ABC Dictionary of Ancient Japanese Phonograms 9780824856137

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ABC Dictionary of Ancient Japanese Phonograms

ABC CHINESE DICTIONARY SERIES Victor H. Mair, General Editor The ABC Chinese Dictionary Series aims to provide a complete set of convenient and reliable reference tools for all those who need to deal with Chinese words and characters. A unique feature of the series is the adoption of a strict alphabetical order, the fastest and most user-friendly way to look up words in a Chinese dictionary. Most volumes contain graphically oriented indices to assist in finding characters whose pronunciation is not known. The ABC dictionaries and compilations rely on the best expertise available in China and North America and are based on the application of radically new strategies for the study of Sinitic languages and the Chinese writing system, including the first clear distinction between the etymology of the words, on the one hand, and the evolution of shapes, sounds, and meanings of characters, on the other. While aiming for conciseness and accuracy, series volumes also strive to apply the highest standards of lexicography in all respects, including compatibility with computer technology for information processing.

Other titles in the series ABC Chinese-English Dictionary (desk reference and pocket editions) Edited by John DeFrancis ABC Dictionary of Chinese Proverbs Edited by John S. Rohsenow ABC Chinese-English Comprehensive Dictionary Edited by John DeFrancis An Alphabetical Index to the Hanyu Da Cidian Edited by Victor H. Mair A Handbook of 'Phags-pa Chinese W. South Coblin ABC Etymological Dictionary of Old Chinese Axel Schuessler Minimal Old Chinese and Later Han Chinese: A Companion to Grammata Serica Recensa Axel Schuessler ABC English-Chinese Chinese-English Dictionary Edited by John DeFrancis and Zhang Yanyin

ABC Dictionary of Ancient Japanese Phonograms

John R. Bentley

University of Hawai‘i Press Honolulu

© 2016 University of Hawai‘i Press All rights reserved Printed in the United States of America 21 20 19 18 17 16 6 5 4 3 2 1

Library of Congress Cataloging-in-Publication data Bentley, John R., author. ABC dictionary of ancient Japanese phonograms / John R. Bentley. SDJHVFPʊ$%&&KLQHVHGLFWLRQDU\VHULHV Includes bibliographical references and index. ISBN 978-0-8248-5610-6 hardcover : alk. paper -DSDQHVHODQJXDJHʊ3KRQRORJ\+LVWRULFDOʊ'LFWLRQDULHV&KLQHVH FKDUDFWHUVʊ-DSDQʊ'LFWLRQDULHV-DSDQHVH ODQJXDJHʊ:ULWLQJʊ'LFWLRQDULHV,7LWOH,,6HULHV$%&&KLQHVH dictionary series. PL540.B46 2016  ʊGF 2015021660

University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources.

Print-ready copy prepared by the author.

CONTENTS

Acknowledgments ............................................................................................... vii Conventions ........................................................................................................... 1 1.0 Chinese Data.............................................................................................. 1 1.1 Old Chinese ............................................................................................... 1 1.2 Later Han Chinese ..................................................................................... 2 1.3 Early Middle Chinese ................................................................................ 2 1.4 Late Middle Chinese ................................................................................. 2 2.0 Sino-Xenic ................................................................................................. 2 2.1 Sino-Vietnamese and Chӳ Nôm ................................................................ 3 2.2 Sino-Korean............................................................................................... 4 2.3 Sino-Japanese ............................................................................................ 4 2.4 Strata of ongana ........................................................................................ 5 2.4.1 Wei zhi Stratum ...................................................................................... 5 2.4.2 Paekche-based Stratum........................................................................... 5 2.4.3 Early and Late Japanese Strata ............................................................... 5 2.4.4 Chang’an-based Strata ............................................................................ 5 2.5 Go-on Readings ......................................................................................... 6 3.0 Ongana versus Kungana ........................................................................... 7 4.0 Romanization............................................................................................. 7 Abbreviations ......................................................................................................... 9 List of texts cited.................................................................................................. 10 Dictionary A – Z .................................................................................................. 13 Chart of all Phonograms .................................................................................... 559 Bibliography ...................................................................................................... 593 Pinyin Index ....................................................................................................... 596

ACKNOWLEDGMENTS The idea for a dictionary of PDQ¶\ǀJDQD came to me in the summer of 1995, coinciding with the time when my son, Stephen, was hospitalized with peritonitis. The original idea was to compile a dictionary of phonograms with citations. Originally I had envisioned a dictionary with the entry character, and information regarding Early Middle Chinese, Goon, and Sino-Korean. Professor Alexander ‘Sasha’ Vovin took an interest in this project and encouraged me to come to University of Hawai‘i and finish my graduate work. He also encouraged me to include data from Old Chinese with Early Middle Chinese. At the University of Hawai‘i I also had the great opportunity to discuss the dictionary project with a linguistic student, Marc Miyake. During numerous discussions over the course of several years Marc encouraged me to expand my database to include Sino-Vietnamese and Chӳ Nôm. Because of the advice and patient instruction of these two men, I have been able to expand the information in the dictionary, and I believe its usefulness has been greatly enhanced. It is important for me to single out a number of people to express my appreciation for their help. I am grateful to Marc Miyake and his willingness to spend many hours talking about Japanese language history, philology, Sino-Xenic in East Asia, and culture in general. Sasha Vovin has also been a great supporter of my work. He took me under his wing as a non-traditional graduate student and shepherded me through a Masters and Doctorate program. I am also grateful to my PhD committee, Professors Vovin, Gerald B. Mathias, Leon Serafim, David Ashworth, Robert Huey, and Paul Varley, for steering me away from making the draft of the dictionary my doctoral dissertation, rightly worried that it would brand me ‘a lexicographer.’ I am also grateful to Victor Mair for his willingness to share his expertise and knowledge with me. Also, I wish to thank the readers for University of Hawai‘i Press for their helpful and patient comments. Any errors that remain are my responsibility. Stephanie Chun and Wanda China, and the staff at University of Hawai‘i Press provided helpful guidance above and beyond the call of duty, both editorially and technologically. A very special, heartfelt thanks goes to Patricia Crosby, formerly the editor at University of Hawai‘i Press, who was patient with me for over a decade. I am indebted to my family: my children Jennifer, Michelle, and Stephen, as well as my beloved wife, Chiemi, for their support and encouragement. As a graduate student a professor once told me that because I had a family with small children they would necessarily consume much of my time, and so my future scholarly output would suffer. I am happy to have proven him wrong. My family has actually been the catalyst for much of my output. An important portion of this research was funded by a National Endowment of the Humanities Summer Stipend, for which the author expresses his sincerest thanks to the Endowment.

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CONVENTIONS This dictionary arranges extant examples of Japanese PDQ¶\ǀJDQD phonograms in alphabetic order. Ongana are listed first followed by examples of kungana. Each entry contains the following information: the Chinese character, the representative Old Japanese value in Romanization, and then representative Chinese or Sino-Xenic information: Old Chinese, Later Han Chinese, Early Middle Chinese, Go-on, Kan-on, Chӳ Nôm, Sino-Vietnamese, and Sino-Korean. Each entry is alphabetized according to the Old Japanese sound value. There are multiple entries of a variety of kanji because many have more than one possible reading. A character finding index at the end of the dictionary will alert the reader to a kanji with multiple readings. After the Chinese and Sino-Xenic information, a select number of attested examples are listed, with the oldest datable examples listed first. In order to demonstrate that Japan was at least partly indebted to the kingdoms on the Korean Peninsula for their literacy, I have included examples from the kingdoms of .RJXU\ǂ, Paekche, and Silla. As a plethora of bamboo or wooden slips or tablets (mokkan) have been excavated in the last several decades, I have included information from these, also. Each mokkan example is cited by its number as cataloged by Mokkan Gakkai, or when a number has yet to be assigned, from the relevant page in 0RNNDQNHQN\nj. Some of the earliest mokkan have yet to be numbered, and are listed as ‘unnumbered tablet.’ One way it is hoped that this dictionary will make a significant contribution is by providing a substantial amount of state-of-the-art information regarding reconstructed languages of East Asia as well as putting important Sino-Xenic information in one easy to find place. Explanations about each of these languages or reconstructions appear below. 1.0 Chinese data 1.1 Old Chinese Reconstructing Old Chinese (OC), dated to the years between 1200 to 200 BCE, is a daunting task. Karlgren’s reconstruction of Old Chinese is known as ‘Archaic Chinese,’ but its critical weakness is that he has based his reconstruction of Archaic Chinese on his earlier reconstruction of Ancient Chinese, or what we now call Middle Chinese. Thus, it is essentially a reconstruction based upon a reconstruction. There is much that is not understood about Old Chinese, a language preserved in the Shang oracle bone inscriptions (ca. 1250–1050 BCE), bronze inscriptions from the Western Zhou (1050–770 BCE), and a variety of fragments of the oldest written works in China. Schuessler has compiled a dictionary of Old Chinese etymology (2007) with a set of reconstructed forms (2009). Admitting that there is still much work to do, Schuessler calls his reconstruction of OC ‘Minimal Old Chinese’. I have opted to include OC in this dictionary, as there are extremely old relics of OC that persist in PDQ¶\ǀJDQD. The best-known example is ᨭ (Sino-Japanese si, Sino-Korean ci) representing ki. Baxter and Sagart have come out with a new reconstruction of Old Chinese (2014), and I have only had reference it when it was able to shed light that Schuessler’s reconstruction did not. The majority of cases deal with their OC reconstruction demonstrating the existence of a Chinese sound value with final –r that also exists in our data. When I have had reference to Baxter and Sagart, their reconstruction is followed by a section sign (§).

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1.2 Later Han Chinese Later Han Chinese (LH), as Schuessler (2009:29) explains, “…represents an older strain of the language of the Eastern Han period from perhaps the 1st century AD.” In actuality, based on earlier work, Schuessler’s Later Han as currently presented represents the language of the second or third centuries. It is provided in the dictionary to help elucidate data from Wei zhi, as well as fossilized readings imported into Japan (from Paekche?) that pre-date Early Middle Chinese. 1.3 Early Middle Chinese Early Middle Chinese (EMC) is generally thought to represent the language codified in the dictionary Qieyun (601 CE). Pulleyblank (1984:129–130) has argued that there was more than just an evolutionary change in relation to the language; there was also a geographical change, which meant a change in the dialect. In addition to the data in Qieyun, Pulleyblank has also had reference to Min dialect data, Sino-Vietnamese, and Japanese data (Sino-Japanese and PDQ¶\ǀJDQD). I have relied on Schuessler’s Middle Chinese reconstruction for these data, which is a modification of Li Fan-kuei’s work (Schuessler 2009:6), rather than Pulleyblank, which is now almost 30 years old. Regarding the use of Qieyun Schuessler (2009:6) notes, “The nature and linguistic value of the Qieyun and the language it represents has long been a matter of debate which colors one’s attitude towards MC as well as OC.” Schuessler’s latest work is an attempt to strike a balance with what we know from actual data and what is based on theory, and is thus only one piece of information in this dictionary. 1.4 Late Middle Chinese Late Middle Chinese (LMC), according to Pulleyblank (1970:204), reflects the language of mid to late Tang Chinese (618–960 CE), or the language of the capital of Chang’an. This language was brought back to Japan by students sent by the Japanese court to study in Chang’an. Pulleyblank’s original thrust in reconstructing LMC was to view the preserved rhymes as originating from northwestern Chinese, instead of southern Chinese, from which Early Middle Chinese had originated (Pulleyblank 1984:61–62). I have altered some LMC reconstructions according to Miyake (2003a). 2.0 Sino-Xenic Coined by Samuel E. Martin (1924–2009), Sino-Xenic is an umbrella term for Chinese readings borrowed into the various languages within the cultural realm of China, specifically Sino-Japanese, Sino-Korean, and Sino-Vietnamese. Miyake (2003a:99) explains why these Sino-Xenic (his SX) data are critical to our work, This class of borrowings is characterized by two traits: (1) Scale: SX consists not of sporadic borrowings of a few words, but the importation of the entire Chinese lexicon. (2) Accuracy and consistency: SX borrowings are not random attempts to imitate Chinese pronunciations. They represent conscious attempts to imitate Chinese pronunciation as much as possible. As a result of this, they may not be exact copies of Chinese, but they have regular correspondences with Chinese.

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2.1 Sino-Vietnamese and Chӳ Nôm The existence of Sino-Vietnamese, and its hybrid, Chӳ Nôm (represented variously as ᯽ ၾor Ꮠၾ, hereafter Nôm), is important for the study of earlier phonological stages of Chinese, as well as contributing to a better understanding about Sino-Xenic. Nôm was developed by the literati in Vietnam after it gained independence from China in 939 CE. It later became the national script. Much of the literary culture of Vietnam was written in Nôm, until the arrival of the French, when the Roman alphabet (called ‘quӕc ngӳ’ national script) was introduced. For our purposes, it is important to point out that Early Vietnamese made more phonological distinctions than Chinese. Thus, some Nôm characters have a wider range of readings than the original Chinese graph that provided the basis. 1 Nôm is important for an understanding of earlier states of Chinese because it had more vocalic values than either Japanese or Korean. Downer (1987:140) has outlined the vowels of Nôm in a helpful classification, reproduced below, with a few simplifications, as well as converting his IPA back to quӕc ngӳ.

i, e, ê, ay, ai P

u, o, ô, au, âu L ѭ, ѫ, a, â, ă N

I have labeled each group as P: palatal, N: neutral, and L: labial. This three-way distinction is important for framing a discussion about Japanese phonology, because linguists of Old Japanese agree that the overall vocalic distinction found in PDQ¶\ǀJDQD is a palatal versus labial versus neutral distinction (cf. Martin 1987:57–58). Tangentially related to Nôm is Sino-Vietnamese (SV). As China exerted political and cultural influence over the country for nearly a millennium, it being a province of China from 111 BCE till its successful independence movement in 939 CE, Chinese-speaking immigrants resided in northern Vietnam, and Chinese culture and language went with them. However, most of what we call Sino-Vietnamese today is based on LMC, which is of only marginal value for research into PDQ¶\ǀJDQD. There are traces of Old Sino-Vietnamese, but these are generally relics that have become internalized as native words. Consider that in SV the morpheme for ‘wife’ is phͭ, based on Middle Chinese ፬ bjϷu (or Pulleyblank’s EMC buw). Compare that with a doublet for ‘wife’, which is Old Sino-Vietnamese vͫ, 1

The discussion that follows was greatly enhanced by a discussion I had with Marc Miyake in late May 2010. I am grateful for his generosity with his time and vast knowledge. 3

based on Old Chinese *bϷҌ. Because of the scattered nature of information from the language of Vietnam, this dictionary contains data from both Nôm and SV. For my data I have relied on two dictionaries for Nôm readings: the large twovolume edition of Trѭѫng (2007), and NguyӉn (1971). In general I have relied on NguyӉn for the reading of characters, and have had reference to Trѭѫng only if an obscure graph does not appear in NguyӉn. In cases where many Nôm readings for one character exist, I have only given a representative selection of these data, usually deleting one example where the only difference is in tone. 2.2 Sino-Korean Sino-Korean (SK), like Sino-Vietnamese, is based on LMC. Analogous to the geographical location of Vietnam, being adjacent to China meant that the language of Korea contains an enormous variety of Chinese loan words, some from OC, some from EMC, but the majority from LMC. The dating of SK is problematic, but I follow Miyake (2003a:112) who dates SK to around the eighth century. For my data I have relied on a handwritten manuscript of the late 18th Century dictionary, Cenun okphyen ‘The Jeweled Manuscript of Complete Rhymes,’ a copy of which is in the possession of the author. 2.3 Sino-Japanese Sino-Japanese has been traditionally organized into five groups (Numoto 1997:9–20): Go-on (pre-589 CE), Kan-on (Chang’an Chinese, ca. 650+), Shin-Kan-on (New Kan-on, ca. 900), Sou’on (Song Chinese, ca. 1100), and Tou’on (Tang Chinese, ca. 1600). It is critical that we make clear that the term ‘Go-on’ is problematic here, because as the other four labels refer to a specific stage of Chinese readings imported into the country at rather precise periods, ‘Go-on’ is actually not a specific brand of Sino-Japanese, but rather a nebulous amalgamation of different strata, and likely different filtered layers of SinoJapanese. Miyake (2003a:104–105) has argued, based on a comparison of Sino-Japanese and Chinese, that Go-on is not the earliest layer of Chinese borrowings, but is actually the earliest surviving borrowings, likely brought to Japan by Paekche tutors. Based on the ZRUNRI0LOOHU DQG7ǀGǀ 0L\DNHD PDNHVDFUXFLDOREVHUYDWLRQ “Many Go-on readings were lost after the importation of Kan-on….Yet we find Go-on readings for every character in Chinese character dictionaries (kanwa jiten). Lexicographers have invented what I call ‘pseudo-Go-on’ on the basis of fanqie….” As this dictionary contains Go-on as data, I explain below where my Go-on data originated. Here it is important to make a distinction between Sino-Japanese and ongana. Ongana are kanji used to represent a syllable, or in some cases two-syllables, based on one of several strata of Sino-Japanese readings of the character. As an example, the kanji ຍ (OC *krâi, LH ka, EMC ka) was used to represent OJ ka because the Chinese phonetic value was appropriately close enough to the Japanese. The kanji ᨭ has the Go-on and Kan-on reading of si, but is used as an ongana for ki, showing that it preserves a SinoJapanese reading from the Old Chinese stratum (or it may be a loan from Sino-Paekche which preserved the OC reading). Because it is clear from a variety of data that there are several layers of borrowings of Chinese into the Japanese islands, I have followed Miyake (2003a:5–42) in trying to classify the importation of various kanji according to their earliest attestation. Thus, I have set up five different chronological groups within which to categorize the usage of all attested ongana in Japan. 4

2.4 Strata of ongana 2.4.1 Wei zhi stratum I have labeled the oldest group the Wei zhi stratum (WS). This group represents the earliest known set of graphs used in transcriptions of toponyms, titles, or names for people in Wa or the various kingdoms on the Korean peninsula. A number of assumptions are at work here that need to be spelled out. It is unclear what the linguistic map looked like during the Wei era (roughly from 185 to 280 CE) relative to the southern half of the peninsula and the Japanese archipelago. Surviving Chinese records give the reader the impression that the Wa lived in a region from the southern edge of the peninsula into the archipelago. I have erred on the side of caution, and have been rather broad in looking for attestations of transcriptions in this region. It seems certain that Chinese immigrants connected with the Han commanderies had a pervasive influence on the culture of the native Kara and Wa peoples. It also seems somewhat certain that Wa speakers lived in polities on the southern edge of the peninsula as well as the archipelago. Therefore, my working assumption is that the speakers of the language of Wa included territory in the southern part of the Korean peninsula as well as into the Japanese archipelago. This ‘bridge’ between the continent and the islands facilitated the flow of culture and language into the Japanese archipelago. 2.4.2 Paekche-based stratum The next and perhaps most important stratum is called the Paekche based-stratum (PBS). Using peninsular attestations from surviving stelae or quotes in Nihon shoki, I note kanji WKDWZHUHXVHGE\WKHWKUHHNLQJGRPVRI3DHNFKH.RJXU\ǂDQG6LOODDQGSRVWXODWHWKDW the early Japanese were taught and coached in the use of classical Chinese by Paekche teachers (cf. Bentley 2001). If true, this has important ramifications for the study of the historical reception of Chinese through the peninsula into Japan, as well as the study of Sino-Paekche, which only survives in a number of fragments on the peninsula and in Japanese texts (cf. Eom 1991). It is difficult to date this stratum, but as the importation of Buddhism and its Sinified scripture into Japan is dated around 538–552 CE, I have concluded that it is reasonable to date the PBS around the middle of the sixth century (cf. Bentley 2001). Ogura (1995:14) makes much the same claim, saying that he believes that Go-on was imported into Japan with the introduction of Buddhism; needless to say, this view is overly simplistic as it cannot account for the large variety of readings in Go-on. 2.4.3 Early and Late Japanese strata The third stratum is one of the largest, called the Early Japanese stratum (EJS), and includes the earliest attestations of kanji-usage in Japan that may represent newer borrowings from the peninsula. Many of these kanji are found in Kojiki, and found on many excavated mokkan. The next stratum is called the Late Japanese stratum (LJS), which includes much of the poetry in 0DQ¶\ǀVKnj. 2.4.4 Chang’an-based stratum The newest group is the Chang’an-based stratum (CBS), found primarily in Nihon shoki, with some examples also in 0DQ¶\ǀVKnj. A word needs to be said about the CBS strata, which parallels what Pulleyblank calls Late Middle Chinese (1970–1971). By simply examining the differences between Go-on and Kan-on a rather rough and ready chart can

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be constructed to show major phonological changes between EMC and LMC. The following chart is based primarily on Numoto (2006:74–75). Early Middle Chinese > Voiced initial b, d, g > Nasal initials m, n > Labials p, ph, m, b > Vocalic shift o, e, u > Medial glide –y– (⏕ siyau) >

Late Middle Chinese Voiceless initial p, t, k Denasalization mb, nd Fricativization f, fh, mv, fܸ New vowels i, a, iu Loss of glide (⏕ sei)

One of the striking differences between EMC and LMC is the development of prenasalized stops in Kan-on relative to Go-on. Pulleyblank’s Lexicon does not overtly demonstrate this, as a simple example shows: 㤿 ‘horse’ EMC maܺ > LMC ma: (1991:206). Yet Go-on for horse is me, while Kan-on is ba. A check of Tibetan transcriptions, representing Northwest Chinese from which Kan-on is believed to have originated, illustrates that ‘horse’ is ’ba, phonetically [mba] (cf. Coblin 1994:135). Based on this clear evidence, I have modified Pulleyblank’s LMC to account for this change. 2.5 Go-on readings Miyake and other scholars have argued that many of the Go-on readings listed in a variety of Chinese character dictionaries are actually inventions of the lexicographers, based on fanqie, which are themselves artificial devices to aid in pronunciation. Take as an example the kanji Ⰻ ‘good’. Many dictionaries list the Go-on reading as ryou (ࣜࣙ ࢘), which is a modernized form. Some dictionaries include N\nj-kanazukai ‘older kana spellings’, where this kanji would have been spelled as riyau (ࣜࣖ࢘). However, how does one know if these represent actual Sino-Japanese pronunciations? Miyake’s solution ZDV WR UHO\ RQ 7ǀGǀ   ZKLFK WULHG WR XVH DFWXDO GDWD RU LQIHUHQFHV IURP homophones and data from Chinese sources, such as Guangyun or Yunjing, ancient rhyming dictionaries in China (2003a:105). My approach is somewhat similar, but I have elected to rely on the extensive research of Ogura (1995), who has combed through the 42 surviving manuscripts of +RNHN\ǀRQJL. As this manuscript was created to aid in the proper recitation and understanding of the Lotus Sutra, many of the readings in the manuscript reflect Go-on of the eighth century. I say ‘many’ because over the years, scribes have contaminated the text by altering some readings based on their imperfect knowledge of how certain words should sound, in most cases erasing Go-on and putting in Kan-on readings. As a simple example, the kanji 㤿 ‘horse’ is glossed me 25 times, but ba twice (other manuscripts lack a gloss). Clearly ba is based on Kan-on, where the change m- > mb- has taken place. Thus, the majority of these interpolations are easy to spot and ignore. A more difficult problem is a change that has taken place in the vernacular and colored the original Go-on reading. Consider the kanji 㞝 ‘male.’ We find, in order of actual attested glosses wou 26 times, u or un twice, and ou once. Looking at the Chinese phonology, we know this kanji should have been glide initial, thus wou is the archetype, but as wo and o merged in most environments in Middle Japanese, a scribe who relied on his vernacular, may have been tempted to write this as ou. The two examples with u reflect contamination from Kan-on. Thus, Ogura’s work is important, as he lists the readings from all extant manuscripts.

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I have included Go-on to provide data that a reader can use to triangulate with other Sino-Xenic data. For example, ᨭ is Go-on si, and other than Nôm, none of the SinoXenic data preserve a velar in initial position, but both ᒱఄ, related graphs, are Go-on gi, suggesting that the velar initial for ᨭ has been lost in the latest surviving stratum of Goon. Another example is where the graph ໳ has the earlier Go-on reading of ࡉࡩ, while the modern reading is ࡑ࠺. The earlier reading is known as N\nj-kanazukai or ‘older kana usages.’ These earlier readings are important, because when compared with SV tap SK cap, it becomes clear that what is ࡩin hiragana must have been a –p– plus a vowel in the Nara era. 3.0 Ongana versus kungana Ongana are kanji used to represent OJ syllables based on their Chinese phonetic representation. This may have been based on Sino-Japanese, Sino-Paekche, or some other source. Kungana are kanji used to represent OJ syllables based on a translation of the semantics of the character. As Miyake (2003a:25) notes, “…kungana involves a two-step process. First, one must read a kungana as if it were a semantogram (or logogram, JRB)….Second, one must reinterpret this reading in terms of an OJ (near-)homophone appropriate for the context in which the sinograph is found.” A popular example from 0DQ¶\ǀVKnj is 㬞 kamo ‘wild duck,’ which was often used at the end of a poetic stanza to represent the OJ emphatic particle kamo ‘how it is!’ 4.0 Romanization A number of Romanization systems have been proposed over the years to transcribe earlier forms of Japanese. One of the most effective is Yale Romanization, a system devised by Samuel E. Martin of Yale University, primarily to make it easier to type on a typewriter without using diacritics. Syllabic distinctions are marked with on-glides or offglides, except in the case of otsu-rui o, which is underlined (hence, kye versus key, but kwo versus ko). Gerald B. Mathias, formerly of University of Hawai‘i, proposed the most comprehensive solution, where he used a three-way system, to designate Nǀ and otsu-rui types, and yet keep a separate vowel to show ‘unmarked, unknown, or merged’ syllables: NƟNsDQGNHFI0DUWLQ $QRWKHUW\SHRI5Rmanization simply uses subscript numbers to refer to Nǀ-rui (type one), otsu-rui (type two), and the unmarked vowel. To make this dictionary as accessible to as many specialists and non-specialists as possible, it was felt that a Romanization system that was highly accurate and yet not idiosyncratic in spellings would be the best to use. Recently Bjarke Frellesvig and John Whitman have proposed a modified system that I have adopted. Lined up with Yale Romanization, the major differences are as follows (C represents a consonant): Yale Cyi Ciy Cye Cey Co Cwo

FW Ci Cwi Cye Ce Co Cwo

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I have relied on the following Romanization scheme for quoted examples: lower case italics for ongana (phonetic script), CAPITALS for kungana, and SMALL CAPITALS for logograms. I have used bold to highlight each entry specimen. Below is an example from 0DQ¶\ǀVKnj, which contains examples of all three types of writing: MYS 11 ࿃ໃᏊἼ ೉ᘊసⰋ㡲 ⲡ↓⪅ ᑠᯇୗ஀ ⲡஇⱉ᰾

WA GA seKWO pa KARIPO TUKUrasu KAYA NAKU PA KWOMATU GA MOTO no KUSA wo KARASANE

If my beloved does not have thatch for the roof of the hut he is building, then please cut some grass growing below the small pine.

The first stanza contains several logograms (࿃ WA ‘I’ and Ꮚ KWO ‘child’) with ongana for se (ໃ) and the topic marker pa (Ἴ). Notice that in the third stanza the topic marker is now represented by a logogram (⪅). The final kanji in the fifth stanza, ᰾ ‘seed,’ is Old Japanese sane ‘seed,’ but here it is used as a kungana, calling to mind the honorific suffix, SANE ‘please (verb).’ When it is not apparent if a usage is a kungana or just a logogram, I have erred on the side of caution and have left the word marked as a logogram (in SMALL CAPITALS). This problem occurs with personal names, toponyms, and epithets (makura kotoba) when the meaning is unclear. I have also placed in square brackets words (usually case particles) ഛẚ where the value is assumed, but is not overtly represented in the text: Ᏹᦶᚿ㜿᪁ヅഛ ྂ㑀⚄ Umasi Asikabwi Pikwozi [NO] KAMWI. As far as the transliteration of Korean and Chinese, Korean has been rendered according to Yale Romanization, unless a reconstructed form is quoted. When modern Chinese has been quoted, it is written in the pinyin system. I have been forced to make one modification to the various Romanization systems I have used: any letter /a/ with diacritics in italics has become /a/ due to the limitations of the fonts. Thus: ҧâҥұҩä have become ̫â̵̩̭ä. However, Later Han preserves a distinction between /a/ and /‫ܤ‬/ (cf. Schuessler 2009:xix), and I have preserved that.

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ABBREVIATIONS BSS: Bussokuseki Kahi CBS: Chang’an-based Stratum EH: Eastern Han EJS: Early Japanese Stratum EMC: Early Middle Chinese FK: Fudoki GO: Go-on KG: Kojiki glosses KJK: Kojiki KK: Kojiki kayo KN: Kan-on LH: Later Han LJS: Late Japanese Stratum LMC: Late Middle Chinese LOC: Late Old Chinese MGK: 0DQ¶\ǀJDQDQRNHQN\nj MK: Mokkan MKK: 0RNNDQNHQN\nj MNZ: 0RWRRUL1RULQDJD]HQVKnj

MYS: 0DQ¶\ǀVKnj NA: Not Applicable NKBT: Nihon koten bungaku taikei NOM: Chӳ Nôm NS: Nihon shoki NSG: Nihon shoki glosses NSK: Nihon shoki kayo NT: Norito OC: Old Chinese OJ: Old Japanese ONWC: Old Northwest Chinese PBS: Paekche-based Stratum SK: Sino-Korean SM: 6HQP\ǀ SNG: Shoku Nihongi SSI: 6KǀVǀLQGRFXPHQWV SV: Sino-Vietnamese WS: Wei zhi Stratum

9

LIST OF TEXTS CITED Atsuta daijingnj engi ⇕ ⏣ ኱ ⚄ ᐑ ⦕ ㉳  (890 CE). This is a record of the establishment of the Atsuta Shrine in Owari Province (modern Nagoya). It contains six poems, two FKǀND and four tanka, all written in ongana, while the body of the text is in classical Chinese. The accuracy of the spellings shows that the orthography dates from the early Nara era, regardless that the record was compiled in the early Heian era. Bussokuseki kahi ௖㊊▼ḷ☃ (ca. 755 CE). A long, thin stone slate in possession of Yakushiji Temple in Nara. Twenty-one poems are inscribed in the stone in PDQ¶\ǀJDQD. Miller (1975:1–7) provides an outline of the history of this monument. Other than a few sentences in Chinese, the majority of the inscription is ongana. Fudoki 㢼 ᅵ グ (716 CE+). The court issued an edict in 713 that the various provinces were to compile gazetteers outlining geography, topography, legends, and other information about the locale. Five exist in something close to their original state: Hitachi fudoki ᖖ㝣㢼ᅵグ (ca. 718), Harima fudoki ᧛☻㢼ᅵグ (ca. 716), Izumo fudoki ฟ㞼㢼ᅵグ (ca. 733), Bungo fudoki ㇏ᚋ㢼ᅵグ (ca. 740), and Hizen fudoki ⫧๓㢼ᅵ グ (dates unclear). Shaku Nihongi and 0DQ¶\ǀVKnj VKǀ include many quotes from other Fudoki that have been lost. The text of these is mainly composed in Chinese, but many entries and notes contain ongana. Gangǀji engi ඖ⯆ᑎ⦕㉳ (1165 CE)7KLVLVDUHFRUGRIWKHKLVWRU\RIWKH*DQJǀML Temple in Yamato Prefecture, though the text is now housed at Daigoji Temple. The text mentions that a priest named Jishun compiled this record from an original record that has been lost. The colophon states that the original was compiled in 747. The text is mainly composed in Chinese. -ǀJnjNL ୖᐑグ (dates unclear). A historical text like Kojiki or Nihon shoki. The text has been lost, and is known only through several fragments that survive, quoted in Shaku Nihongi, a commentary of Nihon shoki from the Kamakura era (ca. 1286), and 6KǀWRNX Taishi heishiden zǀNDQPRQ (ca. 1314). Quotes from these fragments are composed in Chinese, but many personal and place names are preserved in ongana. -ǀJnj 6KǀWRNX Kǀǀ WHLVHWVX ୖᐑ⪷ᚨἲ⋤ᖇㄝ (ca. 1000 CE). This is a laconic, KDSKD]DUG ELRJUDSKLFDO ZRUN GHDOLQJ ZLWK 3ULQFH 6KǀWRNX ,W LV DQ LPSRUWDQW UHFRUG, however, with information that supplements the text in Nihon shoki. The text in its current form dates from the Heian era, but much of the information is clearly older, some dating back to the Asuka era. Text is composed in Chinese, but it contains three poems and many names in ongana. .DN\ǀ K\ǀVKLNL ḷ⤒ᶆᘧ (772 CE). This is a poetic treatise compiled by Fujiwara Hamanari (724–  DSSDUHQWO\ E\ FRPPDQG RI (PSHURU .ǀQLQ U –781). It contains 34 poems, written in PDQ¶\ǀJDQD. The text outlines seven ‘poetic illnesses,’ or errors poets should avoid when writing poetry. The explanation is in Chinese, but the poetry is composed in ongana. Koryǂgi. (ca. 652 CE). A lost work with 13 fragments quoted in the surviving volume of Hanyuan (⩶ⱌ). The dating of the text is based on Yoshida (1977:12–17). The TXRWHVDUHZULWWHQLQ&KLQHVHEXWPDQ\.RJXU\ǂWLWOHVDUHZULWWHQSKRQHWLFDOO\ Kojiki ྂ஦グ (712 CE)-DSDQ¶VROGHVWH[LVWLQJKLVWRU\FRPSLOHGE\ƿQRmu NOM: m˱u

EMC: mjΩu SV: m˱u

198

OC: *mΩ GO: mu KN: ERX SK: mwo, mwu

Usage / History: It is difficult to know where to place this phonogram, as a LJS placement would assume it transcribes mu, while CBS assumes ER, but this graph actually transcribes mo, which appears to be a vestige of OC. For the time being I believe this belongs to the LJS. It appears in Nihon shoki, twice in annotational notes, and 16 times in poetry: ᡭᤸᦦுࠊṈப㝀㑣๎ᨀㅛ⪨⨶ࠎൽ ³ௗµclapping of hands’ is to be read WDEDVRNRmo \DUDUDQL” (NSG). NSK 85 㜿బ⭿⡔ᄶ DVDGLSDUD Through the rocky path of Ⴒ㉗⚲Ⴒ㡲ᨃ wosone wo sugwi the mountains and over ㅶㅛ㏸㢒⏠ momoGXWDSX Asaji Plain comes a distant, ያᗏ႘⨶೜ះ⯅ QXWH\XUDNXPR\o continuous jingle of a bell. ᪊ᒱẖ೜⨶அះ RNLPHNXUDVLPR It seems Okime has arrived.

ष

ม ⁞

OJ: mo OC: *mâkh LH: mah EMC: muoh GO: mo KN: ER NOM: m͡, m͛ SV: m͡ SK: mwo Usage / History: This phonogram belongs to the LJS and appears once in Nihon shoki: NSK 33 チ⬟ᙗ௻ሳ kono miki wo Did the person who kamik\HPXSLWo pa brewed this auspicious wine ఞᙗ㭼Ṋẚ➼◚ ᭯⬟⳱㇋ᙗ sono WXGXPL rest his resounding drum ன㍺⌗ከặࠎ XVXQLWDWHWH like a grinding mortar, னከẚ⳱ࠎ XWDSLWXWX and brew this wine ఞᙗ㭼ᱵఞ) kamik\eme kamo while he sang a song? チ⬟ᙗ௻⬟ kono miki no It is strange 㜿ᳰ⌗ a\a ni how very னከፋ⃰Ⱚ XWDGDQZRVL delightful this wine is. సἋ sa sa Drink! Drink! OJ: mo OC: *mΩըn LH: mΩn EMC: mwΩn GO: momu KN: ERQ NOM: mu͙n, mͭn SV: mu͡n SK: mwun Usage / History: This phonogram belongs to the LJS, and appears once in Nihon shoki, in the record of Jinmu, in a place name: ẕᮌ㑚ࠋ௒ப㣡*ᘕወケஓ “Omoki ‘mother-tree village’; what we currently say as omonokwi is a corruption of this” (NSG). OJ: mo OC: *mΩn EMC: mjwΩn GO: momu KN: EXQ LH: mun NOM: văn SV: v̷n SK: mwun Usage / History: This phonogram belongs to the LJS. Like the graph ᩥ, the final nasal was ignored. This graph appears in ,]XPRIXGRNL: ⿶聞ᇸ Simo SAKI ‘Simo Cape.’ 199

This phonogram is also used 177 times in 0DQ¶\ǀVKnj. MYS 44 WAGIMWOKWO wo Mount Izami which I invited ࿃ጒᏊஇ my beloved to go see— ཤ᮶ぢ஀ᒣஇ IZAMI no YAMA wo TAKAMI KAMO is it because it is so high 㧗୕㤶　 YAMATO no MIYENU that I cannot see Yamato? ᪥ᮏ⬟୙ᡤぢ KUNI TOPOMI kamo Or is is because it is so far? ᅧ㐲ぢྍ聞

ඁ

⋋

⫨

OJ: mo LH: muaƾ EMC: mjwaƾ NOM: vong SV: vong Usage / History: This phonogram belongs to the LJS, and only appears three times. MYS 865 ఄᘺஇ㯞㒔 NLPLZRPDWX 㯞㒔Ⰻ஀னⰋ⬟ PDWXUDQo XUDQo ㉺➼㈽ⰋἼ ZRWoP\HUDSD ➼ᕫ୚⬟ஂᑣ⬟ WRNR\R no kuni no 㜿㯞㉺➼㈽ྍ, DPDZRWoP\HNDmo

OC: *maƾ GO: mau KN: EDX SK: mang appears only in Man’\ǀshnj, and Are the young maidens who pine for their lord at Pine Bay, Matsura, young women divers of the eternal land?

OJ: mo OC: *môƾ LH: moƾ EMC: muƾ GO: mou KN: ERX NOM: mong, m͗ng SV: mông SK: mwong Usage / History: This phonogram belongs to the LJS, and appears in Man’\ǀshnj five times. MYS 977 TADA KWOYE no Surely it was here that ┤㉸஀ KONO MITI QLWHVL they named this ‘the sea of Ṉᚏᑣᘭᖌ Naniwa where the sun shines ᢲ↷ဢ OSITERU YA broadly’ because this road 㞴Ἴ஀ᾏ㊧ nanipa no UMI TO NADUN\HUDVLmo passes straight through. ྡ㝃ᐙⰋᛮ蒙 OJ: mo OC: *Prn LH: mΩn EMC: mwΩn GO: momu KN:ERQ NOM: mon, môn SV: môn SK: mwun Usage / History: This phonogram belongs to the LJS, and appears only in Man’\ǀshnj. This graph is very prevalent in the anthology, but primarily to transcribe kadwo ‘gate’ or WZR ‘door.’ There is actually only one example in 0DQ¶\ǀVKnj where 㛛 is used as a phonogram, noted below: MYS 1421 PARU YAMA NO How delightful ᫓ᒣஅ 㛤஀இⅭ㔛ᑣ SAKI no ZRZRULQL to see the white cord of PARUNA TUMU my beloved as she picks ᫓⳯᥇ IMWO GA SIRAPIMO spring herbs on the spring hills ጒஅⓑ⣣ MIRANXVL\osi mo that are colored with blossoms. ぢ஑ᅄ୚ᅄ㛛 200

ު

‫ش‬

ᨢ

ᢼ

OJ: mo OC: *mΩns LH: munh EMC: mjwΩnh GO: momu KN: EXQ NOM: v̷n, v̿n, v̭n SV: v̭n SK: mwun Usage / History: This phonogram belongs to the LJS, and appears in Man’\ǀshnj twice: MYS 36 KONO YAMA no How I never tire of Ṉᒣ஀ IYA TAKAVLUDVX gazing at the capital of ᘺ㧗ᛮⰋ⌔ MINA SOSOKU waterfalls of crashing waters; Ỉ⃭ TAKI NO MIYAKWO pa like this mountain’s great height ℧அᐑᏊἼ MIUH'O AKANU kamo it governs far and wide. ぢ♩㊧୙㣬ྍ. OJ: mo OC: *mΩW LH: PXW EMC: mjwΩW GO: PRWL KN: EXWX NOM: v̭W SV: v̵W SK: mwul Usage / History: This phonogram belongs to the LJS, and appears five times in Man’\ǀshnj. This phonogram is most often used in its Chinese function as a strong negative imperative, thus becoming na or naku ni ‘do not do’ in the anthology. MYS 807 Ᏹ㇋㒔ோἼ XWXWXQLSD There is no way Ᏻᕸవᚿ/ዉᏊ DSX\osi mo nasi for us to meet in reality. ያ፠ከ㯞⬟ QXEDWDPDQo See me in your ⏝ὶ⬟ఀ᫕ோ㉺ \ZRUXQo ime ni wo dreams at night, 㒔ఄᥦ⨾ᘏチ᭮ WXJLWHPL\HNoso black as ink. OJ: mo OC: *mΩըҌ~*môҌ LH: mΩҌ~moҌ EMC: mΩuҌ GO: mo KN: ERX NOM: m̳u, m̱u SV: m̳u SK: mwu Usage / History: This phonogram belongs to the LJS. It appears but once in the ancient Japanese corpus, found in Man’\ǀshnj. MYS 18 Will you hide Mount Miwa ୕㍯ᒣஇ MIWA YAMA wo SIKA mo KAKUSU ka in such a manner? ↛ẟ㞃㈡ KUMWO DANI MO How I wish the clouds 㞼㇂　 KOKORO ARAnamo would show some pity. ᝟᭷༡0 ྍⱞబᕸಸᛮဢ NDNXVDSXEHVL\D Should it really be hidden? OJ: moPRWLPRWR OC: *mΩW LH: PXW EMC: mjwΩW GO: PRWL KN: EXWX NOM: v̷WY̵W SV: v̵W SK: mwul Usage / History: This phonogram belongs to the LJS. It was used to transcribe both mo and PRWL. In the Yamashiro Census of 726 the name బẚ1 Sapimoti appears. Another name preserved in Nara era documents is ⚟1 Pukumoti.

201

In the second year of Tenpyǀ Jingo there is a place name 1⌮ Motorowi recorded in Shoku Nihongi (766.5.23). In Man’\ǀshnj this phonogram is used 42 times to transcribe mo, but notice that of these over half (23) use the graph as both a phonogram and a logogram to represent the word mono ‘thing’: ≀⬟ mono or ≀஀ mono. MYS 499 MWOMWOPYE nimo Is it because I think ⓒ㔜஧1 KISIKANU KAMO TO I want you to come to me ᮶ཬẪᖖ OMOPE KAMO one hundred times over? ᛕ㬞 KIMI GA TUKAPI no I never do weary of බஅ౑஀ MIREDO AKAZARAmu seeing your messenger. 㞪ぢ୙㣬᭷Ṋ

ⓥ

⍵

OJ: mo OC: *djaƾ LH: dĨaƾ EMC: Ĩjaƾ GO: zi\au KN: VL\DX NOM: NA SV: WK˱ͥng SK: V\DQJ Usage / History: This kungana suggests to the reader OJ mo ‘skirt.’ This usage appears once in Kojiki: 裳అᒸ MOPUSI Hill (KG). This usage appears twice in Nihon shoki: ୹裳 NIMO ‘plain of Nimo’ (NSG), and ⏣裳ぢᐟ⚲ TAMOMI Sukune (NSG). Interestingly this graph also appears in the imperial edicts: 裳࿳㊊ᔱ MOKUPI TARUSIMA (SM 53), a person who led a rebellion against the court. This usage is very popular in Man’\ǀshnj, used 158 times. MYS 18 MIWA YAMA wo Will you hide Mount Miwa ୕㍯ᒣஇ SIKA mo KAKUSU ka in such a manner? ↛ẟ㞃㈡ KUMWO DANI MO How I wish the clouds 㞼㇂裳 KOKORO ARAnamo would show some pity. ᝟᭷༡␇ ྍⱞబᕸಸᛮဢ NDNXVDSXEHVL\D Should it really be hidden? OJ: mo OC: *WVâuҌ LH: WVDXҌ EMC: WVkXҌ GO: sau KN: sau NOM: W̫o SV: W̫o SK: cwo Usage / History: This kungana suggests to the mind OJ mo ‘seaweed, algae.’ This usage appears once in the +LWDFKL)XGRNL: 藻ᓥ MO SIMA ‘Mo Island,’ but it should be noted that this might actually be ME SIMA ‘Me Island,’ as ⸴ has two readings, mo and me. This usage is quite popular in Man’\ǀshnj, appearing 23 times, but most examples are ⋢⸴ TAMAMO ‘gem weed.’ A simple example is below. MYS 1036 SEKI NAKU PA If there were no barriers 㜝↓⪅ KAPYERI ni DANI MO then I would return home 㑏ᑣ㇂藻 UTI YUKITE for just a while— ᡴ⾜⪋ IMWO GA TAMAKURA wanting to sleep wrapped ጒஅᡭᯖ MAKITE NEMASI wo in the arms of my beloved. ᕳᡭᐟ┈இ

202

ߒ

‫ݾ‬

ⓚ ቆ

OJ: mo OC: *sâƾ LH: saƾ EMC: sâƾ GO: sau KN: sau NOM: Wang, WiQJ SV: WaQJWiQJ SK: sang Usage / History: This kungana calls to mind OJ mo ‘mourning.’ This usage appears once in Kojiki: 3ᒣ MO YAMA ‘Mount Mo’ (KG). This usage also appears four times in Man’\ǀshnj. MYS 450 YUKU sa nipa When we went ཤᕥᑣἼ PUTA WA GA MIsi and the two of us saw ஧࿃ぢஅ KONO SAKI wo this cape (of Minume)— Ṉᇸஇ PITORI SUGUREBA how depressing ⋊㐣⪅ KOKOROGANASI MO to pass by here alone. ᝟ᝒ3 The use of ႙ at the end of this poem deepens the visual feelings of grief the poet is expressing. OJ: mo OC: *khôk LH: khok EMC: khuk GO: koku KN: koku NOM: khóc SV: kh͙c SK: kwok Usage / History: This kungana calls to mind OJ mo ‘mourning,’ based on ူ ‘lament.’ This usage only appears three times in Man’\ǀshnj. MYS 1603 KONO KORO NO Lately when you listen 㡭⪅அ ASAKE ni KIKEBA at the break of dawn ᮅ㛤ᑣ⪺⪅ ㊊᪥ᮌ⟟ ASIPIKWI NO great bucks call for their mates YAMA YWOBI TOYOMYE making the mountains, ᒣ࿧௧㡪 ⊃ᑿኊ㮵㬆4 SAWOSIKA NAKU MO which tire the legs, resound. OJ: mo OC: *љwΩn LH: љun EMC: љjwΩn GO: gun KN: kun NOM: qu̯n SV: qu̯n SK: kwun Usage / History: This kungana suggests to the reader OJ mo ‘skirt.’ This usage only appears once in Nihon shoki, in the record of Kinmei: ㉺ேỤΌ⮧裙௦ ‘Enu [NO] OMI MOSIRO, a man from KWOSI….’ OJ: moko, mo OC: *môk LH: mok EMC: muk GO: moku KN: ERNX NOM: m͡c, m͕c, m͙c SV: m͡c SK: mwok Usage / History: This phonogram belongs to the PBS. It appears on the Silla Mwu-swyul-wo stele (578) in what appears to be a name: ఀྏÃ฼ ƢI-tsit Mok-li. This graph is also used in Nihon shoki in the record of Jingnj with a Paekche man named Ã⨶ ᩹㈨ Mok-la Konsi. In the 25th year of ƿjin we see a Paekche minister named Ã⁹⮴ Mok Manti, but it is clear that this is likely Mok-la Manti (Ãຑ⁹⮴)

203

according to Samguk sagi. In the reign of Keitai we see another Paekche man named Ã↽୙㯞⏥⫼ Mok-la Puma Kapu. This usage seems to live on in tiny vestiges in 0DQ¶\ǀVKnj. Consider the following poem where the final velar of ᮌ seems to echo in the next velarinitial graph. MYS 185 MINATUTAPU The azaleas among the boulders Ỉബ ISWO no URAMWI no where the water snakes ♒஀ᾆᘔ஀ IPA TUTUzi around the rocks of the lake ▼ୖஆ⮬ are in full bloom by the path— Ãୣ㛤㐨இ moku SAKU MITI wo MATA MO MIMU KAMO will I ever see these again? ཪᑗぢ㬞

ᖳ

ᢶ

OJ: PRWR OC: *mΩըW LH: muΩW EMC: mwΩW GO: PRWL KN: ERWX NOM: m͡W SV: m͡W SK: mwol Usage / History: This phonogram belongs to the PBS. It appears on the Silla Namsan stele (ca. 591) in the following name: 㜿Ⰻ6ዉ a-ra-muԥt-na. It also appears in the fragment of a name on the Hamcwu Silla hunting stele (568): ႎ㒊6මḟ *hyas-bu muԥt-g‫ܭ‬j-tshi. It is also interesting as this graph also appears in Nihon shoki, the native section of the record of Gread King (eighth year, first month), recording the name of several unknown islands. The one that concerns us is written as 6฼ᔱ. The interlinear reading is motoUL. Shaku Nihongi says nothing, but the +HLERQ manuscript (ca. 1000) of Shiki preserves the reading of moWRULVLPD (Kuroita 1932:161). OJ: mu OC: *mu LH: mu EMC: mjΩu GO: mu KN: ERu NOM: m̯u, PjXPjR SV: mâu, m̯u SK: mwo, mwu Usage / History: This phonogram belongs to the WS. This appears in the section of Ma-Han in Wei zhi, where polities named 7Ỉᅧ*Mu-tĞui‫ ݦ‬domain, ඃఇ7㵧ᅧ *U-xumu-t‫ܧ‬k domain, ဆ㞳7ᘊᅧ *Tsi-li‫ܤ‬i-mu-li‫ ܤ‬domain, and 7ᘊ༝㞳ᅧ *Muli‫ܤ‬i -pie-li‫ܤ‬i domain appear. This phonogram was also used in the orthographies of all three kingdoms (.RJXU\ǂ, Paekche, Silla). The Kwangkaytho stele preserves the names of fortress cities such as 7Ỉᇛ *Mu-tĞui‫ ݦ‬fortress, 7├ᇛ *Mu-li‫ ܤ‬fortress, and ྂ7፝ᇛ *K‫ܧ‬-mu-lio fortress. Also, King Kwangkaytho’s ancestor, the founding king of .RJXU\ǂ, was known by the name 㒟7⋤ King *Tu-mu. This phonogram also appears in Paekche sources quoted in Nihon shoki: 7 ፝ Murwo, a territory in Mimana, ᕸ㑣7⨶ (the fortress of) Punamura, ௵㑣 ஂ᪁7⨶ Kusimura of Mimana, ఀ᪁ᯨ7⨶ᇛ Isikimura Fortress, ஂ⚰7⨶ ᇛ Kuremura Fortress, and 7㞤ᯨ∹⨶ (the fortress of) Musikimura. This phonogram appears 23 times in the liturgies: ໭᪉బΏ୚㔛இ▱⬟ᡤ இዉ7ከ▱␿㨣அఫຍⓏᐃ㈷ẚ KITA [NO] MO[ PA] VDGZR \RUL ZRWL no TOKORO wo namuWDWL EKI [NO] ONI NO SUMIND WR SADAMETAMApi “From the direction of the north, (the deities) have determined that the dwellings of you, the 204

demons of pestilence, will be the distant places from Sado Island northward…” (NT 16). This phonogram appears on a number of mokkan: ⣖ఀᅜ7፝㒆7፝ Ki Province Murwo District Murwo (village?)… (MK 435), ᩥఀ⨾ྜྷ7Ⰻ⮬ PUMI Imiki Murazi (MKK 12:10). This phonogram is the primary graph used to transcribe mu in Kojiki: カ⏕ பᏱ7 “The native reading of the graph ⏕ ‘give birth’ is umu” (KG); ㈷ྡྕ ពᐩຍ7㇋⨾࿨ ‘He was given the name Opokamutumi [NO] MIKOTO, ఀ⮬7 ᅧ Izimu Province (KG). KK 87 ᒱ⨾㈡⏤ᒱ NLPLJD\XNL Many days have passed Ề㑣㈡ஂ㑣⌮ያ NHQDJDNXQDULQX since you have left. ኪ㯞ከ㇋⬟ \DPDWDGXQR And like the elderberry 7ຍ㛠⿁⏤ຍ7 muNDSHZR\XNDmu I will come to meet you, 㯞㒔∞Ἴ㯞ከኈ PDWXQLSDPDWD]L as I cannot wait anymore. This phonogram appears in Nihon shoki, twice in the annotational notes and ten times in the poetry: 㰺ࠊṈப7࿃㛢 ³ௗµ(the name) 㰺’ is read mugwope” (NSG); ᫝≟࿳ᒣ⋖ྡ7ኈ㑣⪋ẅஅ “This dog bit and killed a mountain beast called muzina” (NSG). NSK 43 ᬛ◚᥾⮎➼ WLSD\DSLWR Very powerful ன᪗⬟࿴ከ฼⌗ XGLQRZDWDULQL those catalpa trees ࿴ከ฼ᾖ⌗ ZDWDULGHQL standing by the bank ከặᒗ WDWHUX of the ferry. 㜿㇋⍰⏤Åᦶ⏤Å DGXVD\XPLPD\XPL To make a true catalpa bow, ఀᯨ⨶7ⱏ LNLUDmu WR I thought in my heart, ⹫ࠎ࿅◚ᮃ㛢⪏ NRNRURSDmopedo to cut down a catalpa tree. I thought in my heart ఀᩯ⨶7ⱏ LWZRUDmu WR ⹫ࠎ࿅◚ᮃ㛢⪏ NRNRURSDPRSHGR to hold one of those trees. ᮃⱏᖯ◚ PRWRS\HSD I thought of you ᯨÅⅲ᪊ᮃ⮎ᾖ kimi wo omopide at the trunk of the tree. 㡲្ᖯ◚ VXZHS\HSD I remembered you ఀᬽⅲ᪊ᮃẚᾖ imo wo omopide when I looked up at the crown. ఀ⨶㑣㭼༐ LUDQDN\HNX I felt such sorrow ᭯⹫⌗᪊ᮃẚ soko ni omopi thinking of you there. ఞ㑣ᚿ㭼༐ NDQDVLN\HNX I felt such sadness ⹫ࠎ⌗᪊ᮃ⮎ koko ni omopi thinking about you here. ఀᯨ⨶൲ᒙ༐ᒗ LNLUD]XVRNXUX I left without cutting down 㜿㇋⍰⏤Åᦶ⏤Å DGXVD\XPLPD\XPL the tree for the catalpa bow. This phonogram is also one of the main graphs to transcribe mu in Man’\ǀshnj, appearing 546 times: MYS 806 WDWXQRMA mo How I want to obtain ከ㒔⬟㤿ẕ ఀ㯞໚ឡᘭஅྍ LPDPRHWHVLND even a dragon steed right now, 㜿㐲ᑣ୚ᚿ DZRQL\RVL in order to return ዉⰋ஀⨾ኪྂᑣ QDUDQRPL\DNZRQL to the Nara capital, ⏤ྜྷᖇᕫ7୹⡿. \XNLWHNRmu WDPH which is good in its greenery. This phonogram appears in the Bussoku stele poetic sequence. 205

