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後撰和歌集　巻第九　恋一

* 恋歌一 (行)

The GSS has six love volumes in comparison to the KKS' five. The KKS' love volumes focused primarily on abstract poems, without prose prefaces, that used various images to express feelings associated with love. The GSS focuses on poems sent to lovers in actual situations, and features a large number of exchanges. The KKS also arranged the poems to follow the sequence of a love affair; from the initial feelings to the end of the relationship. The GSS' organization is less clear, but seems to involve grouping poems with similar imagery together.

= 507 =

からうじて<ruby>逢<rt>あ</rt></ruby>ひしりて侍<ruby>り<rt>・</rt></ruby>ける人に、<ruby>慎<rt>つつ</rt></ruby>むことありて、<ruby>逢<rt>あ</rt></ruby>ひがたく侍<ruby>り<rt>・</rt></ruby>ければ

There was a person who he met after great effort, and there was something to be cautious about, then it became hard to meet.

源宗于朝臣

[[Index_of_People#M|Lord Minamoto no Muneyuki]]

あづま地の　さやの中山　中々に　あひ見てのちぞ　わびしかりける

 adumadi no                        On the eastern road
 saya no nakayama                  [[Index of Places#S|Saya no Nakayama]]
 nakanaka ni                       So casually we met
 ahi-mite noti zo                  But it's only after that
 wabisi-kari-keru                  That I suffer all the more.

;Something to be cautious about
:This is a common theme in love poetry and love tales; it simply means that there was some reason why their relationship was not acceptable or why they couldn't be open about it.

;Saya no Nakayama
:This place name is used primarily as a preface for the third line, ''nakanaka ni'' (casually). However, the idea of this mountain crossing also links to the "great effort" of the preface.

[[Gosenshu_9#507S|Supplementary Notes]]

--

The idea behind the poem is that he was suffering from love before they met, and he thought that after they met his suffering would end. But their meeting, though seemingly casual and noncommittal, has now caused an even greater agony for him. Kifune thinks that the compilers wanted to draw the readers in to the love volume by ending the Winter volume with "we haven't met yet", then immediately saying that "after great effort, they met" and then "it was difficult to meet"; showing this sudden transition between the phases of love.

The first part of this poem seems to be taken from KKS 594:
::あづまぢのさやの中山なかなかになにしか人を思ひそめけむ
::On the eastern road, Saya no Nakayama, why did I start casually loving her?

The ''Kansho'' praises the softness of the poem and the effectiveness of the pain in the final line.

== 508 ==

<ruby>忍<rt>しの</rt></ruby>びたりける人に<ruby>物語<rt>ものがたり</rt></ruby>し侍<ruby>り<rt>・</rt></ruby>けるを、人の<ruby>騒<rt>さは</rt></ruby>がしく侍<ruby>り<rt>・</rt></ruby>ければ、まかり<ruby>帰<rt>かへ</rt></ruby>りて、つかはしける

He was chatting with a person he was seeing secretly, but people were making a ruckus, so he returned home and sent this.

つらゆき

[[Index of People#T|Tsurayuki]]

暁と何かいひけむわかるれば<ruby>宵<rt>夜ゐ</rt></ruby>もいとこそわびしかりけれ

 akatuki to                        The dawn, the dawn,
 nani ka ihi-kemu                  Why do they talk about it so?
 wakarure-ba                       When we have parted
 yohi mo ito koso                  It is the bitter evening
 wabisikari-kere                   That is the source of my suffering.

[[Gosenshu_9#508S|Supplementary Notes]]

--

The situation here seems to be that Tsurayuki had visited a women secretly, but he was fearful of being discovered because of gentlewomen in the next room. So he goes home and sends this poem. The first line is perhaps on Tadamine's KKS 625:
::有明のつれなく見えし別れより暁ばかりうき物はなし
::Nothing is as sorrowful as the ruthless dawn, moon still in the sky, after you've parted from your love.
However, the dawn parting is a common image in love poetry so the reference may not be this direct.

== 509 ==

源の<ruby>巨城<rt>おほき</rt></ruby>が<ruby>通<rt>かよ</rt></ruby>いひ侍<ruby>り<rt>・</rt></ruby>けるを、<ruby>後々<rt>のち／＼</rt></ruby>はまからずなり侍<ruby>り<rt>・</rt></ruby>にければ、となりの<ruby>壁<rt>かべ</rt></ruby>の<ruby>穴<rt>あな</rt></ruby>より<ruby>巨城<rt>おほき</rt></ruby>をはつかに見てつかはしける

Minamoto no Ooki was visiting her, but after a while he no longer visited, and she saw him faintly in the next room through a hole in the wall, and sent this.

するが

[[Index of People#S|Suruga]]

まどろまぬ　かべにも人を　見つる<ruby>かな<rt>哉</rt></ruby>　まさしから<ruby>なん<rt>南</rt></ruby>　春の夜の夢

 madoroma-nu                       Unable to sleep
 kabe ni mo hito wo                On the wall, too, that person
 mi-turu kana                      I think I saw there!
 masasikara-nan                    If only it could be real
 haru no yo no yume                The dream of a night of spring.

--

The idea of seeing one's lover in a dream is common in Heian poetry, but the role of the wall is less clear here. Of course it comes from the situation in the preface, but what poetic element does it have? The ''mo'' (also) means that Suruga is seeing Ooki not only in her dreams, but on the wall as well. One possibility, appearing first in the ''Seigi'', is that seeing dreams on walls when awake is an old trope from Chinese writings. Kudo mentions a Chinese story where a man sees his deceased wife on a wall but then the image disappears. GSS 1399 involves similar language but the situation there is that a man sees something that his deceased wife had written on the wall. 

Another possibility raised by Kigin is that this is simply a wordplay; since walls are painted (''nuru''), that creates a play on words with ''nuru'' "sleep". In this case Kifune may be right that this is a comic ''Haikai'' poem. He also reads the entire situation as a humorous one; it was common for higher ranking men to have casual relationships with gentlewomen like Suruga. Therefore this poem may not be actually a bitter accusation of cheating but simply a humorous greeting.

[[Gosenshu_9#509S|Supplementary Notes]]

== 510 ==

<ruby>逢<rt>あ</rt></ruby>ひ<ruby>知<rt>し</rt></ruby>りて侍<ruby>り<rt>・</rt></ruby>ける人のもとに、「返事見む」とてつかはしける

To a woman he knew, he sent this, thinking "Let's see her response."

元良のみこ

[[Index of People#M|Prince Motoyoshi]]

くや<ruby>くや<rt>／＼</rt></ruby>と　まつゆふぐれと　今はとて　かへる朝と　いづれまされり

 kuyakuya to                       The evening when
 matu yuhugure to                  I wait, thinking "she's coming!"
 ima ha to te                      Or the morning when
 kaheru asita to                   I return thinking "It's time!"
 idure masare-ri                   Which is more sorrowful?

;It's time!
:This often means that the affair has ended, but here it may just mean that morning has come and he has to leave.

[[Gosenshu_9#510S|Supplementary Notes]]

--

This kind of comparison poem was a fad at the time. Motoyoshi was known as a playboy, and although this seems more like a public poem, in the context here he is playfully inviting her to respond which one is more sorrowful.

== 511 ==

返し

Response

藤原かつみ

Fujiwara no Katsumi

ゆふぐれは　松にもか<ruby>か<rt>ゝ</rt></ruby>る　白露の　<ruby>お<rt>を</rt></rt></ruby>くる朝や　きえは<ruby>は<rt>ゝ</rt></ruby>つらむ

 yuhugure ha                         In the evening
 matu ni mo kakaru                   Waiting on the pine trees
 siratuyu no                         The white beads of dew
 okuru asita ya                      In the coming morning
 kie ha hatu-ramu                    They will surely vanish.

;Waiting
:''matu'' as usual puns on "pine" and "wait". 

[[Gosenshu_9#511S|Supplementary Notes]]

--

The basic meaning of Katsumi's response is that waiting in the evening for his arrival is bad enough, but she knows he will come. It's the morning parting makes her feel like she will die, vanishing before even the dew does. Kifune and the ''Hyoshaku'' both praise the skilled construction showing her love.

== 512 ==

<ruby>大和<rt>やまと</rt></ruby>に<ruby>逢<rt>あ</rt></ruby>ひしりて侍<ruby>り<rt>・</rt></ruby>ける人のもとにつかはしける

He sent this to a woman he had met in Yamato.

よみ人しらず

Poet unknown

うち返し　君ぞこひしき　やまとなる　ふるのわさ田の　思<ruby>ひ<rt>・</rt></ruby>いでつ<ruby>つ<rt>ゝ</rt></ruby>

 uti-kahesi                          Over and over
 kimi zo kohisiki                    You are the one that I love.
 yamato naru                         Out in Yamato
 huru no wasada no                   The old field with early blooms
 omohi-ide-tutu                      As they come forth I send my thoughts.

;Over and over
:The verb ''uti-kahesu'' also refers to plowing a field, which connects to the third and fourth lines.

;As they come forth I send my thoughts
:''hi-idu'' can also be a verb meaning for stalks of a plant to grow forth.

--

This poem has a preface in the 3rd and 4th lines and also words related to seeds and farming, which connects to the Yamato province where the woman is. Nakayama thinks this relationship is resuming after a long pause, whereas Kifune thinks they have known each other for a long time but only now is their relationship developing.

== 513 ==

返し

Response

秋の田の　いねてふ事を　かけしかば　思<ruby>ひ<rt>・</rt></ruby>いづるが　うれしげもなし

 aki no ta no                      In the autumn fields              
 ine tehu koto wo                  Rice stalks, you told me to leave,
 kake-sika-ba                      That lay on my heart
 omohi-iduru ga                    So when you remember me
 uresi-ge mo nasi                  You won't see me grow happy.

[[Gosenshu_9#513S|Supplementary Notes]]

--

The response poem uses the same imagery as the initial poem, but exactly what the second line means is difficult to say. Most commenters agree that this is a play on ''ine'' meaning "Go!" (and ''ine'' rice stalks). So either this refers to a specific time when the man told her to go away, or she is just expressing the feeling of being abandoned. Kifune rejects this and sees a hidden play on ''karu'' (mow grass/leave) but this seems hard to sustain when the word isn't actually in the poem. Nakayama suggests that the woman had to move to Yamato for some reason and he told her to go despite their love.

This exchange may fit with Sato Komei's idea that some of these poems or exchanges may have been included to pique the interest of the readers and encourage them to imagine their own contexts or settings.

== 514 ==

女につかはしける

Sent to a woman

人こふる　心<ruby>ばかり<rt>許</rt></ruby>は　それながら　我はわれにも　あらぬなりけり

 hito kohuru                          Longing for you
 kokoro bakari ha                     It is only my heart
 sore nagara                          That remains here
 ware ha ware ni mo                   Myself, as the self I know,
 ara-nu nari-keri                     Is no longer existant.


[[Gosenshu_9#514S|Supplementary Notes]]

--

The idea is that he is so obsessed with love for this woman that he has ceased to exist except for his heart, which remains.

A similar poem by Minamoto no Shitago (one of the GSS compilers) appears as ''Shoku goshui shu'' 745:
::誰がために君を恋ふらむ恋佗びて我はわれにもあらず成行く
::For whose sake am I longing for you? Love's sorrow means that myself, as the self I know, is disappearing.

== 515 ==

まかる所<ruby>知<rt>し</rt></ruby>らせず侍<ruby>り<rt>・</rt></ruby>けるころ、又<ruby>逢<rt>あ</rt></ruby>ひしりて侍<ruby>り<rt>・</rt></ruby>ける<ruby>男<rt>おとこ</rt></ruby>のもとより、「<ruby>日頃<rt>ひごろ</rt></ruby>たづねわびて<ruby>失<rt>う</rt></ruby>せにたるとなむ思<ruby>ひ<rt>・</rt></ruby>つる」といへりければ

When she had left without saying where she was going, she got this from a different man she had been seeing: "I've been visiting you regularly but I think you've gone away."

