Gosenshu 11

(83v) 後撰和歌集巻第一

恋三

• 恋歌三（行）

700

女につかはしける

Sent to a woman

• 女に] 女のもとに（行・中・堀・雲・坊・八*・標）

三條右大臣

Sanjo Minister of the Right (Fujiwara no Sadakata)

名にしおはゞ　相坂山の　さねかづら　人にしられで　くるよしも哉

If you bear the name of the Kadsura of Osaka Mountain, then I wish for a way to visit my beloved without people knowing.

• おはば] おへば（堀*）
• 人にしられで] 人にしれて（堀）
• もがな] もかなら（堀）

名にしおはゞ

Perhaps borrowed from the famous Ise 9 poem on the 都鳥. There seems to be some difference of opinion on where exactly this connects to; a number of commentators think it is 相坂山 or both that and さねかづら, others think it is only さねかづら. The し is emphasis.

相坂山

As usual this plays on 逢ふ, but here it also leads into the さねかづら growing on the mountain.

さねかづら

A type of evergreen 蔓草. Here it leads into くる (playing on 繰る and 来る). The さね part suggests さ寝 (sleeping together). Keichu interprets the さね as 誠, but it seems that Norinaga disagreed with this. Nakayama adds the idea that the plant is 打ちなびく物 and thus suggests a woman. Kifune also links the plant to woman by saying its sap was used as a kind of hair gel.

しられで

Tameie evidently reads this as しられて and interprets as "if people are going to know anyway, I'd rather it be a pleasant meeting." However, the usual reading is しられで (the poet wants a way to meet without being known). Kigin notes that the さねかずら creeps along without being seen or known when it's going to curl.

--

700-702 have short prose prefaces and are "B"-type poems (poems read after meeting, these are 募る恋 and もゆる恋) （佐藤）

Katagiri believes that a cutting from a かづら was probably sent along with the poem, to make the imagery more evident (this also shows up in the 異見, as well as in Tokuhara). Whether the place name has any relevance to the situation is unknown, but it may be in the poem simply to call forth the wordplay.

Nakayama quotes Keichu and Mabuchi's 百人一首 commentaries in full and also adds additional notes but at the end he seems to think that they have some unnecessary theories or detail.

Mabuchi felt that since men usually visit women, the くる here cannot refer to the woman, but must refer to the man's 帰りくる after the meeting. The 異見 disagrees with this, but also uses the strange interpretation that the woman's name was さね which thus provides the reason for the use of that image. This issue is covered by other commentators as well, with Kifune and other modern commenters suggesting that the くる is the man coming to the woman (from her perspective), but others have the woman visiting the man.

選釈 says this is a 平凡 poem but at the same time has good 音調 and sounds good read aloud.

In the 水無瀬の玉藻, there is a story that Saigyo asked Teika about Shunzei's poetic teachings, and Teika gave this poem as one example of a poem his father recommended as one to learn from.

素性集「音にのみならしの岡のさねかづら人しれずこそくらまほしけれ」 (Also SIS 699, but not as closely related)

Other sources:

• 古今和歌六帖３８８８（さねかづら）
• 三条右大臣集１８. Prose preface 女のもとにつかはしける.
• 新時代不同歌合６２
• 百人秀歌　百人一首　定家八代抄　五代歌枕（相坂山）　歌枕名寄

701

在原元方

Ariwara no Motokata

• 作者ナシ（堀*）

こひしとは　更にといはじ　したひもの　とけむを人は　それとしら南

I shall not say again that I long for you. I want you to know that by the unraveling of your trouser cord.

したひものとけむ

This is based on the idea (which goes back to the MYS) that if someone is longing for you, your trouser cord will come loose. In this case (as Toshiyori indicates in the 俊頼髄脳), it's read out of annoyance that the addressee will not respond or acknowledge the longing of the poet. Takeoka (in 伊勢物語全評釈) voices as したびも on evidence from the MYS, following the 時代別国語大辞典（上代編）.

人

In this case, the woman addressee.

--

This is a simple, direct poem with no significant disagreement as to interpretation.

KKS 507 思ふともこふともあはん物なれやゆふてもたゆくとくる下ひも

Other sources:

• 古今和歌六帖３３４８・ひも
• 元方集（部類名家集切) - per Kifune
• 左兵衛佐定文歌合解題 (One manuscript includes this poem, however it may be that this contest featured previous poems that had not originally been written for the contest)
• 俊頼髄脳
• 伊勢物語111段
• 定家八代抄

702

返し

Response

よみ人しらず

Poet unknown

したびもの　しるしとするも　とけなくに　かたるがごとは　あらずもある哉

The lower cord that serves as a sign has not loosened... It seems that things are not as you explain!

• とけなくに] たのまれず（中*）
• かたる] かかる(かかるィ)（堀）、かかる（雲）
• かことは] かことに（安ィ・正ィ）
• あらずも] こひすも（八）
• ある哉] あらなん（正保ィ・旧国ィ）Nakayama felt this reading did not work, although he supported the Ise reading as sounding good as well.

したびものしるしとする

This seems to be an example of a 準体言 (that is, しるしとする下紐).

とけなくに

「少しも解けないのですが...」（新体系）「解けないのですから、」（全釈）「解けませんのに。」（新注）「解けないのですけど。」（和歌大系）「ここで切れる」（竹岡）

かたるがごとはあらずもある哉

「あなたの気持ちはお話になるほどでもないのですね」（新体系、和歌大系） Katagiri also says that 語る gives a stronger nuance of continuous, detailed talk (as opposed to using 言ふ). Takeoka cites numerous examples to support his reading of the word as meaning "skillfully explain/talk" (although in this case, at least in Ise,

--

See GSS 523.

Other sources:

• 古今和歌六帖３３４９・ひも. 5th line こひずそあるべき
• 伊勢物語１１１段。5th line こひずぞあるべき. The poems occur in the opposite order as the GSS. Sato Komei believes that in this case the Ise drew from the GSS.

703

(84r) 女のいと思はなれていふにつかはしける

Sent to a woman who was being distant.

うつゝにも　はかなき事の　わびしきは　ねなくに夢と　思なりけり

Though real, what is sad about the fleeting thing is that without sleeping, I'm seeing a dream.

女のいと思はなれていふ

「思いが離れているように言う女。そっけない言葉を言う女」（新体系）.

夢

The brief meeting is being symbolized as a dream.

--

Sato treats 703-724 as a block of poems on 逢へざる恋 and 離れゆく恋 themes. He notes the use of わびしきは in both poems 703 and 704, and Tokuhara points out that both poems involve the わびしきは....なりけり structure.

See GSS 598, which is the same except for the third line. Kifune (following Sato) stresses that this is a different poem because it's a man rather than a woman writing, and the circumstance is different.

「我え忘れぬはかなきは、ねぬに見る夢と思えて、現とも覚えずとなり」（八代集抄）

Other sources:

• 古今和歌六帖２０５４・片思

704

宮づかへする女のあひがたく侍けるに

Written when it was difficult to meet a woman in palace service

つらゆき

[Ki no] Tsurayuki

たむけせぬ　別する身の　わびしきは　人めを旅と　思なりけり

What is causing the sorrow in myself who has parted without a travel charm, is that I think of people's eyes as a journey.

• たむけせぬ] たむけする（堀*）、そむけせむ（正*）
• わびしき] かなしき（正*）、わびしさ（慶・新ィ）
• たび] こひ（標ィ・新ィ）

たむけせぬ別

Normally a たむけ would be used on a journey as a prayer for safety, but since this separation is not actually a "journey," no たむけ is used.

人めを旅

The suffering of a journey is compared with the suffering of having to separate due to people's attention (新体系).「人目をかりに思ふなり」（聞書）

--

「理屈っぽく共通点と相違点を抽出しながら抒情・詠嘆へ流してゆく貫之の詠法が示されている」（新体系）「無理に理屈で、実感は稀薄」（全釈）

Other sources:

• 貫之集５６８. No prose preface (in a group marked 恋).
• 古今和歌六帖２４０４・たむけ. Author つらゆき. First line たむけする. 標 indicates that the first line in the is たむけせで. Perhaps with the する variant we should imagine the letter tied to something to represent the たむけ?

705

かりそめなる所に侍ける女に、心かはりにけるおとこの、こゝにてはかくびん便なき所なれば、心ざしはありながらなむえたちよらぬ、といへりければ、所をかへてまちけるに、見えざりければ

To a woman who lived in a temporary place, a man whose heart had changed said "You being in that place is inconvenient, so although I have interest, I cannot visit you," and so the woman changed her residence and waited, and she did not see him

• 心かはりにける] 心かはりける（八*）
• ここにて] ここて（正*）
• びんなき] ひまなき（雲・慶）
• 心ざしは] 心ざし（中）

(84v) 女

The woman

• 女] よみ人しらず（中・宣長）

やどかへて　まつにも見えず　なりぬれば　つらき所の　おほくもある哉

I changed my house and waited but did not see you, so there are now many places where I suffer!

• まつにも] まてにも（堀）
• なりぬれば] なりぬるは（堀）
• つらき所] つらきこころ（堀*）

かりそめなる所

A temporary house.

びんなき

Nakayama connects this to the fact that the house isn't set up well, while Kudo suggests it may be due to 人目, which would link the poem with the previous one.

女

This author identification may have originally been at the end of the poem's prose preface. Sato cites this as a poem that comes from a hypothetical "lost set of poem tales."

Kigin cites a "certain 勘物" which identifies the woman as a daughter of 忠義公 (Fujiwara no Kanemichi), and the man as "Lord Kanemichi", which doesn't make much sense.

まつにも見えず

Katagiri suggests this is a play on 松明 (Cranston also translates this way).

--

「つらき所のおほきとふに、男をふかくうらむ心あるにや」（八代集抄）「心のつらきなりといふをふくめたるなり」（新抄）「下句は、皮肉であるよりも、あきらめの自嘲」（全釈）Kifune and Kudo label the man's claim as an excuse for someone who already lost interest. Kudo suggests that (at least in the conceit of the poem), the woman is blaming her house rather than the man (both the new and old houses), which is perhaps the 皮肉 reading Kifune is rejecting. Although Tokuhara wonders whether this is an attempt to not blame the man and thus not break off the relationship completely.

古今六帖973　山里も同じうき世の中なればところかへてもすみうかりけり　　信明集　ありしよりつらき所もまさらなんかひなきよりはたえてやみなん　　（標柱）

Other sources:

• 源氏注（松風）

706

題しらず

Circumstance unknown

よみ人も

Also the poet

• ナシ（堀）

おもはむと　たのめし人は　かはらじを　とはれぬ我や　あらぬなるらん

The one who I put my trust on will not change, and myself who is not visited will no longer be myself.

• 人] 君（雲）

おもはむ

「いつまでもお前の事を思っているよ」（新体系）

たのめし

「頼りにさせる」の意（新体系）

我やあらぬ

「私の方は命がなくなる」（新体系）「我が身がもとの我が身にてはなきやらんといふ意なり」（新抄）. Kudo links this to Narihira's 月やあらぬ poem and translates as 「私が昔の私とは違うのでしょうか」. It seems like Katagiri, and maybe Kigin, are the only ones who interpret this as "die."

--

「かつての信頼を信じつづけたい、と思う女のせつなさ、あわれさ」（全釈）Cranston interprets the poem as a pair with 810, basically responding to the same situation as the previous poem.

See GSS 665.

707

源さねあきら、「たのむことなくはしぬべし」といへりければ

Minamoto no Saneakira said "If you do not meet me I will die"

• たのむことなくは] おもふ事ならずは（八ィ・標ィ）

中務

Nakatsukasa

• イ（堀）

いたづらに　たび／＼しぬと　いふめれば　あふには何を　かへむとすらん

You seem to uselessly say "I'll die" time and time again, so if we meet, what will change?

• たび／＼しぬといふめれば] たびたびことにしぬといへば(なればィ)（堀・雲・慶）
• めれば] なれば（承・正*）

--

たのむことなく

That is, if we do not meet.

いたづらに

「空しく。口先だけで」（新体系）

あふには...

「逢った後はどのような言葉に替えて言うのだろうかと皮肉っているのである」（新体系）Toshiyori seems to have interpreted this as 逢ふに身をかふ and thought it might mean meeting after death, but was confused. This interpretation was also picked up by Kigin and Nakayama. Kifune also translates as 換える: 「逢ふためには、いのちだって引き換えになさるでしょうに、やたら軽々しく「死ぬ」とたびたびおっさるようですから、逢うためには何を引き換えになさるおつもり？死んでしまったら、引き換えになさるいのちがありますまいに。」 This is also Kudo and Tokuhara's interpretation, so Katagiri is alone in his reading.

--

「あまり死ぬ死ぬに耳なれて、浅みたる心也」（八代集抄）

本歌: いのちやは何そは露のあだものを逢ふにし換へば惜しからなくに（古今・友則）

Other sources:

• 古今和歌六帖２１５５・ざふの思・中務. Third line いふなるは.
• 信明集９０. Prose preface たのむることなくはしぬべしといひたる返事に、をんな. Second and third lines たびたびごとにしぬといへば.
• 俊頼髄脳. Third line いふなれば.

708

返し

Response

源信明

Minamoto no Saneakira

しぬ／＼と　きく／＼だにも　あひ見ねば　いのちをいつの　よにかのこさむ

Even though you hear me say over and over "I will die," you still will not meet me, so how long am I supposed to preserve my life?

• いのちを] いのちは（堀）、いのちも（慶）
• よにか] たにか（堀・雲）、ために（慶）

あひ見ねば

あひみる is specifically having a romantic night with (sleeping with).

