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KKS V2J

2026-09-29T16:18:47Z

Fujiwaranoteika: /* 82 */

古今和歌集巻第二

春歌下

= [[KKS 69|69]] =

題しらず

よみ人しらず

春霞たなびく山の桜花うつろはんとや色かはりゆく

= [[KKS 70|70]] =

まてといふにちらでしとまる物ならばなにを桜におもひまさまし

* (no author)] 素性（元）

= [[KKS 71|71]] =

残なくちるぞめでたき桜花ありて世中はてのうければ

* ありて] あきて（元・静）

= [[KKS 72|72]] =

このさとにたびねしぬべし桜ばなちりのまがひに家路忘て

* ちりの] ちると（元）
* まがひ] まがふ（元）

;家路
:Read いへぢ from manuscript evidence. Takeoka voices without comment (other editions also voice).

= [[KKS 73|73]] =

うつせみのよにもにたるか花桜さくと見しまにかつちりにけり

* 花桜] 桜花（元）

;花桜
:Voiced without comment by Takeoka.

= [[KKS 74|74]] =

僧正遍昭によみてをくりける　

これたかのみこ

桜花ちらばちらなんちらずとて故郷人のきても見なくに

* 遍昭] 遍照（元・清・雅）、へんぜう（貞）

;故郷
:ふるさと (manuscript evidence)

= [[KKS 75|75]] =

雲林院にてさくらの花のちりけるを見てよめる　

ぞうく法師　(承均)

さくらちる花の所は春ながら雪ぞ降つゝきえがてにする

* そうく法師] そうくう法師（清）
* (承均)] This note (given in small characters) is found in all of the Teika texts.

;雲林院
:The name is written うりん院 in poem 76 below.

;ぞうく法師
:Takeoka notes alternate spellings but goes with the 通説 of ぞうく, as do other commentaries.

= [[KKS 76|76]] =

桜の花のちり侍けるをみてよみける　

そせい法師

花ちらす風のやどりはたれかしる我にをしへよ行て恨みん

* 侍ける] ける（元・雅・清・俊~・伊+）- Several commentaries raise doubts about this 侍り since most of the prefaces aren't written in this style, but it's not unknown in the Imperial collections.
* Poems 76 and 77 are switched in order in 雅

= [[KKS 77|77]] =

うりん院にてさくらの花をよめる　

ぞうく法し

いざ桜我もちりなんひとざかりありなば人にうきめみえ南

* ぞうく法師] 素性法師（雅・六帖・家集）
* ひとざかり] いとざかり（清~）

= [[KKS 78|78]] =

あひしれりける人のまうできてかへりにけるのちに、よみて花にさしてつかはしける　

つらゆき

ひとめみし君もやくると桜花けふは待みてちらばちらなん

* ひとめ] ひとひ（元）
* ちらなん] ちりなん（清~）

= [[KKS 79|79]] =

山のさくらをみてよめる

春霞なにかくすらん桜花ちるまをだにもみるべき物を

* (no author given)] 清原深養父（元・雅・清）

= [[KKS 80|80]] =

心ちそこなひてわづらひける時に、風にあたらじとておろしこめてのみ侍けるあひだに、おれる桜のちりがたになれりけるを見てよめる　　

藤原よるかの朝臣

たれこめて春の行ゑもしらぬまにまちし桜もうつろひにけり

* ([[KKS 1112|1112]] after this poem in 元・雅・清, in 清 there is a note saying it only appears in some texts)

= [[KKS 81|81]] =

東宮雅院にて桜の花のみかは水にちりてながれけるを見てよめる　

すがのゝ高世

枝よりもあだに散にし花なればおちても水のあわとこそなれ

* なれ] みれ（八ィ）

;東宮雅院
:とうぐうのがゐん is the reading found in a number of sources.

= [[KKS 82|82]] =

桜の花のちりけるをよめる　

つらゆき

ことならばさかずやはあらぬ桜花みる我さへにしづ心なし

* 花の] とく（元・雅・清）
* よめる] よみける（清・俊・定・八ィ）- 校本 thinks that よめる is the correct reading and that the ける was introduced into the later manuscripts through an error.
* 我さへに] 我にさへ（元）

;ことならば
:Editions and commentaries differ on whether this is ごと or こと, and it partly has to do with the interpretation of what the phrase actually means. See the poem commentary for more details. Takeoka voices, but most modern editions do not.

