Text

しのびてかよひ侍ける女のもとより、かりさうぞくをくりて侍けるに、すれるかりぎぬ侍けるに

もとよしのみこ

逢事は　とを山とりの　かり衣　きてはかひなき　ねをのみぞなく

Translation

Prose Preface
- かよひ侍ける] かよひける（荒・片・八・増）
- をくりて侍けるに] おくりけるに（堀・雲・荒・片）、おくられて侍けるに（坊）
- すれる] すれりける（雲）
- かりぎぬ侍けるに] かりぎぬのくわわりければ（堀）、かりぎぬのはべりければ（荒・片・雲・慶）、かりぎぬのはべりけるに（承・正・八・増）
Poem
- Teika's note: 両説共用　す　清本　　（The 天福 text in 後撰和歌集総索引 adds 可用スリ by かり)
- 逢事は] と written to the side of は（正）
- 山とり] 山すり（中・貞・荒・片・坊・承・正*・正保ィ・詠歌・八*・増*・標ィ・新ィ）
- かり衣] から衣（堀・荒）、すり衣（八ィ・増ィ・標ィ・旧国ィ）
- かひなき] わびしき（堀）、はかなき（承・正*）
- ねをのみぞなく] ねをもなくかな（荒・片）

遠山鳥の: As the notes above indicate, many sources read やまずり instead. Teika indicates that clothing was often dyed with the image of a 遠山(僻案抄) but also thinks the 鳥 would connect to the 鳴く at the end; perhaps this is why he indicates that either theory can be used in the base text notes. Tameie connects this with patterns worn by guards on Imperial processions (聞書). Mabuchi also felt that the bird worked better with the なく at the end (標注).　Nakayama quotes Mabuchi, but supports ずり as the reading (with a quotation from Keichu; he noted that the 遠山 is found in the Engi Shiki as a pattern). However, at the end he hedges his bet again, noting that it's difficult to decide between them (新抄).