いつのよにかのこさむ

How long (or how many future lives) will I need to wait to meet you?「ただ恋に死ぬばかりと也」（八代集抄） Tameie's 聞書 interprets this as いつもため, which is the reading of some variant texts. Kifune says this plays on いつの夜.

--

Katagiri notes that Nakatsukasa and Saneakira became husband and wife. Kudo connects the しぬしぬ and きくきく repetitions with Nakatsukasa's たびたび. His response echoes the たのむことなくは死ぬべし from the first prose preface.

Other sources:

• 古今和歌六帖２１５６・ざふの思・みなもとの信明（ある本）. Fourth and fifth lines いのちもいつのたにかのこさん
• 信明集９１. Fifth line ためにのこさん
• 俊頼髄脳. Fifth line たにか残さむ

709

時／＼見えけるおとこの、ゐる所のさうじ障子に、とりのかたをかきつけて侍ければ、あたりにをしつけ侍ける

A man she saw occasionally, on a screen in the place where she was, had drawn a picture of a bird, and so she attached this nearby.

本院侍従

Hon'in no Jiju

• 中務（堀*）

ゑにかける　鳥とも人を　見てし哉　おなじ所を　つねにとふべく

I wish that I could see you as this bird in the picture! Then you would normally fly here to visit.

• おなじ所を] おなじ所も（中*）、おなじ所に（貞）
• とふべく] とふきく（堀*）

見えける

Seen by the man (i.e. have a relationship with).

ゐる所

The room the man normally lives in. Tokuhara disagrees, saying that this is where the woman is and the man visits her sometimes.

さうじ

Kigin glosses as 曹子局, but Norinaga (and later commenters) disagree.

かきつけて

Norinaga felt this つけて was unnecessary since it seems to just mean かく (perhaps anticipating the つけ in the next phrase). Nakayama felt this indicated practice or non-serious writing.

をしつけ

Attach the paper with the poem on it.

人を

You (the man).

とふ

「鳥の飛ぶにそへたるなり」（聞書）

--

Nakayama reads this as meaning that the bird in the picture doesn't fly away (visit other women) like the man does. 「作者が安子に仕えていたころで、男は兼道であろうか」（全釈）

See KKS 930(931?) for another similar example.

Other sources:

• 古今和歌六帖４３３５・鳥. Fourth line おなじ所に.
• 袋草紙 (是等彼集之肝心云々）

710

大納言国経朝臣の家に侍ける女に、平定文いとしのびてかたらひ侍て、ゆくすゑまでちぎり侍けるころ、この女にはかに贈太政大臣にむかへられてわたり侍にければ、ふみだにもかよはすかたなくなりにければ、かの女の子のいつゝ許なるが、本院のにしのたいにあそびありきけるをよびよせて、(85v)「はゝに見せたてまつれ」とて、かひなにかきつけ侍ける

Taira no Sadafun was very secretly seeing a woman in the house Lord Kunitsune the Grand Counselor, and had made pledges to the future. At that time, she was suddenly visited by the Posthumous Minister of State [Tokihira], and she went to live with him, and Sadafun no longer had a way to even exchange letters. Therefore, he called over one of her children of five years old who was playing in the west wing of the Hon'in, said "Show this to your mother," and wrote the poem on the child's arm.

平定文

Taira no Sadafun

昔せし　わがゝね事の　悲きは　如何いかにちぎりし　なごりなるらん

What is sad about the promises I made of old are the regrets I have of the pledges we made(?).

女

「敦忠卿の母、棟梁のむすめとかや」（八代集抄）(Kansho agrees)

ゆくすゑまでちぎり侍ける

This is a promise to love each other as husband and wife forever.

贈太政大臣

藤原時平.「国経卿沈酔の上、北の方をみづから参らせ給ふとぞ」（八代集抄）Kifune mentions this as well.

わたり侍にければ

She moved to be with Tokihira.

かの女の子

「すなはち定文朝臣の子なれば、なごりといふも、この子をさしていへるなり」（新抄） Kudo quotes this but says there is no proof.「慈幹」（全釈）

本院

This is Tokihira's residence.

かひな

This puns on 効無（全釈）

かね事

「かねて約束していたこと」（新体系）.

如何ちぎりしなごりなるらん

「どのように契った名残なのでありましょうか。あの約束は全く無駄だったのでしょうか」（新体系）. The ちぎり might be past life bonds, or future plans.

--

「子の腕に歌を書きつけて贈る趣向は、いかにも説話らしくておもしろい」（全釈）

Kifune and Kudo point out Yamato Monogatari 124 and Konjaku v.22 story 8 for more of the associated story.

Tanizaki Jun'ichiro based a story on this episode.

Other sources:

• 時代同歌合
• 古来風体抄
• 世継物語　十訓抄　定家八代抄　
• 源氏注・真木柱

711

返し

よみ人しらず

うつゝにて　誰契剣　定なき　夢地に迷　我はわれかは

In the real world, who made the pledge? I am lost on a dream road with no certainty, and I do not even know myself.

• 迷] やどる（堀*・正ィ）、たどる（坊）、まよふ（標・新*）

夢地

i.e. 夢路, the place where you meet your lover in dreams.

我はわれかは

「自分で自分のことがわからない」（新体系）

--

「時平の強引なやり方に、みずからを失っている女の心の状態がよくわかる」（新体系）Kifune basically agrees with this. Kansho, on the other hand, views this as a pose taken by the woman who no longer wants to bother with Sadafun now that she is married to such a powerful man.

Other sources:

• 古来風体抄
• 世継物語　十訓抄
• 定家八代抄
• 源氏注・真木柱

712

おほやけつかひにてあづまの方へまかりけるほどに、はじめてあひしりて侍女に、「かくやむごとなきみちなれば、心にもあらずまかりぬる」など申てくだり侍けるを、のちにあらためさだめらるゝ事ありて、めしかへされければ、この女きゝて(86r)よろこびながら、とひにつかはしたりければ、みちにて人の心ざしをくりて侍けるくれはとりといふあやをふたむらつゝみてつかはしける

When he was going to the Eastern Provinces on court business, he met a woman for the first time, and said "I have unavoidable business down the road, so I am not leaving you willingly," and continued down the road. Afterwards there was something newly fixed and he was called back [to court], and this woman heard and was glad, and sent out someone to meet him, and on the road the man sent two packages of clothing that he had received out of good will.

清原諸実

Kiyohara no Morozane

• 清原もとさね（もちさね）（堀*）

くれはとり　あやに恋しく　有しかば　ふたむら山も　こえずなりにき

[Kure cloth] I long for you heedlessly, and so I have not crossed Futamura Mountain.

• 恋しく] くるしく（承）

おおやけつかひ

Someone sent out on Imperial order.

やむごとなきみち

Referring to the unavoidable job he has to do further down the road.「すべて物へ行くをさして『道』といへる」（新抄）「旅」（和歌大系）

あらためさだめらるること

「訂正した形で決定されることがあって」（新体系）「役目を変更するという決定が下されて」（和歌大系）

人の心ざしをくりて侍ける

Kifune reads 人 as the man, while Katagiri reads it as someone else who gave these items to the man.

くれはとり

呉服. A type of Chinese clothing; according to the Engi Shiki it was made in the Eastern provinces. Here it functions as a pillow word for あやに.「くれはとりは綾の名也」（奥義抄）「とをすみてよむ也」（真淵）

あやに

"Strangely", but also 綾 of the cloth.「あまりに」（新抄）「あやにくに」（僻案抄）.

ふたむら

A mountain in Owari Province, but also the 二疋 that measures the cloth.「二村山も越えずに帰って来てしまいました」（和歌大系）「越えないままになりました」（新注）「越えずじまいになってしまいました」（全釈）

--

Kifune sees the use of the くれはとり as a way to indicate that the man is currently in 遠江国, heading back to the capital, and he can't wait to get back to show his love. Kudo suggests a light joking explanation of why he's sending 2 things of cloth (rather than 3 or 4).

Other sources:

• 古今和歌六帖４４９５（異本歌）・あや
• 俊頼髄脳　綺語抄　和歌童蒙抄　奥儀抄　和歌初学抄　袖中抄　和歌色葉 (all of these deal with the くれはとり and mostly quote the same things from Engi Shiki and volume 10 of the Nihon Shoki. The most detailed treatment is 袖中抄, although only a small amount of it has anything to do with this poem in particular.)
• 五代歌枕（ふたむら山）　歌枕名寄（ふたむら山）　歌林良材

713

返し

Response

よみ人しらず

Poet unknown

唐衣　たつをゝしみし　心こそ　ふたむら山の　せきとなりけめ

[Chinese cloth] My heart, sorrowful at your parting, has become a barrier to Futamura Mountain.

• なりけめ] なりけれ（雲）

唐衣

A pillow word for たつ, indicating 裁つ (cloth) and 発つ (set out on a journey).「唐は呉の対」（新注）

せきとなりけめ

That is, the 惜し feeling has become a barrier to his crossing (thus why he did not cross it). The actual mountain did not have a 関 according to the Engishiki.

--

「作者のよろこびがすなおに表されている」（全釈）

Other sources:

• 俊頼髄脳
• 五代歌枕（ふたむら山）　歌枕名寄（ふたむら山）　

714

人のもとにつかはしける

Sent to a person.

きよなりが女

Kiyonari's daughter

• 作者ナシ（雲）、きよのりが女（八ィ・標ィ・新ィ）

夢かとも　思べけれど　おぼつかな　ねぬに見しかば　わきぞかねつる

I should think of this as a dream, but it's unclear. I saw it when I wasn't sleeping, so I can't tell the difference.

• 見しかは] みしかと（正ィ）
• かねつる] かねぬる（安*）

夢か

This is describing their meeting.「わづかに相かたらひしを夢かと思ふ心を、かくよめるなるべし」（八代集抄）

思べけれと

「思われますが」（新体系）「当然思うべきですが」（新注）

ねぬに見しかは　わきぞかねつる

I saw this when I was awake, so I cannot tell (between dream and reality).

--

「今宵も逢いたいとの心」（新注）

SIS 708 「夢かとも思べけれどねやはせしなにぞ心にわすれがたきは」

KKS 645 (Ise 69dan) 「君や来し我や行きけむ思ほえず夢かうつつか寝てかさめてか」(Some manuscripts read おぼつかな instead of おもほえず) The response, in the Ise version, has 今宵 in it.

715

(86v) 少将さねたゞかよひ侍ける所をさりて、こと女につきて、それよりかすがの使にいでたちてまかりければ

Lesser Captain Sanetada left a woman he had been seeing, and began a relationship with another woman, and he left from there to be a Kasuga Messenger.

• さねただ base text note 真忠

もとの女

The original woman

• ナシ（堀・雲・慶）

そらしらぬ　雨にもぬるゝ　わが身哉　みかさの山を　よそにきゝつゝ

I am drenched by rain the sky does not know, while hearing only in rumor about Mikasa Mountain.

それより

That is, from the こと女

かすがの使

「春日神社の祭りの日に遣わされる勅使。藤原氏の中将・少将の中か選ばれた」（新体系）

そらしらぬ

Pun on そら = まったく, and 空知らぬ雨 (tears). Poem 904 in the 貫之集 has そらしらぬ雪.

みかさの山

This mountain is near the Kasuga Shrine. Play on 笠 (hats for rain protection), making this a symbol for Sanetada. Kigin cites the 八雲御抄 as saying that みかさの山 is 「大将中将少将の異名」. But Nakayama says it's just 大将中将 which is why the 少将 is よそに聞く. Kifune agrees with Kigin.

よそに

「関係のないこととして」（新体系）「笠をよそにきく故に、涙の雨にぬるる事よといふなり」（新抄）「とうわさにのみ聞きながら」（和歌大系）

--

SIS あやしくも我...

Other sources:

• 五代歌枕（みかさ山）

716

あさがほの花まへにありけるざうしより、おとこのあけていで侍けるに

When a man left in the morning from a room in which there were morning glory flowers in front

よみ人しらず

Poet unknown

もろともに　おるともなしに　打とけて　見えにける哉　あさがほの花

We will not pick them/be together, but they have been seen in disarray, the morning glory flowers.

• おるとも] おるとは（貞*）
• 打とけて] うらとけて（堀*）

ざうし

This is where the poet lives. 「内裏の曹司」（正義）

あけて

「夜明けての事と聞ゆ」（新抄）

おる

Plays on 折る and 居る (modern editions correct spelling to をる).

見え

みゆ = みられる.「男と契る」（全釈）

あさがほの花

「人の朝出の容貌にそへたる事、夕顔の巻...などに同じ」（新抄）「朝の起きぬけの寝くれた顔の意を重ねる」（全釈）

--

「即物的で、かつ、巧みな歌」（全釈）

Kudo takes a different interpretation in a supplementary note, suggesting this is the man's poem, and that 折るともなしに means that they did not do anything. The second part is then using the flower to show what the woman did not do. All the other interpreters read this as the woman's poem read as the man is departing.

Other sources:

• 朝忠集７２. Prose preface 大夫がもとより、あけぼのにいでて (II has たいふかもとよりあかつきにかへりて). Second line おるとはなしに. Fourth line みえやしぬらん. Nakayama thinks this works better as the woman's poem (as in the GSS).

717

内にまいりて、ひさしうをとせざりけるおとこに

Sent to a man who had gone to the palace and not send word for a long time

をんな

The woman

• ナシ（中・坊・堀*・標ィ）

もゝしきは　おのゝえくたす　山なれや　入にし人の　をとづれもせぬ

Is the palace that mountain where your axe handle rots? I hear nothing from the person who entered it.

• くたす] くたし（坊）
• せぬ] なき（堀ィ・承・正*）
• をとづれもせぬ] こととふもなし（雲）

おののえくたす

A reference to a Chinese legend of someone who entered the mountain and watched sages play go, and he forgot everything else and the handle of his axe rotted. GSS 1383 also uses this image.