ᓽ

BSS 8 ᕫ஀⨾㜿Ṇஇ NRQRPLDWRZR Seeking and searching ከ㇋⚇ẟṆ⡿ᘭ WDWXQHPRWRPHWH this august footprint ୚ఄẚṆ஀ \RNLSLWRQR to the land where ఀ㯞㡲ஂᑣࠎἼ imasu kuni nipa the righteous person resides; ࿴♩ẟ㯞⫶ᘭ7 ZDUHPRPDZLWHmu I would also venture there, ẟ࿅ẟ࿅இ∔ᘭ PRURPRURZRZLWH leading the masses.  OJ: mu OC: *maҌ LH: muaҌ EMC: mjuҌ GO: mu KN: EX NOM: vNJ, võ SV: vNJ SK: mwu Usage / History: Dating this phonogram is somewhat problematic. The phonogram Ṋ ‘military prowess’ is quite popular as a semantogram, and thus may have been generally avoided as a phonogram. I tentatively place this phonogram in the PBS. It appears in an inscription found on the north wall of the Koryo Cin tomb: 8⋤ King Mu, but it is also possible this is simply an epithet: ‘military king.’ Also this phonogram appears in Paekche names quoted from Paekche sources by the compilers of Nihon shoki: 8ᑀ⋤ King Munei of Paekche, ᪋ᚨ㤿8 Myemu of the eighth rank, and ≀㒊Ⳙወ8㐃 MONONOBYE Magamu MURAZI. This phonogram appears on a number of wooden tablets: ‫ڧ‬ᐟ⚇8ᜨ㯞࿅ X Sukune Muwemaro (unnumbered tablet), 㜿Ἴᅜ㑣㈡㒆8ⱁ㥐 Mugi Relay Station in Apa Province, Naga District (MKK 9:13). This phonogram is used in Kojiki, but only in two specific cases: ┦8ᅧ Sagamu Province (KG), and what appears to be a peninsular name, 㔠Ἴ㙟₎⣖ 8 Komu Patol Kankwi Mu (KG). This phonogram is also used by the compilers of Nihon shoki nine times in annotational notes and 34 times in song: ⓚ ⏘㟰 ࠊṈ ப⨾ 8㡲 ẝ ³ௗµthe imperial-producing-spirit’ is read mimusupi” (NSG). NSK 75 㔝㯟➼⬟ \DPDWRQR On the peaks Ⴒ8⨶⬟㝀ヱൽ womuUDQRWDNHQL of the mountains of Yamato, அࠎ➢㡲Ⓩ VLVLSXVXWR who shall venture forth ᣇ౛ᰓ WDUHND to stand before ᨀ⬟ᒃⓏ NRQRNRWR the great one and tell him 㣡⿮☻㝎ൽ㯞Ⴒ㡲 RSRPDS\HQLPDZRVX where the beast lays waiting? 㣡⿮ᯨÅ⡔ opokimi pa The great lord ㈫᧸Ⴒᯨ⯩᪁㢟 VRNRZRNLNDVLWH overhears these words, ᯳☻ࠎᯨ⬟ WDPDPDNLQR takes his jeweled 㜿ፗ⨶ൽ㝀ࠎఛ DJXUDQLWDWDVL dais and sits upon it. ᪋㒔㨱ᯨ⬟ VLWXPDNLQR He takes the dais 㜿ፗ⨶ൽ㝀ࠎఛ DJXUDQLWDWDVL of cloth and sits upon it. ᪁ࠎ☻㒔Ⓩ VLVLPDWXWR Waiting for the beast. ೖᡃఀ㯞す㯟 ZDJDLPDVHED As I sit here బㅝ㯞㒔Ⓩ VDZLPDWXWR waiting for the boar, ೖᡃ㝀ࠎす㯟 ZDJDWDWDVHED as I rise to my feet,

206

㝀೜➢⨶∞ WDNXEXUDQL a horsefly lands 㜿8ᰓᯨ㒔ᯨ amu NDNLWXNL on my arm and bites me. ᭯⬟㜿8Ⴒ sono amu wo a dragonfly appears ፜ᯨ㇋Ἴ㔝೜㆜ DNLGXSD\DNXSL and devours the horsefly. Ἴ㈿Ṋᚿㅛ papu musi mo Even the crawling insects 㣡⿮ᯨÅൽ㯟㒔⨶➢ RSRNLPLQLPDWXUDSX continue to serve their lord. ඏᡃᰓ㝀᧛ QDJDNDWDSD I shall leave a tribute ᪊ᰓ8 okamu for you, ፜ᒱ㇋᪁㯞㔝㯞Ⓩ DNLWXVLPD\DPDWR Akizushima Yamato. This phonogram appears in 0DQ¶\ǀVKnj roughly 289 times. MYS 810 ఀྍᑣᏳⰋ8 LNDQLDUDmu When was it, PI QRWRNLQLNDPR what day was it? ᪥⬟➼ఄᑣྍẕ チᜨஅⰋ8 NRZHVLUDmu When I made my pillow ẚ➼⬟ẚᑕ஀ಸ SLWRQRpiza no pe the lap of a person who ࿴ᡃ㯞ஂⰋྍ8 ZDJDPDNXUDNDmu knew the sound of the zither.

ᑡ

ᠪ

OJ: mu OC: *mâ LH: ma EMC: muo GO: mo KN: ER NOM: mo, mu, mua SV: mô SK: mwo Usage / History: This phonogram belongs to the LJS. This graph is more commonly used to transcribe mo (which see), but in a number of cases it transcribes mu. Almost all of the Sino-Xenic data show that ᶍ should be mo, but Nom preserves a reading of mu, showing the presence of a back vowel. The only extant example of this graph for mu is in the toponym ┦9 sagamu. This usage is found in Nara era documents, as well as Nihon shoki, +LWDFKLIXGRNL, and Man’\ǀshnj. It is possible that the Nihon shoki example is the oldest, which appears but once, in the fortieth year of Keikǀ. By the late ninth century this area is called sagami < *sagamui. As I proposed in an earlier work (2008:367, n. 36), if this is actually an Ainu word, something like *san-kamui, there may have been two competing pronunciations for this place name: sagamu and sagamui. The choice of graphs here may be influenced by vowel raising: o > u, perhaps if the ui was represented rather sloppily with a graph ending in -o. OJ: mu OC: *ma LH: mua EMC: mju GO: mu KN: EX NOM: vô SV: vô SK: mwu Usage / History: This phonogram belongs to the LJS. This phonogram appears once in Kojiki in the place name : 㑧 ᚿ Muzasi (KG). This phonogram is used quite extensively in Man¶\ǀVKnj. MYS 4424 ఀ࿅ኵྍஂ LUoEXNDNX How I wish I had dyed ୡዉᡃチ࿅ẕἼ senaga kRURPR pa my beloved’s robes ᭯⡿㯞அஇ somemasi wo a darker color!

207

⨾బྍከ፠Ⰻ፠ 㯞బኪྍ∞⨾;

ᅛ ‫ؘ‬

⯰

PLVDNDWDEDUDED PDVD\DNDQLPLmu

Then I would clearly see him as he is allowed through Misaka.

OJ: mu OC: *ma LH: mua EMC: mju GO: mu KN: EX NOM: vô SV: vô SK: mwu Usage / History: This phonogram belongs to the LJS; it is an abbreviated version of ↓ (see above). It is this abbreviated version that later results in KLUDJDQD ࢇ. OJ: mu OC: *moh LH: muoh EMC: muΩ GO: mu KN: EX NOM: vͭ, mùa SV: vͭ SK: mwu Usage / History: This phonogram belongs to the LJS. It is mainly used to transcribe the place name Mukwo: ↓. As far as I can determine this phonogram was used as a phonogram only once in 0DQ¶\ǀVKnj. MYS 813 ྍṊዉఱⰋ NDPXQDJDUD Oh how we should revere ྍṊబഛఀ㯞㡲 kamusaEZL imasu these wonderous jewels ஂᚿ⨾ከ㯞 NXVLPLWDPD that are divine, endowed ఀ㯞⬟㐲㒔㇋ᑣ LPDQRZRWXWXQL with a heavenly quality, ከᕸยఄ࿅ྍ> WDSXWZRNLURNDmu and are even now before us.

䆾!

⇨ ӹ

⟘

OJ: mu LH: muh EMC: mΩuh NOM: m̵u SV: m̵u Usage / History: See this phonogram under OJ mo.

OC: *muh GO: mu KN: ERX SK: mwu

OJ: mu OC: *UXN LH: liuk EMC: ljuk GO: URNX KN: ULNX NOM: lͭc SV: lͭc SK: lwuk Usage / History: This kungana calls to mind OJ mu ‘six.’ There is one name in Nihon shoki, the reign of Keikǀ ?㞜⮧, but this is glossed as MUTU KARI OMI (NSG), though it may have been MUKARI. This usage also appears fairly frequently in Man’\ǀshnj: MYS 4 TAMAKIPARU On the great moor of Uchi, ⋢ᑖ᫓ UTI no OPONWO ni the place of gemstone cutting, ෆ஀኱㔝ᑣ UMA NAMETE the horses are likely lined up, 㤿ᩝ⪋ ASA pumasuRAMU trampling the morning grass, ᮅᕸ㯞㡲➼? SONO KUSABUKANWO that field of deep grass. ඼ⲡ῝㔝 OJ: mu OC: *lhin LH: Ğin EMC: Ğjen GO: simu KN: sin SV: WKkQ SK: sin NOM: WKkQ Usage / History: This kungana suggests to the reader OJ word mu, the bound form of mwi (from *mui) ‘body.’ There is some debate about how this graph should be read in Nihon shoki. ƿno (1977:827) notes that there are five examples of ㌟ representing mwi, but I have only found one, which is listed above under mwi. There are many examples of this graph transcribing mu: ㌟⊃ Musa (NSG), ㌟ ẟὠྩ MUGETU KIMI (NSG), ⏣㌟㍯㑚 TAMUWA Village (NSG), ㌟่ 210

MUZASI (NSG), ᅵᖌ㐃㌟ PAZI [NO] MURAZI MU (NSG), ᪊⏣㌟ᕊ…⏣㌟ ᒣྡࠊṈப኱ົ ‘at TAMU Peak...TAMU is the name of a mountain. The name is read WDPX’ (NSG), ⬟Ⓩ⮧㤿㌟㱟 Noto OMI MaMU TATU (NSG), ᑠ➉⏣ ྐ㌟ SINWODA [NO] PUBITO MU (NSG), ㌟ẟྩᘅ MUGETU KIMI PIRO (NSG), ఀ㈡ᅧఀ㈡㒆㌟㔝 Iga Province Iga District MUNWO (NSG).  OJ: mu OC: NA LH: NA EMC: NA GO: NA KN: NA NOM: NA SV: NA SK: NA Usage / History: This kungana is based on the Chinese phrase: ∵㬆‘ox cries,’ which calls to mind the sound an ox makes: moo. This appears once in Man’\ǀshnj: MYS 2839 KAKUSITE YA Will it continue to protect us ዴ᫝∔ဢ NAPO YA MAMORAMU as it has thus far? ⊰ඵᡀ∵㬆 OPOARAKWI NO Though it is not ኱Ⲩᮌஅ UKITA NO MORI NO the sacred rope of ᾋ⏣அ♫அ SIME ni ARANAKU ni the Ukita Shrine. ᶆ∞୙᭷∞

ᢲ⺈

ᬶ

ቈ

OJ: muku OC: *muk LH: muk EMC: mjuk GO: moku KN: ERNX NOM: mͭc SV: mͭc SK: mwok Usage / History: This phonogram belongs to the LJS, and this usage is very rare. It appears once in Man’\ǀshnj: MYS 1087 Waves have formed ③㊊Ἑ ANASIGAPA KAPA NAMI TATInu on the river Anasigawa. Ἑᾉ❧ያ It seems that clouds ᕳஅ MAKIMUKU NO are rising above Yutsuki Peak ⏤ᵳᡃ㧗ோ \XTUKWI ga TAKE ni KUMWOWI TATUUDVL in Makimuku. 㞼ᒃ❧Ⰻᚿ OJ: mwi OC: *mΩs LH: mus EMC: mjweih GO: mi KN: EL SV: mùi, v͓ SK: mi NOM: mùi Usage / History: This phonogram belongs to the PBS. This phonogram appears on numerous stele, mirror and other inscriptions, but in all these cases it is either used as one of the Earthly Branches in the Chinese calendar, sheep, or it is used grammatically as ‘not yet.’ This phonogram is preserved in Nihon shoki in the record of Sushun, recording the name of a Paekche individual: ᑎᕤኴⰋ@ኴ temple architect Dara Mwida. This same name is preserved in Gankǀji engi as ୔⨶@኱ Dara Mwida. This usage is interesting, because ୔ is Later Han яiaƾҌ, thus showing that d- here is appropriate. This phonogram also appears in Gankǀji engi, transcribing the name @Ἃ஀ Mwisano. This phonogram also appears in the Chikuzen Census of 702 in the name @ ㇋ ㈽ Mwitumye. This phonogram also appears on a number of 211

mokkan: ㅽ⏦ᮌ@࿅㜿ఱἼ▱࣭ᮌ@࿅࿴♩Ἴ▱ ‘I humbly declare, MOKU Mwiro, my begging bowl, MOKU Mwiro, I am…’ (unnumbered tablet). Perhaps because of its grammatical nature, this graph is not used in Kojiki. It is used in two annotational notes and six times in poetry in Nihon shoki: 㤶ⳫṈ ப⟠೜⬟@ ³ௗµfruit with the everlasting fragrance’ is read kakunomwi” (NSG). NSK 37 ᙗ▱⬟அ฼ PLWLQo VLUL I had heard about ྂ◚⃦ሳ➼⥥ሳ NZRSDGDZRWoP\HZR the maiden from Kohada ఞ@⬟ㄒ➼ kamwi no gRWR in the land behind the road, ᯨ⹫᭥அ௓ᘕ kiko\HVLNDGo her reputation like thunder, 㜿ẚᦶ༐⨶ᦶ༐ DSLPDNXUDPDNX but here we lie together. This phonogram is the principal graph used in Man¶\ǀVKnj, appearing 86 times in the work, the highest concentration found in Book 15. MYS 3669 ከጅᑣᏳ♩ᯆ WDELQLDUHGR Though on a journey ḧὶἼⅆ➼ẟஅ \ZRUXSDPWI WRPRVL here am I இὶ࿴♩இ ZRUXZDUHZR lighting a torch at night— ஓ@ᑣஓఀẟᡃ \Dmwi QL\DLPZRJD perhaps my beloved ྂ㠀㒔㏣ᏳὶⰋ∹ kwopwiWXWXDUXUDPX is yearning for me in the dark.

‫ܬ‬

OJ: mwi OC: *mΩs LH: mus EMC: mjweih GO: mi KN: EL NOM: mùi, v͓ SV: v͓ SK: mi Usage / History: This phonogram belongs to the PBS. It appears in Paekche names like 㑣⋡ ⚟ᐩA㌟ Pukpu Mwisin of the sixth rank, Aᦶஅ Mwimasi, ෆబᖹᒱA Internal Administrator Kimwi. This phonogram appears several times on mokkan: బA Samwi (MK 4722), ⓒᩧయ୓࿅బAᲚྲྀ KUDARA ?Maro and Navigator Samwi (MK 4567). This phonogram also appears in Kojiki, but only once in a song sung by Yamato Takeru. KK 23 ኪ㒔⡿బ㡲 \DWXPHVDVX The eight buds come out— ఀ㇋ẟከ♮ὶ㈡ LGXPZRWDN\HUXJD the hilt of the Izumo Ἴ♮ὶከ▱ SDN\HUXWDWL warrior’s sword 㒔㇋ⰋబἼ㯞ᒱ WXGXUDVDSDPDNL is indeed magnificient: బA㑣ᚿ∞㜿Ἴ⚰ samwi QDVLQLDSDUH sadly it has no blade. This phonogram is not used in the annotational notes or poetry in Nihon shoki, but it does appear in two surnames, బAྩ Samwi KIMI and బAᮅ⮧ Samwi ASOMI. This phonogram only appears five times in 0DQ¶\ǀVKnj. MYS 58 IDUKU ni ka Where have they moored ఱᡤ∞ྍ PUNAPATE SUUDPX by this time? ⯪Ἡ∔ⰋṊ Have they rowed Ᏻ⚰஀ᇸ DUHQo SAKI KOGIWDmwi YUKIsi around the cape of Are, ᴶከA⾜அ TANA NASI WOBUNE that little boat with no shelf? Ჴ↓ᑠ⯚ 212

൮

୉

OJ: mwi OC: *mΩi LH: mui EMC: mjwei GO: mi KN: EL NOM: vi SV: vi SK: mi Usage / History: This phonogram belongs to the LJS. It appears in the Kojiki, and this is the main graph used to transcribe mwi in the poetry: KK 94 ஂబຍᘏ⬟ NXVDND\HQR The inlet of Kusaka, ఀ⌮ᘏ⬟Ἴ▱㡲 LUL\HQRSDWLVX the lotus of the inlet— Ἴ㑣፠▱㡲 SDQDEDWLVX the blossoms of the lotus B⬟బຍ⌮ẝⓏ mwi no VDNDULELWR how envious I am Ⓩẕᚿᒱ࿅ຍẕ WRPRVLNLURNDPR of the youth who are in bloom. In Nihon shoki this phonogram appears twice in the annotational notes and four times in song: ᒱ⚄ࠊṈபᕸ㑣ᩯ⬟ຍB ³ௗµdeity of the fork in the road’ is read SXQDWZRQRkamwi” (NSG). NSK 112 ⚷㒔㯞బἼ XWXPDVDSD Utsumasa Kahakatsu ᰓB㦐ẕᰓᚤ㦐 kamwi WRPRkamwi WR will punish and chastise ᯨᨀ᭥೜ᒗ NLNR\HNXUX the deity of the eternal land 㦐⯅㡸⬟ᰓBஇ WRNR\RQRkamwi wo who we have heard is Ᏹᬛᒱከ㯞㡲ẕ XWLNLWDQDVXPR the supreme deity among all deities. This is also the only phonogram used in the Bussokuseki poetic sequence for mwi: BSS 18 ẚṆ஀BἼ SLWo no mwi pa As for the body of man, ⾰㈡ከஂ㜿♩፠ HJDWDNXDUHED since it is difficult to re-obtain ஀฼஀ከ⬟ noULQo WDQo for the GKDUPD ୚㡲ຍṆዉ♩฼ \oVXNDWo QDUHUL it has become a refuge— 㒔Ṇ⡿ẟ࿅ẟ࿅ WXWoPHPRUoPRUo be diligent all of you! 㡲ࠎ㈽ẟ࿅ẕ࿅ VXVXP\HPRUoPRUo Press forward all of you! OJ: mwi OC: *mΩiҌ LH: muiҌ EMC: mjweiҌ GO: mi KN: EL SV: vƭ SK: mi NOM: vƭ, vã, v̫i Usage / History: This phonogram belongs to the LJS. It appears in a name on a Buddhist inscription at Sairinji Temple, which is dated 658: Ở㯞CྂUmamwikwo. It also appears in Man’\ǀshnj: MYS 804 ➼ఄ⬟బ㏑฼இ WRNLQRVDNDULZR Unable to hang on to ➼ࠎC㏑⚲ WRGRmwikane the best of those times ࿘ල᪁㔝฼㒔♩ VXJXVL\DULWXUH time has marched on. ⨾ዉ஀࿴ከ PLQDQRZDWD Upon this black hair, ㏑ල₃ఄྍ⨾ᑣ NDJXUZRNLNDPLQL black as the guts of the snail, ఀ㒔஀㯞ྍ LWXQRPDND frost has lighted ᪁ẟ஀ᕸ฼ᐙṊ VLPZRQRSXULN\HPX without my knowing it. 213

⟘

ૻ ᶝ ૛

OJ: mwi OC: *lhin LH: Ğin EMC: Ğjen GO: simu KN: sin NOM: WKkQ SV: WKkQ SK: sin Usage / History: This kungana conjures up OJ mwi ‘body.’ This usage is quite old, and appears in the earliest extant census. The oldest datable example appears in the Mino Census of 702 in names such as ㌟㯞࿅ MWImaro, ㌟㈽ MWImye, and ▼㌟㈽ IPAMWImye or ISIMWImye. It also appears the Takada stone monument, dated 726, where the name ㌟㯢 MWImaro appears. This usage appears in Nihon shoki, in the name of ᰿㐃㔠㌟ NE MURAZI KANEMWI (NSG), but this is the only example I can find where ㌟ transcribes mwi. There are many examples where it transcribes mu, which see. This kungana appears in Man’\ǀshnjthree times: MYS 2207 WA GA YADWO NO The miscanthus at the gate of ࿃ᒇᡞஅ ASADI IRODUKU my house is in full color. ὸⰲⰍ௜ On the field of Natsumi in ྜྷ㨶ᙇஅ YONABARI NO ኟ㌟அୖ∞ NATUMWI NO UPE ni Yonabari it seems that an early autumn drizzle is falling. ᅄල⚰㞽␲ VLJXUHPURURASI OJ: mwi OC: *m-OLW LH: ĨLW EMC: dĨjeW GO: ]LWL KN: VLWX NOM: WK̵WWKL͏W SV: WK͹c SK: sil Usage / History: This kungana suggests to the mind OJ m\ ‘fruit.’ This usage appears in the Chikuzen Census of 702: ṓDTOSIMWI, ᮌD KWIMWI. This graph is also used in Man’\ǀshnj for the place name Natsumi, ኟD NATUMWI (MYS 375). OJ: mwi OC: *kΩ LH: kѠΩ > kѠ EMC: kjѠ GO: ki KN: ki SV: ki SK: NX\ NOM: kiaNua Usage / History: This kungana is based on the association of OJ mwi ‘winnowing basket.’ This usage appears in Man’\ǀshnj to transcribe Natsumi ኟE NATUMWI (MYS 1737) or ᾆE URAMWI ‘(sailing) around the bay’ (MYS 509, 1671, 2735).  OJ: mZLWX OC: PULW LH: mѠW EMC: PMHW GO: PLWL KN: ELWX NOM: m̵W SV: m̵W SK: mil Usage / History: This extremely rare usage appears in +LWDFKLIXGRNL in the toponym F⟃㔛 Mwituki Village. This phonogram was likely selected for its dental final: mwiW + WXNL. There are examples of this preserved on wooden tablets that have been excavated, where parts of Buddhist sutras were written down, containing the word Ἴ⨶F㝀 (MKK 2:49) or Ἴ⨶Fከ (MKK 22:163) SDUDmwiWD, a 214

WUDQVFULSWLRQRISƗUƗPLWDRUWKHVL[YLUWXHVRQHVWULYHVWRDWWDLQRQRQH¶VZD\WR enlightenment.

ᑡ

♩

ᕐ

OJ: mwo OC: *mâ LH: ma > mэ EMC: muo GO: mo KN: ER NOM: mo, mô, mu SV: mô SK: mwo Usage / History: This phonogram belongs to the WS. It appears once in Wei zhi, transcribing the title ከ9 *ta-m‫ ;ܧ‬it also appears in a personal name of a king of .RJXU\ǂ as recorded in Wei zhi: ఀዀ9 *i-i-m‫ܧ‬. This graph also appears in several inscriptions from the peninsula. On the Kwangkaytho stele: ⮻9├ᇛ *ܳu-m‫ܧ‬l‫ ܧ‬fortress, ⱝ9├ᇛ *niak-m‫ܧ‬-l‫ ܧ‬fortress, ྂ9⪨⨶ᇛ *k‫ܧ‬-m‫ܧ‬-ya-ra fortress. This phonogram appears later in Nihon shoki, but appears only twice, in the same poem: NSK 114 9㦐Ὼ➼∞ moWogoWo ni Though blossoms are blooming ፠㑣᧛ᕥヱ㦐9 SDQDSDVDN\HGomo at the trunk of every tree, 㑣∞㦐ᰓẕ QDQLWo kamo why is it that my lovely ன㒔೜அఀẕᡃ XWXNXVLLPRJD beloved has not come ☻㝀ᕥᯨᾖῺ㎰ PDWDsakidekonu and bloomed again? OJ: mwo OC: *mâҌ LH: ma > mэ EMC: muo GO: mo KN: ER NOM: mo, mô SV: mô SK: mwo Usage / History: This phonogram belongs to the WS, appearing in one title in Wei zhi: ἥㅶ る *satu-m‫ܧ‬-k‫ܧ‬. This phonogram makes another appearance in Nihon shoki, once in annotational note, and eight times in song in the latter end of Nihon shoki: ఆᮏᡖᮎࠊṈபㅶⓏᒱ฼㡲⾫᪊ⲐἼ⨶ẚ ³ௗµcut the base and clear away the upper branches’ is read moWo NLULVXZHRVLSDUDSL”(NSG). NSK 116 ఀ☻⣖㑣ᒗ imakwi QDUX Above the knoll இṊ౛ᡃ⚷ᮼ∞ ZRPXUHJDXSHQL that is Imaki— ೜ㅶፋᑽẕ kumo dani mo if even a cloud ᪨ᒗ೜அከࠎ፠ VLUXNXVLWDWDED would clearly rise up 㑣∞ᰓ㑣ⓥᰓṊ nani ka nagekamu then I would not lament. OJ: mwo OC: *mâu LH: mau EMC: mâu GO: mou KN: ERX NOM: mao, mau SV: mao SK: mwo Usage / History: This phonogram belongs to the PBS. It appears in Paekche material quoted in Nihon shoki, in names such as ­㯞฼ྏᬛ Mwomari Siti, ┾­ὠ Sin-mwosin, and 㧗㯇ౝ㓾­἞ a personal doctor from Kwoma called Moudi. This phonogram appears seven times in the liturgies, three times for the particle mo, and four times for mwopa ‘seaweed’: ᒣ㔝⬟≀Ἴ⏑⳯㎞⳯ࠊ㟷ᾏཎ⬟≀ἼἼ ከ⬟ᗈ≀Ἴከ⬟⊃≀ዟ㒔­Ἴ㑔ὠ­Ἴ∞⮳㯞ᘭ YAMANWO no MONO pa 215

AMANA KARANA, AWOMI [NO] PARA no MONO SD SDWD no PIROMONO SAMONO, OKIWXmwopa S\HTU mwopa ni ITARU made “Including things

paWD QR down to sweet herbs and bitter herbs from the mountain moors, things with wide fins and narrow fins from the ocean plains, and seaweed from the offing and close to the shore” (NT 5). This phonogram appears a few times on various mokkan: ­㇋ஂ mwoduku ‘a type of seaweed’ (MK 1261), ­⨾Ⰻዪ MwomiraMYE (MK 2340), ఀ­኎ Imwomye (MK 798), ྊᚿⰋᮌே­฼௒ᛴ ‘Summon Mwori, a man from SiraKWI. Hurry now…’ (MK 3586). This is the principal phonogram used in Kojiki to transcribe mwo: KK 41 ▱፠⬟ WLEDQR Filled with leaves, ຍ㇋ᛣ⿁⨾⚰፠ NDGXQZRZRPLUHED when I look at Kazuno ­­▱㝀ὶ mwomwo WLGDUX I can also see countless ኪ㏓Ἴẕ⨾⏤ \DQLSDPRPL\X houses and yards. ஂ∞⬟ᐩẕ⨾⏤ NXQLQRSRPRPL\X I also see the heights of the land. This phonogram also appears in Nihon shoki, four times in annotational notes and 28 times in the poetry: ஼↻⼎⽂∔ୖ࿡ࠋྡ᭣­Å “They also boiled frogs for their delicacy. These are called mwomi” (NSG); ỢጒࠊṈபඏ㏓­ ³ௗµmy beloved’ is read nanimwo”(NSG). NSK 11 ឡÅリⅲ emisi wo The barbarian ẝ⃦฼ SLGDUL having been insulted— ­々㑣ẚⱏ mwomwo QDSLWR though people say ẚⱏ◚᫆㝙ᘕ­ SLWRSDLSHGRmo they have seen a 100 battles ከ∹ఞẝ­ໃ൲ WDPXNDSLmo sezu these do not even resist. This phonogram is also very prevalent in Man’\ǀshnj, but by the period of this anthology, the orthographic rules which kept ẟ mwo separate from ẕ mo had been confused, aside from that found in Books 5 and 15. If we count the overall usage in the anthology, ẟ appears 1751 times, while ẕ appears 1061 times. If the focus is limited to Book 5, we find ẕ 115 times, with ẟ only 49 (cf. Bentley 2002). A good example of the confusion of mo versus mwo appears in the very first poem in the anthology. MYS 1 KWO mo \R Ah, a basket, ⡲­⯅ carrying a fine basket— ⨾⡲ẕங mi KWO moTI ᕸஂᛮ­⯅ pukusi mo \R ah, a scoop, carrying a fine scoop— ⨾ኵྩᚿᣢ PLEXNXVLMOTI KONO WOKA ni maiden picking herbs Ṉᓅᑣ NA TUMAsu KWO on this hillock, ⳯᥇㡲ඤ IPYE NORAna tell me of your home. ᐙྜྷዉ NA NORAsaNE Tell me your name. ྡ࿌⣪᰿ SWORA MITU The land of Yamato ⹫ぢὠ YAMATO no KUNI PA which fills the firmament, ᒣ㊧஀ᅧ⪅ OSInaBETE every nook and cranny ᢲዉᡞᡭ WARE koso WORE I alone rule over! ࿃チ᭯ᒃ

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ᖌྜྷྡಸᡭ VLNL1$EH7( The entire realm WARE koso IMASE I alone govern! ࿃ᕫ᭯ᗙ WA koSO BA Then it shall be I ᡃチ⫼㰾 NORAME who will tell you ࿌┠ IPYE wo mo NA WO mo of my home and also my name. ᐙ࿧­ྡ㞝ẕ This phonogram is used in the Bussoku stele sequence, along with ẕ. BSS 8 ᕫ஀⨾㜿Ṇஇ NRQRPLDWRZR Seeking and searching ከ㇋⚇­Ṇ⡿ᘭ WDWXQHmoWRPHWH this august footprint ୚ఄẚṆ஀ \RNLSLWRQR to the land where ఀ㯞㡲ஂᑣࠎἼ imasu kuni nipa the righteous person resides; ࿴♩­㯞⫶ᘭ∹ ZDUHmo PDZLWHPX I would also venture there, ­࿅­࿅இ∔ᘭ moURmoURZRZLWH leading the masses. The cursive form of this phonogram becomes KLUDJDQD ࡶ , while a simplified writing of ẟ results in NDWDNDQD ࣔ.

✝

OJ: P\H OC: *PUrK LH: mѓh EMC: maѠh GO: mai KN: EDL NOM: m̩i SV: m̩i SK: PD\ Usage / History: This phonogram belongs to the PBS. It appears on the Kwangkaytho stele, in the place name ㎰㈽ᇛ *noƾ-m‫ܭ‬h Fortress and in the ethnonym ㈽໙వẸᅜ the people of *m‫ܭ‬h-ko-yo. This graph also appears in a vestige of Prince Shǀtoku’s genealogy, with the name ఀ᪁㈽ᨭᙗ Isimye Kimi. The earliest datable example appears on the Yamana Village stele (dated 681), where the name 㯮㈽ย⮬ KURWOmye Twozi appears. This phonogram appears in the liturgies seven times: ᚚ ⮃ ᣢ 㡲 ␃ ⱝ Ᏹ ຍ ⬟ ㈽ ⬟ ࿨ Ⓩ ᚚ ྡ ⪅ ⓑ ᘭ OPOMIKEMOTI VXUX WAKAukanomye no MIKOTO WR MINA PA MAWAOSIWH “We announce the name of Waka Ukame no Mikoto who has charge over the imperial food…” (NT 3). This phonogram appears a number of times on mokkan: இἼG Wopamye (MK 3291), ஂ ດ G ᩫ Kunumyepwi (MK 3345), ‫ ڧ‬ᑣ ஂ G Xnikumye (MK 2134). This is the principal phonogram used to transcribe P\H in Kojiki, in words such as ⿁Ⓩ㈽ ZRWomye ‘maiden,’ ឡୖẚ㈽ Epimye ‘land of Ehime,’ and ẚ ㈽ pimye ‘princess.’ It is also used exclusively in the poetry. KK 33 ⿁Ⓩ㈽⬟ ZRWRmye no The great blade of the sword Ⓩチ⬟㎪∞ WRNRQRE\HQL ࿴㈡ῒᒱ᪁ wa ga okisi I left by the bed 㒔ὶᒱ⬟ከ▱ WXUXJLQRWDWL of the maiden— ᭯⬟ከ▱Ἴኪ VRQRWDWLSD\D Ah! That sword. This phonogram also appears in Nihon shoki in names such as ẚ㈽ㄒ᭯♫ ⚄ ‘Pimyegoso Shrine’ (NSG), ᙗ㈽ᔱ ‘Mimye Island’ (NSG), and ㉺㐨ྩఀ ⨶㒔㈽ ‘Iratumye, the daughter of KWOSI [NO] KIMI’ (NSG). It also appears in two annotation notes, and in three times in song: 㓶ዪࠊṈபᚿチ㈽ ³ௗµugly women’ is read sikomye” (NSG).

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NSK 18 Å☻⣖ mimakwi Woe is Mimaki ␗฼ᐭ⬌᧛᥾ LULELNZRSD\D Iribiko! 㣡ᘕ㣹ⅲሳ ono ga wo wo Occupying himself ᚿ㰺ົⱏ VLVHPXWo with a princess, ㎰Ṧᮎྃᚿ⨶⌗ QXVXPDNXVLUDQL unaware that someone is ẚ㈽㑣⣲ᐭṦᮃ pimye QDVZRELVXPo waiting to take his life. This is also one of the principal phonograms used to transcribe P\H in Man¶\ǀVKnj, appearing roughly 68 times. MYS 77 WA GA OPOKIMI My great lord, ࿃኱⋤ MONO NA OMOPOSI do not worry about things. ≀Ⳙᚚᛕ The imperial deities are near, 㡲㈽⚄஀ sumye KAMWI no SWOPETE TAMAPYEUX and it is not true that Ⴙ⪋㈷ὶ WA GA NAKE NAku ni I have disappeared. ࿃Ⳙ໚ஂᑣ This is also the main graph used in the Bussoku stele sequence poems: BSS 6 㯞㡲Ⰻஇ஀ PDVXUDZRQo As we gaze at the trodden 㡲ࠎ⨾బᒱከ▱ VXVXPLVDNLWDWL footprints of the captain ᕸ㈽␃㜿Ṇஇ pumyeUXDWo wo who had gone on ahead ⨾㒔ࠎᚿ஀Ἴ∹ PLWXWXVLQopamu we will yearn for him; ከኴᑣ㜿ᕸ㯞ᘭᑣ WDGDQLDSXPDGHQL until we meet him directly; 㯞బᑣ㜿ᕸ㯞ᘭᑣ masa ni apu made ni until we truly meet him.

‫ݔ‬

OJ: P\H OC: NA LH: NA EMC: miΩ GO: mi\DPLLPHL KN: NA NOM: me SV: NA SK: mi Usage / History: This phonogram belongs to the LJS. This is a rare graph, and semantically represents the sound of sheep bleating. The glosses of this phonogram in the various manuscripts of +RNHN\ǀ RQJL are varied. Here I list all glosses of this phonogram from the various manuscripts (Ogura 1995.2:1170–1183): mei, mi, NDPXPL\DXPLL\DXIL\D. A few, like kamu and \DX, are obvious mistakes or attempts to gloss an unfamiliar phonogram that had been corrupted, as some manuscripts have ဇas ⒞. For the time being, the three most common readings are PL\DPLL, and mei, which are possible Go-on readings. The earliest datable instance of this graph is from the Chikuzen Census of 702: H㇋㈽ Myetumye. This phonogram also appears once in Kojiki, in ␜ᦶ அHᩫ Tagima NO Myepwi. This phonogram appears three times in the liturgies, each to write ẚH pimye ‘princess, female deity’ (NT 10). This graph also appears in four annotational notes and in two songs in Nihon shoki: ᑡዪࠊṈபⅲ➼H ³ௗµMaiden’ is read ZRWomye” (NSG). NSK 35 Å⳱㐝฼⬟ PLWXJXULQR But hidden within 㑣ఞ⳱᭥⬟ QDNDWX\HQR the middle branches

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ᗓಖㄒⱱ฼ SXSZRJRPRUL 㜿ఞ౛⸼ሳ➼H DNDUHUXZRWRmye ఀዔబఞ㯟᭥㑣 L]DVDNDED\HQD There are only six examples of this concentrated in Book 5: MYS 882 㜿ᡃ㎰᪁⬟ aganusi no ⨾ከ㯞ከ㯞ẚᘭ PLWDPDWDPDSLWH ἼὶబⰋ፠ SDUXVDUDED ዉⰋ⬟⨾ኪᨾᑣ QDUDQo mi\akwo ni Hబᐅከ㯞Ἴ⚇ myeVDJ\HWDPDSDQH

ⴴ

Ⱒ

we spy a maiden who is red, like the blossom. Come! Bloom and shine for us. phonogram in Man’\ǀshnj, all If I receive the spiritual power of my Lord, then when spring comes please summon me back to the capital in Nara.

OJ: P\H OC: *PUkҌ LH: maҌ EMC: maҌ GO: me KN: ED NOM: mã SV: mã SK: ma Usage / History: This phonogram belongs to the LJS. I placed 㤿ma in the WS because of its use in representing many toponyms in Wa / Yamato. This reading P\H is attested mainly in Man’\ǀshnj, but some manuscripts of Shoki gloss 㤿 as it appears in Paekche materials quoted as me. Consider the following examples as preserved in Nihon shoki, but with glosses taken from Shiki as recorded in Shaku Nihongi. In the 10th month of Kinmei there is an individual from Paekche called 㤿ḟᩥ, and glossed ma-si-mon. In an entry in the following year, this individual is called 㤿㐍ᩥ, glossed ma-sin-mon. Also in the 11th year of Kinmei another Paekche individual is mentioned, called 㤿Ṋ, glossed ma-mu. In 15th year of Kinmei, another man of Paekche is mentioned, 㤿୎Ᏻ, glossed ma-WL\DX-an. It is not improbable that these may have actually been me, but for the time being I focus only on Man¶\ǀshnj regarding 㤿 used to transcribe P\H. MYS 3236 IPATA NO MORI NO To the imperial deities ▼⏣அ♫அ at the Iwata Shrine 㡲㤿⚄ᑣ sumye KAMWI ni I hold to offer paper offerings— ያᕥྲྀྥ⪋ nusa TORIMUKYETE WARE PA KWOYEYUKU I am on my way over, ࿃⪅㉺ᚃ over Mount Ausaka. ┦ᆏᒣ㐲 APUSAKA YAMA wo OJ: P\H OC: *mens LH: mianh EMC: mjiän GO: memu KN: EHQ NOM: di͏n SV: di͏QUL͏n SK: P\HQ Usage / History: This phonogram belongs to the LJS, and appears twice Man’\ǀshnj. MYS 873 వ࿅㇋వᑣ \RURGX\o ni Let us pass down this tradition ྍከ฼㒔ኟ➼அ NDWDULWXJ\HWo si to the myriad generations— チ⬟ከỀோ kono WDNHQL it seems she waved ẚ౛ᕸ฼ᐙⰋஅ SLUHSXULN\HUDVL her scarf on this peak, 㯞㏻⨶బ⏝Ꮋ㠃 PDWXUDVD\ZRSLmye Princess Sayo of Matsura.

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It is possible that this graph is being used both for its phonological as well as its semantic value, along with Ꮋ ‘wife’; thus wife and 㠃 ‘countenance.’

⢂ ♓

Ἄ

ᅽ

OJ: P\H OC: *mî LH: mei EMC: miei GO: mei KN: EHL NOM: Pr SV: Pr SK: mi Usage / History: This phonogram belongs to the LJS. It appears in two annotational notes in Nihon shoki: ⨕㇟ ዪ ࠊṈ ப Å ⳱ ◚ᘕ ㏞ ³ௗµsacred water women’ is read PLWXSDnomye” (NSG); ✋㨦ዪࠊṈபனఞ⬟㏞ ³ௗµfood and drink woman’ is read ukanomye” (NSG). OJ: P\H OC: *mîh LH: meih EMC: mieih GO: mai, mei KN: EHL NOM: Pr SV: Pr SK: mi Usage / History: This phonogram belongs to the LJS. It appears in three annotational notes and 10 different poems in Nihon shoki: ゝူዪࠊṈபඏ೜ㅦ “The individual called ူዪ is to be read nakumye” (NSG). NSK 64 ᪊᭸బ⟠⌗ oposaka ni I met a young maiden 㜿ᕸኪⅲ➼ㅦⅲ DSX\DZRWomye wo on my way to ƿsaka. Å▱ᗘἍ㯟 PLWLWZRSHED I asked the way— ဟ㥏⌗◚⬟㑘Ꮶ WDGDQLSDQoUD]X she did not say go straight, ဟ⁽ᦶ▱ⅲ⬟ὶ WDJLPDWLZRQoUX but to take the Tagima Road. OJ: P\H LH: mian EMC: mjiän NOM: PrQPHQPLQ SV: PLrQ Usage / History: This phonogram belongs to the LJS, and shoki. NSK 38 ᙗ▱⬟அ฼ PLWLQo VLUL ྂἼ⃦ሳ➼I NZRSDGDZRWomye 㜿⨶⣲◚൲ DUDVZRSD]X Ἶ㎫༐ሳஅᩌ nesiku wosi zo ன⸼Ἴ㎫ᙗⱱᕸ XUXSDVLPLPopu

OC: NA GO: men KN: EHQ SK: P\HQ appears in three poems in Nihon This maiden from Kohada behind the road is wonderful, for she has lain with me offering no resistance.

OJ: P\H OC: *PUaƾ LH: mѠaƾ EMC: mjщƾ LMC: miajƾ GO: PL\DX KN: mei NOM: minh, PLrQJ SV: minh SK: P\HQJ Usage / History: This phonogram belongs to the CBS. It appears in a phonetic rendering of ኳ ⓚ in 5\ǀQRVKnjge: 㡲ᴦ⨾ᚚᚨ sumyeUDPLNRWR $VƿQR SRLQWV out, this transcription was done more for visual effect than an attempt at a perfect

220

one-to-one match, as these graphs could be read VXPHLUDNXPLJRWRNR As is these graphs roughly mean ‘moustache-bright-music-beautiful-august-virtue.’

্

਽

OJ: P\H OC: *QUaҌ LH: ۬iaҌ EMC: ۬jwoҌ GO: Q\R KN: G\R NOM: nͷ, nͣ, nͫ, nͷa SV: nhͷ, nͷ, nͱ SK: Q\H Usage / History: This kungana suggests to the mind OJ P\H ‘woman.’ I have found four examples of this kungana in 0DQ¶\ǀVKnj: ୕≟J஀ᾆ⬟ MINUMYE no URA no ‘(in the offing) of the bay of Minume’ (MYS 946, 1065), ぢᐟJ஀ᾆ⪅ MINUMYE no URA PA ‘the bay of Minume’ (MYS 1066), and ᠷ஀వᯆJ␃ KWOPWI QR\RGRMYEUX ‘(your) yearning is dormant’ (MYS 2721). OJ: P\H OC: *EΩҌ LH: EXҌ EMC: EMΩuҌ GO: EX KN: IXu NOM: phͭ, vͫ SV: phͭ SK: pwu Usage / History: This kungana calls to mind OJ P\H ‘women, wife.’ JidaL EHWVX NRNXJR GDLMLWHQ(1967:901) claims this usage appears in 0DQ¶\ǀVKnj, but I have not found any examples. It is possible that there is some graphic confusion between ዪ and ፬, though this seems unlikely. A possible example from excavated wooden tablets appears on a mokkan dated 767: ㉺୰ᅜK㈇㒆ᕝྜ㒓 KWOSI-[NO]NAKA 3URYLQFH(WFKnj MYEPI District, Kapapi Village (MK 31).

221

N ৎ

⤏

OJ: na OC: *nâ LH: nъ EMC: nuo GO: nu KN: do NOM: nô, no, nó SV: nô SK: nwo Usage / History: This phonogram belongs to the WS, where it appears as early as 57 CE, transcribing the domain name Na Aᅜ. This reading of na appears to have been preserved in the PBS, perhaps because of a conservative stratum of Chinese on the peninsula. This evidence comes from Nihon shoki, with glosses that have consistently transcribed ያ in Paekche names as na. The following names in Nihon shoki preserve the reading of na: ἋࠎA㊭ Sasanakwo (NSG), 㜿⚰A ㊭ Arenakwo (NSG), and ὠᏲ㐃ᕫ㯞A㊭ TUMORI MURAZI Komanakwo (NSG)—all three from Paekche or born of Paekche parents in Japan. By around 400 CE the vowel of this graph had rounded to [no] (cf. Coblin 1994:150). In Japan nwo later underwent vowel raising to nu (see OJ: nwo and OJ: nu). OJ: na OC: *nâi LH: nъi > nъ EMC: nâ GO: na KN: da NOM: na, ná, n̫, Qj SV: na, ná, n̫ SK: na Usage / History: This phonogram belongs to the WS. It appears in the title of an official: ᙗ ᙗ㑣฼ *me-me-na-ri. This phonogram also appears on the Kwangkaytho stele: 㑣᪦ᇛ *na-tan fortress, and ᩓ㑣ᇛ *san-na fortress. This phonogram also appears in Silla inscriptions. From the Tanyang inscription there is the place name 㑣฼ᮧ Nari Village. Also on the Naengsuri inscription there is the apparent personal name 㑣᪁฼ *na-se-ri, and the place name ⸽㑣ᨭ *s‫ܧ‬-na-ke. This graph also appears in the Suiko corpus, in the following genealogy preserved in JǀJnj SKǀWRNX hǀǀ WHLVHWVX: ྡఀᚿᨭ㑣㑻ዪ “Named Princess Isikina IRATUMYE.” ᛣ㑣ஂⰋᕸยከ㯞᪁ᨭኳⓚ “Great King Nunakura Putwo Tamasiki.´ƿno (1977:24) notes that in the Suiko era corpus ዉ is much more prevalent as a phonogram than 㑣. This is perhaps because 㑣 ‘which, what, that’ was semantically loaded, making it more difficult to use as a phonogram than ዉ ‘apple-pear.’ In spite of this difficulty, 㑣 was still used very productively in Japan. It appears three times in the liturgies: ⊃ஂ㑣ከ฼∞ୗ㈷Ỉஇ SAkunaWDUL QL SITASITAMAPU MIDU wo “…the water that issues forth (from the mountains) with great energy…” (NT 3). This phonogram appears on a variety of mokkan: 㑣㈗ 㤳ẟே Nakwi OBITO KEPITO (MK 27), ఀ㇋ᅜ㑣ྍ㒆࿴ᚿ㒓 Idu Province Naga District Wasi Village (MK 3197). Also, notice that in Kojiki 㑣 is used a total of 248 times, while ዉ is never used (ዉ is reserved for the question ዉఱ ‘how, why?’). A few examples illustrate this usage: Ⓩ⨾⬟㑣㈡㡲Ἶẝྂ Tomi no Nagasunebikwo ‘Nagasune 222

Hiko of Tomi’ (KG), ྂ㑣⨾ kwonami ‘main wife,’ ᏱἼ㑣⌮㈡ upanaUL ‘second wife’ (KG). KK 85 ពᐩᒱ⨾⿁ opokimi wo If you banish me, ᪁㯞∞ἼኵⰋ፠ VLPDQLSDEXUDED your great lord, to an island, ᕸ㑣㜿㯞⌮ puna DPDUL then I will definitely return ఀ㈡ᖯ⌮チ∹ᩂ LJDS\HULNRPX]R like a vast floating armada. ࿴㈡ከከᙗ⏤⡿ ZDJDWDWDPL\XPH Be vigiliant regarding チⓏ⿁チ᭯ NRWRZRNRVR my reed mats. When I mention ከከ⨾ⓏఀἼ⡿ WDWDPLWRLSDPH my reed mats I really mean: ࿴㈡㒔㯞Ἴ⏤⡿ ZDJDWXPDSD\XPH be vigiliant with my spouse. The phonogram 㑣 appears 18 times in the annotational notes and 70 times in the poetry in Nihon shoki: ἓⷙࠊṈப㜿࿴㑣ఄ ³ௗµFoam settles,’ this is read awanagi” (NSG), ᒱ⚄ࠊṈபᕸ㑣ᩯ⬟ຍᚤ ³ௗµDeity of the forked road,’ this is read punaWZR Qo kamwi” (NSG), ẋࠊṈபἼ㑣㇋ ³ௗµbreak down,’ this is read panaWX” (NSG). NSK 104 ᪁㑣ᥦὶ sinaWHUX Starving for want of food ⟠ከⅲ⟠ኪᦶ∞ NDWDZRND\DPDQL on Mount Kataoka, ఀẚ∞᝴ᘭ LSLQLZHWH the shining hill, チኪໃᒗ ko\DVHUX how pitiful is that farmer ㅖ⬟ከẚ➼㜿Ἴ⚰ sono WDSLWo DSDUH who has fallen. ᪊ኪ㑣᪁∞ R\Dnasi ni Surely you were not 㑣⚰ዉ⌮暆㏞ኪ naUHQDULN\HPH\D raised without parents. బ㡲㝀Ề⬟ VDVXWDNHQR Do you have no lord, ᯨᙗἼኪ㑣♲ NLPLSD\Dnaki strong like bamboo? ఀẚ∞᝴ᘭ LSLQLZHWH Starving for want of food チኪໃ␃ NR\DVHUX how pitiful is that farmer ㅖ⬟ከẚ➼㜿Ἴ⚰ VRQRWDpLWRDSDUH who has fallen. In Man’\ǀVKnj 㑣 is not as prevalent as ዉ, but it is still the second most popular phonogram for na, appearing 49 times. MYS 3781 ከ፩ᑣஅᘭ WDELQLVLWH Cuckoo, ẟ⬟ẟᕸ➼ྜྷᑣ PRQRPRSXWRNLQL do not cry out recklessly ಖ➼Ⓩ⸤㡲 SRWRWRJLVX when I am on a journey ẟ➼ዉ㑣㞴ྜྷ᭮ PRWRna na naki so and thinking about things. Ᏻᡃྂ㠀㯞ᕥὶ a ga kwopwi PDVDUX It only increases my longing. Here is an example of three different phonograms in a row, each representing na: ዉ㑣㞴. Interesting that the poet wanted to avoid repeating the same graph.

