後撰和歌集　巻第十　恋二

恋二] 恋歌二（行）

601

女のもとにはじめてつかはしける

Sent to a woman for the first time

藤原忠房朝臣

Lord Fujiwara no Tadafusa

人を見て　思ふおもひも　ある物を　そらにこふるぞ　はかなかりける

Seeing the person / the thoughts I think / are there, and yet / empty longing / is transient.

おもひも] おもひは（八*）
こふるぞ] こふるは（八*）
はかなかりける] はかなかりけり（八*)

人を見て: This may mean catching a glimpse of the woman (as is common in monogatari), or it may refer to the couple spending a night together.

--

Tadafusa has either spent one night with the woman or just glimpsed her -- he has those memories, but even so his current position, where he has to long for her with no hope of meeting, is difficult to tolerate. Kifune sees a series of wordplays that conceal a phrase 陽もあるものを、空に...降る.

Other sources:

新撰万葉集４５４. Second line 思ふことだに.
寛平后宮歌合１６１, anonymous. Second line 思ふことだに. Kudo thinks that this is a separate poem drawn on by Tadafusa, perhaps because Tadafusa may have been too young to participate in this poetry competition (although his birth year is uncertain).

602

壬生忠岑

Mibu no Tadamine

ひとりのみ　おもへばくるし　如何して　おなじ心に　人ををゝしへむ

It hurts me to think alone. (1-2) / how can I / teach you the same heart (4-5)?

おもへば] おもふは（ハイ・標・新）

如何して: Every other text reads いかにして, so it's likely that Teika intended 如何 to be read as いかに. いかにして....む is "How can I..." or perhaps "I want somehow to..."

--

The prose prefaces in the Tadamine Collection version of this poem give a different possible context; with the context carried over from the previous poem it sounds like Tadamine has only seen or heard of the woman and is now sending a message for the first time. It was common in such introductory letters to already be talking of how much you were burning with love for the other person.

Perhaps this is based on the anonymous KKS 541:

よそにして恋ふればくるし入れ紐の同じ心にいざむすびてむ

It hurts me to long for you from afar. Let's pledge our love and be together like beads on a string.

Other sources:

古今和歌六帖２６３０・あひおもはぬ. Also ２１３８・ざふの思ひ. First line ひとすれず (only in 2138).
忠岑集１５７. Prose preface ある女の、いみじう本意なくはべりしかば(IV) or ある女のいみじう心つよくはべりしかば(II).

603

紀友則

Ki no Tomonori

わが心　いつならひてか　見ぬ人を　思ひ・やりつつゝ　こひしかるらん覧

My heart / when did it become used to / sending my thoughts to (4) / and longing for (3) / a person I have not seen?

見ぬ人を] 見ぬ人の（雲・坊・新イ）

--

Another "first contact" poem, telling the woman how much he has been thinking of her despite not having met.

Other sources:

古今和歌六帖２５３２・しらぬ人・友則. Third line 見ぬ人の.
友則集３８. Second and third lines いつにならひて　見ぬ人の.

604

まだ年わかかゝりける女につかはしける

Sent to a girl who was still young

源中正

Minamoto no Nakatada

葉をわかみ　ほにこそいでね　花すすゝき　したの心に　むすばざらめや

The leaves are young, and so / the flower has not appeared / the susuki / how can we not tie together (5) / the underlying thought? (4)

葉をわかみ: The を...み structure means が....ので.

ほにこそいでね: This either refers to the woman who has not yet come of age, or to the man, whose feelings are not yet made known.

したの心: This suggests both the bottom part of the plant as well as the author's intentions.

--

This sort of poem could be sent to a girl's parents as part of a politically arranged marriage. However, it may also be that the girl is not actually below marriageable age but just much younger than the author (on the other hand, the Tale of Genji reminds us that a man could take a romantic interest in a very young girl...)

605

人をいひはじめむとて

He talked to her for the first time

兼覧王

Prince Kanemi

あしひきの　山したしげく　はふくずの　尋ねてこふる　我としらずや

[the foot dragging] / bottom of the mountain, profuse / with crawling kudzu vine / [like that] I seek for you longing / do you not know me?

山したしげく] 山したしげみ（荒・片・新イ）
我としらずや] 我としらなむ（堀・坊・新イ）

あしひきの: A pillow word for 山.

はふくずの: The first three lines are a preface for 尋ぬ, because the vines grow profusely and seek out every place to expand.

--

Kigin suggests that this is a 有心序, where the blindly growing vines represent the poet who is seeking after the woman despite not having any letter or communication from her, and perhaps also the way he is drawn to her. Kifune notes that the はふくず was a symbol of love in the MYS as well, and praises this poem's beautiful sound and evocative scenery.

Other sources:

古今和歌六帖３６６０・くず・兼覧
新時代別歌合３９・兼覧王. Fourth line うらみてこふる.

606

忠房朝臣

Lord Tadafusa

(no preface)] いとしのびたる人を月日へていひ侍りて（堀・雲・新イ）、年月をへて忍びていひ侍る人に（中・荒・片・承・慶・坊・ハイ・新イ）

かくれぬに　忍び・わびぬる　わが身かな哉　ゐでのかはづと　成り・やしなまし

In a hidden marsh / lamenting secretly / that is my body! / Shall I become (5) / a frog in Ide? (4)

忍びわびぬる] 忍びかねぬる（荒・片*)
かはづと] かはづに（堀）

かくれぬに: 隠れ沼; this is a deep marsh that is hidden under thick plants and reeds. It may act as a pillow word for 忍ぶ.

ゐで: A place in Yamashiro, but here it is simply used for its association with frogs.

--

The poet compares his laments to a croaking frog, which fits with the "marsh" of the beginning. As you can see from the collation notes, most texts of this poem have a prose preface rather than continuing the previous one. If we take the base text as given, the poet is lamenting in secret because the woman does not yet know of his love. The prefaces make the situation more explicit (that he has been in love with her for a long time).

Other source:

五代歌枕　歌枕名寄

607

女の曹司ざうしに、夜々よる／＼たちよりつつゝ、物などいひてのち

He came to her room every night and they talked, afterwards:

いひてのち] のたうひのち（行）、いふついでに（荒・片・慶・新イ）
などいひてのち] の給ひなどしてのついでに（堀・雲）、もうしてのついでに（新イ）

藤原輔文

Fujiwara no Sukefumi

輔文] すけもと（堀・雲・慶・新イ）、すけむと（中）、すけふさ（白）、輔仁（荒・片）、すけのぶ（片イ）、源助元（新イ）、一本輔仁（定本勘物）

あぶくまの　きりとはなしに　終夜(よもすがら)　立ち・渡り・つつゝ　世をもふるかな哉

I am not the mist of Abukuma (1-2) / but all through the night / I stand and cross / passing the time!

終夜] ふよのよを（荒・片*）

藤原輔文: No information is available on this person. As you can see from the collation notes, the name varies widely in different manuscripts. This poem is not found in any contemporary source, making it impossible to tell who the author is.

あぶくま

This is a river in Michinokuni; the image here presumably comes from KKS 1087, labelled a "Michinokuni poem":

あぶくまの霧たちくもり明けぬともきみをばやらじ待てばすべなし

The mist from the Abukuma river rises and covers all, even after morning dawns, I will not let you leave -- I'm tired of waiting for you.

Katagiri points out that many non-Teika manuscripts of the KKS read 霧たちわたり, making the connection between the two poems even stronger.

終夜: Most texts read よもすがら in kana, and this reading of the 終夜 kanji is confirmed by the 類聚名義抄. Perhaps the variant reading of ふゆのよを comes from a misreading or miscopying of 終 as 冬.

立ち渡りつつ: This evokes both the mist rising off the river, and the poet standing by her room.

--

The "talking" in the prose preface is probably to be taken literally; the woman has allowed him near enough to talk directly with her (rather than through gentlewomen) but still has not let him in. He draws on the famous KKS poem, evoking the night mist as a symbol of his frustrated romantic hopes.

Other sources:

歌枕名寄

608

文ふみつかはせども、返事もせざりける女のもとにつかはしける

This was sent to a woman who he sent a letter to, but there was no response.

よみ人しらず

Poet unknown

あやしくも　いとふにはゆる　心かな哉　いかにしてかは　思ひ・やむべき

Strangley / through hate it grows stronger / my heart! / How can I possibly / stop these thoughts?

いとふにはゆる: The person's love gets stronger despite the hate. This phrase occurs in other poems, but it's not clear whether there's a specific reference to those poems or whether this had just become a saying.

はゆる] こふる（承）
思ひやむ] 思ひたゆ（荒・片・新イ）

--

"The paradox of a one-sided love," per Kifune. The poet is asking the woman to show some pity on him. As can be seen below, this poem (with a different fifth line) also appears in the *Shui wakashu*, and in this form it was included in Teika's *Hachidaisho* collection of good poems.

Other sources:

拾遺和歌集９９６・題しらず. Fifth line 思ひたゆべき.
定家八代抄. Fifth line 思ひたゆべき
源氏物語注・早蕨

609

くにもちが音をとせざりければつかはしける

をと] をとも（行・中・荒・片・堀・雲・八・標・新・全）

There was no word from [Fujiwara no] Kunimochi, so she sent this.

本院右京

Hon'in no Ukyo

本院右京] 本院右大臣（堀*)

ともかくも　いふ事のはの　見えぬかな哉　いづらはつゆの　かかゝり所は

In any case / words you have said / I do not see! / Where shall the dew / find a place to rest?

いふ事] いと事（堀）
かかり] かたり（堀*)

--

The image of the dew may represent the poet herself, in which case it stands for her ephemeral life due to Kunimochi's lack of response, and wondering if she'll be able to rest with him. Or, it may be Kunimochi himself, whose heart is as changeable as the dew -- in this reading she is wondering which woman Kunomichi is staying with right now (Kifune takes this reading). The response poem in the *Nakabumi-shu* seems to take the first interpretation.

Other sources:

仲文集４９. Prose preface 男、音せざりければ、左京. Response poem: あだならぬ心にかかるつゆなればいはでぞおもふおきてこしより

610

題しらず

Circumstance unknown

橘敏仲

敏仲]　俊仲（雲・慶・新イ）、としき（荒・片*）

Tachibana no Toshinaka

わび人の　そほづてふなる　涙河　おりたちてこそ　ぬれ渡り・けれ

そほづてふ] そほづといふ（堀）
渡りけれ] 渡りつれ（堀*)

The river of tears (3) / I hear is sodden by (2) / suffering people (1) / I will get myself in there / and cross, getting wet.

そほづ: Some sources read そぼつ instead. The idea is that the river of tears is created by the tears of the suffering people.

おりたちて: This creates a place on alighting and entering the river, as well as doing something fully or with vigor.

--

Although there is no preface, the imagery may suggest that the two have not yet met. Perhaps she has rebuffed his advances, and so he decides that he is going to continue to long for her despite the suffering it will bring. KKS 617 has similar imagery.

Other sources:

五代歌枕
源氏物語注・真木柱

611

返し

Response

大輔

Taifu

ふちせとも　心もしらず　涙河　おりやたつべき　そでのぬるるゝに

Whether deep or shallow / You do not know the heart: / the river of tears / should you get in / and wet your sleeves?

ふちせとも] ふちもせも（坊）、ふちせとは（承）
しらず] しらで（荒・片・堀・雲・白）
たつべき] たたまじ（荒・片）

心: This refers both to the bottom of the river and the heart of the poet.

--

The translation above follows the majority interpretation of the poem: Taifu turns away Toshinaka's love declaration. It can't be serious since he doesn't even know how she feels about him. Kigin offers a reverse interpretation: "I don't know whether your heart is deep or shallow, so should I get in the river with you?" (i.e. should we meet?)

Other sources:

五代歌枕

612

(poem added on pasted slip in 堀)

又

Again

とし中

Toshinaka

とし中] としき（荒）、としとき（片*)

心みに　猶おりたたゝむ　なみだがは　うれしきせにも　流れ・あふやと

To try it out / I will indeed get in / the river of tears, / I may perhaps meet (5) / shoals of happiness (4).

せ: This 瀬 (shallows) may also suggest the 会ふ瀬 (opportunity of meeting).

--

Toshinaka ignores Taifu's teasing and once again declares his love for her and his willingness to try a relationship. Kokin Waka Rokujo 1570 has similar imagery:

いのりつつたのみぞわたるはつせ川うれしきせにもながれあふやと

While praying I try to cross the Hatsuse River, perhaps I will meet shoals of happiness.

Other sources:

五代歌枕
源氏物語注・早蕨

613

わざとにはあらで、時々物いひふれ侍りける女の、心にもあらで、人にさそはれてまかりにければ、とのひ物にかきつけて、つかはしける

A woman he exchanged words with every so often, not seriously, against her intention, was invited away by another person, and [he] wrote this on night clothes, and sent it.