伊勢

Ise

おもひ河　たえずながるる　水のあわの　うたがた人に　あはできえめや

 omohikawa                      The river of thought
 taezu nagaruru                 Flows on and on without cease
 midu no awa no                 The foam on the water
 utagata hito ni                Float on the surface, and how
 aha-de kie-me ya               Would I die without us meeting?

;gone away
:The word ''usu'' has multiple meanings. The man probably intended it to mean that Ise had left, but Ise in her poem interprets it as "dead". It's also possible she is saying that man will not die before they meet.

;River of thought
:Although older commentaries identified this as a specific river in Chikuzen, it may simply be a symbolic "river" to set up the wordplays in the remainder of the poem. ''nagaruru'' (flow) plays on ''nakaruru'' (cry), and ''utagata'' refers to the bubbles on the surface but also is a different word that pairs with a negative to mean "absolutely will not." 

[[Gosenshu_9#515S|Supplementary Notes]]

--

This poem appears in many pre-modern collections of good poetry, and is assigned in several pseudo-Teika works to the ''yugen'' category (mysterious depths). The purpose of the poem is to reassure the man that she still loves him.

== 516 ==

題しらず

Topic unknown

三統公忠

Mimune no Kintada

思<ruby>ひ<rt>・</rt></ruby>やる　心はつねに　かよへども　相坂の関　こえずもある<ruby>かな<rt>哉</rt></ruby>

 omohi-yaru                       Sent out on my thoughts
 kokoro ha tune ni                My heart is always able
 kayohe-domo                      To pass through it, but
 ahusaka no seki                  The gate of the Meeting Slope
 koe-zu mo aru kana               It seems that I can't get through.

;Meeting Slope
:''ahusaka no seki'', a barrier gate near Kyoto, was often used as an image for lovers not able to meet, due to the ''ahu'' (meet) word.

[[Gosenshu_9#516S|Supplementary Notes]]

--

This seems to be a poem, perhaps a public-style one, on a woman that the poet has not met. Kifune notes the personification of the heart in the first part contrasted with the physical distance in the second. Kifune also suggests reading 512-516 as a single sequence.

== 517 ==

女につかはしける

Sent to a woman

よみ人しらず

Poet unknown

きえはて<ruby>て<rt>・</rt></ruby>　やみぬ<ruby>ばかり<rt>許</rt></ruby>か　年をへて　君を思ひの　しるしなければ

 kie-hate-te                   Did it extinguish
 yami-nu bakari ka             And stop as I may soon die?
 tosi wo he-te                 With the passing years
 kimi wo omohi no              The flame of your thoughts for me
 sirusi nakere-ba              I cannot see any more.

;Extinguish
:''kiyu'' is used here to mean "extinguish (flame)" or "die". There is then later a play on the ''hi'' (fire) of ''omohi''.

;''ka''
:Commentators are equally divided on whether this is a question or an emphatic particle; in the latter case it would be "Your flame extinguished..."

[[Gosenshu_9#517S|Supplementary Notes]]

--

The wordplay and association with the fire indicates that just as the woman's thoughts for the man have gone away, he too will die out of his love for her.

== 518 ==

返し

Response

おもひだに　しるしなしてふ　わが身にぞ　あはぬなげ木の　かずはもえける

 omohi da ni                      "Not even the fire
 sirusi nasi tehu                 of my thoughts shows," so you say,
 waga mi ni zo                    It is in my self
 aha-nu nageki no                 The firewood of regret
 kazu ha moe-keru                 That we can't meet burns greatly.

;firewood of regret
:''nageki'' is both lament/regret, and "discarded wood" (i.e. firewood).

[[Gosenshu_9#518S|Supplementary Notes]]

--

The response picks up the flame imagery of the first poem, saying that the man(?) cannot see her love for him because it's burning inside of her.

== 519 ==

題しらず

Topic unknown

ほしがてに　ぬれぬべき<ruby>かな<rt>哉</rt></ruby>　唐衣　か<ruby>わ<rt>は</rt></ruby>くたもとの　世々になければ

 hosi-gate ni                     Difficult to dry
 nure-nu beki kana                They must always be drenched through.
 karakoromo                       On my Chinese robes
 kawaku tamoto no                 The sleeves will never dry out
 yoyo ni nakere-ba                Though years of long nights pass by.

;''yoyo''
:This could have three meanings: 世々 (through many ages), 夜々 (many nights), or an onomatopoeia for crying. Commentators differ on which of these meanings applies here. Kigin, Nakayama and Katagiri take it as "through many ages," while Kudo and Kifune say "nights." Katagiri is the only one of them to wonder about the "sound of crying" meaning, wondering if it is appropriate for poetry. The evidence of ''yoyo'' used in poetry for a crying sound is slight, but it does occur in some private poetry collections.

[[Gosenshu_9#519S|Supplementary Notes]]

--

The expression of the poem is simple and direct, but as the note above indicates it's difficult to tell what kind of wordplay might be involved in the poem.

== 520 ==

世と<ruby>と<rt>ゝ</rt></ruby>もに　あぶくま河の　と<ruby>ほ<rt>を</rt></ruby>ければ　そこなる影を　見ぬぞわびしき

 yo to tomo ni                  As long as the world lasts
 abukumagaha no                 The Abukuma River
 tohokere-ba                    Is very far,
 soko naru kage wo              So your image in the deeps
 mi-nu zo wabisiki              Not seeing it, I suffer.

;Abukuma River
:A river in Michinoku. It serves as a play on ''ahu kuma'' (a place or time to meet).

;Image in the deeps
:The ''soko'' can also mean "you" (here).

[[Gosenshu_9#520S|Supplementary Notes]]

--

This seems to be a poem on a secret love affair. Just as the poet cannot see the reflection in the Abukuma River which is so far away, he also cannot see the lover's face because their time of meeting is so far away. Katagiri focuses on the word ''soko'' which seems to indicate someone who is close by him. He paints the picture of two people who have met in the palace. Though they are physically close to each other, they cannot easily meet. Nakayama and Kudo also note the contradiction between the "far" of the third line and the closeness of the ''soko'' in the fourth.

== 521 ==

わがごとく　あひ思ふ人の　なき時は　深き心も　かひなかりけり

 waga gotoku                      When there is no one
 ahi-omohu hito no                To return my thoughts of love
 naki toki ha                     In the way I feel,
 hukaki kokoro mo                 Then the depth of my own heart
 kahi nakari-keri                 Has no worth for me at all.


[[Gosenshu_9#521S|Supplementary Notes]]

--

This is similar to Mitsune's poem KKS 750:
::わがごとく我をおもはむ人もがなさてもや憂きと世を心見む
::I wish there were someone to love me as I do. I want to see if a real experience would make me suffer.

However, the GSS poem may be targeted at the individual rather than being a simple declaration of love. Kifune tried to see wordplays in the poem based around ''kahi'' as shellfish, but he is the only commenter who mentions this.

== 522 ==

いつしかと　わが松山に　今はとて　こゆなる浪に　ぬる<ruby>る<rt>・</rt></ruby>袖<ruby>かな<rt>哉</rt></ruby>

 itu sika to                       When, oh when, I think,
 waga matuyama ni                  Waiting at Matsuyama,
 ima ha to te                      And now at the end
 koyu naru nami ni                 The waves I hear crash over
 nururu sode kana                  Drench my sleeves through with tears.

;Waiting at Matsuyama
:''matu'' creates a pivot based on "wait", and "pine mountain" (''matuyama'').

[[Gosenshu_9#522S|Supplementary Notes]]

--

The imagery of this poem is based on KKS 1093:
::きみをおきてあだし心をわが持たば末の松山浪もこえなん
::If I abandon you and turn my heart to another, may the waves crash even over Matsuyama in Sue.
The mountain here, besides playing on ''matu'' (see note above), is used as an image of something that would be impossible for waves to reach. Moving from that imagery, this poem indicates that she waited expectantly but now she hears that he has turned his heart to another (i.e. hears the waves crash over) and those waves become the tears that drench her sleeves.

== 523 ==

女のもとにつかはしける

Sent to a woman

ひとことは　まこと<ruby>なり<rt>也</rt></ruby>けり　したひもの　とけぬにしるき　心と思へば

 hitokoto ha                      What they always say
 makoto nari-keri                 Seems indeed to be true.
 sitahimo no                      The cord of my trousers
 toke-nu ni siruki                Not having loosened, I think
 kokoro to omohe-ba               Of your heart, now clearly shown.

;Cord of my trousers
:A proverb at the time (see in the MYS and KKS) was that your trouser cord would loosen if your lover was thinking of you.

[[Gosenshu_9#523S|Supplementary Notes]]

--

This poem is based on the proverb mentioned above; as Kifune notes, it inverts the proverb so that the unloosed cord shows the cold heart of the woman.

== 524 ==

結<ruby>びお<rt>・を</rt></ruby>きし　わがしたひもの　今までに　とけぬは人の　こひぬ<ruby>なり<rt>也</rt></ruby>けり

 musubi-oki-si                     You tied it, back then,
 waga sitahimo no                  The cord of my trousers,
 ima made ni                       And up to the present
 toke-nu ha hito no                It has not loosened, I see
 kohi-nu nari-keri                 It's because you don't love me.


[[Gosenshu_9#524S|Supplementary Notes]]

--

This has the same feeling and imagery as the previous poem. Nakayama thought the two might have been composed by the same person in the same context, although recommended that they be read with the order flipped.

== 525 ==

女の、人のもとにつかはしける

A woman sent this to a man

ほかのせは　ふかくなるらし　あすか河　昨日のふちぞ　わが身なりける

 hoka no se ha                A different shallows         
 hukaku-naru-rasi             Has now grown deeper, it seems.
 asukagaha                    At Asuka River
 kinohu no huti zo            "Yesterday's pools" that they mention
 waga mi nari-keru            Seem to be my own body.


[[Gosenshu_9#525S|Supplementary Notes]]

--

This poem's meaning relies on KKS 933:
::世の中はなにか常なるあすか河きのふの淵ぞけふは瀬になる
::What in this world is permanent? At Asuka River, yesterday's pools are today's shallows.
In the poem, the woman makes herself the "pool" and another woman the "shallows" -- but now that the man's attention has turned to the other woman, their positions have switched. Kifune points out that the first two lines are actually the reverse of the original poem. 

== 526 ==

返し

Response

ふちせとも　いざやしら浪　立ちさ<ruby>わ<rt>は</rt></ruby>ぐ　わが身ひとつは　よる方もなし

 huti se to mo                    Shallows and deep pools,
 iza ya siranami                  What do I know? The white waves
 tati-sawagu                      Rise and loudly crash
 waga mi hitotu ha                And my own self, alone,
 yoru kata mo nasi                Has nowhere to seek safe harbor.

;White waves
:''siranami'' also means "I do not know, and so..."

[[Gosenshu_9#526S|Supplementary Notes]]

--

The man's response turns back the complaint on the woman, which is a typical method of repartee in this sort of love poetry. Picking up on the allusion to the KKS poem, the man suggests that he has no idea what she's talking about, but that with her loud complaining he has nowhere to go. Kifune also thinks that there is a possible allusion to KKS 747 in this phrase, in which case it would suggest "my heart is the same as it's always been," showing his love for her.

== 527 ==

題しらず

Circumstance unknown

ひかりまつ　<ruby>つ<rt>ゝ</rt></ruby>ゆに心を　<ruby>を<rt>ゝ</rt></ruby>ける身は　きえかへりつ<ruby>つ<rt>ゝ</rt></ruby>　世をぞうらむる

 hikaru matu                         Waiting for the light
 tuyu ni kokoro wo                   My spirit, like the dew that
 wokeru mi ha                        Lies on my body
 kie-kaheri tutu                     Soon completely disappears
 yo wo zo uramuru                    As I hate the world of love.

[[Gosenshu_9#527S|Supplementary Notes]]

--

The author (presumably a woman) is waiting for a man to visit her in the night. But like the dew which awaits the dawn and then vanishes, so too will her spirit vanish at the rising of the sun if he still has not come. The word ''yo'' here, literally "world", takes its typical love poem meaning of the relations between men and women.