= [[KKS 83|83]] =

KKS 81

2026-09-29T14:02:40Z

Fujiwaranoteika:

[[KKS 80|Previous poem]] | [[KKS 82|Next poem]]

== Text ==

<ruby>東宮雅院<rt>とうぐうのがゐん</rt><ruby>にて、桜の花の<ruby>御溝<rt>みかは</rt></ruby>水に散りて流れけるを見てよめる　

At the Crown Prince's Wing, he read this on seeing cherry blossoms falling and floating down the stream

菅野高世

Sugano no Takayo

枝よりもあだに散にし花なれば落ちても水の泡とこそなれ

{{PoemPair
|orig=
<poem>
eda yori mo
ada ni chiri-ni-shi
hana nare-ba
ochite-mo mizu no
awa to koso nare
</poem>

|trans=
<poem>
From the moment they leave
The branches and fall, the flowers
Are evanescent
So when they hit the water
They turn into bubbles.
</poem>
}}

== Notes ==

;Crown Prince's Wing
:This is a building in the palace that was used for Coming of Age ceremonies for Crown Princes, as well as other ceremonies and events. There is some doubt about exactly where the building was located.

;Stream
:These are artificial streams in the palace.

;Sugano no Takayo
:He lived in the early 9th century.

== Analysis ==

Bubbles in the water was a common symbol of evanescence and transience, showing up in poetry as early as the ''Man'yōshū.'' This poem combines that image with the short-lived cherry blossoms. As Matsuda(1968) indicates, the rather "cold" logic of this poem is in stark contrast to the surrounding poems which are focused more on the human emotion in response to the falling flowers. Despite this, the poem does include a subtext of lamenting the falling of the flowers, and the prose preface lends an immediacy to the scene, allowing the reader to imagine the elegance of the petals drifting in the water of the palace.

Beyond this basic interpretation, a number of scholars have tried to link the poem's feeling to some real life event, such as the death of an Emperor. Many earlier commentators identified specific Crown Princes or Emperors that the poem applied to, but they are often much later than the life of Sugano no Takayo. Also, some of these attempts are predicated on an idea that any detail in the prose preface must have been included for an important reason relevant to the poem's interpretation, which may not have actually been the case.

[[KKS 80|Previous poem]] | [[KKS 82|Next poem]]

[[Category:Spring]]

KKS 81

2026-09-29T14:01:46Z

Fujiwaranoteika:

[[KKS 80|Previous poem]] | [[KKS 82|Next poem]]

== Text ==

<ruby>東宮雅院<rt>とうぐうのがゐん</rt><ruby>にて、桜の花の<ruby>御溝<rt>みかは</rt></ruby>水に散りて流れけるを見てよめる　

At the Crown Prince's Wing, he read this on seeing cherry blossoms falling and floating down the stream

菅野高世

Sugano no Takayo

枝よりもあだに散にし花なれば落ちても水の泡とこそなれ

{{PoemPair
|orig=
<poem>
eda yori mo
ada ni chiri-ni-shi
hana nare-ba
ochite-mo mizu no
awa to koso nare
</poem>

|trans=
<poem>
From the moment they leave
The branches and fall, the flowers
Are evanescent
So when they hit the water
They turn into bubbles.
</poem>
}}

== Notes ==

;Crown Prince's Wing
:This is a building in the palace that was used for Coming of Age ceremonies for Crown Princes, as well as other ceremonies and events. There is some doubt about exactly where the building was located.

;Stream
:These are artificial streams in the palace.

;Sugano no Takayo
:He lived in the early 9th century.

== Analysis ==

Bubbles in the water was a common symbol of evanescence and transience. This poem combines that image with the short-lived cherry blossoms. As Matsuda(1968) indicates, the rather "cold" logic of this poem is in stark contrast to the surrounding poems which are focused more on the human emotion in response to the falling flowers. Despite this, the poem does include a subtext of lamenting the falling of the flowers, and the prose preface lends an immediacy to the scene, allowing the reader to imagine the elegance of the petals drifting in the water of the palace.