人に] こと人に（中・荒・片・堀・雲・白・慶・承・新イ）

藤原敦忠朝臣

Lord Fujiwara no Atsutada

かかゝりける　人の心を　しらつゆの　おをける物とも　たのみけるかな哉

Like this / your heart / the white dew / I trusted (5) / the left behind item (4).

人の] きみが（片イ）
物とも] 物とは（堀）

わざと: This could mean "officially" (an official wife), or without serious intention.

かかりける: "Just like this", but also plays on かかる for the dew laying on something.

しらつゆの: This suggests 知らず (I don't understand your heart) but also a pivot to the おける物 (something left behind, or dew lying on top of something).

--

This poem uses a complex set of wordplays on words associated with dew, a transient image often used in love poetry. The situation would seem to be that Atsutada comes across a piece of clothing that they slept under and sends it to her with this poem attached to it. Nakayama's interpretation is that he didn't know her heart and thought she left this piece of clothing behind intending to return, but now their relationship has vanished like the dew.

Kifune has a different interpretation, taking the いひふれ of the prose preface to mean that they have not actually slept together. In that case he may be sending the clothing to her as a kind of celebratory gift after she has left the capital with her new lover, and he includes the lamenting poem. Kifune also reads 604-613 as a string of related poems about a love affair.

Other sources:

敦忠集１４４. Lines 4 and 5: おもふ物とも思ひけるかな

614

逢あひしりて侍り・ける女を、久ひさしう問とはず侍り・ければ、「いといたうなむわび侍・る」と人の告つげ侍り・ければ

A woman he met and knew, he did not visit for a long time, and someone told him "she is extremely sad"

藤原顕忠朝臣

Fujiwara no Akitada

藤原顕忠朝臣] ナシ（荒）、藤原あつただ（新イ）
Teika's note: 富小路右大臣　本院大臣二男

鶯の　雲井わびて　なくこゑを　春のさがとぞ　我はききゝつる

The warbler / lamenting in the clouds / [its] crying voice / I heard as (5) / the nature of spring (4).

わびて]　なきて（承）
さがとぞ] さかひを（堀）
ききつる] ききける（坊・慶・承・新イ）

さが: This word is generally interpreted to mean the natural state of something, but Kifune interprets it to mean "a bad characteristic". The phrase 春のさが is also found in Poem 66; Kifune noted in that poem that this phrase is not found in other poetry collections. Perhaps it was considered too casual.

--

Akitada's poem uses the warbler as a metaphor for the woman -- Nakayama points out that warblers generally do not cry "above the clouds" but it fits with the metaphor. It also provides a convenient link to the next poem. The surface meaning is that he wasn't paying special attention to the warbler because they are always crying in spring so it wasn't anything special. Akitada is perhaps using this to suggest that the woman's lamenting is insincere; perhaps that she shouldn't be complaining to him because she's seeing other men.

Other sources:

和歌一字抄. Fifth line 我はききつる
袋草子. Fifth line 我はききけり

615

文ふみかよはしける女の、こと人に逢あひぬと聞ききゝてつかはしける

He heard that a woman he had exchanged letters with had taken up with another man, and sent this.

平時望朝臣

Taira no Tokimochi

平時望朝臣] 藤原時光（新イ）
Teika's note: 権中納言　承平七年任　天慶元年薨

かくばかり許　常なき世とは　しりながら　人をはるかに　何たのみけん

Just like this / an impermanent world / I knew it to be, and yet / on you, so far / why did I put my trust?

世: This carries the subtext of relations between men and women.

はるか: The "far away" denotes both the future of their relationship, as well as the "far" distance of his letters.

常なき] つれなき（堀）
何] など（堀・荒・片*)

--

"I knew that relations between men and women are always fleeting, so why did I put my trust in us having a long relationship?" That may seem like a rather overblown statement for someone that the poet was only exchanging letters with, but taking this kind of posture was common in love poem exchanges.

616

男おとこの来こざりければ、つかはしける

A man was not visiting, so she sent this

こまちがあね

Komachi's older sister

あね] いとこ（中・片イ・堀・雲・白・坊・慶・八イ・新イ）

わがかゝどの　ひとむらすすき　かりかはん　君がてなれの　こまもこぬかな哉

From my house / the bunch of pampas grass / cut and given for food / to your familiar / horse -- even that horse does not come!

かど] やど（白・新イ）
かはん] かへん（堀*）
てなれの] てなれし（片）
こぬかな] みなくに（堀*), こぬかと（雲）

--

This poem is one long modifier for "horse" in the final line. Kifune notes the bitterness present in the poem that avoids mention of the man completely, and only paints the picture of his horse that is fed (presumably by the servants). Kigin says that there is "meaning" in the も of the final line but does not further explain; perhaps the idea is that she would like to see the friendly horse even if he's not going to show up.

The Tale of Genji may draw on this poem in the "Momiji no Ga" chapter, when the old Gen no Naishi reads this poem to Genji:

君し来ば手慣れの駒に刈り飼はむさかり過ぎたる下葉なりとも

If you should visit, I will cut grass to feed your horse, though the bottom leaves have passed their prime.

Other sources:

新撰和歌３２２

617

題しらず

Circumstance unknown

枇杷右大臣　 Biwa Minister of the Right [Fujiwara no Nakahara]

世を海の　あわはときえぬる　身にしあれば　怨む・る事ぞ　かずなかりける

The world, like the sea's / froth has disappeared / like that is my body / my grudges / cannot be counted.

きえぬる] きえにし（堀・承）
身に] われ（雲・慶・新イ）
怨むる] うらみる（白）
事ぞ] 事も（荒・片）
かずなかりける] かひなかりける（堀）

世を海: This suggests 世 (the relations of men and women)を憂.

--

The poem draws a parallel between the disappearing foam on the sea, and uses that as a symbol of the poet dying due to his unrequited love. The last two lines mean that like the bubbles/foam in the water, his resentment of Ise is unlimited.

This poem appears in the Ise Collection as part of a sequence of exchanges with long, poem-tale like prose prefaces. Poems 3 and 4 in the collection are 458 and 459 in book 8 of the GSS. Kifune criticizes this arrangement, presumably seeing it as a later compilation of exchanges between the two into one story. Kigin's reading of the poem follows the context given in the Collection, seeing the "disappearing" as Nakahara going down to Yamato and leaving Ise.

Other sources:

伊勢集５. Third line あわときえにし（II, III), あわとうきたる(I). Fifth line かずまさりける(III). See notes above.

618

返し

Response

伊勢

Ise

わたつみと　たのめし事も　あせぬれば　我ぞわが身の　うらはうらむる

If the words I trusted (2) / as (deep as) the wide sea (1) / have grown shallow / then I myself, my own body / will hold a grudge for.

事: This could either be 言(words) or 事(thing), or perhaps a play on both meanings.

うら: This suggests 浦 for association with わたつみ; it may be 裏 for the hidden parts of the self, or simply suggesting the う of 憂し.

わたつみ] わたつうみ（中）
事も] 事の（中・片イ・堀・雲・承・新イ・標イ）
あせぬれば] あれぬれば（片イ）、あけぬれば（標イ）
わが身のうらはうらむる]　わがみのうらをたれかみるべき（片イ、坊）、わがみをうらとたれかみるべき（雲・慶・新イ）

--

The intent of the poem seems to be that if Nakahira has abandoned her, she has given up on him and can't even bother hating him -- all she can do is hate herself for trusting him. The poem picks up on the marine imagery of Nahakira's poem and uses the normal rhetorical strategy of turning back the complaints of the initial poem. Kifune considers the poem very effective because the center of the poem is Ise's feelings rather than wordplay. Finally, Nakayama offers an alternate reading of the poem where Nakahira is writing about the hatred of the world towards him, rather than Ise [put more detail in].

Other source

伊勢集６ (see comment on previous poem). Fifth line: うらをうらむる(II, III).

619

人のもとにつかはしける

Sent to a person.

源ひとしの朝臣

Lord Minamoto no Hitoshi

Teika's note: 等 (i.e. the kanji for Hitoshi).

あづま地の　さののふな橋　かけてのみ　思ひ渡るを　しる人のなさ

In the east / the fishing bridge of Sano / as it spans, so my heart alone / what it thinks / there is no one who knows.

しる人のなさ] 知る人のなき（中*、貞、片イ、堀イ、坊、承、八、標、新）

あづま地: A general word for the east.

さののふな橋: A bridge in Sano province, apparently -- the first two lines are a preface for かけて, which puns on the spanning bridge but also 心をかける. As the MYS poem below indicates, this is read unvoiced as ふなはし.

--

The image of the Sano bridge appears in MYS 3420: 可美都気努（カミツケノ）　佐野乃布奈波之（サノノフナハシ）　登里波奈之（トリハナシ）　於也波左久礼騰（オヤハサクレド）　和波左可流賀倍（ワハサカルガヘ）. Kudo felt that the poem combines imagery from two KKS poems (538 and 593). In any case, the poem uses the preface to lead into a declaration that the woman is refusing to acknowledge Hitoshi's love.

As can be seen from the "other sources" below, this poem was favored by Teika and included in several of his selections of good poetry.

Other sources:

深養集４９
時代不同歌合１２５
近代秀歌　詠歌大概　定家八代抄　八代秀歌
五代歌枕　歌枕名寄

620

ひとにつかはしける

Sent to a person.

ひとにつかはしける] ナシ（堀・坊）

紀長谷雄朝臣

Lord Ki no Haseo

ふしてぬる　夢地にだにも　あはぬ身は　猶あさましき　うつつゝとぞ思ふ・

Even on the road of dreams (2) / when I lay down and sleep (1) / We do not meet / and indeed it is disappointing / thinking of reality.

夢地] 夢（雲）
思ふ] みる（堀*・荒・片）

--

The poet sees the road of dreams, where he should meet his lover, as just as disappointing and empty as the reality of waking (where he also cannot meet). This is based on the common idea that one could meet their lover in dreams.

Other sources:

別体和漢兼作集１４

621

女につかはしける

Sent to a woman

よみ人しらず

Poet unknown

あまのとを　あけぬあけぬ／＼と　いひなして　そらなきしつる　鳥のこゑかな哉

"The gate of heaven / is opening, it's dawning" / it made to say / the uselessly crying / voice of the bird!

あまのとを] あまのとの（雲）

--

This is a "next morning" poem sent to a woman -- the man is claiming that the rooster cried out to announce the dawn too early, tricking the man into returning home sooner than he had to.

The Ogisho and many commentaries after it link the poem to a Chinese legend of Lord Mengchang (孟嘗君) from the Shi Ji. Mengchang was fleeing from enemies and had one of his retinue imitate a rooster call so that the gatekeepers would open a gate, thinking it was dawn. Kifune also mentions the legend of Amaterasu being tricked into coming out of her cave. But it's hard to say whether these were in the poet's mind, considering that the cry of the rooster is more or less literal in this case.

Other sources:

元良親王集１２３, part of an exchange sequence.
宝物集　奥儀抄　和歌色葉集　色葉和難集

622

終夜　ぬれてわびつる　唐衣　相坂山に　みちまどひして

Through the night / sodden from my travail / the Chinese robe / at Osaka Mountain / I have lost my way.

わびつる]　わびぬる（堀・雲）
まどひして] まどはして（荒・片）

終夜: よもすがら (from other manuscripts)

唐衣: Technically Chinese robes, but just used as a poetic word for clothing.

相坂山: This plays on 逢ふ (meet), so the 4th and 5th lines are simply "I cannot meet you."

--

The metaphorical meaning of the poem is that the poet cannot meet their lover, so they cry into their robes every night.

Kifune suggests 619-622 read as one exchange sequence.

623

男おとこにつかはしける

Sent to a man.

(71v) おもへども　あやなしとのみ　いはるれば　よるの錦の　心ちこそすれ

Though I think of you / "useless!" is all / I get from you, / so like a brocade by night / is my feeling.

いはるれば] いふめれば（堀）、いふなれば（聞書、新イ）

あやなし: This is what the lover is saying in response to the poet's declarations of love. Here the word also links with 錦 due to あや meaning a woven pattern.

いはるれば: 言はるれば. This is the passive る in RT form.

よるの錦: This image, also found in KKS 297, is perhaps based on a story from Chinese histories (for instance, in the 項羽本紀| from the 史記), which says that becoming rich and not returning to your hometown to show off is like wearing a brilliantly embroidered robe and walking around at night. 「夜錦は買臣が事也」（八代集抄）See also poem 404.

心ち

--

Kifune sees this poem as a rare challenging poem by a woman, cloaking strong condemnation in a casual tone. However, the tone could be taken as either resigned to her fate, or angry. She is probably deliberately calling on the imagery from Tsurayuki's KKS 297.