Older commentaries had different interpretations -- Kigin thought the "light" motif was related to the high rank of the man. Nakayama thought the light was moonlight, and that the dew waiting to be reflected in the moonlight was like the author waiting for the night visit. It's not clear why Nakayama thought this was the correct reading; KKS 564 contains similar imagery to this one.

Kifune suggests reading 523-527 as a series of exchanges.

== 528 ==

ある所に、近江といひける人のもとにつかはしける

He sent this to a person named Omi living in a certain place.

しほみたぬ　うみときけばや　世と<ruby>と<rt>ゝ</rt></ruby>もに　見るめなくして　年のへぬらん

 shio mita-nu                    The tide does not come
 umi to kike-ba ya               In that sea, or so I hear.
 yo to tomo ni                   Is that why, forever,
 mirume naku si-te               We have no chance to meet
 tosi no he-nu-ran               As the years seem to pass by?

;chance to meet
:''mirume'' plays on "seaweed" and "chance for meeting". Because the "sea" in Omi has no tide, there is also no seaweed.

[[Gosenshu_9#528S|Supplementary Notes]]

--

The man here plays on the woman's serving name "Omi" (perhaps her place of birth, or where a relative lives). Omi was an inland province, best known for the large Lake Biwa. So it has no ocean, and thus no tides and no ocean seaweed. This provides the basis for the wordplay.

''Kokin waka rokujo'' 2761, by Tsurayuki, is similar:
::ちかけれどあふみのうみぞかかりてふみるめもおひぬ中やなになる
::Although we are close, the lack of seaweed in what they call Omi's "lake" has become a barrier between us.

== 529 ==

<ruby>敦慶<rt>あつよし</rt></ruby>の<ruby>親王<rt>みこ</rt></ruby>、まうで<ruby>来<rt>き</rt></ruby>たりけれど、<ruby>逢<rt>あ</rt></ruby>はずしてかへして、又のあしたにつかはしける

Prince Atsuyoshi came to visit, but he was sent home without them meeting, and the next morning she sent this.

桂のみこ

Princess Katsura

唐衣　きて帰<ruby>り<rt>・</rt></ruby>にし　さよすがら　あはれと思ふを　うらむらんはた

 karakoromo                       I wore my robes
 kite kaheri-ni-si                You came and then returned home
 sayo-sugara                      All through the long night
 ahare to omohu wo                I have longed for you, but
 uramu-ran hata                   You probably resent me.

;karakoromo
:This is a pillow word for ''kite'' ("come" and also "wear").

;hata
:The role of this final particle is not clear, but perhaps should be interpreted as "maybe".

[[Gosenshu_9#529S|Supplementary Notes]]

--

Atsuyoshi and Katsura were half-siblings but had a romantic relationship, as shown in the ''Tales of Yamato''. The prose preface does not make the situation entirely clear, but the poem would suggest that someone other than Katsura turned Atsuyoshi away and she is trying to reassure him. Kigin has a moral objection to the relationship, and Nakayama says the poem's style is bad although he doesn't elaborate on why. There seem to be some hidden ''engo'' with clothing -- ''kaheri'' (turning the clothing inside out), ''ura'' (back of the clothing), and the final ''hata'' which can just mean clothing.

== 530 ==

<ruby>逢<rt>あ</rt></ruby>ひ<ruby>待<rt>ま</rt></ruby>ちける人の<ruby>久<rt>ひさ</rt></ruby>しう<ruby>消息<rt>せうそこ</rt></ruby>なかりければ、つかはしける

Someone she had met and then was waiting for had not sent a letter for a long time, and so she sent this.

きのめのと

Ki no Menoto

影だにも　見えずなりゆく　山の井は　あさきより又　水やたえにし

 kage da ni mo                I can no longer see
 mie-zu nari-yuku             Even a reflection
 yama no wi ha                In the mountain well
 asaki yori mata              It is now beyond shallow
 midu ya tae-ni-si            The water fully dried up.

;Ki no Menoto
:Teika's note identifies this as Emperor Yozei's wet nurse, perhaps based on the KKS. But Yozei was born in 868 and Taira no Sadafun probably several decades after that, so this may not be the same person.

;nari-yuku
:Most manuscripts read ''nari-nuru'' here, which seems to fit better with the last line. Kifune emends the text and Katagiri seems to translate it as if it were ''nuru''. It is possible to accept the base text's reading, though: she is saying that going forward, she will continue to be unable to see the reflection because the water has dried up.

--

The imagery compares the shallow well with Sadafun's shallow heart -- not only shallow, but completely dried up. The "mountain well" is used because such wells were often dirty or easily dried up. There are two possible source poems for this. The first is ''Kokin Waka Rokujo'' 985, a variant of MYS 10.3829 that is also mentioned in the ``Kana preface'' to the KKS:
::あさかやまかげさへみゆる山の井のあさくは人をおもふものかは
::The shallowness of the mountain well at Asaka Mountain, even there the reflection can be seen -- is it due to the way he thinks?
And KKS 764:
::山の井のあさき心もおもはぬを影ばかりのみ人の見ゆらん
::I didn't think his heart was as shallow as the mountain well, but why do I only see his shade?

== 531 ==

返し

Response

平定文

Taira no Sadafun

浅してふ　事をゆ<ruby>ゆ<rt>ゝ</rt></ruby>しみ　山の井は　ほりし濁<ruby>り<rt>・</rt></ruby>に　影は見えぬぞ

 asasi tehu                  You say it's shallow
 koto wo yuyusimi            But that's not the problem
 yama no wi ha               With the mountain well
 hori-si nigori ni           When I dug it, it was muddy
 kage ha mie-nu zo           That's why there's no reflection.

--

Sadafun's response deflects the complaint; he has deep feelings for her, and that deepness is what caused the muddy water, not a shallow heart. Another exchange between these two is in the next book, 647-648. 

== 532 ==

題しらず

Circumstance unknown

よみ人も

Also the poet

いくたびか　いくたの浦に　立<ruby>ち<rt>・</rt></ruby>帰<ruby>り<rt>・</rt></ruby>　浪にわが身を　打ぬらすらん

 iku tabi ka                 Over and over
 ikuta no ura ni             To Ikuta Bay I have come
 tati-kaeri                  And then gone back home
 nami ni waga mi wo          The waves crashing over me
 uti-nura-su-ran             Seem to have drenched thoroughly.

;ikuta no ura
:Ikuta Bay is in Settsu province; here it follows on ''iku tabi'' (how many times). This leads into ''tati-kaeri'' which refers to the coming and going of the waves, but also the man visiting her house again and again.

--

This is a metaphorical poem; the man visits the woman's house over and over again but she refuses to accept him, and he has to return, sleeves drenches with the "waves" of tears.

== 533 ==

返し

Response

立<ruby>ち<rt>・</rt></ruby>帰り　ぬれてはひぬる　しほなれば　いくたの浦の　さがとこそ見れ

 tati-kaeri                 Coming and going
 nure-te ha hinuru          It is the tide where in time
 siho nare-ba               The dampness will dry
 ikuta no ura no            That is simply natural
 saga to koso mire          When you visit Ikuta Bay.

--

The response picks up on the imagery of the original, although rather than using Ikuta Bay for wordplay, she uses the visual image of the tide. The surface meaning is simple -- going to Ikuta Bay you should expect to get wet, but it will dry eventually, so don't worry. The metaphorical meaning is that they haven't even met, so his feelings can't be sincere. It's the nature of such casual visits that whatever "tears" he is shedding will quickly dry as he finds some other woman to visit. 

== 534 ==

女のもとに

逢<ruby>ふ<rt>・</rt></ruby>事は　いと<ruby>ど<rt>ゝ</rt></ruby>雲井の　おほぞらに　たつ名のみして　やみぬ<ruby>ばかり<rt>許</rt></ruby>か

 ahu koto ha                 Will our meetings grow
 itodo kumowi no             Even more like the far away
 ohozora ni                  Clouds in the great sky
 tatu na nomi si-te          With only the rumors there
 yami-nu bakari ka           Rising up to stop us?

;tatu
:This refers to both the rising clouds, and the rising up of rumors about them.

--

This appears to be from a man who has exchanged letters with a woman but not met, and rumors have arisen. He wonders if their first meeting is as far away as clouds in the sky. The imagery is similar to KKS 482 by Tsurayuki:
::逢ふことは雲居はるかになる神の音にききつつ恋ひわたるかな
::Our meeting is as far away as the clouds, and I long for you, hearing only rumors of you like distant thunder.

== 535 ==

返し

Response

よそながら　やまんともせず　逢<ruby>ふ<rt>・</rt></ruby>事は　今こそ雲の　たえまなるらめ

 yoso-nagara                   Apart from each other
 yama-n to mo se-zu            I will not let it end
 ahu koto ha                   Our meetings for now
 ima koso kumo no              Must be like a small break
 taema naru-rame               In a continuous cloud line. 

--

The response is strong and assuring, and inverts the image from the original poem. Rather than the clouds being an image of the far away hopes, now they become an image of their eventual meeting. The "break" in the clouds contrast with the "meeting". We might expect the break in the clouds to be a good thing, but the woman's response allows the man's imagery to be used for a positive meaning.

== 536 ==

又おとこ

Again, the man

今のみと　たのむなれども　白雲の　たえまはいづか　あらんとすらん

 ima nomi to                   It's only for now
 tanomu nare-domo              You seem to be thinking, but
 sirakumo no                   The break in the clouds
 taema ha iduka                When will it end, and when
 ara-n to su-ran               Shall we ever meet again?

--

The man's response seems to take the woman's poem as an attempt to evade, suggesting that they may never meet again, using the image of a continuous line of clouds.

== 537 ==

題しらず

Circumstance unknown

をやみせず　雨さへふれば　沢水の　まさる<ruby>らん<rt>覧</rt></ruby>とも　おもほゆる<ruby>かな<rt>哉</rt></ruby>

 woyami se-zu                 Without a small break
 ame sahe fure-ba             Even the rain is falling
 sahamidu no                  So the marshy pools
 masaru-ran tomo              Will fill up even more
 omohoyuru kana               Like my longing fills up with tears.

--

There are a number of interpretive difficulties in this poem. The first is that many manuscripts, and the medieval printed editions, give this as a response to the previous poem, or at least as another poem written by the woman. Kifune also emends the text to add this. So all of their interpretations connect the "rain" here to the "clouds" in the preceding poetic exchanges. There seems to be also a general feeling that the "rain" is tears, and that word ''masaru'' refers both to the pools filling with rain, as well as the poet's feeling of longing increasing. These interpretations may stand even if this is a standalone poem, especially in light of Tsurayuki's KKS 587:
::まこも刈る淀の沢水あめふれば常よりことにまさるわが恋
::The pools of Yodogawa where they cut seaweed, because rain is falling, they fill up even more, just like my longing.
GSS 537 lacks any explicit mention of "longing," but if we take Tsurayuki's poem as a ''honka'' the language may suggest the "longing" all the same. 

Katagari, who does not interpret the poem as a response to the previous, rejects the idea that the rain is tears, and links the "without a small break" to the poet's longing.

== 538 ==

夢に<ruby>だに<rt>谷</rt></ruby>　見る事ぞなき　年をへて　心のどかに　ぬる夜なければ

 yume da ni                    Even in my dreams
 miru koto zo naki             I cannot ever see you
 tosi wo he-te                 The years have passed
 kokoro nodoka ni              And there isn't a night
 nuru yo nakereba              Where I've slept with a calm heart.

--

This is a clear poem drawing on the traditional idea that you might be able to see your lover in your dreams. It recalls poems like the anonymous KKS 767:
::夢にだに逢うことかたくなりゆくは我やいをねぬ人やわするる
::Even in dreams it is growing difficult to meet, perhaps because I cannot sleep, perhaps because he has forgotten me.

== 539 ==

見そめずて　あらまし物を　唐衣　たつ名のみして　きるよなき<ruby>かな<rt>哉</rt></ruby>

 mi-some-zu-te                 I should never have
 aramasi mono wo               Dyed this in the first place
 karakoromo                    The Chinese robes
 tatu na nomi si-te            All I did was tailor them
 kiru yo naki kana             I have no chance to wear them.

