Although it followed the conventional 'spring - flower -morning' type of link that was often seen in Kokinshu in those days, its use of the 'season-time' type of expression (such as 'the best time in spring is dawn'), which omitted the middle poetic element, was innovative, challenging as it did the rigid esthetic values held by readers who were familiar with poetic traditions. (Munetoshi FUJIMOTO)
「季節-時刻」の表現（春は曙など）は、当時古今集に見られる「春-花-朝」のような通念的連環に従いつつ、和歌的伝統に慣れ親しんだ読者の美意識の硬直性への挑戦として中間項である風物を省いた斬新なものである（藤本宗利）。