Yoshimoto Nijō

He was a nobleman, a renga (linked verse) composer, and a man of letters during the Northern and Southern Courts period. His posthumous name was Gofukōon-in. He was the eldest son of the regent Dohei. He first served Emperor Godaigo, but after the Northern and Southern Courts period, he served five successive emperors of the Northern Court, eventually becoming Daijō-daijin (grand minister), and serving as regent and regent four times. He was well versed in the history of court affairs, and with a desire to revive the abandoned court affairs, he wrote "Hyakuryōkunyoshō," "Kinukatsugi no Ki," "Sakayuku Hana," and other books. Around the time of compiling the "Fuga Wakashu", he composed waka in the Kyogoku style, but later, studying under Tamemasa, he switched to the Nijo style, and composed "Gofukoen-in-den Gohyakushu", coming to terms with Tona, Keiun, and Kenko. In 1366 (Shohei 21, Joji 5), he hosted the "Annual Event Poetry Contest" and wrote its judgments, and the following year he also played a major role in the "New Tamatsushima Poetry Contest", and in 1382 (Kōwa 2, Eitoku 2), he wrote the kana preface to the "New Goshūi Wakashu". As for his works on waka poetry, he co-authored "Gumon Kenchu" (1363) with Ton'a, and "Kinrai Futeisho" (A Commentary on Modern Waka Styles) which he wrote for Matsuda Sadahide in 1387 (4th year of Genchu, 1st year of Kakei), both of which were highly valued by later generations of Nijo school poets. Thus, Yoshimoto's role in the history of medieval waka poetry was not necessarily small, but Yoshimoto himself is not thought to have had much enthusiasm for waka poetry, and is thought to have only cultivated it as part of his official duties.

On the other hand, it was renga (linked verse) that he was most passionate about and was most skilled at. From his youth he participated in renga meetings with underground renga masters such as Junkaku, Nobuteru, and Kyusei, but later he took Kyusei alone as his teacher, and with his help he compiled the "Tsukubashu" in 1356 (Shohei 11, Enbun 1) and established the "Oan Shinshiki" in 1372 (Bunchu 1, Oan 5), thus improving and establishing the literary value of renga. His works include 87 of his poems in the "Ukubashu", and among the 1,000 and 1000-verse poems that he organized and participated in are "Bunna Senku" (500 poems still extant), "What Ship 100-verse", "Dokugin Naccho 100-verse", and "Ishiyama 100-verse", and his representative work "The moon is a mountain wind in a drizzle, the sea of ​​the crested eagle" is even quoted in the Noh play "Miidera". His works on renga include "Renri Hisho" (the first draft of which, "Hekiren Sho", was written when he was 26 years old), "Gekimou Sho", "Tsukuba Mondo", "Kyushu Mondo", "Renga Jusyo", and "Jitsumon Saihi Sho", which point out the direction that the contemporary renga world should be heading. Among his disciples, Imagawa Ryoshun and Bonto also wrote many books, conveying Yoshimoto's teachings. In addition, in 1353 (Shohei 8, Bunwa 2), they traveled to Angu in Ojima, Mino Province (Ibigawa Town, Gifu Prefecture), and there is a travelogue entitled "Kojima no Kuchizusami," which makes it highly likely that the historical tale "Masukagami" was also written by Yoshimoto.

[Kito Saizō]

"Nijō Yoshimoto" by Fukui Kūzō (1943, Seigodō)" ▽ "People and Literature of the Northern and Southern Courts" by Ito Kei (1979, Miyai Shoten)" ▽ "Japanese Classical Literature Series 66: Renga Essays and Others, Annotated by Kidō Saizō et al. (1961, Iwanami Shoten)" ▽ "Complete Collection of Japanese Classical Literature 51: Renga Essays and Others, Annotated and Translated by Ijikazu Tetsuo et al. (1973, Shogakukan)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

南北朝時代の公家(くげ)、連歌(れんが)作者、文学者。諡(おくりな)を後普光園院(ごふこうおんいん)という。関白道平の嫡子。初め後醍醐(ごだいご)天皇に仕えたが、南北朝時代以後は、北朝の五代の院に歴仕し、太政(だいじょう)大臣に至り、摂政・関白を歴任すること四度に及んだ。有職(ゆうそく)故実に通じ、廃れている公事(くじ)をおこすことを念願して、『百寮訓要抄』『衣(きぬ)かつぎの記』『さかゆく花』その他の書を著作。和歌は、『風雅和歌集』撰進(せんしん)前後は京極(きょうごく)風の和歌を詠んでいたが、のち為定に師事して二条風に転じ、『後普光園院殿御百首』を詠んで、頓阿(とんあ)、慶運、兼好の合点(がってん)を得ている。ついで1366年（正平21・貞治5）には『年中行事歌合(うたあわせ)』を主催して、その判詞を執筆、その翌年の『新玉津島歌合』においても主要な役割を演じ、82年（弘和2・永徳2）には『新後拾遺(しんごしゅうい)和歌集』の仮名序を執筆している。歌論書としては、頓阿と共著の『愚問賢注(ぐもんけんちゅう)』（1363）、87年（元中4・嘉慶1）松田貞秀(さだひで)に書き与えた『近来風体抄(きんらいふうていしょう)』があって、ともに後代の二条派歌人に重んぜられた。このように、中世和歌史で果たした良基の役割は、かならずしも小さなものではないが、良基自身は和歌にそれほど熱意を有していたとは考えられず、公事の一環としてたしなむ程度のものであったと思われる。

　それに対して、もっとも熱情を傾注し得意としたのは連歌であって、その青年時代から順覚、信照、救済(きゅうせい)などの地下(じげ)連歌師と連歌会をともにしていたが、のちには救済1人を師と定め、その協力のもとに1356年（正平11・延文1）には『菟玖波(つくば)集』を編集し、72年（文中1・応安5）には『応安(おうあん)新式』を制定するなど、連歌の文芸性の向上と確立を図っている。その作品は、『菟玖波集』に87句入集(にっしゅう)しているほか、主催し参加した千句や百韻としては『文和(ぶんな)千句』（五百句現存）、『何船(なにふね)百韻』『独吟何所百韻』『石山百韻』などが現存しており、その代表作「月は山風ぞ時雨(しぐれ)に鳰(にほ)の海」は、謡曲『三井寺(みいでら)』にも引用されている。連歌論書には『連理秘抄』（その初稿本『僻連(へきれん)抄』は26歳のときの著作）、『撃蒙(げきもう)抄』『筑波(つくば)問答』『九州問答』『連歌十様』『十問最秘抄』などがあり、当代連歌界の向かうべきところを指示している。門弟のなかで、今川了俊(りょうしゅん)と梵灯(ぼんとう)には著書も多く、良基の教えを伝えている。なお、1353年（正平8・文和2）美濃(みの)国小島(おじま)（岐阜県揖斐川(いびかわ)町）の行宮(あんぐう)まで旅をしたときの紀行に、『小島のくちずさみ』があり、歴史物語『増鏡(ますかがみ)』も良基の著作である可能性のきわめて強いものである。

［木藤才蔵］

『福井久蔵著『二条良基』（1943・青梧堂）』▽『伊藤敬著『南北朝の人と文学』（1979・三弥井書店）』▽『木藤才蔵他校注『日本古典文学大系66　連歌論集他』（1961・岩波書店）』▽『伊地和鉄男他校注・訳『日本古典文学全集51　連歌論集他』（1973・小学館）』

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