「思へども無益とのみいはるれば、深き思ひのかひもなしといはんとて、夜錦の心地するとなり」（八代集抄）「かくばかり思へども、わけのわからぬやうにのみのたまへば、思ふかひもなきここちし侍りて、せん方なき事ぞとなり」（新抄）

Other Sources:

色葉和難集, v8 (あやなし)「これは無益の心にや。むやくははかなしといふなり。」

624

(added on a pasted slip marked イ本) （堀）

女のもとにつかはしける

Sent to a woman

おをとにのみ　ききゝこし三わの　山よりも　すぎのかずをば　我ぞ見えにし

Even more than the mountain (3) / of Miwa, which I have heard (2) / only in rumor (1), / even more cedars than that / have I seen.

山よりも] かけなれよりも（堀）、山よりは（雲）
見えにし] みふにし（堀）、みえまし（ハ*)
我ぞ見えにし] われりみへまし（片）、我ぞみえぬる（雲）

ききこし: The こす here works like きた in modern Japanese (i.e. 聞いてきた)

三わの山

すぎ: 杉. Older commentaries say this represents the thoughts of the poet (「おもふしるしなり」（聞書）.「我おもふしるしの懇意の数を我見せんと也」（八代集抄の或抄）). Starting with Nakayama, commentators recognize a play on 好き. Nakayama himself admits that he cannot think of another poem where this play on words occurs. Norinaga was confused (「この歌、杉の数と云ふ事きこえがたし」（加藤疑問）). Kifune agrees with Nakayama. Kudo suggests a play on 過ぎ instead, representing the number of times the person has visited. Katagiri does not mention any specific wordplay but interprets it as the number of visits to the person's house.

見えにし: みゆ + に (completion RY) + し (past tense). みゆ has a range of meanings: Nakayama and Kifune take it to mean "show" (「君に見せつるといふ意」（新抄）), while Kudo and Katagiri take it as "I have seen" (見られた).

--

The imagery from the poem seems to derive from KKS 982:「わがいほはみわの山もとこひしくはとぶらひきませすぎたてるかど」. But as the notes above show, the interpretation of the poem varies quite a bit based on how exactly the wordplay is interpreted, and what みゆ means in the last line. I am most sympathetic to Kudo's reading: since the woman has not invited him in, the man has passed by her house so many times that he's seen more of those passings (過ぎ) than the large number of cedar trees (杉) on famous Miwa Mountain.

Other Sources:

五代歌枕

625

「おをのれを思ひ・へだてたる心あり」といへる女の返事につかはしける

"[You] have an unpleasant feeling towards me" said a woman, and he sent this as a response.

兼輔朝臣

Lord Kanesuke

なにはがた　かりつむあしの　あしづつゝの　ひとへも君を　我やへだつる

At Naniwa bay / they reap and collect the reeds / like the inside of those reeds / even a small amount, how could I feel unpleasant towards you? (4-5)

あしつつの] あしつつも（荒・片）
ひとへも] ひとよも（承）
君を] 君に（堀*・荒・片・奥）

なにはがた: 「津の国の難波江の潟なり。その江には葦の多くあるなり」（色葉和難集）.

あしづつの: The first three lines are a preface for ひとへ. According to the Ogisho, the term あしづつ refers to a thin paper like substance on the inside of a reed, which allows it to act as a preface for ひとへ because this can mean 一重 (a single layer of clothing) or ひとへも (not at all).「葦づつとはあしの節のなかにうすやうのやうにてある皮なり、よくうすきものなり。さればあしづつばかりの隔てもわが心にはなしとよめりなり」（奥儀抄）. Teika echoes this in the Hekiansho. But there has also been doubt about the exact meaning and use of the term; the Shuchushou mentions other texts that read ひとよ instead, which would create a play on 節（よ）, the joint of the reed. Kudo notes that the pillow word あしづづの normally connects to ひとへ, and a search of the 新編国歌大観 confirms this (薄し is another common connection). Of course many of these examples are contemporary with or postdate the Ogisho. This seems to be the only use of あしづづの in the Imperial collections, and the phrase does not appear in the MYS.

我やへだつる: The や here is a 反語.

--

The poem is direct in expression, and uses the preface to set up the rejection of the woman's complaint.「流麗繊細な序」（全釈）

Other Sources:

兼輔集III. Prose preface へたてたるところありと、うらみけるをんなに. Third line ふししげみ. Fourth line ひとよもきみを.
兼輔集IV. Prose preface おんなのもとに、おもひへたてたることゝうらみたるに.
奥儀抄　袖中抄　色葉和歌集　色葉和難集
五代歌枕　歌枕名寄

626

遠とをき所にまかりける道みちより、やむごとなきことによりて京へ人つかはしけるついでに、文ふみのはしにかきつけ侍り・ける

Along the road to a far place, due to an urgent piece of business, he had to send someone back to the capital, and using that opportunity, he wrote this on the margin of a letter.

よみ人しらず

Poet unknown

わがごとや　君もこふらん　白露の　おをきてもねても　そでぞかわはかぬ

Just like I [long for you] / do you also long [for me]? / The white dew / settles, waking or sleeping / my sleeves are not dry.

わがごと] わがやど（堀）、わのごと（坊）
そでぞ] そぜの（中・貞・堀・荒・片・承・坊・八イ・標イ・新イ）
そでぞかはかぬ] きえかへりつつ（雲・慶・新イ）

わがごと: ごと here is 如く.

やむごとなきことによりて: やむごとなし here means "unavoidable" or "urgent", a business which has the poet send a messenger to the capital. 「えやむまじき事にて又京へ人をかえしやりし也」（八代集抄）

白露の: This acts as a pillow word for 起きて, because of 置く (the dew "laying"). At the same time it acts as a metaphor for the tears the poet is shedding. Nakayama seems to deny the connection with the tears: 「三の句は、おきてといはん料のみにて、さて末の句は、その縁の詞なり」（新抄）. The 白 may also suggest 知ら(ぬ); Kifune supports this reading and Nakayama denies it.

--

The story here seems to be that a man is obliged to go down to the provinces; perhaps he has been given a position as a provincial governor. This was always an occasion of sorrow in leaving one's lover in the capital. The man had to send a messenger back for some kind of official business, and he took that opportunity to write a letter to his wife or lover, including this poem in the margin. The wordplay and the imagery is standard, but the interest of the imagined story accentuates the pedestrian language, and the directness of the first two lines shows the poet's feeling.

627

(72r) あひしりて侍ける人のもとよりひさしくとはず\して、「いかにぞ、またいきたりや」とたはぶれて侍ければ

From someone she had been seeing, who had not visited in a long time, she got the joking message "How are you, are you still living?"

つらくとも　あらんとぞ思　よそにても　人やけぬると　きかまほしさに

Though you hurt me / I think I want to live. / Even from afar / I want to ask you (5) / "Have you disappeared?" (4)

(In the base text, the し of the fifth line is connected to the last stroke of ほ, and さに squeezed in beside it)
あらん] へなむ（堀・雲）
よそにても] よそながら(よそ見にもイ)（承）
人やけぬる] 人やいける（雲）
きかまほしさに] きかんとおもへば（堀*・雲・荒・片）

つらく: 「つれなくても、薄情であっても、の意」（新体系）

よそにても: See poems 535 and 585 for other uses.

けぬる: The use of the 連体形 is for 係り結び with the や.

--

This exchange offers a rare use of humor in a love exchange. It is quite common in Heian love poetry to suggest that the pains of love, or that a lover's behavior, will cause the death of the poet. In this case the poet rejects the idea of dying; she wants to live longer than the man so she can ask him if he has died. This comic reading is mentioned by both Kigin and Kudo.「我を生きたりや死なずやと戯れいへるに、又云返す心也」（八代集抄）. Kifune suggests that the joke is perhaps an attempt to restart the relationship「男の冗談は、ごぶさたの照れ隠し」（全釈）.

This poem is similar to one included in some manuscripts of the 伊勢集 (poem 250 in II and III of the 私家集大成): 露ながらへなんとそ思ふよそにてもひとよけぬるときかんと思へは, although without any prose preface. Katagiri prefers this version because the first line provides a better lead-in to the 消ぬる through association. As can be seen from the textual variants above, this poem seems to have existed in a number of versions. All of them rely on the same idea -- the first two lines of the poem sound like a typical love poem setup, but the last three lines turn it on its head.

628

人のもとにしばしば／＼まかりけれど、逢あひがたく侍り・ければ、物にかきつけ侍り・ける

He went a number of times to a person's house, but it was difficult to meet, so he wrote this on something and sent it

あひがたく侍ければ] あひがたきけしきの見え侍りければ（堀・雲・荒・片・白・慶・新イ）

在原業平朝臣

Lord Ariwara no Narihira

在原業平朝臣] もとかた（白）

くれぬとて　ねてゆくべくも　あらなくに　たとるruby>たどる／＼も　かへるまされり

It has grown dark, and / a place where I should go to sleep / does not exist, and / stumbling blindly around / is better than going home.

かへる] かへり（堀）

しばしば: Many times, or frequently. 「うちしきる心也」（八代集抄）

物にかきつけ侍りける: This 物 is evidently not paper, but some other object (a fan, present, etc.) (新体系).

たどるたどる: The doubling of the word intensifies the feeling.「たどるたどると云に、侘びたる心深籠れり」（八代集抄）「いたくわびたる意なりて、恨る意をふくめり」（新抄）

--

The prose preface is in the typical laconic style of the GSS; we are not told why it is "difficult" to meet the woman. The poem itself may suggest it is the woman's coldness, but whether this is a posture or the true state of affairs is hard to say. Narihira declares that he would rather blunder around in the dark than go home, perhaps hoping that she will still let him in.

Kifune takes the poem as the petulant cry of the "amorous man" Narihira who has no choice but to whine his way home after being denied by the woman. Sugimoto is more sympathetic to the poem, saying that it shows a reluctance to return home and expresses the poet's love. 「如何にも感情の深い歌である。此の歌も亦、節調の上に技巧を施して十分の効果をあげてゐる」（評釈）「朴訥な調に面白みがある」（選釈）

Nakayama's reading of the poem may suggest a situation similar to 624, where the poet has visited many times but the woman will never let him in:「かくしばしば来ても、つらきもてなしなれば、日が暮れたりとて、宿とまらるべき所にもあらぬに、難儀ながらも、暗き道を、たどりたどりも、帰る方がましぞとなり」（新抄）

(See 832, 1143)

Other sources:

業平集II, III, IV. Fourth line なくなくもなほ.

629

男をとこ侍る・女を、いと切せちにいはせ侍り・けるを、女「いとわりなし」といはせければ

He was having someone say very passionate things to a woman who already had a man, and the woman sent back "I don't understand".

侍] あひそへる（行・白）、のあひそへる（堀・雲・慶・新イ）、のあひそひてはべりける（荒・片）、侍る（貞）、侍りける（承・坊）、ある（標イ・新イ）

元良のみこ

Prince Motoyoshi

わりなしと　いふこそかつは　うれしけれ　おをろかならずと　見えぬとおもへば

"I don't understand" / that you say that, is actually what / also makes me happy. / My intentions aren't halfhearted / I think you have seen.

いふこそ] きくこそ（雲・慶・承）
うれしけれ] うれしかれ（片）
ならずと]　ならぬと（堀*)、ならずし（荒）、ならずも（片）、ならずて（雲）

おとこ侍る女: That is, a woman who already has a husband or other fixed relationship.「もとよりかたらひ居る男のある女」（新抄）

いとせちにいはせ侍けるを: The causative here may indicate a go-between sending the messages.「媒を以って、甚だあながちにいひかけさせ給ひたれば」（新抄）

わりなし: This is a vague response; it is probably intended just to feign confusion, but translators give it more specific meanings:「男のある事をしりつつ切にいひかけ給ふ故に、わりなしとはいへるなり」（新抄）「まったく困ります」（全釈）「無理です」（新注）

かつは: Nakayama takes this as his feeling of anger and joy「うきとうれしきとの二つまじはる意なり」（新抄）. Kifune sees it as sadness that they can't meet 「今すぐ逢ってくれないのは悲しいが」（全釈）

おろかならず

見えぬ: みゆ here is how the other person is viewing the poet「末の句の見えぬとは、見えざるにもあらず、見られたりとといはんが如し...対ふ人に見らるる意なり」（新抄）. Kigin's opinion is harder to understand: 「見えぬは畢ぬ也」（八代集抄）. The ぬ here is the completion suffix.