Beyond this basic interpretation, a number of scholars have tried to link the poem's feeling to some real life event, such as the death of an Emperor. Many earlier commentators identified specific Crown Princes or Emperors that the poem applied to, but they are often much later than the life of Sugano no Takayo. Also, some of these attempts are predicated on an idea that any detail in the prose preface must have been included for an important reason relevant to the poem's interpretation, which may not have actually been the case.

[[KKS 80|Previous poem]] | [[KKS 82|Next poem]]

[[Category:Spring]]

2026-09-24T19:27:33Z

Fujiwaranoteika:

KKS 80

2026-09-24T17:45:09Z

Fujiwaranoteika:

2026-09-16T18:38:15Z

Fujiwaranoteika: Created page with "Previous poem | Next poem == Text == 山の桜を見てよめる Read on seeing mountain cherries. [ Ki no Tsurayuki ] 春霞なにかくすらん桜花ちるまをだにもみるべき物を {{PoemPair |orig= <poem> harukasumi nani kakusu-ran sakurabana chiru ma wo da ni mo miru-beki mono wo </poem> |trans= <poem> Spring haze Why do you conceal them The cherry blossoms? At least their moment of falling Is something I should see. </poem..."

KKS 78

2026-09-14T18:37:34Z

KKS Intro

2026-09-08T19:56:48Z

Fujiwaranoteika: /* List of textual differences */

= Commentaries =

Due to the prestige and status of KKS, it is not surprising that there are a huge number of commentaries on the work. The ''Shin nihon bungaku taikei'' edition has an appendix that lists 297 commentaries and only goes through 1988. These are the ones that I have found most useful.

== Pre-Edo works ==

;''Kokinshū-chū'' 古今集註 (Fujiwara no Norinaga), 1177

;''Kenchū mikkan'' 顕註密勘 (Kenshō and Fujiwara no Teika), 1221

;''Bishamon-dō Kokinshū-chū'' 毘沙門堂本古今集注

;''Ryōdō kikigaki'' 両度聞書 (Tō no Tsuneyori), 1471-2

== Edo period works ==

;''Kyōtansho'' 教端抄 (Kitamura Kigin), 1699

;''Kokin yozaishō'' 古今余材抄 (Keichū), 1692

;''Zokumanyō-ron'' 続万葉論 (Kamo no Mabuchi), 18th c.

;''Kokin wakashū seigi'' 古今和歌集正義 (Kagawa Kageki), 1832

;''Kokin wakashū shinshaku'' 古今和歌集新釈 (Fujii Takanao), 1838-40

;''Kokinshū kishi jidenkai'' 古今集紀氏直伝解 (Kijima Hirokage)

== Meiji to WW2 ==

;''Kokin wakashū hyōshaku'' 古今和歌集評釈 (Kaneko Motoomi), 1909 revised 1927

;''Kokin wakashū hyōshaku'' 古今和歌集評釈 (Kubota Utsuho), 1935-7

;''Kokin wakashū shinkō'' 古今和歌集新講 (Miura Keizō), 1943

== Post-WW2 ==

;''Shinshaku Kokin wakashū'' 新釈古今和歌集 (Matsuda Takeo), 1968-1975

;''Kokin wakashū zenhyōshaku'' 古今和歌集全評釈 (Takeoka Masao), 1976

;''Kokin wakashū zenhyōshaku'' 古今和歌集全評釈 (Katagiri Yōichi), 1998

;''Waka bungaku taikei'' 和歌文学大系, 2021

= Texts =

== List of textual differences ==

This is a list of the textual differences between the base text and the three texts that are most commonly used in modern editions. 伊、貞、嘉 refer to the three texts. 定 means that all three of them read this way. 諸 means that not only the Teika texts, but all (or nearly all) manuscripts even outside the Teika texts read this way.

If there is a ＊ after the poem number, that means that the base text was emended in the translation. This has only been done in cases where it seems probable that the base text is in error, and where the change materially affects the translation.

