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 Sanekata)

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）