(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　思べきれど　おぼつかな　ねぬに見しかは　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）

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）
いつかは] いかがは（堀）

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.

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