The Right state: the final section of the Left’s poem is difficult to grasp. The Left state: the Right’s poem has no faults to mention.
In judgement: the Left’s ‘sleeping all alone how deep this night is…’ (maro ga marone mo yobukaki mono o) does not sound as if it links with the initial section of the poem. ‘Alone’ (maro) is also unacceptable. The Right’s ‘to lend me an over-mantle’ (mi no shirogoromo) sounds elegant. I make it the winner.
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 state: the Left’s poem has no faults we can mention. The Gentlemen of the Left state: our feelings are the same as those of the Right
In judgement: both Left and Right are on ‘crickets’ (kirigirisu) and their configuration and diction sound equally elegantly beautiful. I feel that the Right, with ‘deep in dew and sad, I wish you were’ (tsuyu fukaki aware o omoe), is somewhat lacking in the conception of the poet’s own love, but the Left, with ‘I alone am wringing out my sleeves, I feel’ (ware nomi shiboru sode ka to omou ni), has an excellent conception of love, so I must state that the Left is the winner.
The Gentlemen of the Right: the Left’s poem has no faults to mention. The Gentlemen of the Left state: we wonder about the appropriateness of ‘dewfall damps down’ (tsuyu ni wa moenu).
In judgement: the Left’s poem has been stated to be without fault by the gentlemen present. In the Right’s poem, I wonder if saying, ‘dewfall damps down’ is meaning nothing burns in autumn? On the matter of using the term ‘summer insects’ (natsumushi) to refer to fireflies, I do wonder whether it is appropriate to imply with one’s composition that there are no such insects in autumn. Although in the Collection of Poems to Sing Aloud, fireflies occur in the Summer section, among the same collection’s Chinese poems there is ‘in the dark before dawn innumerable fireflies start from the autumn grasses’. Furthermore, in Pan Anren’s ‘Rhapsody on Autumn Inspirations’ he says, ‘Glittering fireflies shine by the palace gate, and crickets sing from the eaves of the fence’. Even though there are countless cases of Autumn fireflies, how can one have composed suggesting that there are not? Thus, the Left wins.
Left and Right together: we find no faults to mention.
In judgement: it would be impossible to ever exhaust the overtones of feeling in ‘a stag belling in the meadow on an autumn evening’ (shika naku nobe no aki no yūgure) in the Left’s poem; in the Right’s poem the configuration and conception of ‘awaiting him, my sleeves, too, are wet with tears’ (hito matsu sode mo namida sou nari) is richly evocative. I find it extremely hard to put both poems down, so this round, again, is a tie of quality.
The Gentlemen of the Right state: the Left’s poem has no faults to mention. The Gentlemen of the Left state: the intial part of the Right’s poem is derived from an old poem, and so does the end!
In judgement: I wonder whether the cogon-grass (asajū), mentioned initially, is as clearly conceived as the ‘lawn’ (michishiba) mentioned at the end? The Right’s poem refers to ‘So full are my thoughts, what am I to do? With the autumn wind’, but reverses the beginning and end of that poem; it is extremely old-fashioned in style, but pleasant as it is plainly intended to be understood as a variant of its model. Thus, the Right wins over the combination of ‘cogon-grass’ and ‘lawn’.
The Right state: the Left’s poem has no faults to indicate. The Left state: in the Later Collection of Gleanings there is a poem about Ibuki, which uses ‘burst into flame’ (moyu). We wonder about the suitability of using ‘burst into flame’ without also using Ibuki. The Right, in response: older poems used ‘burst entirely into flame’ (sashimoyu), and this composition is the same.
In judgement: I am not accustomed to hearing ‘the depths of my heart are silver grass’ (kokoro no soko no kaya) as in the Left’s poem. The image in the Right’s poem of moxa not completely covered with dew bursting into flame seems rather overblown. The strengths and weaknesses of the two poems are unclear, so the round should tie.