⮽

OJ: na, nani OC: *nân < *naU? LH: nъn EMC: nân GO: namu KN: dan NOM: nan, n̩QQjQ SV: nan, n̩n SK: nan Usage / History: This phonogram belongs to the WS. It appears in Wei zhi in the personal name 㞴༖⡿ *na-nԥ-sԥgu-mei which I interpret to mean ‘Sogume of Na.’ Thus this phonogram was used to transcribe two syllables. This graph also appears on 223

the Kansu inscription of Silla from 568 CE: ୚㞴኱⯋ Y‫ܤ‬-n‫ܤ‬n of the 12th rank. The same name also appears, with the same spelling, on the Wenli Silla inscription from 568 CE. This phonogram also appears in the Japanese corpus, but only to write 㞴Ἴ Nanipa. One mokkan from an excavation site in the ancient Nara capital contains the following place name: ከᅵホ㞴⏣ Tazi District, Nanida (MKK 26:22). The usage of ‘district’ written ホ suggests this usage pre-dates the Taihǀ&RGH of 701. This phonogram also appears in 0DQ¶\ǀVKnj, primarily to represent Nanipa 㞴Ἴ, but there is one example where it represents na: MYS 3781 ከ፩ᑣஅᘭ WDELQLVLWH Cuckoo, ẟ⬟ẟᕸ➼ྜྷᑣ PRQRPRSXWRNLQL do not cry out recklessly ಖ➼Ⓩ⸤㡲 SRWRWRJLVX when I am on a journey ẟ➼ዉ㑣㞴ྜྷ᭮ PRWRQDQDnaki so and thinking about things. Ᏻᡃྂ㠀㯞ᕥὶ a ga kwopwi PDVDUX It only increases my longing.

˱

প

OJ: na OC: *nΩըҌ LH: nΩҌ EMC: n̵iҌ GO: nai KN: dai NOM: n̫\ SV: nãi SK: QD\ Usage / History: This phonogram belongs to the PBS. It appears on the first stele of the Silla Namsan stelae group: Ἃႎ㡢Lྂ. There are two possible readings for this name: If 㡢 is an abbreviation for 㒊 then this may be *na-k‫ ܧ‬of the Sa-tĞhuas District of the Capital. If 㒊 has been left off, and 㡢 is a phonogram, then this may be *‫ܺݦ‬m-na-k‫ ܧ‬of the Sa-tĞhuas (District) of the Capital. This final reading is tempting, because the name almost sounds like a Japanese form of ‘son of Imna (Mimana).’ This phonogram also appears in a fragment on the Silla Cheng-tyey stele: ‫ڧ‬ኻ฼L฼ ‘(the name) *X-Ğit-ri-na-ri.’ This phonogram also appears in Nihon shoki, but in an interesting form that strongly suggests peninsular origins. Consider the usage of ஀ appears in the following stanaza: Lᴦ⬟፠ፅᦶൽ naUDN  Qo pasama ni ‘In the valley of Mount Nara….’ (NSK 95). In the 37th year of Nintoku the name of this mountain is written ஀⨶ᒣ, Nara YAMA. I believe that the usage evolved as QDUDN > QDUDK ! QDUD. While some may argue that there are other examples where -k final graphs are used phonetically for the first syllable, the use of ஀ to represent na leads me to believe this to be a peninsular (Paekche?) usage that was carried over into Japan. This usage also appears on the Daianji Temple stele of 775, with the name ஀ᴦஅி ‘capital of Nara(k).’ OJ: na OC: *nâs LH: nъs > nъi EMC: nâih GO: nai KN: dai NOM: QjLQ̩i, n̩\ SV: n̩i, nai SK: QD\ Usage / History: This phonogram belongs to the PBS. The place name M♲ᇛ *nagi fortress appears on the Sataykcicek inscription of Paekche. This graph also appears in 224

Silla inscriptions, such as Mᘮ⪮㒃ኻ฼ *na-put-tԥm-xak-sit-ri on the Tanyang inscription, and ኍኵ ᬛM 㯞 *it-pu-te of the 11th rank (nama) from the Naengsuri inscription. This phonogram also appears in the Suiko era corpus. In JǀJnj6KǀWRNXKǀǀ we have names such as: ⸽ᡃఀM⡿ᐟ⚲ Swoga Iname Sukune, ఩M㒊ᶲ⋤ Prince WinaBYE TATIBANA, and ከ⮳ἼM➼ᕬẚ஀ᘺᕫ➼ Tatibana Toyopi no mikoto. A mokkan excavated from the ruins of the Fujiwara Palace (fl. 694–710) contains what appears to be a variant of a famous poem found in the Kana preface to the Kokinshnj (MK 1613): Mᑣ⓶ࢶᑣ naQLSDWXQL At the ferry of Naniwa బஂ▮ᕫ஀⓶M saku YA ko no pana how these blossoms bloom— ᕸ⏤ᕫẕ฼ pu\XJRPRUL awakening from winter, ఀ┿⓶ࠎ␃㒊Ṇ iMA SDSDUXPYE Wo now they say it is almost spring: బஂ▮‫⓶ڧڧ‬M saku YA (ko no?) pana these blossoms in bloom. This phonogram appears six times in annotational notes, and 21 times in ዉ☻├ ³ௗµto corrupt (langage)’ is poetry in Nihon shoki song: ケࠊṈப⯆チዉ read \RNRnaPDUX” (NSG). NSK 2 㜿ጒMᒗኪ ame naUX\D In the heavens எⓏከM፠ከᘕ RWo WDnaEDWDQo the jewels strung upon ờM㣹ໃᒗ unaJDVHUX the string hung around ከ☻ᘕᙗ⣲☻ᒗᘕ WDPDQo PLVXPDUXQo the neck of the Weaver Maiden 㜿M㝀☻Ἴኪ anaGDPDSD\D are very beautiful— This is the primary phonogram in Man’\ǀVKnj to represent na, used roughly 1542 times (or nearly 30 times as often as 㑣). MYS 3 ඵ㝮▱அ YASUMISIsi In the morning when WA GA OPOKIMI no my great lord of the heavenly ᡃ኱⋤஀ ASITA NIPA eighty [rays of] sunshine ᮅᗞ TORINADE TAMAPI takes in his hand and strokes ྲྀ᧙㈷ YUPUPE NIPA the catalpa bow, ኤᗞ and in the evening stands ఀ⦕❧அ iYORI TATASIsi MITORASI no with the bow by his side— ᚚᇳ஀ ADUZA YUMI NO I can heard the sound ᱻᘪஅ made by the middle Mຍᙁ஀ naka PAZU no OTO SU naUL of the arrow notch. 㡢ⅭM฼ ASAGARI ni It seems that he now will ᮅ⊟ᑣ IMA TATAVXUDVL head out for the morning hunt. ௒❧㡲Ⰻᛮ YUPUGARI ni It seems that he now will ᬽ⊟ᑣ IMA WD7$VXUDVL head out for the evening hunt. ௒௚⏣῵Ⰻஅ MITORASI no That weapon of his— ᚚᇳ⬟ ADUZA YUMI NO I can hear the sound ᱻᘪஅ made by the middle Mຍᙁ஀ naka PAZU no OTO SU naUL of the arrow notch. 㡢ⅭM㔛 This phonogram is also used in the poetry of the Footprints of the Buddha sequence. 225

BSS 4 ᕫ஀⨾㜿Ṇ NRQRPLDWR This divine footprint, ኪ୚࿅㇋ẚ㈡฼இ \D\RURGXSLNDULZR may it emit ἼM▱ఀኴᚿ panaWLLGDVL 80,000 lights and ẟ࿅ẟ࿅㡲ஂẚ PRURPRURVXNXSL save the masses ࿴ከᚿከ㯞ἼM ZDWDVLWDPDSDna by ferrying them across. 㡲ஂẚከ㯞ἼM VXNXSLWDPDSDna May it save everyone. This phonogram also appears in a poem preserved in the $WVXWDGDLMLQJnjHQJL. M␃⨾Ⰻஇ naUXPLUDZR How far it is ⨾ஓ⚰ἼṆಖᚿ PL\DUHEDWRSRVL looking out over Narumi. ẚከຍ▱∞ SLWDNDGLQL With this pure oar ᕫ஀⏤୙ᚿಖ∞ NRQR\XSXVLSRQL I will cross repeatedly ࿴ከⰋ㒊∹ຍẟ ZDWDUDPYEmu kamo over this evening tide. The cursive form of this phonogram yields KLUDJDQD ࡞, while taking the first two strokes from this phonogram produces NDWDNDQD ࢼ.

Ӑ

ਡ

OJ: na OC: *nâi LH: nъi EMC: nâ GO: na KN: da NOM: NA SV: na SK: na Usage / History: I place this phonogram in the LJS, though it is possible it was used earlier. This graph is used mainly in Nihon shoki in various songs and annotational notes, but it also is used in a place name, N┴ Na [NO] AGATA, an ancient name for modern Hakata in Fukuoka City. This cannot belong to the CBS, as the Kan-on reading is da. This phonogram is used 12 times in annotational notes, and 47 times in poetry: ࿃ኵྩࠊṈப㜿ᡃNໃ ³ௗµMy beloved lord.’ This is read aga nase” (NSG), ୙㡲ஓป┠ở✧ࠊṈபఀNஅᒃᱵᯨᯨከNᯨ ³ௗµRefuse, hideous, and polluted,’ this is read ina sikoPHNLNLWDnaki” (NSG). NSK 83 ఀNṊ᪁├ inaPXVLUR The willow growing along ࿣⡔Ἱẚ㔝Nᨃ kapaswopi \Dnagwi the banks of the river bends ᐭ㏸ថถ㯟 PLGX\XNHED with the flow of the water. Nᙁ௻᪊ᕫ㝀ᬛ naELNLRNZLWDWL Fluttering or standing tall ᭯⬟Ἶ᧛Ᏹୡ൲ sono ne pa usezu the roots remain unchanged. OJ: na OC: NA LH: NA EMC: na GO: na KN: da NOM: na, n̩ SV: nã SK: na Usage / History: This phonogram belongs to the LJS, (if it was from the CBS it would be da), and appears sparingly in Nihon shoki, three times in annotational notes, and once in poetry: ኱ᕫ㈗ࠊṈப᪊〔፜'Ṋᬛ ³ௗµThe deity’s name ኱ᕫ㈗,’ this is read opo anaPXWL” (NSG), 㧗⬚ࠊṈபከḷṊ'ፅḷ ³ௗµHigh chest,’ this is read WDNDPXna saka” (NSG), ႖㡪ࠊṈபῒ➼'ẚ ³ௗµRing with noise,’ this is read RWonapi” (NSG).

226

NSK 115 ⯩'⣖㒔ヱ 㜿ᡃᰓ㈿ྂ☻᧛ ẚᯨᾖୡ൲ 㜿ᡃᰓ㈿ྂ☻இ ẚ㦐Å㒔⨶Ṋ⟠

ૼ

۵

kanakwi WXNH aga kapu kwoma pa pikide sezu aga kapu kwoma wo SLWRPLWXUDPXND

The steed that I kept bridled with hard wood was never allowed outside. How has someone found that steed that I nurtured?

OJ: na OC: *nrƾ LH: neƾ EMC: nieƾ LMC: niajƾ GO: ni\DXKN: nei NOM: ninh SV: ninh SK: Q\eng Usage / History: This phonogram belongs to the CBS, as it appears that the Japanese heard this as Q\D. The only example of this as a phonogram is in the toponym Oᵹ Nara(k). Examples in 0DQ¶\ǀVKnj include Oᵹᐑ Nara Palace (MYS 78, 79), Oᵹ஀ிᑣ⪅ naUD QR MIYAKWO ni PA ‘at the capital in Nara’ (MYS 80), and Oᵹ஀ிᖌ⪅ naUDQRMIYAKWO PA ‘the Nara Metropolis…’ (MYS 328). OJ: na OC: *meƾ LH: mieƾ EMC: mjiäƾ GO: P\DX KN: mei NOM: danhUanh SV: danh SK: m\HQJ Usage / History: This kungana calls to mind OJ na ‘name.’ The earliest datable example of this usage appears in the Taihǀ Census of 702, in personal names: ⹸P MUSINA, ⹸P㈽ MUSINAmye, and ᑠ⹸P㈽ WOMUSINAmye. Examples from mokkan excavated from the ruins of the Fujiwara Palace (fl. 694–710) include names or toponyms such as ⊦ P ┿ ே ⹸ 㯞 ࿅ WINA MABITO MUSImaro (MKK 13:13), and Pⲡ㒆 NAGUSA District (MK 1645). One example, ከ㐜ẚ᪥P Tadipi PINA, is dated Second month, seventh day, 708 (MK 1102). There are many examples of this kungana in Kojiki, but these are all confined to the first volume of the book: ኳஅ┾P஭ AME NO MANAWI ‘the Mana well of heaven’ (KG), ᡭP᳝ TENADUTI ‘(her name was) Tenazuchi’ (KG), and ᷸P⏣ẚ㈽ KUSINA'$SLP\H ‘Princess Kushinada’ (KG). This same type of usage also appears in Nihon shoki D WRWDO RI  WLPHV DFFRUGLQJ WR ƿQR (1977:803): ఀ㇧஧PὪ ,\R[NO] PUTANA SIMA ‘Futana Island of Iyo’ (NSG), ౗Pᡞ KUNATWO ‘the deity Kunato’ (NSG), and ኳ┾P஭ AME AME [NO] MANAWI (NSG). This kungana is very popular in 0DQ¶\ǀVKnj, appearing over 200 times in the anthology. MYS 10 KIMI GA YO mo Let us tie together ྩஅ㰾ẕ WA GA YO mo SIRU YA the grass on the hills ࿃௦ẟᡤ▱ဢ ☬௦஀ IPASIRO no of Iwashiro which has power WOKA NO KUSANE wo over the life of the ruler ᒸஅⲡ᰿இ IZA MUSUBITE NA as well as my own. ཤ᮶⤖ᡭP

227

⸂

˛ ≣

ʹ

OJ: na OC: *ƾa LH: ƾѠъ EMC: ƾjwo GO: go KN: J\R NOM: ng˱, ng˯ SV: ng˱ SK: e Usage / History: This kungana suggests to the reader OJ na ‘fish.’ The modern word, sakana, is usually interpreted as saka-na ‘rice wine-greens.’ The Old Japanese word for fish is uwo. Consider, however, the following note from Nihon shoki: 㨶ࠊṈப ඏ ³ௗµFish,’ this is read na” (NSG). In the Yamashiro census from 726 is the name ኱㨶, which is usually read OPONA (cf. ƿQR  The earliest datable example of this graph appears on a mokkan which contains the date of the fourth month, 709. This fragment contains what appears to be a name: ஂᕫ฼㨶 KukoriNA. This phonogram also appears once in Kojiki: ⦺㨶⠯ MaNASU (KG). There is also one example in Nihon shoki: ඵ㔮㨶 YATURINA, and the early editor added a note saying that 㨶 is to be read na (NSG). There are five examples of this semantogram in 0DQ¶\ǀVKnj. MYS 2190 WA GA KADWO NO The miscanthus at the gate ࿃㛛அ ASADI IRODUKU of my house is in full color. ῦⱴⰍᑵ ྜྷ㨶ᙇ⬟ YONABARI no It seems that the autumn leaves ᾉᰘ஀㔝அ NAMISIBA no NWO NO of the trees on Namishiba Plain MOMIDI TIRUUDVL in Yonabari are scattering. 㯤ⴥᩓⰋ᪂ OJ: na OC: *WUXƾ LH: ‫ܒ‬uƾ EMC: WMXƾ GO: WLX KN: WLX NOM: WUXQJ, WUX{QJ SV: WUXQJ, WU~QJWU͕ng SK: F\XQJ Usage / History: This kungana calls to the mind of the reader OJ naka ‘inside,’ but Nihon shoki contains this interesting note: ன ୕ ᅧ ᆏ Q ஭ ୰ ࠊ Ṉ ப 㑣 “…to SAKANAWI of MIKUNI… ‘Inside,’ this is read na.”  OJ: na OC: *WVKΩըh LH: WVKΩh EMC: WVK̵ih GO: sai KN: sai NOM: NA SV: WKiL SK: FKR\ Usage / History: This kungana calls to mind OJ na ‘side dish, vegetables.’ This usage only appears in 0DQ¶\ǀVKnj. MYS 8 When I was about to board ⇍⏣ὠᑣ NIKITATU ni PUNANORAVHPXWR a ship at Nikita Port, waiting ⯪஌ୡṊⓏ TUKWI MATEBA for the moon, the tide came in ᭶ᚅ⪅ SIPO mo kanapiNU allowing us to depart. ₻ẟྍዉẚ἟ IMA PA kogiIDE NA Shall we not row out presently? ௒⪅チ⸤ஒ菜 OJ: na LH: WVKLW NOM: WK̭W

EMC: WVKMHW SV: WK̭W 228

OC: *WVKLW GO: VLWL KN: VLWX SK: chil

≂

ࠪ ♇

‫ٷ‬

Usage / History: This kungana suggests to the mind OJ na of nana ‘seven.’ It occurs five times in 0DQ¶\ǀVKnj, four of those times to represent part of naku ni ‘do not.’ MYS 506 WA GA SEKWO pa My beloved, ࿃⫼ᏊἼ MONO NA OMOPI SO do not worry about things. ≀Ⳙᛕ KOTO si ARABA If something were to happen ஦அ᭷⪅ PWI nimo MIDU nimo do you not have me who would ⅆᑣẟỈᑣẕ WA GA NAKENAKU NI go through both fire and water? ࿃ⳘSᅧ  OJ: na OC: *mâkh LH: mah EMC: muoh GO: maku NOM: m̩c SV: m̩c SK: PZRPDNPR\N Usage / History: This kungana suggests to the mind OJ na when it appears as a negative imperative na…so ‘do not do X.’ This usage appears in 0DQ¶\ǀVKnj five times. MYS 1167 I wonder who is ᮅධⅭ➼ ASARI SU WR ISWO ni WA GA MIsi harvesting the gulfweed ♒ᑣ࿃ぢஅ that I saw 莫࿌⸴இ NANORISO wo IDURE NO SIMA NO as I fished from ㄡᔱஅ the rocky shore. ⓑỈ㑻ྍᑗⱉ AMA ka KARIKYEMU  OJ: nagi OC: *nâƾ LH: naƾ EMC: nâƾ GO: nau KN: dau NOM: nang SV: nang SK: nang Usage / History: This phonogram belongs to the LJS, appearing in a toponym +DULPDIXGRNL, in the toponym ⨾(㒆Minagi District. :DP\ǀVKǀ later represents this as ⨾ ዉᮌ minaKWI.  OJ: naki OC: *nâk LH: nak EMC: nâk GO: naku KN: daku NOM: n̿c SV: n̿c SK: nak Usage / History: This phonogram belongs to the LJS. It appears only in Nihon shoki, in the name of the male creation deity: ఀዔㅙ Izanaki. This name is generally pronounced as Izanagi, but consider that based on a note in Shiki, which represents the pronunciation of the name as ཤ᮶㬆 IZA-NAKI, this originally was pronounced as ki and not gi in Nihon shoki.  OJ: name, nami, namu OC: *nΩըm LH: nΩm EMC: n̵m GO: namu KN: dan NOM: nam SV: nam SK: nam Usage / History: This phonogram belongs to the LJS. It appears in a variety of records with a variety of readings. The earliest I can find is in documents preserved in 6KǀVǀLQ: 229

༳T Inami, and ⏑Tഛ Kamunabwi. A wooden document excavated from the Nara Capital ruins contains part of a name ṇභ఩ୖ⏑Tഛ┿ே Kamunabwi MABITO of the Senior Sixth Rank Upper (MK 4209). A fragment of SLWR nGHUDSX), but I only know of cases where the subject marker is either present or absent, but I know of none where an eliding subject marker leaves a trace. For the time being, I leave this as is. OJ: ne OC: *kΩըn LH: kΩn EMC: kΩn GO: komu KN: kon NOM: căn, c͟i SV: căn SK: kun Usage / History: This kungana suggests to the reader OJ ne ‘root,’ and first appears in the TaihǀCensus of 702 in names such as ▼Y ISINE, 㜿Y㈽ aNEmye, and Y 㒔㈽ NEtumye. This kungana is also found throughout Kojiki and Nihon shoki. Examples from Kojiki include ኳὠ᪥ᏊY AMATU PIKWONE (KG), ᗏὠ▼Y SOKOTU IPANE (KG). 234

௹

ඔ

ᢤ

Examples from Nihon shoki are: ᇻᅵY UPIDINE (NSG), Y⿣⚄ the deity NESAKU (NSG), ኳὠᙪY AMATU PIKWONE (NSG), and ṇဢ࿃຾຾ ㏿᪥ኳᚸ✠Y MASAKA AKATU KATIPAYAPI AMA [NO] OSIPONE (NSG). There are roughly 36 examples of this in Man’\ǀVKnj. MYS 123 ከỀ፠ያ♩ WDN\HEDQXUH The locks of my beloved, pinned up, they come undone. ከ㤶Y⪅㛗ᑍ WD.$NEBA NAGAKI IMWO GA KAMI Left as is, they are long. ጒஅ㧥 KONO KORO MINU ni Having not seen her I wonder Ṉ᮶୙ぢᑣ KAKIRE78UDPX.$ if she has combed them? ᥙධὠⰋṊ㤶  OJ: ne OC: *UrƾҌ LH: lieƾҌ EMC: ljäƾҌ GO: UL\DX KN: UHL NOM: NA SV: lƭnh SK: O\HQJ Usage / History: This kungana suggests to the reader OJ ne ‘mountain peak,’ based on an analysis, perhaps of OJ mine, where mi was analyzed as an honorific prefix. This usage only appears in 0DQ¶\ǀVKnj, and I have only found one example in the following. MYS 3314 ḟZ⥂ TUGINEPU A stranger’s spouse YAMASIRODI wo rides a horse down ᒣ⫼㐨இ PITOduma no the Yamashiro Road ே㒔ᮎ஀ UMA YORI YUKU ni of recurring mountain peaks, 㤿ᚑ⾜ᑣ ONODUMAsi but as my own spouse ᕫኵஅ KATI YORI YUKEBA walks the road on foot, Ṍᚑ⾜⪅ MIRU GOTO NI every time I see him ẖぢ NE NOMWIsi NAKAYU a cry naturally comes forth. ူ⪥அᡤἽ  OJ: nemu OC: *nîms LH: nemh EMC: niemh GO: nemu KN: demu NOM: ni͏PQL͉m SV: ni͏m SK: Q\HP Usage / History: This phonogram belongs to the LJS. It appears but once in 0DQ¶\ǀVKnj. MYS 735 Haze lingers ᫓᪥ᒣ KASUGA YAMA KASUMI WDQDBIKI on Mount Kasuga, 㟘ከዉᘬ KOKOROguku and the hazy moon ᝟ලஂ TERERU TUKUYWO ni shines half-heartedly. ↷᭶ኪᑣ PITORI KAMO nemu Will I sleep alone? ⋊㬞[ OJ: ni < ne LH: ĔeҌ NOM: nƭ

EMC: ĔĨjeҌ SV: nhƭ

235

OC: *neҌ GO: ni KN: zi SK: i

Usage / History: This phonogram belongs to the WS. It appears in the apparent royal title of \ᨭ *ne-ke, which I have postulated means ‘root-king.’ This graph also appears on the ⶢᕞ Silla in the name: \฼ኵᬛ *Ne-ri-pu-te. This graph also appears in Nihon shoki from quotes of Paekche records: \ Ἴ ⛣ Ne-pa-ya-i, ஂ \ ㎞ Ku-ne-sin, \ ᯘ Ne-lim, ྂ \ ゎ K‫ܧ‬-ne-k‫ܭ‬. Because of vowel raising in Japanese *ne raised to ni. The graph is often abbreviated to ᑣ. This phonogram appears in JǀJnj 6KǀWRNX Kǀǀ WHLVHWVX in the following names: ྡ㜿⡿ஂ]ព᪁Ἴ␃ᨭẚ㔛ᑣἼ஀ᘺᕫ➼ “His name is Ame Kuni Osiparuki Piro no mikoto.” This phonogram appears often in the liturgies: ⓚ⚄ ➼๓\ⓑஂ SUME KAMWITATI [NO] MAPYE ni MAWOSAku “and declare before the imperial deities…” (NT 14). This phonogram appears on a variety of mokkan: ] ⰋஅᕸniUDNO NUNO ‘type of cloth’ (MK 2608), ࿴]㒊⮧∹Ⰻ͐࿴]㒊Ᏻಸ WaniBYE OMI Mura…WaniBYE Abe (MK 318), ⋢]᭷⓶ᡭ]㯞ఄẕ▱⪋ఀ ‫⓶ڧڧ࣭ڧ‬ఀຍ]ຍ TAMA ni ARU pa TE ni makimoWLTE iX…XX pa ikani ka… “As for what is on the jewels, wrap them around your wrist…why…?” (MKK 10:90). This phonogram also is used often in Kojiki, though 㑑 is more prevalent. Examples from Kojiki include: ᘓἼ\Ᏻ⋤ Prince TAKYE Pani YASU (KG), ࿴ \ ྜྷ ᖌ Wani Kisi (KG), and ᕸ ᩯ 㯞 㑑 \ SXWZR PDQL ni ‘by great divination’ (KG). KK 28 ከ㏑ẚ㏑ὶ WDNDSLNDUX The august son of the sun ẚ⬟⨾ྂ pi no mikwo which shines high above, ኪ㡲⨾᪁ᚿ \DVXPLVLVL my great lord ࿴㈡ពᐩᒱ⨾ wa ga opokimi of the heavenly eight rays— 㜿Ⰻከ㯞⬟ DUDWDPDQR as the year comes and goes Ⓩ᪁㈡ᒱᕸ⚰፠ WRVLJDNLSXUHED like a rough gem, 㜿Ⰻከ㯞⬟ DUDWDPDQR the months come and go 㒔⣖Ἴᒱ㛠⏤ஂ WXNZL SDNLSH\XNX like a rough gem, Ᏹಸ㑣Ᏹಸ㑣 XEHQDXEHQD Indeed it is! Indeed it is! ᒱ⨾㯞▱㈡ከ\ NLPLPDWLJDWDni Unable to wait for you ࿴㈡♮ໃὶ ZDJDN\HVHUX will not the moon rise ព㡲ẚ⬟㡲⸽\ osupi no suswo ni and shine on the hem of 㒔⣖ከከ㑣∹వ WXNZL WDWDQDPX\R the outer robe I am wearing? Nihon shoki contains this phonogram in eight annotational notes, and it appears 29 times in poetry: ⴥᮌᅧࠊṈப᧛ᨀ▴\ ³ௗµLand of tree leaves,’ this is read pako kuni” (KG), ኴ༨ࠊṈபᕸย☻\ ³ௗµgreat divination,’ this is read SXWZR mani” (KG), 弈㎜↛ࠊṈபஇㅛⱞ␃␃\ ³ௗµthe jewel necklace will have no end,’ this is read wo mo NXUXUXni” (KG). NSK 104 ᪁㑣ᥦὶ VLQDWHUX Starving for want of food ⟠ከⅲ⟠ኪᦶ\ NDWDZRND\DPDni on Mount Kataoka, ఀẚ\᝴ᘭ ipi ni ZHWH the shining hill, チኪໃᒗ ko\DVHUX how pitiful is that farmer ㅖ⬟ከẚ➼㜿Ἴ⚰ sono WDSLWo DSDUH who has fallen. 236

᪊ኪ㑣᪁\ R\DQDVLni Surely you were not 㑣⚰ዉ⌮暆㏞ኪ QDUH QDULN\HPH\D raised without parents. బ㡲㝀Ề⬟ VDVXWDNHQR Do you have no lord, ᯨᙗἼኪ㑣♲ NLPLSD\DQDNL strong like bamboo? ఀẚ\᝴ᘭ ipi ni ZHWH Starving for want of food チኪໃ␃ NR\DVHUX how pitiful is that farmer ㅖ⬟ከẚ➼㜿Ἴ⚰ VRQRWDpLWRDSDUH who has fallen. This phonogram is the principal graph used to represent ni in 0DQ¶\ǀVKnj, appearing approximately 4017 times, which works out to be about 200 times per book, and this is one of the few phonograms to be consistently used throughout the entire anthology. MYS 795 ఀᘢ\⏤ఄᘭ LS\Hni \XNLWH What am I to do once ఀྍ\ྍ㜿ᡃୡṊ ika ni ka a ga semu I have returned to my home? ᦶஂⰋ㇋ஂ PDNXUDGXNX Likely I will have lonely 㒔ᦶኪᕥኵ᪁ஂ WXPD\DVDEXVLNX thoughts of our sleeping hut ᪊ẕಖ⏤ಸ᪁ẕ RPRSR\XEHVLPR where our pillows touch. This is the only phonogram used in the Footprints of the Buddha poetic sequence. BSS 6 㯞㡲Ⰻஇ஀ PDVXUDZRQo As we gaze at the trodden 㡲ࠎ⨾బᒱከ▱ VXVXPLVDNLWDWL footprints of the captain who had gone on ahead ᕸ㈽␃㜿Ṇஇ SXP\HUXDWo wo ⨾㒔ࠎᚿ஀Ἴ∹ PLWXWXVLQopamu we will yearn for him; ከኴ\㜿ᕸ㯞ᘭ\ WDGDni apu made ni until we meet him directly; 㯞బ\㜿ᕸ㯞ᘭ\ masa ni apu made ni until we truly meet him.

⛳

OJ: ni OC: *nis LH: Ĕis EMC: ĔĨih GO: ni KN: zi NOM: QKuQḰ SV: nh͓ SK: i Usage / History: This phonogram belongs to the PBS. It appears in place names recorded in Nihon shokiThe following is illustrative: ᪁^ᒱ᪭ᒱ seniki kanki ‘princes of Seniki.’ In general this phonogram and its simplified form were avoided, because of the semantics, ‘two.’ This phonogram also appears in three annotational notes and twice in one song: てᅧࠊṈப▴㈖☻൤ ³ௗµView the land,’ this is read kuni magi” (NSG), 㢷㟢ࠊṈப㜿⨶᧛㈖ ³ௗµBe visible,’ this is read DUDSDni” (NSG), 㰻ᗞࠊṈப ㋒㈖Ἴ ³ௗµSacred yard,’ this is read \Xnipa” (NSG). NSK 69 㜿㈨⮎⣖⬟ asipikwi no Weary from climbing ᳰᦶፋⅲ⳱໙฼ \DPDGDZRWXNXUL I cultivated mountain land. The mountain being high, ᳰᦶፋ⟠ᙗ \DPDGDNDPL ᪁ဟ፽ⅲ࿴அໃ VLWDEZL wo wasise I buried irrigation pipes. ᚿဟ㑣௻㈖ VLWDQDNLni Thus I cry to myself. ࿴㣹ඏ໙⳱ᦶ ZDJDQDNXWXPD I weep for my spouse— ⟠ဟඏ௻㈖ NDWDQDNLQL and I whimper. 237

࿴㣹ඏ໙⳱ᦶ wa ga QDNXWXPD I cry for my spouse. ཤ㚖ཤ᭳ kozo koso It was last night ᳰ୺༐὆ፋᕸ౛ \DVXNXSDGDSXUH that our flesh calmly touched. This phonogram appears over 300 times in Man’\ǀVKnj. MYS 22 KAPA NO PE no On the sacred cluster of Ἑୖ஀ boulders upriver grass ‫‮‬ὠ┙ᮧ^ YUTU IPAMURA ni KUSA musazu does not grow. I wish they ⲡṊᕥཷ TUNE NImo GAMO NA could forever remain thus. ᖖ୹ẟෂྡ TUNE WOTOMYE NITE Forever like a young maiden. ᖖ⹦ዪ↻ᡭ

̘ ͈

OJ: ni OC: *nis LH: Ĕis EMC: ĔĨih GO: ni KN: zi NOM: QKuQḰ SV: nh͓ SK: i Usage / History: See the explanation under the character ㈖. OJ: ni, nini OC: *nin LH: Ĕin EMC: ĔĨjen GO: nimu KN: zin NOM: nhân SV: nhân SK: in Usage / History: This phonogram belongs to the PBS. It appears in the well known name ⋤ _ Wani, who legend claims was sent from Paekche to educate the Yamato Court in Chinese writing and literature. It is difficult to date this usage, because Kojiki writes the name ࿴㏓ྜྷᖌ wa-ni kisi. There is also one example of this as nini in Kojiki: ␒_ᒱ࿨ Po [NO] Ninigi, the imperial deity, the grandson of the Sun Goddess. Nihon shoki also contains the names of people from Paekche: one a vice envoy named ᮾ㒊ᜠ⋡ㄪಙ_ Teu-si-ni of the third rank from the eastern quarter, and another 㙟ᑘ๽_㢪 Occupying Commander Riu-ni-guwen, and ౝ㓾ⓒ⃽ே൨_ Attending Pharmicist, a person from Paekche, (named) Oku-ni. This phonogram appears three times in the liturgies: ⓚ⚄➼⬟ᗈ๓_ⓑஂ SUMEGAMWITATI no PIROMAPYE ni MAWOSAku ‘I declare before the broad audience of the imperial deitieis…’ (NT 2). This phonogram appears on mokkan to transcribe the following names or toponyms: ഛ๓ᅜୖ㐨㒆ᒃ㒔㒓࿴_㒊ኴ㒔୓࿅ BIZEN [NO] KUNI UPAMITI District Kotu Village WaniBYE Tatumaro (MKK 4:12), and ฟ㞼ᅜ_ከ㒆 IDUMWO [NO] KUNI Nita District (MKK 20:14). The second example contains the date 757. There is also a mokkan with the following fragment of a poem: ዉ_Ἴ 㒔‫ڧ‬బஂኪ naniSD WX QL?  VDNX \D ‘At the ferry of Naniwa, (those blossoms that) are in bloom…’ (MKK 30:194). The phonogram appears in 0DQ¶\ǀVKnj over 50 times. MYS 3740 Ᏻ⡿㒔▱⬟ DPHWXWLQR Certainly if there ྍᮍዉఄẟ⬟ᑣ kamwi naki mono ni were nothing as the deities ᏳⰋ፠チ᭮ DUDEDNRVR of heaven and earth

238

Ᏻᡃẟᕸఀẟᑣ ᏳἼཷᛮ_ୡ⡿

⤈

େ

a ga mopu imwo ni apazu siniseme

then I would die without meeting the beloved I think of.

OJ: ni OC: *neҌ LH: ĔeҌ EMC: ĔĨjeҌ GO: ni KN: zi NOM: NA SV: nhƭ SK: i Usage / History: This phonogram belongs to the LJS. The earliest datable example appears in ㏓ PATABYE Ani. It also appears the Buzen Census (702), in the name ⛙㒊㜿㏓ on mokkan, transcribing Ᏹ㑑uni ‘sea urchin,’ and ▼ぢᅜ㑑ᦶ IPAMI [NO] KUNI Nima (District). This phonogram appears a few times on mokkan: ‫ڧ‬ᅜ㏓ ᦶ㒆 X Province Nima District (unnumbered tablet), ὠ㏓㒓TUni Village (MK 181), where ㏓ is an abbreviated graph of 㑑. This phonogram is also popular in Kojiki, appear in examples such as: Ᏹẚ ᆅ㏓⚄ the deity Upidini (KG), ḟጒ㡲ẚᬛ㏓⚄ and his sister, the deity Supitini (KG), ஂ⨾ᗘ㏓ kumidwo ni ‘at the wondrous door’ (KG). KK 29 ⿁Ἴ⌮㏓ ZRSDULni Directly across ከ㝀㏓∹㏑ᖯὶ WDGDni PXNDS\HUX from Owari— ⿁㒔⬟బᒱ㑣ὶ ZRWXQRVDNLQDUX there a lone pine ẚⓏ㒔㯞㒔 SLWRWXPDWX tree on the Cape of Otsu. This phonogram is used sparingly in Nihon shoki, appearing once in an ㏓ẟ ³ௗµYour annotational note, and four times in the poetry: ỢጒࠊṈபඏ㏓ beloved,’ this is read nanimwo” (NSG). NSK 66 బ⍰⨶㣹ከ VDVDUDJDWD Undo the string with ㏓அᯨ⬟⮎ẟᘯ nisiki no pimwo wo the bamboo whisk design— ➼ᯨ⯋Ẽᖇ WRNLVDNHWH that brocade string. 㜿㯞ከ⤎Ἶཷ㏓ DPDWDSDQH]Xni I cannot spend many nights; ከ⃦ẚ➼⏝⬟ᮍ WDGDSLWR\ZRnomwi let us spend but one night. This phonogram appears roughly 11 times in Man’\ǀVKnj (depending on the manuscript): MYS 215 PUSUMADI NO I left my beloved ⾾㊰ in the mountains of Hikide ᘬฟᒣ PIKIDE NO YAMA NI IMWO WO OKITE along the road of Fusuma. ጒ⨨ YAMADI OMOPU ni I have no energy to live, ᒣ㊰ᛕ㑑 IKERU WZRPRNASI thinking about that road. ⏕ยẟ↓ OJ: ni OC: *QULor *nîh LH: ۬i, neih EMC: ۬i, nieih LMC: QUL GO: ni KN: GLGLWL NOM: ni, n˯LQj\ SV: ni, n̵c, n̵W SK: ni, nil Usage / History: This phonogram belongs to the LJS. As it appears in the Nihon shoki, it seems clear that the earlier reading of n- was used, since the LMC would require di, and there are examples of this in 6KRNLThis phonogram is used three times in

239

annotational notes, and four times in poetry: ࿴ ᖯ ࠊ Ṉ ப 7 ᯨ ᗏ ³ௗµSoft offerings’ (NSG), this is read niNLWH.” ẚୣ7 ELNXni “nun” (NSG). NSK 128 㜿⟠ᝅ㤿⬟ akagwoma no The red horse hestitates ௨႘௻Ἴࠎ⟠ᒗ L\XNLSDEDNDUX to move toward 㯞▴൲᧛⨶ PDNX]XSDUD the true vine field. ዉ∞⬟㒔ᗏᨀ㦐 QDQLQRWXWHNRWR Why send a message when you ከ㢒7அ᭥㭜Ṋ WDGDniVL\HN\HPX can just say it directly? There is also a curious word, reportedly of Silla origin: ஂ㡲7⮬฼ kusuni]LUL (< *kusoniziri),but the meaning is not clear. From simple context, it would appear to be some type of lament. This graph also appears in Man’\ǀVKnj, but only twice in the same poem, once to represent ni and once as ne. MYS 1694 ⣽ẚ♩஀ TAKUSLUHQR White azaleas on Mount Sagisaka, 㮛ᆏᒣ SAGISAKA YAMA NO SIRATUTUzi like a hempen scarf— ⓑ⟶⮬ WARE ni nipopane Stain me with your brilliance; ࿃∞7ಖἼᑽ IMWO ni SIMYESAMU I will show it to my beloved. ጒ∞♧

ᅠ

‱

OJ: ni OC: *QLW LH: ĔLW EMC: ĔĨMHW GO: QLWL KN: ]LWX NOM: nh̵W, nh͹W SV: nh̵W, nh͹W SK: il Usage / History: This phonogram belongs to the LJS, appearing in a Nara era document, written in the name `ᐩ㒆 Nipo District. This phonogram usage is very rare, as it was used more often as a kungana to transcribe pi (which see). This phonogram also appears in 0DQ¶\ǀVKnj, the majority of the time to represent pi, however, there is one example, MYS 87 where the poem ends with ୓௦`made ni until….’ ƿQR–471) has argued that ᪥ in this poem is actually a mistake for ᑣ; however, there is continuity among the textual witnesses, so regardless that other poems may contain the phrase ୓௦∞ made ni, that does not prove that MYS 87 should also. Thus: MYS 87 ARITUTU MO I shall continue ᅾ⟶　 KIMI woBA MATAMU to wait for you like this— ྩஇ⪅ᑗᚅ UTINABIKU until frost lights ᡴ㠂 WA GA KURWOKAMI ni upon my black hair ࿃㯮㧥ᑣ SIMWO no OKU made ni that flutters in the wind. 㟖஀⨨ⴙ௦` OJ: ni OC: *nΩ LH: ĔΩ > ĔѠ EMC: ĔĨѠ GO: ni KN: zi NOM: QKt SV: nhi SK: i Usage / History: This rather rare usage belongs to the LJS. This usage appears only in the first three books of Nihon shoki, twice in annotational notes and four times in two songs: ዺဢࠊṈப㜿㑣⽽᝴ኪ ³ௗµHow delightful,’ this is read ana ni ZH\D” 240

⁄

ᥠ

(NSG), ❧᪊ᾋ῵ᅾᖹ⹦ࠊṈப⩚௻∞☻᲍㝀ẝ㑘⽽㝀㝀ᚿ ³ௗµThere is a floating island, and they descend on the flat land and stand upon it,’ this is read XNL]LPDD ULWDSLUDni WDWDVL” (NSG). NSK 9 ᪊బ⟠ᘕ osaka no Though there are many ᪊᭸ົ㟢ኪ⌗ RSRPXUZR\DQL who have come and entered ẚⱏ⍰◚⽽ SLWRVDSDni the great cavern of Osaka, ␗㞳ⅲ฼ⱏẟ LULZRULWRPR and though many men ẚⱏ⍰◚⽽ SLWRVDSDni have entered here ᯨఀ㞳ⅲ฼ⱏẟ NLLULZRULWRPR and are seated before us, Å㒔Å㒔ᚿ PLWXPLWXVL you, the intrepid ೜ᱵ⬟ᅛ㑘㣹 NXPHQRNZRUDJD sons of the Kume, ໙㭧㒔ࠎఀ NXEXWXWXL with pommel-head hilts, ␗ᚿ㒔ࠎఀẟᬛ LVLWXWXLPRWL holding your stone-head swords, னᬛᘭஅኪⳝົ XWLWHVL\DPDPX will now smite the enemy.  OJ: ni OC: *nΩҌ LH: ĔΩҌ > ĔѠҌ EMC: ĔĨѠҌ GO: ni KN: zi NOM: nhƭ SV: nhƭ SK: i Usage / History: This phonogram belongs to the LJS. This phonogram only appears in 0DQ¶\ǀVKnj, used four times. MYS 2946 TAMAPOKO NO Though we met on the path ⋢ᱚஅ MITI niYUKIAPITE protected by the jeweled axe 㐨ᑣ⾜┦⪋ YOSO ME nimo and I saw you only casually, እ┠⽿ẟ MIREBA YOKI KWO wo but what a lovely child. ぢ⪅ྜྷᏊஇ ITU TO KA MATAMU Should I wait to see you again? ఱ᫬㮵ᑗᚅ OJ: ni OC: *nΩh LH: ĔΩh EMC: ĔĨѠh GO: ni KN: zi NOM: nh́ SV: nh͓ SK: i Usage / History: This phonogram belongs to the LJS, and is found mainly in Nihon shoki, three times in the annotational notes and 81 times in the poetry: ⱖⱧ᧴Ṉபc ಸẟ⳱ ³ௗµBear a gift for a superior,’ this is read niSHPRWX” (NSG), ዺဢࠊṈப 㠝ዉcኪ ³ௗµHow delightful,’ this is read ana ni \D” (NSG), This graph is also used in names such as ࿴c Wani (NSG). NSK 102 ኪ㓇Åᚿ᪁ \DVXPLVLVL In the heavenly ࿴㣹᪊᭸⪆Å⬟ wa ga opo kimi no eighty [rays of] sunshine where ヅ໙⌮ᦶ㡲 NDNXULPDVX my great lord hides, 㜿ᦶ⬟ᳰ⸽Ἑ♓ DPDQR\DVZRNDJH who rules in peace— ␗Ἶከࠎ㡲 LGHWDWDVX if you go out and Å⸽⨶ⅲÅ⚰㯟 PLVZRUDZRPLUHED look at the august sky, ㇧࿅㇋వc \RURGX\Rni for ten thousand reigns ヅ໙ᚿⱱ㣹ⱱ kakusi mogamo may it remain as is, splendid. 241

▱వcⱱ WL\Rnimo For a thousand reigns ヅ໙ᚿⱱ㣹ⱱ kakusi mogamo may it remain as is, wonderful. ヅஅ⬌Åᘭ NDVLNZRPLWH In reverence ⳱ఞಸᦶ㒔⨶Ṋ WXNDSHPDWXUDPX we will serve the throne. ⅲ࿅㣹Åᘭ ZRURJDPLWH Prostrate on the ground ⳱ఞಸᦶ㒔⨶Ṋ WXNDSHPDWXUDPX we will serve the throne. Ᏹከ㇋⣖ᦶ㒔ὶ XWDGXkwiPDWXUX I present this song. This phonogram also appears in Shoku Nihongi in the name ࿴c㯞࿅ Wani Maro (745.4.25).  OJ: ni OC: *nr LH: neҌ EMC: nѠҌ LMC: UL GO: ni KN: zi NOM: QpQ̓ SV: nhƭ SK: i Usage / History: This phonogram belongs to the LJS, found in Nihon shoki, with six examples in annotational notes, and 50 in poetry: ୖᅧࠊṈப⩚᧛㇋▴d ³ௗµUpper land,’ this is read XSDWXNXni” (NSG), ኱㓶ࠊṈப㠝ዉÅdྃ ³ௗµHow ugly,’ this is read ana miniku” (NSG). In the following poem it appears eight times. NSK 96 㔝⤉☻೜d \DVLPDNXni I searched the eight islands 㒔☻ࠎ♮ျἾᗏ WXPDPDNLNDQHWH but could not find a spouse. ᧛ᒗẚ⬟ SDUXSLQR Under the spring sun ျ㡲ᡃ⬟೜d々 kasuga no kuni ni in the land of Kasuga ೜Ἴ⤉ㅦႲ NXSDVLP\HZR I had heard that 㜿฼➼ᯨࠎᗏ DULWRNLNLWH there was a beautiful maiden. ⯅៖ᚿㅦႲ \RURVLP\HZR I had heart that 㜿฼➼ᯨࠎᗏ DULWRNLNLWH there was a proper woman. ⳝ⣖బ೜ makwi saku A fine grain of wood, 㑊⬟ఀ㝀ᅯႲ SLQRLWDWZRZR I pushed opened that door 㣡᪁ẝ⨶ᯨ RVLSLUDNL made of Japanese cypress. ೖ౛௨᲍㨱ᚿ ZDUHLULPDVL I went inside 㜿㒔ᅯ၆ DWZRWZRUL and held her leg, 㒔㯟ᛣ၆⤉ᗏ WXPDGZRULVLWH holding the edge of her hem, 㨱೜ᄶᅯ၆ PDNXUDWZRUL holding her pillow— ఀះᡃሐႲ LPRJDWHZR holding my spouse. ೖ౛d㨱ᰓ᪁ẖ ZDUHni makasime I wrapped her hand ೖᡃሐႲ㯟 ZDJDWHZRED around my waist ఀះd㨱ᰓ⤉ẖ imo ni makasime and she my arm— 㯟ᕥᲠ㏸ᄶ PDVDNZLGXUD wrapped it around her. ከࠎ௻㜿⸝᧛᲍ WDWDNLD]DSDUL And like a vine, ▮ὔ▴▮៖ VLVLNXVLUR we caressed, intertwined. ன㨱ఀ⚲▮ᗘd XPDLQHVLWZRni We slept deeply, sweet like meat on a skewer. ൽ᧛㒔➼၆ QLSDWXWRUL ᰓ✍᧛ඏ೜ඏ᲍ NDN\HSDQDNXQDUL The fowl I keep ያ㒔➼฼ QZRWXWRUL have begun to cackle. ᯨ⽥▮᧛➼వṊ NLJLVLSDWR\RPX And in the fields ፠⤉✍▴ㅶ SDVLN\HNXPR the pheasants add their call.

䆽!

242

ఀ㯞ፋ௨᧛Ꮶᗏ 㜿㛤dၨ᲍ ೖ⽥ះ

˧

∜

ᡋ

LPDGDLSD]XWH akeniN\HUL wagimo

The dawn has already come before I have been able to confess my feelings, my love.