なれや

"Is it because..."

--

「いずれ、浮気して回っていらっしゃるのでしょう」（全釈）

KKS 327: みよしのの山の白雪ふみわけて入りにし人のおとづれもせぬ

KKS 991: ふるさとはみしこともあらず斧のえのくちしところぞ恋しかりける

Other sources:

• 一条摂政御集６６. Prose preface あひたまてのちに、やないしのもとこもりおはして、うちにうちにとあるに、きたのかた
• 源氏注・胡蝶

718

(87r) 女のもとにきぬをぬぎをきて、とりにつかはすとて

He took off his clothing and left it at a woman's place, and he sent someone to pick it up.

これまさの朝臣

Lord Koremasa

• Base text note: 伊尹天徳四年八月　参議左中将　一条摂政天禄三年薨
• 師平朝臣（堀*）

すゞか山　いせをのあまの　すて衣　しほなれたりと　人や見るらん

The discarded robe of the Suzuka Mountain Ise fisherman; do you see it as warped by salt water?

• すて衣] ぬれ衣（堀・坊）
• しほなれたり] しほたれたり（堀・雲・坊・承・正）
• 人やみるらん] 人もこそみれ（堀・雲）

すゞか山いせを

「『鈴鹿山を越えて行く伊勢の』の意に解したが、鈴鹿山は枕詞的に使われていると見てもよい...をは間投助詞」（新体系） The 枕詞 meaning is taken by 聞書, and Norinaga (he had been asked why 鈴鹿山 is used since it's so far away from Ise). Kigin interprets the を as 男; Norinaga did not understand it. Nakayama mentioned the theories for both these but said that none of the explanations seemed right. Kifune picks up on the "far away" meaning and suggests it's a joke of Koremasa's to explain why he isn't visiting. Kudo adds a possible pun on 濯（すす）く, and says that the を is 語義未詳.

すて衣

The clothes divers take off when they enter the water, used here as a humble symbol of the poet's clothing. Nakayama disagreed with this, finding it 委しきに過ぎてかへりてわろし (cited from Mabuchi?).

潮なれたり

Suggests tears（新体系）. The 鑑賞 says that the reading しほなれたり suggests sweat or other dirt on the robe, making it not seem much like a love poem. But that the しほたれたり reading is better -- then it suggests tears. The exchange in the house poetry collection is better. Kifune also takes the "sweat" meaning, and agrees that the way the poem is in the GSS isn't really a love poem, and perhaps the response was intended to be there as well. Kudo agrees with the sweat meaning too. Tokuhara wonders whether the meaning is supposed to be "you might think this is sweat but it's actually tears."

--

Other sources:

• 一条摂政御集３５. Prose preface おきな、この女のもとにきぬをわすれて、とりにやるとて. Fourth line しほたれたりと.
• 古来風体抄
• 五代歌枕（鈴鹿山）　歌枕名寄（鈴鹿山）

719

題しらず

Circumstance unknown

つらゆき

Tsurayuki

いかで我　人にもとはむ　暁の　あかぬ別や　なにゝにたりと

I definitely want to ask someone -- what resembles an unfulfilled parting at dawn?

• いかで我] いかで猶（八*・新ィ）
• 別れや] 別れは（中・坊・承・正）、別れを（堀）
• なにゝにたりと] なににたりと（堀）、なにににたると（慶・新ィ・全釈）

いかで...む

「ぜひとも...しょう」（全釈）

人

You (my lover). Kudo says it can also be taken as third-person, and Tokuhara interprets it as third person.

人にもとはむ

「我が心に不審に思ひあまれる事をかくいふなり。そのうちに、人とは同じく別れをする女をさしていふ心ばへなり」（新抄）

やなに...

What can compare? (nothing).「暁の充たされないままの別れのつらさは何に似ていますかと。喩えるものは他にないでしょう」（新体系）

--

719-722 are all 逢えざる恋・募る恋（研究）

「たとへかたなきうさを、人にもいかでかとはんと也」（八代集抄）「平明達意、無技巧の歌」（全釈）「私は似るものがない程つらいと思うが、あなたはどうですかとの心」（新注）

See 508.

Other sources:

• 古今和歌六帖１７３９・暁におく. First line いかでわが.
• 貫之集６９１．(Prose preface in III ひとゝものいふによのあくれは). First line いかでなほ.

720

在原行平

Ariwara no Yukihira

• Base text note: 致仕中納言
• 在原業平（正保・標・新*・旧国）

恋しきに　きえかへりつゝ　あさつゆの　けさはおきゐむ　心地こそせね

From love I keep vanishing to nothing; I do not have the feeling that I want to rise and sit like the morning dew.

• 恋しきに] 恋しさに（八ィ・標ィ・新ィ）
• あさつゆ] しらつゆ（堀・雲）
• おきゐむ] おきけん（慶・新ィ）
• 心地こそせね] ことだにもせず（ここちィ）（堀）、ここちだにせず（雲・坊）

きえかへりつつ

消ゆ is engo with 朝露. きえかへる - completely vanish.

おきゐむ

置く (dew) and 起く (awake).

--

「逢って後のことか。実感がこもっている」（評釈）「恋の為には、如何な丈夫も子羊の如く無力にさせられる。何をするも、心そこになく、目には絶えず女の姿が幻の如く映っているのであろう。そういった放心の状態が哀願するような調子で描かれている」（選釈）「暁、恋恋として共寝の床を去りがたい心」（全釈）

KKS 375: 唐衣たつ日はきかじ朝露のおきてしゆけば消ぬべきものを

KKS 564: わが宿の菊のかきねにをく霜のきえかへりてぞ恋しかりける

Other sources:

• 古今和歌六帖２５９７・あした（行平）. Third line 白露の. Last line 心地だにせず.

721

よみ人しらず

Poet unknown

• 宗行朝臣（雲）

しのゝめに　あかで別れし　た本をぞ　つゆやわけしと　人はとがむる

My sleeves after an unfulfilled parting at dawn, people will ask if I made my way through dew.

• あかで] あかず（雲・新ィ）
• 人は] 人や（正保・旧国）、人や（のィ）（八・標）、人の（新）. Norinaga preferred the の reading (he was working from the や variant). Nakayama said that both は and や were wrong.

とがむる

Kifune read as 尋ねる. Kudo as 見とがめる.

--

「涙にぬれたれば、露分けしかと、とがむると也」（八代集抄）Kifune (and maybe Cranston) think the real question is, "Are you coming back from a one-night stand?" and the questioners don't understand the poet's real pain of love.

KKS 622　秋の野に笹わけし朝の袖よりも逢はで来し夜ぞひちまさりける（業平）

722

平中興

Taira no Nakaki

• Base text note: 左衛門権佐　蔵人頭右大弁李長男

(87v) こひしきも　思こめつゝ　ある物を　人にしらるゝ　涙なに也

Though I long for you I have kept my feelings hidden deeply, but what are these tears that let you know?

思ひこめつつ

Thoughts hidden within.

物を

けど...

なに也

「いったい何だね。後撰集に多い言い方」（新体系）

• こひしき] こひしさ（八ィ・標ィ・新ィ）
• なに也] なりけり（中・雲・坊・慶・新ィ）、なりける（堀）

--

「涙の我が心に従わぬをいぶかしみ咎めた」（新注）

KKS 941 世の中の憂きもつらきも告げなくにまづ知る物は涙なりけり

古今和歌六帖 2149 あはれてふ事はさすがに有るものを人にしらるる涙なりけり

Kifune suggests reading 719-722 as one story.

723

からうしてあへりける女に、つゝむこと侍て、又えあはず侍ければ、つかはしける

He met a woman after difficulty, but then there was something to hide, and he once again did not see her, and sent this.

兼輔朝臣

Lord Kanesuke

相坂の　こ木のしたつゆに　ぬれしより　わが衣手は　今もかはかず

Ever since I was drenched by the dew falling from the trees at Osaka, my sleeves are even now not dry.

つつむこと

「世間をはばかって」（和歌大系）

--

「一度逢しより、又えあはねばそのほどより、今も袖のかわかぬと也」（八代集抄）「逢坂の木の下露と詠む当歌は、独自の佳作」（全釈）

MYS 2 あしひきの山の雫に妹待つとわれ立ち濡れぬ山の雫に

KKS 御侍御笠と申せ宮城野の木の下露は雨にまされり

MYS 4 我が背子を逢見し其日今日までに我が衣手はひる時もなし

Other sources:

• 兼輔集（III, IV)
  • III: Prose preface からくしてあへりけるをんなに、つゝむことはへりて、えあはさりけれは. Third line ぬれてより.
  • IV: Prose preface からうしてあひたる女に、またえあはて. Third line ぬれてより. Fifth line いまにはかかず.
• 俊成三十六人歌合　時代不同歌合
• 五代歌枕（逢坂）　歌枕名寄（逢坂）

724

題しらず

Circumstance unknown

みつね

Mitsune

君を思　心を人に　こゆるぎの　いそのたまもや　いまもからまし

My heart that thinks of you surpasses others, I would reap the jewelled seaweed at Koyurugi Beach.

• 心を] 心は（雲・坊・慶）
• たまもやいまも] たまももいまや（雲・坊・慶）

心を

「間投助詞。感動を表す」（全釈、和歌大系）

こよろぎのいそ

小余綾の磯, in current Nara-ken. Plays on 超ゆ (surpass others). It also appears as こよろぎのいそ in KKS 847 and 1094 (as well as the entries given in the utamakura indices below).

玉藻やいまもからまし

Using 刈る with 玉藻 rather than みるめ is strange, it may be based on KKS 798 玉藻刈る海人にはあらねどわたつみの底ひも知らず入心かな, indicating a deep heart (新体系).「為家儀、玉藻をからんとは、君を得んとの心也（或抄義）」（八代集抄）「君に逢はんといふ意とせられたるものなり」（新抄）「や～まし」はためらう気持（新注）

--

Kifune suggests reading 722-724 as one story.

Other sources:

• 古今和歌六帖１９４６・磯（ただみね）. Second line 心は人に. Fifth line いまはからまし.
• 躬恒集１２７ (II, IV, V). II, V prose preface わかれをしむ. Second line 心は人に(IV, V*). Fourth and fifth lines いそのたまもも今日やしらまし(IV). Fourth and fifth lines いその玉もも人やからまし(V*).
• 五代歌枕　歌枕名寄（こゆるぎのいそ）

725

おやある女にしのびてかよひけるを、おとこも「しばしは人にしられじ」といひ侍ければ

He was seeing a woman who was living with her parents, and the man also said "let's not let anyone know for a while."

よみ人しらず

Poet unknown

• をんな（雲・坊）

(88r) なき名ぞと　人にはいひて　有ぬべし　心のとはゞ　いかゞこたへん

"It is just a rumor" I shall tell people. If the heart asks, what will the response be?

• 有りぬべし] あるべきを（雲）

おとこも

There is some doubt about what the も is doing here. Kifune suspects an error. 「（女はもとより）男も」（和歌大系）"He too (seemed worried and said)" (Cranston)

なき名ぞ

It's just rumors, we aren't actually in a relationship.

心のとはば

「あなたのお心が『ほんとうは、どうなのか』と問うたら、どうお答えでしょうか。まさか『うそだ』とは言えますまいに」（全釈）「もし私の心が問うたならば、何と答えましょうか」（新注）. Tokuhara and Katagiri agree with 私の. Cranston translates as "our hearts".

--

「男のいい加減な態度を、なじる歌」（全釈）「男の本心を疑う心」（新注）

俊頼髄脳 lists this in a set of good poems that have 心をさきとしてめづらしきふしをもとめ、詞をかざりよむ. The note before this one is 女はさぞなど見ゆる事をもあらがふにこそかかりたれ (this could be a comment on the previous poem), then いとほしくおいふしたる歌.

袋草子 lists this as 彼集之肝心也. 悦目抄 has it in a list of 6 poems using different parts of the body (this is 意, presumably read as こころ). In 兼載雑談, this poem is given along with one other as a poem that Sogi said you could read carefully to 「世法にも仏法にも、まよふまじきとなり」The idea that this poem has a Confucian or Buddhist sentiment also shows up in 九代抄 and in Kigin:「この歌の心をよく弁へば自欺く事なくして、君子の、その独を慎む道を心得べし」（八代集抄）Nakayama quotes Keichu as seemingly agreeing with this; Nakayama himself says it's primarily a love poem so you don't need to look at it that way, but it could help with learning 真心.

Other sources:

• 俊頼髄脳　袋草子　兼載雑談　定家八代抄
• 源氏注・若菜上、夕霧

726

• 歌ナシ（堀）

なき名たちけるころ

When she had gained a reputation

伊勢

Ise

きよけれど　玉ならぬ身の　わびしきは　みがける物に　いはぬ也けり

Although pure, what is sad about my body which is not a jewel, is that people don't speak of it as something polished.

• みがける物に] みがけるものとは（中）、みがけるものと（坊・八ィ・標ィ・新ィ）

いはぬ也けり

People don't talk of it that way.

--

伊勢集159 is similar:

うたがふことありて人のたまをたまひければ

たまならぬみのうきことはきよけれどみがけるものといはぬなりけり

A number of commenters think that such a preface is necessary for the mention of 玉 in the poem to make sense.

Other sources:

• 伊勢集III. Prose preface うたかひたること有て人のし給けれは.
• 和歌初学抄 (listed as a 秀句 under 玉).

727

しのびてすみ侍ける女につかはしける

Sent to a woman he was secretly seeing.

• なきなたち侍けるころ、しのびてすみ侍りける女に（堀）evidently a combination of 725 (which was omitted in 堀) and 726's prefaces.