* Kana Preface
** Section 3: つかはしける時に] つかはしけるに（諸）
** Section 5: たのしみ] たのしび（諸）
** Section 8: それがなかにも] それがなかに（諸）
** Section 9: 枕言葉は] まくらことは（定）
** Section 9: たのしみ] たのしび（諸）
* Volume 1 - Spring 1
** '''6''' のなく] ぞなく（伊）
** '''18''' Order of 18 and 19 switched（貞）
** '''22''' おほせられし時] おほせられし時に（貞）
** '''25''' おほせられし時] おほせられし時に（定）
** '''36''' てふ] といふ（伊・嘉)
** '''54''' いはばしる] いしばしる（定）
** '''59''' けらしも] けらしな（伊・嘉）
* Volume 2 - Spring 2
** '''82''' よめる] よみける（定）
** '''85'''＊たち花] たちはき（諸）
** '''128''' こゑ久しく] こゑのひさしく（諸）
** '''134''' 歌合に] うたあわせの（定）

KKS Intro

KKS 76

2026-09-07T14:16:12Z

Fujiwaranoteika:

[[KKS 75|Previous poem]] | [[KKS 77|Next poem]]

== Text ==

桜の花の散り侍りけるをみてよみける　

Read on seeing the fallen cherry blossoms

素性法師

Priest [[Sosei]]

花散らす風の宿りは誰かしる我に教へよ行きて恨みん

{{PoemPair
|orig=
<poem>
hana chirasu
kaze no yadori wa
tare ka shiru
ware ni oshieyo
yuki-te urami-n
</poem>

|trans=
<poem>
The lodging of
The wind that scatters the blossoms
Who knows it?
Tell me where it is!
I will go and complain.
</poem>
}}

== Notes ==

Other sources:

* ''[[Kokin waka rokujō]]''
* ''[[Teika hachidaishō]]''

== Analysis ==

The previous poem was calm and postured, comparing the blossoms to snow. Here, Sosei vents anger with a conversational style poem that contains two questioning sentences that break up the poem. The 13th century priest-poet Jakue noted that usually poets will subsume their identities into the poem, but the explicit use of ''ware'' (me) here highlights Sosei's anger.

Older commentaries commonly described the tone here as "childish" or "slight", referring to the idea that the wind might actually have a "lodging" that one can visit. More recent commentaries do not agree with this, seeing the personification of the wind as elegant and poetic. Rather than the "home" of the wind, the ''yadori'' is better seen as a temporary lodging where the wind, which blows here and there, stays. Sosei wants to find out where the wind is staying tonight.

In another difference of opinion on the tone, some commenters (such as Kaneko 1927) describe the feeling as crazed anger, especially as shown through the direct questions. Takeoka sees it rather as conversational and not particularly crazed.

McCullough praised the "wry humor" and the "originality of Sosei's conception," contrasting it to the poems that surround it. She used this as an example of this kind of arrangement in the KKS, also using Tsurayuki's [[KKS 2|poem 2]] as an example. However, there are some doubts as to what the original arrangement of the poems was here, since different manuscripts place 76-78 in different orders.

Finally, Katagiri notes that this is the first poem of several which show anger at the wind for scattering the flowers.

[[KKS 75|Previous poem]] | [[KKS 77|Next poem]]

[[Category:Spring]]

KKS 76

2026-09-07T14:06:26Z

Fujiwaranoteika:

Sosei

2026-09-07T14:05:04Z

Fujiwaranoteika:

そせいほうし素性法師 (?–early 900s).

The son of [[Henjō|Bishop Henjō]] and a major poet of the KKS. He was active in poetic circles around Emperor Uda, and he is a significant transitional figure between the "Six immortals" era and the era of the compilers. The poetry collections ascribed to him seem to be later compilations that include some inauthentic attributions.

* KKS: [[KKS 6|6]], [[KKS 37|37]], [[KKS 47|47]], [[KKS 55|55]], [[KKS 76|76]]

KKS 76

2026-09-07T14:04:52Z

Fujiwaranoteika:

[[KKS 75|Previous poem]] | [[KKS 77|Next poem]]

== Text ==

桜の花の散り侍りけるをみてよみける　

Read on seeing the fallen cherry blossoms

素性法師

Priest [[Sosei]]

花散らす風の宿りりは誰かしる我に教へよ行きて恨みん

{{PoemPair
|orig=
<poem>

</poem>

|trans=
<poem>

</poem>
}}

== Notes ==

Other sources:

* ''[[Kokin waka rokujō]]''
* ''[[Teika hachidaishō]]''