;mi-some
:This is a play on "dye" and "meet for the first time".

;tatu
:This is a play on "cut cloth" and "rumors arising"

;kiru yo
:This means "a chance to wear", but it is less clear what the other meaning is. Modern editions seem to take it as "get used to", but I do not see this definition in any dictionaries. Perhaps it means the person has no chance to end the relationship?

--

This poem relies on wordplay and associated words with "chinese robes" -- the love meaning is that the poet should never have even met the other person, because now all that exists are the rumors about them, and they don't meet anymore. The interpretation is difficult without knowing exactly what ''kiru'' means at the end, however.

== 540 ==

女のもとにつかはしける

Sent to a woman.

枯<ruby>れ<rt>・</rt></ruby>はつる　花の心は　つらからで　時すぎにける　身をぞうらむる

 kare-haturu                      Already withered
 hana no kokoro ha                The heart of the flower
 turakara-de                      Does not make me suffer
 toki sugi-ni-keru                I am instead upset with
 mi wo zo uramuru                 Myself, having missed the time.

;kare
:This plays on "wither" and "separate"

--

The surface meaning is a spring poem -- the poet is not upset with the flowers for withering, but rather at himself for missing the flower viewing time. The love meaning is that the man does not begrudge the woman ("flower") for separating from him; he is upset at his own body that is past its prime.

The ``Shinsho'' quotes someone named Masaakira who thought this was a woman's poem. Kifune agreed and went so far as to emend the prose preface, despite all the manuscripts reading "Sent to a woman." I think they were too focused on the similarity of the last two lines to poems of Ono no Komachi and the like. Since flowers are usually women, the flower that has "separated" from me in the first three lines should be a woman as well.

== 541 ==

返し

Response

あだにこそ　ちると見るらめ　君にみな　うつろひにたる　花の心を

 ada ni koso                       Uselessly, fleetingly
 tiru to miru-rame                 You must see it falling
 kimi ni mina                      But all of it
 uturohi-ni-taru                   Towards you has it transferred
 hana no kokoro wo                 The flower of my heart.

;tiru
:Non-Teika texts read ''karu'' (separate/wither, see the previous poem).

;uturohu
:This plays on "fade" (of flowers) and "move".

--

The interpretation of the response does not seem to differ based on whether you think 540 is a man or woman's poem. Since "flowers" are usually symbols for women, it seems more natural to read the "flower's heart" as a woman's heart. She uses the imagery of the falling blossoms but assures the man that she is only scattering towards him.

== 542 ==

「そのほどに帰<ruby>り<rt>・</rt></ruby>こん」とて、ものにまかりける人の、ほどを<ruby>過<rt>す</rt></ruby>ぐして<ruby>来<rt>こ</rt></ruby>ざりければ、つかはしける

Someone who said "I will be back on such-and-such a date" went somewhere on business, and after some time had passed he did not return, so she sent this.

こむといひし　月日をすぐす　<ruby>お<rt>を</rt></ruby>ばすての　山のはつらき　物にぞ有<ruby>り<rt>・</rt></ruby>ける

 ko-mu to ihi-si                       You said you would come
 tukihi wo sugusu                      The moons and suns pass over
 obasute no                            Obasute Mountain
 yama no ha turaki                     And the mountain ridge suffers
 mono ni zo ari-keru                   As I suffer in passing days.

;obasute no yama
:The "old woman discarding mountain" is a place in Shinano. The origin of the name is unclear, but is connected with a number of legends.

--

The use of the mountain in the poem may suggest that the poet is either an older woman, or is at least portraying herself in that way. The poet is suffering because of the many passing months and days. GSS 966 has similar imagery.

The reason why the mountain is suffering because of the passing moon and sun is not entirely clear, but this may be based on KKS 878:
::わが心なぐさめかねつ更科やをばすて山にてる月を見て
::I cannot calm my heart, looking at the moon shining on Obasute Mountain in Sarashina.
KKS 877 says that the mountain ridge, like the poet himself, is suffering waiting for the moon's appearance -- this may also be connected.

== 543 ==

返し

Response

月日をも　かぞへける<ruby>かな<rt>哉</rt></ruby>　君こふる　かずをもしらぬ　わが身はなに<ruby>なり<rt>也</rt></ruby>

 tukihi wo mo                        You are able to
 kazohe-keru kana                    Count the passing months and days?
 kimi kohuru                         What am I, then,
 kazu wo mo sira-nu                  Who cannot possibly count
 waga mi ha nani nari                The longing I have for you?

;nani nari
:Some manuscripts, and medieval printed editions, read ''nari keri'' instead, making the second half of the poem "I am one who..." rather than a question.

--

The man's response contrasts the limit of the days and months they'll be apart with the boundless longing the man has for the woman. Kifune sees 542-543 an extension of 540-541.

== 544 ==

女に年を<ruby>経<rt>へ</rt></ruby>て心ざしあるよしをのたうびわたりけり。女、「猶<ruby>今年<rt>ことし</rt></ruby>をだに<ruby>待<rt>ま</rt></ruby>ちくらせ」とたのめけるを、その年もくれて、あくる春までいとつれなく侍<ruby>り<rt>・</rt></ruby>ければ

A man had loved a woman and over the years told her many times of his feelings. She said "In any case wait just until next year," raising his hopes, but the year ended, and the next spring she was very cold to him, so he sent this.

このめはる　<ruby>はる<rt>／＼</rt></ruby>の山田を　打<ruby>ち<rt>・</rt></ruby>返し　思<ruby>ひ<rt>・</rt></ruby>やみにし　人ぞこひしき

 konome haru                  Pulling forth the buds
 haru no yamada wo            The mountain field in the spring
 uti-kahesi                   Plowing again, again
 omohi-yami-ni-si             One I stopped longing for
 hito zo kohisiki             I now long for yet again.

;konome haru
:This is a pivot construction meaning "buds growing" and "spring mountain field," and thus ''konome haru'' is a pillow word for "spring."

;uti-kahesi
:The first two lines are a preface for the third line, which suggests plowing the field but also means "again and again."

--

Teika notes in the base text that this poem is found in the Spring 2 volume. It does not occur there in his text, but a number of non-Teika texts contain the poem. Teika may have copied this note from another text without checking it.

Nakayama thought the 4th line did not fit the preface, since there's nothing in the preface to suggest he stopped thinking about her. Kifune treats this as a traditional farmer song that had a preface attached to it later. For the poem to make sense, we need to imagine that the man has told the woman his feelings many times, been rejected, and given up. But finally she told him to wait until the spring, and he pinned his hopes on that, only to have them dashed again. So the poem uses the spring imagery to lead into his lament over being spurned again.

The poem appears again in the ''Shuishu'', poem 812, with no preface. The first line is ''adusayumi'' (catalpa bow), a different pillow word for "spring." The second line reads ''arata'' (rough, unplowed field) instead of ''yamada.'' The poem in the ''Kokin waka rokujo'' also reads ''arata'' but the first line is the same as the GSS. These alternate transmissions may support the idea that it was a traditional song that later had a preface attached to it.

== 545 ==

心ざし有<ruby>り<rt>・</rt></ruby>ながらえ<ruby>逢<rt>あ</rt></ruby>はず侍<ruby>り<rt>・</rt></ruby>ける女のもとにつかはしける

He sent this to a woman that he had feelings for but had never managed to meet.

贈大政大臣

Posthumous Chancellor [Fujiwara no Tokihira]

ころをへて　あひ見ぬ時は　白玉の　涙も春は　色まさりけり

 koro wo he-te                   In the time now passed
 ahi-mi-nu toki ha               When I have not seen you     
 siratama no                     The white-jewelled tears
 namida mo haru ha               They too, now that spring has come
 iro masari-keri                 Have grown deeper in color.

;haru
:Some manuscripts of the ''Ise Collection'' read ''aki'' (autumn) instead. See the next note.

;iro masari-keri
:The image is presumably of "tears of blood", a common image in love poetry. Most of the non-Teika texts, and the ''Ise Collection'', read ''iro kahari-keri'' (have changed color) instead. Kifune also emends the text. With the "autumn" reading (see above) this makes the poem about autumn leaves. Otherwise it seems to mean that in spring the color of the white tears changes into the red blood. However, the ''masari-keri'' reading recalls spring poems like KKS 24 that use the term to refer to the green plants deepening in shade. Nakayama has an interesting sidenote here where he condemns the idea of assuming a copying mistake too quickly in cases like this, rather than analyzing the poem as read. This is in opposition to nativist scholars like Norinaga and Fujii Takanao, who freely emended texts whenever they saw error based on their understanding of grammar.

--

This is a spring love poem, although one with unusual imagery. Usually the "tears of blood" are used alongside autumn leaves, which may account for some of the textual issues in the poem. The anonymous KKS 599 has a similar idea, though unconnected to any particular season:
::白玉と見えし涙も年ふれば唐紅にうつろひにけり
::The tears I saw as white jewels, as the years have passed, have now changed to scarlet red.

Nakayama's reading of the poem is that everything is changed and renewed in spring, and his tears are changed as well -- into tears of blood.

== 546 ==

返し

Response

伊勢

Ise

人こふる　涙は春ぞ　ぬるみける　たえぬおもひの　わかすなるべし

In spring, the tears (2) / of longing for you (1) / seem to have warmed. / By the endless love's flame / they must have been boiled.

;おもひ
:This carries the usual pun on 火.

--

Ise's response is supportive, saying that she longs for Tokihira as well. The spring image seems to be that of frozen tears during the winter now being thawed by spring, or rather, by the heat of her desire. Another possible image is the water that is released in streams when the ice melts, a common early spring image. Nakayama felt the two poems fit together well, while Kudo did not -- he noted that in the ''Ise Collection,'' this poem is not a response to 545. 

This is one of a number of exchanges found in the GSS between Tokihira and Ise -- 7 total according to Kifune, although Kifune thinks that many of them may be posthumous poem-tale like constructions, or combinations of originally unrelated poems.

== 547 ==

<ruby>男<rt>をとこ</rt></ruby>の、こ<ruby>こ<rt>ヽ</rt></ruby>かしこに<ruby>通<rt>かよ</rt></ruby>ひ、すむ所<ruby>多<rt>おほ</rt></ruby>くて、<ruby>常<rt>つね</rt></ruby>にしも<ruby>問<rt>と</rt></ruby>はざりければ、女もまた色<ruby>好<rt>ごの</rt></ruby>みなる名たちけるを、<ruby>恨<rt>うら</rt></ruby>み侍<ruby>り<rt>・</rt></ruby>ける返<ruby>り<rt>・</rt></ruby>事に

A man was going here and there, spending his time at many places, and he never visited; the woman too got a reputation for romantic affairs, and she wrote this response to his anger

源たのむがむすめ

Minamoto no Tanomu's Daughter

つらし<ruby>とも<rt>鞆</rt></ruby>　いかが怨<ruby>み<rt>・</rt></ruby>む　<ruby>郭公<rt>（ほととぎす）</rt></ruby>　わがやどちかく　なく声はせで

Even if you suffer / why are you so angry? / The cuckoo / near my garden / does not cry.

--

This poem uses the cuckoo as a symbol for the man who does not visit. If he isn't going to come around, then why should he care whether she's spending her time with other men?

The imagery is based on KKS 147:
::郭公ながなくさとのあまたあれば猶うとまれぬ思ふものから
::Cuckoo, there are many villages that you cry at, and so I am upset, and yet...

== 548 ==

返し

Response

あつよしのみこ

Prince Atsuyoshi

里ごとに　鳴<ruby>き<rt>・</rt></ruby>こそ渡れ　<ruby>郭公<rt>（ほととぎす）</rt></ruby>　すみか定<ruby>め<rt>・</rt></ruby>ぬ　君たづぬとて

In each village / it cries here and there / the cuckoo / searching for you (5) / who has no fixed abode (4).

--

Atsuyoshi's response builds on the same KKS poem as the previous one. He turns back the complaint on her, saying that he has to go around to so many places looking for her. This could literally mean that she goes out with men in carriages or to their residences, but given the customs of the Heian period, it may be that the idea of the woman visiting men is just a poetic conceit from the cuckoo image.

