Collection of Collected Waka Poems

The third imperially commissioned anthology of waka poetry from the mid-Heian period. It has 20 volumes. The compiler is unknown, but the most likely is Kazan-in. Its relationship with the privately commissioned ten-volume anthology "Shui-sho" is extremely complicated, and it is questionable which one it was compiled in, but it is believed that the "Shu" (collection) which was an expansion of the "Sho" (excerpt) was compiled sometime between 1005 and 1007 (Kanko 2-4).

The number of poems is 1,351 (popular edition), and it is divided into various sections: Spring, Summer, Autumn, Winter, Congratulations, Partings, Names of Things, Miscellaneous Volumes 1 and 2, Kagura Songs, Love 1-5, Miscellaneous Spring, Miscellaneous Autumn, Miscellaneous Congratulations, Miscellaneous Love, and Sorrow and Sorrow, and is basically structured as an excerpt. The main poets include Ki no Tsurayuki (113 poems), Kakinomoto no Hitomaro (104 poems), Onakatomi no Yoshinobu (59 poems), Kiyohara no Motosuke (46 poems), Taira no Kanemori (38 poems), Fujiwara no Sukemi (37 poems), Oshikouchi no Mitsune (34 poems), Minamoto no Shitago (37 poems), Ise (25 poems), Egyō (16 poems), Emperor Murakami (16 poems), and Fujiwara no Kinto (15 poems).With the exception of Hitomaro, the collection appears to encompass all the influential poets of the period of the Three Daishu collections following the Kokinshu. The content of the collected poems is in contrast to the Gosenshu, which emphasized private and everyday poems, and contains many poems about happy occasions such as folding screen songs. In addition, there is a significant decrease in gift songs, a revival of monomei and kagura songs, and the adoption of choka and sedo-ka, which show an overall attempt to return to the traditions of the Kokinshu. As seen in the poem "Spring has come, and the Yoshino mountains are hazy and visible this morning" (Spring Beginning, Mibu Tadamine), the style of poetry is generally simple and elegant, and many of the poems have gentle melody.

[Yoshinobu Hirata]

"Yoichi Katagiri, 'Study of Shui Wakashu: Edited and Research Volumes' and 'Study of Shui Wakashu: Index Volume' (1970, 1976, Daigakudo Shoten)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

平安中期の3番目の勅撰(ちょくせん)和歌集。20巻。撰者は不詳であるが、花山院(かざんいん)とする説が有力。私撰集である十巻本の『拾遺抄』との関係は複雑を極め、その成立の先後が問題とされるが、「抄」を増補した「集」は1005～1007年（寛弘2～4）に成立したことが確実視されている。

　歌数は1351首（流布本）、春、夏、秋、冬、賀、別、物名(もののな)、雑(ぞう)上・下、神楽歌(かぐらうた)、恋1～5、雑春、雑秋、雑賀、雑恋、哀傷の諸部立(ぶだて)からなり、基本的には「抄」の構造を受けている。主要歌人は紀貫之(きのつらゆき)113首、柿本人麻呂(かきのもとのひとまろ)104首、大中臣能宣(おおなかとみのよしのぶ)59首、清原元輔(きよはらのもとすけ)46首、平兼盛(かねもり)38首、藤原輔相(すけみ)37首、凡河内躬恒(おおしこうちのみつね)34首、源順(したごう)37首、伊勢(いせ)25首、恵慶(えぎょう)16首、村上(むらかみ)天皇16首、藤原公任(きんとう)15首などであり、人麻呂を除けば、『古今集』以下の三代集時代の有力歌人を網羅した観がある。採録された歌の内容は、私的な褻(け)の歌を重んじた『後撰集(ごせんしゅう)』とは対照的に屏風歌(びょうぶうた)などの晴(はれ)の歌が多くなっている。そのほか、贈答歌の大幅な減少、物名・神楽歌の復活、旋頭歌(せどうか)・長歌の採択などからすると、総じて『古今集』の伝統にふたたび立ち返ろうとする姿勢を認めることができる。「春立つといふばかりにやみ吉野の山も霞(かす)みて今朝は見ゆらむ」（春上・壬生忠岑(みぶのただみね)）の歌にみられるように歌風は一般に平淡優美であり、調べのなだらかな作が多い。

［平田喜信］

『片桐洋一著『拾遺和歌集の研究　校本篇・研究篇』『拾遺和歌集の研究　索引篇』（1970、1976・大学堂書店）』

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