first for the discussion of its merits, as being the parent of
romance. To compete with this, that of "Toshikage,"[126] from "The
Empty Wood," was selected by the right. The left now stated their
case, saying, "The bamboo--indeed, its story too--may be an old and
commonly known thing, but the maiden Kakya, in keeping her purity
unsullied in this world, is highly admirable; besides, it was an
occurrence that belongs to a pre-historical period. No ordinary woman
would ever be equal to her, and so this picture has an excellence."
Thereupon the right argued in opposition to this, saying, "The sky,
where the maiden Kakya has gone away, may indeed be high, but it is
beyond human reach, so we may put it aside. When she made her
appearance in this world she was, after all, a creature of bamboo;
and, indeed, we may consider her even lower than ourselves. It may
also be true that she threw a bright radiance over the inside of a
cottage, but she never shone in the august society of a palace.
Abe-no-oshi's[127] spending millions of money in order to get the
so-called fire-proof rat, which, when obtained, was consumed in the
flames in a moment, is simply ridiculous. Prince Kuramochi's[128]
pretended jewel branch was simply a delusion. Besides, this picture is
by Kose-no-Omi, with notes[129] by Tsurayuki. These are not very
uncommon. The paper is Kamiya, only covered with Chinese satin. The
outer cover is reddish purple, and the centre stick is purple
Azedarach. These are very common ornaments. Now Toshikage, though he
had undergone a severe trial from the raging storm, and had been
carried to a strange country, arrived at length at the country to
which he was originally despatched, and from there returned to his
native land, having achieved his object, and having made his ability
recognized both at home and abroad. This picture is the life of this
man, and it represents many scenes, not only of his country but of
foreign ones, which cannot fail to be interesting. We therefore dare
to place this one above the other in merit."

The ground of this picture was thick white tinted paper, the outer
cover was green, and the centre stick jade. The picture was by
Tsunenori, and the writing by Michikage. It was in the highest taste
of the period.

The left made no more protestation against the right.

Next the romance of Ise by the left, and that of Shio-Sammi by the
right, were brought into competition. Here again the relative merit
was v