OJ: ni OC: *Wân LH: WDQ EMC: Wân GO: WDPX KN: WDQ NOM: ÿan, ÿ˯n SV: ÿan, ÿ˯n SK: WDQ Usage / History: This kungana suggests to the mind OJ ni ‘red clay,’ based on ୹ ‘red.’ The oldest datable usage appears in a mokkan dated 697: ୎㓀ᖺⱝ⊃ᅜᑠe⏕ホ the year (697), WAKASA [NO] KUNI WONIPU KOPORI (MK 182). This usage also appears in names and toponyms found in Kojiki: e⩚⮧ NIPA OMI (KG), and also in Nihon shoki in cases such as e⏕ᕝ NIPU [NO] KAPA ‘Nifu River’ (NSG), e　ᑠ㔝 NIMO WONWO ‘Nimo Moor’ (NSG), and eᩜᾆ NISIKI [NO] URA ‘bay of Nisiki’ (NSG). OJ: ni OC: *љâiҌ LH: љъiҌ EMC: ћâҌ GO: ga KN: ka NOM: haKj SV: Kj, h̩, h̫ SK: ha Usage / History: This kungana calls to mind OJ ni ‘burden.’ This transcription appears mainly in Man’\ǀVKnj: MYS 42 SIPOsawi ni Is my beloved ₻ᕥⅭ஧ ஬༑➼ඤ஀ᔱ㑔 IRAGWO no SIMAS\H riding in the boat rowing KOGU PUNE NI by Irago Island ᴶ⯪荷 IMWO NORUUD08.$ in the roaring tide, ጒ஌Ⰻභ㮵 ARAKI SIMAMWI wo though it is rough going there. Ⲩᔱᘔஇ OJ: ni OC: *WaҌ LH: WĞъҌ EMC: WĞjwoҌ GO: sio KN: sia NOM: NA SV: ch͵ SK: F\H, F\D Usage / History: This kungana suggests to the reader the Old Japanese infinitive of the verb QLUX ‘to boil,’ ni. This usage appears only in the first book of Nihon shoki and Man’\ǀVKnj. In Shoki we find this graph used in the following names of deities: ᇻᅵgᑛ UPIDINI [NO] MIKOTO, and Ἃᅵgᑛ SUPIDINI [NO] MIKOTO (NSG). Man’\ǀVKnj preserves three examples of this usage. MYS 612 NAKANAKA NI It would have been better ୰ࠎg MODA mo ARAMASI wo had I remained silent. 㯲ẟ᭷┈இ NANI SU TO KA Why did we start ఱⅭ㊧㤶 APIMI SOMEN\HPX seeing each other, ┦ぢጞව TOGEZARAMAKU ni if there is no chance of success? ୙㐙ᑣ

243

Κ

ࡽ ᦻ

Modern textual research believes the original graph to have been ⪅ (Satake et al. 1999.1: 373), some believing ⪅ to be an abbreviated form of ↻, but this theory seems hard to swallow, as ⪅ represents pa. Another example is: MYS 22 KAPA NO PE no On the sacred cluster of Ἑୖ஀ boulders upriver grass ‫‮‬ὠ┙ᮧ஧ YUTU IPAMURA ni KUSA musazu does not grow. I wish they ⲡṊᕥཷ TUNE NImo GAMO NA could forever remain thus. ᖖ୹ẟෂྡ TUNE WOTOMYE NITE Forever like a young maiden. ᖖ⹦ዪgᡭ  OJ: ni OC: *s-lΩҌ LH: ziΩҌ EMC: zѠҌ GO: zi KN: si NOM: Wͫ, W͹W͹a SV: W͹ SK: so Usage / History: This kungana suggests to the mind the infinitive of the Old Japanese verb QLUX ‘resemble,’ ni. It is used only a six times in 0DQ¶\ǀVKnj. MYS 664 ISWONOKAMI I will not let it stop me, ▼ୖ PURU TOMO AME ni even if it should rain, 㞽༑᪉㞵஧ TUTUMAME YA as if from Isonokami. ᑗ㜝ဢ IMWO NI APAPXWR I gave my word to my beloved ጒh┦ṊⓏ IPITEsi MONO WO that I would see her. ゝ⩏அ㨣ᑿ OJ: ni OC: *WKâҌ LH: WhъҌ EMC: WKXRҌ GO: Wu KN: WR NOM: WK͝ SV: WK͝ SK: WKZRWZX Usage / History: This kungana suggests to the reader OJ ni ‘red clay.’ This semantogram appears twice in Man’\ǀVKnj, both times in the same structure: Xஇⓑi X wo SIRANI ‘as I don’t have a clue about X’ (MYS 5, 1792). OJ: ni OC: *љweƾ LH: љ\Hƾ EMC: љjwäƾ GO: J\DX KN: kei NOM: quǤnh, qu͉nh SV: quǤnh SK: N\HQJ Usage / History: This kungana suggests to the reader OJ ni ‘jewel, red gem,’ but this is an unattested Old Japanese word. The association comes from this semantogram used to transcribe the imperial deity Ninigi (j々ᯂᑛ), the name of the grandson of the Sun Goddess, which is written in Kojiki as ோᒱ Ninigi (ோ is used as nini instead of just ni). Nihon shoki also contains the following helpful note: ⎟ࠊ⋢ஓࠋṈபດ ³ௗµred gem stone’ is a kind of jade. This is read nu.” This provides important information that nwi ( *nΩp LH: Ĕip EMC: ĔĨjΩp GO: QLIX KN: ]LIX NOM: nh̵p, nh͕p SV: nh̵p SK: ip Usage / History: This phonogram belongs to the LJS. It appears in the toponym இk㒆 Wonipu 'LVWULFWDVSUHVHUYHGLQDGRFXPHQWLQWKH6KǀVǀLQ OJ: no OC: *nΩըҌ LH: nΩҌ EMC: n̵iҌ GO: nai KN: dai NOM: nãi, n̫\ SV: nãi SK: QD\ Usage / History: This phonogram belongs to the PBS. It appears on a number of Silla stelae. As an example, on the Pyengsin-nyen stele (536 CE) we find: ‫ڧڧ‬ኻ฼L฼͐ XX *sitrinԥri, the name of an individual. We also find the following on the Namsan Sinsyeng number one stele (591 CE): 㜿Ⰻ㑘㢌Ἃႎ㡢Lྂ኱⯋*Arara dosatԥkԥm nԥk‫ ܧ‬dahĞah, a man of the 12th rank named Arara Dosatokom Noko. In the Suiko era corpus ஀ is the only graph used for no, such as in the following song preserved in Jǀgnj ShǀWRNX+ǀǀ 7HLVHWVX: ఀຍ␃ᡃL LNDUXJDno Our great ruler’s name Ṇ⨾⬟இఱἼL WRPLQRZRJDSDno will never be forgotten, ከཿ፠チ᭯ WD\HEDNoso even if the brook ࿴ఱ᪊ಖᨭ⨾L wa ga opokimi no Tomi in Ikaruga ᘺዉ࿴㡲Ⰻཿ⡿ mina ZDVXUD\HPH should cease to flow in its bed. This graph appears 195 times in the liturgies: ᗙᦶLᚚᕩL⛠㎡❵ዊⓚ⚄ ➼ ⬟ ๓ ∞ ⓑ ஂ WIKASURI no MIKAMUNAGI no KOTO WOPEMATURU SUMEGAMWITATI no MAPYE ni MAWOSAku “The female attendants of Ikasuri declare before the imperial deities that they have finished their prayers…” (NT 1). This phonogram appears on a number of mokkan excavated from the grounds of the ancient Fujiwara Palace (fl. 694–710). The following is one example: ᧙⡿ ஧ྂዉL฼ẟ୍ྂ “two bamboo baskets of threshed rice, and one bamboo basket of nanoULPZR‘gulfweed¶ௗ´ (MK 1263). There are also examples such as: ᡭஇLዉ TE no wona ‘? of the hand’ (unnumbered tablet), ஂࢶLஇ⏤ẚᅄ NXWXno ZR\XSLYO ‘four (batches?) of small shoe strings’ (MK 415). This phonogram is also used very sparingly in Kojiki: ኱ ᩯ ஀ ㎪ ⚄ OPOWZRQRE\H [NO] KAMWI (KG), and in the following poem: KK 82 㜿㯞㝀∹ amadamu Circling the heavens— ຍὶL⿁Ⓩ㈽ NDUXno ZRWRP\H if the maiden of Karu ఀከ㑣ຍ፠ LWDQDNDED cries so intensely ẚⓏ᪁⌮ያಸᚿ SLWRVLULQXEHVL people will find out. Ἴబ⬟ኪ㯞⬟ SDVDQR\DPDQR So like the dove Ἴᩯ⬟ SDWZRQR of Mount Hasa ᪁ከ㑣ᒱ∞㑣ஂ VLWDQDNLQLQDNX she cries to herself. 245

This phonogram also appears frequently in Man’\ǀshnj, approximately 2300 times, so this phonogram is used quite consistently throughout the anthology. Interestingly, however, the phonogram ⬟ no is more popular in the books where phonetic script is widespread (Books 5, 14, 15, 17, 18, 19, and 20): ⬟ 1334 versus ஀ 729 examples. MYS 796 కஅఄ୚அ SDVLNL\RVL Ah, how beloved! ຍஂLᮍྍⰋᑣ kaku nomwi NDUDQL This is how it turned out— அከẚᕫஅ VLWDSLNRVL she longingly followed after me ఀẟᡃᕫチ࿅L LPZRJDNRNRURno but nothing can be done 㡲ูẟ㡲ู㑣ᕥ VXE\HPRVXE\HQDVD about my beloved’s heart. This phonogram also appears quite frequently in the poetry preserved in +LWDFKLIXGRNL. ఀኪ᫝␃L L\D]HUXno How striking! 㜿᫝Lྂ㯞㒔∞ aze no NZRPDWXQL Soft offerings hanging ⏤ᕸᜳᘭࠎ \XSXVLGHWH on the small pine at Aze. ࿴இᕸ฼ᙗ⏤ẕ ZDZRSXULPL\XPR I can see it waving at me; 㜿᫝ྂᚿ㯞Ἴẕ aze kwosi mapa mo that Aze child is dancing. The phonogram ஀ later yields both the KLUDJDQD form for ࡢ as well as the NDWDNDQD form ࣀ.

⃆

OC: *nΩƾ OJ: no LH: nΩ(ƾ) EMC: nΩƾ GO: no, nou KN: dou NOM: năng, n˱ng SV: năng SK: QXQJQD\ Usage / History: This phonogram belongs to the EJS, but may actually date earlier to the PBS. It appears on the Fune Obito epitaph, writing the name Ᏻ⌮ᨾ能ย⮬ Arikwo no Twozi, ‘the wife of Arikwo.’ This phonogram appears in the liturgies 186 times: ᚚ㛛能ᚚᕩ能⛠㎡❵ዊⓚ⚄➼能๓∞ⓑஂ MIKADWO no MIKAMUNAGI no KOTO WOPEMATURU SUMEGAMWITATI no MAPYE ni MAWOSAku “The female attendants of Mikado declare before the imperial deities that they have finished their prayers…” (NT 1). This phonogram appears frequently on mokkan: 能Ⓩ㒆 Noto District (MK 2280), ≀㒊኱‫ڧ‬能୓࿅MONONOBYE OPOXnomaro (MK 15), and what appears to be a funny poem: ┠ẟ⨾㡲ὶᏳಖ㐃⣖ᡃチ➼இᚿᐅ ぢ㈡ẟ⨾ኪ能Ᏹ▱ྍ♩ᘭ MATUGE PLVXUX apo MURAZI kL JD NRWR ZR VLJH0, NDPRPL\Dno XWLNDUHWH‘Apo Murazi Ki who is showing his eyelashes, alas, is noisy and leaves the inner chambers of the palace…’ (unnumbered tablet). The pun here is on the kunganas: ┠ẟ ‘eye-hair’ and ぢ ‘see.’ This phonogram is the predominate choice in Kojiki to transcribe no. The following song is a prime example: KK 13 ຍ∹ຍ᫝能 kamukaze no On the large boulder ఀໃ能Ᏹ⨾能 ise no umi no by the sea of Ise ពᩫᚿ∞ opwisi ni swept by violent winds— ἼẚẕⓏᐩ࿅ᕸ papimRWRSRURpu the sea snail crawls about. ᚿከ㝀⨾能 VLWDGDPLno Like the periwinkle

246

ఀἼẚẕⓏᐩ⌮ ipapimoWopoUopu we will encircle them, Ᏹ▱ᘭᚿኪ㯞∹ XWLWHVL\DPDPX utterly destroying them. This phonogram is also used heavily in Nihon shoki, appearing 31 times in ⬟ ྂ “(the annotational notes, and 257 times in poetry: ⾴ᏊࠊṈபⳄ࿅ẕ⬟ name) Koromonoko’ is read NRURPRno kwo” (NSG). NSK 124 ன▱Ἴᚿ能 XWLSDVLno Come out, child 㒔ᱵ能㜿⣲ᙁ∞ WXPHno DVZRELQL to play at the edge of ఀᥦ㯞ᰨྂ idemase kwo the plank bridge. ከ㯞ᥦ能ఀ㠫能 WDPDGHno ip\e no Mistress Yaheko of 㔝㠫ྂ能ᗘ⌗ \DS\ekwo no WZR]L the Tamade House. ఀᥦ㯞ᚿ能 idemasi no There will be no regrets ೜ఀ᧛㜿⨶⌗ⲗ NXLSDDUD]L]o if you come out. ఀᥦ㯞すྂ idemase kwo Come out, child— ከ㯞ᥦ能㠫能 WDPDGHno ip\e no Mistress Yaheko of 㔝㠫ྂ能ᗘ⌗ \DS\HNZR no WZR]L the Tamade House. This phonogram is also very popular in Man’\ǀshnj, appearing roughly 1538 times. Interestingly, aside from the books where phonogrammatic usage is high (Books 5, 14, 15, 17, 18, 19, and 20), it is still used 204 times. As noted, this is the preferred phonogram in the phonogrammatic books. In the following FKǀND it appears seven times. MYS 800 TITI PAPA wo You feel admiration ∗ẕஇ ⨾♩፠ከᕸᩯ᪁ PLUHEDWDSXWZRVL seeing your father and mother. MYEKWO MIUHED You feel love and affection ጔᏊぢ♩፠ ⡿ල᪁Ᏹ㒔ஂᚿ PHJXVLXWXNXVL seeing your wife and children. వ能ዉ㏑Ἴ \Rno naka pa As for society ຍஂླྀチ➼࿴⌮ NDNX]RNRWRZDUL this is only natural. ẕᬛ㦐฼஀ PRWLGRULQR Like a bird caught in birdlime ྍྍⰋἼᚿẕ୚ NDNDUDSDVLPR\R it is difficult to get out, as we ⏤ஂᘢ᪁Ⰻ⚇፠ \XNXS\HVLUDQHED do not know where to go. Ᏹ᪤ල㒔㐲 XNHJXWXZR And like one to takes off ያఄ㒔ὶ඼➼ஂ QXNLWXUXJRWRNX shoes with holes in them ᕸ⨾ያఄᥦ SXPLQXNLWH people who step on ⏤ஂᬛᕸẚ➼Ἴ \XNXWLSXSLWRSD and walk away from family ఀἼ⣖ḧ฼ ipakwi \ZRUL are perhaps ones who ዉ฼ᥦᚿẚ➼㏑ QDULGHVLSLWRND are born of boulders or trees. Tell me your name! ዉఱྡ能Ⰻబ⚇ na ga NA noUDVDQH 㜿⡿ᘢ⏤㏑፠ DPHS\H\XNDED If you go toward heaven ዉఱ㯞ᑣ㯞ᑣ na ga mani mani you can do as you please. 㒔ᬛዉⰋ፠ WXWLQDUDED If you are on the earth OPOKIMI imasu then there is a great ruler. ኱⋤ఀᦶ࿘ チ能ᥦ⨶࿘ kono WHUDVX Below the sun and moon PITUKWI no VLWDSD which sheds light here ᪥᭶能᪁ከἼ 㜿㯞ஂẟ能 amakumwo no to the ends of where ∹㏑ኵ࿘ఄἼ⨾ PXNDEXVXkipami the clouds of the sky are, ከᑣලஂ能 WDQLJXNXno to the ends of the place 247

బ࿴ከὶఄἼ⨾ ௻チ᪁㐲࿘ ஂᑣ能㯞ಖⰋླྀ ྍᑣ㏑ஂᑣ ಖᚿఄ㯞ᑣ㯞ᑣ ᪁ྍᑣἼ㜿⨶ឿ㏑

ೊ

ᵩ

∜

VDZDWDUXNLSDPL kikosi wosu kuni no PDSRUD]R kanikaku ni posiki mani mani VLNDQLDUD]LND

where the toad dwells, this is the superior land that our sovereign rules over. Certainly it is not a place where one can do this or that as his heart desires.

OJ: no OC: *nΩըҌ LH: nΩҌ EMC: n̵iҌ GO: nai KN: dai NOM: NA SV: nãi SK: QD\ Usage / History: This phonogram belongs to the LJS, but appears only in sections of Shoki, three times in annotational notes, and 12 times in the songs: 㨥ᖊࠊṈபẚ㒭ㄗ mఞÅ ‘leader’ is read SLWRJZRno kami’ (NSG), ྇㢌ࠊṈபmົ ‘bow to the ground’ is read nomu’ (NSG). NSK 2 㜿ጒዉᒗኪ DPHQDUX\D In the heavens எⓏከዉ፠ከm ZRWRWDQDEDWDno the jewels strung upon Ởዉ㣹ໃᒗ XQDJDVHUX the string hung around ከ☻mᙗ⣲☻ᒗm WDPDno PLVXPDUXno the neck of the Weaver Maiden 㜿ዉ㝀☻Ἴኪ DQDWDPDSD\D are very beautiful— ᙗከ∞ PLWDQL like the beauty of him who ㍜᯳࿴᯳⨶㡲 SXWDZDWDUDVX shines over two hills, 㜿Ἶ⣲௻ከఞ㑊㢳⚲ DGLVXNLWDNDSLNZRQH Ajisuki Taka Hikone.  OJ: no OC: *lhiҌ LH: ĞiҌ EMC: ĞiҌ GO: si KN: si NOM: WK͑WK̓ SV: WK͑ SK: ci Usage / History: This is a variant graph for ▮ ‘arrow,’ and this kungana suggests to the reader OJ no ‘arrow.’ This usage appears on a wooden document excavated from WKH +HLMǀ 3DODFH UXLQV FRQWDLQLQJ WKH QDPH nཎ㐃▼㊊ NOPARA MURAZI IPATARI (unnumbered tablet). This kungana also appears 12 times in 0DQ¶\ǀVKnj. MYS 1776 TAYURAKI NO During the springtime ⤯➼ᑍn YAMA NO WO NO PE no when the cherry blossoms ᒣஅᓟୖ஀ SAKURABANA on top of Mount Tayuraki Ḉⰼ SAKAMU PARUPYE PA are in bloom ᑗ㛤᫓㒊⪅ KIMI wo SINWOPAMU I will long for you. ྩஇᑗᛮ OJ: no OC: *љâiҌ LH: љъiҌ EMC: ћâҌ GO: ga KN: ka NOM: ha SV: KjK̩, h̫ SK: ha Usage / History: This kungana suggests to the mind OJ no ‘load,’ which is the bound form of the free form ni ‘load,’ suggesting that the form originally was nwi < *no-i. The 248

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most well known usage is found in Shoki: 荷ᒣ, Mount Load, glossed as noPXUH, which preserves the Paekche word for mountain as PXUH. In the Jingnj record of Shoki we find the following annotational note: Ⲵᣢ⏣ᮧ ⲴᣢࠊṈப⬟Ⓩ฼ “The village of Notorida, the graphs 荷ᣢ ‘load-hold’ are read noWRUL” (NSG). This rather rare kungana appears once in Man’\ǀshnj DFFRUGLQJ WR ƿQR (1977:578), but I have found two examples (MYS 23, 100): MYS 100 ADUMATO NO Like the cord tied around ᮾேஅ 荷ྥ⠑஀ NOSAKI NO PAKWO no the box of tribute from NI NO WO nimo the Eastern people of Nosaki, Ⲵஅ⥴∞ẟ IMWO PA KOKORO ni you, my love, tightly have ጒ᝟ᑣ NORIQLN\HUX.$PR a hold on my heart. ஌ᑣᐙ␃㤶ၥ  OJ: no OC: EL LH: ELEHL EMC: ELELHL GO: IDL KN: IHL NOM: NA SV: Wu SK: pi Usage / History: This kungana calls to mind OJ no ‘bamboo used for arrows.’ While the graph ⟟ represents a bamboo comb, it can also represent the bamboo shaft of an arrow. This usage appears twice in Man’\ǀshnj. MYS 1603 KONO KORO NO Lately when you listen 㡭⪅அ ASAKE ni KIKEBA at the break of dawn ᮅ㛤ᑣ⪺⪅ ASIPIKWI NO great bucks call for their mates ㊊᪥ᮌo YAMA YWOBI TOYOMYE making the mountains, ᒣ࿧௧㡪 ⊃ᑿኊ㮵㬆ူ SAWOSIKA NAKU MO which tire the legs, resound. OJ: nu OC: *nu LH: Ĕu EMC: ĔĨjΩu GO: niu KN:ziu NOM: nhu SV: nhu SK: \X Usage / History: This phonogram belongs to the PBS. There is one place in Shoki, in the reign of Kinmei, second year, where ஂྲྀᰂ฼ is read NXVXWRUL in Shaku Nihongi, but not in the critical text (Ienaga et al. 1986.2:68). This may be confusion from the original kana, which likely glossed this graph ᰂ with ያ which could have been read nu or WR. It must be acknowledged that two other cases of ᰂ are read nu (ᰂ➼ in Jomei, read nuRA, and ᕞᰂ in Tenji is read WXQX). The NKBT also reads the above case as kusunuUL, on the authority of one manuscript. Nevertheless, Shaku Nihongi, on the authority of the older Shiki manuscripts reads this as WR. The other two cases are read as nu also in Shaku Nihongi. For the time being I have included the character here. It is also possible that the graph was used for its semantic, and not for its phonetic value.  OJ: nu OC: *nui LH: Ĕui EMC: ĔĨwi GO: nui KN: zui NOM: QKX\ SV: QKX\ SK: \ZX

ⶀ!

249

Usage / History: This phonogram belongs to the EJS. There are only two known examples of this graph used phonogrammatically. One is from the Tenjukoku Mandala embroidered inscription of HǀU\njML ZKHUH WKH QDPH RI *UHDW .LQJ Bidatsu is written as 蕤ዉஂ⨶஀ᕸยከ㯞᪁ᨭ஀ᙗᕫ➼ Nuna Kura no Putwotama Siki no mikoto. The other known example is found in the second year of Tenmu in Nihon shoki: ኱蕤ፉPrincess OPOnu (whose name is also recorded with the same graph in Shoku Nihongi).

ৎ

OJ: nu OC: *nâ LH: nъ EMC: nuo GO: nu KN: do NOM: nô, no, nó SV: nô SK: nwo Usage / History: This phonogram belongs to the EJS. Before the Suiko era this phonogram ያ was used to transcribe na and then nwo, but with vowel raising (nwo > nu), this graph came to used to represent nu. There are apparent vestiges of this graph in Nihon shoki, which may point back to the PBS, but without more evidence, it is difficult to ascertain. For the time being I stick to the dating of the use of this graph in the EJS. In Nihon shoki we have a few names that preserve nu: Aὶᯨ Nuruki, a man from .RJXU\ǂ (though this may be read Nworuki). There is also an individual called A㡲ஂ฼ Nusukuri dispatched by the King of Kara, but the name may also be read Nwosukuri. There are also names of people from Paekche: Ꮨᚨ㐍A Kuwitok Sinnu, ᮞ⋡ự᪁ᖸA Mose Kannu of the fifth rank, ወA▱ Kanuti, and వA Yonu. There is also the mention of a man from Silla, Aᘭ኱⯊ Nute of the 19th rank. This phonogram also appears in the Suiko era corpus. Examples include ₎ Aຍᕫ฼ Nukakori of Aya from JǀJnj6KǀWRNXKǀǀWHLVHWVX. The earliest datable example appears on a mokkan dated the ninth month of 699: ᕫ஻ᖺ஑᭶୕㔝 ᅜ࣭ởA㯞㔛 MINWONWO…Unuma Village (MK 160). This phonogram appears once in the liturgies: ᚰᝏᏊஇ⏕⨨ᘭ᮶A KOKORO ASIKI KWO wo UMIOKIWH KInu “…and she came, having given birth to a child with an evil heart…” (NT 12). This phonogram is the sole graph used in Kojiki to transcribe nu: 㒔A Tunu, ஂA⋤ Prince Kunu, and A㑣Ⓩẕẕ⏤Ⰻ㏓ nu QD Womomo\XUD QL ‘jewels jingle’ (KG). KK 82 㜿㯞㝀∹ amadamu Circling the heavens— ຍὶ஀⿁Ⓩ㈽ NDUXQRZRWRP\H if the maiden of Karu ఀከ㑣ຍ፠ LWDQDNDED cries so intensely ẚⓏ᪁⌮Aಸᚿ SLWRVLULnu EHVL people will find out. Ἴబ⬟ኪ㯞⬟ SDVDQR\DPDQR So like the dove Ἴᩯ⬟ SDWZRQR of Mount Hasa ᪁ከ㑣ᒱ∞㑣ஂ VLWDQDNLQLQDNX she cries to herself. This phonogram is used once in the annotational notes, and three times in the poetry of Nihon shoki: ⍯⍯இࠊṈபAඏ➼ẕẕ⏤⨶∞ ³ௗµjewels jingle’ this is read nu QDWRPRPR\XUDQL” (NSG). 250

NSK 85 㜿బ⭿⡔ᄶ DVDGLSDUD Through the rocky path of Ⴒ㉗⚲Ⴒ㡲ᨃ wosone wo sugwi the mountains and over ㅶㅛ㏸㢒⏠ PRPRGXWDSX Asaji Plain comes a distant, Aᗏ႘⨶೜ះ⯅ nuWH\XUDNXPR\o continuous jingle of a bell. ᪊ᒱẖ೜⨶அះ RNLPHNXUDVLPR It seems Okime has arrived. This phonogram is the primary graph used in 0DQ¶\ǀVKnj, appearing 412 times. MYS 798 ఀẟఱ⨾᪁ imwo ga misi The blossoms of the bead tree 㜿ᕸ▱஀Ἴ㑣Ἴ DSXWLQRSDQDSD that my beloved saw ▱฼Aಸ᪁ WLULnu EHVL must have scattered— ࿴ఱ㑣ஂ㑣⨾ከ wa ga naku namida though my tears ఀᦶ㝀㣕㑣ஂᑣ imada pwi naku ni have not yet dried. This phonogram appears once in a poem in the Footprints of the Buddha sequence. BSS 16 ᕫ஀⨾㜿Ṇஇ kono PLDWo wo Respectfully gazing 㯞፠฼㯞㒔♩፠ PDEDULPDWXUHED at these footprints, 㜿ṆAᚿ஀ DWo nusi no how we think of ከ㯞஀୚᭯ಖẚ WDPDQo \osopopi the jeweled figure of the owner ᪊ẕಖ⏤␃ྍẕ omoSR\XUXNDPo of these footprints. As if we see him! ⨾␃ᮇṆẟ㜿␃ྍ PLUX JRWRPRDUXND

ඣ

OJ: nu OC: *nah or *naҌ LH: nъh, naҌ EMC: nuoh, nuoҌ GO: nu KN: do NOM: nͯa, n͕ SV: n͡ SK: nwo Usage / History: This phonogram belongs to the EJS, and appears in the Suiko-era corpus, in JǀJnj 6KǀWRNX Kǀǀ WHLVHWVX, in the name B㑣ஂⰋᕸยከ㯞᪁ᨭኳⓚ Great King Nunakura Putwo Tamasiki. This phonogram also appears in the Taihǀ Census of 702 in the following names: ఄ B ㈽ Kinumye, ▱ B ㈽ Tinumye, ఀ B ㈽ Inumye, ᜨ B ㈽ Wenumye, ᙗ B 㯞 ㈽ Minumamye, 㯞 B Ⰻ ㈽ Manuramye, and ┿ B ㈽ MAnumye. This phonogram is also is used in one annotational note, and three songs and annotational notes in Shoki: ⱴΌࠊṈபᬛB ³ௗµThe place name ⱴΌ,’ this is read WLnu” (NSG). NSK 12 ဟࠎዉᱵᘭ WDWDQDPHWH With our shields arrayed ఀ㑣⍰⬟ᳰᦶ⬟ LQDVDQR\DPDQR we have fought many battles ⹫⬟ⳝ⏤ẟ NRQRPD\XPR on Mount Inasa, ᫆႘⪆ᦶẟ⨶ẝ i\XNLPDPZRUDSL going through the trees ከࠎ௓㝙㯟 WDWDNDSHED and watching the enemy. ࿴౛◚ᳰ㝰B ZDUHSD\DZHnu Thus are we famished. அᦶ㏵➼฼ VLPDWXWRUL Birds of the island—

251

Ᏹ௓㆜㣹➼ⱱ ukapi ga WRPR come now to our rescue, ఀⳝ㍺㛤⌗⹫⚲ ima suke ni kone you friends of the cormorants. This phonogram is used consistently in 0DQ¶\ǀVKnj to represent nwo (which see), but there are two poems (MYS 4401, 4403) where ᛣ must represent nu, as both are part of the verb ki ‘to come.’ MYS 4401 ྍⰋᕫ࿅Ṋ NDUDNRURPX I have come, having left 㡲᐀ᑣ➼㔛㒔ఄ VXVZRQLWRULWXNL my children who clung. ዉⱞྂⰋஇ QDNXNZRUDZR crying, to the sleeves ពఄᘭ᭮ఄBஓ RNLWHVRNLnu \D of my Paekche robes— ពẕዉஅᑣᚿᘭ RPRQDVLQLVLWH in spite of their having no mother.

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ೳ

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OJ: nu OC: *nâҌ LH: naҌ EMC: nuoҌ GO: nu KN: do NOM: n͟ SV: n͟ SK: nwo Usage / History: This phonogram belongs to the LJS, and appears in the YǀUǀ&HQVXV721) in the name ఀq㈽ Inumye. It also appears in the name ᬛq⋤ Prince Tinu found on the Bussokuseki stone (ca. 753). This graph is also used in Nihon shoki in the following annotational note: ⎟ࠊ ⋢ஓࠋṈபq ³ௗµred gem stone’ is a kind of jade. This is read nu” (NSG). There are four non-controversial examples of this in Man’\ǀVKnj also: MYS 1811 PAKA NO PE NO The branches of the tree ቎ୖஅ KONOYE NABIKYERI above the grave are fluttering. ᮌᯞ㠂᭷ KIKISI GOTO As I have heard ዴ⪺ she gave her heart 㝞qኊኈᑣஅ WLnu WOTOKWO nisi YORININ\HUDVLPR to the young man from Chinu. ౫ᐙⰋಙẕ OJ: nu OC: *nâҌ LH: naҌ EMC: nuo GO: nu KN: do NOM: n͟, n͗, ná SV: n͟ SK: nwo Usage / History: This phonogram belongs to the LJS, but is used sparingly. Most known examples are read nwo (which see) but a few clear examples of nu can be found. This phonogram appears in the Chikuzen census of 702 to write the name >ᘭ Nute. Another example is in Man’\ǀVKnj (MYS 1809), where this FKǀND repeats the toponym WLQX (Chinu) twice, each with a different set of characters: ᬛ> WLnu, ⾑἟ TINU. This example parallels that found in MYS 1811 where Tinu is written as 㝞q. OJ: nu LH: nouƾ NOM: nông

OC: *nûƾ EMC: nouƾ LMC: ndΩwƾ GO: nou KN: dou SV: nông SK: nwong

252

Usage / History: This phonogram belongs to the LJS. The earliest datable example of this graph is found on a mokkan dated 710: ఀໃᅜᏳ㎰㒆㜿ย㔛 Ise Province, Anu District, Atwo Village. This graph also appears in Nihon shoki in two annotational notes and ten times in song: ⓑ⭺ᮌࠊṈப㎰฼Ἶ ³ௗµHard Chinese tree,’ this is read nuULGH” (NSG). NSK 125 ከ⮴᧛㑣᧛ WDWLEDQDSD The fruit of the orange tree ᪊⬟ᡃ᭥ከࠎࠎ RQRJD\HGD\HGD grows each on its own branch, 㑣౛ࠎ㦐ẕ QDUHUHGRPR but when these are strung 㝀㯞∞㎰▴㦐ᒱ WDPDQLQXNWRNL together as jewels they are ᪊㔝ඤᘯൽ㎰೜ R\D]LZRQLnuku strung on the same cord. There are 10 examples of this graph in Man’\ǀVKnj, but all are concentrated in Book 5. MYS 802 㯞᪁ᥦ᪁㎰Ἴ⏤ PDVLWHVLnuSD\X How I think of my child. ఀ㇋ஂḧ฼ LGXNX\ZRUL Where on earth have ᯨከ฼᪁≀⬟᭮ NLWDULVLPRQo so children come from? 㯞ዉ㏑ẚᑣ manakapi ni Right in front of my eyes ẕ➼ዉྍྍ฼ᥦ mRWRQDNDNDULWH they are thoughtlessly by me ኪ࿘ఀ᪁ዉబ㎰ \DVXLVLQDVDnu robbing me of a good sleep.

ញ

OJ: nu OC: *QURƾ, nôƾ LH: ۬ioƾ, noƾ EMC: ۬jwoƾ, nuƾ GO: niu, nou KN: diou NOM: n͙ng SV: nông SK: nwong Usage / History: This phonogram belongs to the LJS, and appears in Nihon shoki in two songs. NSK 28 ఀᚐጡ᧛ⱱ LWZRNZRSDPR Men with relatives ఀᚐጡያụ LWZRNZRGZRWL will fight together. ఀ⿶㜿Ἴ㑣 iza apana Commence the battle, ࿴౛Ἴ ZDUHSD shall we? ከᦶᒱἼᒗ WDPDNLSDUX Minister Uti, னụ⬟㜿ᒙ㣹 XWLQRDVRJD possessing a strong spirit, Ἴ㑘r▱Ἴ SDUDnuWLSD does not have a stomach ␗బㄗ㜿౛ᳰ LVDJZRDUH\D made of pebbles. ఀ⿶㜿Ἴ㑣 iza apana Commence the battle, ࿴౛Ἴ ZDUHSD shall we? This phonogram also appears in Man’\ǀVKnj, five times. MYS 3661 ྍ᫝⬟∹ከ ND]HQRPXWD The hem of ୚ୡஂὶዉ⨾ᑣ \RVHNXUXQDPLQL the robes of the fishing ఀᑕ㔛㡲ὶ L]DULVXUX maidens fishing Ᏻ㯞இ➼ዪⰋᡃ DPDZRWRMYEUDJD in the incoming waves ẟ⬟㡲⣲ያ♩ያ PRQRVXVZRQXUHQX driven with the wind are all wet. A variant text has: 253

Ᏻ㯞஀இ➼㈽ᡃ ẟ⬟㡲⸽ያ♩r

ᗂ

૔

૥

DPDQRZRWRP\HJD PRQRVXVZRQXUHnu

The hem of the fishing girl is all wet….

OJ: nu OC: *WauҌ LH: WĞauҌ EMC: WĞjäuҌ GO: seu KN: seu NOM: WUͅo SV: chi͋u SK: V\ZRF\ZR Usage / History: This kungana suggests to the mind OJ nu(ma) ‘marsh,’ and is found on many excavated wooden fragments, but sometimes it is unclear if the intended reading is nu or numa, so I have ignored these excavated data for the time being. Kojiki includes examples such as sἙẚ㈽ NUKAPA Pimye (KG), ⾑s ᾏ Sea of TINU (KG), and s ྡ ᮌ 㑻 ዪ NUNAKWI IRATUMYE (KG). 0DQ¶\ǀVKnj also contains similar examples using with this semantogram: MYS 922 PITO MINA no If only the lives ேⓙ஀ INTOI mo WARE mo of all people, including mine, ኖẟ࿃ẕ ୕ྜྷ㔝஀ MIYOSINWO no could be eternal like these unchanging boulders ከྜྷ⬟ᗋ☬஀ WDNLQRTOKWIPA no TOKO NARANU KAMO at the falls at Miyoshino. ᖖ᭷s㬞 OJ: nu OC: *suk or *sukh LH: siuk, siuh EMC: sjuk, sjΩh GO: suku KN: siuku NOM: W~F SV: W~FW~ SK: V\ZXNV\ZX Usage / History: This kungana calls to mind OJ nu ‘sleep.’ This usage only appears seven times in 0DQ¶\ǀVKnj. MYS 1056 WOTOMYERA GA Mount Kase, the spindle— ᩸Ꮌ➼அ UMIWO KAKU TOPU like the thing maidens ⧰㯞⦾ப wrap spun wool on, 㮵⬨அᒣ KASE NO YAMA TOKIsi YUKYEREBA has changed with the times. ᫬அᚃ⪅ MIYAKWO TO NARINU It has become a metropolis. ிᖌ㊧ᡂt OJ: nu LH: mis NOM: m͓ Usage / History: This kungana calls poetry of Man’\ǀVKnj. MYS 2070 ஂሀஅ ኳἙὠᑣ ⯚ἷ⪋ ྩᚅኪ➼⪅ ୙᫂ẟ᭷㮵

EMC: mih SV: m͓

OC: *mis GO: mi KN: EL SK: PR\PL

to mind OJ nu ‘sleep.’ This usage appears twice in the

PISAKATA NO AMA NO KAPADU ni PUNE UKETE KIMI MATU YWORA PA AKEZU mo ARANU KA

254

Let not this night end as I wait for my lord and prepare the ship at the port of the heavenly river, distant and firm.

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OJ: nu OC: *drƾ LH: deƾ EMC: dieƾ GO: diau KN: WHL NOM: d͉nh SV: ÿuQK, ÿu͉nh SK: W\HQJ Usage / History: This kungana suggests to the reader OJ nu ‘marsh.’ This graph appears in Nihon shoki in names like ㇔᩵uᑛ the deity TOYO KUMUNU (NSG), ኳu ྡ஭ AMA [NO] NUNAWI the heavenly Nuna well (NSG), and ⱴuᒣ Mount TINU (NSG). This graph also appears a few times in Man¶\ǀVKnj, once to write ⱴu TINU (MYS 1809), and three times to represent the name of Tenmu ኳu ୰ཎ℠┿ேኳⓚ AMA [NO] NUNAPARA OKI [NO] MAPITO SUMYERA NO MIKOTO (MYS 22, 103, 156). OJ: nuni OC: *nuns LH: Ĕuinh EMC: ĔĨjwenh GO: nimu KN: ziun NOM: nhu̯n SV: nhu̵n SK: \ZXQ Usage / History: This phonogram belongs to the LJS. This rare usage appears in +DULPD IXGRNL in the toponyms 㞼v Ununi, where the first phonogram is un and the final nasal leads to the next nasal, nu, showing it was a short vowel. It should be pointed out that many scholars, following the varied glosses in the IXGRNL texts, believe that 㞼₶ should be read XUXPL. Consider the note that explains the etymology as preserved in IXGRNL, “The reason this village is called 㞼 ₶ is because when the deity Nitu Pikwo said, ‘I want to cross over downstream of the Papuda River toward 㞼₶,’ the great water deity that resided in that village spoke and declared, ‘I take the blood of beasts and cultivate my fields. Thus I do not desire water from the river.’ Nitu Pikwo said, ‘This deity has spoken thus because he is weary (XPLWH) from digging a canal for a river.’ Thus that place was called umi (㞼ᙗ). Present day people call it 㞼₶.” For the time being, I have tried to be faithful to the underlying Chinese phonology, as nuni fits better.  OJ: nwo OC: *nâ LH: nъ EMC: nuo GO: nu KN: do NOM: nô, no, nó SV: nô SK: nwo Usage / History: This phonogram belongs to the WS. It is difficult to know whether this is a derogatory graph, meaning ‘slave,’ replaced by the Chinese historiographical office, or was used by the Wa. My personal view is that this phonogram was a derogatory graph used by the Chinese historiographers. Before the establishment of Yamatai, the graph ያ was read na, but by the latter end of the Later Han era, the vowel had backed to nэ. This graph appears in many word preserved in Wei zhi. An auxiliary official is called ༝Aẕ㞳 *pe-n‫ܧ‬-m‫ܧ‬-rai, which is often interpreted as the forerunner for the KLQDPRUL or border guards of Man’\ǀVKnj poetry. I have tentatively interpreted this title as originally meaning ‘grove of the western field,’ where a grove or forest referred to a place where the deities communicated with humans (2008:18–19). This phonogram appears several times in the other ‘barbaric’ sections of Wei 255

zhi: ໢A *xoƾ-n‫ܧ‬, ᵹAᅧ *lak-n‫ ܧ‬domain. This graph also appears on several steles on the peninsula. On the Kwangkaytho stele we have: Aᢤᇛ *n‫ܧ‬-bat fortress, 㛨Aᇛ *݄win-n‫ ܧ‬fortress, ㈏Aᇛ *kwan-n‫ ܧ‬fortress, and ‫ڧڧ‬㇋A ᇛ *X-X-do-n‫ ܧ‬fortress. Vestiges of this usage appear also in Nihon shoki, showing that the usage survived in some strata of the PBS. The Paekche record preserves the name of a Yamato person, ᪥ᮏ᪁㑣A㜿ẚከ Sinanwo Apita (of Yamato) and ᪁㑣Aḟ 㓇 Sinanwo Sicu, both likely from the Shinano (< sinanwo) area of Japan. There is also an individual called A㡲ஂ฼ Nwosukuri dispatched by the King of Kara, but the name may also be read Nusukuri. 7KLVXVDJHDSSHDUVRQFHLQGRFXPHQWVSUHVHUYHGLQ6KǀVǀLQ ⨾A Minwo. There is a fragment of a wooden document excavated in Shizuoka Prefecture with what may be a toponym: 㒔Aᡃ either WXnwoga or WXQXJD (MK 68).

‫׭‬

ඣ

OJ: nwo OC: *nâҌ EMC: nuoҌ GO: nu KN: do LH: naҌ NOM: n͟ SV: n͟ SK: nwo Usage / History: This phonogram belongs to the LJS. Because of the ambiguity between being used to transcribe nu and nwo, it is somewhat difficult to find unambiguous examples of this graph in early fragments. Kojiki contains only one example of this phonogram transcribing nwo: ⨾q ‘(province of) Minwo (KG). Thus Kojiki elects to avoid the ambiguity of this graph. Nihon shoki also only uses this graph twice, once in an annotational note and once in a song: ᑠ➉ࠊṈபⰪq ³ௗµSmall bamboo,’ this is read sinwo” (NSG). NSK 110 ⅲᬛྍᣇ⬟ ZRWLNDWDQR The pheasants in the sparse field 㜿ፅq⬟ᯨࠎጞ asanwo no kigisi off in the distance 㦐వㅛబ൲ WR\RPRVD]X are making noise— ೖ౛᧛⚲ጞᰓ㦐 ZDUHSDQHVLNDGR we have slept without a sound, ẚ㦐᭯㦐వㅛ㡲 SLWRVRWR\RPRVX how people are making a fuss! This phonogram is the main one used in Man’\ǀVKnj to transcribe nwo, appearing 102 times, the majority to represent sinwopi- ‘to long for,’ or WDQZRV‘pleasant’: MYS 3725 ࿴ᡃୡᨾஅ wa ga sekwosi My beloved, perhaps Ềኴஅ㯞ྍⰋ፠ N\HGDVLPDNDUDED if you are to go away, ᛮ₃ከಸ஀ VLUZRWDSHQR please wave your sleeve, ⸽పஇᕸⰋᕥ⚲ VZRGHZRSXUDVDQH made of soft white bark. MIWXWXVLnwopamu I shall long for you as I watch. ぢ㒔㏣ᚿqἼ∹ OJ: nwo OC: *nah or *naҌ LH: nъh, naҌ EMC: nuoh, nuoҌ GO: nu KN: do NOM: nͯa, n͕ SV: n͡ SK: nwo Usage / History: This phonogram belongs to the LJS, appearing in Kojiki: ᕸB㇋B⚄ the deity Punwotunwo (KG). It is the sole graph in Kojiki for nwo in poetry. 256

KK 35 㜿బኈBἼⰋ asazinwoSDUD A field of shallow, thin bamboo チ᪁㑣㇋∹ kosi nadumu keeps us from making progress. ⸽ⰋἼ⏤㈡ཷ VZRUDSD\XND]X Without taking to the skies 㜿᪁⏝⏤ஂ㑣 DVL\ZR\XNXQD we go by foot. This phonogram also appears four times in the poetry of Shoki: NSK 34 ▱㯟⬟ WLEDQR Looking out over ఞ㇋Bሳᙗ౛㯟 kadunwo ZRPLUHED the verdant plain of Kazu, ⱱࠎᬛ⃦⸼ PRPRWLGDUX I behold before me ኪ⌗Ἴẕᙗ႘ \DQLSDPRPL\X an abundance of villages— ༐⌗⬟᭸ẕᙗ႘ kuni no po mo PL\X I also see a land of excellence. Man’\ǀVKnj also preserves eight examples of this phonogram: MYS 4403 ពಖᯨ⨾⬟ opokimi no What fear and wonder ⨾ᕫ➼ྍஅྂ⨾ PLNRWRNDVLNZRPL for our great lord— 㜿இஂ∹஀ awokumu no I have come over ➼⬟ጅஂኪ㯞இ WRQRELNX\DPDZR the mountains ྂ୚ᘭఄBຍ∹ NZR\RWHNLnwo kamu where blue clouds trail.

ೳ

OJ: nwo OC: *nâҌ GO: nu KN: do LH: naҌ EMC: nuo NOM: n͟, n͗, ná SV: n͟ SK: nwo Usage / History: This phonogram belongs to the LJS, but it is somewhat difficult to know precisely how often it was used. There is some graphic confusion between this graph andດ࣭ᛣ This phonogram is used twice in the same song in Nihon shoki: NSK 126 ⨾᭥அ>⬟ PL\HVLnwo no The trout of Eshino ᭥அ>⬟㜿႘ \HVLnwo QRD\X beautiful Mieshino— 㜿႘ᨀ᭯᧛ D\XNRVRSD it is good for ᪋㯞ಸẕ᭥ᒱ VLPDSHPR\HNL you trout to be near the island. ឡ೜ὶஅ⾫ HNXUXVLZH Ah, how painful ዉ␲⬟ẕ㦐 nagwi QRPRWR to be under the water-greens ไ฼⬟ẕ㦐 VHULQRPRWR to be under the water-cress. 㜿౛᧛೜ὶஅ⾫ DUHSDNXUXVLZH I am in pain. $FFRUGLQJWRƿQR Whis phonogram appears in Man’\ǀVKnj twice, but I have been able to find three examples (MYS 1609, 1624, 1809): MYS 1624 WA GA NARERU It is a head dress ࿃அⵗ᭷ WASADA NO PO MOTI I made from rice stalks ᪩⏣அ✑❧ TUKURITARU from early rice plants 㐀᭷ KADURA so MITUTU I am harvesting. Think of me, ⹔᭮ぢஆ ᖌ>Ἴୡ࿃⫼ sinwopase WA GA SE my beloved, as you look at it.

257

⦕

OJ: nwo OC: laҌ LH: jaҌ EMC: jiaҌ GO: \D KN: \D NOM: dã SV: dã SK: \D Usage / History: This kungana suggests to the reader OJ nwo ‘field, moor.’ The earliest datable example of this is found on a mokkan dated 682: ኉༗ᖺ༑᭶‫ڧ‬ẟ㔝 “Year 682, 10th month, X KENWO….” There is another mokkan dated 683 with the following: Ⓧᮍᖺ୐᭶୕㔝኱㔝ホ㜿₃㔛 “Year 683, seventh month. MINWO (Province), OPONWO District, Arwo Village….” These actually may be logograms. $OVRLQWKH7DLKǀ&HQVXV WKHIROORZLQJQDPHVDUHUHFRUGHG ୕㔝㈽ MINWOmye, 㯞㔝ẚ㈽ MaNWO Pimye, and 㒔㔝㯞࿅ TuNWO Maro. $FFRUGLQJ WR ƿQR   WKH 6XLNR HUD FRUSXV GRHV QRW SUHVHUYH DQ\ examples of nwo in phonograms, but there is one example with this logogram, 㔝. This is also true of -ǀJnj 6KǀWRNX Kǀǀ WHLVHWVX: ኱㔝ᒸ OPONWO WOKA µƿQR+LOO.’ The absence of any phonograms for nwo likely reflects later rewriting, when nwo and nu appeared orthographically confused, and a semantogram usage was employed. This kungana appears on a variety of mokkan: వᚿ㔝ዪ YosiNWOMYE (unnumbered tablet).

258

O ๟

OJ: o OC: *ҌΩkh LH: ҌѠΩh EMC: ҌѠ GO: i KN: i NOM: ̭\ý SV: ý, Ǥ SK: X\ Usage / History: This phonogram belongs to the PBS, and appears on the Inariyama tumulus sword inscription wᐩẚᇃ *ԥpԥpikwai > opopikwo ‘great prince?’ and on the Suda Hachiman mirror inscription (ca. 500) wᰘ Ἃ ຍ ᐑ  *ԥzasaka MIYA, traditionally read osisaka ‘Oshisaka Palace,’ and on the inscription of the 7HQMXNRNXVKXFKǀ DW &KnjJnjML FD ) 㜿⡿ஂ∞w᪁Ἴ␃ᨭẚ㔛∞Ἴ஀ᙗᕫ ➼ ame kuni oVLSDUXNLQRPLNRWR, the name of Great King Kinmei. Regardless of the use of this ancient phonogram, the literati appear to have shied away from using it in poetic composition. Shoki’s rich poetry uses only three phonograms for /o/ in syllable-initial position ᪊࣭㣡࣭ῒ (there are two others [᠈࣭எ] but these are each used only once), while the annotative notes employ the same three. Kojiki, on the other hand, uses this phonogram [ព] for o a total of 33 times, though the poets appear to have preferred ῒ, used 47 times. It should be mentioned here that Mabuchi (1957:81–83) had postulated that there anciently was a difference in the vocalism with ព and ῒ. He proposes that ព represents type A, and ῒ type B o. Rather than simply checking the employment of the phonograms in Kojiki, checking the historical Chinese phonology is the more accurate approach to confirm this theory. Since ព came into the ancient Japanese corpus around the late fourth or early fifth centuries, Later Han is the proper stage to search for the phonology the ancient Japanese used to map this graph onto the phoneme of Old Japanese. Compare these values: Graph ព ῒ

OC *‫ۑݦ‬h *‫ݦ‬a

LH ‫ܺݦ‬ԥh ‫ܤܺݦ‬

EMC ‫ܺݦ‬ ‫ܺݦ‬a

NOM ҩy ӭa

SK uy e

There does not appear to have been a difference in rounding, as both nuclei are mid and unrounded. Therefore, there is sufficient evidence to say that Kojiki did not make a distinction between two varieties of /o/. Both graphs ពῒwere used to transcribe initial /o/. This phonogram appears on several mokkan: wఄ 㯞࿅ Okimaro (MK 349), wẕ㒔Ⰻ∹ዉoPRWXUDPXQD unknown meaning (unnumbered tablet), ഛ๓ᅜ஝wẝኍᩯః༖ ‘one PAKWO and five MASU (about nine bushels) of dried opi ‘black persimmon’ from Bizen Province’ (MK 20:33). Below are two samples of ព, one each from Kojiki and Nihon shoki: KK 63 㒔⸤Ἶᕸ WXJLQHSX Thick with trees ኪ㯞᪁࿅㈽⬟ \DPDVLURP\HQR the maiden of Yamashiro— チஂἼẕ▱ NRNXSDPRWL cultivating great radishes 259

Ᏹ▱᪁wᐩἾ XWLVLopone with her wooden hoe. బ࿴బ࿴㏓ sawa sawa ni And noisily 㑣㈡ఀᖯໃチ᭯ na ga ipese koso you say things to me, Ᏹ▱࿴ከ㡲 XWLZDWDVX so from far and wide ኪ㈡Ἴᘏ㑣㡲 \DJDSDHQDVX thick as the forest ᒱఀ⌮㯞㡋ஂ⚰ NLLULPDZLNXUH people have come here. It should be mentioned that ‘great root’ (> radish) is also written as ῒᐩἾ in poem KK 61, showing overlap with ពῒ. In Nihon shoki LQ WKH UHLJQ RI -LQJnj D 3DHNFKH YLOODJH LV written wὶᮧ, glossed as oUX SUKI. This phonogram appears in Man’\ǀshnj, used 36 times, though ᪊ became the primary graph for the compiler (appearing 428 times): MYS 812 チ➼㦐Ἴያ NRWRWRSDQX Though a piece of wood does not ⣖ᑣⱱᏳ⌮➼ẟ kwi QLPRDULWRPR utter words, would I ever lay it ࿴ఱୡྂᡃ wa ga sekwo ga on the ground, that favorite ከ㑣♩஀⨾ᕧ㦐 WDQDUHQR PLNRWR august NRWR belonging 㒔ᆅᑣwຍ⡿⛣ẕ WXWLQLoNDPH\DPR to my beloved elder?

