Gosenshu 11
後撰和歌集巻第一
恋三
- 恋歌三（行）
700
女につかはしける
- 女に] 女のもとに（行・中・堀・雲・坊・八*・標）
三條右大臣
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
- 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.
- 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. 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
- 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.
--
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).
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.
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