== Analysis ==

[[KKS 75|Previous poem]] | [[KKS 77|Next poem]]

[[Category:Spring]]

Teika hachidaishō

2026-09-07T14:04:11Z

Fujiwaranoteika:

定家八代抄（ていかはちだいしょう）

新編国歌大観 X.177

This is an extensive list of roughly 1800 poems drawn from the first eight Imperial anthologies, presumably intended to be a selection of the best poems from each source. The work is divided into 20 volumes that generally follow the division of the Imperial collections, and the arrangement of the poems within the volumes seems to also generally follow the progress of the seasons and other standard organizational principles, although Teika freely reorders the poems within groups. The numbers in parentheses are numbers within the ''Hachidaishō''.

= Volume 1 春歌上 (Spring 1) =

[[KKS 1]](1), [[GSS 2]](6), [[GSS 1]](8), [[KKS 3]](10), [[KKS 21]](11), [[KKS 12]](13), [[KKS 18]](16), [[KKS 19]] (17), [[KKS 20]](18), [[KKS 22]](20), [[KKS 9]] (23), [[KKS 10]] (26) [[KKS 4]] (27), [[KKS 13]] (28), [[KKS 6]] (30), [[KKS 5]] (31), [[KKS 28]] (37), [[KKS 17]] (39), [[KKS 32]] (44), [[KKS 37]] (46), [[KKS 38]] (47), [[KKS 40]] (48), [[KKS 41]] (52), [[KKS 43]] (57), [[KKS 44]] (58), [[KKS 45]] (59), [[KKS 46]] (60), [[KKS 47]] (61), [[KKS 23]] (67), [[KKS 24]] (68), [[KKS 25]] (69)

= Volume 2 春歌下 (Spring 2) =

[[KKS 59]] (94), [[KKS 57]] (105), [[KKS 61]] (109), [[KKS 66]] (137), [[KKS 69]] (142), [[KKS 70]] (143), [[KKS 72]] (144), [[KKS 73]] (145), [[KKS 74]] (146), [[KKS 76]] (149), [[KKS 75]] (148), [[KKS 62]] (160), [[KKS 63]] (161)

Teika hachidaishō

2026-09-07T14:03:56Z

Fujiwaranoteika: /* Volume 2 春歌下 (Spring 2) */

定家八代抄（ていかはちだいしょう）

新編国歌大観 X.177

This is an extensive list of roughly 1800 poems drawn from the first eight Imperial anthologies, presumably intended to be a selection of the best poems from each source. The work is divided into 20 volumes that generally follow the division of the Imperial collections, and the arrangement of the poems within the volumes seems to also generally follow the progress of the seasons and other standard organizational principles, although Teika freely reorders the poems within groups. The numbers in parentheses are numbers within the ''Hachidaisho''.

= Volume 1 春歌上 (Spring 1) =

[[KKS 1]](1), [[GSS 2]](6), [[GSS 1]](8), [[KKS 3]](10), [[KKS 21]](11), [[KKS 12]](13), [[KKS 18]](16), [[KKS 19]] (17), [[KKS 20]](18), [[KKS 22]](20), [[KKS 9]] (23), [[KKS 10]] (26) [[KKS 4]] (27), [[KKS 13]] (28), [[KKS 6]] (30), [[KKS 5]] (31), [[KKS 28]] (37), [[KKS 17]] (39), [[KKS 32]] (44), [[KKS 37]] (46), [[KKS 38]] (47), [[KKS 40]] (48), [[KKS 41]] (52), [[KKS 43]] (57), [[KKS 44]] (58), [[KKS 45]] (59), [[KKS 46]] (60), [[KKS 47]] (61), [[KKS 23]] (67), [[KKS 24]] (68), [[KKS 25]] (69)

= Volume 2 春歌下 (Spring 2) =

[[KKS 59]] (94), [[KKS 57]] (105), [[KKS 61]] (109), [[KKS 66]] (137), [[KKS 69]] (142), [[KKS 70]] (143), [[KKS 72]] (144), [[KKS 73]] (145), [[KKS 74]] (146), [[KKS 76]] (149), [[KKS 75]] (148), [[KKS 62]] (160), [[KKS 63]] (161)

KKS V2J

2026-09-07T14:03:23Z

Fujiwaranoteika: /* 76 */

KKS 76

2026-09-07T14:02:50Z

Fujiwaranoteika: Created page with "Previous poem | Next poem == Text == 桜の花の散り侍りけるをみてよみける　 Read on seeing the fallen cherry blossoms 素性法師 Priest Sosei 花散らす風の宿りりは誰かしる我に教へよ行きて恨みん {{PoemPair |orig= <poem> </poem> |trans= <poem> </poem> }} == Notes == Other sources: * ''Kokin waka rokujō'' * ''Teika hachidaishō'' == Analysis == Previous poem | KKS 77|..."