あつたゞの朝臣

Lord Atsutada

逢事を　いざほにいで南　しのすゝき　忍はつべき　物ならなくに

The fact that we are meeting, let's bring it out openly. This is not something that should be hidden to the end, like the unsprouted susuki plant.

• いでなん] いてむ（貞・雲・坊・慶・八ィ）
• しのすすき] はなすすき（雲・慶・新ィ）Nakayama says the しのすすき reading is better.

いざ

「さあ」（新体系）

しのびてすみ

In this case 住む indicates a more permanent relationship than 通ふ would. (Although Kifune and Kudo just define as 通う).

しのすすき

A susuki that has not sprouted yet, used as a 枕詞 for 忍.

忍びはつべき

「思ひの切なるをいふなり」（新抄）

--

Other sources:

• 敦忠集１７. Prose preface しのびたる人に.

728

あひかたらひける人、これもかれもつゝむこと有て、はなれぬべく侍ければ、つかはしける

よみ人しらず

あひ見ても　わかるゝ事の　なかりせば　かつ／＼"物は　おもはざらまし

これもかれも

Both the man and the woman.

はなれぬべく

「離れてしまいそうになった」（新体系）「ともかく、こんなに思い悩みはしますまいに」（全釈）

あひ見ても

Kudo interprets this as 「逢い契ることはできなくても」, but others just have 逢い見ても (あって契っても).

かつがつ

「一方では。それはそれとして」（新体系）

--

「忍ぶ恋が更に別れになりそうな悲しさ」（新注）

Norinaga complained that the preface made it impossible to tell whether this was a man or woman's poem; he read it as 男 but said that a woman's poem was possible too.

Other sources:

• 大和物語122段. First line あひみては. The poem here is read to Toshiko by the priest Zouki, with Toshiko's response being いかなればかつがつものを思ふらんなごりもなくぞわれはかなしき.

729

(88v) 人のもとより暁かへりて

After returning from someone at dawn

閑院左大臣

Kan'in Minister of the Left

いつのまに　こひしかる覧　唐衣　ぬれにし袖の　ひるま許に

When did I begin longing for you? In the daytime when the tears on my sleeves had barely dried.

• ばかりに] ばかりを（堀・雲・慶・新ィ）. Nakayama prefers this reading.

こひしかる覧

「自分を客体化して『恋しくなっているのだろうか』と言っているのである」（新体系）

唐衣

A pillow word for 袖.

ひるま

Plays on 干る間 and 昼間.

--

Both Nakayama and Kifune stress the fact that this is not a 忍ぶ恋 so the person will be visiting again tonight, but even so they long for their lover.

古今和歌六帖２５８９・あした（閑院の大臣）いつのまにこひしかるらんあさつゆのけさこそおきてかへりきにしか

SIS 朝まだき露分けきつる衣手のひるまばかりの恋しきやなぞ

730

つらゆき

Tsurayuki

別つる　ほどもへなくに　白浪の　立帰も　みまくほしきか

Little time has passed since we separated, but like the white waves I want to rise and return to you.

• ほしきか] ほしきぞ（承・正*）、ほしきに（正保*・旧国*・標*・新ィ）. Nakayama marked the に as a mistake.

白浪の

This acts as a preface for 立ち帰り, referring to the returning waves but also the poet going back to his lover.

みまくほしきか

見る is "see" (meet lover). みまくほし "want to see". か is emphatic.

--

選釈 sees this as the expression of the tension between the strong feeling of love and the conventions of the time that prevented the poet from seeing his lover as often as he wanted. 「無技巧、単純素直の歌」（全釈）

Kifune reads 727-730 as one sequence. There is also a close connection between this poem and 729.

Other sources:

• 古今和歌六帖２５９７・あした（つらゆき）. Second line ほどはへなくに.

731

女のもとにつかはしける

Sent to a woman.

これまさの朝臣

Lord Koremasa

人しれぬ　身はいそげども　年をへて　などこえがたき　相坂の関

My body which is unknown to you is impatient, but as the years pass, how is it so hard to cross the Osaka Barrier?

人しれぬ身

「相手に認識されない我が身」（新体系）

いそげども

「焦っている」（新体系）

--

「懸想にはやるわが身を、旅人にたとえて詠む」（全釈）

Other sources:

• 一条摂政御集６．Prose preface としをへて、上ずめきける人のかういへりけるに、いかばかりあはれとおもひけん、これこそ女はくちをしうも、らうたくもありけれをんなのおやききて、いとかしこういふとききて、とよかげ、まだしきさまのふみをかきてやる.
• 宇治拾遺物語　v3 19段. First line 人しれず
• 五代歌枕　歌枕名寄（逢坂の関）
• 源氏注・若紫

732

返し

Response

小野好古朝臣女

The Daughter of Lord Ono no Yoshifuru

• 好古] 好実（標ィ）

あづま地に　ゆきかふ人に　あらぬ身は　いつかはこえん　相坂の関

I am not one who crosses back and forth on the Eastern road, so when would I ever cross it, the Osaka Barrier?

• あづま地に] あづまぢを（堀・坊・承・正）
• いつかは] いかがは（堀）

あづまちに

Kudo says this plays on 吾（あ）夫（つま）の通う路 but does not provide any explanation (and he stands alone here).

いつかはこえん

When will I cross? (never)

--

「あなたと結ばれることなどありえないと言うのである」（和歌大系）

Other sources:

• 一条摂政御集７. Prose preface これを、おやに、このことしれる人のみせければ、おもひなほりて、かへりごとかかせけり、はは、女にはらへをさへなむせさせける. Third line あらぬみの*.
• 宇治拾遺物語　v3 19段
• 五代歌枕　歌枕名寄（逢坂の関）

733

女のもとにつかはしける

Sent to a woman

(89r) 藤原きよたゞ

Fujiwara no Kiyotada

つれもなき　人にまけじと　せし程に　我もあだなは　立ぞしにける

Just when I was vowing not to lose to your coldness, I'm the one who got a bad name.

• 我も] たれも（雲・坊）
• しにける] しぬべき（承・正*）

人にまけじとせし

「そのつれなさに負けないでがんばりたいと思って」（新体系）「このままでは終るまい」（新注）

あだな

「恋をする人といふ名」（新抄）「浮気者だという世間の評判」（全釈）

--

Kifune suggests 731-733 as a sequence.

Other sources:

• 清正集６７. Prose preface 人をいひけるに、いな、いとあだななりと、おやせいしけるをききて.

734

かれがたになりにけるおとこのもとに、さうそくてうじてをくれりけるに、「かゝるからにうとき心地なんする」といへりければ

She sent a set of clothing to a man who had stopped visiting her, and he said "I feel separation from this."

小野遠興がむすめ

Ono no Tooki's daugther

• ともきがむすめ（堀・正ィ）
• そんきみの朝臣女（雲）

つらからぬ　中にあるこそ　うとしといへ　隔てはてゝし　きぬにやはあらぬ

When we had a close relationship you could say this was separation, but it's hardly the clothing keeping us apart now.

• 隔てはててし] つきてはててし（堀）、へだてはてにし（承）
• きぬにやはあらぬ] 君にあらずや(君にやはあらぬィ)（堀）、君にやはあらぬ（雲）、きぬにやあらぬ（承・正*）

かゝるからにうとき心地なんする

Katagiri says this is based on SIS 798 衣だに中にありしはうとかりき逢わぬ夜をさへ隔てつるかな. This poem is listed along with the SIS poem as an example of borrowing things from old songs in the 八雲御抄 and a few later poetic manuals that seem to be echoing it.「かように他人めいた、義理だてをするから、けっく疎々しい心ちがさする」といふ意也」（新抄）

つらからぬ

「冷淡でない」（全釈）

--

If we had a close relationship there would only be clothes between us, but since we're no longer together, you can't say that it's just clothing separating us (Kigin).「訪れないことへの恨み言」（新注）

735

五節の所にて、閑院のおほい君につかはしける

Sent to Kan'in's Elder Daughter in the Gosechi place.

• 閑院のおほい君] ふちゐのなかのきみ（堀*）、ふぢゐのおほいぎみ（雲）

もろまさの朝臣

Lord Moromasa

• Base text note: 小一条左大臣

ときはなる　ひかげのかつら　けふしこそ　心の色に　ふかく見えけれ

The evergreen sunlight kazura, on this day, appear even deeper from the color of my heart.

五節の所にて

Evidently the addressee of the poem is serving as a Gosechi dancer, and this is perhaps being sent to the Jouneiden where the Gosechi dancers waited before performing (in the Daijosai or other festival). 新抄 offers a lengthy explanation of the ceremonies.

閑院のおほい君

Teika's note to poem 1248 identifies her as the daughter of Minamoto no Muneyuki.

ひかげのかつら

This refers to the ivy that the men wear in their caps during the event (新抄 says it is the women who wear it, Kifune seems to suggest it could be either). Eventually it was simulated with white thread.

心の色に

「巧みな歌語。伝存歌中、当歌が初例か」（全釈）「...のせいで」（和歌大系）

--

Several commentaries reference Muneyuki's KKS poem (24), Tokuhara even suggests that Moromasa intentionally echoed her father's poem in his own.

Other sources:

• 古今和歌六帖３９３２・ひかげ

736

返し

Response

(89v) 誰となく　かゝるおほみに　ふかゝらん　色をときはに　いかゞたのまん

Just one among many, with that oomi clothing, how can I trust that the evergreen color is deep?

おほみにふかからん

Many people wearing 大忌, a kind of clothing worn by the men at the Gosechi festival (the people actually in the festival wear 小忌).「うらにあひたる人をば小忌といひ、さらぬ人をば大忌といへば、おしなべたることによそへてよめり」（奥儀抄）「小忌四人也」（聞書）So in other words, you aren't one of the special 小忌 people so how can I tell you apart from them? (Nakayama did not completely agree with this theory although he doesn't say why). The clothing Moromasa is wearing would have been something other than the green/blue of the 小忌. 「多みを掛ける」（新注）

色

The color of your heart (from the previous poem)

--

Other sources

• 奥儀抄　和歌色葉

737

• Entered in small characters after 740 (貞)

ふぢつぼの人＼／゛、月夜にありきけるを見て、ひとりがもとにつかはしける

He saw people from the Fujitsubo walking out on a moonlit night, and sent this to one of them.

• 月夜] 月見（中・堀・雲・慶・承・正）

きよたゞ

Kiyotada

誰となく　をぼろに見えし　月影に　わける心を　思しら南

Unclear enough that I can't see who, my heart that saw you out of the moonlight, I want you to know.

• わける] わくる（八・正保ィ・標ィ・旧国ィ）
• しら南] やらなむ（堀・坊・正ィ）

藤壺の人々

These are presumably the gentlewomen of the current resident of the Fujitsubo (possibly Anshi).

月影にわける心

"Tell apart from the moonlight" -- see the preface below in the Kiyotada-shu, where they are said to be wearing white clothing. In other words, "I want you to know that I picked you out among the other women."

--

「春宵朧月の下に立つ大宮人の姿が、いかにも優婉に描かれている」（選釈）「調も美しい」（評釈）

See poem 987, which might be the same situation.

Other sources:

• 清正集９１. Prose preface 月よに、しろききぬみのかぎりきたるをんなどもあまたいでゐたりけるに、ひとりがもとに、つとめて

738

左兵衛督師尹朝臣につかはしける

本院兵衛

春をだに　またでなきぬる　鶯は　ふるす許の　心なりけり

• なきぬる] たちぬる（堀*）、たちにし（雲）

左兵衛督師尹

Moromasa held this rank from 947-953.

鶯

A symbol of Moromasa.

ふるす

Plays on 古巣 (for the warbler) and 古す (the poet, who Moromasa has discarded). KKS 1046 鶯の去年の宿りのふるすとや我には人のつれなかるらむ

--

「序歌也。鶯の、冬の中に、古巣にてなく事をいひかけて、我をふるすばかりの心と見ると恨む心なりべし」（八代集抄）Nakayama disputes that the first part is just a 序: 「冬の中に師尹朝臣よりこの女の許へ消息ありつる、その歌などに、鶯の事あり。さてその消息の、女の心にかなはぬ事ありて、かくこたへたるなるべし」（新抄）

Kifune suggests that these two had a relationship before, and Moromasa suddenly remembered her and dashed off a letter, but she doesn't see it as convincing. Possibly the poem was written before spring started.

739

題しらず

Circumstance unknown

かねもちの朝臣女

Lord Kanemochi's Daughter

• 兼輔朝臣(兼茂ィ)（堀）、かねもち朝臣（承・正）、兼盛朝臣（雲）

ゆふされば　わが身のみこそ　かなしけれ　いづれの方に　枕さだめむ

When evening comes, it is only myself that is sad. Which direction should I fix my pillow?

ゆふされば

KKS 夕されば人なき床をうち払ひ嘆かんためとなれるわが身か

わが身のみ

That is, the man is not coming.

いづれの方に枕さだめむ

This points to a folk belief that the orientation of your pillow can determine your dreams, so if she wants to meet her lover on the dream road, she will have to put her pillow in the right place. KKS 516 よひよひに枕さだめん方もなしいかにねしよか夢にみえけん

740

(90r) 在原元方

• 在原もとみち（雲）

夢にだに　まだ見えなくに　こひしきは　いつにならへる　心なるらん

How can I long for someone so much when I haven't even met them in dreams -- when did my heart learn this practice?

• 見えなくに] なれなくに（雲）
• いつに] いづち（正保*・旧国*・標*・新*）Nakayama supports the いつに reading.

見えなくに

「見ることができないのに」（新体系）

いつにならへる

「何時このような習慣になってしまった私の心でありましょうか」（新体系）

--

Katagiri notes that while 739 and 740 are similar in theme, they are arranged in the opposite order of the KKS "progression of a relationship".