ᅃ

OJ: o OC: *Ҍa LH: ҌѠъ EMC: ҌѠa GO: o KN: \R NOM: ˱, ͣ, ͥ, ˱a SV: ˱ SK: e Usage / History: This phonogram belongs to the PBS. This graph appears on the Kwangkaytho stele: x฼ᇛ *‫ܤܺݦ‬-ri fortress. Also, on the stele erected by Silla and T’ang after the destruction of Paekche in 660, we find the following name: x᭯ᇛ*‫ܤܺݦ‬-tsԥƾ fortress. This lends evidence that the Japanese likely learned this usage from their Paekche teachers. Also consider that this phonogram (᪊) appears in fragments from the Suiko era corpus. It appears in -ǀJnjVKǀWRNXKǀǀWHLVHWVX (ca. 800, but many parts are clearly from the Suiko era) three times. One example is 㜿⡿ஂ∞xᚿἼ␃ᨭᘅ ᗞኳⓚ, ame kuni oVLSDUXNLPIRO NIPA SUMYERA [NO] MIKOTO (the name of Great King Kinmei). There are several problems with this rendition. One is that the usage of ‘emperor’ ኳⓚ did not come into regular use until around the era of 7HQPX RU -LWǀ 5HJDUGOHVV WKLV LV OLNHO\ QRWKLQJ PRUH WKDQ WKH FRPSLOHU RI 7HLVHWVX taking a clearly old name and adding ‘emperor’ to it, mirroring the text in Nihon shoki. The phonology works out perfectly, with the representation of the name also employing four phonograms from the WS or PBS (㜿∞ᨭ␃). Thus it seems clear that the orthographic representation of this name originated from around the Suiko era. There is only one example in the liturgies: ㅖᚚ⚄➼Ἴᖹஂxኴẚ∞ఀ㯞 బᕸಸᚿⓏ⏦ MORO MIKAMWITATI pa TAPIRAKEku oGDSL QL LPDVDSX EHVL WR MAWOSE ‘Declare that the various august deities will be appeased and shall reside at peace…’ (NT 16). There are also 34 examples of this phonogram in the beta section of Shoki. The following is an example of an annotational note and a poem: ☒⏣Ṉபxಖ ᒱ㝁 ³ௗµThe place name ☒⏣’ is to be read oSRNLWD” (NSG). 260

ᙳ

Ⳙ

NSK 43 ᮃⱏᖯ◚ PRWRS\H pa I thought of you ᯨÅⅲ᪊ᮃ⮎ᾖ kimi wo omopide at the trunk of the tree. 㡲្ᖯ◚ VXZHS\HSD I remembered you ఀᬽⅲxᮃẚᾖ imo wo omopide when I looked up at the crown. ఀ⨶㑣㭼༐ LUDQDN\HNX I felt such sorrow ᭯⹫⌗xᮃẚ soko ni omopi thinking of you there. ఞ㑣ᚿ㭼༐ NDQDVLN\HNX I felt such sadness ⹫ࠎ⌗xᮃ⮎ koko ni omopi thinking about you here. ఀᯨ⨶൲ᒙ༐ᒗ LNLUD]XVRNXUX I left without cutting down 㜿㇋⍰⏤Åᦶ⏤Å DGXVD\XPLPD\XPL the tree for the catalpa bow. This is the main graph used to transcribe o in Man’\ǀshnj, used 428 times: MYS 104 WA GA WOKA NO The fine powdered snow ࿃ᒸஅ I told the water deity xྍ⨾ᑣゝ⪋ okami ni IPITE PURASIMESI residing in my hill ௧ⴠ YUKI NO KUDAKEsi to make fall seems to have 㞷அᦵஅ SOKO QL7,5,N\HPX scattered over to your side. ᙼᡤᑣሻᐙṊ The cursive form of this phonogram later becomes the kana form of ࠾, and the NDWDNDQDform took part of the phonogram to create ࢜.  OJ: o OC: *Ҍa LH: ҌѠъ EMC: ҌѠa GO: o KN: \R NOM: ͱ, ͱa SV: ͱ SK: e Usage / History: This graph belongs to the EJS. See ព OJ: o above for the Mabuchi (1957) theory that there were two varieties of o (ព࣭ῒ). It is perhaps more accurate to say that while ព is from the PBS, ῒ was a Japanese native court innovation (whether this was done by native Wa people, or Paekche scribes who had immigrated to the court, is debatable). As noted above under the graph ព, there are many examples of ῒin Kojiki. The title omi is consistently written ῒ⨾(though there is one case of ព ⨾). ‘Offing’ is written either ῒᒱor ῒఄ. There are only two examples of ῒ in Nihon shoki, one in annotational note and one in a poem: ႖㡪Ṉபy➼ፋẚ ³ௗµreverberate’ is read oWRQDSL” (NSG). NSK 39 ఞ㎫⬟㍜⌗ kasi no pu ni In an oak forest ㇧༐࿘ሳ⳱༐฼ \RNXVXZo WXNXUL we made a wide mortar. ㇧༐࿘⌗ \RNXVXQL In that wide motar ఞ⥥⸼y᭸Åᯨ kam\HUXopomiki we brewed this auspicious wine. Ᏹᦶ⨶⌗ XPDUDQL Enjoy it as ᯨ⹫அⱱ▱ሳໃ NLNRVLPRWLZRVH you partake of it— ᦶ࿅㣹ᬛ PDURJDWL our father.  OJ: o OC: *Ҍah LH: ҌѠъh EMC: jѠa GO: o KN: \R NOM: ͱ SV: ͱ SK: e 261

Usage / History: The phonogram 㣡 belongs to the LJS. This graph appears in Nihon shoki and 0DQ¶\ǀVKnj. ƿQR (1962:148) mentions that 㣡 is a phonogram worthy of note, but he does not elaborate, leaving the reader hanging. This phonogram appears in Shoki two times in the annotational notes, and a total of 19 times in the poetry: ᭣ẕᮌ㑚ࠋ௒ப㣡᝖ᘕወケஓ “That village was called OMOKWI ‘mother-tree.’ The place now called Omonokwi is a corruption of this.” NSK 5 㣡௻㒔㒭฼ oNLWXWRUL Birds of the offing— ㍋ⱱ㇋໙ᚿ☻∞ kamoduku sima ni ducks gather on the island. ࿴ᡃㅝ⚲ᚿ wa ga winesi As long as I live ఀⱱ᧛࿴⣲㑘⌗ LPRSDZDVXUD]L I will always remember ㆨ⬟᧸㒭㥀㒭ẕ \RQRNRWRJRWRPR the maiden with whom I slept. This phonogram appears only twice in 0DQ¶\ǀVKnj, both times to transcribe the place name Ou: 㣡Ᏹᾏ ou [NO] UMI (MYS 371), 㣡Ᏹ⬟ᾏ ou no UMI (MYS 536).

໢

໱

OJ: o OC: *ҌΩk LH: ҌѠΩk EMC: Ҍik GO: oku KN: \RNX NOM: ͱc, SV: ͱc SK: uk, ek Usage / History: This phonogram belongs to LJS, appearing only sparingly in Shoki and 0DQ¶\ǀVKnj. There is only one example in Shoki, appearing in poetry. NSK 4 z௻㒔ⱱ᧛ oNLWXPRSD It comes to the shore 㝎∞᧛ㆨᡠ⪏ẕ S\HQLSD\RUHGRPR the seaweed in the offing; బ⚲⪏᧸ⱱ sanedoko mo but my wife comes not— 㜿㯼᧛ᛣ௓ⱱㆨ DWDSDQXNDPR\R refusing to give me a bed. ᧛☻㒔ᬛ⪏⌮ㆨ SDPDWXWLGRUL\R Ah, the plovers on the beach! Another well known example of this phonogram comes from the name of the famous 0DQ¶\ǀ poet, Yamanoue Okura ᒣ ୖ z Ⰻ (ca. 660–733). ƿQR (1962:426) wonders if the traditional reading of RNXUD is correct. It may have been okoUD, as we have good reason to believe, that he was of Paekche ancestry (Nakanishi 1972:174–178), thus either vowel /o/ or /u/ could have been inserted to represent what was probably his real name, Okla. The lingering velar in the Chinese phonological structure (the -k persisted into LMC) may have been used here to represent that. It should be noted that this phonogram and a related graph ൨ are always used proceeding another phonogram that is transcribing a velarinitial syllable, thus ok-kV. ƿQR (1962:450) provides the following examples: { ᒱ o-ki, {ィ o-N\H, {ᔱ o-ki-sima, {ᚿ o-kosi. It would thus appear that this phonogram was used, with its final -k, to form a geminate that told the reader the next vowel was short.  OJ: o OC: *ҌΩƾh LH: ҌѠƾh EMC: Ҍiƾ GO: ou, omu KN: \RX NOM: ˱ng, ͱng SV: ˱ng, ͱng SK: ung

262

⮃ Ɱ

Usage / History: This phonogram belongs to the LJS. It appears only once in Man’\ǀshnj in the word |፩ oEL ‘belt’ (MYS 4130). The phonogram ᠕ appears a great number of times in 0DQ¶\ǀVKnj, but the usages fall into two groups: a graph to transcribe the debitive E\HVL ‘should, can, might have,’ or to represent its Chinese semantic meaning of ‘reply.’ There are many examples of this phonogram in +RNHN\ǀ RQJL transcribed as wou, which is a later corruption of an earlier ou. There is also one example of this phonogram glossed as omu (Ogura 1995.2:208– 211), perhaps an attempt to deal with the original velar nasal coda.  OJ: o OC: *ҌΩnҌ LH: ҌѠnҌ EMC: ҌѠn GO: omu KN: in NOM: ̱n, ͝n SV: ̭n, ̱n SK: un Usage / History: This phonogram belongs to the LJS. It was used quite frequently, being found in Kojiki (once), the imperial edicts of Shoku Nihongi (once), ,]XPRIXGRNL (once), and the text of Shoku Nihongi. Interestingly, all these examples represent the same place name: Oki Island 㞃ᒱᔱ. OJ: omi OC: *ҌΩm LH: ҌѠm EMC: Ҍim GO: omu KN: in NOM: âm SV: âm SK: um Usage / History: This phonogram belongs to the LJS. While the LH and EMC data appear to show a high, front vowel, data from all three Sino-Xenic strains show a mid vowel (with the assumption that Go-on is originally showing Ωm). This is found in Shoku Nihongi in the name ᐙཎ㡢㑣IPYEPARA Omina (712.9.3). OJ: ono OC: NA LH: NA EMC: NA GO: on KN: in NOM: NA SV: NA SK: un Usage / History: This phonogram belongs to the LJS. Because of the rarity of this graph, it is difficult to garner very much Sino-Xenic information. The Go-on and SK information is all that I can locate, but it should be noted that the OC of the related graph Ẃ is *‫ݦ‬ԥn, while the SV of the same graph is ân, demonstrating that all three Sino-Xenic strains appear to have had an initial unrounded vowel. This graph only appears in Nihon shoki in the mythical story of the birth of the island Onogoro: }㥀៖ᔱ onoJRUR SIMA. In Kojiki the name of this island is transcribed as ῒ⬟◻࿅ᔱ.

䲢!!

⤎

OJ: opa, opo OC: *ҌΩp GO: oIX KN: LIX LH: Ҍip EMC: Ҍip NOM: ̭p, ͕p SV: ̭p SK: up Usage / History: This phonogram belongs to the LJS. This usage appears in the the Mino Census of 702 writing the name ⾢➼ Opoto (or perhaps Opato) and ⾢➼ྡ 263

OpotoNA (or OpatoNA). ƿno (1977:33) suggests that these two are actually representing Opito. However, Nihon shoki, in the record of Jitǀ (in 693), has the name ᕧໃ⾢἞ glossed as Kose Opodi, which seems to suggest that the 㑚 is here actually transcribing opo. Shoku Nihongi also perserves this same name of ᕧໃᮅ⮧⾢἞ (707.3.2) read as Kose Asomi Opodi. Interestingly, there are a few other names preserved in Shoku Nihongi: an emisi named ⾢Ⰻᚿูྩ Oporasi BETU KIMI (715.10.29), and a district ⾢ ஂ 㒆 Opoku District (743.5.28). A slightly different reading is preserved in the district name ⾢ᵹ㒆 glossed as Oparaki (769.4.27). This transcription is supported by the later usage in :DP\ǀVKǀ, where the district is transcribed ᪊ἼⰋᒱ RSDUDNL. Interestingly, a wooden tablet was excavated from the ruins of the Fujiwara Palace (fl. 694– 710), and on it appears the place name ኱Ⲩᇛホ OPOARAKWI District (MK 168). Regarding the graph 㑚, this appears on several mokkan: ഛ๓ᅜ⾢ஂ㒆 Bizen Province Opoku District (MKK 10:91).

˽

OJ: oWR, o OC: *ҌUΩW LH: ҌѠW EMC: ҌLW GO: oWL KN: LWX NOM: ̭WK̷W SV: ̭W SK: ul Usage / History: This phonogram belongs to the PBS. It appears in .RXJU\R-ki in a listing of noble ranks: ⪆ Jet-ܳji (Takeuchi 1977:34). The earliest datable example of this in Japan appears in the Mino Census of 702 in the name 㯞࿅ Oto Maro. There is a single example of this usage in Nihon shoki: ➼, but the text glosses this as Oto. This usage appears in Man’\ǀshnj, in names such as ᚸᆏ㒊㯞࿅ OSISAKABYE Oto Maro (MYS 71), ▼ୖ㯞࿅ ISWONOKAMI Oto Maro (MYS 368), and ⬟Ⓩ⮧⨾స Noto [NO] OMI Oto Misaka (MYS 4069).

264

P త

Β

OJ: pa OC: *SUâ LH: pa EMC: pa GO: Ia KN: ID NOM: Ea, E˯ SV: Ea SK: pha Usage / History: This phonogram belongs to the WS, appearing in Wei zhi, in the toponym € ฼ *pa-ri. It also appears on inscriptions on the peninsula. On the Kwangkaytho stele: €ያᇛ *pa-n‫ ܧ‬fortress. It also appears on the Silla Pyengsin-nyen stele (536 CE): ேྈ⌌€ఀ༶ย ‘…a person (named) *Kietorpa Itsit‫ܤ‬u.’ This phonogram also appears in a set of words ascribed to the language of Silla: ᏱἾဇ€ᳰࠊᙗࠎ€ᳰ XQHP\H pa\D PLPL pa\D. The Shoki compiler notes that the Silla men could not pronounce the names of the mountains Unebi and Miminasi correctly, so these became uneme and mimi, though this interpretation sounds forced. The following names of peninsular figures do contain this graph to transcribe pa: ㈢€ጤబ Punpawasa, a man from Ara (Shoki glosses this name as Ponpawasa), ⮃⮧€ᥦ౽ KASIPADE [NO] OMI Padepi (which looks like a Japanese person born in Paekche, as the name does not seem sound Japanese), and a Paekche place name: ⓒ⃽ຍ€฼℈ Kapari Beach in Paekche. Briefly, the reason I have relegated so-called ha-J\ǀ phonograms to p- is because of careful research conducted by Miyake (1999, 2003a). As the SinoXenic data illustrate in this and other examples, the phonograms selected to represent what we call the ha-J\ǀ series of sounds were for the most part a voiceless bilabial obstruent. I refer the reader to Miyake (2003a:164–166) for an explanation of examples where a bilabial fricative is used in Nihon shoki. OJ: pa OC: *phâns LH: phanh EMC: phwânh GO: EDQ KN: IDQ NOM: E̩QE͕n SV: E̩n SK: pan Usage / History: This phonogram belongs to the PBS. This usage only appears in the Keitai record of Nihon shoki. One simple example comes from the seventh year of Keitai, where the land known to the Korean as Ponpi is written ㊤, papwi. This phonogram also appears in 0DQ¶\ǀVKnj, eight times. MYS 796 அఄ୚அ paVLNL\osi Ah, how beloved! ຍஂ஀ᮍྍⰋᑣ kaku nomwi NDUDQL This is how it turned out— அከẚᕫஅ VLWDSLNosi she longingly followed after me ఀẟᡃᕫチ࿅஀ imwo ga kRNRUR no but nothing can be done 㡲ูẟ㡲ู㑣ᕥ VXE\HPRVXE\HQDVD about my beloved’s heart.

265

٪

OJ: pa, pani OC: *pâns LH: panh EMC: pwânh GO: IDPX KN: IDQ NOM: EiQ SV: EiQ SK: pan Usage / History: This phonogram belongs to the PBS. This graph appears on the Inariyama tumulus sword inscription: ‚ᘭẚ[ᇃ] *pante-pi(kwa-i). It is highly probable that the final -n in pan was intended to show the pre-nasalization of the following syllable: pa-nde-pi-kwa-i. The final graph of this name has disappeared as the surface of the sword has degraded, but as there is another name with pikwa-i (ẚ ᇃ) mentioned on the sword, this presumed reading is at least an educated guess. The phonogram ༙ also appears in Paekche quotes found in Nihon shoki: ‚ྂ pankwo, ᩓ‚ዖ᪭ᒱ Sanpange Kanki ‘Prince Sanpange,’ and ᩓ‚ୗ Sanpanga ‘land of Sanpanga.’ It seems quite plausible, as noted above, that in all these examples, the final -n simply denotes prenasalization of the following syllable. This usage also appears in the earliest extant census, the Mino Census of 702: ‚ᕸ㔛 Panipu Village. It also appears in documents preserved in the 6KǀVǀLQ ‚ኴ㐃✄ᮧ Pada MURAZI INAMURA, and ‚ᕸ Panipu. Thus we see that this phonogram was used early on either to show prenasalization, or to transcribe pani. This phonogram appears in 0DQ¶\ǀVKnj, twice as what may be pani, and three times as pa. MYS 3846 You must not ἲᖌ➼அ papusiRA GA PIGE no SORI KUPI violently pull on the horse 㨈஀๋ᮺ UMA TUNAGI that is tied up to the stubble 㤿⧅ ITAKU NA PIKI so on the chin of the bonze. ③໚ᘬ᭮ POPUSI pa nakamu The bonze will likely cry. ൔ‚⏑ Some have interpreted this poem with ‚⏑, and the same in the next (MYS 3847), as panikamu ‘gnash one’s teeth in anger,’ but others interpret ༙ as naka ‘half way between, in the middle’; thus NAKA+kamu = NAkamu. I have followed this interpretation for the present, though the other possibility is still plausible. MYS 849 ⬟チ฼ከ␃ QRNRULWDUX Blossoms of the plum ⏤Რோᮎ⮬౛␃ \XNLQLPD]LUHUX mixed in with Ᏹᱵ⬟‚ዉ ume no pana the snow that remains— ‚ஓஂዉ▱฼᭮ pa\DNXQDWLULVR Do not scatter so quickly, ⏤ྜྷἼỀያ➼໚ \XNLSDNHQXWRPR even if the snow should vanish.  OJ: pa OC: NA LH: NA EMC: pha GO: ID KN: ID NOM: NA SV: ph̫ SK: pha Usage / History: This phonogram is a combination of ୙ ‘not’ and ྍ ‘can,’ and thus means ‘cannot.’ The reading of pa originates from IDQTLH: ୙ p- + ྍ -a. This rather strange usage belongs to the PBS, and appears on the Kwangkaytho stele: ƒᐩ ᒣ Mount Papo.

њ!!

266

This usage also appears twice in Man’\ǀshnj: MYS 3256 SIKUSIKU NI She will probably not be ᩝࠎ୹ OMOPAZU PITO pa thinking constantly of me, ୙ᛮேƒ ARURAMEDO but alas, I will not 㞪᭷ be able to forget her 巼ᩥ࿃⪅ SIMASIKU mo A PA WASURAYENU KAMO for at least a little while. ᛀᯞ἟㬞 ƿQR(1977:580) also believes that MYS 385 contains ྒྷ, but there is some reason to believe that this graph is actually a mistake for ྍ. Regardless, choosing either of these two graphs results in words that are difficult to interpret. Consider the following choices: Option 1 KUSA TORI panawa Cutting herbs, panawa… ⲡྲྀƒዉ࿴ Option 2 KUSA TORI kanawa Cutting herbs, kanawa… ⲡྲྀˆዉ࿴ It is possible that panawa has something to do with letting go of the herbs that have been cut, a theory put forth by Satake et al. (1999.1:252–253), but the problem remains: what exactly is panawa? Is this one word? Two? It is difficult to decipher.

ᗢ

OJ: pa OC: *pâi LH: pъi EMC: pwâ GO: ID KN: ID NOM: Ea SV: Ea SK: pha Usage / History: This phonogram belongs to the EJS, appearing as early as the Suiko era. It is found in Jǀgnj ShǀWRNX hǀǀ WHLVHWVX in toponyms and personal names: ఀ„♩ Ipare, ஂ„ ኴዪ⋤ Princess Kupada, „Ṇ ฼ዪ⋤ Princess Patori, 㞴 „ Nanipa, and 㜿⡿ஂᑣព᪁„␃ᨭẚ㔛ᑣ„஀ᘺᕫ➼ Ame Kuniosi Paruki Pironipa no Mikoto (Great Ruler Kinmei). This phonogram appears 96 times in the liturgies: ᒣ㔝⬟≀„⏑⳯㎞⳯ࠊ㟷ᾏཎ⬟≀„„ከ⬟ᗈ≀„ከ⬟⊃≀ዟ 㒔ẟ„㑔ὠẟ„∞⮳㯞ᘭ YAMANWO no MONO pa AMANA KARANA, AWOMI [NO] PARA no MONO pa paWD QR PIROMONO paWD QR SAMONO, OKIWX PZRpa S\HTU mwopa ni ITARU made “Including things down to sweet herbs and bitter herbs from the mountain moors, things with wide fins and narrow fins from the ocean plains, and seaweed from the offing and close to the shore” (NT 5). This phonogram appears frequently on mokkan: 㜿„ᅜ㑣㈡㒆 Apa Province Naga District (MK 2183), இ„኎ Wopamye (MK 3291), ㅽ⏦ᮌᮍ࿅㜿ఱ„▱࣭ ᮌᮍ࿅࿴♩„▱ ‘I humbly declare, MOKU Mwiro, my begging bowl (paWL), MOKU Mwiro, I am…’ (unnumbered tablet). This graph is used extensively to transcribe pa in Kojiki, as the following song demonstrates: KK 103 ኪ㡲⨾᪁ᚿ \DVXPLVLVL During the morning ࿴㈡ῒᐩᒱ⨾⬟ wa ga opokimi no our great lord of the heavenly 㜿బᩯ∞„ DVDWZRQLpa eighty [rays] of sunshine ఀవ⌮㝀ከᚿ L\RULGDWDVL comes and stands, and

267

⏤ᕸᩯ∞„ \XSXWZRQLpa during the evening ఀవ⌮㝀ከ㡲 L\RULGDWDVX he comes and stands. ࿴ᒱ㇋ᒱ㈡᪁ከ⬟ ZDNLGXNLJDVLWDQR How I would like to be ఀከ∞ẕ㈡ LWDQLPRJD the board under 㜿ୡ⿁ ase wo his armrest, my love. This phonogram also appears through out Nihon shoki, appearing in 20 annotational notes, and 80 poems: ⨕㇟ࠊṈப⨾㒔„ ‘Deity of the water’ is read PLWXpa’ (NSG), ᷌ࠊṈப㜿„ᒱ ‘holm oak’ is read apagi’ (NSG), ẋࠊ Ṉப„㑣㇋ ‘destroy’ is read paQDWX’ (NSG). NSK 67 „㑣ල„㎫ panagupasi What beauty and detail బ༐⨶⬟ᱵᾖ VDNXUDQRPHGH these cherry blossoms have. チ➼ᱵᾖ㯟 NRWRPHGHED If beauty is the same then „ᳰ༐„ᱵᾖᏦ pa\DNXpa medezu I should have loved sooner: ࿴ᡃᱵ㇋␃ྂ⨶ ZDJDPHGXUXNZRUD my beloved little maidens. The phonogram Ἴ is also the primary graph used to transcribe pa in Man’\ǀshnj, appearing 1575 times, more heavily in the phonogrammatic books of the anthology than in the others. MYS 11 WA GA seKWO pa If my beloved does not ࿃ໃᏊ„ KARIPO TUKUUDVX have thatch for the roof ೉ᘊసⰋ㡲 KAYA NAKU PA of the hut he is building, ⲡ↓⪅ KWOMATU GA MOTO no please cut some of the grass ᑠᯇୗ஀ KUSA wo KARASANE growing below the small pine. ⲡஇⱉ᰾ This is also the sole phonogram used to transcribe pa in the Footprints of the Buddha poetic sequence. BSS 14 ⯊ຍ஀⨾㜿Ṇ VDNDQRPLDWR I copy the footprints ఀ„ᑣᏱ㒔ᚿ᪊ఄ ipa QLXWXVLRNL of Saka onto the stone, ⏤ఄ⡿ල฼ \XNLPHJXUL and walk around it Ᏹኪ㯞ẚ㯞㒔฼ X\DPDSLPDWXUL showing my reverence; ࿴ᡃ୚„இ㛠∹ ZDJD\Rpa wopemu my generation will be complete. ᕫ஀୚„இ㛠∹ NRQR\Rpa wopemu This time it will be complete. The cursive form of the graph Ἴ later yielded KLUDJDQD ࡣ.

႒

OJ: pa OC: *pâih *pӑaU-s § LH: pъih EMC: pwâh GO: ID KN: IDQ NOM: YiE͏ SV: Ei SK: pha Usage / History: This phonogram belongs to the EJS. It is used to write the earliest transcription for …☻ Parima Province. The reading of this as SDULPD is underscored by the transcription 㔪㛫 NEEDLE-SPACE, PARI-MA, found in .XMLNL Some have believed that this is actually a two-graph representation of an originally older three-graph rendition (like ᧛฼☻), but it should be noted that Baxter and Sagart reconstruct the Old Chinese form for ᧛  as *pӑaU-s (2014:257–258). Schuessler compares ᧛to Proto-Tibeto-Burman *bwâr, again suggesting that this phonogram originally had a liquid, thus providing the 268

possibility that *par > *paih. If this theory is accurate, then ᧛☻ would have represented SDU-ma. This phonogram later is clearly used to transcribe pa, however, as the following examples show. On a number of mokkan we find …㇋㒆 Patu District in the province of Mikapa (MK 368). Another mokkan contains …ከ㒓 Pata Village (MKK 5:11). This phonogram is also used in Nihon shoki, eight times in the annotational notes, and 49 times in poetry: ⴥᮌᅧࠊṈப…ᨀ▴∞ ‘Leaf-tree land’ is read pako kuni’ (NSG), ඲๤ࠊṈபᏱ㒔…ఄ ‘Peel completely off is read XWXpagi’ (NSG). NSK 3 㜿☻బ⟠ᒗ DPDVDNDUX Having crossed over 㑊ዉ⳱ㅦᘕ SLQDWXP\HQo the narrow, earthly straits, ௨࿴ከ㑘⣲すΏ LZDWDUDVXVHWZR the provincial maidens ௨Ⴙ⟠…⟠᯳㍜ᬛ isikapa NDWDSXWL stand on the banks of the river ⟠ከ㍜ᬛ∞ NDWDSXWLQL on the banks of the Ishikawa, 㜿ᙗ…฼࿴᯳Ⴙ ami paULZDWDVL spreading out their nets. ጒ៖㇧Ⴙ∞ PHUR\RVLQL Pull in those nets ㇧Ⴙ㇧฼᧸⚲ \RVL\RULNRQH by pulling on the meshes! ௨Ⴙ⟠…⟠᯳㍜ᬛ isikapa kDWDSXWL On the banks of the Ishikawa. Also, the following poem in Man’\ǀshnj, from the earliest part of the collection, contains this pa. MYS 69 KUSA MAKURA If I had known that he ⲡᯖ TABWI YUKU KIMI TO was our lord on a journey, ᐈཤྩ㊧ SIRAPDVHED with grass as his pillow, ▱㯞ୡ፠ KWISI no PANIpu ni I would have dyed your ᓴ஀ᇰᕸᑣ ோᑌ…ᩓ㯞ᛮ࿧ nipopasamasi wo robes with the clay of the coast.

౥

OJ: pa OC: *phan LH: phuъn EMC: phjwщn GO: IDPX KN: IDQ NOM: phan SV: phaQSKLrQ SK: pen Usage / History: This phonogram belongs to the LJS. On two different mokkan, we find a village called Pada. One is in Ki Province, written †㝀㒓, on a wooden fragment dated around the Tenpyǀ era (729–749), while another fragment dated around the era of Tenpyǀ Hǀji (757–765) contains the village name transcribed as †ኴ㒓. This phonogram also appears in three songs in Nihon shoki: NSK 71 㜿ᦶ⃦㟝 amadamu Flying in the sky ⟠␃ᝥ➼㈽ NDUXZRWRP\H Princess Karu, ␗ဟඏ௓㯟 LWDQDNDED people will notice ⮎➼㈨฼ያ㝙Å SLWRVLULQXEHPL if I cry uncontrollably. †⯊⬟ኪᦶ⬟ paVDQR\DPDQR I will be like the dove Ἴย⬟ SDWZRQR of Mount Hasa ㈨ဟඏ௻㏓ዉ໙ VLWDQDNLQLQDNX who coos in a soft voice. 269

The editors of -LGDL EHWVX NRNXJR GDLMLWHQ (1967:898) claim that this phonogram also appears in Man¶\ǀVKnj. It does appear in the reoccurring toponyms ᅉ† inaba; other than that, several manuscripts have ᖭ in two different poems (MYS 4092, 4111), but both examples are actually scribal errors for an earlier ᧛.

ᯊ

ᅀ

OJ: pa OC: *phâih LH: phъih EMC: phwâh GO: ID KN: ID NOM: phá, vͩ SV: phá SK: pha Usage / History: This phonogram belongs to the LJS. It appears as early as the Mino Census (702), in the name ୙‡ Pupa. It appears on a variety of mokkan, especially to transcribe Pupa District (୙◚ホ,MKK 13:154), a district in the province of Minwo (⨾⃰ᅜ, MK 2899). There is also a personal name on one mokkan: ẚ኎ ኴ฼࣭‡ዉ฼ྂ Pimyedari and Panarikwo (MKK 20:35). This phonogram is also used rather extensively in Nihon shoki, appearing in two annotational notes, and 53 times in poetry: 㢷㰻ࠊṈபனᅯリᛱ‡ẝ ³ௗµspirit possession’ is read XWXVL Lpapi” (NSG), ⨕㇟ዪࠊṈபÅ⳱‡ᘕ㏞ ³ௗµthe female deity of the water’ is PLWXpa no m\e” (NSG). NSK 42 ▱‡ᳰ⮎ⱏ WLpa\DSLWR Endowed with power ன᪗⬟࿴ከ฼⌗ XGLQRZDWDULQL you potent people బⅲย฼⌗ VDZRWZRULQL who hold the staff. ‡᥾㭼ົ⮎ⱏ㎫ pa\DN\HPXSLWRVL at the ferry of Uji— ࿴㣹ẟ⬌⌗⹫ົ wa ga mwokwo ni komu come rescue me, companions! The phonogram ◚ also appears six times in Man’\ǀshnj: MYS 632 ME nipa MITE What to do with my beloved? ┠஧‡ぢ⪋ TE nipa TORAYENU She is like the cassia tree ᡭ஧‡୙ᡤྲྀ TUKWI NO UTI NO that is on the moon ᭶ෆஅ KATURA NO GOTOKI which you sees with your eyes, ᴁዴ IMWO wo IKA NI SEMU but cannot hold in your hand. ጒஇዉఱ㈐ OJ: pa OC: *paƾ LH: puъƾ EMC: pjwaƾ GO: IDX KN: IDX NOM: ph˱˯ng, vuông SV: ph˱˯ng SK: pang Usage / History: This phonogram belongs to the LJS. It appears on a mokkan from the Fujiwara Palace ruins (fl. 694–710), which predate the establishment of the Nara Capital, in a personal name: ஬ⓒᮌ㒊㐃ˆ᭮ IPOKWIBYE MURAZI Paso (MK 1515). It is also used in the imperial edicts preserved in Shoku Nihongi, generally to represent the particle pa: ௰ᮎ࿅ྍᚰ஀㏫ோ᝵≧ˆ▱ያࠋ↛ඛோஅᡃዌஅ஦ˆẖ஦ோ ጮ⨾ㅲኳᅾᐙ฼ 1$.$PDUR JD KOKORO no SAKASIMA ni ASIKISAMA pa SIRIQX SIKA AREBA SAKI ni Siga MAWOSIsi KOTO pa KOTOGOTO ni KADAmi PETURAPIWH ARIk\HUL ‘We realize the evil intentions of the heart of Nakamaro. Because of this, the things that he had proclaimed earlier are completely false and fawning’ (SM 28). 270

This phonogram also appears once in Man’\ǀshnj: MYS 3222 Mount Mimoro ୕ㅖ⪅ MIMOROPA PITO NO MORU YAMA is a mountain people watch over. ேஅᏲᒣ MOTOPYE NIPA At the base of the mountain ᮏ㎶⪅ ASIBI PANA SAKI the andromeda blossoms, 㤿㓉ᮌⰼ㛤 SUWEPYE NIpa and at the tip of the mountain ᮎ㎶ˆ TUBAKWI PANA SAKU the camellia is in bloom. ᳺⰼ㛤 ᾆጁ URAGUPASI What a beautiful mountain it is. YAMA so A mountain like one ᒣ᭮ NAKU KWO MORU YAMA who watches over a crying child. ἽඤᏲᒣ

⬸ ↽ ӷ

֋

OJ: pa LH: EXъƾ EMC: EMZaƾ NOM: phòng SV: phòng Usage / History: See this usage under pwo.

OC: *Eaƾ GO: EDX KN: IDX SK: pang

OJ: pa OC: *phaƾ LH: phuъƾ EMC: phjwaƾ GO: IDX KN: IDX NOM: NA SV: ph˱˯ng SK: pang Usage / History: This phonogram belongs to the LJS. It appears in the place name supa as found in Kojiki and Nihon shoki, transcribed as ࿘芳, a transcription which mirrors that in Kujiki: ࿘㜵.The graph is also used to transcribe place names such as 㜿฼芳 DULpa, and Ᏻ฼芳 DULpa.  OJ: SDSDWL OC: SUrW LH: pѓW EMC: păW GO: IDWL KN: IDWX NOM: EiW SV: EiW SK: phal Usage / History: This phonogram belongs to the LJS. It appears in a name preserved in a document kept LQ 6KǀVǀLQ: ‰ከ Pata, here apparently used for the final -t to show that the following vowel is short. Nihon shoki preserves the name Ᏻ‰☻ 㒆Apatima District. Another name, Ᏻ‰ⴙ⋤ Prince Apatima, appears in 6KRNX1LKRQJLThis usage also appears four times in 0DQ¶\ǀVKnj. MYS 762 KAMUVDEX72 It is not because I have aged ⚄ᕥኵ㊧ INABU NIPA ARAZU that I have rejected you. ୙ḧ⪅୙᭷ ‰ከஓ‰ከ paWD\DpaWD Supposing, just suppose— KAKU SITE NOTI ni shall I not be lonely ዴ᫝Ⅽ⪋ᚋ஧ బኵஅᐙ∹ྍ⪺ VDEXVLN\HPXNDPR after something like this? OJ: pa LH: phanh NOM: phán

EMC: phwânh SV: phán

271

OC: *phâns GO: IDQ KN: IDQ SK: phan

Usage / History: This phonogram belongs to the LJS. It appears on a mokkan in one name: ซ ┤Š㯞࿅ OPOSI ATAPI Pamaro (MK 4525).

₨ ᷺

OJ: pa OC: *phâns LH: phanh EMC: phwânh GO: IDQ KN: IDQ NOM: phán SV: phán SK: phan Usage / History: This phonogram belongs to the LJS. It appears in Bungo IXGRNL in this phrase: ⏝⒪⑐Ⓞㅝ胖ኴỀ ‘(The water) is used to cure scabies. Scabies is read padake.’ OJ: pa OC: *pâih or * pâiҌ LH: pъih, paiҌ EMC: pwâh LMC: pua GO: ID KN: ID NOM: NA SV: E̫, ph̫ SK: pha Usage / History: This phonogram belongs to the LJS, and appears in Nihon shoki, six times in the annotational notes, and eight times in poetry: ᰕࠊṈப⨾Œ᪨㑘 ‘Pillar’ is read mipaVLUD’ (NSG), 㯄ࠊᒣ㊊᭣㯄ࠋṈபŒ⪨☻ ‘Base of the mountain refers to the foot of the mountain. It is read pa\DPD’ (NSG). NSK 74 㣡Å⬟ྂŒ omi no kwo pa The servant of the crown, ከಸ⬟ἼఞᦶႲ WDSHQo pakama wo arranging his hemp trousers 㑣ࠎ㝎Ⴒ⤉ QDQDS\HZRVL and his seven-fold armor, ൽ᧛ൽ㝀ࠎጞㅉ QLSDQLWDWDVLWH is standing out in the garden. 㜿㐶ẚ㑣㝀㡲ᬽ D\HSLQDGDVXPo He straightens his leg straps.  OJ: pa OC: *phans LH: phъnh EMC: phwânh LMC: phuan GO: IDQ KN: IDQ NOM: E̵QEͫn SV: phán SK: pan Usage / History: This usage belongs to LJS, appearing in two songs in Shoki: NSK 69 ࿴㣹ඏ໙⳱ᦶ wa ga QDNXWXPD I cry for my spouse. ཤ㚖ཤ᭳ kozo koso It was last night ᳰ୺༐ፋᕸ౛ \DVXNXpaGDSXUH that our flesh calmly touched.

ᬊ!

ẽ

OJ: pa OC: *pâns LH: panh EMC: phwân LMC: phuan GO: IDQ KN: IDQ NOM: E̵n SV: EiQ SK: pan Usage / History: This phonogram belongs to the LJS, and appears only once in Nihon shoki: NSK 66 బ⍰⨶㣹ከ VDVDUDJDWD Undo the string with ㏓அᯨ⬟⮎ẟᘯ nisiki no pimwo wo the bamboo whisk design— ➼ᯨ⯋Ẽᖇ WokisaNHWH that brocade string.

272

㜿㯞ከŽἾཷ㏓ ከ⃦ẚ➼⏝⬟ᮍ

਴

༿ ⌻

DPDWDpa nezu ni WDGDSLWR \ZRnomwi

I cannot spend many nights; let us spend but one night.

OJ: pa OC: *Eâi LH: Eъi EMC: EZâ LMC: pўua GO: EDKN: ID NOM: Ej SV: EaEj SK: pha Usage / History: This phonogram, when transcribing pa, belongs to the CBS. For the prenasalized version, see OJ: ED. This usage appears mainly in Nihon shoki, in two annotational notes, and 14 times in poetry: Ἴ㈿Ṋᚿㅛ papu musi mo ‘even the crawling insects,’ ୍ᮏࠊ ௨ ㈿Ṋᚿㅛ௨ୗ ‘Another record has the following after papu musi mo… “even the crawling insects´ௗµ (NSG). Notice that the original has Ἴ pa, while the annotational quote has ፠ pa. NSK 84 㔝㯞Ⓩ㝣ൽ \DPDWRS\HQL What I long to see Åᡃಖᣦẕ⬟ migaposi mono pa is the palace of Tsunosashi, ᪊ᑹ㎰Å⬟ osinumi no this fortress built so high Ⳅ⬟㝀ျ⣖ඏᒗ kono WDNDNZL QDUX in Oshinumi, in the vicinity 㒔ያፅஅ⬟Å㔝 WXQZRVDVLQRPL\D of the province of Yamato. This phonogram also appears in a variety of imperial edicts in Shoku Nihongi㸸⏨⬟ᮍ∗ྡ㈇ᘭዪἼఀ ♩ያ≀ᑣ㜿♩ኪ WOTOKWO nomwi TITI [NO] NA OPITE MYENOKWO pa ipaUHQXMONO QLDUH\D ‘Only men carry the names of their fathers, so are women merely things that have no connection?’(SM 13). There are also a number of times when papa ‘mother’ is written

in the edicts (in SM 7, 13, 23, 25). -LGDLEHWVXNRNXJRGDLMLWHQ (1967:898) claims that ፠ is used to represent pa in Man¶\ǀVKnj. ƿQR VD\VWKDW ፠ used for pa is doubtful, but does not provide any other information. I have found one example, MYS 3356, where the final stanza is Ềᑣ㣾 ཷྜྷያ NHQL\Rpazu kinu ‘I came without panting.’ The Nishi Honganji witness, which has been the exemplar for most scholars over the years, has ፠, but there are a few witnesses that have Ἴ, so it is difficult to decide the archetype.  OJ: pa OC: Eaƾ LH: EXDƾ EMC: EMZaƾ LMC: Iўaƾ GO: EDX KN: IDX NOM: EX͛ng, phóng SV: phóng SK: phang Usage / History: This phonogram belongs to the CBS. It appears in the toponyms 㜿 Apa. All other examples of this phonogram in Shoku Nihongi and 0DQ¶\ǀVKnj also represent this toponym.  OJ: pa OC: *phâk LH: phak EMC: phâk LMC: pўak GO: EDNX KN: IDNX NOM: E̩c SV: E̩c SK: pak

273

ᗐ

ᬬ

Usage / History: This phonogram belongs to the CBS. This usage only appears in 0DQ¶\ǀVKnj, and then only five times. MYS 1420 AWA YUKI KA Thinking that I see ἓ㞷㤶 puffs of snow 薄ኴ♩ᑣ㞽Ⓩ paGDUHQLPURU WR MIRU MADE ni fluttering down. ぢᕥྑ஧ NAGARApe TIRU pa What flower is it ὶಸᩓἼ NANI NO PANA so mo that is scattering its petals? ఱ≀அⰼ඼ẟ  OJ: pa OC: Eâk LH: EDN EMC: Eâk LMC: pўak GO: EDNX KN: IDNX NOM: E̩c SV: E̩c SK: pak Usage / History: This phonogram belongs to the CBS. This phonogram is only found in 0DQ¶\ǀVKnj, appearing 15 times, all examples used to represent kapa ‘river,’ reflecting on the semantics of the graph ‘moor a boat.’ MYS 3605 ࿴ከ㒔⨾஀ ZDWDWXPLQR Only on the day when Ᏹ⨾ᑣఀᘭከὶ XPLQLLGHWDUX the Shikama River that empties ᛮྍ㯞Ἑ sikamagapa into the ocean of the Sea Deity stops flowing ከᘏ↓᪥ᑣチ᭮ WD\HPXPI ni koso Ᏻᡃᨾ㠀ኪ㯞⡿ a ga kwopwi \DPDPH will my longing for you cease.  OJ: pa OC: Eân LH: EDQ EMC: EZân LMC: pўuan GO: EDPX KN: IDQ NOM: EjQPkP SV: EjQ SK: pan Usage / History: This phonogram belongs to the CBS. This graph appears several times in 0DQ¶\ǀVKnj. The obvious example appears in MYS 933, in the stanzas: 㪯⌔ / ᕥ‘ᑣ₯ฟ APABI TAMA / sapa ni KADUKIDE ‘diving and bringing back many abalone jewels….’ The problematic example is found in MYS 2522: ᜟⓏ / ᛮ ⊃ྡ‘ URAMESI WR OMOPU sapa ni ‘often I think how vexing…,’ where ┙ is supposedly used for pani. Recent scholarship, however, finds this reading to be suspicious, and since Sengaku provided no rendering for us, we are left with little other evidence. OJ: pa LH: Eъi EMC: Ea LMC pўua NOM: NA SV: Ej Usage / History: This phonogram belongs to the CBS. It appearing four times in two songs. NSK 80 ፜ᣇ⨶᪁ᯨ DWDUVLNL ೧ඏㅦ⬟㝀೜ᙗ winaE\HQRWDJXPL ᰓヱᚿ㡲ᙗඏ’ kakesi suminapa

⻰!

274

OC: *Eai GO: ED KN: ID SK: pen appears mainly in Nihon shoki, Such a pitiful waste, that inking string used by the Inabe carpenter.

᪨ᡃ㑣✍㯟 VLJDQDN\HED If he is no longer here, ᣇ౛ᰓࠎヱṊ㡸 WDUHNDNDNHPX\R what skilled person will remain ፜ᣇ⨶㡲ᙗඏ’ DWDUDsuminapa to use the inking string? This phonogram also appears once in 0DQ¶\ǀVKnj: MYS 434 ຍᗙ’ኪ⬟ kazapa\DQR The white azaleas on the coastline of ⨾ಖ஀ᾆᘔஅ mipo no URAMWI NO SIRATUTUzi Miho with swift winds— ⓑ⟶௙ MIREdomo SABUSI I still feel empty, thinking of ぢ༑᪉୙᛭ NAKI PITO OMOPEBA the person who is no longer here. ↓ேᛕ⪅

 

⽰

OJ: pa OC: *waҌ LH: *waҌ EMC: wua GO: u KN: u NOM: vNJ, võ SV: vNJ SK: wu Usage / History: This kungana suggests to the mind OJ pa ‘feather.’ It appears rather early in the Japanese corpus. It appears on a mokkan excavated from the Fujiwara Palace ruins (fl. 694–710), predating the Taihǀ Codes of 701: ᑿ἞ᅜ“ᰩホ WOPARI [NO] KUNI PAKURI KOPORI ‘District of Hakuri in the province of Owari.’ This usage also appears often in Kojiki, in names such as “ᒣὠぢ⚄ PAYAMATUMI [NO] KAMWI ‘the deity Hayamatumi’ (KG), ᑿ ἞ ୹ “ ⮧ WOPARI WDQLPA OMI ‘the Omi of Tanba in Owari’ (KG), “࿳ྩ PAGUPI [NO] KIMI ‘the Hagui Kimi’ (KG). This semantogram is used somewhat sparingly in Nihon shoki: “᫂⋢ PAKARUTAMA ‘the deity Hakarutama’ (NSG), “᣺ⱌ PAPURI SONO ‘garden of Hafuri’ (NSG), and 㧗 “ ᕝ ୖ TAKAPA [NO] KAPAKAMI ‘upstream of the Takaha River’ (NSG). There are roughly 40 examples to be found in Man’\ǀshnj: MYS 12 ᡈ㢌ப Another manuscript has the beginning as: WA GA PORISI But I have seen Kojima, ࿃ḧ KWO SIMA PA MISI wo which I had wanted to see… Ꮚᔱ“ぢ㐲  OJ: pa OC: *k-hjΩҌ LH: WĞhΩҌ EMC: WĞhѠҌ GO: si KN: si NOM: x͑ SV: x͑ SK: chi Usage / History: This kungana suggests to the reader OJ pa ‘teeth.’ It appears a few times in Kojiki, as in the following names: 㐨அ㛗ங㰾⚄ MITI NO NAGATI PA [NO] KAMWI ‘the deity Nagachiha of the path’ (KG), and ⼑அỈ㰾ู࿨ TADIPI NO MIDUPA WAKE [NO] MIKOTO Prince Mizuha of Tajihi’ (KG). There are a few examples of this semantogram in Nihon shoki, in names such as Ỉ㰾㑻፾ MIDUPA [NO] IRATUMYE ‘Princess Mizuha’ (NSG), ⍞㰾ูኳⓚ MIDUPA WAKE [NO] SUMYERA MIKOTO ‘Great Ruler Mizuha Wake’ (NSG). This kungana also appears 11 times in Man’\ǀshnj: MYS 1135 It appears that there is ẶἙ㰾 UDIKAPA PA no shallow spot in Uji River. ୚ᯆ’↓அ \RGRSE NAKARAsi 275

⊡

‫‮‬

‫ٺ‬

㜿⮬࿅ே D]LURPITO I can hear the voices of people PUNE YWOBAPU KOWE at the fishing weir here and ⯚ྊ㡢 there calling for the boat. ㉺ஒᡤ⪺ WOTI KOTI KIKOYU This kungana also appears once in +DULPD IXGRNL, in ኱ ᚚ ὠ 㰾 ࿨ OPOMITUPA [NO] MIKOTO ‘the deity ƿmituha.’ It also appears once in the Hizen IXGRNL in the following note: ᅵ㰾ụࠊ಑ゝᓊ∔ẚ㑀Ἴ ‘PIDIPA Pond, people in this area call the bank of a river pidipa.’  OJ: pa OC: *lap or *lep LH: jap EMC: jiäp GO: HIX KN: HIX NOM: di͏p, gi̭p, x́p SV: di͏p SK: \HS Usage / History: This kungana suggests to the reader OJ pa ‘leaf.’ The earliest datable usage appears in the Mino Census of 702: ᮌ葉㈽ KWIPAmye. -LGDL EHWVX NRNXJR MLWHQ (1967:899) claims this semantogram appears in Kojiki, and I have found a single example, 葉ᗈ⇃ PABIROKUMA appears to be a strictly semantogrammatic usage, ‘big like a broad leaf.’ This kungana does appear in Nihon shoki: 葉ᮌᅜ㔝 PAKOKUNINWO, the name of a deity (NSG), and 葉⏣ PADA, a surname (NSG). This usage appears in 0DQ¶\ǀVKnj 13 times. MYS 705 In a dream I saw 葉᰿⹔ PANEKADURA IMA SURU IMWO wo the young maiden who ௒Ⅽጒஇ IME NI MITE now wears the coming of age ክぢ⪋ KOKORO NO UTI ni hair ornament, and in my heart ᝟ෆ஧ KWOPWI WATARU KAMO I continue to long for her. ᠷΏ㬞 OJ: pa OC: WaҌ LH: WĞaҌ EMC: WĞjaҌ GO: sia KN: sia NOM: gi̫ SV: gi̫ SK: F\D Usage / History: This kungana suggests to the mind OJ pa a topic marker, or focus particle. This usage appears a few times in 0DQ¶\ǀVKnj. The following example contains ⪅ once as a kungana, and then once as a topic marker. MYS 3800 者⏣Ⅽࠎᑍ PADA SUSUKI Like pampas grass against my skin, my heart ✑ᗞⳘฟ PO NIPA NA IDE TO OMOPITARU realizes that I should not let ᛮ⪋᭷ KOKORO PA SIRAYU my feelings show on my face. ᝟者ᡤ▱ WARE MO YORINAMU I will come over to you. ᡃ⸴ᑗ౫  OJ: paka OC: *pâk LH: pak EMC: pâk GO: IDNX KN: IDNX NOM: EiFE̩c SV: EiF SK: pak Usage / History: This phonogram belongs to the LJS, and appears in a document preserved in 6KǀVǀLQ LQ WKH QDPH ⏣㑔–ከ TAbye Pakata, which name is also written as 276

΍

ᗕ ⫱

⏣㑔–ኴ. A mokkan from the Nara Captial contains the toponyms ᭮–㒓 Sopaka Village (MK 343). Kojiki contains one example of this phonogram in the toponyms ᤿ୖ–ከᒣ Mount Pakata in WAKIGAMI (KG). There are five examples of this phonogram in Nihon shoki, but these are limited to two toponyms: –ከ Pakata (NSG), and –㯞 Pakama (NSG).  OJ: paka OC: SUâk LH: pak EMC: pщk LMC: pa:jk GO: IL\DNX KN: IDNX NOM: EiFE̩c SV: EiF SK: pak Usage / History: This phonogram belongs to the CBS. It appears in the Mino Census of 702, in the name —㯞࿅ Paka 0DUR$GRFXPHQWLQ6KǀVǀLQDOVRKDVWKHQDPH ኱ కᑠ— OPOTOMO WOpaka. This usage also appears on a variety of mokkan. The name Paka Maro appears a number of times, written variously as —㯞࿅ (MK 12836) and —ᮎ࿅ (MKK 5:86). The better known usage, however, is of the province name —⪆ᅜ Papagi, which is written as —ᒱ in Kujiki.  OJ: papu OC: *pap LH: puap EMC: pjwщp LMC: Ia:p GO: IRIX KN: IDIX NOM: ph̷SSKpS SV: pháp SK: phep Usage / History: This phonogram belongs to the CBS. It appears on an epitaph dated the third \HDU RI :DGǀ   UHSUHVHQWLQJ WKH WRSRQ\PV ˜⨾㒆 Papumi District. This phonogram also appears in +DULPDIXGRNL in ˜ኴ㔛 Papuda Village. OJ: pe OC: *pîWV LH: SHVSHW EMC: SLHLKSLHW GO: IHL KN: IHL NOM: E͇, Ep, Ḙ\ SV: E͇ SK: SK\H\S\HO Usage / History: This phonogram belongs to the EJS. The oldest datable example appears in the Taihǀ Census of 702. In the Mino Census we find names such as ከ㛢㈽ Tapemye, ྂ㛢 Kwope, and ព㛢㈽Opemye. This phonogram appears 35 times in the liturgies: ᚚ᭹Ἴ᫂ከ㛠↷ከ㛠ࠊ࿴ከ㛠Ⲩከ㛠∞௙ዊᘭ MISO pa AKARUWDpe TERUWDpe NIKIWDpe ARAWDpe ni TUKAPEMATURIWH“As for the clothing (we will make) fabric that is brilliant, glowing, soft, and coarse…” (NT 2). This phonogram appears on a few excavated wooden tablets: ⨶ஂ᪊ẕ㛢⓶ -UDNX omope pa ‘as for thinking about…’ (MK 730), ዉ㛢 nape ‘a seedling?’ (unnumbered tablet). This phonogram is the sole phonogram used in Kojiki to transcribe pe in poetry: KK 100 ∞ẚ㑣㛠ኪ∞ nipinape\a ni At the palace of ῒᩫ㝀ᘭὶ opwiGDWHUX the First Fruits thickly grows ẟẟ㝀ὶ PZRPZRGDUX a zelkova tree 㒔⣖㈡ᘏἼ WXNZLJD\HSD with its many branches, ᮏ㒔ᘏἼ SZRWX\HSD the top branches 㜿⡿⿁ῒᖯ⌮ DPHZRRS\HUL spreading out to cover the sky. 277

This phonogram also appears in Nihon shoki, twice in the annotational notes, and three times in song: 㰺Ṉப∹࿃㛢 ³ௗµ(The name) 㰺’ is read mugwope” (NSG). It also is used in the name Ape: 㜿㛢⮧ Ape OMI. NSK 43 ᬛ◚᥾⮎➼ WLSD\DSLWo Very powerful ன᪗⬟࿴ከ฼⌗ udi no ZDWDULQL those catalpa trees ࿴ከ฼ᾖ⌗ ZDWDULGHQL standing by the bank ከặᒗ WDWHUX of the ferry. 㜿㇋⍰⏤Åᦶ⏤Å DGXVD\XPLPD\XPL To make a true catalpa bow, ఀᯨ⨶∹ⱏ LNLUDPXWo I thought in my heart, ⹫ࠎ࿅◚ᮃ㛢⪏ kokoUo pa mopedo to cut down a catalpa tree. ఀᩯ⨶∹ⱏ LWZRUDPXWo I thought in my heart ⹫ࠎ࿅◚ᮃ㛢⪏ kokoUo pa mopedo to hold one of those trees. ᮃⱏᖯ◚ moWoS\HSD I thought of you ᯨÅⅲ᪊ᮃ⮎ᾖ kimi wo omopide at the trunk of the tree. 㡲្ᖯ◚ VXZHS\HSD I remembered you ఀᬽⅲ᪊ᮃẚᾖ imo wo omopide when I looked up at the crown. ఀ⨶㑣㭼༐ LUDQDN\HNX I felt such sorrow ᭯⹫⌗᪊ᮃẚ soko ni omopi thinking of you there. ఞ㑣ᚿ㭼༐ NDQDVLN\HNX I felt such sadness ⹫ࠎ⌗᪊ᮃ⮎ koko ni omopi thinking about you here. ఀᯨ⨶൲ᒙ༐ᒗ LNLUD]XVo NXUX I left without cutting down 㜿㇋⍰⏤Åᦶ⏤Å DGXVD\XPLPD\XPL the tree for the catalpa bow. This phonogram also appears 14 times in 0DQ¶\ǀVKnj, as the following example illustrates: MYS 1782 YUKI koso pa Surely the snow will have 㞷ᕫ᭯Ἴ PARUPI KIYUUDPH disappeared on a spring day. ᫓᪥ᾘⰋ⡿ KOKORO sape Because you likely will have ᚰబ㛠 KIYE USEWDUH\D disappeared even from my heart, ᾘኻከิኪ KOTO mo KAYWOPANU having no news from you. ゝẕ୙ ᮶ This graph is also used exclusively for pe in the Footprints of the Buddha poetic sequence: BSS 20 ఀຍ㇋▱஀ LNDGXWLQR Like the flash ẚຍ฼஀ᮇṆᒱ SLNDULQRJRWRNL of lightning, ᕫ♩஀ᚤἼ NRUHQRPwi pa this body is always ᚿᑣ஀᪊ಖᒱ⨾ sini no opokimi accompanied by 㒔⚇ᑣከලぞ฼ WXQHQLWDJXS\HUL the great lord of death; ᪊㇋㛠ྍⰋཷኪ odu peNDUD]X\D should we not be frightened? This last example should be read EHNDUD]X, but I have not been able to find other examples where 㛢 is read EH. One of two possibilities exist: the reader would naturally prenasalize pe in reading (following odu), or this is an example of an earlier form of later EHNL, though this possibility is weaker because of a lack of supporting evidence.