--

The situation here is that a woman (perhaps a gentlewoman in the palace) is being pursued by Prince Motoyoshi, which puts her in a difficult position. She responds by feigning confusion over his intentions. Motoyoshi takes her confusion, and apparently interprets it to mean that she hasn't entirely rejected him because she sees that his intentions aren't casual, but she just doesn't know how to show her true feelings for him. So while he is sad or upset that she hasn't immediately accepted him, he's happy that she hasn't rejected him entirely. 「さやうに思ひいへるこそかつは嬉しけれ。わが心のおろかならずあながちなるほどの見えぬると思えば、と也」（八代集抄）

Kifune interprets this as part of the legend of Motoyoshi's amorous affairs befitting his personality. 「わざと身勝手に解釈して、ぬけぬけと食い下がり、つけ込む。そこが、「いみじき色好み」の本領。難攻不落と見れば、ひときは闘志を燃やす。明朗でおおらかなのは、そのお人柄」（全釈）

Other sources:

色葉和難集 v3. Second. line きくこそかつは. 「清輔云、わりなしとはあながちにといふ事なり」

630

(72v) 女のもとより、「心ざしのほどをなんえ知しらぬ」と\いへりければ

A woman said to him "I can't know the degree of your love."

藤原興風

Fujiwara no Okikaze

わがこひを　しらんと思はばゝ　たごの浦に　立つ・らん覧浪の　かずをかぞへよ

If you would like to know (2) / my love (1), / at Tago Bay / the waves that rise / count their number.

思はば] なれば（堀）、ならば（雲・慶・新イ）
たごの浦に] たごの浦の（堀）
立つらん] たちくる（標イ・新イ）
かぞへよ] かずへよ（堀・承）

たごの浦

--

The poem is a fairly clear metaphor for the poet's love. 「田子の浦の波の数と我が恋はひとしからんと也」（八代集抄）「一首の意明らかなり」（新抄）

The imagery may be drawn from KKS 489 するがなる田子の浦浪たたぬ日はあれども君を恋ひぬ日はなし.

「誇張だが、すばり、自信のほどを開陳」（全釈）

See 643, 795, 819.

Other sources:

興風集７３ (I, II). Second line しらんとならば. Third line たごの浦の(II).
古今和歌六帖１８９０・浦 is perhaps a variant of this poem. First two lines 我が恋は知る人あらば
五代歌枕　歌枕名寄

631

ナシ（荒）

いひかはしける女のもとより、「なほをざりにいふにこそあんめれ」といへりければ

From a woman he was exchanging letters with, she said "You seem to be speaking casually"

つらゆき

Tsurayuki

色ならば　移る・ばかり許も　染め・てまし　思ふ心を　えやは見せける

If it were a color / I would dye (3) / until it spread. (2) / The thoughts of my heart / how could I show you?

Teika's note, written next to the fifth line: 入拾遺　しる人のなさ.
えやは見せける] しる人のなさ（片イ・雲）、しる人ぞなき（新イ）、みやは見せける（承）

なほざり

あんめれ: あるめり ("seems to be") contracted to あんめり, in 已然形 because of the こそ.

色ならば: "[If my love] were a color..." 「我が思ひの深き事、もし色ならば」（八代集抄）. Kudo says that 色 might also suggest a romantic meaning, leading to a secondary meaning of "If I were sleeping around with many women..."

ば...まし: This sets up the first three lines as a counterfactual; what is actually true is explained in the last two lines. 「染べき色ならねば見すべきかたなくて、等閑ナホザリといはるるとなり」（八代集抄）

えやは見せける: The え is the potential え, here paired not with a negative but the 反語やは. "Could I show it to you? No, I could not."

--

The woman has accused Tsurayuki of not taking her seriously or not putting his full affections towards her. His response essentially says "If my love were a dye, you would be able to see it because it would stain all of your clothes, but since it's not, I wasn't able to show it to you."

The poem also appears in the SIS with no preface. Nakayama thought the SIS version was better 「末の句、拾遺集・六帖・歌集などの方、まさりざまに聞こゆなり」（新抄）

Kudo cites KKS 795 as the opposite of this poem: 世の中の人の心は花染めのうつろひやすき色にぞ有りける

There are a number of later poems taking this as a 本歌, including 千載集６４３ and 続古今和歌集９５７.

「理知的な詠み口。人口に膾炙した歌」（全釈）

Other sources:

古来風体抄
拾遺和歌集６２３、拾遺抄２３０. Prose preface 題しらず. Fifth line 知るひとのなさ.
古今和歌六帖２６５９・人しれぬ・つらゆき　貫之集６２１　深養父集I　定家八代抄　源氏注・葵 (All of these are based on the 拾遺集 text, with some minor textual variants)

632

物のたうびける女のもとにふみつかはしたりけるに、「心地あし」とて返事もせざりければ、又つかはしける

He sent a letter to a woman he had been corresponding with, and got back "I am not feeling well" with no reply, so he sent this

大江朝綱朝臣

Lord Oe no Asatsuna

Teika's note: 参議　天徳元薨

葦引の　山ゐはすとも　ふみかよふ　あとをも見ぬは　くるしき物を

[Foot dragging] / Though I live in the mountain (though you are sick) / not to see any tracks of people crossing (3-4) (not to see a letter from you) / is hurtful, so...

山ゐ] 山（雲）
ふみかよふ] ゆきかよふ（堀*)、ふみかへる（荒・片・雲）
見ぬは] 見るは（雲）
くるしき物を] こひしきものを（堀）、くるしかりけり（片*・雲・慶)

物のたうびける: 「物のたまひを、音便にいへるなり。物いひけるといふに同じ。あひしりてある女の許に、といふ意なり」（新抄）This is humble for いふ.

葦引の: Although this is simply a pillow word for 山, some older commentators noted that in the MYS (poem 1261), あしひき is written as 足病, and thought that added an additional layer to the poem's meaning. This seems unlikely to me; Nakayama also found the theory strange although he accepted it on the authority of Keichu and possibly due to it seeming to fit this poem's context. Kifune also suggests that 足引きの病 should be seen as a literal "foot dragging sickness" like arthritis.

ふみ: Plays on 文 (letter) and 踏み (step). The あと also suggests both footprints, and the handwriting.

山ゐ: This seems to play on 山居 (living/being in the mountains) and 病 (illness), though they are spelled differently in so-called 歴史的仮名遣い. All of Teika's texts read 山ゐ; other manuscripts read variously やまい, やまひ, or やまゐ. Modern editors differ on whether to preserve the やまゐ spelling or change it to やまひ; Kudo notes other poems where 掛詞 are present despite a crossover of ゐ and ひ. 「山居といひて、病とそへたり」（正義）「山ゐとある本はわろし、やまひと一本にある宜し、病を山にいひかけたる也」（加藤疑問）Evidently there was also a theory that this is 山井, although the Hyochu quotes Kamo no Mabuchi as rejecting that theory.

くるしき: Suggests the 病 as well as the poet's suffering.

物を: 「つらいので、なんとご返事をいただきたいものです」（新体系）

--

This poem relies on dense wordplay and engo to suggest that he wants the woman to correspond despite her illness. Or alternatively, he doesn't believe that she's actually ill. 「心は明らか也...たとひ病気にても返事はすべき事といふ心をそへたり」（八代集抄）「返事がほしいとの心」（新注）「複雑な掛詞・縁語を、巧みに駆使して、俳諧風に詠み贈る」（全釈）

633

(73v)おほつぶねに物のたうびつかはしけるを、さらに/聞ききゝいれざりければ、つかはしける

He sent letters to Otsubune, but she didn't accept them at all, so he sent this

おほつぶねに] ナシ（堀）

貞元のみこ

Prince Sadamoto

貞元のみこ] 閑院三のみこ（中・荒・片・雲）、元良のみこ（標・新）
Teika's note: 母治部卿仲統女　清和第二四品承平元薨　閑院三のみこ

おほかたは　なぞやわがなの　おしからん　昔のつまと　人にかたらむ

In general / why would I begrudge my name? (2-3) / You were once my wife / I shall tell people.

わがな] わが身（堀）
おしからん] おしからぬ（新イ）
つまと] つまを（堀*)

おほつぶね

さらに: When combined with a negative, it has a meaning like まったく... or ぜんぜん...

おほかた: 「俗言に『一通りならば』といふに近し」（新抄）

なぞやわがなの　おしからん: The や is 反語, so the effect is "I don't care about the bad name that would result from my being turned down by you."

おしからん: Although all texts read this way, Nakayama claims that one text has おしからぬ and seems to prefer this reading -- perhaps he came up with this reading he preferred on his own?

--

This poem appears like a threat: your coldness to me will not give me a bad reputation (for being turned down), because I'll just tell people we were once together and that will make you look bad instead. So why don't you accept me? Both Kudo and Kigin take this meaning, although Kifune prefers to see the "threat" as part of the usual poetic jesting between lovers.

「あまり聞き入れぬ妬さによめる心也」（八代集抄）「脅迫がましいのではない、恋の戯れのかけひき」（全釈）「本音は、人には話したくない、だから穏便に収まるように逢ってほしいとの心。哀願とおどし」（新注）

Other sources:

古来風体抄　定家八代抄

634

無（行）

返し

ナシ（荒）

おほつぶね

Teika's note: 在原棟梁女. The 貞応二年本 adds 清輔本おほつ少将
ナシ（堀・荒・雲）

人はいさ　我はなきなの　おしければ　昔も今も　しらずとをいはん

Hmm, about you [I don't know, but] / I find a bad rumor / to be regrettable, so / the past and the present / I will say I don't know either.

人はいさ: The word 人 here may either specifically be Prince Sadamoto ("I don't know about you...") or just people in general ("I don't know about others...") In the original KKS context (see below), it probably is intended to be people in general. But some interpret it this way here as well 「人の事はしらず」（八代集抄）; 「いさは不知なり（さもじ清みてよむべし）」（新抄）The word typically is followed somewhere by 知らず; here it seems to be omitted.

とをいはん: 「をは助字なり」（八代集抄）Presumably this means roughly the same thing as といはん.

しらずとをいはん] しらずとこたへん（雲*)、なしとこたへん（新イ）

--

Otsubune turns back Sadamoto's threat (whether real or playful) by saying that she'll simply deny ever knowing him. 「人の事は知らず、我はさやうになき名たつ事は迷惑なれば、初中後しらずといはんとなり」（八代集抄）「おほつぶねの拒絶の心の強さがうかがえる」（鑑賞）「おほつぶねは負けてはいない。辛辣に切り返す」（全釈）

As can be seen below, this poem appears in the KKS attributed to Ariwara no Motokata. Some commentators thought that Otsubune (who may have been Motokata's brother) used her brother's poem here because it was appropriate: 「兄弟の歌なればここによく心叶へる故、返事に用ひたるにや」（八代集抄）「兄弟元方の歌の借用」（全釈）The 鑑賞 also echoes this possibility, as well as other options: perhaps because they were siblings the authorship got confused, or Motokata may have composed this in Otsubune's name as a response. Katagiri and Kudo are less explicit but seem to be agreeing. However, all of this may be relying too much on the supposed authority of the Imperial collections; the appearance of this poem here could be a fictional construct.

Other sources:

古今和歌集６３０・題しらず・元方
新撰和歌２８２
古今和歌六帖３０７１・なき名・元方
深養父集５３
後六々集　古来風体抄　定家八代抄

635

返ごとせざりける女の、ふみをからうじてえて

From a woman who never responded to him, he finally got a letter

よみ人しらず

Poet unknown

跡見れば　心なぐさの　はまちどり　今は声こそ　きかまほしけれ

Seeing the tracks / my heart is soothed / the Nakusa beach plovers / from now it is their voice / that I want to hear.

からうじて: Takeoka (伊勢物語全評釈) does not voice the し on the authority of the 日葡辞書, but most other sources do voice it. This indicates that he finally received the letter. 「辛の字也。やうやうとしてなどの心也」（八代集抄）.

跡: This refers both to bird tracks and to writing. 「鳥の跡と文字をいへば也」（八代集抄）Kudo and Katagiri both link this to the legend of Cāngjié, who supposedly invented Chinese characters after seeing that animals could be identified by their tracks.

心なぐさのはま: This is a pivot on 心慰む and 名草の浜 (a place known for plovers in Kii province). See 1223, 695, 828. 「手跡を見れば心慰むといひかけたり。名草浜は紀伊也」（八代集抄）

今は: Here the word means "from now".「今は直にと也」（八代集抄）

--

The poet uses wordplay to express his joy at receiving a letter from the woman, while also expressing his desire to hear her voice. The poem can basically be read with two separate meanings: "After seeing their tracks, I now want to hear the plovers' voice at Nakusa beach" and "After reading your letter, I now only want to hear your voice."「返事を得て勢いづく。さらにひと押し。歌のテンポとリズムに、よろこびはすむ心」（全釈）

Other sources:

歌枕名寄

636

おなじ所にて見かはしながら、あはざりける女に

He sent this to a woman who he could not meet even though they saw each other in the same place.

河と見て　わたらぬ中に　なかるるゝは　いはで物思ふ・　涙なりけり

What is flowing (3) / in the uncrossable (2) / thing I see as a river (1) / are the tears (5) / of the worries unsaid (4).