== 549 ==

<ruby>得<rt>え</rt></ruby>がたかるべき女を思<ruby>ひ<rt>・</rt></ruby>かけてつかはしける

He had feelings for a woman who would be difficult to obtain, and sent this.

春道のつらき

Harumichi no Tsuraki

かずならぬ　み山がくれの　郭公　人しれぬねを　なきつ<ruby>つ<rt>ヽ</rt></ruby>ぞふる

My self, who does not count / the cuckoo (3) / hidden in the mountains (2) / spends its time crying (5) / a sound no one knows (4).

;得がたかるべき女
:From the first line of the poem, this is presumably someone who is too high ranking for the poet.

;かずならぬみ
:The み here is 身, but is a pivot word for み山 (an honorific).

--

The poet casts himself as a cuckoo, making a lonely cry in the deep mountains where no one can here -- in the same way, he cries thinking about his lover who doesn't notice him. The cuckoo imagery connects to the previous poem.

== 550 ==

いと<ruby>忍<rt>しの</rt></ruby>びたる女に<ruby>逢<rt>あ</rt></ruby>ひかたらひてのち、人<ruby>目<rt>め</rt></ruby>につつみて、又あひがたく侍<ruby>り<rt>・</rt></ruby>ければ

After seeing a woman that he was seeing very secretly, they became wary of people's eyes, and it became hard for them to meet.

これた<ruby>だ<rt>ヽ</rt></ruby>のみこ　(是忠光孝第一　一品式部卿延喜廿年出家)

Prince Koretada ([written as] 是忠, the first son of Emperor Koko. First Rank, His Highness of Ceremonial. Took holy orders in Engi 20 [920].)

逢<ruby>ふ<rt>・</rt></ruby>事の　かた糸ぞとは　しりながら　玉のを<ruby>ばかり<rt>許</rt></ruby>　何によりけん

Our meeting / is difficult like a thread / I knew, and yet / merely a jewelled string / what can it twist around?

;かた糸
:This is a pivot on かたし (difficult to meet) and かた糸, a piece of thread not yet twined.

;玉のを
:This is a symbol of something short, but also an ''engo'' with かた糸. 

;何によりけん
:"What was it for?" and also "What does it twist around?" Another ''engo''.

--

This poem uses thread wordplay, with the underlying meaning that he should never have started meeting -- of what value was their short time together? It just makes him hurt more than he did before they met.

== 551 ==

女のもとより忘<ruby>れ<rt>・</rt></ruby>草に<ruby>文<rt>ふみ</rt></ruby>をつけて<ruby>お<rt>を</rt></ruby>こせて侍<ruby>り<rt>・</rt></ruby>ければ

He received a letter from a woman with a day lily attached

よみ人しらず

Poet unknown

思<ruby>ふ<rt>・</rt></ruby>とは　いふ物からに　ともすれば　わする<ruby>る<rt>ヽ</rt></ruby>草の　花にやはあらぬ

"I think of you" / or so you say / but perhaps / is this not a flower (5) / that makes you forget? (4)

;忘れ草
:In Chinese tradition this plant was supposed to make you forget your sorrows; in Japanese poetry it is almost always associated with love sorrows. Focusing on the flower is unusual.

;思ふとは
:Presumably in the letter to him.

--

This exchange drops us in the middle of a situation -- the reader is invited to wonder why she sent this flower, although some hints are given in the following response. The opening line hints at what was in the letter. The sentiment of the poem is a typical one for love poetry: you say you love me but actually you've found someone else.

== 552 ==

返し

Response

たいふのごといふ人

A person called "Taifu no go"

う<ruby>ゑ<rt>へ</rt></ruby>て見る　我はわすれで　あだびとに　まづわすらるる　花にぞ有<ruby>り<rt>・</rt></ruby>ける

I was not forgotten (2) / who planted and looked (1) / This is a flower (5) / that made me be forgotten (4) / by the faithless person (3).

;たいふのご
:The ご, or 御, is an honorific appellation for a gentlewoman. It's unclear whether this is the same 大輔 that wrote other GSS poems. Given the unusual attribution it's perhaps more accurate to take this as a poem-tale with invented characters.

--

The response perhaps hints more at what might have been in her original letter. The thrust of the poem is that she tried to plant the flowers to forget her love woes, but all it did was make the man forget her instead.

== 553 ==

平定文がもとより<ruby>難波<rt>なには</rt></ruby>の方へなむまかるといひ<ruby>送<rt>おく</rt></ruby>りて侍<ruby>り<rt>・</rt></ruby>ければ

She got a message from Taira no Sadafun saying that he was going to Naniwa.

土佐

Tosa

浦わかず　見るめかるてふ　あまの身は　何かなにはの　方へしもゆく

In every bay (without discrimination) / said to harvest seaweed / the saltworker / For what reason / do they go specially to Naniwa?

;浦わかず
:Some variant texts read 浦ちかみ ("because the bay is close") instead; in this case the "bay" would be Tosa herself.

;見るめ
:The usual pun on "seaweed" and "meetings".

--

The metaphoric meaning of this poem is: "You have women all over the place, why do you need to go specifically to Naniwa?" The suggestion is that she's abandoning her to visit a lover at Naniwa.

== 554 ==

返し

Response

定文

Sadafun

君を思<ruby>ふ<rt>・</rt></ruby>　ふかさくらべに　つのくにの　ほり江見にゆく　我にやはあらぬ

To compare the depths (2) / of my love for you (1) / To see Horie (4) / in Tsu Province (3) / am I not going?

--

Sadafun's response, which Kifune labels as a rather lame excuse, says that he's visiting the deep Hori Bay to compare the depths of his love for her. SIS 883 has similar imagery:
::津の国の堀江の深く思ふとも我は難波のなにとだに見ず
::My love for you is like the depths of Horie in Naniwa, but you seem not to think of me at all.

== 555 ==

つらくなりにける人につかはしける

Sent to a person who had become cold to her.

伊勢

Ise

いかでかく　心ひとつを　ふたしへに　うくもつらくも　なして見すらん

How can it be / that my single heart / split in two / showing both (5) / regret for my condition and hatred of you (4).

*いかで] いかに (中・堀・承・正義), いかが (荒)
*見すらん] みるらん (中・承)

;心ひとつを
:This is the woman's heart (新体系, 新注, 全釈). 
;ふたしへに
:二重. Both うく and つらく (季吟). You were warm to me but now are cold, うく and つらく are the same (真淵). This is wrong, the two parts are the man's 浮気 and her being upset. ふたしへ here means "various" (新抄). 
;うく
:Related to 浮気 but also 憂し (新抄). 

--

The main idea of this poem is the opposition of ひとつ and ふたしへ. But Masaakira says one flaw of the poem is that うく and つらく are not opposites. This poem is somewhat difficult to understand (新抄). This is the lament of a solitary, hopeless woman. The poem is not simply wordplay, but this kind of "logical" connection of words is how they expressed sorrow at the time. Perhaps this was written when her relationship with Nakahira was breaking down (全釈).

As the note above indicates, there is some question as to whose "heart" is being discussed. The translation above takes the modern opinion of Kudo and Katagiri. Kifune does take the "heart" as Ise's, but he interprets the next part as the man, making a contrast between Ise's single heart and the man making her feel sorry for herself and resentment for him.

Other sources:
* 伊勢集２０９
* 古今和歌六帖２１１８・うらみ (2nd and 4th lines are switched).

== 556 ==

題しらず

Circumstance unknown

よみ人も

Also the poet

* よみ人も] よみ人しらず (行)

ともすれば　玉にくらべし　ますか<ruby>が<rt>ゝ</rt></ruby>み　ひとのたからと　見るぞ悲<ruby>し<rt>・</rt></ruby>き

At times / I compared to a jewel / the mirror, / it is sad to see it (5) / as someone else's treasure. (4)

--

This poem appears to be written by a man who is not pleased to see a woman he treasured become someone else's lover. However, commentaries from the 奥儀抄 to Nakayama's 新釈 have questioned the purpose of the "mirror" imagery and assumed that there mus be some context for it. Kudo compares SIS 915, where a woman returns a (gifted) mirror to a man after he has taken up with another woman. GSS 805 also mentions returning a mirror to a lover. That context would also make sense for this poem.

Other sources:
*奥儀抄　和歌色葉

== 557 ==

しのびたる人につかはしける

Sent to someone they was secretly seeing

いはせ山　谷のした水　うちしのび　人の見ぬまは　流<ruby>れ<rt>・</rt></ruby>てぞふる

Iwase Mountain / the water flowing under in the valley / is hidden / while no one can see it / it continues to flow.

* いはせ山] いはせ河 (行)
* 人の見ぬまは] 人の見ぬまに (雲)

;いはせ山
:A mountain in Yamato province. There may be a play on 言はで or 言はず.

;した水
:This is water flowing where it can't be seen, like underneath overgrowth or rocks.

;流れて
:This plays on 泣かれて.

--

The hidden meaning of this poem is that the flowing tears of the poet are done in private, because of their hidden love affair. Nakayama praised the poem as having deep pathos. Kifune also praised it highly, noting the evocative scenery, the skilled used of wordplay and 縁語, and the directness and honesty of the feeling. It was used as a 本歌 by a number of later poets.

Other sources:
* 古今和歌六帖１４６０. Fourth line 人も見ぬまに. 
* 伊勢集１５０, with GSS 1217 as the response. Also appears as poem 410 with variants: 4th line 人のこぬまは, 5th line 流れてぞゆく.
* 五代歌枕　歌枕名寄

== 558 ==

人を<ruby>逢<rt>あ</rt></ruby>ひしりてのち、<ruby>久<rt>ひさ</rt></ruby>しう<ruby>消息<rt>せうそこ</rt></ruby>もつかはざりければ

After meeting a person, they did not send letters for a long while.

うれしげに　君がたのめし　事のは<ruby>は<rt>ゝ</rt></ruby>　かたみにくめる　水にぞ有<ruby>り<rt>・</rt></ruby>ける

Showing joy / the words (3) / that you promised me (2) / are nothing more than water (5) / in a woven basket (4).

* くめる]　くみし（白）

--

This would seem to be a poem by a woman to a man who has stopped sending letters. Although かたみ is used in some poetry for wordplay, here it seems to be the literal meaning -- all his promises have disappeared, like trying to put water in a basket.

== 559 ==

題しらず

Circumstance unknown

ゆきやらぬ　夢地にまどふ　たもとには　あまつそらなき　つゆぞ<ruby>お<rt>を</rt></ruby>きける

Not able to reach you / lost in the dream road / on my sleeves / lays the dew (5) / not of the broad sky (4).

* まどふ] まよふ (慶・新イ), かよふ (荒・片$)
* そらなき] そらなる (堀・慶・白・雲・荒・片$・新イ)
* つゆぞをきける] つゆやおくらん (慶・ハイ・新イ)

;夢地
:This is Teika's common spelling for 夢路, the "road of dreams" that proverbially could lead a dreamer to meet their lover.

;つゆ
:i.e. tears.

--

Dew was thought to descend from the sky, so the tears that the dreamer awakes with are not the sky dew. The variant reading of なる means "lays the dew of the broad sky" -- this would still refer to the tears; either they come from the sky of the dream, or the poet is strengthening the comparison of the tears to the dew. 

The poem in ''Ise monogatari'' section 54 is very close to this one (particularly close to the variant text readings). It is read by a man to a woman who has become cold:
::行きやらぬ夢地をたのむたもとにはあまつそらなるつゆやをくらん
::Not able to reach you on the dream road I relied on, on my sleeves lays the dew of the broad sky.

KKS 574 by Tsurayuki is also similar:
::夢路にも露やをくらん夜もすがら通へる袖のひちてかはかぬ
::Dew seems to fall even on the dream road. All through the night I travel it, and my sleeves are sodden, unable to dry.

== 560 ==

身<ruby>は<rt>ゝ</rt></ruby>はやく　ならの宮こと　成<ruby>り<rt>・</rt></ruby>にしを　こひしきことの　まだもふりぬか

My body has already / the Nara Capital / become, but / my longing / has not yet grown old.