[[KKS 75|Previous poem]] | [[KKS 77|Next poem]]

== Text ==

桜の花の散り侍りけるをみてよみける　

Read on seeing the fallen cherry blossoms

素性法師

[[Priest Sosei]]

花散らす風の宿りりは誰かしる我に教へよ行きて恨みん

{{PoemPair
|orig=
<poem>

</poem>

|trans=
<poem>

</poem>
}}

== Notes ==

Other sources:

* ''[[Kokin waka rokujō]]''
* ''[[Teika hachidaishō]]''

== Analysis ==

[[KKS 75|Previous poem]] | [[KKS 77|Next poem]]

[[Category:Spring]]

KKS 75

2026-09-06T22:42:22Z

Fujiwaranoteika:

[[KKS 74|Previous poem]] | [[KKS 76|Next poem]]

== Text ==

雲林院にて桜の花の散りけるを見てよめる　

Read at Urin'in Temple when seeing the fallen cherry blossoms

承均法師

[[Priest Zōku]]

さくらちる花の所は春ながら雪ぞ降りつつきえがてにする

{{PoemPair
|orig=
<poem>
sakura chiru
hana no tokoro wa
haru nagara
yuki zo furi-tsutsu
kie-gate ni suru
</poem>

|trans=
<poem>
Where cherries scatter
In the place of flowers
Though during spring
Snow has fallen and fallen
And does not melt at all.
</poem>
}}

== Notes ==

;Urin'in Temple
:A place northwest of the Heian palace (now in the city proper). At one point [[Bishop Henjō]] lived here, and it seems likely that the author of this poem was associated with him although there is no certain information.

;Place of flowers
:The term ''hana no tokoro'' is somewhat unclear, but the majority opinion is that it means "This temple grounds which is famous for its cherry trees." Other opinions are "The place where flowers have fallen" (Mabuchi ''Uchigiki''), "The tops of the trees that normally have flowers" (Kubota 1937), and "The broad, wide temple grounds with many flowering trees" (''Seigi'').

Other sources:

* ''[[Shinsen waka]]''
* ''[[Teika hachidaishō]]''

== Analysis ==

This poem moves to flowers that have already fallen, and the common comparison of white flowers and snow. The poem may have been placed here due to the mention of Henjō in the previous poem (see [[poem 76|KKS 76]] for discussion of the arrangement of the next three poems).

When the KKS includes specific information in the prose preface, it often raises the question of how relevant that information is to the interpretation of the poem itself. Many commenters say that the preface helps interpret the poem by calling on the well known cherry blossoms of Urin'in. Kubota is one of the few to push back on this, saying that the preface simply provides information about where the poet was, but that the poem itself is not particularly tied to the temple. (Kubota also took a very idiosyncratic reading of the poem that contrasted the "place of flowers" at the top of the tree which was spring, and the base of the tree which looked like winter due to the snow.)

Kubota also thought that the expression of the poem would have seemed fresh at the time, although the comparison later became stale. Miura(1943) agrees with this, but McCullough considers the expression "hackneyed."

[[SIS 64]] is a similar poem by Tsurayuki. The 12th century poet Kenshō wrote a long note questioning why this poem was included in the KKS rather than Tsurayuki's own. He points to a previous treatise by Fujiwara no Kiyosuke (the ''Fukurozōshi''), who pointed out first that both poems are included in Tsurayuki's later ''[[Shinsen waka]].'' Kiyosuke's opinion was that Tsurayuki did not want to include too many of his own poems and so sometimes allowed in poems that were not as good as his own.

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[[Category:Spring]]

KKS V2J

2026-09-06T22:42:03Z

Fujiwaranoteika: /* 76 */