Boats 船
なごかれよみずりもすまにかきつみてあからも袖の灘通る日ぞ
| nagokare yo mizuri mo suma ni kakitsumite akara mo sode no natatōru hi zo | O, be calm! The dyestuffs at Suma are Gathered all together, and The red hue on my sleeves is The sun passing through these perilous seas! |
Toshiyori
Seafolk 泉郎
夜とともにもしほたれつつすまのあまの心づからや袖ぬらすらん
| yo to tomo ni moshio taretsutsu suma no ama no kokorozukara ya sode nurasuran | Every night Wringing brine from seaweed Do the seafolk at Suma From their own hearts Drench their sleeves, I wonder? |
Daishin
Left (Tie).
故郷に見し面影も宿りけり不破の関屋の板間洩る月
| furusato ni mishi omokage mo yadorikeri fuwa no sekiya no itama moru tsuki |
Back home I saw her face, and It lodges here, At the Barrier House at Fuwa, In the moonlight leaking through the boards. |
A Servant Girl
1007
Right.
人恋ふる我ながめよ思けり須磨の関屋の有明の月
| hito kouru ware nagameyo omoikeri suma no sekiya no ariake no tsuki |
Loving you, I will ever gaze, I thought, At the Barrier House at Suma On the dawntime moon. |
Nobusada
1008
The Right state: the Left’s poem is good. The Left state: the Right’s poem lacks any faults to indicate.
In judgement: the Left’s ‘Barrier House at Fuwa’ (fuwa no sekiya) followed by ‘the moonlight leaking through the boards’ (itama moru tsuki) is truly charming. In addition, if one wonders why ‘I saw her face’ (mishi omokage mo) has been used, it is certainly reminiscent of the poem ‘The dawntime moon, too, lodges in the waters clear’, but an improvement on it. It is difficult to say, however, that the Right’s ‘At the Barrier House at Suma on the dawntime moon’ (suma no sekiya no ariake no tsuki) is in any way inferior.
Left.
夜を重ね心の関のかたきかなわが音は鳥の空音ならねば
| yo o kasane kokoro no seki no kataki kana wa ga ne wa tori no sorane naraneba |
Night upon night The barriers upon your heart Stand firm, indeed! For the sounds I make are no cock’s False crow! |
Lord Ari’ie
1001
Right (Win).
人知れぬうらみにあまる浪の上を抑ふる袖や須磨の関守
| hito shirenu urami ni amaru nami no ue o osauru sode ya suma no sekimori |
She cannot know The prospect of my despair; Dashed upon the waves Are my sleeves Barrier Wardens at Suma? |
Jakuren
1002
The Right state: why specifically refer to a ‘false crow’ (sorane)? This makes it sound as if the barrier would not be opened for a real bird’s cry. In response, the Left: as there is the precedent of a barrier being opened in response to a false crow, the poem draws upon this to refer to ‘the sounds I make’ (wa ga ne) – we fail to see why this is problematic. The Left state: we find no faults in need of identification in the Right’s poem.
In judgement: it seems difficult to distinguish between ‘the sounds I make’ and the ‘false crow’ in the Left’s poem, and the Right’s ‘dashed upon the waves are my sleeves’ (osauru sode) is pleasant. Thus, the Right wins.
Left (Tie).
身に堪へぬ思ひを須磨の関据ゑて人に心をなどとどむらん
| mi ni taenu omoi o suma no seki suete hito ni kokoro ni nado todomuran |
Unable to endure This love; at Suma By the barrier am I placed; Within my heart why Does she remain so firmly? |
Lord Sada’ie
999
Right.
逢坂の関のこなたに名をとめてこれより過ぐる嘆せよとや
| ausaka no seki no konata ni na o tomete kore yori suguru nageki seyo to ya |
On Meeting Hill Barrier’s inner side Must I stay, they say; Ever pass your days In grief! Is that your only message? |
Lord Takanobu
1000
The Right state: ‘This love; at Suma’ (omoi o suma) sounds antiquated. In addition, how can one be placed by the barrier? The Left state: in the Right’s poem what is the ‘passing grief’ (suguru nageki)?
In judgement: the Gentlemen of the Right’s criticism of wondering ‘how one can be placed by the barrier’ suggests they have never been installed as Barrier Wardens! Both ‘at Suma by the barrier’ and ‘Meeting Hill Barrier’ are of the same quality. The round should tie.
面影に須磨も明石も誘ひ来て心ぞ月に浦伝ひける
| omokage ni suma mo akashi mo sasoikite kokoro zo tsuki ni ura tsutaikeru |
Its visage above Both Suma, and Akashi, too Beckoned me; My heart to the moon Whispered secrets on the shore… |
Cloistered Prince Shukaku
守覚法親王
Topic unknown.
白浪はたてと衣にかさならすあかしもすまもおのかうらうら
| siranami Fa tatedo koromo ni kasanarazu akasi mo suma mo ono ga uraura |
The whitecaps Break, yet no sewn robes Are laid upon each other; Both Akashi and Suma, too Are lined with their own shores… |
Kakinomoto no Hitomaro
柿本人麻呂
病葉の風のづてにも知らせばや思ひを須磨の暁の夢
| wakuraba no kaze no zute ni mo shiraseba ya omoi o suma no akatsuki no yume |
Fresh leaves Whispered by the wind Do, perhaps, reveal My love, at Suma In a dream at dawn. |
Fujiwara no Yoshitsune
Left (Win).
もしほ汲袖の月かげをのづからよそにあかさぬ須磨の浦人
| moshio kumu sode no tsukikage onozukara yoso ni akasanu suma no urabito |
Scooping seaweed salt, With moon-drenched sleeves: Naturally, This brings no light to The folk of Suma Bay. |
167
Right.
蟲明の松としらせよ袖の上にしぼりしまゝの波の月かげ
| mushiake no matsu to shiraseyo sode no ue ni shiborishi mama no nami no tsukikage |
‘At Mushiake I pine!’ – tell him that; From my sleeves Have I ever wrung Waves of moonlight. |
168
Left (Tie).
須磨の海人の袖に吹こす塩風のなるとはすれど手にもたまらず
| suma no ama no sode ni fukikosu shio kaze no naru to wa suredo te ni mo tamarazu |
Among the Suma fisher-folks’ Sleeves blows The brine-filled tidewind: Well-used to it, yet My hand can hold it not. |
159
Right (Tie).
やすらひに出でける方も白鳥の鳥羽山松のねにのみぞなく
| yasurai ni idekeru kata mo shiratori no tobayama matsu no ne ni nomi zo naku |
Pained with parting and Whence you went unknowing, As a white dove on Toba Mountains’ pine tree Roots am I, constantly crying. |
160