おなじ所にて見かはしながら: This probably means they are both in the palace.

河: There is a play on 彼は. 「彼は其の人ぞとは常に見ながら」（新抄）

わたらぬ中: The "crossing" is their meeting, and 中 suggests 仲 (relation between the man and woman).「逢はれぬ中の意にいへるなり」（新抄）

なかるる: This suggests both 流るる and 泣かるる. 「流るるに泣るるをかねたるにてもあるべし」（新抄）

--

The prose preface is typically vague and laconic. A possibility is that the man is a nobleman permitted in the palace and the woman is a gentlewoman; why they cannot meet is left unsaid. The man's poem uses the river crossing imagery to suggest his sorrow that they cannot meet. 「同所にて常に見ながらえあはぬを、あと見ながらえわたらぬになぞらへてよめり」（八代集抄）

The poem is probably based on the anonymous KKS 659: おもへども人目つつみの高ければ河と見ながらえこそわたらね. Also see SIS 750 by Motosuke: 音無しの川とぞつゐに流れけるは言はで物思ふ人の涙は.

Other sources:

深養父集５０

637

ここゝろざしありける女につかはしける

Sent to a woman he had thoughts for.

(73v) 橘公頼朝臣

Lord Tachibana no Kin'yori

Teika's note: 延木廿一中将延長二参議　承平五帥天慶二中納言　四年薨六十五

あま雲に　なきゆく雁の　おをとにのみ　ききゝ渡り・つつゝ　あふよしもなし

In the clouds / the goose crying as it goes / only its sound / do I hear again and again / with no way to meet it.

あま雲: The text in the 後撰和歌集総索引 and Kifune's 全釈 reads あま雪, with Kifune emending to あま雲. However, this seems to be an error; all the other editions based on the traced text read あま雲 and the reading of Teika's original manuscript is clearly あま雲, as is the reading of all other manuscripts.
をと] ほど（堀）
もなし] もがな（堀・承#・標・新）、ぞなき（荒・片）、もなき（雲・新イ）

あま雲になきゆく雁の: This is a preface for 音, although probably a so-called 有心の序 using the bird as a metaphor for the woman he cannot meet easily. 「雨天の雲になく雁は、声のみ聞きて見えがたきをなぞらへて、序歌によめるなるべし」（八代集抄）

おとにのみ: In addition to the cry of the unseen bird, this means someone the poet has only heard rumors of but not seen.

--

The poem is simple and direct in its imagery, but the seasonal preface works as an effective metaphor for the poet's inability to meet the woman.「当歌の序は、叙景が比喩となって、及ばぬ恋のはるけさ、せつなさをよく表現している」（全釈）

638

つらゆき

Tsurayuki

つらゆき] ナシ（片）

住の江の　浪にはあらねど　世とゝもに　心を君に　よせわたる哉

I am not the waves of Sumi Bay (1-2), but / as long as the world lasts / my heart towards you / will continue to approach.

世] 夜（堀）
君に] きしに（堀）

住の江: A place known for waves, but the 住み also suggests living with the woman. See 818 for another use of this image.

浪: This may play on 並, humbling the poet (新注). On the other hand, that would be 並にはあらねど, so the play may not work.

世とともに: "As long as the world lasts", forever. 「常々不断といはんが如し」（新抄）There may be also a pun on 夜（新注）.

--

The prose preface given in the previous poem would apply to this poem as well, thus Tsurayuki is saying that like the waves which continuously crash on the shore, he will continuously love her. Kudo also sees a more direct metaphor for the waves coming and going, as Tsurayuki continues to come and go to the woman's place without fulfillment.「寄せては返す浪のごとく、空しく帰る嘆き」（新注）

Other sources:

新撰和歌２２２. Fourth line 心を君が.
貫之集６２４ (I only). Second line 松にはあらねど.

639

兵衛につかはしける

Sent to Hyoe

よみ人しらず

Poet unknown

見ぬほどに　年のかはれば　あふことの　いやはるはるばる／＼に　おもほゆるかな哉

While I haven't seen you / the year has changed / meeting you / has increasingly become far away / I now understand.

ほどに]　ほどは（堀）
かはれば] へぬれば（堀）
はるばるに] はるばると（新イ）
おもほゆるかな] なりにけるかな（荒・片）

兵衛: This is a meshina and could refer to any number of women (or a fictional character). Kigin identifies her with the 兵衛 of the Kokinshu, who is said to be 藤原経子 (Fujiwara no Keishi), daughter of Fujiwara no Takatsune. The 標注 points out that there are other 兵衛 in other collections. Modern commentators all identify her with the 兵衛 who is the author of 1033; Teika's note to that poem identifies her as the daughter of Fujiwara no Kanemochi(兼茂).

年のかはれば: That is, a new year has started.

いやはるばるに: はるばる plays on 春々, going along with the new year.「弥遥々と也」（八代集抄）「はるばると春をかねたり」（標注）「実に久しく逢はぬやうに覚ゆる事かなとなり」（新抄）

--

This poem would seem to have been read close to the new year. The poet laments yet another year passing without their meeting, and perhaps hopes that this year will be different.

「隠し意味の洒落に託す。＜はるばるに＞を時間的意に用いるのは、珍しい。視覚的広がりも重なる修辞」（全釈）「下句はこの春には逢いたいとの含意か」（新注）

Kifune suggests reading 633-639 as love poem series between a gentlewoman in the palace and another man there.

640

まかりいでてゝ、御文ふみつかはしたりければ

She left the palace, and [the Emperor] sent her a letter

中将更衣

The Chujo Intimate

Teika's note: 参議伊衡女
中将更衣] 少将御息所（堀）、中将御息所（荒・片・新イ）

けふすぎば　しなまし物を　夢にても　いづこをはかと　君がとはまし

If today passed / I would have died, but / even in a dream / you probably wouldn't have (5) / sought out my grave (4).

いづこ] いづく（堀・雲）
をはかと] はかとか（荒）、にかとか（片）
君が] 君も（中）、君は（堀・雲・正）

まかりいでて: This indicates leaving the palace. When used with a Consort or Intimate they are returning to their home, perhaps due to illness, or for family mourning.

御文: This is the Emperor's letter. 「勅撰集に御文とあるは、天子のなる事勿論也」（田中疑問）

夢にても: The word 夢 has many poetic resonances; here perhaps it just means that he wouldn't even seek her in a dream.「仮にもなどいはんが如く」（新抄）In other words, Nakayama thinks this implies "even just a short letter." 「現実では期待しえないがとの含意」（新注）

いづこをはかと: The 正義 seems to interpret はか as playing on はかなし, or perhaps also 遥か. Kigin seems to read this as the two particles は + か, with a play on 墓(grave). 「いづこをしるべとかとはせ給はん...そこはかと同じ心なり。墓をそへたるべし」（八代集抄）Modern annotators usually read はか as meaning "destination", with the "grave" meaning as well.

--

The Emperor has sent a letter to this Intimate that has returned home. Her letter seems to express a grudge at not getting much communication while she was away.「いつもはるかにあるべき身とおぼしてや、問ひ給はざらむ、はかなしとうらみ申したるなるべし」（正義）However, as Kifune notes, this conventional "anger" may simply express thanks at the Emperor's letter.「お礼の歌」（全釈）

A similar poem occurs in the Ukifune chapter of Genji: からをだにうきよの中にとどめずはいづこをはかと君もうらみん

Other sources:

延喜御集１０. Prose preface これひらの宰相、むすめをたてまつりたりけるが、まかでて、さとに二日ばかりありて、まゐらせける. First line けふきても. Second line きえなましかば. Fifth line 人のとはまし.

641

歌ナシ（堀・荒・片）. In 堀 the poem is included on a pasted slip with the notation イ本.

御返し

Response

延喜御製

Honorable Composition of the Engi [Emperor]

うつつゝにぞ　とふべかりける　夢とのみ　迷ひ・しほどや　はるけかりけん

In reality / I should have visited you. / Only in dreams / am I lost wandering / to that point you were far away.

はるけかりけん] はるけかる覧（貞・堀・承・標イ・新イ）

夢とのみ: This is the opposition to the うつつ in the first line.

--

The Emperor's response picks up on the 夢 of the Intimate's poem, apologizing for not visiting her.「便りを怠っていた言いわけを詠まれる」（全釈）Norinaga claimed not to understand the meaning of the poem (in the 田中疑問). Taking the ほど both as time and place, it works out to something like this: "I tried to visit you on the road of dreams but got lost because it was so far. Also, you have been away for so long that in my confusion I could only wander lost, unable to find your dwelling."「更衣の里住を思召しまどふとかこたせ給ふ心也」（八代集抄）

Kudo felt the imagery came from Ise Monogatari 69.

Other sources:

延喜御集１１. Fourth line まどひしひとや（ほどイ）.

642

(47r) 題しらず

Circumstance unknown

藤原千かぬ

Fujiwara no Chikanu

藤原千かぬ] 藤原俊蔭朝臣（雲・慶・新イ）

流ては　ゆく方もなし　涙河　わが身のうらや　限なる覧

It flows / but has nowhere to go: / the river of tears / the bay of my body / seems to have a limit.

流て: This plays on 泣かれて.

方: Kudo sees this as a play on 潟, for further bay/river imagery.

うら: 浦, but the う suggests 憂し.「うらみたるなり」（聞書）「身のうき心也」（八代集抄）

限: Both the "end" of the river as well as an extreme limit of sorrow.

--

The poem uses plays on words as can be seen from the notes above, with a string of river imagery throughout the poem. "My tears flow without anywhere to go; only the suffering of my body goes to a large degree" -- "My tears flow without any ceasing, only my body has a 'bay' to stop it". The exact situation is not clear; Kifune thinks this is a "we can't meet" poem.「河、浦など縁の詞によめるなるべし」（八代集抄）「（つらさを）晴らしようもない」（全釈）See 494.

Other sources:

五代歌枕

643

在原棟梁

棟梁]　むねはり（標イ・新イ）

Ariwara no Muneyana

わが恋の　かずにしとらば　白妙の　はまのまさごも　つきぬべらなり也

If you count the number (2) / of my love (1) / the sand on the white beach (3-4) / will certainly not suffice.

白妙の] ありそ海の（堀）
まさごも] 沙は（堀）

白妙の: This is a pillow word for anything white (the sand in this case).

べらなり: The べき here may mean either でしょうか（全釈、新体系）or にちがいない（新抄、新注）

--

This poem is simple and direct, perhaps befitting a poet from a generation prior to the KKS.「恋の限りなく事をいへり」（八代集抄）

A poem from the KKS preface: 「我が恋はよむともつきじありそ海のはまのまさごはよみ尽くすとも」. Perhaps the variant in the 堀河本 was affected by this poem. MYS 596 also has the comparison of love and sand: 八百日徃（ヤホカユク）　浜之沙毛（ハマノマサゴモ）　吾恋二（ワガコヒニ）　豈不益歟（アニマサラメヤ）　奥嶋守（オキツシマモリ）. Also see 630.

Other sources:

宗于集５．Prose preface 物おもふころのひとりごとに.
新時代不同歌合５１

644

つらゆき

Tsurayuki

涙にも　思ひ・のきゆる　物ならば　いとかくむねは　こがさざゞらまし

If by tears / the fire of my thoughts were something that could disappear (2-3) / this breast so greatly / would not smolder.

涙にも] 涙にし（中・堀・雲・慶・荒・承・新イ）
いとかく] とかくは（堀*）
むねは] むねの（堀*）
こがさざらまし] こがれざらまし（中・堀・雲・承・新イ）

思ひのきゆる: The ひ creates a common play on 火. 「思ひを火にそへてよめり」（八代集抄）

--

Like the previous poem, this one is simple and direct in meaning, using the common pun of "fire" to suggest the burning of the poet's heart that cannot be quenched by his many tears. It has the opposite meaning of Tsurayuki's KKS poem 君恋る涙しなくは唐衣むねのあたりは色もえなまし.

「絶ぬ涙のおほきにきえぬ思ひを深く侘びる心なるべし」（八代集抄）「胸はせつなく恋いこがれ、むなしく涙を流すばかり」（全釈）

Other sources:

源氏注・河海抄・帚木

645

坂上是則

Sakanoue no Korenori

しるしなき　思ひやなぞと　あしたづの　ねになくまでに　あはずわびしき

"These fruitless / thoughts -- why!?" / [as] the marsh crane / I go so far as to cry out / from suffering that we cannot meet.

