97番歌

日本語は音節の数にゆらぎがないようにみえます。まるで数が自分以外の数にはなりえないかのように。しかし、かけことばというピボットは音（分）節がつくる線に褶曲をもたらすようにおもわれます。
たとえば、『百人一首』の97番、定家歌では、「待つ」が「松」へと生成し、メビウスの輪のようにこころの「内」を「外」へと反転させます。
『百人一首のための注釈』では、パラメトリックなシステムの中で数が数的なもの（multiple）になり、（機能としての自己同一性をいったん忘れ）構造＝イコンとしての自己同一性に還元され、5-7-5-7-7というメトリックは遊動していきます。
The Japanese language seems to have no fluctuation in the number of syllables. It is as if a number cannot be any other number than itself. However, the pivot of “kakekotoba” seems to bring folds to linear sequences of syllables; "Kakekotoba" are homophonic words with multiple meanings inherent to the traditional Japanese poetry "waka."
For example, in the poem No. 97, of the anthology “Hyakunin Isshu (100 Poems by 100 Poets),” written by Fujiwara no Teika (1162-1241), who compiled it, the word "wait (matsu)" is transformed into "pine tree (matsu)," and the "inside" of the mind is flipped to the "outside" like a Möbius loop.
In "Comments on 100 Poems by 100 Poets," a number becomes multiple in a parametric system, reduced to its self-identity as a structure = icon (forgetting for a moment its self-identity as a function), and the fixed metric 5-7-5-7-7 is set flowing.