KKS 世の中はかくてこそありけれふく風の目に見ぬ人もこひしかりけり

SIS 逢ひ見でもありにし物をいつのまにならひて人の恋しかるらむ

See 603.

「目ではなく心であなたを見ていますという、殺し文句」（和歌体系）

741

壬生忠岑

Mibu no Tadamine

• 壬生忠見（堀*）

思ふ蝶　事をぞねたく　ふるしける　君にのみこそ　いふべかりけれ

Sadly I have overused the word "omou." You are the only one I should say it to.

ねたく

Annoyingly (Katagiri).

ふるしける

Overused (I overused the word 思ふ).

--

「あなたに恋して初めて『思う』ということの意味がわかったとの心」（新注）

Other sources:

• 古今和歌六帖２６４５・わきておもふ. Second line ことをねたくぞ.
• 忠岑集１５８．Prose Preface をんなに、はじめてあひてはべしに、いみじうあはれにはべしかば. (III prose preface コヽロサシ侍ヲンナニ)
• 信明集II.46.
• 定家八代抄

742

戒仙法師

• 戒善法師（堀*）、戒仏法師（雲）

あな恋し　ゆきてや見まし　つのくにの　今も有てふ　浦のはつ島

Oh my longing! I wish I could go and see it: Ura no Hatsushima which is said to exist even now in Tsu Province.

や見まし

「迷う気持ち」（新注）

裏の初島

「歌枕三本は紀州也、つのくに、不審」（五大歌枕）A number of commentaries mention this problem. 九代抄 says it is in both, but Hyochu quotes another scholar who disputes this. Nakayama thinks the Ki reading is correct.

• つのくにの] つのくにに（中・貞・坊・承・正）、きのくにに（堀・雲）
• 今も] いもも（堀*）
• 有てふ] あるてふ（承）
• 初島] はましま（堀）

--

Katagiri notes that the love meaning of this poem is not clear, his conjecture is that there was some lost 本歌 or other source where the 初 in 初島 might have indicated a first meeting with a lover (Tokuhara also posits a lost legend). The 九代抄 explicitly says this is the function of はつしま, adding かのしま昔よりあれば今縁にしたきとなり. Nakayama's guess is that this was perhaps written to someone he knew long ago who he heard lives in Tsu Province (this is echoed by Kigin, quoting 或抄, as well as Tokuhara). Kifune thinks this was originally simply an 歌枕 poem but the compilers included it imagining something like what Nakayama indicates.

Kudo seems to be the only one to comment on why the 今も有てふ would be used, perhaps he heard there was some accident. He also offers the possibility that はつ島 is 心の果つ島 in the love reading (losing your worry about love).

Other sources:

• 古今和歌六帖１９１１・島・忠岑. Third line きのくにに.
• 定家八代抄. Third line つのくにに.
• 五大歌枕（裏の初島）　歌枕名寄 (Both third line つのくにに)

743

やむごとなき事によりて、とをき所にまかりて、「たたむ月許になんまかりかへるべき」といひて、まかりくだりて、みちよりつかはしける

He went to a far away place on important business, and said "Around next month I should be back," then left, and send this from the road.

つらゆき

Tsurayuki

月かへて　君をば見むと　いひしかど　日だにへだてず　こひしきものを

I said that I would see you when the month changed, but without even a day passing I long for you.

• 月かへて] 月日へて（慶・新ィ）
• 日だにへだてず] 日だに暮れば（堀・雲・慶・承・正・新ィ）

たたむ月

「立たむ月　来月」（新体系）. All editors agree, except for the editors of 雲 who punctuate as ただ「睦月許...

--

Sato groups 743-747 as "poem tale like" material.

「無技巧ですなおな詠風」（全釈）

Norinaga insisted on adding 人をあひしりて侍りけるに to the beginning, noting that 本のままにては言たらず.

This poem resembles MYS 12.3145 月かへて君をば見むと思へかも日もかへずして恋の繁けむ. Most editors suggest Tsurayuki used the poem and changed the language a bit, but Tokuhara also floats the possibility that this was an alternate transmission of the MYS poem that had a Tsurayuki poem tale created around it.

Other sources:

• 古今和歌六帖２７８７・とほみちへだてたる・つらゆき. Fourth line ひだにくるれば.
• 貫之集III.19. Prose preface ほとひさしくありてなむかへるへきとひとにいひおきて、ものへまかるみちよりつかはす. Fourth line ひだにくれなば.

744

(90v) おなじ所に宮づかへし侍て、つねに見ならしける女につかはしける

みつね

伊勢の海に　しほやくあまの　藤衣　なるとはすれど　あはぬ君哉

• 藤衣] ぬれ衣（堀*）
• あはぬ] あかぬ（堀*）

藤衣なる

This is a preface leading to 萎る・馴る, both the clothing and the person. 「藤衣とは、藤布の儀にあらず。いやしき人の衣なりべし」（正義）

あはぬ

Katagiri notes that 逢ふ represents a further development of the relationship from just 見る. あはぬ can also mean 合う (clothing fits).

--

Kifune notes the rich engo and the multiple wordplays of the poem.

MYS 3 須磨のあまの塩焼きぎぬの藤衣間遠にしあればいまだ着なれず may be the source poem for this.

Sato discusses this poem as the type of love poem that the compilers of the KKS composed themselves but did not include in the KKS.

Other sources:

• 古今和歌六帖３２８９・しほやきごろも. First line いせのうみ. Fourth line なるとはみれど.
• 躬恒集I, II, III.
  • I, III: Prose preface おなしところにみわたりける女に. Fourth line なるとはみれど. Fifth line あかぬきみかな.
• 伊勢集II. First line 伊勢の海.
• 時代不同歌合５７番左
• 定家八代抄　五大歌枕　歌枕名寄（伊勢の海）

745

題しらず

Circumstance unknown

これのり

Korenori

わたのそこ　かづきてしらん　君がため　思ふ心の　ふかさくらべに

I want to dive to the depths of the see and find out -- compare the depth of my heart's thoughts of you.

• わたのそこ] わたの浦に (わたつみのィ)（堀）
• 思ふ心の] 思ふそこの（堀ィ）
• ふかさくらべに] ふかきありやと（堀*・雲・正ィ）

かづきてしらん

Dive in the water and find out (確認しましょう（新体系）しりたい（新注）).

--

The 和歌初学抄 includes this as a poem demonstrating the use of わたのそこ to link to ふかき事.

See poem 554 (Kifune says this may have been a fad word at the time). Also 584 and 798.

Katagiri notes that this kind of comparison was often with 伊勢の海, thus providing a link to the previous poem.

Other sources

• 続後撰和歌集（異本）１３７７. Third line 人しれず.
• 古今和歌六帖１７５１・海・これのり. Third line 人しれず.
• 是則集２６. Prose preface しられず、しられたり、あふ、あひてののち. First line わたのはら. Third line 人しれず.
• 和歌初学抄

746

人のおとこにて侍人をあひしりてつかはしける

Sent to a man she had spent time with, who had another wife.

右近

Ukon

• Base text note: 李縄女
• 在原李方女（堀・綺語抄）

唐衣　かけてたのまぬ　時ぞなき　人のつまとは　思ものから

[Chinese clothing] There is no time I don't put my thoughts on you, even though I know you are the husband of another.

人のおとこ

That is, a man who is already in a relationship with another woman.

唐衣

Here a preface for かけて (i.e. 心にかけて) because clothing can be hung on things. See KKS 593 宵々にぬぎて我が寝る狩衣かけて思はぬ時の間もなし

つま

The 綺語抄 uses this as an example of a poem where つま refers to a man. This can also be a play on 褄.

ものから

けれども...

--

Other sources:

• 綺語抄

747

ひとのもとにまかれりけるに、簾すのと戸にすへ据ゑて物いひけるを、簾すをひきあけゝれば、いたく(91r)さはぎければ、まかりかへりて、又のあしたにつかはしける

藤原守正

• Base text note: タヽ　兼輔卿男
• 家正（堀）
• 詠み人知らず（雲・標ィ・新ィ）

あらかりし　浪の心は　つらけれど　すごしによせし　こゑぞこひしき

• あらかりし] あだなりし（標ィ・新ィ）
• すこしによせし] すこしきよせし（中・堀）
• こゑぞ] 風ぞ（堀）

簾のとにすへて

They seated him outside of the curtains.

いたくさはぎければ

The woman reacts this way.

あらかりし　浪の心

The woman's heart.「我が簾を引きあけたる時、さわぎ給ひたる御心はつらけれども」（新抄）

すごしによせし

A play on 簾越し and 州越し.

--

「機知と巧みな修辞の歌...抜け抜けと、誹諧風」（全釈）

Other sources:

• 清正集１８. Prose preface 女房のしりたるに物いひけるほどに、おやめいたりける人のききつけて、ゐていりにけるあしたに.
• 能宣集４５３. Prose preface ある所に侍る人に、ものいはむといひ侍れば、立留りて侍るに、心にあらぬ事や侍りけん、すだれごしにおしさげていり侍りにし

かば、又のひつかはしし. Second line なみのなごりは. Fourth and fifth lines すこしきよせしほどぞこひしき.

748

あひしりて侍ける女の、心ならぬやうに見え侍ければつかはしける

A woman that he had been seeing showed him a different heart, and he sent this.

藤原のちかげの朝臣

Lord Fujiwara no Nochikage

• Base text note: 入古今 (this is probably indicating that the author appears in the Kokinshu, not the poem itself)
• 藤原俊蔭（堀・雲・承・正・八*・新ィ）、千蔭（標ィ・新ィ）

いづ方に　立かくれつゝ　見よとてか　おもひくまなく　人のなりゆく

Where are you hiding telling me to look? There are no hidden places in your thought[???]

心ならぬやうに見え侍ければ

It seemed that the woman was no longer interested in him.

おもひくまなく

「思ひかひなく」（聞書）

人

You.

--

「女の心ならぬさまを恨みたる心なるべし」（八代集抄）Kifune suggests that the woman isn't disliking him but they just aren't able to meet, and the man's poem is sarcastic.

See KKS 思ふてふ人の心のくまごとに立ち隠れつつ見るよしもがな

749

おとこの心やう＼／かれがたに見えゆきければ

When a man was gradually showing her distance

土左

Tosa

つらきをも　うきをもよそに　見しかども　わが身にちかき　世にこそ有けれ

The suffering and sorrow I thought of as far away, but now I see that it has become close to me.

• わが身に] わが身は（八）

つらきをも　うきをも

つらき is the man's coldness, and うき is the poet's suffering.

世

The relation of men and women.

--

よそに and ちかき are opposites.

Kifune reads 747-749 as an exchange.

KKS 世の中のうきもつらきも告げなくにまづ知るものは涙なりけり

750

(91v) 女に心ざしあるよしをいひつかはしたりければ、世中の人の心さだめなければ、たのみがたきよしをいひて侍ければ

He had told a woman he had feelings for her, but she said that people's hearts were not fixed so it was hard to trust him.

在原元方

Ariwara no Motokata

ふちはせに　なりかはるてふ　あすか河　渡見てこそ　しるべかりけれ

They say that Asuka River has deeps that become shoals, but you can know the truth after you cross it.

• てふ] なる（正ィ）
• かはる] かはり（堀）
• あすか河] 世の中（堀・雲・正ィ）
• しるべかりけれ] しらまほしけれ（正ィ）

世中の人の心さだめなければ

「男の人の心は変わりやすいものだから」（和歌六帖）

--

「人の心も、逢見ずしては、定不定も、知るまじきと也」（八代集抄）

KKS 世の中はなにか常なる飛鳥川昨日の淵ぞ今日は瀬になる and 飛鳥川淵は瀬になる世なりとも思ひそめてむ人は忘れじ

Other sources:

• 古今和歌六帖３０１５・おもひわづらふ・元方. Third line 世の中は.
• 伊勢集(II, III). The sequence in this collection goes GSS 1258, 750, and III additionally has 751 and 752. Kudo thinks that this sequence is not the original form.
  • II: Third line 世の中は
  • III: Second line なりかはるなる. Third line 世の中に. Fifth line しらまほしけれ.
• (The absence of the poem from 五大歌枕 suggests the compiler of that text also had the 世の中 reading)

751

題しらず

Circumstance unknown

伊勢

Ise

• 伊勢ィ（堀）

いとはるゝ　身をうれはしみ　いつしかと　あすか河をも　たのむべら也

My hated self is upset, and so I am trusting even the Asuka River to change soon.

• いとはるる] いとはしき（堀*）
• あすか河をも] あすか河をぞ（堀・慶・承・正ィ・八ィ・新ィ）
• べら也] べらなる（堀・慶・正ィ・八ィ・新ィ）

うれはしみ

「嘆かわしいので」（新大系）

たのむ

Ise is hoping that Tokihira's heart will grow deeper soon.　「逢う瀬と期待せずにはいられない」（全釈）

--

「この川のごとく、人の心もかはりやすければ、今日こそつらくとも、また明日はもとのごとく、思ひなほす心もありなむといえり」（正義）

Other sources:

• 伊勢集II, III (see previous poem's entry).
  • II: Second line 身をばうれしみ. Fourth line あすか河にも. Fifth line たのむべきかな.
  • III: Fourth and fifth lines あすか河をぞ頼むべらなる.
• 五大歌枕（あすか河）

752

返し

Response

贈太政大臣

Posthumous Minister of State [Tokihira]

あすか河　せきてとゞむる　物ならば　ふちせになると　何かいはせん

If the Asuka River were something dammed and stopped, then how would anyone talk about its depths and shoals?

• いはせん] いわれん（堀・坊）、いはまし（雲・慶）

あすか河

Kifune reads this as a metaphor for the rumors about him.

