翻刻
東風満地放＿二紅｜霞（○）＿一本是盤中天女｜花（○）一部華厳吾未＿レ読（○）
先知富貴属＿二僧｜家（○）＿一《割書：清人詩不＿レ読＿二華厳｜経＿一不＿レ知＿二仏富貴＿一》
春晩樵詩二首
紅残白謝帯＿二離｜愁（○）＿一九十風光欲＿レ尽｜頭（○）生怕小寒催（●●●●●）＿二暮雨＿一
春衣脱在（●●●●）＿二酒家楼（●●○）＿一
倚遍江楼欄十｜二（○）有＿レ花有＿レ酒恨偏｜多美人命薄才人老（○●●●●●●○）
奈（●）＿二此無情春色（●●●●●）＿一何（○）
読＿レ詩
当年誰復顧＿二周｜道（○）＿一珍重詩人一片｜忠（○）曹檜無＿レ譏真可＿レ怪（○）【恠：怪の異体字】
匪風千古激＿二悲｜風（○）＿一
題＿二赤壁図＿一
人才之出豈徒｜然（○）一出多経＿二五百｜年（○）＿一我就＿二江山＿一徴＿二往｜事（○）＿一
周郎去後有＿二蘇｜仙（○）＿一
蛻岩梁田先｜生（○）一百年忌｜辰（○）玄孫仲容｜君（○）来索＿レ詩（○）
且見＿レ示＿下山陽頼翁追＿二-懐先生＿一詩（○）＿上其推尊至｜矣（○）因次＿二
其韻＿一作＿二二絶＿一
乃文乃武想＿二威｜風（○）＿一気吐青天万丈｜虹（○）空拳揮去誰能｜敵（○）
独歩群雄森列｜中（○）
豪気何曽甘＿二下｜風（○）＿一怪他辛苦賦＿二長｜虹（○）＿一欲（●）＿レ知（●）＿二前哲才華美（●●●●○）＿一
唯在（●●）＿二後人欽慕中（●●●●○）＿一
現代語訳
【浄名院にて牡丹を観る】（前ページより続く題）
東風が地に満ちて紅霞を放ち、
もとより盤の中の天女の花よ。
華厳経の一部を我は未だ読まざるも、
富貴はまず僧家に属すると知る。
《割注：清人の詩に「華厳経を読まずんば、仏の富貴を知らず」とあり》
【春晩の詩二首 樵詩にならいて】
（其一）
紅は残り白は謝して離愁を帯び、
九十日の風光は尽きようとしている。
小寒が暮雨を催すのをひどく恐れ、
春衣は脱いで酒家の楼に在る。
（其二）
江楼の欄干、十二に倚り遍し、
花あり酒あれど恨みは偏に多し。
美人は命薄く、才人は老い、
この無情なる春色を如何ともし難し。
【詩を読む（詩経を読んで）】
当年、誰が再び周の道を顧みたか、
詩人の一片の忠義を珍重せよ。
曹（操）や檜（岳飛を殺した秦檜）を譏らないとは、真に怪しむべきことよ。
「匪風」の篇は千古にわたり悲風を激す。
【赤壁図に題す】
人材の出づること、どうして偶然であろうか、
一人出るごとに多くは五百年を経る。
我は江山に就きて往事を徴すれば、
周郎（周瑜）去った後に蘇仙（蘇東坡）あり。
【蜕岩梁田先生一百年忌辰に、玄孫仲容君が詩を求めに来たり、かつ山陽頼翁が先生を追懐した詩を示してくれた。その推尊は至れり尽くせりである。よって其の韻に次いで二絶を作る】
（其一）
文においても武においても威風を想い、
気は青天に向かって万丈の虹を吐く。
空拳を揮って去って誰が敵し得ようか、
群雄が森と列なる中を独り歩む。
（其二）
豪気はいつとて下風に甘んじたことがあろうか、
他が辛苦して長虹を賦したのも不思議ではない。
前哲の才華の美しさを知らんと欲すれば、
ただ後人の欽慕の中にこそあり。
英語訳
**[Viewing Peonies at Jōmyōin Temple]** (title continued from previous page)
The east wind fills the earth, releasing crimson haze—
These are, in truth, the flowers of heavenly maidens upon a platter.
Though I have yet to read a single volume of the Avatamsaka Sutra,
I know first that wealth and splendor belong to the house of monks.
*(Marginal note: A Qing poet wrote: "Without reading the Avatamsaka Sutra, one cannot know the wealth and splendor of the Buddha.")*
**[Two Late-Spring Poems in the Style of Qiао Shi]**
*(First poem)*
Red blooms spent, white flowers gone, bearing the sorrow of parting—
The ninety days of spring's glory are drawing to a close.
I dread that a slight chill will bring on evening rain,
My spring robe cast off, left in the inn's upper room.
*(Second poem)*
I have leaned against every railing on the river tower, all twelve bays—
Though flowers bloom and wine flows, regret runs deep.
A beauty's life is brief, a man of talent grows old;
What can be done about this heartless spring scene?
**[Reading Poetry (On Reading the Book of Odes)]**
In those years, who again turned to follow the Way of Zhou?
Cherish the single-hearted loyalty of the poet.
That neither Cao [Cao] nor [Qin] Hui were criticized—truly strange!
The ode "Fei Feng" stirs a mournful wind across a thousand ages.
**[Inscription on a Painting of the Red Cliff]**
Does the emergence of great talent come about by mere chance?
Each such person appears after many five-hundred-year spans.
Reflecting on past events through the landscape before me,
After Zhou Yu departed, there came the immortal Su [Dongpo].
**[On the hundredth death anniversary of Master Datsugan Ryōda, his great-great-grandson Chūyō came to request a poem, and also showed me a poem by Rai Sanyo in memory of the Master. His words of veneration were most thorough. I therefore followed his rhyme scheme and composed two quatrains.]**
*(First poem)*
In letters as in arms, I imagine his majestic bearing—
His spirit exhaled a rainbow ten thousand fathoms into the blue sky.
Who could stand against him as he went forth with bare fists raised?
He walked alone amid the ranks of heroes assembled in their multitudes.
*(Second poem)*
His heroic spirit never once resigned itself to a lesser position—
No wonder he labored painstakingly to compose verses of the long rainbow.
If one wishes to know the beauty of that earlier sage's talent and brilliance,
It exists only within the admiration and reverence of those who came after.