Gosenshu 11

後撰和歌集巻第一

恋三

• 恋歌三（行）

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）

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.

--

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).

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

よみ人しらず

したひもの　しるしとするも　とけなくに　かたるかことは　あらずもある哉

• 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）
• ある哉] あらなん（正保ィ・旧国ィ）