* ならの宮こと] ならのみやこに (堀$・荒・片$)
* ふりぬか] やまぬか (荒・片$), ふりぬる (堀$・雲・承・ハ$・正)

;ならの宮こ
:Often used in poetry with 古る (grow old). It was the image of a deserted, forgotten capital, here used as a symbol for the forgotten poet.

;まだもふりぬか
:まだ could also be また (again), and with the variant reading of ぬる this could mean "My longing has grown yet again", perhaps at the new year (this is Kigin's reading).

--

The meaning of the poem is fairly clear; why the woman calls on the Nara Capital is not clear, and it may be no more than a poetic metaphor with no connection to the situation.

Other sources:
* 拾遺和歌集８６１. 2nd line ならの宮こに, last line ふりせざるらん.
* 五代歌枕　歌枕名寄

== 561 ==

住吉の　岸の白浪　よる<ruby>よる<rt>／＼</rt></ruby>は　あまのよそめに　見るぞ悲<ruby>し<rt>・</rt></ruby>き

At Sumiyoshi / shore the white waves / approach, night after night / it is sad that the fisher is looking askance. (4/5)

* よるよるは] おりおりは (荒・片・堀*・雲・白・慶・新イ)
* 悲しき] わびしき　(荒・片・堀イ・雲・白・慶・新イ)

;住吉
:This probably plays on 住みよし (living comfortably together). 

;よる
:The first two lines are a preface for よるよる (every night), because of 寄る (approaching waves).

;あまのよそめに
:Kifune interprets this as the poet, looking at the man visiting other women as if unrelated (よそめ) to her. Nakayama reads this as the poet unable to show her love for a man (perhaps because, as Katagiri thinks, they work in the same place but have to hide their love). 

--

As the comments above indicate, there are various interpretations for the actual words, although everyone seems to agree on the general situation -- probably a woman in palace service who is seeing one of the higher ranking men. He cannot afford to show his love for her in public, so they both have to pretend that they have no relation. 

Other sources:
* 五代歌枕　歌枕名寄

== 562 ==

君こふと　ぬれにし袖の　かはかぬは　思ひの<ruby>外<rt>(ほか)</rt></ruby>に　あればなりけり

Due to longing for you / my sodden sleeves / do not dry because / the flame of your thoughts / is elsewhere, I see.

;思ひ
:This has the usual play on 火 (fire).

--

This is a direct poem with a clear meaning. Poem 974 has a similar idea.

== 563 ==

あはざりし　時いかなりし　物とてか　た<ruby>だ<rt>ゝ</rt></ruby>いまのまも　見ねばこひしき

When we had not met / how was that time? (2/3) / but the moment now / I long for you because I can't see you.

--

The second and third lines here are somewhat ambiguous, but the most reasonable interpretation (using the two past tense markers) is "I can't even remember how bad it was before we met, because it's so much worse now." This is perhaps a "next morning" (後朝) poem from a man to a woman.

== 564 ==

世中に　しのぶるこひの　わびしきは　あひての<ruby>の<rt>ゝ</rt></ruby>ちの　あはぬなりけり

What is hard (3) / about hiding our love (2) / from the world (1) / is that after we have met / we cannot meet.

;世中にしのぶる
:Because 世中 can mean a relationship, or the wider world, this has multiple interpretations -- either "having to hide our love from the world" or "longing for you", or perhaps both meanings.

--

This is the same idea as the previous poem and may also be a "next morning" poem. The first two lines are somewhat ambiguous but the idea seems to be that not only do they need to hide their love, but they have to be so careful that they can't even meet.

== 565 ==

恋をのみ　常にするがの　山なれば　ふじのねにのみ　なかぬ日はなし

Only longing / I always do, Suruga / Mountain, therefore / Mount Fuji, only tears / do I cry every day.

* ふじのねに] ふじのねを (雲・慶・新イ)

;するがのやま
:This creates a play on 常にする and 駿河の山, in modern day Shizuoka.

;ふじのねにのみ
:This plays on 富士の嶺 (peak) and 音を泣く.

--

This poem has an interesting construction, with two XのみY phrases sandwiching a string of place names used for wordplays. It is perhaps based on the anonymous KKS 534:
::人しれぬ思ひをつねにするがなる富士の山こそわが身なりけれ
::I always have a longing others do not know, but Mount Fuji in suruga is my body.
This poem more explicitly uses the 火 of 思ひ to connect to the volcanic Mount Fuji, whereas the GSS poem breaks after the third line more clearly.

Other sources:

* 五代歌枕　歌枕名寄

== 566 ==

君により　わが身ぞつらき　玉だれの　見ずは恋しと　おもはましやは

Due to you / my self is suffering / (Jewel hanging / screen) If I had not seen you / would I long for you so much?

;玉だれの見ず
:玉だれの seems to be used here as a pillow word for 見ず due to the homophonous 御簾, although there is some question as to the propriety of this. In the MYS it is used for 小簾 because of the homophonous 玉だれの緒. At some point this seems to have become confused with <ruby>御簾<rt>おす</rt></ruby> and then <ruby>御簾<rt>みす</rt></ruby>.

--

This is somewhat similar to poem 563 above, although this poem has a stronger note of blame. KKS 679 by Tsurayuki has the same final lines:
::磯の神ふるの中道なかなかに見ずは恋しと思はましやは
::(The middle road in Furu, Iso no Kami) if I had not seen you so halfheartedly, would I long for you so much?

Kifune suggests reading all the anonymous poems from 560-567 as a single poem tale.

Other sources:
* 古今注（古今秘注承８７４）
* 素性集（歌仙家集本)

== 567 ==

(65v) <ruby>男<rt>をとこ</rt></ruby>の<ruby>始<rt>はじ</rt></ruby>めて女のもとにまかりて、あしたに雨の<ruby>降<rt>ふ</rt></ruby>るに<ruby>帰<rt>かへ</rt></ruby>りてつかはしける

A man visited a woman for the first time, and then the next morning he returned through falling rain and sent this.

今ぞしる　あかぬ別<ruby>れ<rt>・</rt></ruby>の　暁は　君をこひぢに　ぬる<ruby>る<rt>ゝ</rt></ruby>物とは

Now I know. / The dawn (3) / of an unfulfilled parting (2) / the road is drenched with (5) / mud, longing for you (4).

* 暁は] 暁に（胡）
* 物とは] 物かは（標イ）

;君をこひぢ
:This is a pivot for 君をこひ (longing/loving you) and ひぢ (mud/dirt), as an associated word with the rain.

--

This is a typical "next morning" poem, where the man bemoans the fact that he has to part from the woman, and returns home in tears. Here the falling rain is used as a symbol for the tears, with the mud on the road an image of how difficult it is for him to return.

Mitsune-shu 28 is similar:
::さみだれにみだれそめにしわれなればひとをこひぢにぬれぬべらなり

Teika used this poem as a base for ''Shui guso'' 377:
::今ぞしるあかぬ別の涙川身をなげはつる恋の淵とも
::Now I know. The river of tears of an unfulfilled parting is a deep pool of longing into which I throw my body.

Other sources:
* 深養父集５２

== 568 ==

返し

Response

よそにふる　雨とこそきけ　おぼつかな　何をか人の　こひ地といふらん

I hear the rain (2) / fall elsewhere. (1) / I don't understand. / Why do you talk of the road of longing for someone? (4/5)

--

The woman's response is typical for these exchanges; she suggests that his crying is for someone else. She may also be suggesting that his "road of longing" is actually leading him to another woman.

== 569 ==

つらかりける<ruby>男<rt>をとこ</rt></ruby>に

To a man who had grown cold

たへはつる　物とはみつ<ruby>つ<rt>ゝ</rt></ruby>　さ<ruby>さ<rt>ゝ</rt></ruby>がにの　いとをたのめる　心ぼそさよ

It has broken / I see, and yet / the loneliness (5) / of the spider's (3) / thread I rely on! (4) / 

* 心ぼそさよ] 心ぼそさに（堀$・聞）

;ささがに
:This word began as a pillow word for "spider", but came to mean the spider itself. There seems to have been a belief that seeing a spider's thread on your clothing would foretell a visit by your lover.

--

The (woman) poet uses the image of a slender spider's thread to symbolize her vain hope that their relationship, already broken off, will continue. At the same time she realizes the pathetic scene she makes, relying on such a thin hope.

== 570 ==

返し

Response

うちわたし　長き心は　やつはしの　くもでに思<ruby>ふ<rt>・</rt></ruby>　事はたえせじ

Forever \ my long heart \ (like) the Yatsuhashi \ spider-leg, what I think \ will never end.

* たえせじ] たえせず（荒）

;うちわたし
:This means both "forever" and suggests a bridge crossing over water.

;やつはしのくもで
:This is probably the Yatsuhashi in modern-day Aichi ken that is most famous from ''Tales of Ise'' 9. くもで is also used in ''Ise 9'' but the exact meaning is uncertain; it either refers to the river branching out in 8 directions like a spider's leg, or has something to do with the way the beams are laid on the bridge. The ''Ogisho'' gives both options, and Kensho gives a longer treatment in the ''Shuchusho''. In any case, the primary purpose of くもで is to connect to the previous poem's imagery.

;思ふ
:This would seem to refer to the thoughts towards the woman.

--

The man's response takes the spider imagery in the first poem and recasts it to express the certainty and length of his love rather than her unease. 

* 奥儀抄　袖中抄　和歌色葉　色葉和歌難集　五代歌枕　歌枕名寄　歌林良材　和歌初学抄　伊勢物注（９段）

== 571 ==

思ふ人侍<ruby>り<rt>・</rt></ruby>ける女に、物のたうびけれど、つれなかりければ、つかはしける

He had contact with a woman who was thinking about someone, but then she was cold to him, so he sent this

思ふ人　おもはぬ人の　思ふ人　おもはざら<ruby>なん<rt>南</rt></ruby>　思ひしるべく

The one who thinks of you \ who you do not think of \ the person that you think of \ I wish you did not think of \ I would have you know. 

* 思ひしるべく] 我がなげきとに（雲・堀(おもいづるべくイ)）

;思ふ人侍りける女
:That is, a woman who was in love with another man.

--

This is a haikai-style poem whose poetic effect comes primarily from the repetition of 思ふ; this also makes the poem difficult to interpret, and the prose preface may also be intentionally playful as well. The translation I gave is based on Katagiri's reading and seems to be echoed by some other commentaries, although even some of the commentaries' translations and interpretations get tangled up.

== 572 ==

返し

Response

こがらしの　もりのした草　風はやみ　人のなげ木は　おひそひにけり

On the underbrush (2) / of the withered forest (1) / the wind blows swiftly, and so / the person's regret / grows in addition, I see.

* おひそひ] おもひし（雲）、おひしげり（堀）、おひこり（荒・片$・慶・新イ）

;こがらしのもり
:This may be a place name in Suruga, but it could also just be a common noun of a withered, dying forest.

;なげ木
:This plays on 嘆き (lament).

;おひ
:This plays on 負ひ (bearing the laments) and 生ふ (trees growing).

--

This poem uses forest imagery to suggest that the man is seeing another woman. The "swift wind" seems to be a metaphor for a changeable heart. Kudo and Katagiri both comment that this poem does not really seem like a response to the previous one. Katagiri's reading is that another man has already left her, and so the "addition" in the last line is this man leaving her too. The "addition" does not necessarily need to have such an explicit reference, however.

== 573 ==

<ruby>男<rt>をとこ</rt></ruby>の、こと女むかふるを見て、<ruby>親<rt>おや</rt></ruby>の家にまかりかへるとて

She saw a man go to another woman's house, and as she was preparing to return to her parents' house

別<ruby>れ<rt>・</rt></ruby>をば　悲<ruby>し<rt>・</rt></ruby>き物と　聞<ruby>き<rt>・</rt></ruby>しかど　うしろやすくも　おもほゆる<ruby>かな<rt>哉</rt></ruby>

Partings \ are sad things \ or so I hear, but \ quite calmly \ do I think of this.