までに] までも（雲・慶・新イ）
あはずわびしき] なげきわびつつ（堀）、あはすわびつつ（雲・慶・新イ）、あはずわびしさ（承）

思ひやなぞと: KKS 506: 人しれぬ思ひやなぞとあしかきのまぢかけれどもあふよしのなき; The と seems to have been confusing for earlier scholars; Kigin recommended ignoring it 「かろくみるべし」（八代集抄）, and Mabuchi and Norinaga both evidently wanted the text to read なぞも instead (here and in KKS 506). Nakayama disagreed, feeling that the KKS poem worked better with も but that と was fine here. It's hard to tell exactly what the issue is, but based on Nakayama's comment it may have something to do with the RT ending わびしき. 「この歌末句は、例の、変格なり。二の句の「なぞ」は、「と」にてうけたれば、「なぞ」の辞、末句まではかからざればなり」（新抄）. However, this is all based on a misunderstanding of sentence-final RT forms by the nativist scholars; they do not require any 係り結び particles but can act similar to modern のだ.「連体形で止めて余情をこめる」（全釈）; 「我が思ひのしるしのなきは、いかなる事ぞ」（新抄）Nakayama also floats the possibility of the ひや representing the cry of the bird to connect with あしたづ.; なぞ is "why", but more emphatic. 「強い非難の気持ちを表す」（全釈）

あしたづ: Another word for a crane (鶴), because it lives in the marshes with 葦 (also the name creates a convenient 5-mora line).「芦鶴は卑下の心」（新注）

ねになく: This is both the cry of the bird and the poet. Kudo also links it to 根 for association with the 葦 in the previous line.

--

Like the previous poem, this is the type of love poem that was more common in the KKS, using natural phenomena and wordplay to express abstract feelings of love -- but the raw emotion of the first two lines may suggest an actual situation instead. Korenori may have KKS 506 quoted above as the basis for this poem.

「思ひのしるしもなく、あはで侘しきはなぞやと也」（八代集抄）「換骨奪胎するか」（全釈）

646

年ひさしくかよはし侍ける人につかはしける

Sent to a person he had been communicating with for a long time

つらゆき

Tsurayuki

たまのをの　たえてみじかき　いのちもて　年月ながき　こひもするかな

Like a jeweled thread / with my truly short / life / for long years and months / I have longed for you.

みじかき]　ひさしき（堀・承）
ながき] ながく（雲・承）

かよはし侍ける: かよはす can refer to either sending letters or visiting; all commenters take it to be letters here..「文とあるべき事也」（加藤疑問）

たまのをの: This is a pillow word for たえて (here "truly") because a string of jewels is easily broken (絶えて). Katagiri also suggests a play on 魂.

--

If 通はす is indeed sending letters, then the context here is that the woman refuses to let Tsurayuki meet her. The poem basically just expresses his great longing for her, using the idea of the shortness of his own life, as well as the opposition of 短き and 長き.「自ら詠嘆し、自嘲の体」（全釈）「何時死ぬとも知れないので早く逢ってほしいとの心」（新注）

A poem with similar imagery by Tsurayuki appears in the Kokin Waka Rokujo: 玉の緒の絶えて短き夏の夜の夜半になるまで待つ人の来ぬ

647

(74v) 題しらず

Circumstance unknown

ナシ（堀・荒・片）

平定文

Taira no Sadafun

我のみや　もえてきえなん南　世ととゝもに　思ひもならぬ　ふじのねのごと

Is it just me / that will burn out and disappear? / As long as the world lasts / The fire of my thoughts does not become reality / just like the peak of Mt. Fuji.

きえなん] やみなむ（雲・慶・新イ）、わびなん（承・正）
思ひもならぬ] 思ひはならぬ（堀*・雲・慶・正・新イ)、思ひははれぬ（ハイ) - with a note 不用.

思ひならぬ: The ひ plays on 火. 「思ひのありとばかりは見えながら、何故と人の知らぬを「ならぬ」といふなり」（聞書）Nakayama suggests a play on 鳴らぬ (Fuji doesn't make a sound). 「富士の嶺の火は、鳴りとどろく物なるを、我は、鳴らぬ富士の火の如くとなり。鳴らぬを、恋の成らぬに云ひかけたるは論なし」（新抄）Kifune instead says that 火なる means "become flame", as opposed to simply vanishing as smoke.

ふじのねのごと: ごと is 如く (like). Because the fire of the Fuji volcano could not be seen, it was used as a metaphor for burning unrequited love. KKS 1028: 富士の嶺のならぬ思ひに燃えばもえ神だに消たぬ空しけぶりを. 「富士は燃えてもしるしなければ、叶はぬ思ひによせていへり」（八代集抄）

--

This is at typical "I love you but you won't let me see you" poem, using the fire imagery of Mt. Fuji to show a love that burns but does not produce results. This poem appears in the 11th section of the Tales of Heichu, addressed to a woman who he was able to exchange letters with, but not meet.

「富士の火に、おのが思いをたとえる、巧者な歌」（全釈）See 1014.

Other sources:

平中物語１１段. Second line もえてかへらむ.
五代歌枕　歌枕名寄

648

返し

Response

きのめのと

Ki no Menoto

陽成院きのめのと（荒・片）

ふじのねの　もえわたるとも　いかゞせん　けちこそしらね　水ならぬ身は

Even if Mount Fuji continues to burn (1-2) / I can do nothing. / I do not know how to quench it / my body not being water.

ふじのねの] かれぬ身の（行・堀*・荒・片・承）
もえわたるとも] もえてまさるを（堀*)、もえわたるとて（片）
しらね] やらね（堀*)
水ならぬ] 数ならぬ（堀*)・ふちならぬ（雲）

もえわたる: The もえ here refers to both Mt. Fuji and Sadafun's love.

けちこそしらね: 「消すわざしらぬと也」（八代集抄）「はっきりしない否定の気持ちを表す」（新体系）

水: This plays on 見つ, in this case "having met" (Kudo marks this only as a possibility).

--

The translation above is the surface meaning; the associated love meaning is "Even if you are burning with love for me, I can't do anything -- I don't know how to put your love fires out considering we've never even met." As can be seen from the textual variants and other sources, this poem comes in radically different forms.

Section 11 of Tales of Heichu continues from poem 648 with a different response by the woman: ふじのねのならぬおもひももえばもえかたみ（かみだ）にけたぬむなしけぶりを, and then a response by Sadafun: 神よりもきみはけたなんたれによりなまなましみのもゆるおもひぞ, then the variant of GSS 649.

「そなたにもえ給ふとても、我はせんかたなしと也」（八代集抄）「当変化は、貞文の切なる恋心を突き離すのではなく、やさしくいたわる」（全釈）

Other sources:

古今和歌六帖７９３・けぶり. First three lines かれぬ身を　もゆときくとも　いかにせん
平中物語１１段. First two lines かれぬ身を　もゆときくとも
五代歌枕　歌枕名寄

649

心ざせる女の家のあたりにまかりて、いひいれ侍ける

He went to the house of a woman he had feelings for, and sent this in

つらゆき

Tsurayuki

わびわたる　わが身はつゆを　おなじくは　君がゝきねの　草にきえなん

I continue to suffer / my body as dew / if it's all the same / I would like to disappear into the grass (5) / of your fence (4).

わびわたる]　わびにたる（堀*）
かきね] あたり（雲）
きえなん] もえなん（白・承）

おなじくは: "If it's all the same," that is, "if I will die anyway"

--

The context is presumably a woman who Tsurayuki has been communicating with but has not been allowed to meet. He comes by her place and uses the poetic image of dew on the fence plants to express his own imminent death due to her coldness.

「ただ逢ひがたきのみにはあらで、女のつれなきを恨る意と聞こえたり」（新抄）

See 元真集290 (虫のねに） and 新勅撰集883 (もろともにいざ白露に身をなして君があたりの草に消えなむ). Also see GSS 290, 922, 1255.

Other sources:

古今和歌六帖５４４・露・つらゆき. Second line 我が身は露ぞ. Fourth line 君があたりの. Fifth line 野べにきえなん.
貫之集６４０, no preface.

650

題しらず

Circumstance unknwon

ナシ（堀・荒・片・白）

在原元方

Ariwara no Motokata

みるめかる　なぎさやいづこ　あふごなみ　立よる方も　しらぬわが身は

Where is a place I can reap seaweed? (1-2) / I have no balancing staff / and I do not know where to go (4-5).

みるめかる] みるめなき（雲・田中疑問）、みるめなみ（白）
いづこ] いはに（堀*）、いづく（荒・白）
あふこなみ] あふこなき（堀）
方も] からも（片）
しらぬわが身は] しらぬわが身か（中・堀イ）、なきわが身かな（雲・慶・新イ）

みるめ: 見る目 (chance to meet) and a type of seaweed.「見る事を海松和布刈るとよめり」（八代集抄）

あふごなみ: 「逢期なみを、波にそへて」（八代集抄）In "Kato's questions" to Norinaga, he asked whether あふこ was related to 朸, a wooden staff carried on one's back to tie loads to on both sides to balance. Norinaga suggested instead that it the ご was related to 籠, a carrying container「このあふごは、刈れたる海藻を入るる器なるべし」（田中疑問）. This is also found in Kigin's notes to Ise Monogatari section 28. Kifune, Kudo, and Katagiri support the 朸 reading.

片: Also 潟.

--

The suggested love meaning is "When can I find a chance to see you? There are no times to meet and I have nothing to rely on." It seems to be a typical "I long for you though we haven't met" poem which may be a public KKS-style poem, using a lot of marine imagery puns.

Nakayama quotes Ise Monogatari: みるめかるかたやいづくぞ棹さして我にをしへよ海女の釣り船, and Kifune identifies this as the 本歌 for the poem.

Kifune also reads 642-650 as a series of exchanges.

651

(75r) 東宮になるとゝいふとのもとに女と物いひけるにおやの戸をさしてたてゝゐていりにければ、又の\あしたにつかはしける

Before a door in the Crown Prince's residence called the "Naruto", he was talking with a woman, when the parent shut the door and led her away; he sent this the next morning.

藤原滋幹

Fujiwara no Shigemoto

Teika's note: 大納言国経男　延長六年右少将　承平元年卒
藤原滋幹] 在原しげもと（堀*・荒)、藤原重光朝臣（雲・新イ）

なるとより　さしいたされし　舟よりも　我ぞよるべも　なきこゝちせし

From the Naruto seaway / shut out and banished / even more than such a boat / I am the one with no place to go / or so I feel.

さしいだされし] さしくだされし（片）、さしわたされし（新注・新体系）
よるべも] ゆくへも（荒）、くゆへも with ヨ written at the side（片)、よるべは（雲）
せし] する corrected to すれ, with セシイ at the side（堀）、ぬる（片イ）、する（慶・新イ）、して（標イ・新イ）

東宮: Although this term can refer to the Crown Prince, here it refers to the Crown Prince's residence.

親の戸: This is the subject の; one of the woman's parents is closing the door (八代集抄).

ゐて: Here this means "lead" (the parent leading the woman away from the door). 「ゐては将つれてなり」（新抄）

なると: The door in the palace was perhaps called this because it made a loud noise when closed. It plays on the place name 鳴門.「鳴門を阿波の鳴門にそへて舟をさし出すといひかけてよめり」（八代集抄）

さしいだされし: The い in Teika's manuscript is not written in the typical way; since both Kudo and Katagiri have さしわたされし as the text, the tracing of the Teika manuscript they relied on may have copied it as わ (on the other hand, the version of the text in the 後撰和歌集総索引 edited by Katagiri reads い). However, the い looks clear to me despite the slightly different form, and no other manuscript reads わ.

よるべもなき: 「便なくせんかたなかりしと也」（八代集抄）

--

The woman Shigemoto is talking to would seem to be a gentlewoman in the Crown Prince's service. The "parent" is presumably her mother, who may also be a gentlewoman, or even a wet nurse (as Katagiri suggests). The poem picks up the name "Naruto" of the door and connects it to the poetic place name, comparing his own troubles to a boat buffeted about on the waves. 「奇抜な比喩で、当意即妙、俳諧味をきかすが、泣き笑いの自嘲」（全釈）

Other sources:

正徹物語 (in an entry about love near doors)　歌枕名寄　僻案抄(in note to 619 to define よるべ)

652

題しらず

Circumstance unknown

よみ人も

Also the poet

も] しらず（行）

高砂の　峯の白雲　かかゝりける　人の心を　たのみけるかな哉

On Takasago / peak the white clouds / like this / a person's heart / I put my trust in.

人の] 君が（堀・荒・片・雲・承）

峯の白雲: The first two lines are a preface for かかりける, to refer to the clouds on the peak as well as "this kind of (faithless) person."「二句までは序也。されど、白雲の如く、かやうに、うきたる人の心を、と云ふ意を含めたるものと見えたり」（新抄）Kifune suggests a play on 見ね ("not seeing you"), and on 知ら（ず）.

