of a maidenflower and drenches it with dew, so it does not seem as if he is being moved by the sight of a person. Thus, again, the Left seems the superior poem.
The Right have no criticisms to make of the Left’s poem this round. The Left wonder about the appropriateness of ‘indifferently falling’ (yosoge ni okeru).
Shunzei’s judgement: The Left saying that on ‘maidenflowers frost falling’ (ominaeshi shimo o itadaki) would put them past their prime seems pointless [sada ni oyobazaru ka]. In addition the final ‘they look, indeed’ (keshiki naru kana) seems feeble [chikara naki]. The Right’s style is intriguing [fūtei kyō arite]. I must make it the winner.
The Right wonder, ‘Whether the conception of “autumn gales” is adequately expressed by “wild winds”?’ In response, the Left say, ‘Poems on “autumn gales” are not found in previous ages. But is this not what is intended by poems such as “Wild winds have left behind”? Furthermore, on the gentlemen of the Right’s poem, as “gales” (nowaki) contain the sense of “rage” (arasa ni wa), is it not superfluous? Moreover, in the final section, the poem could refer to any blossom – not just maidenflowers.’
Shunzei states: ‘The Left’s “o’erthrown’ (nao shikazukeri) feels old-fashioned, while the prior section’s “wind’s spite” (kaze no netasa) is more modern. This produces a result akin to seeing a peasant wearing smart shoes, I feel. The Right’s “gales” letting dewdrops fall is so obvious a situation as to be pedestrian. Thus, despite the mis-match between sections in the Left’s poem, it must win.’