* うしろやすく] うらみやすく（堀(こころやすくイ)）

--

The prose preface context is a bit unclear, but it seems that this woman was living with a man who is now separating from her and going to live with another woman. As she returns to her parents' house she writes this poem. Exactly why she is calm is also up for debate. One reading is that she genuinely cares for the man and is happy to see that he will be cared for by this other woman. Another possibility is a bitter statement that she no longer cares for the man enough to even feel resentment or anger.

== 574 ==

題しらず

Circumstance unknown

なきたむる　た<ruby>もと<rt>本</rt></ruby>こほれる　けさ見れば　心とけても　君をおもはず

Collecting tears \ the sleeve has frozen \ when I see that this morning \ the heart has not opened \ I do not think of you.

* 見れば] なれば（堀イ・荒・片・新イ）

--

The meaning of the poem is somewhat difficult to untangle. There's an obvious poetic contrast between the こほれる of the tears and the とく of the heart, but the situation and who each part applies to is a matter of debate. Kifune interprets this as a "next morning" poem where the man sees the woman's frozen tears on her sleeve and assumes she hasn't opened her heart to him. Other commentators generally take the sleeve as the (woman) poet's own. This leads to two possible interpretations: "I thought I loved you but seeing all these frozen tears I'm not sure I do", or "Seeing these frozen tears I think you didn't open your heart to me." This also may not be a "next morning" poem but a poem written to an absent lover.

== 575 ==

身をわけて　あらまほしくぞ　おもほゆる　人はくるしと　いひけるものを

Splitting my body / I wish I could be that way / it makes me think, / because you said it was hard. (4/5)

;ものを
:Different commentators interpret this as "therefore" or "even though" depending on their overall reading of the poem.

* あらまほしくぞ] あらまほしくて（堀）
* おもほゆる] おもひつる（堀）

--

As the translation above may suggest, this is a vague poem that is hard to interpret without a prose context. Commentators have taken rather different views on the meaning. Early commentators such as Kigin and Tameie seem to take this to mean that the poet loves two people, and wants to split her(?) body in two to meet both of them. In this case the くるし refers to the feeling of the poet. Nakayama quotes this but then introduces another idea; this is a "next morning" poem. Because the woman has said the parting is くるし, he wants to split his body in two and stay with her. This is also the position taken by Kifune, but Katagari reads this as "You said you could not come, so I wish I could split my body and go visit you instead."

There may be a connection to KKS 373, where the poet says that since she cannot split her body, her soul will go after the traveling man instead.

== 576 ==

雲井にて　人をこひしと　思ふかな　我は葦べの　たづならなくに

In the clouds / Longing for you / do I feel. / Though I am not a crane (5) / in the reeds (4).

;雲井にて
:Kifune and Katagiri both note that "in the clouds" does not fit with the 葦べのたづ later. Kifune emends the text to 雲井なる, and Katagiri translates based on 雲井まで, a reading apparently in alternate texts.

* 雲井にて] 雲井なる（全釈）
* たづ] かり（堀*・雲）
* No poem （荒・片）- this poem may be placed elsewhere in the manuscript, since Katagiri mentions a 雲井まで reading for the first line.

--

Many commentators read the 雲井 as a reference to the high rank of the person. Kifune explains that this is a man who loves a high ranking woman, and this idea is suggested by Nakayama and Kigin (as well as perhaps the ''Seigi''). As the note above indicates, there is a difficulty in matching "in the clouds" with the crane in the reeds. One way to preserve the original text is to read that the poet is in the reeds, just not a bird who can fly out of the reeds to meet his love in the clouds.

Kifune reads 574-576 as a sequence of poems all read by a man.

== 577 ==

ひとにつかはしける

Sent to a person.

源ひとしの朝臣

Lord Minamoto no Hitoshi

* Teika's note: 等　中納言希男　参議右大弁　天暦五年葬

あさ地ふの　をの<ruby>の<rt>ゝ</rt></ruby>しの原　忍<ruby>ぶ<rt>・</rt></ruby>れど　あまりてなどか　人のこひしき

[The sparse cogon grass / field of ''shino'' bamboo] / I try to hide it / but it overflows, why / do I love you this much?

;あさ地ふのをののしの原
:あさ地ふ is Teika's spelling of 浅茅生, a place where 浅茅 (かや, cogon grass) grows. Keichu claimed it was simply a pillow word for the next line. をののしの原 (小野の篠原) might be a place name, but most commentators take it as just a general noun for a field with 篠 (a type of bamboo). The first two lines are a preface for the homophonous 忍ぶ. However, the ''Kansho'' suggests that the first two lines may also express a desolate, sad atmosphere that fits with the poet's feeling.

--

As can be seen from the other sources below, this poem was a favorite of Teika's and was used in the ''Hyakunin isshu''. Although the GSS preface has the poem sent to a woman, it is also along the lines of the type of public love poem that was favored in the KKS era. It seems to be based on KKS 505:
::浅茅生の小野の篠原しのぶとも人しるらめや言ふ人なしに
::[The spare cogon grass field of ''shino'' bamboo] I hide my love, but is there any way she will know if no one tells her? (no)
Comparing the GSS poem with the KKS, Hitoshi's poem is more targeted and less abstract, thus more fitting for a personally addressed poem.

In his ''Hyakunin isshu'' commentary, 経厚 said that the way the feeling was stretched across three lines created surplus-feeling and interesting. Sogi noted the extreme feeling of the poem and recommended savoring the poem deeply. Hisamatsu Sen'ichi also greatly praised the poem, and the ''Kansho'' feels that it improves on the KKS original poem. Finally, Kifune praised the repetition of the "o" syllables as well as the transition between the "hiding" first part and the "overflowing" second part.

Other sources:

* 時代不同歌合
* 百人秀歌　百人一首39 近代秀歌　詠歌大概　六華集　定家八代抄　八代秀歌
* 井蛙抄　五代歌枕　歌枕名寄

== 578 ==

かねもり

Kanemori

* かねもり] 兼覧王（堀・雲・承イ・ハイ・新イ・全釈）- see poem 3 for questions about the authorship. Kifune also emends the text here despite the poem appearing in the Kanemori Collection (and unlike poem 3, this does not have the problematic 王 designation).

雨やまぬ　のきの玉水　かずしらず　恋しき事の　まさるころ<ruby>かな<rt>哉</rt></ruby>

The rain does not stop / the drops from the eaves / I cannot count / this is the time when my love for you exceeds it (4/5)

* ころ] こころ（白）

;雨やまぬのきの玉水
:This is a preface for かずしらず, but Kigin thinks it also expresses the loneliness of gazing out during the long rains, a common poetic trope, although more common in women's poetry. Kifune sees the やまぬ as also applying to the fourth line.

--

Kifune seems to agree with Kigin above, that this is written by a poet gazing out at the water. Nakayama placed the season as the 5th month rains, while Kifune felt it was more appropriate to the autumn showers. Kifune praised the poem as excellently composed. ''Kanemori Collection'' 29 has a similar idea:
::君をおもふかずにしとらばをやみなくふりそふ雨のあらばものかは
::If I were to count the love I have for you, would the never-ceasing rain be enough?

Other sources:
* 新時代不同歌合31
* 源氏物語注・真木柱
* 兼盛集１０４. 2nd line のきの下水
* 袋草子

== 579 ==

心みじかきやうにきこゆる人なりといひければ

"I have heard you are a short-hearted person," they said.

;心みじかき
:"Short-hearted" can mean either that someone is flighty or inconstant, or perhaps that they are quick to judge.

よみ人しらず

Poet unknown

伊勢の海に　はへてもあまる　たくなはの　長き心は　我ぞまされる

Across the Ise sea / even if you draw it out you have some left / a rope / my long heart / exceeds even that.

;伊勢の海
:A bay, east of Kyoto near modern Nagoya. It was proverbial for its size.

;たくなは
:A hand-held rope; here used to lead to 長き.

--

The prose preface is somewhat hard to understand. Norinaga noted the initial problem -- does the きこゆる represent the speaker's evaluation of the poet, or something they have heard others say? Nakayama felt this was a woman's poem after the man accused her of being flighty. Kifune agrees. Katagiri interprets the preface as "You seem to want an immediate answer from me about my feelings."

In contrast to the preface, the poem is fairly straightforward. Whatever 心みじかき means in the preface, the poet inverts it to say that their heart is actually longer than the ropes drawn across the large Ise ocean. With Katagiri's interpretation this means "I will wait forever for an answer," with the other interpretation it's "I am not flighty."

The poem may drawn on KKS 196 by Tadafusa:
::きりぎりすいたくな鳴きそ秋の夜のかがきおもひは我ぞまされる
::Crickets, don't cry so much! My suffering is even longer than the autumn night.

The anonymous KKS 510 uses some of the same imagery:
::いせの海の海人の釣り縄うちはへて苦しとのみや思ひわたらむ
::Like the fisher on the Ise sea throws out the long fishing net, so do my suffering thoughts go out to her.

== 580 ==

人につかはしける

Sent to a person.

* 人につかはしける] しのびてかよひはべりける人のもとに　ただみね (白). This appears at the end of the fragment containing poem 579, and it's possible this is meant to refer to another poem that came between 579 and 580.

色にいで<ruby>て<rt>・</rt></ruby>　恋すてふ名ぞ　たちぬべき　涙にそむる　袖のこければ

In the open it has appeared / such is my love -- that's the reputation / that must result. / Because stained with tears / my sleeves are deeply colored.

* そむる] そめる(堀), ぬるる（片）

;色にいでて
:This expression means to show one's feelings, but the 色 also plays on the idea of "tears of blood" in the second half of the poem.

--

This is a straightforward poem on the "tears of blood" motif; such poems are more commonly composed by men and sent to women.

== 581 ==

* In 慶, 575 follows this poem.
* 白 has the prose preface こころざしふかき人にあはずして

かくこふる　物としりせば　よるはをきて　あくればきゆる　つゆならましを

If I had known it would involve this much longing (1-2) / settling at night and / disappearing in the dawn / I would have been as that dew.

* かくこふる] かくてふる（荒・片）、かくてひむ（白）
* よるは] よはに（中・荒・片・雲・慶・ハイ）
* つゆ] もの（雲*)

;よるはをきて
:This is a play on the dew settling (置く) and the person waking (起く).

--

The third and fourth lines create a common love simile where the poet compares dying to longing for love. This could be applied to the longing after a successful meeting, or longing for someone they haven't met -- in any case the poet thinks it would be better to die than continue like this. The poet could be any gender.

As the sources below indicate, this is a variation of MYS 12.3038, which appears in a group of anonymous poems under the heading 寄物陳思. This refers to poems that express human feelings through similes with the natural world.

Other sources:
* 万葉集 12.3038 (如此将戀 物等知者 夕置而 旦者消流 露有申尾)
* 色葉和難集

== 582 ==

あひも見ず　嘆<ruby>き<rt>・</rt></ruby>もそめず　有<ruby>り<rt>・</rt></ruby>し時　思<ruby>ふ<rt>・</rt></ruby>事こそ　身になかりしか

At the time (3) / I had not met or seen you (1) / and had not started lamenting / in my body (5) / I had nothing to think about (4).

* 思] およぶ（堀）

--

This is a straightforward poem similar to the previous one, contrasting the time before the poet met their lover with afterwards. The intent of the second half is probably that the laments they had for not being able to meet their lover were "nothing" compared to the laments now that they have met. Those laments may be over not being able to see them regularly, or that the lover's heart has changed.

== 583 ==

こひこごと　わりなき物は　なかりけり　かつむつれつ<ruby>つ<rt>ゝ</rt></ruby>　かつぞこひしき

There is nothing (3) / as useless (2) / as love (1). / On the one hand we grow closer / on the other hand I long for you.

* わりなき] はかなき（荒・片・雲）

;わりなき
:This word here may suggest "useless" or "impossible to explain".

;かつ...かつ
:This expresses "On the one hand...on the other hand."

--

This poem succinctly expresses the conflict, similar to the previous poem, of being together with someone but also longing for them. The poet may be playing on the two meanings of 恋 -- longing for someone, and loving them.