--

The identity of the poet is unclear; it could be either a man or a woman. In any case the preface can be seen not just as a poetic trick but to create the image of the clouds separating from the peak; just like that, this flighty person who switched their heart to another, is who I trusted.「人の心のうつろひがたになりたるなどを、恨みてよめるなるべし」（新抄）「頼りがいのない浮薄な男心への嘆き」（全釈）「愚かな私との心」（新注）See 613, and also KKS 601 by Tadamine: 風ふけば峯にわかるる白雲のたえてつれなき君が心か

Katagiri questions the sudden use of 高砂の. He notes that Takasago was known for pines and thus there is an assumed play on 松・待つ; perhaps the poem was written on a fan that had a picture of Takasago pines, which would make かかりける refer to the image. He is the only one to make this connection.

Other sources:

五代歌枕　歌枕名寄

653

長明のみこの母の更衣、さとに侍けるにつかはしける

The Intimate who was the mother of Prince Nagaakira was at her home and he sent this

Teika's note: 四品天暦三年閏正月薨　藤淑姫参議菅根女
長明親王の閑院に侍りけるに（堀）

延喜御製

The Honorable Composition of the Engi [Emperor]

ナシ（堀・荒）

よそにのみ　松はゝかなき　住の江の　ゆきてさへこそ　見まくほしけれ

From afar only / it is quite difficult to wait / Sumi Bay / Even there I want to go / and see you.

松は] 松ぞ（堀・荒・片・雲・承・新）
はかなき] かひなき（中・雲）
ゆきてさへこそ] いきてのみこそ（堀）

松: The usual play on 待つ (waiting to see her).

住の江のゆきて: The introduction of 住の江 here, as well as the role of の, is somewhat difficult. The 標注 cites vague evidence from the 万葉集 to suggest there might have been a place name in 住吉 called 「ゆく」. Several commenters cite previous poems that may be 本歌, such as KKS 「久しくもなりにけるかな住の江のまつはくるしきものにぞ有りける」Nakayama thought that without a poem like this as a 本歌, the introduction of 住の江 had no foundation. Katagiri cites KKS 道知らば... However, Kifune points out that 住み can refer to the Intimate's current dwelling.

見まくほしけれ: This simply means 見てほしい; the structure is poetic and at least in the KKS and GSS, always used with 見る.

--

An Emperor's Intimate or Consort can go to their home outside the palace for a number of reasons; she may be sick, or ritually polluted from childbirth or a death in the family, or some other such event. The Emperor is not permitted to visit his women at their homes, so Daigo sends this Intimate a note telling her how much he wants to see her -- the さへこそ in the 4th line is emphasizing the impossibility of him making a personal visit. 「更衣の里に行きて御覧じたきと也」（八代集抄）「もとより更衣の里村などへ、行幸なるべき事ならねば、ゆきてさへこそとのたまはするは、いといたく切におもほしめすよしなり」（新抄）

Other sources:

This is in some manuscripts of the 仁和御集 with the preface 又こと更衣にたまはせたる.
五代歌枕

654

題しらず

Circumstance unknown

ナシ（堀）

ひとしの朝臣

Lord Hitoshi

かげろふに　見しばかり許にや　はまちどり　ゆくへゑもしらぬ　こひにまどはむ

Only seeing you faintly (1-2) / the beach plover / its destination unknown / I am lost in longing.

かげろふに] かげろふの（貞$）
はまちどり] はなちどり（荒・片）

かげろふに: This refers to a hazy, unclear sight.「ほのかにかげろひたるやうに見しなり。蜻蛉にはあらず」（聞書）

はまちどり: Kigin says this is a 枕詞 for 行方も知らぬ. There is little evidence for this being a fixed pillow word but the はまちどり are often used to lead into the image of their tracks being left behind, and in some cases it does lead into the bird not being visible. Nakayama cited KKS 996, which is perhaps the source of the image here: わすられむ時しのべとぞ浜千鳥ゆくへもしらぬあとをとどむる.; The alternate reading of 放ち鳥 would still lead to 行方も知らず because the bird has been let go. It is found in this sense in 古今和歌六帖４３３７, the only poem in the はなちどり category: なち鳥行へもしらずなりぬればはなれしことぞくやしかりける. Mabuchi preferred the はなちどり reading, and Nakayama agreed, feeling that はまちどり should lead into 跡 rather than 行方. Kudo also allowed that the はなちどり reading might be better, but noted that KKS 996 makes the 浜千鳥 reading acceptable too.

ゆくへもしらぬ: The bird, but also the outcome of the poet's longing.

--

This could be a public-style poem of the kind favored in the KKS, but it could also have been sent to a woman who he longed to meet. The first two lines could refer to catching a brief glimpse of the woman, or one dark night together.

SIS 夢よりもはかなき物はかげろふのほのかに見えし影にぞありける

Other sources:

時代不同歌合１２３
奥儀抄　和歌色葉　色葉和難集 (In all three sources, third line はなちどり).

655

(75v) あり所はしりながら、えあふまじかりける人につかはしける

He sent this to a person that he knew where she was, but it didn't seem possible to meet her

えあふまじかりける人] えあふまじかりける所に侍りける人（堀・荒・片）

藤原兼茂朝臣

Lord Fujiwara no Kaneshige

Teika's note: 参議右兵衛督　延長元卒

わたつみの　そこのありかは　しりながら　かづきていらむ　浪のまぞなき

The location of the bottom of the sea (1-2) / I know, and yet / there is no space in the waves (5) / for me to dive and enter (4).

わたつみ] わたつうみ（堀）
そこの] うらみ（雲）
かづきて] かづきに（堀ィ・新ィ）
いらむ] いはむ（堀・荒）

そこのありか: そこ plays on the bottom of the lake, as well as a second-person "you".「海の底に其処（女）をかけたるなり」（新抄）

浪のまぞなき: This may just indicate the lack of an opportunity, but could also refer to people watching for his entrance.「人目の間ヒマをたとへていへるなり」（新抄）

--

The translation above is the literal meaning; with the wordplay the love meaning is "I know where you are, but I can't manage to see you." If the last two lines are taken as more germane to the love meaning, it would indicate that he's being prevented from seeing her by her gentlewomen or other guardians. He would like to be able to "dive"(sneak) into see here but there is no break in the "waves"(people watching). Kifune also sees the suggestion of diving for seaweed and thus the play on 見る目, although Kigin says they are diving for crabs. 「潜きて入らむは、海松布を採取する、「見る目」（逢う機会）を得ることを暗示する」（全釈）

See 891,1149.

656

女の許につかはしける

Sent to a woman

橘実利朝臣

Tachibana no Sanetoshi

橘実俊朝臣（新ィ）

つらしとも　思ひ・そはてぬ　涙河　流れ・て人を　たのむ心は

Though I am pained / I will not stop thinking of you. / My heart puts its faith (5) / in you as my river of tears flows (3-4).

はてぬ] いてぬ（承）

流れて: This plays on 泣かれて, and perhaps 永らえて.

人をたのむ: 「行末を頼む心也」（八代集抄）

--

The last lines seem to be interpreted somewhat differently by commenters; basically it means that he is crying while hoping that she will answer his pleas at some point.

See KKS 水の泡の消えでうき身と言ひながら流れてなほも頼まるるかな, and 長しとも思ひぞはてぬ昔より逢ふ人からの秋の夜なれば.

続古今　つらしとも思ひもはてぬ心こそなほ恋しさの余りなりけれ

Other sources:

五代歌枕

657

返し

よみ人しらず

流てと　何たのむらん　なみだ河　影見ゆべくも　おもほえなくに

How are you trusting "flows"? (1-2) / In a river of tears / I don't think an image can be seen (4-5).

たのむらん] たのみけむ（堀・荒・片*）
見ゆべくも] 見むべくも（片）

影見ゆ: Most commenters take 影 to be the poet, but Katagiri reads it as the man's image.

--

The idea here is that in a flowing river you cannot see a reflection very well. The dominant reading here is to take the 影 as the poet's image, resulting in "No matter how much you wait, you're not going to see me in your river of tears -- I'm not going to meet you." Katagiri's reading is "You can't see your own image in the river of tears, that is, your love for me isn't being shown." The difference probably has to do with how 見ゆ is interpreted -- it can mean "be visible", "show oneself", "be seen" (and "meet", which is the underlying double meaning). In the majority reading, it means "show oneself", but it could also mean "my image will not be visible".

「行末の頼みも無益の心也」（八代集抄）「優雅な装いのもとに、揶揄を伏せる」（全釈）

Other sources:

五代歌枕

658

人をいひわづらひてつかはしける

He was having trouble expressing himself to a person, and sent this

平定文

Taira no Sadafun

何事を　今はたのまむ　ちはやぶる　神もたすけぬ　わが身なりけり

What thing / can I rely on now? / [pillow word] / Not even the gods can help / I now see is my condition.

何事] 何方（標ィ・新ィ）

いひわづらひて: The わづらふ suffix indicates impossibility or extreme difficulty, and the いふ here seems to mean "request a meeting" or "make a love declaration".

何事: Most commenters seem to have interpreted 事 here as "thing", but Katagiri takes it as "words" -- Teika commonly writes 事 for 言 in his texts so this is a possible reading.

ちはやぶる: A pillow word for 神.

神も: Otsubune (the addressee) of course will not help, but even the gods will not. 「神もたすけぬといふ『も』の字を心につくべし」（八代集抄）

--

Sadafun was known for a certain amount of exaggeration and sentiment, as we see in this poem. Nakayama suggested the 4th line might also evoke the common trope that the poet will not live much longer due to Otsubune's coldness.　「大仰に絶望して見せる。これもまた求愛の手管」（全釈）

659

(76r) 返し

Response

おほつぶね

Otsubune

在原棟梁女（行・荒・片*・雲・慶・新ィ）、在原棟梁女子（堀*）

ちはやぶる　神もみゝこそ　なれぬらし　さま／＼いのる　年もへぬれば

[pillow word] / The gods' ears / are quite used to it. / Since many years have passed (5) / that you pray for various things (4).

なれぬらし] なれにけめ（堀・雲・承）、なれにける（慶）、なりにけれ（新ィ）
年も] としの（中・堀・雲・荒・片・承・標ィ・新ィ）

神も: The も here may indicate "I've heard this enough from you" also.「『も』の字に我が事をこめてよめるにや」（八代集抄）

みみこそなれぬらし: 「耳慣れるとはめづらしげなき心也」（八代集抄）

さまざまいのる: 「あだあだしき事どもをいのり給ひしと、いひなす意にこもれり」（新抄）

--

Otsubune's response suggests that Sadafun prays so often to the gods to meet various women that they're sick of hearing from him and won't help him now. Kigin's reading is that this also means "I'm tired of hearing from you so I'm not going to grant your request."

660

女のもとにまかりたりけるを、たゞにて返し侍ければいひいれ侍ける

He went to a woman's place, but was simply turned away, and sent this in

つらゆき

Tsurayuki

怨み・ても　身こそつらけれ　唐衣　きていたづらに　かへすとおもへば

Though I detest you / it is my own body that suffers. / [Chinese cloth] / When I think that I have come and been uselessly turned away (4-5)

かえす] かえる（片ィ・雲・承・慶・新ィ）、返（堀・標・新）

怨み: This may suggest 裏見, an engo with 唐衣.

唐衣: A pillow word for きて（着て, but 来て in the secondary meaning)

かへす: As can be seen in the variant readings, many texts read かへる, and some read 返 -- Nakayama felt that this had to be かへる because if it were intended to be read as かへす, the す would have been inserted. However, the four Teika-related texts I consulted all read かへす in hiragana. Kudo also thought that かへる was a better reading here.

--

The poem is a string of associated words centered around the 唐衣 pillow word, expressing frustration at being turned away from the woman's house.「掛詞の裏の意味も、たいして曲もないが、本人は洒落を言って照れ隠しのつもり」（全釈）

See 529, 948.

Kifune suggests reading 654-660 as a single series of exchanges.

Other sources:

貫之集III２０. Prose preface 人のもとへまかれるに、ひなきよしをのみいひいたしたるに. Fifth line かへるとおもへば.

661

あひしりて侍ける人をひさしうとはずして、まかりたりければ、かどより返しつかはしけるに

He had not visited a person he knew for some time, and when he went to see her, he was turned away at the gate and sent this

返しつかはしけるに] 返し侍りければ（中・全釈）、返し侍りければいひつかはしける（堀）、返したりければ（荒・片）、返しつかはしける（雲）、かへしければつかはしける（白）、かえしつかはしければ（承）

壬生忠岑

Mibu no Tadamine

住吉の　松にたちよる　白浪の　かへるおりにや　ねはなかるらん

At Sumiyoshi / the white waves that hit the pines (2-3) / when they go back / do the roots float away?

住吉の] 住の江の（行・中・荒・片・雲・白・承・八・標・新）
たちよる] かかれる（荒・片*・雲・慶・新ィ）
かへるおり] かへるのおり（白）
ねはなかるらん] ねをばなくらん（荒・片*）

住吉の松: There may be a play here with 住みよし (good to live; i.e. a good relationship between man and wife). 松 of course puns on 待つ.

