Six hundred poems - Roppyakuban Utaawase

A poetry contest sponsored by Yoshitsune of Gokyogoku (Kujo). Yoshitsune planned and created the contest in 1192 (Kenkyu 3), and had 12 poets submit 100 poems each. The contest began in the autumn of the following year, 1193, and was completed with the approval of Fujiwara no Shunzei. The contest featured 100 poems on 50 seasonal themes and 50 love themes, with 25 of the seasonal themes being the same as those in the "Eikyu Hyakushu" (1116), known for its unorthodox group of themes, and the love themes were an unprecedented group of themes with a strong literary quality based on the systematic study of waka poetry. The poets were selected with due consideration given to their lineage and status, from the Rokujo family with its conservative style of poetry, Suetsune, Kensho, Tsuneie, and Ariie, from the new-fashioned Mikohidari family, Takanobu, Jakuren, Ietaka, and Teika, and from the powerful Yoshitsune, Jien, Iefusa, and Kanemune. The Kenkyu era (1190-1199) was a time of heightened interest in pioneering new styles among up-and-coming poets such as Yoshitsune and Teika, and the differences in their styles are clearly evident in the debates with the Rokujo family. Shunzei's judgments, which called for restraint but also showed understanding of the new style, were extremely detailed, and together with Kensho's rebuttal in "Rokuhyakuban Chinjo," we can see here the pinnacle of literary criticism in the Shin Kokin period.

[Yoichi Matsuno]

“Annotated by Shigeru Taniyama, “Japanese Classical Literature Collection of 74 Poems” (1965, Iwanami Shoten)”

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

後京極(ごきょうごく)（九条）良経(よしつね)主催の歌合。1192年（建久3）良経が企画・出題し、12人の歌人に各百首を詠出させ、翌93年秋から披講評定に入り、藤原俊成(しゅんぜい)の加判を得て完成した。歌題は四季題50、恋題50の百題百首で、四季題のうち25題は非正統的組題で知られる『永久百首』（1116）と共通し、恋題も歌学的体系性に基づいた文芸性の濃厚な空前の組織題となっている。歌人は、保守的歌風の六条家から季経(すえつね)、顕昭(けんしょう)、経家、有家、新風の御子左(みこひだり)家から隆信、寂蓮(じゃくれん)、家隆、定家、それに権門の良経、慈円、家房、兼宗(かねむね)と、家系、身分の配慮された構成であった。おりしも建久(けんきゅう)年間（1190～99）は良経、定家ら新進歌人の新風開拓の高揚期にあたり、六条家側との論争を通じての歌風の相違が際やかに現れている。抑制を求めつつも新風に理解を示す俊成の判詞は委細を極め、これに反論した顕昭の『六百番陳状』とともに新古今時代の文芸批評の到達点をここにみることができる。

［松野陽一］

『谷山茂校注『日本古典文学大系74　歌合集』（1965・岩波書店）』

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