ならば...何かいはせん

If this were the case you couldn't say that, but it can't be dammed up (or "isn't") -- that is, if you had a stronger hold on me my heart would always be deep.

--

「あなたが私をしっかり引き止めないからだと、責任を相手に転じた」（新注）

Nakayama's detailed explanation of the poem is based on reading it with the context provided in the 伊勢集 (or perhaps other information about the couple) rather than the more limited context of the GSS. Kifune's analysis is that this is probably not a genuine exchange between the two, especially given that this poem shows up again (in slightly modified form) as GSS 1067, without any response.

Other sources:

• 五大歌枕（飛鳥川）
• 伊勢集III (see previous poems). Last line などかいはれん*.

753

女四のみこにをくりける

Sent to the Fourth Princess

(92r) 右大臣

Minister of the Right [Morosuke]

• Base text note: 九条

葦たづの　沢辺に年は　へぬれども　心は雲の　うへにのみこそ

The crane has spent many years near the marsh, but its heart is only above the clouds.

• へぬれども] へにけれど（堀）

四のみこ

This is Daigo's daughter Princess Kinshi (勤子), who later married Morosuke.

心は雲の　うへにのみこそ

This refers to the Princess, who is in the palace (雲の上).

こそ

i.e. こそあれ

--

Kifune points out that by the contemporary standards, it would have been unacceptable for the Fourth Princess to marry someone of Morosuke's rank. 「品位・格調ともに高い歌」（全釈）

This poem appears in modified form as SIS 650 (題しらず): さはにのみ年はへぬれどあしたづの心は雲のうへにのみこそ

Kigin quotes the Shijing: 鶴鳴于九皋、聲聞于天 (The crane cries in the ninth pool of the marsh, and her voice is heard in the sky). Chisato also read a poem with a very similar meaning (KKS 998 葦たづのひとりおくれて...)

Other sources:

• 古今和歌六帖２５４６・いひはじむ・九条右大臣.
• 九条右大臣集３０. Prose preface 四宮のみこにおくり侍りける.

754

返し

Response

あしたづの　くもゐにかゝる　心あらば　世をへてさはに　すまずぞあらまし

If the crane really has such a heart in the clouds, it wouldn't have spent so many years in the marsh.

かかる心

Both 雲井に掛かる and also かかる（このような）.

--

「鶴のごとくよそ外へ飛行心ならば、沢に年経て住む御心はあるまじきなり」（新抄）Kifune thinks that while the surface meaning is "you must not care about me at all," it also has the subtext of "I will accept you if you continue." This is apparently the first example of a Princess marrying someone who is not a Prince or a Minister.

Other sources:

• 九条右大臣集３１. Prose preface 返し.

755

せうそこつかはしける女の、又こと人にふみつかはすときゝて、「いまは思たえね」といひをくりて侍ける返事に

A woman he had been sending letters to heard that he was sending letters to a different woman, and he read this in response to her saying "Stop thinking about me now."

贈太政大臣

松山に　つらきながらも　浪こさむ　事はさすがに　悲き物を

• つらき] つらさ（承・正）

つらきながらも　

Though you are being cold to me.

浪こさむ事

You think I am cheating (from the famous KKS poem).

--

The 袖中抄 and 九代抄 both cite a legend around Sue no Matsuyama but it's not clear how much that has to do with this poem in particular.

Kudo presents the alternate interpretation that "it's sad I had to go to another woman" and adds that he is accusing the woman of cheating. Kudo also seems to interpret it as the woman, rather than Tokihira, who is sending messages to other people.

Other sources:

• 伊勢集II, III (no prose preface).
• 袖中抄　井蛙抄
• 五大歌枕（松山）　歌枕名寄

756

宮づかへし侍ける女、ほどむさしくありてもの(92v)いはむといひ侍けるに、をそくまかりければ

A woman serving in the palace, who he hadn't seen in a while, said "Let's talk," and then left (service) late.

枇杷左大臣

Biwa Minister of the Left (Nakahira)

• なりひらの朝臣（中・堀・雲・坊・承・正・八ィ・標ィ）

夜ゐのまに　はやなぐさめよ　いその神　ふりにしとこも　うちはらふべく

While it is evening quickly come and console me. I shall brush the dirt off the floor that has grown old.

はやなぐさめよ

「早く来て語り慰めよ」（八代集抄）

いその神

A pillow word for ふる.

うちはらふべく

Brushing the dust off the bed indicates restarting a relationship.

--

Other sources:

• 古今和歌六帖１３８２・とこ・中納言行平. First line ときのまに. Fourth line ふりにし床を.
• 伊勢集１４. Prose preface ゆいまゑへいくとていふなりけりかかるほどに、宮す所なやみたまひければ、あつまりさぶらふ、きくら人といふ人して、はじめのをとこ、しもにおはせよといはせたれば、うしとおもふ心をしばしといふ心をいはせたれば. (The poem is part of a longer sequence, which includes GSS 808-809).
• 業平集７３. II, IV no prose preface. III prose preface 宮つかひしける人を、久しくまからてむかへにまかりたれと、とみにもいてさりけれは.
• 袋草紙 (discusses the difficulty of the Narihira attribution)　古来風体抄

757

返し

Response

伊勢

Ise

わたつみと　あれにしとこを　今更に　はらはゞ袖や　あはとうきなん

The floor that has been ravaged by the sea, if you brush it away now, your sleeve will float like a bubble.

• わたつみ] わたつうみ（中・坊・承・正）、わたつ返（堀ィ）
• はらはば袖や] はらいしなみに（雲）
• あはとうきなん] 袖こそぬれめ（雲）、あはときえなん（坊・正ィ・正保ィ・旧国ィ）

あれ

Play on 荒れ and 離（あ）れ.

あはとうきなん

Probably play on 憂き. 「泡が浮き上がるほどに、涙で袖が浮き上がることでしょうよ」（新大系）

--

「一たび心かはりし人は、逢ぬにしかじと也」（八代集抄）

See 816-817 for the continuation.

Kudo indicates that in the KKS it's the woman's sleeve but in the GSS it's the man's sleeve.

Other sources:

• 古今和歌集７３３・題しらず・伊勢
• 古今和歌六帖１３８３・とこ・伊勢. Fifth line あはときえなん.
• 伊勢集１５. Prose preface 返し (I, II) とよみたりける、女かへし (III) (see previous poem). First line わたつうみと(I). Second line なりにしとこを(I). Fifth line あはときえなん(I, II, III*).
• 業平集(II)７４. Preface 返し (see previous).
• 千五百番歌合 Round 1319. Poem うちはらふをりもありけんとこの浦のなみになれたるよはのさむしろ. Judgment 右歌は、わたつみとあれにしとこをいまさらにはらはば袖やあわとうきなん、といふ心にて、なみになれたるよはのさむしろなどや、さびたるけしきなれば、勝と申すべきなり
• 古来風体抄　定家八代抄

758

心ざしありていひかはしける女のもとより、人かずならぬやうにいひて侍ければ

From a woman who he had designs on and exchanged letters, he got something that seemed as if he weren't counted.

はせおの朝臣

Lord Haseo

• Base text note: 中納言長谷雄

しほのまに　あざりするあまも　をのが世々　かひ有とこそ　思べらなれ

Even the fisher searching between the tides thinks that they will find shells (even my low-ranking self thinks I am worthwhile).

• まに] 山（堀*）
• あまも] あまし（承）
• おのが世々] おのづから（堀・標ィ・新ィ）、おのがじし（坊）、をのがよ（承）

しほ

Kifune says this is a metaphor for the poet, who is away for a while (like the tides).

人かずならぬやう

As if he was not counted among her lovers. Perhaps his rank is low, or this is just playful (新抄)

かひ有

This plays on 貝 and 甲斐.

--

"...so why do you count me as worthless?" （八代集抄）"The low ranking ama may seem worthless but even they have their own place and value" (新抄)

Kifune's interpretation takes the 海女 to be the woman, and the poem means that she should think of him as worthwhile.

兼盛集 57　　すまの浦にあざりするあまの大方はかひあるよとぞ思ふべらなる

759

題しらず

贈太政大臣

(93r) あぢきなく　などか松山　浪こさむ　事をばさらに　思はなるゝ

• 松山] 松山に（正*）
• 事をば] 事を(+ば)（貞）
• 思はなるる] 思みだるる（坊・正ィ）

あぢきなく

「どうしようもないことに」（新大系）「にがにがしくも」（新注）

などか

Most editions link this to line 5, Kudo says it's both line 3 and 5.

松山　浪こさむ　事

From the usual KKS poem, indicates cheating.

さらに

「完全に」（新大系、和歌大系）「改めて、こと新しく」（全釈）「今更」（新注）

思はなるる

「心が離れる」（新大系、新注）「思ひて離るる」（全釈）

--

「やきもちくらい焼いてほしいというのである」（和歌大系）

There seem to be several interpretations: "Why are you intentionally separating from me, as if I've been cheating?" (Kifune) "Why do you think I've been cheating? I haven't, so why now are you moving away?" (Kudo) "Why have you completely lost interest in my cheating?" (Katagiri and Tokuhara).

Other sources:

• 伊勢集(II, III). Prose preface おとど(II). Second line などか松山に.
• 五大歌枕 (Fifth line おもひみだるる)　歌枕名寄

760

返し

伊勢

岸もなく　しほしみちなば　松山を　したにて浪は　こさむとぞ思

岸

Play on 来し.

しほしみちなば

"Since the tide has come in (obscuring the cliff)", and "Since the end has come without you visiting"

したにて浪は　こさむとぞ思

"I wouldn't know about your cheating because you do it so stealthily."

--

On the surface you pledge your seriousness but underneath you cheat （新抄）.

Kifune suggests this exchange was constructed (by the compilers?) from other poems existing.

Other sources:

• 伊勢集４８０ (I, II, III). First line 岸遠く (III). Second line しほもみちなば(I,II). Fourth line したにて浪を (II, III*).
• 歌枕名寄

761

まもりをきて侍けるおとこの心かはりにければ、そのまもりを返しやるとて

これひらの朝臣のむすめいまき

• いまきこの（レィ）ひら朝臣むすめ（堀）、いまきのむすめ（雲）

世とゝもに　なげきこりつむ　身にしあれば　なぞやまもりの　あるかひもなき

• 世]　夜（雲）
• なぞ] なに（慶）、なほ（標ィ・新ィ）

なげきこりつむ

Play on 投げ木焦り積む and 嘆き凝り積む.

身にしあれば

This is "but" (Kudo), although he and everyone else translates it as ので.

やまもり

Play on the mountain guard 山守 (engo with 投げ木) as well as the 守り. (かひ may also be an engo here, and Kudo also includes よ as 節)

--

The charm seems to be something intentionally left by the man rather than forgotten. Kifune sees this as a kind of 物の名 style poem; Tokuhara agrees.

762

• 762 and 763 switched （貞）

人の心つらくなりにければ、袖といふ人をつかひにて

よみ人しらず

• ナシ（堀）

ひとしれぬ　わが物思ひの　涙をば　袖につけてぞ　見すべかりける

• 涙をば] 涙川（坊）
• 見す] 見る（雲）

ひと

You, the lover.

涙

Kudo identifies these as blood tears, with the ひ of the 物思ひ being 緋.

--

Other examples of punning on the name of the messenger are in Yamato Monogatari 157-dan and Kanesuke-shu 20.

Other sources:

• 信明集１３７. Prose preface そでといふ女つかひたる人に、その女につけていふ.

763

(93r) ふみなどをおこするをとこ、ほかざまになりぬべしとききて　

She heard that a man she exchanged letters with had gone somewhere else.

藤原真忠がいもうと

Sanetada's younger sister

• Base text note: 真忠右大臣恒佐四男　天慶六年右少将　五年左馬頭
• さねたかがいもうと（雲）

山の葉に　かゝる思ひの　たえざらば　雲井ながらも　あはれとおもはん

If these thoughts, like the clouds on the mountains, do not break, then even if you are far away I will continue to love you.

山の葉

The 葉 is ateji (端).

かかる

This plays on the clouds かかる on the peak, as well as かかる思ひ.

雲井ながらも

Even if you are far away.

--

The exact circumstance of the preface is unclear; Katagiri thinks that the lack of bitterness on the poet's part means it might have been exile. She may have read this poem while looking at clouds on a mountain. Kifune and Kudo, on the other hand, read this as visiting another woman. Tokuhara simply translates the preface literally with no comment, and suggests that the poet is looking at the love letters while she writes the poem.

中 has an entirely different poem (with the same author). The preface is ふみなどおこせける男、たちまのくににまかりけるをいせかとひにをこせ侍ければ and the poem is かけていづる涙の川の水はやみ心づからやいまはなかれん. This poem does not seem to be found in any other sources.

764

まちじりの君にふみつかはしたりける返事に、「みつ」とのみありければつかはしける　

• ナシ（坊）

もろうぢの朝臣

なきながす　涙のいとゞ　そひぬれば　はかなきみづも　袖ぬらしけり

• 袖] 身は（堀・雲・坊・承・正・正保ィ・旧国ィ・標ィ）

まちじり

町尻, a street in the Heian city. Gyokuyoshu 896 is perhaps by this person. If that is the case, as Kifune suggests, this may have been a much older woman, thus her lack of response.

「みつ」とのみ

見つ (message received, "I saw it")

なきながす

Kifune indicates a pun on 無き名.

みづも袖

Punning on 見つ and 水.

--

Tokuhara interprets the tears as tears of joy, with the も being "even just the brief response." There are other examples of just a 見つ reponse in the Ise-shu and the Heichu Monogatari.

765

題しらず　

Circumstance unknown

源たのむ

Minamoto no Tanomu

• Base text note: 頼
• 源よりか（堀）
• 源のよる（承・正）

夢のごと　はかなき物は　なかりけり　なにとて人に　あふとみつらん

There is nothing so fleeting as dreams. Why did I dream of meeting that person?