白浪の: The first three lines are a preface for かへる (the waves returning, and Tadamine returning home)

ねはなかるらん: This is a play on 根・音 and 泣く・流る. The や...らん construction is guessing about the pine.

--

The above translation is the direct meaning. The meaning of the や...らん as applied to the love meaning would have to be for the woman, meaning something like "do you cry as I return?"「『らん』とよめる、優なるべし」（八代集抄）However, Katagiri instead applied the crying to the poet, seeing the らん as meaning something like "do the pines' roots float away the same way as I cry?"

Kifune saw this poem as having a haikai quality, and one that served to keep open the possibility of future relationship, rather than simply returning angry and ending it.

Other sources:

古今和歌六帖３０３８・くれどあはず・つらゆき. First line すみのえの, fourth line かへるときにや, fifth line ねをばなくらん.
忠岑集
- I(12): Prose preface アヒシリテ侍ル人、日コロヒサシクトハスシテイキタルニ、カクセハ. First line すみのえの, fourth line かかるおりにや, fifth line ねをばなくらん.
- II(76): Prose preface 相しりたる人ひさしうとはすしてまかりたりしにうらみはへりしかは. First line すみのえの, fourth line かかれるときや.
- IV(12): Prose preface しりたるひとのもとにいきたるに、」かとよりかへりけれは. First line すみのえの, fourth line かへるときにや.
五代歌枕　歌枕名寄

662

(76v) おとこのもとより「今はこと人あんなれば」といへり/ければ女にかはりて

A message from a man said "Now, since you seem to have another lover...", and so he wrote this in place of the woman

よみ人しらず

Poet unknown

小野左大臣（荒・八ィ・標ィ・新ィ）、小野宮大臣（片）、左大臣（承）

おもはむと　たのめし事も　ある物を　なきなをたてでゞ　ただゞにわすれね

"I will think of you" / I relied on those words / but / without raising a bad name / just forget me normally.

なきなを] なきなは（荒・片・雲）、うき名を（八）
わすれね] わすれよ（堀・荒）、わすれず->わすれよ（雲）、わすられよ（新ィ）

今はこと人あんなれば: あんなれば is a contraction of あるなれば (なる being the 伝聞 "I heard").「我ならぬ他の男の通ふがあるなれば、今よりは我は訪はぬぞ」（新抄）

女にかはりて: Someone else is writing it; presumably the new lover.

おもはむとたのめし: "I trusted your promise that you would think of me (love me) forever."

--

The essential meaning of the poem is "You're the one who abandoned me, so don't try to create a false rumor that I'm seeing someone else -- just end the relationship normally and leave me be." Of course there is an irony in that the poem seems to have been written by the new man. As the variants and other sources indicate, this poem is often attributed to Fujiwara no Saneyori, and in that collection is a response to Fujiwara no Motosuke's poem that carries the same meaning as the "you seem to have another lover" from the GSS preface.

Other sources:

金玉集６０. Prose preface 人のめにことごころあるよしいひければ、人にかはりて　小野宮大臣. Fourth and fifth lines なき名はたてでただにわすれぬ
元輔集２２１. Part of three poem sequence. Fourth and fifth lines なき名はたてでただにわすれぬ
清慎集８６. Response to Motosuke's poem うきながらさすがにもののかなしきはいまは限と思ふなりけり. Fourth and fifth lines なき名はたてでただにわすれよ
定家八代抄
源氏注・東屋

663

歌ナシ（荒）

返し

Response

かすがののゝ　とぶひののゝもり　見し物を　なきなといはばゞ　つみもこそうれ

The signal fire guard of Kasuga field (1-2) / saw it, so / if you say there is nothing there / you will commit a sin.

かすがのの] かすがのに（片）
こそうれ] すれ（堀*)、こりくれ（片）、こそあれ（八ィ・標ィ）

かすがののとぶひののもり: 春日野の飛ぶ火の野守. See Kokinshu 19 (18 in most manuscripts). 「この歌は古今の『春日野の...』といふを本歌にてよめり」（八代集抄）

な: This is both 名 and 菜. 「菜をそへたる也」（聞書）

つみ: This plays on 罪 and 積み (to connect with 菜 in the previous line). Katagiri connects the 罪 with the gods of Kasuga Shrine.

--

The response poem insists that the woman is in fact sleeping with someone else, using the nature metaphors of the original KKS poem as a literary technique.

See SIS 696.

「歌心は、なきなぞとあらそへる返事に、なきなにはあらず、まことぞと、かさねていへる歌なり」（正義）「本歌より、奇想天外、即妙に切り返す。俳諧味がきいていて、返歌の勝」（全釈）「今更なかったことにはできないとの心」（新注）

Other sources:

元輔集２２２. Fourth line なきなぞといはば. I: Second line とぶひのもりに, fourth and fifth lines なきなぞといはしいみもこそすれ
歌枕名寄

664

664 and 665 switched（荒・片）

題しらず

わすられて　思ふなげきの　しげるをや　身をはづかしの　もりといふらん

Forgotten / my laments / as profuse as firewood, perhaps / my shameful body can be called / Hatsukashi Forest.

思ふなげき] 思ひなげき（貞・雲）、思ふこころ（荒・片）
しげる] しげき（堀*)、けしき（荒・片）

なげき: 投げ木 (firewood) and 嘆き.

はづかしのもり: This is a play on 恥づかしの漏り, and 羽束師森, in Yamashiro. 「かくてこの森をよめるは、この歌などやはじめならん」（新抄）

--

This poem connects the poet's shame and sorrow on being forgotten by a man to the place name Hatsukashi Forest. Kifune thinks this may not have been originally a love poem, but rather a Haikai poem on the topic of the forest's name.

Other sources:

五代歌枕　歌枕名寄

665

人の心かはりにければ

When a person had changed his heart

右近

Ukon

左近（荒・片）

おもはむと　たのめし人は　有り・ときく　いひし事のは　いづちいにけん

"I will think of you" / I hear the person who said that is still alive (2-3) / the words that he said / where have they gone?

おもはむと] わすれじと（片ィ）
いひし事] いひ事（中）
いづちいにけん] いづちにけん（荒）、いづちいにけれ（片）、いづき行にけむ（新ィ）

有り: Still living. 「存生ながらへて在りときくにといはんが如し」（新抄）「有り・去ぬの対語」（新注）

--

In the Yamato Monogatari, Fujiwara no Atsutada declared his love to Ukon when she was serving Empress Shizuko. But Ukon had to leave the Empress' service, and Atsutada never called on her again. She heard he still visited the palace, and sent him this letter. This sort of letter could be used as a way to respark a dead relationship, despite the critical tone.

Kifune suggests reading 661-665 as a continuous love sequence.

「実にその御詞のなごりも無くなりたる事よ、となり」（新抄）

Other Sources:

大和物語81段. First line わすれじと.

666

さだくにの朝臣のみやす所、きよかげの朝臣とみちのくにゝある所／＼をつくして、歌によみかはして、「いまはよむべき所なし」といひければ

The Haven [who was the daughter] of Lord Sadakuni used up all the various places in Michinoku writing poems back and forth to Lord Kiyokage, and said "There aren't any places to write about now."

Teika's note (by みやす所): 女御和香子延喜三年為女御

源清蔭朝臣

Lord Minamoto no Kiyokage

さても猶　まがきの島の　有ければ　たちよりぬべく　おもほゆる哉

Well then, still / the Magaki Island / is there, so / I believe that I should make for there (4-5).

猶] 又（貞・堀・荒・片・雲・承・新ィ）

みちのくにゝある所／＼をつくして: 「この国の名所のあるかぎりを、かたみによみかはし給へるなり。かくて、御息所、籬の島の一所残りてあるを忘れたたまひて、もはや名所はなしとのたまひたるなり」（新抄）

--

There is some doubt about why this is included in the love volume. Kigin assigned it a love meaning. Nakayama thought that perhaps it was simply about composing poems on the various places in Michinoku and that it should be in the misc. volume instead -- he felt it was hard to judge whether this actually had a hidden love meaning or whether it was simply placed in this volume because the compilers thought it did. Surprisingly Kifune also thought it belonged in the travel or misc. volumes. Kudo seems to think the addition of the love undertone is playful, and Katagiri hedges his bets by simply saying that if this is a love poem, Kigin must be on the right track. The poem appears in no other contemporary sources.

「御息所のもとへ立ちよらんとの心をよめるなるべし。懸想の歌なり」（八代集抄）「笆のもとに立ち寄るは恋のしわざなれば、恋の部に入れたるものならんか」（新抄）

KKS 「我がせこを都みやりて塩釜の籬の島のまつぞくるしき」

Other sources:

五代歌枕　歌枕名寄

667

In 荒, V1 comes after this as a response.

こと女のふみを、めの「見む」といひけるに、見せざりければ、うらみけるに、そのふみのうらにかきつけて、つかはしける

His wife said "I want to see" in regards to a letter from another woman, but he wouldn't show it to her, so she was upset, and he wrote this on the back of the letter and sent it to her.

よみ人しらず

Poet unknown

これはかく　怨所も　なき物を　うしろめたくは　おもはざらなん

This does not have that kind of / place for you to begrudge / with anger / I wish you would not think.

これは] みれば（標ィ）
おもはざらなん] おもはざりなん（雲）、おもはざるらん（標*・新ィ)

怨所もなき: 怨み plays on 裏見.「文の裏をそへてよめるなるべし」（八代集抄）

うしろめたく: This may play on 後ろ（を見る）.

--

「妻の悋気...当意即妙、手紙の裏に書く機知の趣向」（全釈）

The 標注 and 新抄 found a variant preface in some manuscripts that do not appear to have survived. In this preface, a woman hears that the poet has shown her letter to another woman, and gets upset. Nakayama thought this worked better with the poem, particularly with the (also unknown) variant of おもはざるらん ("you seem to not think...")

Other sources:

信明集１２１. Prose preface 人のふみをえてかくせば、女のうらむれば、ふみのうらにかきて見する (I), 女のふみをかくしけれ（る）は（を）、めのうらみけれは、うらにかきて(III). Since the next poem is Saneakira's, perhaps this poem originally occurred after it.

668

ひさしうあはざりける女につかはしける

ひさしう] 二三日ばかり（堀*・荒・片）、二三日のあひだ（雲）、二三日があひだ（白）

源さねあきら

さねあきら] 景明（新ィ）

思きや　あひ見ぬことを　いつよりと　かぞふ許に　なさむ物とは

あひ見ぬ] あひ見る（荒）
ことを] ほどを（堀・片・雲・白・慶）
かぞふ許] かぞふるかり（片）
なさん]　ならん（正ィ・安#）
物とは] 物かは（堀＄）

思ひきや: This is an inverted construction: ～とは思ひきや. The meaning is とは思わなかった.

なさむ: 新抄 reads the use of なす here as indicating the poet's culpability in creating the situation, however he preferred the ならん meaning from the Ise Collection and Shuishu texts. Kifune says the なさむ reading is definitely Saneakira's.

--

A very similar poem to this appears in one manuscript of the Ise collection and in the 拾遺集, 907: 思ひきや逢ひみぬほどの年月をかぞふばかりにならん物とは. Kudo suggests that Saneakira might have modified Ise's poem, or perhaps Saneakira's poem was mistakenly put in the Ise collection because of his connection with her daughter Nakatsukasa. Katagiri reads the GSS version as one of apology, whereas the "2 to 3 days" version in the Saneakira Collection has the feeling that despite only 2 or 3 days passing, he longs for her greatly. He also notes that it is "interesting" to imagine the idea of Saneakira knowingly modifying Ise's poem to correspond with her daughter.

「かく日数へてあふまじきとは思はざりしに、思外のたえまかなとの事也」（八代集抄）

Other sources:

信明集１３８. Prose preface 二三日ばかりあはぬ女に. Second line あひみぬほどを. Third line いつなりと. Fifth line ならん物とは.

669

GSS 669

670

GSS 670

671

GSS 671

672

GSS 672

673

GSS 673

674

GSS 674

675

GSS 675

V1

This is a response to poem 667, in the 二荒本 text.

かへし

Response

[御]休所

The Haven

みちのくの　まがきのしまに　たちよらば　あらはなりとて　かくるばかりぞ

If I were to go (3) / to Magaki Island in Michinoku (1-2) / it would be clear / but also hidden(?)

Gosenshu 10

601

602

603

604

605

606

607

608

609

610

611

612

613

614

615

616

617

618

619

620

621

622

623

624

625

626

627

628

629

630

631

632

633

634

635

636

637

638

639

640

641

642

643

644

645

646

647

648

649

650

651

652

653

654

655

656

657

658

659

660

661

662

663

664

665

666

667

668

669

670

671

672

673

674

675

V1

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