278

⫯ ྩ

Ч

OJ: pe OC: *pîWV LH: SHVSHW EMC: SLHLKSLHW GO: IHL KN: IHL NOM: E͇, Ep, Ḙ\ SV: E͇ SK: SK\H\S\HO Usage / History: This is a variant graph for 㛢 pe (see above). OJ: pe OC: *SUrWV LH: pѓs EMC: păih GO: IDL KN: IDL NOM: EiL SV: EiL SK: SR\ Usage / History: This phonogram belongs to the LJS. It appears in Nara era documents, but only to write the surname Ape 㜿™ or Ᏻ™. It also appears on a number of mokkan: ᧛ከ㒓šᚿ㔛 Pata Village Pesi Hamlet (unnumbered tablet), ୹Ἴᅜ ఱ㮵㒆šᖌ㒓Tanipa Province IKARUka District Pesi Village (MKK 9:12), and ఀ㈡ᅜ㜿š㒆Iga Province Ape District (unnumbered tablet). It also appears once in Man’\ǀshnj to write the following: MYS 913 ᕝὠ㬆 ዉ™ KAPADU NAKU nape ‘along with the frogs croaking....’ The nape here is difficult to interpret. If this is a particle, its use in the poem is difficult to figure out; thus, most modern scholars see ᣎ as a mistake for ฼ (or perhaps ⌮). If this is true, then this graph would not be present in Man’\ǀshnj. More work needs to be conducted. OJ: pe OC: *EΩըҌ LH: EΩҌ EMC: Ew̵iҌ LMC: pўuaj GO: EDL KN: IDL NOM: E͡i, v͡i SV: E͡i SK: pR\, pKD\ Usage / History: The phonogram belongs to the CBS. It appears four times in the annotational notes, and nine times in the poetry of Nihon shoki: ⯪ᯯࠊṈபᾋ㑣⬟ ³ௗµbow of a ship’ is read puna no pe” (NSG). NSK 102 ヅஅ⬌Åᘭ NDVRNZRPLWH In reverence ⳱ఞᦶ㒔⨶Ṋ WXNDpePDWXUDPX we will serve the throne. ⅲ࿅㣹Åᘭ ZRUoJDPLWH Prostrate on the ground ⳱ఞᦶ㒔⨶Ṋ WXNDpePDWXUDPX we will serve the throne. Ᏹከ㇋⣖ᦶ㒔ὶ XWDGXkwiPDWXUX I present this song. This phonogram also appears in Nara era documents, such as the imperial edicts in Shoku Nihongi (VHQP\ǀ): ⓑ㈷፠ MAWOSI TAMApeED ‘when we declare...’ (SM 6). In Man’\ǀshnj this is the primary phonogram used to transcribe pe, appearing 188 times in the anthology: MYS 53 PUDIPARA NO How envious I am ⸨ཎஅ OPOMIYA WXNDpe of the maidens ኱ᐑ㒔ຍ born to serve in Ᏻ♩⾪ဢ DUHTUKU YA WOTOMYE NO TOMO PA the great palace ⹦ዪஅ཭⪅ TOMOSINLURNDPR of Fujiwara. ஈྜྷ࿅㈡⪺ See the same graph under OJ EH. 279

⭘

₥ ኅ

В

OJ: pe OC: *EΩը LH: EΩ EMC: Ew̵i LMC: pўuaj GO: EDL KN: IDL NOM: E͛i SV: E͛i SK: po\ Usage / History: This phonogram belongs to the CBS, and it appears once in the annotational notes and 11 times in the song of Nihon shoki: ᚚ䒪ࠊṈபᙗ㑣㝙 ³ௗµa pan (for frying fish)’ is read minape.” NSK 97 ⨾ẕ៖ᡃ⣛㝙ൽ mimRUR ga upe ni (Music) will reach to the top ⬟᭸᲍㝀⮴ nopoULWDWL of Mount Mimoro. ೖᡃᙗ⣽㯟 ZDJDPLVHED When I gaze down 㒔ያፅ᧛➢ WXQXVDSDSX on Iware Pond, ௨⡔౛⬟ఀ㛤⬟ LSDUHQo ike no with rocks covered in vines ⨾㑣▮㥏ᗓ PLQDVLWDSX even the fish come to the surface ⣛㬆ㅶ uwo mo ⣛㝙ൽሐࠎ㑣ⓥ▴ upe QLGHWHQDJHNX and lament your passing. This phonogram also appears in the imperial edicts: ├⯋㑣௖஀ឿ㈷ẚ⚟ Ἴ㝙 UXVLDQD POTOKE no UTUKUSIBI TAMApi SAKIpape ‘Bless us by bestowing the mercy of the Rushana Buddha on us...’ (SM 12). OJ: pe OC: *EΩըkh LH: EΩh EMC: Ew̵i LMC: pўuaj GO: EDL KN: IDL NOM: E͙LE͡i SV: E͙i SK: pR\, pKD\ Usage / History: This phonogram belongs to the CBS, appearing once in Nihon shoki, in the annotational notes: ᄫ⎶ࠊṈபᛱ㏵背 ³ௗµsacred jugs’ are read LWXpe” (NSG). OJ: pe OC: *pΩը LH: pΩ EMC: pw̵i LMC: puaj GO: IDL KN: IDL NOM: E{L SV: E{L SK: SR\ Usage / History: This phonogram belongs to the CBS, and appears only in Nihon shoki, once in an annotational note, and three times in poetry: ᲠᡞࠊṈப㡲ከœ ³ௗµthrow away’ is read VXWDpe” (NSG). NSK 107 ఀἼ⬟œൽ ipa no pe ni On top of a rock ྂబᒗῺᱵ㔝೜ NZRVDUXNoPH\DNX a cute monkey cooks rice. Ὼᱵከൽẕ kome dani mo Come and eat the rice ከ♓ᗏ㦐⿮ᄶᰨ WDJHWHWoSRUDVH then go on through, ḷ㯞அஅ⬟ⅲ⭿ kamasisi no wodi you old goat. OJ: pe LH: Eѓi NOM: EjLYjL

OC: *EUΩըi EMC: Eăi LMC: pўa:j GO: EDL KN: IDL SV: EjL SK: SR\

280

Usage / History: This phonogram belongs to the CBS, and appears only in Nihon shoki, but only once in the annotational notes: 㷴Ἠஅ❟ࠊṈபㆨẕ㒔㐝ẚ ³ௗµhearth of the underworld’ is read \RPRWXpegupi” (NSG).

ᖲ

ᥥ

༸

OJ: pe OC: *pâWV LH: pъs EMC: pwâih LMC: phuaj GO: IDL KN: IDL NOM: phai, ph̫\SKͣi SV: SKiLEiL SK: SKD\ Usage / History: This phonogram belongs to the CBS, and appears once in a song in Nihon shoki: NSK 64 ᪊᭸బ⟠⌗ oposaka ni I met a young maiden 㜿ᕸኪⅲ➼ㅦⅲ DSX\DZRWoP\HZR on my way to ƿsaka. Å▱ᗘž㯟 PLWLWZRpeED I asked the way— ဟ㥏⌗◚⬟㑘ᦶᏦ WDGDQLSDQoUD]X she did not say go straight. She said take the Tagima Road. ဟ⁽ᦶ▱ⅲ⬟ὶ WDJLPDWLZRQoUX OJ: pe OC: *Erh LH: EΩh EMC: Ew̵i LMC: pўuaj GO: Eai KN: IDL NOM: NA SV: E͡i SK: pKD\ Usage / History: This phonogram belongs to the CBS, and appears in one song in Nihon shoki: NSK 6 㜿㍋ፋ☻ᘕ akadama no The radiant globe ẚヅ฼᧛㜿฼Ⓩ SLNDULSDDULWo is wonderfully brilliant, ẚ㒭᧛ఀŸ⪏ SLWo pa ipedo so people may say, ௻ᙁᡃㆨ㉗ẚᚿ NLPLJD\osopisi but I have now realized ከ㍜ጊ໙㜿฼ィ฼ WDSXWZRNXDULN\HUL your brilliance is the finest. OJ: pe OC: *љâҌ LH: љъҌ > љэ EMC: ћuoҌ GO: go KN: ko NOM: h͡, h͕, hͭ SV: h͡ SK: hwo Usage / History: This kungana is explained under OJ: WZR as representing ‘door,’ but here it represents ‘house’ or ‘census,’ as pe was used as a counter for houses. The earliest datable use of this kungana is in the Mino Census of 702: ᑿ἞ ✄ᑍዪ WOPARIPE INAKIMYE, and in the Chikuzen Census from the say time: 㣕㫽  ASUKAPE. This usage appears very rarely in Kojiki, one example is the potent phrase 㯤 Ἠ ႚ YOMOTUPEGUPI ‘eating of the hearth of the underworld.’ It is also used very sparingly in Nihon shoki, 㣕 㫽   ASUKAPE (NSG) and ♫   ⮧ KOSOPE OMI (NSG). A few examples are also found in Man’\ǀshnj: ᩪ இ IPAPIPE wo ‘sacred jars’ (MYS 379), ゝ㰾஬༑ ᖖ KOTO PA IPEDO ‘though I say this or that...’ (MYS 674).

281

Ự

Ử ᧥

OJ: pe OC: *WVûƾh LH: WVouƾh EMC: WVuoƾh GO: so KN: sou NOM: NA SV: W͡QJW͙ng SK: cong Usage / History: This kungana suggests to the reader OJ pe ‘warp, as in weaving cloth.’ This usage appears in Nihon shoki, in examples such as the name ኱ ¡ 㯞 ᯂ OPOPESWOKI (NSG). The same usage appears in Kujiki. This graph also appears once in a Man’\ǀshnj poem: ¡ 㯞 ᙧ ஀ PESWO KATA no ‘At Hesokata…’ (MYS 19). OJ: pe OC: *krƾ LH: keƾ EMC: kѓjƾ GO: kiau KN: kei NOM: kinh SV: kinh SK: N\HQJ Usage / History: This kungana suggests to the mind OJ the infinitive of the verb pu ‘set up a warp.’ This usage appears in Man’\ǀshnj: ዟ┿¢⪋ OKU MAPETE ‘to the very depths’ (MYS 1024); ྡ⸽¢ஆぢṊNAswoPETUTU MImu ‘I will gaze (at the flower) as I compare it to you’ (MYS 1448). OJ: pe OC: *Ҍôƾh LH: Ҍoƾh EMC: Ҍuƾh GO: u KN: wou NOM: ͙ng, SV: ͙QJXQJ~QJͯng SK: wong Usage / History: This kungana suggests to the read OJ pe ‘sacred jar.’ This complicated graph is often abbreviated to ⎶. This kungana appears twice in Nihon shoki: ࿃£ᾏ ேⅲᦶ࿅APE AMA Womaro (NSG), ✠£ྩ⎶ࠊṈபಸPOPE [NO] KIMI, ⎶ ‘sacred jug’ is to be read pe (NSG). OJ: pe OC: NA LH: NA EMC: kwan GO: kuwan KN: kuwan NOM: quán SV: quán SK: kwan Usage / History: This extremely rare usage is a kungana, calling to mind OJ pe ‘jar.’ This phonogram is a simplified form of ⨑. This usage is only found once in 0DQ¶\ǀVKnj, in the place name ᮌ¤அᐑஇ KWIPE NO MIYA wo ‘(who founded) the Kihe Palace…’ (MYS 196).

㱅! ‫ٱ‬

OJ: pi < pe OC: *pe LH: pie EMC: pjie GO: Ii KN: IL NOM: WLWH SV: WL SK: pi Usage / History: This phonogram belongs to the WS, and I have argued that this is a derogatory graph inserted by the Chinese historiographical office (2008:7). This graph appears in the titles of the queen of Wa and her enemy neighbor king: ¥ ᘺ࿧ *pe-me-ho, and ¥ᘺᘪ࿧ *pe-me-kuƾ-ho. This phonogram also appears in the chieftain title ¥≸ *pe-k‫ܧ‬. The usage of this graph is also found in an

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inscription on the peninsula. It appears on the .RJXU\ǂ epitaph of Moturu: 㩭¥ ‫౑⃶ڧ‬ே ‘Sian-pie-X, a messenger from Wai.’ Because of the derogatory nature of the graph— ༝ means ‘base’ or ‘vular’—this graph appears somewhat infrequently in the OJ corpus. This graph appears twice on excavated wooden tablets, but only one has enough information to be of any value: ¥ᚿ㔥 pisiKUGI ‘rhombus nail (a nail with the head in the shape of a rhombus’ (MK 5). In Kojiki this graph appears once, in the name ኳஅ⳶¥⬟࿨ AME NO Pwopi no MIKOTO (KG). In Nihon shoki this graph is used to transcribe pi twice, once in an annotational note, and once in a song: 㤨㏿᪥ࠊṈபൽ⸤Ἴᳰ¥ ³ௗµNigi Hayahi’ is read QLJLSD\Dpi” (NSG). NSK 18 ᪊᭸⪆ጊᗤ฼ RSRWZR\ZRUL Occupying himself ன௓ఞ¥ặ ukagapiWH with a princess, チ࿅బົⱏ kRURVDPXWo he in unaware 㡲⨶ྃሳᚿ⨶⌗ VXUDNXZRVLUDQL that someone spies a chance ẚ㈽㑣⣲ᐭ㡲ᮃ SLP\HQDVZRELVXPo from the large gate to kill him. This phonogram appears once in 0DQ¶\ǀVKnj, but it is not noted in ƿno (1977:589): MYS 846 ྍ㡲⨾ከ㒔 NDVXPLWDWX Mist rises on this 㑣ᡃᒱἼὶ¥இ QDJDNLSDUXpi wo long spring day— ྍㅰໃ౛ᯆ ND]DVHUHGo I have stuck a sprig of ఀ㔝㑣㒔ྍᏊᒱ L\DQDWXNDVLNL plum blossom in my hair, but ⅲᱵ⬟Ἴ㑣ྍẟ ume no pana kamo how I long for those plums.

ᕉ

OJ: pi OC: *piҌ LH: piҌ EMC: piҌ GO: EL KN: IL NOM: W͑ SV: W͑, Wt SK: pi Usage / History: This phonogram belongs to the PBS. It appears on the Kwangkaytho stele: ㇋ ¦ 㬞 ᒲ 㡑 *doh-pi‫ݦ‬-‫ݦ‬ap-dzim-g‫ܤ‬n (k‫ܤ‬r), ¦ ฼ ᇛ *pi‫ݦ‬-ri fortress. This phonogram also appears on the Silla King Cin-hung stele commemorating his hunt in Hamcyu (568 CE), in a name: ႎ㒊᭹෤ᬛ኱㜿ᖸ¦▱ኵ▱ *puktouƾpi‫ݦ‬tibuti of the fifth rank, belonging to the *tĞuas (first) District. This phonogram is also preserved in the inscription on the Inariyama tumulus sword (ca. fifth century), ពᐩ¦ᇃ *opo-pikwa-i and ༙ᘭ¦(ᇃ) *pante-pi(kwa-i). This graph appears in Suiko era texts, writing names such as: ¦㔛ྂ Pirikwo, ఀ᪁¦ዪ Isi PiP\H ‘Princess Ishi,’ Ṇవ⨾Ẽຍᚿᨭኪ¦኎ኳⓚ TR\R 0LNH.DVLNL\DPiP\e [NO]SUMYERA [NO] MIKOTO ‘Great Ruler Toyo Mike Kashikiya Hime (Suiko).’ The earliest datable relic which uses this phonogram is from a mokkan dated the ninth month of what would be the year 694: ▱⏣ホ㜿ල¦㔛 Agupi Village in TiTA District (of Owari Province, MK 162). This phonogram is used in the liturgies 56 times, though some double as a prenasalized version: ཧධ⨭ ฟே⬟㑅ẚᡤ▱ᚿ⚄➼⬟ఀ㡲࿅チ¦㜿⚰ẚᆘஇ MAWIRIDURU PITO no ERAELSIRAsi KAMWITATI QR LVXURNRpi DUHEL MASU wo “…who has authority over 283

the selection (of good and evil) of the people who enter and leave the palace and (rectifies) the terror and violence of the deities…” (NT 8). This is the primary graph used to transcribe pi in Kojiki: KK 47 ᮏ∹ከ⬟ SRPXWDQR ƿVD]DNL ¦⬟⨾ྂ pi no mikwo the august son ពᐩబ㑧ᒱ oposazaki of the sun of Homuta! ពᐩబ㑧ᒱ oposazaki W@-s § LH: WDs EMC: Wki GO: WDi KN: WDi NOM: ÿiL ÿi\ÿͣi SV: ÿiLÿͣi SK: WRL Usage / History: This kungana appears in 0DQ¶\ǀVKnj, and should call to mind REL‘belt,’ but instead it must be read WDUD, likely a Paekche word for belt. This usage appears once in 0DQ¶\ǀVKnj in the following: MYS 443 My august mother ™ங᰿஀ TARATINE no PAPA NO MIKOTO PA a suckling at her breast, ẕ࿨⪅ IPAPIPYE wo places wine cup of worship 㰺ᚷᡞஇ MAPYE NI SUWEOKITE in front of her…. ๓ᆘ⨨⪋ OJ: WDWDWDWHWDWL OC: *WKâW or *dâW LH: WKDW or GDW EMC: WKâWor dâW GO: GDWL KN:WDWL NOM: ÿ̩Wÿ̿Wÿ̵W SV: ÿ̩W SK: WDO Usage / History: This phonogram belongs to the PBS. It appears in a .RJXU\ǂ surname found in Nihon shoki: 㐩Ἃ Tatisa. There is also the name of an individual: ふ㈌⨶ே ஝㇋Ἴ᪁㐩㜿 Genzu Hasidatia from Tokara. There is also the name 㠡㒊ᮧ୺ ྖ㤿㐩➼ KURATUKURI SUGURI Simadatito, This last individual may be from Paekche. This phonogram is also found in names like ྜྷᩜ㒆㐩⌮ᒣYOSIKI District Mount Tadari (730.3.13),బ఑ᐟ⚇ఀ㐩 Sapeki Sukune Itate (785.7.17) in Shoku Nihongi. +DULPDIXGRNL also contains the name ᅉ㐩 Idate, which comes from in-WDWH. OJ: WH OC: *Wr or Gr LH: WHde EMC: WLHLGLHL GO: WDL KN: WHL NOM: NA SV: ÿ͉ SK: W\H\ Usage / History: This phonogram belongs to the WS. It is used in Wei zhi to transcribe the title of an auxiliary official: ያె䷞*n‫ܧ‬-ke-te. While this phonogram does not appear in any other Japanese record, other related graphs like ᥦሐ㢟 are used to represent OJ WH (see below).  OJ: WH OC: *WvҌ LH: WHLҌ EMC: WLHL GO: WHi KN: WHL NOM: ÿr SV: ÿrÿ͋ SK: W\H Usage / History: Anciently there appears to have been two phonograms for WH, ặ and ᘭ, but I argue that these originate from the same graph, one actually a graphic variant (ᘭ) of the other (ặ). Chinese character dictionaries in Japan (kanwa

ㅦ! ೠ

out on the sea-plain there are white clouds above the towering waves.

434

MLWHQ) label ᘭ as a ᅜᏐ kokuji ‘native character,’ based on the arguments of some scholars (cf. TǀGǀ  .DPDWD HW DO 337). It needs to be pointed out, however, that this graph is preserved on the Kwangkaytho stele in .RJXU\ǂ, strongly suggesting that this altered form of graph DW WKH YHU\ OHDVW came from the peninsula. See Kitagawa (1991:234) for a rubbing of this kanji. Both usages and their history are addressed here. Based on the available data, I place this phonogram in the PBS. There is one example of this graph on the Kwangkaytho stele: ᖿš฼ᇛ *ܳܺ‫ܤ‬n-tei-li fortress. It is possible that the first graph ᖿ represents *kԥn, as the graph ⩶ is used to represent ‘large’ in a Paekche place name. Both graphs have mid, unrounded vowels. This phonogram also appears on the Eta Funayama tumulus sword inscription, in the name ᪢฼š Murite. On the Inariyama tumulus sword inscription there appears the following two names: šᕭຍ฼⋓ᒃ *teyo-kariwaka, ༙šẚ[ᇃ] *pante-pi-(kwa-i). These data are important, because it is generally accepted that at this point in time (fifth century?) the Wa were mostly illiterate, and this inscription was likely transcribed by an immigrant from Paekche, and carved into the blade by a Wa swordsmith. Looking at the usages in Nihon shoki is also enlightening. Consider these data in Nihon shoki: ஂặ Kute, man from Paekche ያặ኱⯋ Nute Tasa, a man from Silla ᙗᘭ Myite, a port in Paekche ᘭ♩ Tere, name of a fortress ∹ᘭ Mute, an official from Paekche Consider that all Nihon shoki manuscripts, other than Shaku Nihongi, record the first name Kute as ஂặ. In the record of Tenchi, however, a Paekche official named Mute ∹š and a Paekche fortress, Tere š♩, are written with ᘭ in all manuscripts, including Shaku Nihongi (Ienaga et al. 1986.2:361, Onoda 1986:532). These renditions should first show that the phonogram ᘭ was already being used on the Korean peninsula, and was taught by the Paekche to the Wa. This is further confirmed by the inscription on the Inariyama tumulus sword inscription, as noted above. Second, it would seem that there indeed were two different graphs for WH. I submit, however, that ᘭ is a cursive form of ặ. This phonogram also appears in the earliest recorded material in Japan, preserved in a Suiko-era inscription, that of the GangǀML+DORLQVFULSWLRQ ያຍ šྂ Nukatekwo, and ྂšྂ㑻ዪ Kwotekwo IRATUMYE. This phonogram also appears in JǀJnjVKǀWRNXKǀǀWHLVHWVX: 㡲ຍšྂዪ⋤ Princess Sukatekwo. It also appears in one poem in the same work: ఀᡃ␃ᡃ஀ LNDUXJDQR In Ikaruga springs water from the fountain of Tomi. Ṇ⨾⬟஭஀⨾㇋ WRPLQRWI no midu ఀຍዉஂᑣ ikanakuni If I had known she could not ከ⩏š㯞அẕ஀ WDJHte masimono live without that water, I would have let her drink some. Ṇ⨾஀஭⬟⨾㇋ WRPLQRWI no midu This phonogram also appears in the late Asuka liturgies: 㧗ኳཎ∞༓ᮌ㧗▱ š TAKAMAPARA ni TIGWI TAKA SIRIte “raise the roof pillars to heaven” (NT 10), ⓑš MAWOSIte “said, and…” (NT 1). This phonogram appears on several mokkan: ఀ š ᚿ Itesi (MK 100), బ Ἴ ฼ š VDSDULte ‘and obstruct…’ (unnumbered tablet). This phonogram is also the principal graph for representing WH in Kojiki: Ᏹ 435

ኈከຍ♩チ࿅࿅ᒱš X]L WDNDUH NRURURkite “maggots had gathered and were squirming, and…” (KG), ᏱẼẚš ukepite “vowed, and…,” ఀከšῒἼཷ LWDte opazu “(he) did not get wounded…” (KG). KK 108 ᪁ᮏໃ⬟ sipwose no Looking at the line of waves 㑣⿁⌮⿁⨾⚰፠ QDZRULZRPLUHED driven by the brisk tide, 㜿⸽ẝஂὶ DVZRELNXUX I see the fin ᚿẝ㈡Ἴከബ∞ VLELJDSDWDGHQL of a swimming tuna, 㒔㯞ከš⌮⨾⏤ WXPDWDteULPL\X where my spouse-to-be stands. This phonogram is used 33 times in the poetry in Shoki: NSK 104 ᪁㑣ᥦὶ VLQDWHUX Starving for want of food ⟠ከⅲ⟠ኪᦶ∞ NDWDZRND\DPDQL on Mount Kataoka, ఀẚ∞᝴š ipi ni wete the shining hill, チኪໃᒗ ko\DVHUX how pitiful is that farmer ㅖ⬟ከẚ➼㜿Ἴ⚰ sono WDSLWo DSDUH who has fallen. ᪊ኪ㑣᪁∞ R\DQDVLQL Surely you were not 㑣⚰ዉ⌮暆㏞ኪ QDUHQDULN\HPH\D raised without parents. బ㡲㝀Ề⬟ VDVXWDNHQR Do you have no lord, ᯨᙗἼኪ㑣♲ NLPLSD\DQDNL strong like bamboo? ఀẚ∞᝴š ipi ni wete Starving for want of food チኪໃ␃ NR\DVHUX how pitiful is that farmer ㅖ⬟ከẚ➼㜿Ἴ⚰ VRQRWDpLWRDSDUH who has fallen. This phonogram is the primary graph used in Man’\ǀshnj to represent WH, appearing roughly 655 times. MYS 806 How I want to obtain ከ㒔⬟㤿ẕ WDWXQRMA mo ఀ㯞໚ឡšஅྍ ima mo ete sika even a dragon steed right now, 㜿㐲ᑣ୚ᚿ DZRQL\RVL in order to return ዉⰋ஀⨾ኪྂᑣ QDUDQRPL\DNZRQL to the Nara capital, ⏤ྜྷᖇᕫ∹୹⡿. \XNLWHNRPXWDPH which is good in its greenery.

ঙ

OJ: WH OC: *WKîn LH: WKHQ EMC: WKLHQ GO: WHPX KN: WHQ NOM: WKLrQ SV: WKLrQ SK: WK\HQ Usage / History: This phonogram belongs to the PBS. There is one example of this phonogram on the Kwangkaytho stele: ௐ›ᇛ *ܳu-ten fortress. The final nasal is written in superscript because while it is possible that the language of .RJXU\ǂ ignored the final, the possibility does exist that this name required the -n. This phonogram then appears in a toponym preserved in the documents of the SKǀVǀLQ: ›ⴙ㒓 Tema Village (in Haki Province). It is also used as a particle in the edicts preserved in Shoku Nihongi: රஇⓐᮅᗞஇഴືṊṆஅ›㕥༳ இዣ᚟ⓚ఩இ᥆›ඛோᤞᒱⰋẚ㈷›அ㐨♽ᡃ඗㮴⇦இⓚ఩ோ᪉ᐃṆப›ᐁ༳இᢲ › ኳୗ ஀ ㅖᅧ ோ ᭩ இ ᩓ › ࿌▱ அ⡿ IKUSA wo OKOSI, MIKADWO wo KATABUKE UGOKASAPX WR VLte SUZU ORITE wo UBAPI MATA MIKADWO [NO] KURAWI wo KSAWOPITE, SAKI ni SUTENLUDSL TAMAPItesi PUNATWO ga E SIPOYAKI wo MIKADWO 436

[NO] KURAWI nipa SADAMETU WR IPIte TUKASA [NO] ORITE wo OSIte AME [NO] SITA no KUNIGUNI ni PUMI wo AKATIte TUGESIRAsime ‘(Nakamaro) raised troops, and tried to tip over the court, stole the relay bells and government signets, and tried to take the throne. Beforehand he said that he had established (Prince) Shihoyaki, the older brother of Funato. He pressed the official seal and distributed the document to the various provinces and let them know of his decision’ (SM 28). This phonogram also appears in Man’\ǀVKnj: MYS 3595 ᏳబጅⰋఄ DVDELUDNL When we rowed out チ⸤ᘭ›ஂ♩፠ kogidete NXUHED into the bay of Muko ∹ᨾ⬟ᏱⰋ⬟ PXNZRQRXUD no at daybreak, அಖ㠀⬟ྍከᑣ sipopwi QRNDWDQL the call of cranes came from ከ㇋ᡃチᜨ㡲ẟ WDGXJDNRZHVXPR the wetlands at low tide. 6KLQVHQ MLN\ǀ (ca. 892) uses both ặ and ኳ to transcribe WH: ⾠ ›ⰋἼ 㡲 “Make a show, teUDSDVX.” The cursive form of the phonogram ኳ results in KLUDJDQD ࡚, while the simplified form results in NDWDNDQD ࢸ.

ు

ံ

OJ: WH OC: *Wrh LH: WHK EMC: WLHLK GO: WDL KN: WHL SV: ÿ͇ SK: WK\H\ NOM: ÿ͇, ÿ̭\, ÿt Usage / History: This phonogram belongs to the EJS, appearing a few times in Kojiki: ྡᕸœ ⪥ “(Her) name is Pute MIMI.” ఀከ⋪బኪⱁœ㜿⌮㑣⌮ LWDNX VD\DJHte DULQDUL “(the land) is in a terrible state of boisterous (confusion)” (KG). This phonogram appears only once in Nihon shoki’s poetry: NSK 66 బ⍰⨶㣹ከ VDVDUDJDWD Undo the string with ㏓அᯨ⬟⮎ẟᘯ nisiki no pimwo wo the bamboo whisk design— ➼ᯨ⯋Ẽœ WRNLVDNHte that brocade string. 㜿㯞ከ⤎Ἶཷ㏓ DPDWDSDQH]XQL I cannot spend many nights; ከ⃦ẚ➼⏝⬟ᮍ WDGDSLWR\ZRnomwi let us spend but one night. There is only one clear example of ᖇ in Man’\ǀVKnj: MYS 806 How I want to obtain ከ㒔⬟㤿ẕ WDWXQRMA mo ఀ㯞໚ឡᘭஅྍ LPDPRHWHVLND even a dragon steed right now, 㜿㐲ᑣ୚ᚿ DZRQL\RVL in order to return ዉⰋ஀⨾ኪྂᑣ QDUDQRPL\DNZRQL to the Nara capital, ⏤ྜྷœᕫ∹୹⡿. \XNLte NRPXWDPH which is good in its greenery. As ƿno (1977:510) points out, this single example in Man’\ǀVKnjis likely an artistic usage, being a play on the previous stanza of Nara capital (even written ዉⰋ, where the ruler ᖇ ‘ruler’ lives). OJ: WH LH: WHKGH NOM: ÿ͉, ÿè, d͉, ch͉

OC: *WrҌ or dr EMC: WLHLKGLHL LMC: WLDM GO: dai KN: WHL SV: ÿ͉WKu SK: W\H\

437

Usage / History: This phonogram belongs to the LJS. This graph appears in various records from the Taihǀ &HQVXV   Ᏹ Ute, ∹ஂ㈽ Mukutemye, ⏤ᙗ Yumite, ᙗከ㈽ Mitatemye, ఀ Ite, and ➼⬟ Tonote. It also appears on various mokkan, usually in Buddhist transcriptions: ㏑ⴥ㑣㏑ⴥ⯋฼‫ڧ‬ kapa nate NDSDVLDUL;‘.ƗV\DSD, 1DGƯ, sacred bone of .ƗV\DSD’ (MKK 16:135). This phonogram also appears twice in the poetry in Nihon shoki. NSK 104 ᪁㑣ὶ sinateUX Starving for want of food ⟠ከⅲ⟠ኪᦶ∞ NDWDZRND\DPDQL on Mount Kataoka, ఀẚ∞᝴ᘭ LSLQLZHWH the shining hill, チኪໃᒗ ko\DVHUX how pitiful is that farmer ㅖ⬟ከẚ➼㜿Ἴ⚰ sono WDSLWo DSDUH who has fallen. ᪊ኪ㑣᪁∞ R\DQDVLQL Surely you were not 㑣⚰ዉ⌮暆㏞ኪ QDUHQDULN\HPH\D raised without parents. Do you have no lord, బ㡲㝀Ề⬟ VDVXWDNHQR ᯨᙗἼኪ㑣♲ NLPLSD\DQDNL strong like bamboo? ఀẚ∞᝴ᘭ LSLQLZHWH Starving for want of food チኪໃ␃ NR\DVHUX how pitiful is that farmer ㅖ⬟ከẚ➼㜿Ἴ⚰ VRQRWDpLWRDSDUH who has fallen. As the reconstruction makes clear, this phonogram could be used for both WH and de, and this is what we find in Nihon shoki, de appears five times in the poetry, and twice in the annotated notes.Consider the following song in Nihon shoki where ᥦ appears five times, all transcribing de: NSK 124 ன▱Ἴᚿ⬟ XWLSDVLQo Come out, child 㒔ᱵ⬟㜿⣲ᙁ∞ WXPHQo DVZRELQL to play at the edge of ఀ㯞ᰨྂ idemase kwo the plank bridge. ከ㯞⬟ఀ㠫⬟ WDPDde no ip\e no Mistress Yaheko of 㔝㠫ྂ⬟ᗘ⌗ \DS\ekwo no WZR]L the Tamade House. ఀ㯞ᚿ⬟ idemasi no There will be no regrets ೜ఀ᧛㜿⨶⌗ⲗ NXLSDDUD]L]o if you come out. ఀ㯞すྂ idemase kwo Come out, child— ከ㯞⬟㠫⬟ WDPDde no ip\e no Mistress Yaheko of 㔝㠫ྂ⬟ᗘ⌗ \DS\HNZRQo WZR]L the Tamade House. This phonogram also appears quite frequently in Book 5 of 0DQ¶\ǀVKnj, and less frequently in Book 14. MYS 800 Ᏹ᪤ල㒔㐲 XNHJXWXZR And like one to takes off ያఄ㒔ὶ඼➼ஂ QXNLWXUXJRWRNX shoes with holes in them ᕸ⨾ያఄ puminukite people who step on ⏤ஂᬛᕸẚ➼Ἴ \XNXWLSXSLWRSD and walk away from family ఀἼ⣖ḧ฼ LSDNZL\ZRUL are perhaps ones who ዉ฼ᥦᚿẚ➼㏑ QDULGHVLSLWRND are born of boulders or trees. Tell me your name! ዉఱྡ⬟Ⰻబ⚇ na ga NA QRUDVDQH 㜿⡿ᘢ⏤㏑፠ DPHS\H\XNDED If you go toward heaven ዉఱ㯞ᑣ㯞ᑣ na ga mani mani you can do as you please. 438

΢

ಃ

㒔ᬛዉⰋ፠ WXWLQDUDED OPOKIMI imasu ኱⋤ఀᦶ࿘ チ⬟⨶࿘ kono teUDVX PITUKWI QRVLWDSD ᪥᭶⬟᪁ከἼ 㜿㯞ஂẟ⬟ amakumwo no ∹㏑ኵ࿘ఄἼ⨾ PXNDEXVXNLSDPL ከᑣලஂ⬟ WDQLJXNXQR బ࿴ከὶఄἼ⨾ VDZDWDUXNLSDPL ௻チ᪁㐲࿘ kikosi wosu ஂᑣ⬟㯞ಖⰋླྀ NXQLQRPDSRUD]R  OJ: WH, de LH: WHL EMC: WLHL NOM: ÿr, ÿk\ SV: ÿr Usage / History: This phonogram belongs to the LJS, and 0DQ¶\ǀVKnj, twice as WH and once as de. MYS 3878 PASITATE NO ሑᴙ KUMA.,QR\DUDQL ⇃౗஀ኪⰋ∞ SIRAKWI WONO ᪂⨶᩼ OTOSI IRE wasi ለධ࿴அ 㜿ẟ.㜿ẟ. aGEte aGEte NA NAKASI so ne ໚㬆Ⅽ᭮⚇ UKI IDUUX\DWR ᾋฟὶኪⓏᑗぢ MIMU wasi ᑗぢ࿴அ MYS 3725 ࿴ᡃୡᨾஅ wa ga sekwosi Ềኴஅ㯞ྍⰋ፠ N\HGDVLPDNDUDED ᛮ₃ከಸ஀ VLUZRWDSHQR ⸽.இᕸⰋᕥ⚲ swode ZRSXUDVDQH MIWXWXVLQZRSDPX ぢ㒔㏣ᚿດἼ∹

If you are on the earth then there is a great ruler. Below the sun and moon which sheds light here to the ends of where the clouds of the sky are, to the ends of the place where the toad dwells, this is the superior land that our sovereign rules over. OC: *Wv GO: WHL KN: WHL SK: W\H appears in only two poems in In the bog of Kumaki of the standing ladder— his Silla axe he has dropped. Yo ho. Lifting! Lifting up your voice do not weep so. Let us watch to see if it comes up. Yo ho. My beloved, perhaps if you are to go away, please wave your sleeve, made of soft white bark. I shall long for you as I watch.

OJ: WH OC: *WîҌ LH WHLh MC: Wieih LMC: WLaj GO: WDL KN: WHL NOM: ÿ͋ SV: ÿ͋ SK: W\HFL Usage / History: This phonogram belongs to the CBS. This phonogram appears 27 times in the poetry of Nihon shoki and twice in the annotational notes: ᳜Ṉபከž፝ ³ௗµPlant (a seed)’ this is read WDteUX” (NSG). NSK 123 ᯨÅᡃᱵ⬟ kimi ga me no I dock and stand here ጡ⿮அᯨ⯩⨶ൽ NZRSRVLNLNDUDQL because I long for a glance ፠ž々ጾž patete wite of my highness’ eyes. ⯩▴㔝ጡᝒṊㅛ NDNX\Dkwopwimu mo How I long for a look— ᯨÅᡃᱵᘯሗ᲍ NLPLJDPHZRSRUL a look into my highness’ eyes.

439

This phonogram also appears in 0DQ¶\ǀVKnj. As ƿno points out (1977:507), the phonogram ᗏ only appears in books 17 through 20, which perhaps shows a shift in the orthographical tastes of the later compiler. The following examples are representative: ぢž MIte “looking, and…” (MYS 4032), ዉ⨾ከžἼ QDPLWDteED“When the waves get rough…” (MYS 4033), and ⏤ྜྷžஅぢᘭ፠ \XNLte si MIWHED “If you go and look…” (MYS 4040).

ँ

☯

Ⲥ

OJ: WH OC: *dr LH: de EMC: diei LMC: WLaj GO: WDL KN: WHL NOM: ÿr SV: ÿrÿ͉ SK: W\H\ Usage / History: This phonogram belongs to the CBS. It appears once in the poetry of Nihon shoki: NSK 97 ೖᡃᙗ⣽㯟 ZDJDPLVHED When I gaze down 㒔ያፅ᧛➢ WXQZRVDSDSX on Iware Pond ௨⡔౛⬟ఀ㛤⬟ LSDUHQRLNHQR with rocks covered in vines ⨾㑣▮㥏ᗓ PLQDVLWDSX even the fish ⣛㬆ㅶ uwo mo come to the surface  ⣛㝙ൽሐŸ㑣ⓥ▴ upe ni dete nageku and lament your parting. This poem provides an interesting example, because the phonogram ሐ transcribes both WH and de here It should be noted that this is the only example of ሐ transcribing a voiced de in Shoki. This phonogram also appears in 0DQ¶\ǀVKnj, but all examples I have been able to find represent de, with one example a toponym: బŸ஀ᇸ Sade no SAKI ‘Sade Cape’(MYS 662). The other is ஭Ÿ㉸ᾉ WIde KWOSU NAMI ‘the waves that break over the dam’ (MYS 2717). OJ: WH OC: *Wrh LH: Weh EMC: WLHLK LMC: WLaj GO: WDL KN: WHL NOM: NA SV: ÿ͇ SK: WK\H\ Usage / History: This phonogram belongs to the CBS, and appears in Nihon shoki once: NSK 74 㣡Å⬟ྂ⡔ omi no kwo pa The servant of the crown, ከಸ⬟ἼఞᦶႲ WDSHQRSDNDPDZR arranging his hemp trousers 㑣ࠎ㝎Ⴒ⤉ QDQDS\HZRVL and his seven-fold armor, ൽ᧛ൽ㝀ࠎጞㅉ QLSDQLWDWDVLte is standing out in the garden. 㜿㐶ẚ㑣㝀㡲ᬽ D\HSLQDGDVXPR He straightens his leg straps. OJ: WH OC: *dr LH: de EMC: diei LMC: Wўiaj GO: dai KN: WHL NOM: ÿ͉ SV: ÿ͏, ÿ͉ SK: W\H\ Usage / History: This phonogram belongs to the CBS. It appears once in the poetry in Nihon shoki:

440

NSK 75 㔝㯟➼⬟ ႲṊ⨶⬟㝀ヱൽ அࠎ➢㡲Ⓩ ᣇ౛ᰓ ᨀ⬟ᒃⓏ 㣡⿮☻㝎ൽ㯞Ⴒ㡲 㣡⿮ᯨÅ⡔ ㈫᧸Ⴒᯨ⯩᪁㢟 ᯳☻ࠎᯨ⬟ 㜿ፗ⨶ൽ㝀ࠎఛ

ͦ

ཆ

\DPDWRQR ZRPXUDQRWDNHQL VLVLSXVXWR WDUHND NRQRNRWR RSRPDS\HQLPDZRVX opokimi pa soko wo kikasite WDPDPDNLQR DJXUDQLWDWDVL

On the peaks of the mountains of Yamato, who shall venture forth to stand before the great one and tell him where the beast lays waiting? The great lord overhears these words, takes his jeweled dais and sits upon it.

