Original
さよふかくこひするしかのこゑきけばわれさへあやなそでのひづかな
| sayo fukaku koisuru shika no koe kikeba ware sae ayana sode no hizu kana | Deep within a night so brief, A’loving, the stag’s Cry I hear Even my sleeves, strangely, Never dry at all! |
4
きくひとのそでさへひづるしかのねにあきのしぐれのふりでてぞなく
| kiku hito no sode sae hizuru shika no ne ni aki no shigure no furidete zo naku | Folk hearing, With even their sleeves never drying, At a stag’s bell— An autumn shower Falling with a cry! |
5
Only one poem was requested in response this round.
The scent of orange blossom incense on the breeze[i]
Left
ふくかぜに花たちばなぞにほふなるむかしのそでにあやまたれつつ
| fuku kaze ni hanatachibana zo niou naru mukashi no sode ni ayamataretsutsu | With the gusting breeze Orange blossom’s Fragrance comes— For those sleeves of bygone days Do I ever mistake it… |
13
Right
つねよりもことにもあるかなけふをまつはなたちばなのかぜのにほひは
| tsune yori mo koto ni mo aru kana kyō o matsu hanatachibana no kaze no nioi wa | More than ever So special it is! For today have I awaited, Orange blossom’s Scented breeze… |
14
In general, orange blossom is scented during early summer showers or has its fragrance carried on the evening breeze, so I wonder about the folk of bygone days: there’s nothing to compare it with, making the Left’s poem as hackneyed as one on Isonokami, yet there’s nothing special about it, like a weed growing under the eaves. The Right’s poem has ‘for today have I awaited’, which I think requires a reference to sweet-flags. My overall impression of both poems is that their conceptions are unclear.
[Judge’s poem missing]
[i] Rōkitsu bōfū 盧橘芳風
Left
なみだがはせけどとまらずあかつきのわかれはをしのうきねをぞする
| namidagawa sekedo tomarazu akatsuki no wakare wa oshi no ukine o zo suru | The river of my tears I dam, yet they cease not: Dawn’s Parting I regret, as a mandarin Drifting in fitful sleep. |
36
Right
おきてゆくかたもしられずまどふかななみだもそでもめにさはりつつ
| okiteyuku kata mo shirarezu madou kana namida mo sode mo me ni sawaritsutsu | Rising and departing, Knowing not where to go, I am lost! My tears and my sleeves, too, Ever sting my eyes… |
37
Left
はるのよのあかぬわかれのあかつきはちへのにしきをたつにざりける
| haru no yo no akanu wakare no akatsuki wa chie no nishiki o tatsu ni zarikeru | After a spring night, Unsatisfied, parting at The dawn, Sewn a thousandfold, the brocade Through which I go! |
26
Right
あけぬてふこゑもなみだももろともにうちいづるからにそでぞぬれける
| akenu chō koe mo namida mo morotomo ni uchi’izuru kara ni sode zo nurekeru | ‘Tis dawn, say Birdsongs and tears Both, Bursting out, so My sleeves are soaked! |
27
Round Twelve
Left
あふことをいなみ野に咲く女郎花をらぬものゆゑ袖ぞ露けき
| au koto o inamino ni saku ominaeshi oranu mono yue sode zo tsuyukeki | A meeting she Declines—blooming upon Inami Plain, A maidenflower I have not picked, yet How dew-drenched my sleeves! |
Taiyu no Suke
23
Right
うき人の心なりせばをみなへし吹くとも風になびかざらまし
| ukibito no kokoro nariseba ominaeshi fuku tomo kaze ni nabikazaramashi | That cruel girl’s Heart did they but have, then The maidenflowers, With the gusting of the wind Would not bend at all, no doubt… |
Tadasue
24
‘With the gusting of the wind’ and so forth sounds more in keeping with the topic at present than ‘blooming upon Inami Plain, / A maidenflower’.
The Same and Maidenflowers
Round Eleven
Left
恋しさにおもひよそへて女郎花折るわが袖ぞいとど露けき
| koishisa ni omoi’yosoete ominaeshi oru wa ga sode zo itodo tsuyukeki | In my yearning Alike, I feel, is This maidenflower— The sleeve I picked her with is Utterly drenched with dew! |
The Former Assistant Governor-General
21
Right
なつかしく折る手にかをれ女郎花恋しき人もわするばかりに
| natsukashiku oru te ni kaore ominaeshi koishiki hito mo wasuru bakari ni | So sweetly In my hand that picked you shine, O, maidenflower! That the one I love I would forget a while… |
His Excellency, the Head
22
The Left’s ‘sleeve I picked her with is / Utterly drenched with dew’ is a form of words entirely in tune with the topic—it appears charmingly exactly how a poem in a poetry match should be. Then the Right expresses as somewhat shallow and unreliable conception of love that might be forgotten in the face of the shine of a maidenflower picked and held in the hand. Thus, I feel the dew-drenched sleeves are superior here, aren’t they.
Round Nine
Left
忍びねを我が袖のみと思ひしを劣らざりけり萩の下露
| shinobine o wa ga sode nomi to omoishi o otorazarikeri hagi no shitazuyu | Secretly Upon my sleeves, alone, I thought, but ‘Twas not lesser than The dewfall ‘neath the bush clover. |
Minor Captain Kin’nori, Fourth Rank
17
Right
色かはる萩の下葉の露けさは我が身のうへと成りにけるかな
| iro kawaru hagi no shitaba no tsuyukesa wa wa ga mi no ue to narinikeru kana | A change of hue To the bush clover’s underleaves Drenched with dew— Upon my sorry self Has it befallen, too! |
Tadasue, Senior Assistant Minister of the Sovereign’s Household
18
The image of the droplets of secretly wept upon the poet’s sleeves not being less than those of the dewdrops beneath the bush clover appears extremely charming and moving. In addition, the pain expressed by one’s sorry self being as dew-drenched as the bush clover’s underleaves—this has left my own sleeves, both left and right, seeming as soaked with dewdrops from the bush clover.
Left
こひしきにねざめてみをぞうきなみのよるぞかなしきそでのひつまで
| koishiki ni nezamete mi o zo ukinami no yoru zo kanashiki sode no hitsu made | Filled with love I do awake, but Waves of depression drift, Breaking the night with sadness Until my sleeves are drenched through… |
17
Right
うつつにもゆめにもみえずなりぬればさむるよなよなねをのみぞなく
| utsutsu ni mo yume ni mo miezu narinureba samuru yonayona ne o nomi zo naku | In both reality, and Dreams I see her not— When it comes to that, then On waking night after night Will I simply weep! |
18