--

The poet has dreamed of meeting their lover, useless because they cannot meet in real life.「三句なかり*けり*とある語勢、力ありよく味ふべし」（新抄）The poem shares はかなし and みつ with the previous one.

See GSS 583 and 1061, as well as KKS 寝ぬる夜の夢をはかなみまどろめばいやはかなにもなりまさるかな

Other sources:

• 古今和歌六帖２０５１・夢・みなもとのよるか. First line 夢ばかり.

766

心ざし侍り・ける女のつれなきに　

In response to the coldness of a woman he had thoughts for

よみ人しらず

Poet unknown

(94r) 思ひねの　よなよな＼／夢に　逢ふ・事を　たゞかた時の　うつつとも哉

If only I could make the dreams I have night after night, thinking of you, into reality, even just for a fleeting second.

• ただかた時の] ときのまばかり（雲・慶・新ィ）

思ひね

Sleeping while thinking of your lover.

--

See KKS 558, 608, 647, and GSS 76.

Other sources:

• 定家八代抄

767

返し

時のまの　うつゝをしのぶ　心こそ　はかなき夢に　まさらざりけれ

Your heart, which longs for only a brief reality, is the thing that is more fleeting than a dream.

• しのぶ] ねがふ（堀・正ィ）

--

See KKS 647.

「久しくこそあはまほしかるべけれ」（八代集抄）

768

題しらず　

Circumstance unknown

くろぬし

Kuronushi

玉津島　ふかき入江を　こぐ舟の　うきたるこひも　我はする哉

The rowing boat, floating in the deep bay of Tamatsushima, I am suffering for love.

• 玉津島] 松島の（堀）
• 入江を] 入江に（雲・慶）

うきたる

Play on 浮く (the boat) and 憂く (the poet's feeling). The first three lines are a 序.

--

See KKS 592, which has the same last two lines (Mitsune's poem would have come after Kuronushi's). Nakayama defends this practice as common in poetry.

Other sources:

• 古今和歌六帖２５３５・知らぬ人
• 五大歌枕　歌枕名寄

769

紀内親王

Prince Ki

• Base text note: 一本　三のみこ
• 紀子内親王（貞）
• きのみこ（堀）
• 三のみこ（中・貞ィ・雲・慶・坊・承・正・正保ィ・八ィ・標ィ・旧国ィ）

つのくにの　なにはたゝまく　おをしみこそ　すくもたく火の　したにこがるれ

Because I fear to gain a reputation, my love burns under my heart like the chaff at the bottom of a fire.

• すくも] みても（堀*）

紀内親王

Katagiri's index notes that the identification of this person is uncertain; the phrasing seems too modern for it to have been the son of Emperor Kanmu who died in 886. The alternate 三のみこ is also unclear.

つのくにのなにはたたまく

Pivot on 摂津の国の難波, and 名にはたたまく. The latter is 名に立つことが惜しいからこそ. See GSS 1202.

すくも

Here, chaff that doesn't burn easily (thus the last line). There seems to have been some confusion over the term, it probably refers to grain chaff but it was confused with 藻屑 (see Katagiri and Kudo).

--

「下句の具象的暗喩は優れている」（全釈）Kifune connects the inability of the poet to express his love with his position as a prince.

Other sources:

• 古今和歌六帖３０６０・名ををしむ
• 奥義抄　和歌初学抄　和歌色葉　和歌口伝　色葉和難集
• 定家八代抄
• 歌枕名寄

770

人のもとにまかりて、いれざりければすのこにふしあかして、かへるとていひいれ侍ける　

He went to visit a woman, but could not get inside, so he spent the night outside the screen, and the next morning as he was leaving he sent this in

よみ人しらず

Poet unknown

• ナシ（堀）

夢地にも　やどかす人の　あらませば　ねざめにつゆは　ゝらはざらまし

If on the road of dreams there was someone to give me lodging, upon waking I would not have to brush the dew away.

• やどかす] やどかる（堀#）
• はらはざらまし] かからざらまし（雲）

つゆ

A metaphor for tears.

--

If I could meet you in a dream, then there would be no reason to cry（九代抄）. He spent the night outside, and this is an excuse for the dew 八代集抄）It isn't just because he was out there this night, but because he can never meet her even in dreams（新抄）Please grant me at least a meeting in dreams（新注）

See KKS 574 and 757.

771

(94v) 返し

涙河　ながすねざめも　ある物を　はらふ許の　つゆやなになり

I cry a river of tears, lying awake, so what is your dew that can be brushed away?

• つゆや] つゆは（中・貞）
• なになり] なになる（堀・雲・慶・承・正保ィ・八ィ・新ィ・旧国ィ・**全釈**）

なになり

i.e. "your tears are nothing".「何なるといふべきを也といへることは、ののひたれはとてかくよめり」（九代抄）The use of なり here instead of なる is perhaps due なになり becoming a fixed expression?

--

See KKS 556-557, and 617-618.

Other sources:

• 五大歌枕

772

心ざしはありながらえあはざりける人につかはしける

Sent to a woman he had feelings for but could not meet

みるめかる　方ぞあふみに　なしときく　玉もをさへや　あまはかづかぬ

The say that there is no seaweed in Omi. But surely the divers get at least some jeweled grass.

• あふみに] あふみは（堀）
• なし] なき（全釈）

みるめ

Play on 見る目 and seaweed.

方

Katagiri reads this as 潟 instead (everyone else seems to agree). Kifune has a pun with 方 (method).

あふみ

近江 is a lake so there's no seaweed (also 逢ふ).

玉

Kudo suggests this might play on たまたま (from time to time).

--

「裳うちかづきて、忍びて出あへかしと也」（八代集抄）Nakayama disagrees with this, saying this just means "wait a while and we can meet", he also suggests it might be asking for a letter from the suggestion of 掻く = 書く.

Kifune agrees with a guess of Nakayama's that the woman's name is 近江. He then disagrees with previous commentaries and says that かづく plays on かつぐ meaning "wear", and he's suggesting that she go into service so that he can at least talk to her.

See GSS 528 and 843, and 858.

773

返し

名のみして　逢事浪の　しげきまに　いつかたまもを　あまはかづかむ

• 浪の] なのみ（正*）
• しげきま] しげきよ（中$）
• いつかたまもを] いつしかたまも（堀*）
• かづかむ] かづかぬ（中）、かるらむ（堀*）

名のみ

近江 is just a name (perhaps the poet's name), we don't actually have 逢ふ見.

浪

A play on 無み.

しげき

The waves are しげき but also people's watchful eyes.

たまも

Nakayama interprets this as referring to 筆跡, but his overall interpretation is the same as others.

--

「浪早きには、藻もかづきがたきによせたるべし」（八代集抄）Kifune's suggestion is that the woman has a husband but also serves from time to time.

Tokuhara's reading is not just that she can't manage to meet him but that she doesn't want to.

Kifune also takes 764-773 as a single story.

Other sources:

• 六百番陳状

774

心ざしありて人にいひかはし侍けるを、つれなかりければいひわづらひてやみにけるを、思いでゝいひおくりける返ごとに、「心ならぬさま也」といへりければ

He was exchanging letters with someone he had designs on, but she was cold to him, and so he stopped because it became annoying, but he then remembered her and sent a message, and in response she said "You seem not to be serious."

葛木や　くめぢのはしに　あらばこそ　思ふ心を　なかぞらにせめ

Only if it were like the bridge of Kumeji in Kazuragi would my heart's thoughts of you be fleeting (but it's not).

• くめぢのはし] くめぢがはし（雲）

いひかはし侍ける

Mabuchi thought this was wrong, and Nakayama suggested that it should be いひつかはし instead. Kifune seems to agree -- the problem is apparently that the "exchange" of messages seems not to match with つれなかりければ. Some manuscripts read いひかよはし instead. However, it seems like the text as given could mean that the woman was sending some kind of response but was still being cold or distant.

心ならぬさま也

Kigin interprets this as "I cannot freely meet you," but the general interpretation by others is "You seem not to be serious about this" (because he took so long to send a message).

葛木やくめぢのはし

This bridge has a legend involving En no Gyoja, but the upshot is that the unfinished bridge was used as a symbol in poetry for unfulfilled love, or other unfinished things of that sort.

なかぞら

縁語 with the bridge.

--

Other sources:

• 和歌初学抄 (example of a 橋 poem)
• 五大歌枕　歌枕名寄

775

人のもとにつかはしける　

Sent to a person.

右大臣

Minister of the Right

(95r) かくれぬに　すむをしどりの　こゑたえず　なけどかひなき　物にぞ有ける

The mandarin duck in the hidden marsh cries without ceasing but, but it is to no effect.

• かくれぬ] かくれゐ（承）
• たえず] たてて（雲）

かひ

This suggests 貝 for 縁語 with かくれぬ.

--

「人しれぬ音を泣く心をそへてよめり」（八代集抄）「序歌なり」（新抄）The Mandarin ducks are often said to be close married pairs; the suggestion in the poem is that the male is crying out for its mate.

Other sources:

• 師輔集１８

776

つりどのゝみこにつかはしける　

陽成院御製

• Base text note: 綏子　仁和皇女　母同寛平　配陽成院　号釣殿宮

つくばねの　峯よりおつる　みなの河　恋ぞつもりて　渕となりける

• つくばね] つくまね（雲）
• みなの河] みなせ河（雲）
• なりける] なりぬる（標ィ）

つりどののみこ

The base text's identification is standard, but 標註 disagreed, saying it was 簡子内親王. Nakayama said they were both wrong, but seems a bit unclear on his own thought.

峯

Kifune says this plays on 見ね（不見）.

みなの河

Keichu and Nakayama both think the み suggests 水, although Kageki disagreed.

--

Sogi connected the poem to the virtues of the Emperor; Mostow also mentions (in Pictures of the Heart) that some medieval commentators interpreted this as the virtue of the Emperor flowing to the people. 「詞づかい奇妙の所也」（松永貞徳）

Kifune rejects the reading that this means "a brief glimpse of you has turned into a deep feeling," rather it means that the turbulence of my heart has become a deep pool of love.

Kudo, in a supplementary note, suggest a number of possible wordplays on words relating to illness.

「その歌の構成の韻律的な点が、この歌をすぐれたものとしていると思う」（評釈）Specifically noted are the repetition of the つ and み syllables.

「上句の調子は力強いものであるが、その響きが微妙に下句に溶け込でいて、嘆きのさまが巧みに言い表されている」（鑑賞）

「つくばねの岩もとどろにおつる水よにもたゆらにわが思はなくに」（万葉集）

Other sources:

• 古今和歌六帖１５４９・河・陽成院ィ. Fourth line こひぞたまりて. Fifth line ふちとなりぬる.
• 藤川五百首 note
• 百人秀歌　百人一首 (Fifth line ふちとなりぬる)　定家八代抄
• 五大歌枕　歌枕名寄
• 源氏注・関屋

777

あひしりて侍ける人のまうでこずなりてのち、心にもあらずこゑをのみきく許にて、又をおともせず侍ければつかはしける

Someone she had been seeing stopped coming, and then by chance she heard just his voice, but there was still no correspondence from him, so she sent this.

よみ人しらず

Poet unknown

かりがねの　くもゐはるかに　きこえしは　今は限の　こゑにぞありける

What I hear from the goose far off in the clouds is a voice saying "This is the end."

• はるかに] ながらに（堀・雲・慶・承・正・八ィ・新ィ）
• きこえしは] きこゆるは（承・正ィ）
• こゑにぞありける] ねにこそありけれ（雲・慶・新ィ）

心にもあらずこゑをのみきく許にて

This indicates hearing the voice of the man without intent; perhaps the woman is in palace service or the like. Tokuhara goes farther and translates as 聞きたくもないのに.

かりがね

A metaphor for the man. Also suggests 仮（新注）

今は限

Applied to the goose, it suggests "I am leaving/returning" in spring. Kudo thinks this might also have a play on 霧.

--

Kifune suggests an irony in using the poetic goose as a metaphor for the daily conversation of Kanemi.

778

返し　

かねみの王

今はとて　行かへりぬる　こゑならば　おひ風にても　きこえましやは

If this were truly a departing voice saying "the end!", then would you even hear it on the coming wind?

• 行かへりぬる] ゆきかくれぬる（中・堀）
• ならば] なれば（承・正）

--

"You heard me exactly because it's not the end" （八代集抄）

Other sources:

• 高良玉垂宮神秘書紙背和歌

779

をおとこのけしきやう＼／つらげに見えければ　

A man's expression gradually grew more cold.

• けしき] けしきの（承・正）、けしきを（新大系・新注）The base text reads けしきを, but the を has a 見せけち mark. The 索引 indicates this mark is also in the 高 tracing, but the 新編国歌大観 lists the deletion of を in the 校訂表.

(95v) 小町

心から　うきたる舟に　のりそめて　ひと日も浪に　ぬれぬ日ぞなき

• のりそめて] のりながら（堀*）

心から

By my own power.

うきたる

浮きたる船, and also 憂きたる舟 (the relationship).

浪

Engo with 舟, and also suggesting 涙.

--

It's not the man's fault, it's mine for knowingly taking up with him.

「やうやうつらく、枯がたになりし人を歎く心也」（八代集抄）「猶いはば、上の句は俗言に、心カラ、ウハ気ナルコトヲシ出シテといふ味ひもあるべし」（新抄）

Other sources:

• 古今和歌六帖１８１６・ふね・小町
• 新撰朗詠集. The note attached to the poem indicates that it is read in the voice of an 遊女.
• 小町集２. Prose preface ある人、心かはりてみえしに.
• 住吉物語, put in the mouth of one of the characters (p 124 of the 新全集 edition).
• 源氏注・早蕨

780

をおとこの心つらく思かれにけるを、女なをほざりになどかをおともせぬといひつかはしたりければ　

In response to a man growing cold and separating from her, she sent "Enough, why don't I hear from you?"