OJ: WH OC: *lΩըkh LH: dΩh EMC: d̵ih GO: dai KN: WDL NOM: ÿ̩i, ÿͥi SV: ÿ̩i SK: WR\ Usage / History: Most scholars treat the kanji ௦ as a kungana, but looking at the phonology, I think this should be reexamined. Knowing that WH is often a secondary form, from a coalescence of WD-i, the possibility that this is actually a phonogram is too great to ignore. I have thus placed this character here. A name appears in a Suiko-era record, 㘊-⋤ Prince NISIKIte. Also consider the following from Kojiki: ⣇-ẚ㈽ NUKAte Pimye (KG). It also appears twice in Nihon shoki. In one example, the text explains why this character was selected: ᨾ⣡඼ᆅ㉧Ṛ ⨥ࠋ᫝௨ࠊ⹰඼ᆅ᭣⋢- ‘His land was accepted as payment for granting his life. This land was renamed TAMAte’ (NSG). This example seems to be treating the graph as a kungana, but it is more likely that the semantics of the character and the phonology match. Thus, the character is being used as a both a phonogram and a kungana. The other example is a name: 㘊-ⓚዪ Princess NISIKIte (NSG). I have only found two examples of this in 0DQ¶\ǀVKnj, MYS 1212 and 1718. MYS 1212 Cherry blossoms ㊊-㐣⪋ Ate SUGWITE ⤬㮵஀ᒣஅ ITWOGA no YAMA NO on Mount Itoga SAKURABANA that are beyond Ate— Ḉⰼ TIRAZU MO ARAnamu please stay without scattering, ୙ᩓᅾ༡ KAPYERIKURU made at least until I come back. 㑏᮶୓௦ It is interesting that this poem has ௦ once as WH, and then at the end as a phonogram, de. OJ: WH OC: *hjuҌ or nhuҌ LH: ĞuҌ EMC: ĞjΩuҌ GO: su KN: siu NOM: WKͯ SV: WKͯ SK: V\ZX Usage / History: This is a kungana, suggesting to the mind OJ WH‘hand.’ This usage in Japan appears to be quite old. The earliest known example is from the Suiko era corpus: ‹ᔱዪ⋤ Princess TESIMA. This same name appears to have been recorded in JǀJnj VKǀWRNX Kǀǀ WHLVHWVX, but all the manuscript has is ᡭ‫ ڧڧڧڧ‬and 441

Ҷ

ᬼ

someone placed a piece of paper over this spot with the characters ᔱዪ⋤. If this last example can be trusted, then the name of this princess is preserved in two different Suiko era records. This name does not appear in Kojiki or Nihon shoki. It should be said, however, that Kojiki records a ‹ᔱ㐃 TESIMA MURAZI (KG). The phonogram ᡭ is also used quite extensively in the Taihǀ&HQVXV  ᡭ ⥅‹ TUGITE, ᐀‹ SwoTE (SwoDE?), ᑠ‹Ꮚ㈽ WOTEKWOmye, 㤿ᡭ UMATE, ✄‹ INATE, ≟‹㈽ INUTEmye, and ∵‹㈽ USITEmye. On several mokkan excavated from the Fujiwara Palace ruins (fl. 694–710) we find: ‹ᔱ㐃 TESIMA MURAZI (unnumbered tablet), ⋢‹⮧ TAMATE OMI (MK 1888), 㜿‹Ⰻ ATEra (MK 325), and ≟⏑࿳‹ INUKAPI KUPITE (MK 1209). This phonogram is also used in various names in Kojiki, showing that the documents Kojiki relied on already had preserved these names written with ᡭ: ᪥Ꮚ✑✑‹ぢ࿨ PIKWO POPO TEMI (KG), ኱㔝‹ẚ㈽ OPONWOTE Pimye (KG), ‹ྡ᳝⚄ TENADUTI [NO] KAMWI the deity Tenazuchi (KG). Naturally, this kungana is also used in names recorded in Nihon shoki. According to ƿno (1977:803), there are 78 examples of names with this graph, but he does QRW list a single example. I give the following as a small sampling: ⣇‹ NUKATE (NSG), ᑠ‹Ꮚ WOTEKWO (NSG), ⣪‹፾ SaTE PIMYE ᡭ WITE (NSG). (NSG), ⊦ᡭ There are also numerous examples of this usage in 0DQ¶\ǀVKnj, the following is representative. MYS 1 ᖌྜྷྡಸ‹ VLNL1$EHTE The entire realm WARE koso IMASE I alone govern! ࿃ᕫ᭯ᗙ WA koSO BA Then it shall be I ᡃチ⫼㰾 NORAME who will tell you ࿌┠ IPYE wo mo NA WO mo of my home and of my name. ᐙ࿧ẟྡ㞝ẕ  OJ: WH OC: *NUâh LH: kah EMC: kah GO: ke KN: ka NOM: giá SV: giá SK: ka Usage / History: This is a kungana, suggesting to the reader OJ WH ‘price, compensation.’ This usage appears once in 0DQ¶\ǀVKnj. MYS 2949 With this unusual situation ᚓ⏣÷␗ UTATE KYE NI KOKORO IBUSESI my heart is feeling gloomy. ᚰḛ᜺ KOTO PAKARI Would you do something different ஦ィ YOKU SE WA GA SEKWO my beloved, even if ྜྷⅭ࿃඗Ꮚ APERU TOKI DANI it is only when we meet each other? ┦᭷᫬㇂ OJ: WH LH: ‫ڲ‬iΩ or ‫ڲ‬Ѡk EMC: ‫ڲ‬Ѡh or ‫ڲ‬jΩk NOM: WU͹c, ch͹c, s͹c SV: WU͹c, ch͹c

442

OC: *GUΩkh or *GUΩk GO: diki KN: WLRNX SK: chi, cik

Usage / History: This is a kungana, suggesting to the reader OJ WH ‘substitute, compensation.’ The original Chinese meaning is direct or straight, but it could also be used as a loan for ್‘price.’ This kungana is only found once in 0DQ¶\ǀVKnj. MYS 2877 ITU PA simo It is not as if ఱ᫬ᚿẟ KWOPWIZU ARI WRPA there will come a time when ୙ᠷ᭷Ⓩ⪅ ARANEDOMO my longing will cease, 㞪୙᭷ but the unusual situation lately ᚓ⏣ ẚ᮶ UTATE KONOKORO KWOPWIsi SIGESI mo leaves my longing even stronger. ᠷஅ⦾ẕ

⽉

ᇏ

OJ: WHPX OC: *WrmҌ LH: WHPҌ EMC: WLHP GO: WHPX KN: WHPX NOM: ch̭m, ÿi͋m, ÿ͇m SV: ÿi͋m SK: W\HP Usage / History: This phonogram belongs to the LJS. This usage appears twice in 0DQ¶\ǀVKnj (MYS 1272 and 2353). MYS 1272 TATI NO SIRI In Irino deep in the mountains, ຄᚋ SAYA NI IRINWO ni like the tip of a sword in its sheath, 㠧⣡㔝㏓ KUZU PIKU WAGIMWO my beloved pulls arrowroot. ⴱᘬ࿃ጒ MASWODE MOTI Is she cutting the summer herbs ┿⿇௨ KISEtemu WR.$02 (to weave) so she can put ⴭ㯶➼㬞 NATUKUSA KARU mo the garment on me with both arms? ኟⲡⱉẕ OJ: WL WH OC: *WUHK LH: ‫ܒ‬ieh EMC: ‫ܒ‬jeh GO: WL KN: WL NOM: WUtWUp SV: WUt SK: ci Usage / History: This phonogram belongs to the WS, as found in the Wa chieftain title ≸ྂ ᬛ༝≸ *k‫ܧ‬-k‫ܧ‬-te-pe-k‫ܧ‬. The Han section of Wei zhi also notes: ྛ᭷㛗ᖊࠊ኱ ⪅⮬ྡ∔⮧¡ ‘Each land has a leader, and the powerful ones call themselves *ܳin-te.’ This phonogram also appears on the Paekche Sathaykcicek stele:◁Ꮿ¡✚

sa-tak-te-sek㸬The graph ᬛ appears in many names in Silla inscriptions, the most frequent being to transcribe ኵ¡ *pute, part of a name. This phonogram appears in several names of people who originated from the Korean peninsula, which data are preserved in Nihon shoki: ன᪁ᒱ㜿฼ྏ¡ᖸ ᒱ (King of Mimana) Usiki Arisiti Kanki, ఀྏኵ♩¡ᖸᒱ Isipureti Kanki. This phonogram also appears in the Suiko era corpus: ఀἼ¡࿴ᕼ Ipati Wakwi, 㜿ຍἼ¡ྩ Akapati KIMI, இἼ¡ Wopati, ከ¡ያዪ⋤ Princess Tatinu. This phonogram appears once in the liturgies, in the name of the deity ᚚ ㈡㇋¡࿨ MIkaduti [NO] MIKOTO (NT 2). This phonogram also appears on a variety of mokkan: ྡᕫ¡∵㣴 ‘named Koti USIKAPI (MK 3290) and ¡୓࿅ Timaro (MK 807). This phonogram is also used in Kojiki, but not as often as ▱: ᅜஅஂẚዝ ẕ¡⚄ the deity KUNI NO Kupizamoti (KG), ஂஂ⬟¡⚄ The deity (of the 443

trees) Kukunoti (KG), ඵಛ㐲࿅¡ The eight-headed serpent Woroti (KG). It is never used in the poetry in Kojiki. The phonogram ᬛ is used 36 times in Nihon shoki (compared to 34 times for ▱), appearing five times in annotational notes, and 31 times in poetry: ⱴΌ Ṉப¡ᛣ ³ௗµ(The place name) Chinu’ is read tinu” (NSG). NSK 3 㜿☻బ⟠ᒗ DPDVDNDUX Having crossed over 㑊ዉ⳱ㅦᘕ SLQDWXP\HQR the narrow, earthly straits, ௨࿴ከ㑘⣲すΏ LZDWDUDVXVHWZR the provincial maidens ௨Ⴙ⟠᧛⟠᯳㍜¡ LVLNDSDNDWDSXti stand on the banks of the river ⟠ከ㍜ᬛ∞ NDWDSXWLQL on the banks of the Ishikawa, 㜿ᙗ᧛฼࿴᯳Ⴙ DPLSDULZDWDVL spreading out their nets. ጒ៖㇧Ⴙ∞ PHUR\RVLQL Pull in those nets ㇧Ⴙ㇧฼᧸⚲ \RVL\RULNRQH by pulling on the meshes! ௨Ⴙ⟠᧛⟠᯳㍜¡ isikapa kDWDSXti On the banks of the Ishikawa. This is the second most commonly used phonogram in 0DQ¶\ǀVKnj to represent WL (▱ appears 406 times, but ᬛ only 18 times). MYS 4164 My royal fathers, like the WL ▱¡஀ᐿ஀ WLti no MWI no TITI QRPLNRWR of the seed of the titi plant, ∗⬟⨾チ➼ and my royal mothers, Ἴ᧛⸽ⴥ஀ papa swoBA no PAPA QRPLNRWR like the pa of the Japanese oak, ẕ⬟⨾ᕫ➼ ᪊ಖ࿅ྍᑣ RSRURNDQL I think they KOKORO TUKUSITE generally tried ᝟┗⪋ OMOPUUDPX to do all in their power. ᛕⰋ∹

᮪

OJ: WL OC: *WUH LH: ‫ܒ‬ie EMC: ‫ܒ‬je GO: WL KN: WL NOM: WUtWUL SV: WUL, WUt SK: ci Usage / History: This phonogram belongs to the PBS, and it appears on various inscriptions preserved on the Korean peninsula. On various stelae from Silla this phonogram is used to transcribe: ኵ¢⋤ Prince Puti, ¢ᒃఆᖸᨭ Tikopat Kanki, ኵ㜿ᖸ ẚ¢ኵ¢ Pua Kanpiti Puti. This phonogram also appears in various Paekche quotes preserved in Nihon shoki: Ἃ¢ẚ㊭ Sati Pikwo, an apparent Paekche rendition of the Japanese legendary figure くὠᙪ SOTU PIKWO. ఀྏኵ♩¢ዉᮍ Isipure Tinam, ஂ ¢Ἴከᯨ (fortress of) Kutipataki. This phonogram also appears in the Suiko era corpus and on, where ▱ becomes the standard graph for WL: ከ¢ἼዉṆ୚ẚኳⓚ Great King Tatipana 7R\RSLKDORLQVFULSWLRQUHFRUGHGLQWKHRULJLQUHFRUGRI*DQJǀML , Ἴ¢஀ྂ⋤ Prince Patinokwo JHQHDORJ\ RI 3ULQFH 6KǀWRNX . This phonogram appears frequently in the liturgies: ໭᪉బΏ୚㔛இ¢⬟ᡤஇዉ∹ከ¢␿㨣அఫຍⓏ ᐃ㈷ẚ KITA [NO] MO [PA] VDGZR \RUL ZRti no TOKORO wo namuWDti EKI [NO] ONI NO SUMINDWR SADAMETAMApi “From the direction of the north, (the deities) have determined that the dwellings of you, the demons of pestilence, will be the distant places from Sado Island northward…” (NT 16). This phonogram is 444

popular on mokkan: ᑿ἞ᅜ▱ከ㒆WOPARI Province Tita District (MK 151), ¢ኵ฼㒆⏤Ⰻ㔛 Tiburi District Yura Village (unnumbered tablet), and ኵ⏤ᕫ ẕ฼ఀ࣭ᕫ¢¢¢ᒇ SX\XJRPRUL L«NRWL WLWL Wэ EMC: WXR NOM: ÿô, ÿo, ÿua SV: ÿô SK: WZR Usage / History: This phonogram belongs to the EJS. It appears that vowel raising occurred sometime before the EJS era: Wэ !WX. This graph appears in the Suiko era corpus: ซ∹㒔࿴ᕼ⋤ Prince Pomutu Wakwi, ఀἼ㒔ஂ࿴ᕼ Ipatuku Wakwi, 㒔ያ ∹᪁ྩ Tunumusi KIMI. This phonogram appears in the liturgies: ኱ᾏ∞⯚‶ 㒔㒔Ẽᘭࠋ⮬㝣 㐨⪅Ⲵ⥴⦡ሀᘭ☬᰿ᮌ᰿ᒚబஂᙗᘭࠋ㤿∎⮳␃㝈ࠋ㛗 㐨 ↓ 㛫 ஂ ❧ 㒔 㒔 Ẽ ᘭ ⊃ ᅧ ⪅ ᗈ ஂ OPOUMI ni PUNE MITEtudukeWH KUGA YWORIYUKU MITI PA NI [NO] WO YUPIKATAMEWH IPANE KINE PUMIVDNXPLWH UMA [NO] TUME [NO] ITARITODOMARU KAGIRI, NAGAMITI MA NAKU TATEtudukeWH “And continue to fill the great ocean with ships, while on the paths on land the ropes 462

that hold tribute will be tightened in all areas, and the couriers will stamp through the rocks and the roots of trees, with horses continuing to stand without gap along the long road, their hooves reaching every spot…” (NT 1). This phonogram appears on a variety of mokkan: 㒔 㯞 㒓 Tuma Village (unnumbered tablet), ྊ㒔∹⮬ ‘…summon Tumuzi…’ (unnumbered tablet), ఀ㒔ᨭᐑያ፩ ‘male and female slaves of the Ituki Palace’ (MK 1013). This phonogram is also the standard graph in Kojiki to transcribe WX: ఀ㒔அ ᑿ⩚ᙇ Itu NO WOPAPARI (name, KG), ㇧ẕ㒔ᚿチ㈽ \omotu sikoP\H ‘the deity Yomotsu Shikome’ (of the pass to Hades, KG). There are also many examples in the poetry: KK 10 ពబ㈡⬟ osaka no Though there are many ពᐩ∹├ኪ∞ RSRPXUZR\DQL who have come and entered ẚⓏబἼ∞ SLWRVDSDQL the great cavern of Osaka, ᒱఀ⌮⿁⌮ NLLULZRUL and though many men ẚⓏబἼ∞ SLWRVDSDQL have entered here ఀ⌮⿁⌮Ⓩẕ LULZRULWRPR and are seated before us, ⨾㒔⨾㒔᪁ mitumitusi you, the intrepid ஂ⡿⬟ྂ㈡ kume no kwo ga the sons of the Kume, ஂኵ㒔㒔ఀ NXEXtutui with pommel-head hilts, ఀ᪁㒔㒔ఀẕ▱ isitutuLPRWL holding your stone-hilt swords, Ᏹ▱ᘭ᪁ኪ㯞∹ XWLWHVL\DPDPX will now smite the enemy. ⨾㒔⨾㒔᪁ PLWXPLWXVL You, the intrepid ஂ⡿⬟ྂⰋ㈡ NXPHQRNZRUDJD sons of the Kume, ஂኵ㒔㒔ఀ NXEXtutui with pommel-head hilts, ఀ᪁㒔㒔ఀẕ▱ isitutuLPRWL holding your stone-hilt swords, ఀ㯞Ᏹከ፠వⰋ᪁ LPDXWDED\RURVL it is well if you strike now. This phonogram is also used quite frequently in Nihon shoki. It appears 16 times in the annotational notes, and 50 times in the poetry. NSK 96 㔝⤉☻೜ൽ \DVLPDNXQL I searched the eight islands 㒔☻ࠎ♮ျἾᗏ tuPDPDNLNDQHWH but could not find a spouse. ᧛ᒗẚ⬟ SDUXSLQR Under the spring sun ျ㡲ᡃ⬟೜ൽࠎ kasuga no kuni ni in the land of Kasuga ೜Ἴ⤉ㅦႲ NXSDVLP\HZR I had heard that 㜿฼➼ᯨࠎᗏ DULWRNLNLWH there was a beautiful maiden. ⯅៖ᚿㅦႲ \RURVLP\HZR I had heart that 㜿฼➼ᯨࠎᗏ DULWRNLNLWH there was a proper woman. ⳝ⣖బ೜ makwi saku A fine grain of wood, 㑊⬟ఀ㝀ᅯႲ SLQRLWDWZRZR I pushed opened that door 㣡᪁ẝ⨶ᯨ RVLSLUDNL made of Japanese cypress. ೖ౛௨᲍㨱ᚿ ZDUHLULPDVL I went inside 㜿㒔ᅯ၆ DWZRWZRUL and held her leg, 㒔㯟ᛣ၆⤉ᗏ tuPDGZRULVLWH holding the edge of her hem, 㨱೜ᄶᅯ၆ PDNXUDWZRUL holding her pillow— ఀះᡃሐႲ LPRJDWHZR holding my spouse. ೖ౛ൽ㨱ᰓ᪁ẖ ZDUHQLPDNDVLPH I wrapped her hand 463

ೖᡃሐႲ㯟 ZDJDWHZRED around my waist ఀះൽ㨱ᰓ⤉ẖ imo ni makasime and she my arm— 㯟ᕥᲠ㏸ᄶ PDVDNZLGXUD wrapped it around her. ከࠎ௻㜿⸝᧛᲍ WDWDNLD]DSDUL And like a vine, ▮ὔ▴▮៖ VLVLNXVLUR we caressed, intertwined. ன㨱ఀ⚲▮ᗘൽ XPDLQHVLWZRQL We slept deeply, ൽ᧛㒔➼၆ nipatu WRUL sweet like meat on a skewer. ᰓ✍᧛ඏ೜ඏ᲍ NDN\HSDQDNXQDUL The fowl I keep ያ㒔➼฼ nwotu WRUL have begun to cackle. ᯨ⽥▮᧛➼వṊ NLJLVLSDWR\RPX And in the fields ፠⤉✍▴ㅶ pDVLN\HNXPR the pheasants add their call. ఀ㯞ፋ௨᧛Ꮶᗏ LPDGDLSD]XWH The dawn has already come 㜿㛤ൽၨ᲍ DNHQLN\HUL before I have been able ೖ⽥ះ wagimo to confess my feelings, my love. This is the main phonogram used to represent WX in 0DQ¶\ǀVKnj, appearing roughly 1072 times in the anthology. MYS 2 UNAPARA pa Over the plain of the sea ᾏཎἼ sea gulls were ascending. ຍⴙ┠❧ከ㒔 kamaME TATIWDtu UMASI KUNI so What a splendid land— ᛭ ᅧ᭮ the islands of the dragonful— ⻴ᔱ AKIDUSIMA YAMATO no KUNI PA the land of Yamato is! ඵ㛫㊧⬟ᅧ⪅ This phonogram is found over 30 times in the poems of the Buddhist footprints monument. BSS 7 㯞㡲Ⰻஇ஀ PDVXUDZRQR The prints stamped ᕸ⨾᪊♮␃㜿ṆἼ SXPLRN\HUXDWRSD by the excellent man ఀἼ஀Ᏹ㛠ᑣ ipa no upe ni still remain today ఀ㯞ẟ஀ᕫ♩฼ LPDPRQRNRUHUL on top of the stone. ⨾㒔䚻ᚿ஀ぞṆ mitutu VLQRS\HWR We say, “Praise them as you look.” ዉ㈡ஂᚿ஀ぞṆ QDJDNXVLQRS\HWR We say, “Praise them forever.”

⢡

OJ: WX OC: *lhôƾ LH: WKRƾ EMC: WKXƾ GO: WXX KN: WRX NOM: WK͙QJWKRQJ SV: WK{QJ SK: WKZRQJ Usage / History: This phonogram belongs to the LJS. This appears on a mokkan excavated IURP WKH +HLMǀ 3DODFH UXLQV ᒣ ௦ ෆ 㒔 ㏻ ᒱ  YAMASIRO UTItutuki (unnumbered tablet). This phonogram also appears 15 times in 0DQ¶\ǀVKnj. MYS 282 ゅ㞀⥂ TUNWOSAPAPU Covered in vines, Iware— IPARE mo SUGWIZU we have not even passed it. ▼ᮧẟ୙㐣 PATUSE YAMA When will we Ἡ℩ᒣ ITUKA mo KWOYEMU cross over Mount Hatsuse? ఱ᫬ẟᑗ㉸ YWO PA PUKEtuWX The night continues to deepen. ኪ⪅῝ཤ㏻㒔 This phonogram appears in Shoku Nihongi in the name ኱⚄ᮅ⮧㏻Ᏺ OPOMIWA ASOMI TuMORI (724.2.22). 464

⢈

ˇ ఍

≦

OJ: WX OC: *WUXL LH: ‫ܒ‬ui EMC: ‫ܒ‬wi GO: WXi KN: WXL NOM: choaLWUX\ SV: WUX\ SK: WKR\FKZ\X Usage / History: This phonogram belongs to the LJS. It appears only in 0DQ¶\ǀVKnj, roughly 86 times. MYS 3726 ᕫ⬟チ࿅Ἴ NRQRNRURSD Let us spend this time ྂ㠀㒔㏣ẕᏳⰋ∹ kwopwiWXtu PRDUDPX while we yearn for each other. ከ㯞ஂஅỀ WDPDNXVLNH After the dawn breaks, ᏳỀᘭஇ▱ḧ฼ DNHWHZRWL\ZRUL like a jeweled comb box, 㡲㎪ዉྍὶಸᛮ VXE\HQDNDUXEHVL nothing else can be done.  OJ: WX OC: UKXҌ LH: ‫ܒ‬huҌ EMC: ‫ܒ‬hjΩuҌ GO: Wiu KN: WLX NOM: s͵u SV: s͵u SK: FK\ZX Usage / History: This rare usage phonogram belongs to the LJS. It appears in a name found in a tax register from Izumo that is dated 739: ¼∹⮬㈽ Tumuzimye.  OJ: WX OC: *k-hlun LH: WĞuan EMC: WĞjwän GO: semu KN: sen NOM: [X\rQ SV: [X\rQ SK: FK\HQ Usage / History: This phonogram belongs to the LJS. The use of this phonogram may have been influenced by the graph ᕞ (LH: WĞu) and its phonology, not to mention the graphic similarity. The earliest usage of this phonogram as a phonogram that I can locate is the Mino Census record of 702, where ᕝ is written consistently in a cursive form as ࡘ. The phonogram is found in names like 㜿ᑽ㈽ Anetumye, ᔱ  ㈽ SIMAtumye, and ከ ⡿  ㈽ Tametumye. This usage appears also on a number of mokkan: ᒣ㒊ຍஅᨭ YAMABYE Kasituki (MK 11313), ‫ڧ‬ᚿ‫ ڧ‬XsituX meaning unclear (MK 6). There is one example in 0DQ¶\ǀVKnjZKLFKƿQRDSSDUHQWO\did not notice (cf. 1977:490–498). It appears in the stanza ዉ௓ఄ㒔ࠎ / Ᏻᡃᮎྩᡃ / チⓏ இἼ㔛 QDJHNLWXWXDJDPDtu KIMI JDNRWRZRSDUL ‘While I lament, the lord I have waited for finishes his assignment…’ (MYS 4116). This somewhat rare usage also appears twice in +LWDFKLIXGRNL: ჾ௛಑᭣ఀ ஀ ³ௗµweapon’ which the locals call ituno.” There is also the word ຍᨭ∞ kakituni, which scholars believe refers to a type of pigment used in painting. As mentioned above, the cursive form of this phonogram yields KLUDJDQD ࡘ as well as NDWDNDQD ࢶ. OJ: WX LH: WKъ !WKэ NOM: WK͙WK͗, ÿ͛

OC: *lâ EMC: WKэ LMC: WўuΩ GO: WX KN: WR SV: WK͙WK͗ SK: WZRWKZR

465

Usage / History: This phonogram belongs to the LJS, and even though it appears only in Nihon shoki, 54 times in the poetry, I have placed it in the LJS. The CBS strata would have it read WZR, but this did not happen. NSK 35 ఀዔ㜿⸤ iza agi Behold, my son. ᛣ⌗ẚ⸼菟‒⌗ nwo QLSLUXtumi ni To the moor, garlic to pick, ẚ⸼菟Å⌗ SLUXtumi ni gathering we will go. ࿴㣹႘༐Åᬛ⌗ wa ga \XNXPLWLQL On the way there, we will find ఞ㐝◚ᚿ kagupasi the most splendid scent Ἴ㑣ከᬛ㯟㑣 SDQDWDWLEDQD of the orange in bloom. ㎫㇋᭥⨶Ἴ VLGX\HUDSD The lower branches ẚ➼ᮍ㑣➼฼ SLWRmwina WRUL have been emptied by men. ಖ菟᭥Ἴ potu\HSD The upper branches ➼฼ጤ㣹⨶㎫ WRULZLJDUDVL have been scattered by birds. Å菟㐝฼⬟ mituJXULQR But hidden within 㑣ఞ⳱᭥⬟ QDNDWX\HQR the middle branches ᗓಖㄒⱱ฼ SXSZRJRPRUL we spy a maiden 㜿ఞ౛⸼ሳ➼ဇ DNDUHUXZRWRP\H who is red, like the blossom. ఀዔబఞ㯟᭥㑣 L]DVDNDED\HQD Come! Bloom and shine for us.

ⲗ

ୣ

OJ: WX OC: *dô LH: do EMC: dΩu LMC: WўΩw GO: du KN: WRX NOM: ÿ̯u SV: ÿ̯u SK: WZX Usage / History: This phonogram belongs to the CBS. There are two examples in the annotational notes of Nihon shoki: ᗈὠṈபẚ៖ᒱ㢌 ³ௗµVast ferry’ this is read SLUoki tu” (NSG), ೖᩥṈபஅ㢌᪊฼ ³ௗµTraditional Japanese weaving’ this is read situRUL” (NSG). +LWDFKL IXGRNL contains a poem with this phonogram. チᬛከ㞱Ἴ NRWLWDN\HED As the rumors are painful இ፠㢌ໃኪ㯞⬟ ZREDtuVH\DPDQR let us hide ourselves ఀἼṗ∞ẕ ipakwi nimo in the stone enclosure ∔ᘭチẕ㑻ዉ∹ ZLWHNRPRUDQDPX on Mount Obatsuse. ዉྂ㠀ᩂ࿴ᨭẕ na kwopwi so wagimo Do not yearn for me, my love. OJ: WX OC: *dâ LH: da EMC: duo LMC: WўuΩ GO: do, du KN: WR NOM: ÿ͛ SV: ÿ͛ SK: WZRF\H Usage / History: This phonogram belongs to the CBS, and it appears once in a poem in Nihon shoki: NSK 13 Å㒔Å㒔ᚿ PLWXPLWXVL You, the intrepid ೜ᱵ⬟ᨾ㑘㣹 NXPHQRNZRUDJD sons of the Kume— ௓⪆ⱱ➼⌗ NDNLPRWRQL at the base of the fence

466

㜿Ἴ㉱⌗◚ ௓Å⨶ẝⱏⱱⱏ ᭯ᘕ㣹ẟⱏ ᭯⚲ᱵ¾㑣⸤ᘭ ன➝ᘭஅኪⳝົ

⢛

൜ ᳮ

ࡴ

apa pu nipa NDPLUDSLWRPRWR VRQRJDPRWR so ne me tuQDJLWH XWLWHVL\DPDPX

in the millet field there is one fetid leek. As one would pull it by root and by stem, we will utterly smite them.

OJ: WX OC: *lâ LH: dъ EMC: duo LMC: WўuΩ GO: do, du KN: WR NOM: ÿ͛ SV: ÿ͛ SK: WZR Usage / History: This phonogram belongs to the CBS. This graph appears once in a poem in Nihon shoki: NSK 12 ဟࠎዉᱵᘭ WDWDQDPHWH With our shields arrayed ఀ㑣⍰⬟ᳰᦶ⬟ LQDVDQR\DPDQR we have fought many battles ⹫⬟ⳝ⏤ẟ NRQRPD\XPR on Mount Inasa, ᫆႘⪆ᦶẟ⨶ẝ i\XNLPDPZRUDSL going through the trees ከࠎ௓㝙㯟 WDWDNDSHED and watching the enemy. ࿴౛◚ᳰ㝰ᛣ ZDUHSD\DZHQX Thus are we famished. அᦶ㏵➼฼ simatuWRUL Birds of the island— Ᏹ௓㆜㣹➼ⱱ ukapi ga WRPR come now to our rescue, ఀⳝ㍺㛤⌗⹫⚲ ima suke ni kone you friends of the cormorants. OJ: WX OC: *dâ LH: dъ EMC: duo LMC: WўuΩ GO: do KN: WR NOM: ÿ͛, ÿzWUz SV: ÿ͛ SK: WZR Usage / History: This phonogram belongs to the CBS. It appears once in an annotational note in the third book of Nihon shoki: ୍ᰕ㦐ᐑṈப㜿᪁ẝⱏ¿㠝㣹㞳⬟ᐑ ³ௗµA palace with one pillar,’ this is read asi pLWRtu DJDULQo MIYA” (NSG). OJ: WX OC: *WKûW or *dûW LH: WKXΩWGXΩW EMC: WKZΩW, dwΩW LMC: WўXW GO: GRWL KN: WRWX NOM: ÿ͡W SV: ÿ͡W SK: WZRO Usage / History: This phonogram belongs to the CBS. It appears once in the first book of Nihon shoki, used to introduce the fire deity whose birth kills Izanami: ㍋㐝Àᬛ kagutuWL. ƿno (1977:812) believes this graphic usage represents the personality of this deity. This is an interesting theory, because if we look at the semantics of the phonograms of this deity’s name we have “damaged axle-meet-emerge suddenly-wisdom.” It would appear that the compiler of Shoki picked the graphs for a specific reason. On the other hand, it is also possible that ✺ was also selected with its -t final to introduce the final graph, which is t- initial. OJ: WX LH: dъ NOM: ÿ͛

OC: *dâ EMC: duo LMC: WўuΩ GO: du KN: WR SV: ÿ͛ SK: WZR 467

Usage / History: This phonogram belongs to the CBS. This graph appears in two annotational notes in the record of Great King Jinmu in Nihon shoki: 㢧㰻ṈபனÁリᛱ◚ ẝ ³ௗµVisible ritual’ this is read utusi ipapi” (NSG), ⚽┿ᅜṈப⿅Áⳝྃൽ ³ௗµSuperior true land’ this is read potuma kuni” (NSG).

╔

ᗽ

OJ: WX OC: *WâҌ LH: WъҌ EMC: WXRҌ LMC: WuΩ GO: WX KN: WR NOM: ÿ͗ SV: ÿ͝ SK: WZR Usage / History: This phonogram belongs to the CBS. It appears in one poem in Nihon shoki: NSK 97 Ⳅẕ၆▴⬟ NXPRULNXQR In the hidden land, ⡔覩⣽⬟ျἼᗒ patuVHQRNDSD\X the bamboo flowing down 㑣ᓚ♩೜ᒗ nagaUHNXUX the Hatsuse River— 㥏㛤⬟ WDNHQR wonderful, flourishing bamboo with long joints and leaves. ௨▴⨾ፋ㛤వᄞ㛤 ikumidake \RGDNH OJ: WX OC: *WVLQ LH: WVLQ EMC: WVMHQ GO: sin KN: sin NOM: NA SV: WkQ SK: cin Usage / History: This phonogram is a kungana, where ὠ ‘ford’ suggests to the reader OJ WX ‘port, ferry.’ The earliest dateable example of this graph is from the TaihǀFHQVXV (702): Ãᔱ㐃 TUSIMA MURAZI, ᚿÃຍẚ㈽ SiTUka Pimye, and ∹ୗÃ㎶ MugyeTUpye. This kungana appears in Kojiki. ƿno (1977:213) notes that this kungana is used 160 times in Kojiki, compared to 160 times for 㒔. While the total numbers are a perfect match, the distribution is different: One hundred cases of ὠ appear in the first book of Kojiki, while only 35 cases of 㒔 appear in the first book: Ã ᔱ TUSIMA (KG), ኱⥥Ãぢ⚄ the deity OPOWATATUMI (KG), and the deity ㏿⛅Ã᪥Ꮚ⚄ PAYA AKITU PIKWO (KG). This graph is also used frequently in Nihon shoki, 252 times according to ƿno (1977:803). Like Kojiki, many names of deities and toponyms are written with ὠ : ㇏ ⛅ Ã Ὢ TOYO AKITU SIMA (NSG), ⤒ Ã ୺ ⚄ the deity PUTUNUSI (NSG), and ἨÃ᪥⊃ዪ YOMOTU PISAMYE Hisame maiden of Yomotu (NSG). 0DQ¶\ǀVKnj has numerous examples of this usage in its poetry. MYS 15 ΏÃᾏ஀ WATATUMI no The setting sun illuminates TOYO PATA KUMWO ni the eternal banner clouds ㇏᪝㞼ᑣ ఀ⌮ẚ⣪அ LULELVDVL over the great sea— KOYOPI no TUKUYWO may the moon this evening ௒ኪ஀᭶ኪ SAYAKEKARI koso be bright and clear. Ύ᫂ᕫ᭮ 

468

ᵹ

᷂ ᵀ

ᵁ

OJ: WXNDWXNLWXNX OC: WUXN LH: ‫ܒ‬uk EMC: ‫ܒ‬juk GO: WLNX KN: WLNX NOM: NA SV: WU~F SV: FK\ZXN Usage / History: This phonogram belongs to the LJS. The most well known example is Ä⣸ Tukusi (island) which appears in Kojiki and Nihon shoki. In a wooden document (mokkan) excavated from the Fujiwara Palace ruins (fl. 694–710) we find Äᚿ ๓ Tukusi [NO] MITI [NO] KUTI (unnumbered tablet). Shoku Nihongi contains toponyms like Ä⣸ Tukusi (697.11.11), and ᖖ㝣ᅧÄἼ㒆 PITATI Province Tukupa District (767.3.14). Another wooden document excavated from the Nara Capital contains the toponym ಙ⃰ᅧÄᦶ㒆 Tukama District of Sinanwo Province (MKK 4:15). Another dated document excavated from Shiga Prefecture contains the phrase 㐲 Ụᅜ㛗ୗ㒆ఀÄ㒓ኳᖹ༑භᖺ୐᭶ “TOPOTU APUMI Lower Naga District Ituku 9LOODJH6HYHQWKPRQWKRIWKHVL[WHHQWK\HDURI7HQS\ǀ «´ (MKK 18:101). ,]XPR IXGRNL preserves the name Ä㝧ᕝ Tukiya River. +LWDFKL IXGRNL contains a number of examples of this phonogram, the most famous being ÄἼ Tukupa. There is also the name ኪÄ᪁ Yatukusi. There is also a somewhat problematic toponym found in +LWDFKL IXGRNL: ᐦÄ which is glossed Mituki. As ᐦ is PLWX, it is possible that this is actually Mitutuki, but as with so many other examples, it is possible this is actually PLW-WXNL, with a geminate showing a short vowel in the first mora. For now I follow the reading of PLWXNL. OJ: WXNX OC: WUXN LH: ‫ܒ‬uk EMC: ‫ܒ‬juk GO: WLNX KN: WLNX NOM: WU͙c SV: WU~F SV: FK\ZXN Usage / History: This phonogram belongs to the LJS. It appears once in a Nara era document LQWKHSRVVHVVLRQRI6KǀVǀLQ Åᚿ Tukusi.  OJ: WXNX OC: WUXN LH: ‫ܒ‬uk EMC: ‫ܒ‬juk GO: WLNX KN: VLWX NOM: WU~F SV: WU~F, FK~F SV: F\ZXN Usage / History: This phonogram belongs to the LJS. It appears in a tax record from Izumo dated 739: ÆⰋ㈽ Tukuramye. In Nara era documents in the possession of 6KǀVǀLQ ZH ILQG Æᚿ Tukusi, ÆⰋ㈽ Tukuramye, and இÆᚿ Wotukusi. Nihon shoki contains examples like Æ᪁ᔱ Island of Tukusi (NSG) and 㔗ዪ ⮧Æ⨶ UNEMYE OMI Tukura (NSG). This last name is glossed Tikura in the texts, but for the time being I leave it here.  OJ: WXNu OC: Wûk GO: WLNXWRNX KN: diku LH: WRXN EMC: WXRN NOM: WU~F SV: WU~F SV: FK\ZXNWZRN

469

ᄆ ἁ ⤹

Usage / History: This phonogram belongs to the LJS. It appears in the Chikuzen Census of 702 in the name Çᚿ㈽ Tukusimye. There is also a name in +DULPD IXGRNL: ᨾྡ㜿㇋ ‘Thus it was named Atu.’ However, the critical text actually has 㜿➟. ƿQRDUJXHVQ. 47) that this should actually be emended to 㜿ᆗ, the final graph being a variant of ➊.  OJ: WXQX OC: Wûn LH: WXΩn EMC: WZΩn GO: WRQ (WXQ") KN: WRQ NOM: ÿôn SV: ÿôn SV: WZRQWDQWKR\ Usage / History: This phonogram belongs to the LJS. This phonogram is used to represent the toponym Tunuga: Èᡃ 1DUD GRFXPHQW 6KǀVǀLQ  Èຍ (Nara document, 6KǀVǀLQ , and È㈡ (Shoku Nihongi, 765.5.7).  OJ: WXWX OC: WURW or *WURWV LH: ‫\ܒ‬aW or ‫\ܒ‬as EMC: ‫ܒ‬jwäW‫ܒ‬jwäih GO: WHWL KN: WHL NOM: xuýWFKRpW SV: [X\͇W, chu͇ SV: FK\HOFK\H Usage / History: This phonogram belongs to the LJS. This appears in a Nara era document in SRVVHVVLRQ RI 6KǀVǀLQ É႐ Tutuki. The same toponym appears in Shoku Nihongi: É႐㒆 Tutuki District (711.1.2). OJ: Wwo OC: *Wâ LH: Wъ > Wэ EMC: WXR GO: WX KN: WR NOM: ÿô, ÿo,ÿua SV: ÿô SK: WZR Usage / History: This phonogram belongs to the WS. It appears in Wei zhi to transcribe the following personal names or toponyms: 㒔ᕷ∵฼ *t‫ܧ‬-si-ƾgu-ri ‘personal name,’ 㒔ᨭ *t‫ܧ‬-ke ‘place name,’ and ዲྂ㒔 * ho-k‫ܧ‬-t‫‘ ܧ‬place name.’ This phonogram also appears in Silla inscriptions: the Naengsu-ri stone inscription has the personal name ⮳㒔├ *ti-t‫ܧ‬-l‫ܧ‬. The following examples appear in Korean proper nouns preserved in Nihon shoki, with the reading preserved in Shoki, and a possible Paekche reading in brackets: ᪂㰺㒔፾ Princess Sisetu (possibly Siseto), బ㩃㯞㒔 Sarwomatu (or Saro Mato), Ἃ㒔 ᔱ Satwo Island. Likely by the time of the Paekche records, the Go-on reading of 㒔 had already raised to WX, and thus it would have been read that way at the Yamato court. This phonogram then reappears on wooden documents excavated from the Fujiwara Palace ruins (fl. 694–710): ከࠎ㑣㒔ஂ WDWDQDtuku “one placed upon another” (unnumbered tablet) or ౫ 㒔 ฼ etuUL “crossbeam” (unnumbered tablet), showing that 㒔 generally was still used to transcribe WX. With the importation of the more innovative Chang’an dialect of Chinese, this graph was occasionally used to transcribe WZR. The earliest attested examples are from the Nara era, but there are only two examples: Ᏻ㒔 (or 㜿㒔) atwo and ఀ㒔㒆 Itwo District. The first name is also written 㜿ย, but the rendition with 㒔 is found more often, likely a favored usage because of the semantics with ‘capital.’ The same is likely true of Itwo, a place name in KynjVKnjDQGRQH 470

that is believed to correspond to one of the VWDWHV the Chinese recorded in Wei zhi: ఀ㒔. Interestingly, Nihon shoki, with its innovative orthography based on Chang’an Chinese, rarely used 㒔 to transcribe WZR. It appears once in a poem, where 㒔 represents both WX and WZR: NSK 96 ೖ౛௨᲍㨱ᚿ ZDUHLULPDVL I went inside 㜿㒔ᅯ၆ atwo WZRUL and held her leg, 㒔㯟ᛣ၆⤉ᗏ WXPDGZRULVLWH holding the edge of her hem, 㨱೜ᄶᅯ၆ PDNXUDWZRUL holding her pillow— ఀះᡃሐႲ imo JDWHZR holding my spouse. Notice that in this poem 㒔 represents WX four times: twice in tuma ‘spouse,’ and once each in nipatu ‘in the yard’ and nwotu ‘in the field.’ It appears once as 㜿㒔ᅯ၆ atwo WZRUL ‘hold her leg.’ According to -LGDL EHWVX NRNXJR GDLMLWHQ this phonogram is also used in 0DQ¶\ǀVKnj (1967:897) to represent WZREXWWKLVLVGLVSXWHGE\ƿQR– 517). I have found one name of a poet, Ᏻ 㒔 ᐟ ⚇ ᖺ ㊊ Atwo Sukune TOSITARI, in 0DQ¶\ǀVKnj (MYS 663).

ղ

OJ: WZR OC: *Wâu LH: Wъu EMC: Wâu GO: WDX KN: Wau NOM: ÿao, dao, ÿeo SV: ÿao SK: WZR Usage / History: This phonogram belongs to the PBS. This graph appears in Nihon shoki in the following Paekche and Silla names: Êఞ Twoka, and ᏳÊዉᮎ Atwo Nama. This graph also appears in the Suiko era corpus: Ê⮬ྂ㑻ዪ twozikwo IRATUMYE Princess Tojiko, ᛣ㑣ஂⰋᕸÊከ㯞᪁ᨭኳⓚ nXQDNXUD putwo Wamasiki SUMYERA Great King Nunakura Futotamashiki, ➼ᕬÊᘺࠎ஀ᘺᕫ➼ TR\Rtwo Mimi no mikRWR Toyo Tomimi (name of ShǀWRNX7DLVKL  On a metal epitaph of Funa Obito dated the seventh year of Tenji (668) appears the name Ê⨶ྂ twoUDNZR ‘tiger-child (born in the year of the tiger?).’ Mokkan examples include: 㜿Ê⏣ே Atwo TAPITO (MK 1945), ≀㒊ÊⰋ MONONOBYE Twora (MKK 5:85), and from a fragment dated 710.4.10 is a fragment with the name: 㜿Ê㒊ᚿ♮ኴዪ AtwoBYE SikyetaMYE (MK 17). This phonogram is one of the main graphs used in Kojiki for /two/ along with ᩯ. Examples are ᕸÊ⋢ putwo TAMA ‘thick jewels’ (KG), ᕸÊペᡞ putwo NORITWO ‘thick litgury’ (KG), and ᕸÊ᪁⌮ putwo VLUL ‘firmly plant’ (KG). KK 5 ఀÊྂኪ⬟ itwoNZR\DQR Like a cousin ఀẟ⬟⨾チ➼ LPZRQRPLNRWR my august beloved— ∹ⰋⓏ⌮⬟ PXUDWRULQR if my followers were to leave ࿴㈡∹⚰ఀ㑣፠ ZDJDPXUHLQDED like a flock of birds…. The phonogram ย appears in one annotational note, and two poems in Nihon shoki: ኴ༨ṈபኴÊ☻∞ ³ௗµThick divination,’ this is read putwomani” (NSG).

471

NSK 42 ▱◚ᳰ⮎ⱏ WLSD\DSLWR Endowed with power ன᪗⬟࿴ከ฼⌗ XGLQRZDWDULQL you potent people బⅲÊ฼⌗ sawo twoULQL who hold the staff. ◚᥾㭼ົ⮎ⱏ㎫ SD\DN\HPXSLWRVL at the ferry of Uji— ࿴㣹ẟ⬌⌗⹫ົ wa ga mwokwo ni komu come rescue me, companions! This phonogram is the primary phonogram in 0DQ¶\ǀVKnj to represent WZR, used roughly 118 times. MYS 3747 ࿴ᡃᒇᗘ⬟ ZDJD\DGZRQR Let us say that I pine for you while gazing at the needles 㯞㒔⬟ⴥぢ㒔ࠎ PDWXQRPA MIWXWX Ᏻ♩㯞ከ↓ DUHPDWDPX of the pine tree in my yard. Ἴኪྍ཯㔛㯞ୡ SD\DNDS\HULPDVH Please hurry back to me, ྂ㠀அዉያÊᑣ kwopwisinanu twoni before I die of yearning.

ᄤ

OJ: WZR OC: *WôҌ LH: WRҌ EMC: WΩu GO: WR KN: WRX NOM: ÿ̱u, ÿ̭u SV: ÿ̱u SK: WZX Usage / History: This phonogram belongs to the EJS. While the graph does not appear in any of the early census data, it appears in a fragment on a wooden document excavated from the Fujiwara Palace ruins (fl. 694–710): ே‫ڧ‬㜿Ë PITO X atwo… (MK 1636), which might be part of a name. There is also the fragment Ë㯞㒔వஅ኱ Ꮚ ‘Prince Twomatuyo’ (MK 5098). This phonogram was generally avoided, because it also functioned as a measure of liquid, equaling roughly two quarts. This phonogram appears once in the liturgies: ஂ㑣ËṆᚚྡ⪅⏦ᘭ kunatwo WR MINA PA MAWOSIWH“…who are known as…Kunatwo” (NT 13). This phonogram is one of the main graphs used in Kojiki to represent WZR: ᕸ Ë ᪁ ⌮ putwo VLUL “firmly plant” (KG), ከ ᕸË ஂ WDSXtwoku “highly esteemed” (KG), 㜿 ஂ Ë ẚ ኎ akutwo SLP\H Princess Akuto (KG). The following two songs use this phonogram: KK 17 㜿⡿㒔㒔 DPHWXWX Like a candy-colored wagtail, ▱ᯆ⌮㯞᪁ⓏⓏ WLGRULPDVLWRWR or a plover, or a bunting 㑣ᯆబ♮ὶË⡿ QDGRVDN\HUXtwome why the tattooed, sharp eyes? KK 18 ⿁Ⓩ㈽∞ ZRWRP\HQL It is only to meet ከ㝀∞㜿Ἴ∹Ⓩ WDGDQLDSDPXWR a young maiden, I thought, ࿴ຍబ♮ὶË⡿ ZDJDVDN\HUu twome with my opened, sharp eyes. This phonogram is also used in Nihon shoki, three times in the annotational notes, and five times in the poetry: ኴㄭ㎡ṈபᕸË⬟⌮Ë ³ௗµThick words of import’ this is read putwo noULtwo” (NSG). NSK 41 ヅ⨶ᛣⅲ NDUDQRZZR The ship Karano அ〔⌗ᳰᯨ VLSZRQL\DNL was burned to make salt. அ㣹㜿ᦶ㞳 VLJDDPDUL The leftover wood ⹫➼⌗⳱ྃ㞳 NRWRQLWXNXUL was used to make a lute. 472

ヅᯨ㆜ྃᲂ kaki SLNX\D When I strum on it ⏤⨶⬟Ë⬟ \XUDQRtwo no the sound is wonderful, Ë㑣ヅ⬟␗ྃ㞳⌗ twoQDNDQRLNXULQL as the swaying of seaweed ᩜ౛ከ⳱ SXUHWDWX on a rock jutting 㑣㇋⬟⣖⬟ nadu no kwi no out in the Yura Straits— బᳰబᳰ VD\DVD\D VD\DVD\D. This phonogram appears three times in the poetry in Man’\ǀVKnj: MYS 800 TITI PAPA wo You feel admiration ∗ẕஇ ⨾♩፠ከᕸË᪁ PLUHEDWDSXtwosi seeing father and mother. MYEKWO MIUHED You feel love and affection ጔᏊぢ♩፠ ⡿ල᪁Ᏹ㒔ஂᚿ PHJXVLXWXNXVL seeing your wife and children.

ࡽ

ಏ

OJ: Wwo OC: *WKâҌ LH: WhъҌ EMC: WKXRҌ GO: WR KN: WR NOM: WK͝ SV: WK͝ SK: WKZRWZX Usage / History: This phonogram belongs to the EJS, and appears once in Kojiki: iᕥᅜ Twosa Province. The same usage appears in Nihon shoki, iబ Twosa, along with i⨶⨶ Tworara. The rendition iᕥ Twosa is also found in Man’\ǀVKnj. A search of over 50,000 mokkan yields the following number of spellings: iᕥ Twosa (5), iబ Twosa (4), ከi Tatwo (5), ᛱi Itwo (4), ఀi Itwo (1), i୓࿅ Twomaro (3), i㯞࿅ Twomaro (1), Ᏹi Utwo (1), and iⱱ Twomo (1). Thus, this graph was used to write proper nouns, but was not used in any extant poetry. This phonogram appears on a variety of mokkan, but many of the readings are tenuous. Here are some that are secure: ᛱi㒆Itwo District (MK 283), iᕥᅜTwosa Province (MK 4670). OJ: WZR OC: *dakh LH: dъh EMC: duoh LMC: WўuΩ GO: do KN: WR NOM: ÿ͡, ÿo, ÿͭ SV: ÿ͡ SK: WZR Usage / History: This phonogram belongs to CBS, appearing in Nihon shoki, once in the annotational notes and five times in the poetry: ⬮㑔ࠊṈப㜿Ì㝎 ³ௗµAround the legs,’ this is read atwoS\H” (NSG). It also is used in the following song: NSK 124 ன▱Ἴᚿ⬟ XWLSDVLQo Come out, child 㒔ᱵ⬟㜿⣲ᙁ∞ WXPHQo DVZRELQL to play at the edge of ఀᥦ㯞ᰨྂ idemase kwo the plank bridge. ከ㯞ᥦ⬟ఀ㠫⬟ WDPDGHQo ip\e no Mistress Yaheko of 㔝㠫ྂ⬟Ì⌗ \DS\ekwo no twozi the Tamade House. ఀᥦ㯞ᚿ⬟ idemasi no There will be no regrets ೜ఀ᧛㜿⨶⌗ⲗ NXLSDDUD]L]o if you come out. ఀᥦ㯞すྂ idemase kwo Come out, child— ከ㯞ᥦ⬟㠫⬟ WDPDGHQo ip\e no Mistress Yaheko of 㔝㠫ྂ⬟Ì⌗ \DS\HNZRQo twozi the Tamade House. This phonogram also appears in Shoku Nihongi, once in a poem: 473

SN 2 ⸽Ⰻ⨾㒔 ኪ㯞Ṇ஀ஂᑣἼ ྍᮍྍⰋ᪁ ከᕸÌஂᏳὶ⨶அ チ⬟ᮎẚ⨾౛Ἴ

ᚡ

╔

ࡴ

VZRUDPLWX \DPDWRQRNXQLSD kamwi NDUDVL WDSXtwoNXDUXUDVL NRQRPDSLPLUHED

This land of Yamato which fills the firmament, does seem to be a divine land, so it is worthy of honor, when I watch this dance.

OJ: WZR OC: *dakh LH: dъh EMC: duoh LMC: WўuΩ GO: do KN: WR NOM: ÿò SV: ÿ͡ SK: WZR Usage / History: This phonogram belongs to the CBS, appearing three times in poetry in Nihon shoki: NSK 16 Ᏹ☻బ㛤 umasake What sweet sake! Å࿴⬟➼⬟ࠎ PLZDQRWRQRQR How we wish to return 㜿బጊ⌗ẟ DVDWZRQLPR to our homes this morning, ఀᘵặ⏤௓㑣 LGHWH\XNDQD going through the gate Å࿴⬟➼⬟Íሳ PLZDQRWRQRtwo wo of this, the shrine of Miwa. OJ: WZR OC: *WâҌ LH: WъҌ EMC: WXRҌ LMC: WXΩ GO: WX KN: WR NOM: ÿ͝, ÿͯ SV: ÿ͝ SK: WZR Usage / History: This phonogram belongs to the CBS. I have found only a few examples of this graph in Nihon shoki, but mainly in toponyms: ⟃⣸ఀ覩⦩ Wukusi [NO] itwo AGATA ‘the Ito District of Tsukushi’ (NSG), 覩㈌㑘ᅧ twoNDUD[NO] KUNI ‘land of Tokara’ (NSG). There is also one example in the annotational notes in Shoki: ᡞẕࠊṈப覩⮬ ³ௗµMistress of the house,’ this is read twozi” (NSG). This phonogram also appears in Shaku Nihongi, in a quote from Tsukushi IXGRNL, which has been lost. There we find 㐓覩 Itwo. OJ: WZR OC: *dâ LH: dъ EMC: duo LMC: WўuΩ GO: du KN: WR NOM: ÿ͛ SV: ÿ͛ SK: WZR Usage / History: This phonogram belongs to the CBS, appearing once in the annotational notes and three times in one poem in Nihon shoki: ೖᩥ⚄ࠊṈப᪁Á᲍ಂᮍ ³ௗµthe deity of native weaving,’ this is read sitwoULJDPwi” (NSG). NSK 96 ⳝ⣖బ೜ makwi saku A fine grain of wood, 㑊⬟ఀ㝀ÁႲ SLQRLWDtwo wo I pushed opened that door made of Japanese cypress. 㣡᪁ẝ⨶ᯨ RVLSLUDNL ೖ౛௨᲍㨱ᚿ ZDUHLULPDVL I went inside 㜿㒔Á၆ aWZR twoUL and held her leg, 㒔㯟ᛣ၆⤉ᗏ WXPDGZRULVLWH holding the edge of her hem,

474

㨱೜ᄶÁ၆ ఀះᡃሐႲ

৳

൜

ቲ

PDNXUDtwoUL LPRJDWHZR

holding her pillow— holding my spouse.

OJ: WZR OC: *Wâkh LH: WDK EMC: WXRK LMC: WXΩ GO: WXKN: WR NOM: ÿ͙, ÿ~ SV: ÿ͙ SK: WKZX Usage / History: This phonogram belongs to the CBS. It appears in Nihon shoki, once in an annotational note, and four times in the poetry: ᡞ␁ࠊṈபÎ㰝³ௗµlord of the house,’ this is read twoE\H” (NSG). NSK 6 㜿㍋ፋ☻ᘕ akadama no The radiant globe ẚヅ฼᧛㜿฼Ⓩ SLNDULSDDULWo is wonderfully brilliant, ẚ㒭᧛ఀ⌝⪏ SLWo SDLS\HGo so people may say, ௻ᙁᡃㆨ㉗ẚᚿ NLPLJD\osopisi but I have now realized ከ㍜Î໙㜿฼ィ฼ WDSXtwoNXDULN\HUL your brilliance is the finest. OC: *dâ OJ: WZR LH: dъ EMC: duo LMC: WўuΩ GO: do KN: WR NOM: ÿ͛, ÿzWUz SV: ÿ͛ SK: WZR Usage / History: This phonogram belongs to the CBS, appearing in Nihon shoki, twice in one poem: NSK 28 ఀ¿ጡ᧛ⱱ itwokwo pa mo Men with relatives ఀ¿ጡያụ itwoNZRGZRWL will fight together. ఀ⿶㜿Ἴ㑣 iza apana Commence the battle, ࿴౛Ἴ ZDUHSD shall we? ከᦶᒱἼᒗ WDPDNLSDUX Minister Uti, னụ⬟㜿ᒙ㣹 XWLQRDVRJD possessing a strong spirit, Ἴ㑘⃰▱Ἴ SDUDQXWLSD does not have a stomach ␗బㄗ㜿౛ᳰ LVDJZRDUH\D made of pebbles. ఀ⿶㜿Ἴ㑣 iza apana Commence the battle, ࿴౛Ἴ ZDUHSD shall we? OJ: WZR OC: *dâҌ LH: dъҌ EMC: duoҌ LMC: WўuΩ GO: du KN: WR NOM: ÿ͟ SV: ÿ͟ SK: WZX Usage / History: This phonogram belongs to the CBS. It is interesting that Nom has ÿ͟, but the Nom character ╢ has the reading of duã, which preserves evidence of the EMC and LMC evolution of this graph. The phonogram ᮭ appears twice in the poetry in Nihon shoki. Below is one example: NSK 72 ᪊᭸ᦶᖯ RSRPDS\H Everyone! ⅲᦶᖯ㍺༐Ἶ㣹 ZRPDS\HVXNXQHJD Gather together under ヅ㑣Ïຍ♓ kanatwokage the eaves of the iron gate 475

ヅ༐ከᬛ㇧⨶Ἶ 㜿ᱵከ▱ኪᱵ∹

ୣ च ༸

⁥

NDNXWDWL\RUDQH DPHWDWL\DPHPX

of ƿmae and Womae. The rain will soon abate.