KKS 685 by Fukayabu has a similar feel:
::心をぞわりなき物と思ひぬる見るものからや恋しかるべき
::I've come to believe that there is nothing as useless as love. Otherwise why would I long for you after seeing you?

Kifune thinks that the KKS poem seems more public and artificial, whereas the GSS poem sounds more personal.

Other sources:
* 古今和歌六帖 1716・ふたりおり. 4th and 5th lines かつみる人のかつはこひしき

== 584 ==

女のもとにつかはしける

Sent to a woman.

* [no author]　つらゆき（白）

わたつ海に　深き心の　なかりせば　何かは君を　怨<ruby>み<rt>・</rt></ruby>しもせん

A heart as deep (2) / as the wide sea -- (1) / if I did not have that / how could I not feel hate for you? (4-5)

* わたつ海] わたつうみ（雲・承・慶・ハ・新*)
* 怨] わすれ（荒・片・慶・新イ)

;わたつ海に
:It's difficult to tell how this is supposed to be read; perhaps わたつうみ with some of the variant texts, but わたつみ is possible as well (and would fit the meter better). The role of the に here is difficult to explain; most commenters seem to treat it as if it were わたつみの (following the reading in the ''Ise Collection''). This is not a normal use of に, though, and if we want to preserve the base text, Katagiri may provide the only option: interpreting the に as showing a quality or possession (like modern Japanese 自分に価値がある).

;怨み
:There is a wordplay here on 浦見, to connect with the first line as ''engo''.

--

We have to fill in the context ourselves here; the ''Ise Collection'' preface of つらくなりたる人に may help, but it would seem most appropriate if this were a response to another poem. The woman has accused the man of having a shallow heart, and he does the normal poetic practice of turning the criticism back on her -- if his heart were not so full of love for her, he wouldn't hate her inconstant nature.

The anonymous SIS 983 is similar:
::わたつみの深き心はありながら怨みられぬる物にぞありける
::I have a heart as deep as the wide sea, but it has also become a vessel for hate.

Other sources:
* 伊勢集（大成II, III). II prose preface つらくなりたる人に. II first line わたつみの. III poem: わたつみの深き心のかはらずせは何かは人を怨みしもみん

== 585 ==

* (no prose preface)] 返し（堀）

みな神に　いのるかひなく　涙河　うきても人を　よそに見る<ruby>かな<rt>哉</rt></ruby>

Praying to the water god has no effect (1-2) / on the river of tears / floating, the person / I only see from afar.

* 人をよそに] よそに人を（荒・片・新イ）

;みな神
:This is a play on 水上 (surface of the water). Most commenters take the basic word to be 水神; only Katagiri reads as 皆神 instead.

;かいなく
:This may have a play on 貝, creating more water ''engo'' (in addition to 河 and 浮く)

--

As with the previous poem, the context is not entirely clear. Kudo interprets the exchange as occurring at a ritual lustration. Such an event offered rare opportunities for men and women to get close to each other, and would also account for the praying and water imagery. It also seems to have offered a chance for this kind of banter or playful exchange, which may not have always been taken as a serious attempt at a love affair. Katagiri suggests the Kamo Festival, with similar reasons. Kifune reads this as an exchange between a nobleman and a palace serving woman, but that context makes the imagery of the poem less clear.

Other source:
* 五代歌枕（涙河）

== V1 ==

After poem 566, 雲・慶・承 have a variant of KKS 656: うつつにはさもこそあらめ夢にさへ人めをもるとみるがわびしき

= Supplementary Notes =

NB: In every volume title, Teika notes that Fujiwara no Yukinari's text adds 歌 (for instance, in Teika's manuscript the heading for the first volume is 春上, in Yukinari's manuscript it is 春歌上. He also notes at the end of every volume that Yukinari writes "Volume X" (e.g. 巻第一 at the end of volume 1). This would indicate that Yukinari's text was originally twenty separate volumes, or perhaps scrolls.

== 507S ==

Textual notes:

* あいがたく] 又あひがたく (中・貞・堀・雲・荒・承・八・標*・新・評・全), 又も（片）
* あひ見て] いひ見て (堀*)
* わびしかりける] こひしかりける (標イ)

Other sources:

* ''Muneyuki Collection'' 1. (Second line さよの中山)
* ''New Poetry Competition of People from Different Eras'' 57. One of three poems matched against the 12th century poet Minamoto no Yorimasa. (Fifth line こいしかりける)
* ''Utamakura from the Five Collections'' 434. Given as an example of ''Saya no Nakayama''. (Fifth line こいしかりける)

[[#507|Go back]]

== 508S ==

Textual notes:

* 暁と] 暁を (中・堀・雲・片*・ハイ・新イ)

Other sources:

* ''Kokin waka rokujo'' 2800, 宵の間, Tsurayuki. (First two lines あかつきをなにしいひけん)

[[#508|Go back]]

== 509S ==

Textual notes:

* まさしからなん] まさきからせで (堀$)

Other sources:

* ''Rokka wakashu'' 1436
* ''Iroha wananshu'', ''Karin ryozai'', ''Rokka wakashu chu''

[[#509|Go back]]

== 510S ==

Textual notes:

* あひしりて侍りける人] あひしりて侍りける人々 (堀・白・荒・片). This variant may be influenced by the poem's appearance in the ''Eiga monogatari'' (see below).
* ゆふぐれと] ゆふぐれも (堀$)
* まされり] まされる (雲・八・標・新*)

Other sources:

* ''Motoyoshi Collection'' 1. Prose preface: "Emperor Yozei's first son, Prince Motoyoshi, was a great playboy. If he heard about a good woman whether they met or didn't meet, he sent them letters and poems. He sent this to Gen no Myobu." Several more poems follow in an exchange.
* ''Eiga monogatari'' 82 (volume 10). This poem appears as a retrospective, with someone remembering that "one of Emperor Yozei's sons" had sent this poem to several women. The tale gives his "favorite reply" from Hon'in no Jiju. Jiju's poem appears as ''Shin goshui shu'' 1149. This exchange also appears in the ''Kohon setsuwa shu''.

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== 511S ==

Textual notes:

* 藤原かつみ] 藤原さのみ =ツミ, 命婦イ (堀), かみの命婦 (荒・片イ), かつみの命婦 (片). The variations in the name perhaps relate to the situation discussed in the previous notes. 
* かゝる] かかれり (荒・片)
* 白露] 白雪 (承*)
* をくる] かへる (白)
* きえはゝつらむ] きえまさるらむ (中), きえやしつべき (雲・慶・新イ)

Other sources:
* ''Kohon setsuwa shu'' 72

[[#511|Go back]]

== 513S ==

* いね] いな (荒・片・雲・慶・新イ), いに (堀=)
* 事を] 事に (堀*・白・片*・荒)
* かけしかば] みてしかば (堀*・白), みてしより (雲、慶、新イ), みえしかば (荒・片・新イ)
* 思いづるが] 思いいづるに (堀・慶・荒・片・新イ)

[[#513|Go back]]

== 514S ==

* あらぬなりけり] あらぬころかな (堀・雲・慶・荒・片・新イ)

[[#514|Go back]]

== 515S ==

* うたがた人に] うたがたあはに (白＄)

Other sources:
* ''Kokin waka rokujo'' 1728 (''utakata'', Ise) and 2551 ("years passing", Ise)
* ''Ise Collection'' 304 and 456. 304 prose preface: "When she had gone somewhere else without letting him know, he thought she had hidden herself away and read this." 456 prose preface: "A man who she had once known, and who she had not told her location, after some time had passed visited her, and he thought that she had departed the world."
* ''Shunzei 36 person poetry competition'' 12, one of three poems matching Ise against Otomo no Yakamochi.
* ''Poetry competition of people from different ages'' 59.
* ''36 woman poetry competition'' 7. Ise was matched against Kunaikyo.
* ''Teika jittei'', ''Kigosho'', ''Ogisho'', ''Shuchusho'', ''Godai utamakura'', ''Karin ryozai''
* ''Kindai shuka'', ''Eiga no taigai'', ''Sangoki'', ''Kiribioke'', ''Teika hachidaisho'', ''Hachidai shuka''

[[#515|Go back]]

== 516S ==

* 題しらず] ナシ (堀*)
* 三統公忠] よみ人しらず (荒・片*), 三位公忠 (標イ)
* 心はつねに] 心ばかりに (標イ)
* 相坂の関] 相坂の関は (標イ, 新イ)

Other sources:
* ''Kintada Collection'' 24, prose preface "Sent to a woman." This is the collection of Minamoto no Kintada so it may have been included in error, or the attribution in the GSS is incorrect.
* ''Godai utamakura'', ''Utamakura meiyo''

[[#516|Go back]]

== 517S ==

* やみぬばかりか] やみぬばかりぞ (堀・荒)

[[#517|Go back]]

== 518S ==

* わが身にぞ] わが身こそ (八)
* あはぬ] あらぬ (堀*), あかぬ (標イ・新イ)
* かずはもえける] かずもみえける (雲), かずはもえけれ (八・標イ)

[[#518|Go back]]

== 519S ==

* ぬれぬ] くちぬ (標イ・新イ). Nakayama preferred this reading ("my clothes will break down and rot").
* 世々] まま (堀*)

[[#519|Go back]]

== 520S ==

* あふくま] ありくま (堀*)
* わびしき] かなしき (中$, 堀)

Other sources:
* 五代歌枕

[[#520|Go back]]

== 521S ==

* 深き心も] 深き心は (標イ・新イ)

[[#521|Go back]]

== 522S ==

* 松山に] 松山は (ハイ・標イ・新イ), 松山の (中・堀・雲・慶・承・新イ)
* 浪に] 浪の (堀*)
* ぬるるそで] ぬるるころ (堀・雲・慶・荒・片・新イ). Even with this variant, the word ''nururu'' would still suggest tears.

Other sources:
* ''Prince Motoyoshi Collection'' 42. Prose preface: "The Prince heard that a woman he was seeing had seen another man, and wrote this."
* ''Shoku senzai wakashu'' 1549. Attributed to Motoyoshi with the same preface as above. Nakayama noted that this attribution is unlikely because woman are typically the ones who wait in poetry, not men.
* ''Godai utamakura'', ''Utamakura meiki''

[[#522|Go back]]

== 523S ==

* 女の] 女のひとの (高+). This was perhaps added in error; 525 in the Teika manuscript has 人の added, and the 523 and 525 prefaces are almost the same. No edition adds these words here (which would change it into a poem sent by a woman to a man).

[[#523|Go back]]

== 524S ==

* こひぬ] 心 (片*)

[[#524|Go back]]

== 525S ==

* 女の人の] 女の (定*, 雲・烏・承・八), no preface (荒・片). In the base text, the 人の is added in at the side with a red dot to indicate the location, but the addition may be original to Teika and all the other Teika texts contain the phrase. Without 人の, the poem is from a man to a woman. Kigin interpreted this as a woman with many lovers. The lack of a preface in the 荒 and 片 texts would apply the 523 preface to this one, still making it sent to a woman.
* なるらし] なるとも（中）,なるなる（雲）,なるなり(烏), なりけり(新イ). The middle two variants would add the "hearsay" meaning of なり and add an aural dimension to the poem.
* ふちぞ] ふちとぞ (承)

Other sources:
* ''Godai utamakura'', ''Utamakura meiki''

[[#525|Go back]]

== 526S ==

* ふちせとも] ふちもせも (堀・雲・烏・慶・承)

[[#526|Go back]]

== 527S ==

* 世をぞうらむる] In the base text, the そ is written next to the line. All other texts (including Teika's own) contain the そ.

[[#527|Go back]]

== 528S ==

* (よみ人しらず)] 貫之 (貞・堀・雲・烏・荒・片・承・八・標・新). Katagiri records that one manuscript of the ''Tsurayuki Collection'' contains this poem, but that manuscript does not seem to be on either the ''Shimpen kokka taikan'' or the ''Shikashu taisei''.

== 529S ==

* あつよし] あつとし (新イ)
* さよすがら] さよすがた (荒・片*)
* はた] また (標イ・新イ)

Other sources:
* 歌林良材

[[#529|Go back]]