• などかおともせぬ] (などか+)おともせぬ（底）

よみ人しらず

Poet unknown

忘なんと　思心の　やすからば　つれなきひとを　うらみましやは

• うらみましやは] うらみざらまし（慶・八ィ・新ィ）

なおざりに

いい加減に. (Casually?) Tokuhara seems to be the only one who interprets this phrase as not being part of the woman's statement, but the narrator's description of her tone.

--

The poet is the man. Kigin interprets as a serious poem of love -- since messages are just casual things I should stop because of your coldness, but I can't break away from you. Kifune's reading is similar; the woman doesn't see that she's the issue. Kudo adds that the man is upset precisely because he loves her so much (and she's cold).

KKS 718 わすれなんと思ふ心のつくからにありしよりけにまづぞかなしき

781

よゐひに女にあひて、かならずのちにあはんとちかごとをたてさせて、あしたにつかはしける　

He met a woman at dusk, and made a solemn promise to come later, and sent this the next morning.

藤原滋幹

Fujiwara no Shigemoto

• ナシ（雲）

ちはやぶる　神ひきかけて　ちかひてし　こともゆゝしく　あらがふなゆめ

What I pledged before the gods is fearful, so take care not to go against it.

• ことも] ことを（堀）

よひ

While most commentators interpret this as 宵, Kudo reads it as 夜直, and that this was a chance meeting -- this depends on reading the ゐ as 居 rather than "correcting" it to ひ.

--

That is, "meet me." Norinaga wanted to add words to the preface to show that they had not met (Nakayama claims that Keichu also pointed this out). However, it doesn't seem necessary to assume that the woman refused to meet him -- this could simply be a poem to continue the communication.

SIS 忘らるる身をば思はず誓ひてし人の命の惜しくもあるかな

782

(96r) 院のやまとにあふぎつかはすとて　

• やまと] いせ（承・正）

He sent a fan to Yamato working for the Retired Emperor.

右大臣

Minister of the Right

• 左大臣（雲）- Kudo says this might be the correct attribution.

おもひには　我こそいりて　まどはるれ　あやなく君や　涼かるべき

I am lost, having entered the fire of my love for you, but strangely you should be cool.

• 涼かるべき] すずしかるらむ（堀）

院のやまと

A woman named Yamato. Commentaries generally say the Retired Emperor is the 朱雀院, although Kudo notes that it could be Uda if this woman is the same one as in poem 789.

おもひ

The usual play on 火.

--

She will be cool because of the gift of the fan. Kifune says that he is comparing himself to a moth drawn to flame, and that it has a 俳諧 quality.

Other sources:

• 師輔集９２

783

かねみちの朝臣かれがたになりて、としこえてとぶらひて侍ければ　

Lord Kanemochi had grown apart from her, and he visited when the new year came

元平のみこのむすめ

Prince Motohira's Daughter

• Base text note: 二品弾正尹　陽成院第二　左大臣顕光母

あらたまの　年もこえぬる　松山の　浪の心は　いかゞなるらん

• 松山の] 松山に（中）
• いかがなるらん] いかがたのまん（承・正*）

かねもちの朝臣

標註 questions whether 朝臣 should have been used here given Kanemochi's rank at the time of the GSS' compilation.

年も

The year, in addition to the waves. Kigin seems to interpret this as "the year was also false", which may be the same as the other commenters who say this means "the year has changed without you visiting."

松山の　浪の心

This is the usual reference to the KKS poem, indicating a cheating heart.

--

The year has proved false, what about you?

Other sources:

• 袖中抄
• 五大歌枕　歌枕名寄

784

もとのめにかへりすむときゝて、おを>とこのもとにつかはしける　

[The woman] heard that he had returned to his original wife, so she sent this

よみ人しらず

Poet unknown

• おなじき人（堀）、同人（雲）

わがためは　いとゞあさくや　なりぬらん　野中のし水　ふかさまされば

For me it seems to have become even shallower. The depth of the clear water in the field has become greater.

• わがため] わがかた（標ィ・新ィ）
• あさくや] あやしく（承）
• まされば] まされる（承）

わがためは

「自分にとっては」（新大系）

野中の清水

This draws on KKS 887 「古の野中の清水ぬるけれど元の心を知る人ぞ汲む」, thus meaning that the "original" woman gets deeper love and my own love is shallower. Some sources say that this is a specific place either in Harima or some other province, but it may just be a normal noun indicating a well or pond that used to be clear but now is not.

--

Kifune reads 783-4 as an exchange.

Other sources:

• 袖中抄
• 歌枕名寄 (First line わがかたは)　歌林良材

785

女のもとにつかはしける　

(96v) 源中正

• 源長忠（堀・雲）、源仲正（承・正）

あふみぢを　しるべなくても　見てし哉　関のこなたは　わびしかりけり

• なくても] なくてや（中）
• こなたは] こなたに（雲）

あふみぢ

Play on 近江路 and 逢ふ身. Possibly this is used because the woman's name is 下野.

しるべなくても

Suggests the lack of a 女房 to guide him (新大系); that is, he wants to see her privately/alone? Or "even if I have no one to guide me"? Commentaries seem to suggest either approach.

関のこなた

On this side of the barrier/before meeting. Kifune thinks that since the other side of the barrier in question is 山城, it suggests やまし (suffering).

--

「巧みな掛詞と隠し意味の歌」（全釈）

KKS 473 おとは山おとにききつつ逢坂の関のこなたにとしをふるかな

Other sources:

• 五大歌枕　歌枕名寄

786

返し　

しもつけ

道しらで　やみやはしなぬ　相坂の　関のあなたは　海といふなり

• やみやは] やみぬへ（中$）
• しなぬ] しける（堀）、しけぬ（堀ィ）、しぬる（雲・慶・新ィ）
• あなたは] あなたに（雲）、こなたは（標*・新*）Nakayama favored the あなた reading.
• 海と] あふと（堀*）

やみやはしなぬ

止み plus the 反語 やは, then し＋な（完）＋ぬ（neg). 「やめてしまわないのか、やめてしまうはずだ」（新大系）Without a guide you'll definitely stop (八代集抄). Kudo and Tokuhara parse as a request/invitation rather than a regular hango. The 標注 felt that しなぬ was a miscopying and favored the しぬる reading instead. 「めづらしきてにをはなり」However, Nakayama accurately parsed the grammar.

海

琵琶湖. Plays on 憂み.

--

Katagiri says this is a common pose for the women poets of the GSS in rejecting a man they have met.「贈歌のとは逆の、これまた巧みな掛詞・隠し意味の転換をもって、みごとにかわし、からかう」（全釈）

Other sources:

• 五大歌枕　歌枕名寄

787

女のもとにまかりたるに、はやかへりねとのみいひければ　

• 題知らず（堀・雲）

よみ人しらず

つれなきを　思ひしのぶの　さねかづら　はてはくるをも　厭なりけり

• つれなき] つれなさ（坊 maybe）
• しのぶの] しらずと（堀）
• なりけり] べらなり（堀・雲・承・正）

思ひしのぶ

Play on 思ひ忍ぶ and also 忍草. Kigin interprets as 信夫(山)のさねかづら. Nakayama quotes this and agrees, but then writes that without 山 it's tough to make this connection, and wonders if it's a miscopying of 山かづら, but notes that since it's in the rokujo with the same text it's probably not a miscopying. Kifune also mentions the place name pun, while Kudo is tentative about the connection. Katagiri and Tokuhara do not mention the place name at all.

さねかづら

Play on さ寝, and also leads into 来る (because of 繰る).

--

Other sources:

• 古今和歌六帖・さねかづら. Fifth line いとふべらなり.
• 歌枕名寄（信夫）

788

あつよしのみこの家にやまとゝいふ人につかはしける　

左大臣

• 右大臣（堀・雲・坊・承・正・標ィ・新ィ）「左大臣が正しい」（新注）

今更に　思いでじと　しのぶるを　こひしきにこそ　わすれわびぬれ

• しのぶるを] しのぶれど（承・正ィ）

わすれわびぬれ

「忘れることがつらく感じられる」（新大系）

--

Nakayama commented on the use of 思ひ, 忘れわび, 忍, and 恋しき all in the poem: 「思ふ事を四種にいひて、あやとし給へりなり」（新抄）

Kifune reads 785-788 as a single story.

SKKS 1424 よのうきも人のつらきもしのぶるにこひしきにこそ思ひわびぬれ

Other sources:

• 古今和歌六帖２８７２・わすれず・小野宮左大臣. Third line しのぶれど.　Fifth line しのびわすれ.
• 時代不同歌合・７６番・清慎公
• 大和物語１７１段. This story (which involves someone named Yamato as well as Saneyori) ends abruptly in the middle of a sentence, and then some texts of the Yamato Monogatari contain this GSS poem afterwards (written in smaller text).

789

(97r) いひかはしける女の、いまは思わすれねといひ侍ければ　

はせおをの朝臣

わがためは　見るかひもなし　忘草　わする許の　こひにしあらねば

忘れ草

This is the object of 見る in the 2nd line.

--

忘れ草 is something you look at and forget, but my love is not like that (新大系). Kigin instead interprets as "looking at a 忘れ草 wouldn't make me forget my love for you." Although perhaps this is how Katagiri is reading it as well. Kifune suggests that she might have sent some 忘れ草 with the poem.

Other sources:

• 古今和歌六帖３８５２・忘れ草・はつせの中納言
• 別本和漢兼作集

790

しのびてかよひける人に　

藤原ありよし

• Base text note: 有好

あひ見ても　つゝむ思ひの　わびしきは　人まにのみぞ　ねはなかれける

人ま

人間. When you can't see.「人のみぬ時ぞ音はなくと也」（正義）

--

「心は明也」（八代集抄）

Kifune discusses the authorship of this poem, noting that Ise's authorship seems probable given that we know Ise participated in the Teiji poetry competition (even though this poem is not given an author). Kifune suggests that Ariyoshi may have borrowed this poem for his own use, if the attribution is not a simple mistake.

See GSS 564, 703, 704, etc for other examples of わびしきは....けり.

Other sources:

• 新勅撰和歌集８１８. 題しらず. Third line かなしきは.
• 伊勢集１４４. Prose preface 人に物いひて猶つゝましかりけるころ(I). Third line かなしきは(III).
• 亭子院歌合６９. Third line くるしきは.

791

物いひ侍けるおをとこいひわづらひて、「いかゞはせん、いなともいひはなちてよ」といひ侍ければ　

A man who had visited a woman was having trouble, and said "I can't figure it out -- if you are opposed, say so."

よみ人しらず

Poet unknown

を山田の　なはしろ水は　たえぬとも　心の池の　いひはゝなたじ

Even if the water in the field runs dry, I will not release the stopper of the pond of my heart.

• たえぬとも] はてぬとも（久）

いひわづらひて

「女のつれなきゆゑ也」（八代集抄）

心の池

Kigin thought this must be a place name, but none is known.

いひ

A play on 言ひ and a word for a stopper/dam on a pond that can be removed to let it drain. 「いひを発ちて水をいれじと云て、いなともいひはなつまじきとなり」（八代集抄）

--

Even though your feelings are shallow, I will not release "water" (an answer) from the depths of my heart. Kudo thinks the wordplay of the poem was developed off a play with いな（否 and 稲).

Other sources:

• 色葉和難集

792

(97v) 方たがへに、人の家に人をぐしてまかりて、かへりてつかはしける

Due to a directional blockage, he went to a person's house with a person, and returning composed this

千世へむと　契をおきてし　姫松の　ねざしそめてし　やどはわすれじ

Like the founding root of the small pine pledged to last a thousand years, I will not forget the place of our first night.

• ねざしそめてし] ねざしとめてし（正保・標・新・旧国）
• わすれじ] わすれず（雲）

ねざし

Play on 寝 and 寝.

--

Katagiri suggests that the context is visiting a close retainer's house, with a woman who he is going to spend the first night with, and then this poem is read as the next morning poem. Katagiri interprets the 方違へ as genuine, but Nakayama posits that this is being used as a pretense because it's too difficult for the poet to visit the woman in her own residence.

KKS 1100 ちはやぶる賀茂の社の姫子松万世経とも色は変わらじ

Other sources:

• 源氏注・松風

793

物いひける女に、せみのからをつゝみてつかはすとて　

• 女に] The base text reads 女の, but all other texts read 女に and every modern edition emends the base text to 女に.
• せみのから] せみのもぬけ（行・中・正保・標・新・旧国）、せみのぬけがら（雲・慶・新ィ）

源重光朝臣

これを見よ　人もすさめぬ　恋すとて　ねをなくむしの　なれるすがたを

• すさめぬ] とがめぬ（堀・雲・安・坊・承・正）
• こひすとて] こひをして（雲）

--

「機知と趣向がおもしろい」（全釈）

Other sources:

• 和漢朗詠集１９８・蝉（重光大納言）. Second line 人もとがめぬ.
• 千五百番歌合・１２２９番判詞. Second line 人もとがめぬ.
• 定家八代抄. Second line 人もとがめぬ.
• 源氏注・若菜下

794

人のもとよりかへりまできてつかはしける　

坂上これのり

あひみては　なぐさむやとぞ　思ひしに　なごりしもこそ　こひしかりけれ

• 思ひしに] おもひつる（堀）、おもひしを（雲）、おもひしか（標ィ）

--

Other sources:

• 拾遺和歌集７１１・題しらず. Third line おもひしを.
• 是則集３８. Prose preface あふ. Third line おもひしを.