OJ: WZR OC: *dâ LH: da EMC: duo LMC: WўuΩ GO: do, du KN: WR NOM: ÿ͛ SV: ÿ͛ SK: WZRF\H Usage / History: This phonogram belongs to the CBS. It appears in Nihon shoki, once in the following annotational note: ᧙ ຂ ࠊ Ṉ ப 㒔 ├ ⪆ ⬟ ከ ఞ ᙗ ¾ ฼ ㎫ 㨱 ᒗ ³ௗµfirmly holding the hilt,’ this is read WXUXJLQo WDNDPLtwoULVLEDUX” (NSG). OJ: WZR OC: *lâ LH: dъ EMC: duo LMC: WўuΩ GO: du KN: WR SV: ÿ͛ SK: WZR NOM: ÿ͛ Usage / History: This phonogram belongs to the CBS, appearing in Nihon shoki in the following annotational note: ၥ⳱ࠊṈபÐẝᏱ ³ௗµ(The place name) ၥ⳱,’ this is read twopiu” (NSG). OJ: WZR OC: *љâҌ LH: љъҌ EMC: ћuoҌ GO: go KN: ko NOM: h͡, h͕ SV: h͡ SK: hwo Usage / History: This is one of the oldest known kunganas for WZR in Japan. The graph ᡞ ‘door’ suggests to the mind OJ WZR ‘door.’ Kojiki preserves names such as  ᒣ ὠぢ⚄ the deity TWOYAMATUMI (KG), also ㇔ ู⋤ Prince TOYOTWO WAKE (KG), ᘊ ᐑ the IPOTWO Palace (KG), and ⱉᖭ ㎪ KARIPATA TWObye (KG). Nihon shoki also preserves the following: ᡞ␁ࠊṈபጊ㰝³ௗµTWOBYE, lord of the house,’ this is read WZRE\H” (NSG). Here ‘door’ refers to the house. Other examples include ⱉᖭ ㎶ KARIPATA TWObye (NSG), ᘊ ᐑ the IPOTWO Palace (NSG), and ✰  ANATWO (NSG). This kungana also appears rather frequently in 0DQ¶\ǀVKnj. A variant note to a poem in Book 2 of 0DQ¶\ǀVKnj has: ⋢ ໸ / ୕ ᐊ   ᒣ ஀ TAMAKUSIGE / MIMUROTWO YAMA no ‘Mount Mimoroto, that is like a jeweled comb box…’ (MYS 94). OJ: WZR OC: *Wshôƾ LH: Wshoƾ EMC: WVKXƾ GO: su KN: sou NOM: WK{QJ SV: WK{QJ SK: chwong Usage / History: This kungana suggests to the reader OJ WZR‘sharp.’ It appears in the name of Regent Shǀtoku Taishi’s name, ㇏聡⪥⪷ᚨ TOYOTWO MIMI 6KǀWRNX, or ㇏ 聡⪥ἲ኱⋤ Great King of the Buddhist Law TOYOTWO MIMI. This graph was selected because of its auspicious semantics: ‘hear well, intelligent.’ Here the name works out to mean ‘eternal intelligent / quick ear.’ This usage appears in all

476

records that deal with the prince, attesting to its rather early creation, perhaps within decades after his death in 621.

֐ ⫨

⨮ ᯅ ⢦

OJ: WZR OC: *ULK LH: lih EMC: lih GO: UL KN: UL NOM: OuOͫi, lòi SV: l͓, lͫi SK: li Usage / History: This kungana suggests to the mind OJ WZR-si ‘sharp’ and WZR ‘whetstone.’ An example appears in the surname 㧗ᚿஅùἼ⮧ “The TWONAMI OMI of Kwosi.” The same usage appears in Man’\ǀVKnj, ùἼᒣ Mount TWONAMI (MYS 4177). OJ: WZR OC: *mΩըn LH: mΩn EMC: mwΩn GO: momu KN: ERQ NOM: môn, mon SV: môn SK: mwun Usage / History: This is a kungana, calling to mind OJ WZR ‘door, gate.’ Examples are found in Kojiki: ✰㛛அ㇔ᾆᐑ TOYOURA Palace of ANATWO (KG). Similar usages are preserved in Nihon shoki, such as the following place names: ✰ 㛛 ANATWO (NSG), Ό⏣㛛 NUTA [NO] TWO (NSG), and ᒣ㛛 YAMATWO (NSG). This kungana appears also in 0DQ¶\ǀVKnj: 㛗㛛 NAGATWO (MYS 1024). OJ: WZR OC: *ORWV LH: juas EMC: jiwäih GO: ei KN: ei NOM: nh͕n SV: nhu͏, du͏ SK: \H\ Usage / History: This kungana suggests to the reader OJ WZR ‘sharp.’ This rare graph appears only in Nihon shoki: ኳཱྀ㗦⏣ AME [NO] KUTITWODA, a name for a poor plot of ground cultivated by Susanoo (NSG). .XWL is written with a kungana ཱྀ ‘mouth,’ but likely refers to NXWL ‘to rot.’ OJ: WZR OC: *WLҌ LH: WĞiҌ EMC: WĞiҌ GO: si KN: si NOM: ÿe SV: ch͑ SK: ci Usage / History: This kungana suggests to the reader OJ WZR ‘whetstone,’ appearing in Kojiki and Nihon shoki: ┾Ò㔝 Princess MATWONWO. ,]XPR IXGRNL records Ò⚄ ᔱ TWOGAMWI Island and a place called 㮷Ò ARATWO.  OJ: WZR OC: sôk LH: sok EMC: suk GO: soku KN: soku NOM: W͙c SV: W͙c SK: swok Usage / History: This kungana suggests to the reader OJ WZR-si ‘quick, sudden.’ This usage appears once in 0DQ¶\ǀVKnj:

477

MYS 1718 ㊊฼ᛮ௦ $7:2023,WH Have the boats KOGIYUKU PUNE pa that called out together ᴶ⾜⯚ⷧ TAKASIMA NO and rowed toward 㧗ᔱஅ ㊊㏿அỈ㛛ᑣ ATWO NO MINATWO ni the port of Ato in Takashima PATEnikemu KAMO arrived there already? ᴟᑣ┘㬞 Both words that begin DWZR have been traditionally interpreted as adwo. Take, for example, the phonograms ㊊฼ ‘leg-sharp’ DWZR, which only appears twice in 0DQ¶\ǀVKnj. This kungana works because it calls to mind a ‘leg’ as in MYS 3387: Ᏻ⬟᪊Ⓩୡཷ D QR RWR VH]X ‘without your feet making any sound.’ A also appears in the word D\XSL ‘leg straps.’ Naturally ฼ ‘sharp’ calls to mind OJ WZR ‘sharp,’ as noted above. The apparent voicing that appears to have crept into the texts is likely a later phenomenon. I believe the same thing can be said for ㊊㏿.

ᩩ ᰬ

OJ: WZR OC: *G]LW LH: G]LW EMC: G]MHW GO: zLWi KN: sLWX NOM: W̵W SV: W̵W SK: cil Usage / History: This kungana suggests the OJ reading WZR-si ‘quick, sudden.’ It appears only in Nihon shoki, in the following name: ⏣Ó౗ TATWOKU (NSG). OJ: WZR OC: *UaWV EMC: ljäih GO: UH KN: UHL LH: lias NOM: NA SV: l͏ SK: O\H Usage / History: This kungana suggests to the mind of the reader OJ WZR ‘whetstone.’ This kungana appears in the following two place names in Nihon shoki ࿃Ô ATWO (NSG) and ⳱Ô UTWO (NSG). It also appears in 0DQ¶\ǀVKnj in the topoynm ÔἼ㒆 TWONAMI District (MYS 4021, 4138). There is also a poem in 0DQ¶\ǀVKnj with a variation, where the kungana is variant. MYS 3231 TUKWI MO PI MO Even if the sun and moon ᭶᪥ KAPARAPINU TOMO perpetually change, ᨡ཭ PISA NI PUUX the place of the Totsu Palace ஂ⥂ὶ ୕ㅖஅᒣ MIMORO NO YAMA NO at Mount Mimoro which has lasted Ôὠᐑᆅ TWOTU MIYA TOKORO for a long time will not. A note states that there is another manuscript with the final two stanzas as ᨾ⋤㒔࣭㊧ὠᐑᆅ PURUKI MIYAKWO NO / TWOTU MIYA TOKORO ‘the place of the Totsu Palace which is the old royal capital will not….’

478

U ̚

ሱ

OJ: u OC: *wa LH: wъ EMC: wuă GO: u KN: u NOM: vu, vo SV: vu SK: wu Usage / History: This phonogram belong s to the PBS. This graph appears on the Kwangkaytho stele, in the following toponym: Õὶᇛ, *uru (or *wuru) fortress. This graph (ன) also appears in the Silla epigraphic data base. On the Wicywu stele (539) ൔᚐÕ‫ ڧ‬appears, transcribing the name of a Bonze, something close to *to(w)uX. This graph னalso appears in a single Korean name recorded in Shoki in the record of Tenmu: 㜿Õau or awu. There are a few examples also found on mokkan: Õᗘ㒊Ꮚே UdwoBYE KWOBITO (MKK 17:35), Õ㐜 Udi (MKK 27:37). In Shoki’s poetry, the phonogram appears 20 times in the annotational notes, and in 29 poems: ኱ேṈபÕᚿ, “A man of stature is known as usi.” A single example from the poetry will suffice: NSK 105 ÕἾഛᳰᦶ uQHEZL \DPD Though the trees ⹫ከᬛÕ㡲ᐙⱏ NRWDWLuVXN\HGR are sparse on Mount Unebi, ከ⬟ᙗ௓ⱱ WDQRPLNDPR is it the young Ketsu Ề⳱⬟࿴༐࿋⬟ NHWXQRZDNXJZRQR who has hidden himself there ⹫ⱱ⨶ໃ฼♮∹ NRPRUDVHULN\HPX hoping for support? This phonogram also appears six times in Man¶\ǀVKnj. Regarding MYS 1259 and 3236 ƿno (1977:343) notes that these may actually be mistakes for Ᏹ. However, the most recent textual research on Man’\ǀshnj (Satake et al. 1999, 2:155, 3:232) shows that the handwritten manuscripts agree that the archetype is ன. MYS 852 ⅲᱵ⬟Ἴዉ ume no pana The blossoms of the plum ఀ⡿ᑣຍከⰋஂ LPHQLNDWDUDNX spoke to me in a dream— ⨾ஓഛከὶ PL\DEZLWDUX we think of ourselves as Ἴዉ➼㜿౛ẕᕸ SDQDWRDUHPRSX elegant blossoms. ᕥỀᑣÕྍಸチ᭮ sake ni uNDEHNRVR Float us in your sake.  OJ: u OC: *wΩҌ EMC: wuw GO: u KN: iu LH: *wuҌ NOM: hͷu, hͩi SV: hͷu SK: \X Usage / History: This phonogram belongs to the PBS. There are three examples in Paekche material quoted in Nihon shoki. In the fifth year of Kinmei the following note appears from Paekche pongi: ྡÖ㠀ᒱtranscribing the name Upwiki. There are also two names Ö⮳⮧ Uti OMI and ୎Ö㝀 Tyau Uda. It is clear from the Shoki that ᭷⮳⮧is from a Paekche record, because one entry earlier we see the same person as ෆ⮧ UTI OMI. The name of the famous scion, Swoga 479

Umakwo (⸽ᡃ㤿Ꮚ  LV UHFRUGHG LQ WKH *DQJǀML 7HPSOH UHFRUG DV ᭷᫂ྂ umakwo. This graph is used eight times in Man’\ǀshnj, six of which are in the poetry in Book 5: MYS 826 Ö▱ዉẝஂ uWLQDELNX Bending supplely Ἴὶ⬟ஓዉᐅ➼ SDUXQR\DQDJZL WR the spring willow and ࿴ᡃኪᗘ⬟ ZDJD\DGZRQR and the blossoms of ⅲᱵ⬟Ἴዉ➼㐲 XPHQRSDQDWRZR the plum in my garden— ఀྍᑣྍ࿴ྍṊ ika ni ka wakamu how can I single out the better?

ભ

OJ: u OC: *waҌ LH: wъҌ EMC: wua GO: u KN: u NOM: vNJ, võ SV: vNJ SK: wu Usage / History: On fairly tentative evidence I place this phonogram in the PBS. While my copy of the text of the Kwangkaytho stele does not contain this graph, Kitagawa’s epigraphic dictionary has a photograph of this carved graph from the stele (1991:123). It is possible that where my copy has ‫ڧ‬፝ᇛ ‘Xro Fortress,’ that this may be ×፝ᇛ ‘Uro Fortress.’ In the Jingnj record, when the Queen is said to have invaded Silla, the name of the king is written ×ὶຓᐩ฼ᬛᖸ uUXG]DSRULWLNDQ. This is believed to be the son of the 10th king of Silla, who is recorded as being named Uro, and held the 10th Silla rank of Sopulkan, which matches the name fairly nicely. This is one of the most popular phonograms used to represent the syllable u in OJ, but according to evidence in the extant texts, this usage appears to be relatively recent. As the phonogram Ᏹ does not appear in the so-called Suiko era corpus, it is tempting to assign this graph to the LJS. On the scarcity of the records at hand, however, such a theory likely is jumping to conclusions. ƿQR (1962:141, 145) is a good example of this. This phonogram appears regularly in the liturgies: ᚚ⮃ᣢ㡲␃ⱝ×ຍ⬟㈽ ⬟ ࿨ Ⓩ ᚚ ྡ ⪅ ⓑ ᘭ Ṉ ⓚ ⚄ ᚚ ๓ ∞ ㎡ ❵ ዊ ஂ MIOPOMIKE MOTIVXUX WAKAukaQRP\HQR MIKOTO WR MINA PA MAWOSIWH KONO SUMEGAMWI [NO] MAPYE ni KOTO WOPEMATURAku ‘We announce the name of the deity Waka Ukanome who is in charge of the royal food, and while we worship before this deity…’ (NT 3). This phonogram is found often on mokkan: ×࿴ホ Uwa District (MK 165), ▮⏣×బ୓࿅ YATA Usamaro (MK 3523), and┠ẟ⨾㡲ὶᏳಖ㐃⣖ᡃ チ➼இᚿᐅぢ㈡ẟ⨾ኪ⬟×▱ྍ♩ᘭ MATUGE PLVXUX APO MURAZI kL JD NRWR ZR VLJH0, NDPR PL\D no uWL NDUHWH ‘Apo Murazi Ki who is showing his eyelashes, alas, is noisy and leaves the inner chambers of the palace…’ (unnumbered tablet). There are three examples of this phonogram in the Jinmu poetry, and five examples in the commentary in the Jinmu record. As the research of many scholars has pointed out, the record of Jinmu found in Shoki was clearly put together independent of the compilation of the greater work, and the orthography is indeed archaic. I believe there is no problem with dating the phonogram Ᏹ used by the Japanese from at least the era of the Taika Reforms (ca. 645). Below is one example of Ᏹ from a poem recorded in the Suiko record: 480

ᖀ

NSK 103 ×ᦶዉ⨶㯟 uPDQDUDED If you were horses ㆜Ṋఞ⬟ྂᦶ pimuka no kwoma steeds of +\njJD\RXZRXOGEH.... ×ಸஅヅⱱ upesi kamo How true this is. This is the principal graph used to transcribe u in Man’\ǀshnj. MYS 1037 IMA TUKURU When I gaze at the clear ௒㐀 mountains and rivers ஂ㑑஀⋤㒔⪅ kuni no MIYAKWO PA YAMA KAPA NO where the royal capital ᒣἙஅ SAYAKYEKI MIREBA of the land is now being built Ύぢ⪅ I see how reasonable this is. ×ಸᡤ▱Ⰻஅ uEHSIRASUUDVL This phonogram and its various cursive forms give us the later form for KLUDJDQD ࠺, as well as the NDWDNDQD form ࢘. It should be noted also that Seeley (1991:65) contains a copy of the Kana-WHQ of the $ELGDWVXPD ]RMXURQ, where NDWDNDQD ࢘ is actually a cursive form of ᭷.  OJ: u OC: *Ҍwâ LH: Ҍua EMC: Ҍ࡬ LMC: ҌuΩ GO: u KN: wo NOM: ô,͙ SV: ô,͙ SK: wo Usage / History: This phonogram belongs to the EJS. This graph is almost always written as Ở. It would appear that the Go-on reading is the oldest of the three Sino-Xenic readings, because by the EMC era, this graph transcribed a round, back vowel /o/. ƿQR (1962:145) notes that this phonogram appears some five times in the Suiko era corpus. The -ǀJnjNL fragment records the name of Prince Usi, the father of Great King Keitai, as: Ø᪁⋤. The major impediment to a broader usage of this phonogram was semantic, as it meant ‘defilement’ or ‘indecent.’ It still appears on the Amida inscription of Kanshin-dera (658) in the name Ø 㯞 ᑿ ྂ Umawokwo. This phonogram appears a number of times on mokkan: Øያ㯞㔛 Unuma Village (MK 160), Øஂ⓶ࢶ஧༖ ‘two MASU (half a peck) of uNXSLWX (a type of fish?) (MKK 27:37). This graph also appears once in Kojiki to transcribe the religiously important word ‘tub’ on which Ame no Uzume danced to get the Sun Goddess out of the cave: ØẼuke. This graph also appears but once in the poetry of Nihon shoki: NSK 2 㜿ጒዉᒗኪ DPHQDUX\D In the heavens எⓏከዉ፠ከᘕ ZRWRWDQDEDWDQR the jewels strung upon Øዉ㣹ໃᒗ uQDJDVHUX the string hung around ከ☻ᘕᙗ⣲☻ᒗᘕ WDPDQR PLVXPDUXQR the neck of the Weaver Maiden 㜿ዉ㝀☻Ἴኪ DQDWDPDSD\D are very beautiful— ᙗከ∞ PLWDQL like the beauty of him who ㍜᯳࿴᯳⨶㡲 SXWDZDWDUDVX shines over two hills, 㜿Ἶ⣲௻ከఞ㑊㢳⚲ DGLVXNLWDNDSLNZRQH Ajisuki Taka Hikone. This phonogram is only used twice in Man¶\ǀVKnj in the same poem. MYS 837 Ἴὶ⬟ດᑣ SDUXQRQZRQL In the springtime fields ዉஂኪØ㝮ẚ㡲 QDNX\Dugupisu the bush warbler is singing. 481

 

᠔

ẉ

ዉ㒔Ề∹ᚓ QDWXNHPXWR The plum tree ࿴ఱᘢ⬟᭮⬟ᑣ ZDJDS\HQRVRQRQL in my garden is in full bloom, Ø⡿ఱἼዉబஂ ume ga pana saku trying to tame the bird.  OJ: u OC: *waҌ LH: *waҌ EMC: wua GO: u KN: u NOM: vNJ, võ SV: vNJ SK: wu Usage / History: This phonogram belongs to the LJS. The phonogram appears twice in Nihon shoki in annotational notes in the second book, ‘the Age of the Gods’: ୖᅧṈப “᧛㇋▴∞, ‘The upper country is called uSDWXNXQL’ (NSG). This graph also appears once in Man’\ǀshnj: MYS 3817 ྍὶ“㡲Ἴ NDUXusu pa I can see TABUSE QRPRWRQL the foot mortar ⏣ᘊ஀ẟ➼ᑣ WA GA SEKWO PA next to the hut in the fields ࿃඗Ꮚ⪅ and my beloved standing ஧ᕸኵᑣဏ⪋ niSXEXQLWEMITE TATImaSERI MIYU next to it, smiling. ❧㯞Ⅽᡤぢ OJ: u OC: *Ҍâ EMC: Ҍэ LMC: ҌuΩ GO: u KO: wo LH: Ҍa > Ҍэ NOM: ô, o SV: ô SK: wo Usage / History: This phonogram belongs to the LJS. It is strange that this graph transcribes wo back to the WS (see the same graph under wo), and yet the GO is X This may be evidence of vowel raising (*wo > u). The answer may lie in the fact that this usage only appears in Man’\ǀshnj (MYS 815, 816, 817, 818 passim), and then only to transcribe ume ‘plum.’ That rendition is Ùᱵ ‘crow-plum,’ which is certainly a graphically motivated transcription. OJ: u OC: *Ҍwa LH: *Ҍ\ъ EMC: Ҍua GO: u KN: u NOM: vò, vu SV: vu SK: wu Usage / History: This is a graphic variation of the phonograms னỞᏱ. I assign this graph to the CBS as it only appears in Shoki. Another oddity about this graph is that it appears in Shoki four times, all in the same poem, suggesting idiosyncrasy: NSK 97: ㅶ➼㝎Ⴒ㯟 PRWRS\HZRED We will make a NRWR Ⳅ➼ൽ㒔೜၆ NRWRQLWXNXUL out of the base of the tree, 㡲⾫㝎Ⴒ㯟 VXZHS\HZRED and make a flute ᗓ᭥ൽ㒔೜၆ SX\HQLWXNXUL out of the top of it, ➢௻ඏ㡲 pukinasu and our music ⨾ẕ៖ᡃÚ㝙ൽ PLPRURJDupe ni will reach to the top ⬟᭸᲍㝀⮴ QRERULWDWL of Mount Mimoro. ೖᡃᙗ⣽㯟 ZDJDPLVHED When I gaze down 㒔ያፅ᧛➢ WXQZRVDSDSX on Iware Pond 482

௨⡔౛⬟ఀ㛤⬟ LSDUHQRLNHQR with rocks covered in vines ⨾㑣▮㥏ᗓ PLQDVLWDSX even the fish Ú㬆ㅶ uwo mo come to the surface  Ú㝙ൽሐሐ㑣ⓥ▴ uSHQLGHWHQDJHNX and lament your parting. 㔝㡲⨾▮ࠎ \DVXPLVLVL And like the sash ೖᡃ᪊᭸ᯨ⨾⬟ wa ga opokimi worn by my great lord ᪊㨱⣽ᒗ REDVHUX who rules over all ፅబ⨶⬟⨾᪊ᐭ⬟ saVDUDQRPLRELQR with its dainty design, Ṋ㡲ᙗ㝀౛ PXVXELWDUH who is there that 㥏౛ኪ▮ẚ➼ẕ GDUH\DVLSLWRPR will not come outside Ú㝙ൽἾሐ㑣ⓥ▴ uSHQLGHWHQDJHNX and lament your parting? It is interesting that ⣛ appears in the word upe ‘above, upward’ three times, and uwo ‘fish’ once. The phonogram ⣛ means ‘bend, turn,’ and perhaps the poet/scribe wished for a visual effect by using this phonogram.

Ӥ



⺿

OJ: u OC: *WKDN V h h h EMC: W э LMC: W uΩ GO: WX KN: WR LH: W э NOM: WK͗WK͙ SV: WK͗ SK: WKRWZR Usage / History: This kungana calls to mind OJ u ‘hare.’ This usage only appears in Shoki, and WKHQRQO\LQODWHUHUDSRHWU\VSHFLILFDOO\WKDWIRXQGLQWKHUHFRUGV.ǀJ\RNXDQG Saimei. The phonogram did not gain much popularity. NSK 112 Û㒔㯞బἼ uWXPDVDSD Utsumasa Kawakatsu ᰓᚤ㦐ẕᰓᚤ㦐 kamwi WRPRkamwi WR will punish and chastise ᯨᨀ᭥೜ᒗ NLNR\HNXUX the deity of the eternal land 㦐⯅㡸⬟ᰓᚤஇ WRNR\RQRkamwi wo who we have heard is Ᏹᬛᒱከ㯞㡲ẕ XWLNLWDPDVXPR the supreme deity of all deities. The name of this family, XWXPDVD, also appears in 6KLQVHQVKǀMLURNX, Japan’s oldest extant genealogical register, and there the name is written ඡ㒔୓బ, showing that the spelling of this name was set. This family’s genealogy claims they came from a descendant of a Qin emperor. The long-standing theory is that the name came from piles of cotton presented by this family, but the name may simply be a Japanese approximation of the original pronunciation, or its point of origin on the continent. OJ: u OC: *Wî LH: dei EMC: dѓj GO: dai KN: WHL SV: dͅ SK: W\H\ NOM: dͅ, ÿ͉ Usage / History: This kungana calls to mind OJ u ‘cormorant.’ The phonogram is never used in Shoki’s poetry or annotative commentary. Even in Kojiki, while the phonogram Ᏹ appears 143 times throughout the text, 㬼 appears only four times (ƿQR 1977:171–175). Kojiki writes the name of the father of Jinmu, Ugaya Fukiaezu: 㬼ⲡ୙ྜ࿨ (KG). In Nihon shoki this graph also transcribes 㬼㮵ࠎ UKAKA ‘shining’ (NSG).

483

≦

‫چ‬

ൡ

OJ: u OC: *lâ GO: WX KN: WR LH: WKD!WKэ EMC: Whэ NOM: WK͗, ÿ͛WK͙ SV: WK͙WK͗ SK: WZRWKZR Usage / History: This kungana is a variation of the older ඡ (see above). The phonogram appears in Kojiki a total of eight times (ƿQR 1977:171) and appears in Shoki only in certain toponyms. The graph appears in various toponyms and personal names in Kojiki, such as 菟⏣ UDA ‘District of Uda’ (KG), 菟ୖ⋤ UNAKAMI [NO] MIKWO ‘Prince Unakami’ (KG), or ୗ⳱ୖ ୖᅜ SIMOTU UNAKAMI [NO] KUNI ‘Province of Lower Unakami’ (KG). This usage is quite popular in Nihon shoki. A single example is quite explanatory: 菟⊈ࠋ菟⊈⪅ᆅྡஓࠋṈபᏱబ ³ௗµUSA.’ USA is a place name. It is read usa” (NSG). The reading was likely attached because this graph ⳱ is also a phonogram to transcribe WX in Nihon shoki (which see). Likewise in Man’\ǀshnj this graph was used to render several toponyms: 菟㐨 UDI (MYS 7) and 菟ྡ᪥ UNAPI (MYS 1801).  OJ: u OC: *PU€Ҍ LH: mэuҌ EMC: maѠw > mѓ:w GO: meu KN: EDX NOM: mão, m̳XPpR SV: mão SK: P\ZR Usage / History: This kungana suggests to the reading OJ u ‘hare,’ representing one of the animals in the 12 ‘earthly branches.’ This phonogram was introduced to the ancient Wa when they became acquainted with the Paekche chronology and its attendant calendar, which was based on the Chinese system. This phonogram represents the hare, number four in the cycle. Thus, with the early introduction of this phonogram, it likely was used with the native reading, u-sagi ‘rabbit.’ Clearly the ancients felt that the initial syllable was sufficient to make the association with the animal. That is how the phonogram came to represent the sound u. Perhaps due to this graph’s semantic representation of the hare in the heavenly stems and earthly branches system, most writers shied away from using this graph phonetically. Kojiki and Nihon shoki never use the graph. In 0DQ¶\ǀVKnj this graph is only used to transcribe toponyms: Üྡᡭ UNATE (MYS 1344), and Ü⟶ UTUTU (MYS 3280). Consider, however, the following examples from excavated wooden tablets: 㜿᭎㒓ᡞ୺ఀ㤶㐃Üே ‘IGA MURAZI UBITO, head of household, village of Adumi’ (MK 3559), and Üಸ㜿ఱ Upe Aga (MKK 15:29). OJ: u OC: *WΩըk LH: WΩk EMC: WΩk GO: WRNX KN: WRNX NOM: ÿ̷c, ÿác SV: ÿ̷c SK: WXN Usage / History: This kungana suggests to the reader OJ u ‘to get, obtain.’ This graph appears a number of times in Man’\ǀshnj. MYS 2949 With this unusual situation K⏣ൠ␗ UTATE KYE NI KOKORO IBUSESI my heart is feeling gloomy. ᚰḛ᜺ 484

஦ィ ྜྷⅭ࿃඗Ꮚ ┦᭷᫬㇂

KOTO PAKARI YOKU SE WA GA SEKWO APERU TOKI DANI

Would you do something different my beloved, even if it is only when we meet each other?

OJ: u OC: *Ua LH: lъ EMC: lэ GO: UX KN: UR NOM: NA SV: l˱ SK: lwo Usage / History: This kungana suggests to the reader OJ u ‘cormorant.’ This rather rare usage is found only in Nihon shoki in the name 呅⃿Ό UKADUKUNU (NSG). While this phonogram does not appear in +RNHN\ǀRQJL, a related phonogram, 㦯, does, glossed UX.

㙩! ⯄

ⷬ

OJ: uQDXUX, u OC: *wΩn *[њ] wΩU§ LH: *wun EMC: wun GO: umu KN: un NOM: vân SV: vân SK: wun Usage / History: The phonogram 㞼 belongs to the LJS. This graph transcribes una, XUX, and u, a usage that mainly appears in 0DQ¶\ǀVKnj and later era works. It likely was used for the sound u because of the somewhat poetic nature of the semantics, 㞼 meaning ‘cloud.’ MYS 13 Mount Kagu fought 㧗ᒣἼ KAGUYAMA pa 㞼᰿ⅆ㞝⏨ᚿ➼ uQHEZL :2:2VLWR with Mount Unebi ⪥᲍⯅ MIMINASI TO afraid to lose his spouse, APIARASWOPIKI Mount Miminashi. ┦ㄵ➇ఄ KAMWIYO YWORI It appears that it has been ⚄௦ᚑ KAKU ni ARUUDVL thus since the Age of the Gods. ዴṈᑣ᭷Ⰻஅ INISIPYE mo But simply because it was ྂ᫇ẕ SIKA ni ARE koso this way anciently it appears ↛ᑣ᭷チ᭮ ⹫⻼ẟ UTUSEMI mo that people in the present TUMA wo fight one another Ꮌஇ APISWOPUUDVLNL to get the other’s spouse. ┦ᣫⰋᛮྜྷ +DULPD IXGRNL contains one example of 㞼⃰ Unwo, with a note that this should be read ᭷ᛣ unwo to prevent a misreading. Shoku Nihongi contains an example where 㞼 represents una: 㞼Დ㐃 Unade MURAZI (761.3.15). There are two examples where 㞼 represents XUX, both found in +DULPD IXGRNL: 㞼⟠㔛 Uruka Village and 㞼₶㔛 UruMI Village. Because of the examples of XUX, there is a strong possibility that 㞼 goes back to an earlier OC *wŧr > *wŧn, reminiscent of 㡑 *ܳar > *ܳan. Baxster and Sagart actually reconstruct 㞼 as *[ܴ]wԥ[n], but they reconstruct ப as *[ܴ]wԥ[r], so I have taken the liberty to emend their reconstruction based on these Japanese data. OJ: XWX LH: ҌXW NOM: ṷW

EMC: ҌXW LMC: Ҍ\W SV: ṷW

485

OC: *ҌXW GO: XWL KN: XWX SK: wul

Usage / History: This phonogram belongs to the LJS. This transcription appears in Nihon shoki, in names like 㨚Ⰽ㞝࿨ UtusikoWO [NO] MIKOTO and 㨚Ⰽㅦ࿨ Utusikomye [NO] MIKOTO (NSG). +L]HQ IXGRNL records the name 㨚 ẚ ⿁ 㯞 ࿅ Utupi Womaro. This usage also appears in Man¶\ǀVKnj to transcribe utusemi ‘visible mortals’ (as opposed to invisible ghosts): Ý⻼ (MYS 443) and Ý▚ (MYS 729).

486

W ч

᤬

OJ: wa OC: *Ҍoi LH: Ҍ\ai EMC: Ҍjwe GO: wa KN: wa NOM: oa, o̫i SV: oa SK: wa, wi Usage / History: This phonogram belongs to the WS. It appears in the ethnonym ೖ *wa-i, which I have earlier theorized is a first person pronoun with a suffix -i that may have been a subject or nominative marker (Bentley 2008:16). This same phonogram appears on the Kwangkaytho stele (412) ೖே ‘people of Wa’ or simply ೖ ‘the Wa.’ Interestingly they are never called ೖᅧ ‘land of Wa,’ perhaps because King Kwangkaytho did not have diplomatic relations with the Wa. It is also possible that this usage is meant to disparage the Wa, making them sound like marauders. The Chinese history, Suishu, records that the Japanese disliked the label ೖ, so they abandoned its use. This helps explain why the phonogram does not appear in many extant records in Japan. However, this was an official stance, and the small group of people that were literate do not seem to have had problems with the usage. It appears on a large number of wooden tablets that have been excavated in and around the Nara area. We find people named, such as ᷓ๓⯋ ேÞ㯞࿅ PINOKUMA TONERI Wamaro (MK 81), ┿ேÞ୓࿅ MABITO Wamaro (MK 178), Þ୓࿅ Wamaro (MKK 18:137). A different wooden tablet contains the fragment: ÞẝⓏᘅྡ Wabito PIRONA (or YAMATObito PIRONA?, MK 7446). There is also a wooden tablet dated ᕫ஻ᖺ‫ڧ‬᭶༑஑ 19th day of X month, 699. On this tablet is the name ⱝÞ㒊ᘅᮎ࿅ WAKA YAMATOBYE PIROmaro (MK 42). While this graph here surely transcribes \DPDWR, it is the fact that what scholars consider to be a derogatory usage is still in use that I wish to draw attention. This phonogram appears in Nihon shoki in three annotational notes and 22 times in poetry: ⨾㣣ႚဢࠊṈபன㨱⨶ൽⅲ㔝⨶⏠ᒗᰓÞ ³ௗµoh, how to drink’ is to be read XPDUDQLZR\DUDSXUXJDwa” (NSG). NSK 119 ⪨㯞ྂ᭥ᗏ \DPDNZR\HWH Though I cross over mountains னÅÞ᯳␃㦐ẕ umi waWDUXWRPR and traverse the ocean, ᪊ẕஅᶂᯨ RPRVLUZRNL can I ever forget ఀ㯞⣖⬟⚷▱᧛ imakwi QRXWLSD the pleasant land Þ㡲⨶ᗧ㯞᪨⌗ waVXUD\XPDVL]L that is Imaki? This phonogram also appears in ,]XPRIXGRNL, in the name ㉥⾾ఀດពಖ㡲 ⨾ẚྂబÞỀ⬟࿨ AKAPUSUMA Inu Oposumi Pikwo Wake no MIKOTO. OJ: wak LH: ћuak NOM: ho̩ch

EMC: ћwѓk SV: ho̩ch

487

OC: *wâk GO: NXZL\DNX KN: kuwaku SK: wak, ZR\N

Usage / History: This phonogram belongs to the WS. It appears in the title of an official: ᙗ 㤿ßᨭ *Mie-ma‫ݦ‬-ܵuak-kie, which represents the Wa word *mema-wake. I have theorized this means ‘Iron-land Lord of Wa’ (2008:22). This phonogram appears to have been used with its velar-final because it preceded another velarinitial syllable, thus perhaps showing the following vowel was short. The Go-on reading is interesting, as it shows that the phonogram did not fit terribly well with, at least, sixth or seventh century Japanese phonology. While most manuscripts of +RNHN\ǀRQJL have NXZL\DNX (ࢡ࣢ࣖࢡ), or something close to that, there is one manuscript with wa (࣡) written in the margins (Ogura 1995.2:762). This phonogram also appears on two sword inscriptions found in tumuli in Japan, transcribing the same name of the king: ßຍከᨭ㮮 Waka Takerwo. It is possible that the Japanese later abandoned this graph, because of its high stroke count, but there is one name preserved on a wooden tablet that may show the graph continued to be used, even if rarely: ୔㒊ß୓࿅ which I tentatively read as PASETUBYE Waku Maro, though it might just as well be Emaro (MK 3268).

ਅ

݅

OJ: wa OC: *Ҍoi or *Ҍoih LH: Ҍ\ai, Ҍ\aih EMC: Ҍjwe, Ҍjweh GO: wi KN: wi NOM: uͽ, u͋ SV: uͽ SK: wX\ Usage / History: This phonogram belongs to the PBS. It appears in Paekche material quoted in Nihon shoki: à㝀ᮧ Wada Village. Logically this should be read wida, but right after this village is mentioned with three others there is a quote from a variant source, which spells this village as ࿴ከ waWD. It thus seems fairly certain that this is read Wa here. Another example is the name ㈢ᕮàబ. Nihon shoki has this name glossed as Pon-pa Wasa. A Later Han reading would be *bun-pa-‫ݦ‬u‫ܤ‬i-ts‫ܤ‬i. In the Mino Census of 702 there is a name: ୕ à ㈽, MIwamye. There are also a few wooden fragments excavated from Nara where this phonogram is still used as wa: ఀàᚿ iwasi ‘sardines’ (unnumbered tablet), àᑣ㒊ᰩ WaniBYE KURI (MK 4). Scholars often say that ጤ is an abbreviated form of ೖ, which it may be, but as the earlier reading for ጤ was wa, the possibility still exists that this was a fossilized usage of ጤ as wa. Because of the shift in vowel from Later Han to Early Middle Chinese, this phonogram fell out of use to transcribe wa and instead came to transcribe wi (which see).  OJ: wa OC: *wâi LH: ћuai EMC: ћwâ GO: wa KN: kuwa NOM: KRj, ho̩, hu͉ SV: KRj, ho̩ SK: hwa Usage / History: This phonogram belongs to the EJS, and appears in the earliest corpus of Japanese texts. It appears in a poem supposedly written not long after the death RI6KǀWRNX7DLVKLSUHVHUYHGLQ-ǀJnj6KǀWRNXKǀǀWHLVHWVX: ఀຍ␃ᡃ஀ LNDJUXJDQR Our great ruler’s name Ṇ⨾⬟இఱἼ஀ WRPLQRZRJDSDQR will never be forgotten, ከཿ፠チ᭯ WD\HEDNRVR even if the brook 488

áఱ᪊ಖᨭ⨾஀ wa ga opokimi no Tomi in Ikargua ᘺዉá㡲Ⰻཿ⡿ mina waVXUD\HPH should cease to flow in its bed. There have also been wooden tablets excavated from the ruins of the Fujiwara Palace (fl. 694–710) with this phonogram on them. One example has the name ࿴ᑣ✚ᮌ୓࿅ Wani TUMIKWI Maro (MK 1479). Other examples include ఀ୚ᅜáẼ㒆 Iyo Province Wake District (MK 242), áᑣᚿ Wanisi (MK 416), ᚿᦶᅜᚿᦶ㒆áල㒓 Sima Province Sima District Wagu Village (MK 2893). This is the primary graph to transcribe wa in Kojiki: カูபáỀ “The graph ู is to be read wake.” á㇋Ⰻẚ⬟Ᏹ᪁⬟⚄ The deity Wadurapi no Usi; á⚰ waUH‘I.’ KK 49 㡲㡲チ⌮㈡ VXVXNRULJD I have become completely ㏑⨾᪁⨾ᒱ㏓ kamisi miki ni drunk on the wine á⚰᝴ẚ㏓♮⌮ waUHZHSLQLN\HUL that Susukori brewed. チⓏ㑣ලᚿ NRWRQDJXVL The wine of peace, ᝴ලᚿ∞ wegusi ni the wine of satisfaction— á⚰᝴ẚ㏓♮⌮ waUHZHSLQLN\HUL I am entirely drunk. This is also the principal phonogram used to transcribe wa in Nihon shoki, appearing in four annotational notes, and 51 times in poetry: ἓⷙࠊṈப㜿á㑣 ఄ ³ௗµfoam-calm’ is read awanagi” (NSG). NSK 63 ኪ㍺Åጞஅ \DVXPLVLVL Our great sovereign áᡃ᪊᭸ᯨÅἼ wa ga opokimi pa who rules the eight quarters ன㝙ඏன㝙ඏ XEHQDXEHQD has spoken reasonably á౛ⅲᩯἼ㍺ඏ waUHZRWZRSDVXQD by asking this question of me. 㜿௻⳱㎫ᦶ DNLWXVLPD But I have not heard ᥾ⳝ➼⬟೜⌗ࠎ \DPDWRQRNXQLQL anything about a goose ⟠฼ྂṊ➼ NDULNZRPXWR having laid an egg á౛◚ᯨ⟠൲ waUHSDNLND]X in the land of Yamato. This is the principal phonogram used to transcribe wa in 0DQ¶\ǀVKnj, appearing 506 times in the anthology. MYS 19 ⥈㯞ᙧ஀ PESWOKATA no Like the black alder tree PAYASI NO SAKI no on the edge of the woods ᯘጞ஀ SANWO PARI no in Hesokata with which ⊃㔝ᴵ⬟ KINU ni TUKU NASU robes are dyed in color, ⾰ᑣⴭᡂ ME QLWXNXwa ga se you, my beloved, caught my eye. ┠ᑣ㒔ஂáᡃໃ OJ: wa OC: *Ҍon LH: Ҍuan EMC: Ҍwân LMC: Ҍuan GO: wa, won KN: kuwa, wen NOM: NA SV: NA SK: wa, wan, wen Usage / History: This phonogram belongs to the LJS, as the KN reading would be wen or kuwa. This phonogram appears only in Nihon shoki, appearing in two poems.

₀!!

489

᤽ ˦

⠛

NSK 14 Å㒔Å㒔ᚿ PLWXPLWXVL You, the intrepid ೜ᱵ⬟ᨾ㑘㣹 NXPHQRNZRUDJD sons of the Kume— ௓⪆ⱱ➼⌗ NDNLPRWRQL ginger is growing Ᏹ᝴ᚿ◚㣵௓Å uwesi pazikami under the fence of our land. ྃ⮴ᙁẚ೜ NXWLSLSLNX As I will not forget ࿴౛◚â㍺౛൲ ZDUHSDwaVXUH]X the sharp taste of that ginger னᬛᘭஅኪⳝົ XWLWHVL\DPDPX we will utterly smite the enemy.  OJ: wa OC: *waƾ LH: waƾ EMC: jwaƾ GO: wau KN: wau NOM: v˱˯ng SV: v˱˯ng, v˱ͫng SK: wang Usage / History: This phonogram belongs to the LJS, and appears in Nihon shoki in the name ãோ Wani. OJ: wa, wani OC: *wân GO: guwan KN: kuwan LH: ћuan EMC: ћwân NOM: KRjQ, hòn SV: KRjQ SK: hwan Usage / History: This phonogram belongs to the LJS. It appears to have originally been meant to transcribe a syllable that preceded a nasal. This appears on a number of mokkan, mainly to transcribe wani: ä 㒊 ఀ ኪ ኎ WaniBYE Iyamye (unnumbered tablet), äᑣ㒊ยⰋ WaniBYE Twora (unumberd tablet). This usage appears in Kojiki: ä∞⮧ Wani OMI, ä∞அチ◻Ⓩ⮧ Wani NO Kogoto OMI, and ä∞அబ㒔⣖⮧ Wani NO Satukwi OMI. Almost all later usages have ୸ transcribing wani. Related to this, an interesting use of this graph appears once in 0DQ¶\ǀVKnj: MYS 2362 㛤ᮌ௦ YAMASIRO NO It is I who desires ᮶⫼ⱝᏊ KUSE NO WAKUGWO GA to have the young man PWOSI TOIPU WARE from Kuse in Yamashiro. ḧபవ APUSAwa ni And recklessly he says ┦⊃ä WARE WO PWOSI TO IPU that he desires to have me, ࿃ḧப 㛤ᮌ௦᮶⫼ YAMASIRO NO KUSE that youth from Kuse in Yamashiro. OJ: wa OC: *UXQ LH: luin EMC: ljwen GO: ULPX KN: ULQ NOM: luân, luôn SV: luân SK: O\XQ Usage / History: This kungana calls to mind OJ wa ‘wheel, circle.’ This usage appears in Nihon shoki in names such as ୕㍯அ⚄ MIWA [NO] KAMWI ‘the deity of Miwa,’ and ☾㍯ୖ⚽┾ᅧ SIWA KAMI [NO] POTUMA KUNI ‘a superior, country with its center high, surrounded by boulders,’ and ㍯ 㡑 Ἑ WAKARAGAPA ‘the Wakara River.’ This usage also appears in 0DQ¶\ǀVKnj, but all examples transcribe ୕㍯ MIWA, a place name.

490

ሞ

ሜ ᳘

⒓

OJ: wa OC: *khok LH: khuok EMC: khjwok GO: koku KN: kioku NOM: NK~F SV: NK~F SK: kwok Usage / History: This kungana calls to mind OJ wa ‘circle, circular.’ This extremely rare usage appears only in Nihon shoki: ᕝå KAPAWA and Ἑå KAPAWA. This same toponym appears on a number of excavated tablets: ఀໃᅜἙå㒆 Ise Province KAPAWA District (MK 6687), ᏳᡣᅜᏳᡣ㒆ᘅ’㒓Ἑå㔛 Apa Province Apa District PIROSE Village KAPAWA Hamlet (MKK 12:12).  OJ: ZDWDZDWL OC: *waW LH: ZDW EMC: jwщW GO: ZDWL KN: ZHWX NOM: vi͇W SV: vi͇W SK: wal, wil Usage / History: This usage belongs to the EJS, and appears in a document preserved in 6KǀVǀLQLQWKHQDPH æ୸ Watawani. It also appears in a document to record the toponym æ⌮㒓 Watari Village. Also, in +DULPDIXGRNL we find the name 㑚æ㔝 OpowatiNWO µSODLQRIƿZDFKL.’ OJ: we OC: *ҌwaWV LH: Ҍ\DV EMC: Ҍjwщih GO: we KN: wai NOM: u͇ SV: u͇ SK: \H\ Usage / History: This phonogram belongs to the PBS. It appears on the Kwangkaytho stele as a compound toponym 㡑ç ‘the states of *ܵan (Kara?) and *‫ݦ‬wiaj.’ This graph also appears on the Suda Hachiman mirror (ca. 500) inscription: çே௒ᕞ฼ ‘Kim-t‫ܨ‬uw-ri, a person of *‫ݦ‬wiaj.’ There is a tendency in scholarly circles to interpret ✧ே as Ayahito (₎ே), but I have left it as is, especially since the Kwangkaytho stele inscription is chronologically closer to the inscription on the Suda Hachiman mirror. Very likely this Kim is a person from the peninsula. Likely because of the semantics, ✧ means filth, this phonogram was generally avoided as a phonogram in Japanese texts. Having said that, it does appear in Nihon shoki once in an annotational note: ㋾ᩓࠊṈப೜ç⡔㑘㑘⟠ 㡲 ³ௗµkick and scatter’ is read kuweSDUDUDNDVX” (NSG). OJ: we OC: *wes LH: was > wah EMC: jwäih GO: we KN: wei NOM: v͏, v͉ SV: v͏ SK: ZX\ Usage / History: This phonogram belongs to the PBS. It appears on the Punsanwang Kungli stele (ca. pre-660): ⯋衞ᅧ *‫ܨ‬ia-waij land µODQG RI ĝUƗYD¶ EHWWHU NQRZQ DV ĝUƗYDVWƯZKLFKZDVWKHFDSLWDORI.RVDODLQDQFLHQW,QGLD  This phonogram also appears in Nihon shoki, appearing in three annotational notes and five times in poetry: ‫‮‬ேࠊṈப⮽衞 ³ௗµperson in charge of the royal bath’ is read \Xwe” (NSG).

491

฻

NSK 97 㥏㛤⬟ WDNHQo Wonderful, flourishing bamboo ௨▴⨾ፋ㛤వᄞ㛤 LNXPLGDNH\odake with long joints and leaves— ㅶ➼㝎Ⴒ㯟 mRWRS\HZRED We will make a NRWR Ⳅ➼ൽ㒔೜၆ kRWR QLWXNXUL out of the base of it, 㡲衞㝎Ⴒ㯟 suweS\HZRED and make a flute ᗓ᭥ൽ㒔೜၆ SX\HQLWXNXUL out of the top of it. This phonogram also appears in ,]XPR IXGRNL: 㡲衞㒔ஂ♫ Suwetuku Shrine.  OJ: we OC: *wîs LH: ћues > ћueh EMC: ћiweih GO: we KN: kuwei NOM: hu͏ SV: hu͏ SK: K\H\ Usage / History: This phonogram belongs to the EJS. The earliest attested example is found on a wooden tablet dug from the Fujiwara Palace site (fl. 694–710): éᝒ᐀㈡‫ڧ‬ we piswokaX ?... (MKK 15:29). It is difficult to translate this fragment, but we could be ‘bait’ or ‘picture.’ Piswoka may be ‘secretly.’ Another interesting fragment has: ‫ڧ‬୙⬟㣗ḧⓑ࣭êఀᨭẚ஀ “…X could not eat, but wanted to say…weikipi no” (MK 1425). Both are fragments, and it is difficult to decipher we. This phonogram appears twice in the liturgies: 㧗ᒣஅఀê⌮▷ᒣஅఀê⌮ இ᧕ูᘭ TAKAYAMA NO iweUL PIKIYAMA NO iweUL ZR KAKIWAKEWH “…and thrusted apart the haze on the high mountains and the haze on the low mountains…” (NT 8). This is the primary phonogram in Kojiki to transcribe we: ᚚ┾ὠ᪥Ꮚヅé ᚿἾ࿨ MIMATU PIKWO Kawesine [NO] MIKOTO (KG), ᚚ┾ᮌධ᪥Ꮚ༳é࿨ MIMAKWI IRIBIKWO Iniwe [NO] MIKOTO (KG), and Ἑෆé㈡ Wega in KAPUTI (Province, KG). KK 4 㜿㐲ኪ㯞㏓ DZR\DPDQL If the sun hides behind ẚ㈡㏑ஂⰋ፠ SLJDNDNXUDED the green mountains ያ፠ከ㯞⬟ QXEDWDPDQR the come visit me at night, ⏝Ἴఀఏ㑣∹ \ZRSDLGHQDPX black as ink. 㜿బẚ⬟ asapi no And with the morning sun é⨾బຍᘏᒱᘭ wePLVDND\HNLWH with a bright smile ከஂ㇋ᛣ⬟ WDNXGXQZRQR with your white arms… This phonogram also appears in Nihon shoki, in one annotational note and five times in poetry: ዺဢࠊṈப㜿㑣⪋éኪ ³ௗµhow beautiful’ is read ana ni we \D” (NSG). NSK 104 ᪁㑣ᥦὶ VLQDWHUX Starving for want of food ⟠ከⅲ⟠ኪᦶ∞ NDWDZRND\DPDQL on Mount Kataoka, ఀẚ∞éᘭ ipi ni weWH the shining hill— チኪໃᒗ NR\DVHUX how pitiful is that farmer ㅖ⬟ከẚ➼㜿Ἴ⚰ VRQRWDELWRDSDUH who has fallen. ᪊ኪ㑣᪁∞ R\DQDVLQL Surely you were not 㑣⚰ዉ⌮暆㏞ኪ QDUHQDULN\HPH\D raised without parents. 492

బ㡲㝀Ề⬟ VDVXWDNHQR ᯨᙗἼኪ㑣♲ NLPLSD\DQDNL ఀẚ∞éᘭ ipi ni weWH チኪໃ␃ NR\DVHUX ㅖ⬟ከẚ➼㜿Ἴ⚰ VRQRWDpLWRDSDUH This is also the principal phonogram used used 91 times in the anthology. MYS 486 YAMA NO PA ni ᒣ⩚ᑣ ࿡ᮧ㦚 ADIMURA SAWAKI YUKU QDUHGR ཤዉ♩㦐 WARE PA VDEXVLwe ࿃⪅ᕥኵᛮé KIMI ni si ARANEBA ྩ஧ᅄ୙ᅾ⪅

Do you have no lord, strong like bamboo? Starving for want of food how pitiful is that farmer who has fallen. to transcribe we in 0DQ¶\ǀVKnj, From the ridge of the mountain a flock of teal quack nosily as they fly overhead, but I am terribly lonely as they are not you, my love.

OJ: we OC: *wΩըi LH: ћuΩi EMC: ћw̵i GO: we KN: kuwai NOM: NA SV: h͛i SK: KZR\ Usage / History: This phonogram belongs to the LJS, and appears once in 0DQ¶\ǀVKnj. Some manuscripts have this graph as ᘔ. MYS 2760 ASIPIKWI NO Please see me, even if it is only ㊊ᱠஅ YAMASAPA wegu wo on a day when you go to the marsh ᒣ⃝ëලஇ TUMI NI YUKAMU of the mountains to pick ᥇ᑗཤ PI DANI mo APASE black arrowhead— ᪥㇂ẟ┦Ⅽ PAPA PA SEMU TOMO Even if mother scolds me. ẕ⪅㈐༑᪉

ᨻ!!

೉

຦

OJ: we OC: *wΩըi LH: ћuΩi EMC: ћw̵i GO: we KN: kuwai NOM: hùi SV: h͛i SK: KZR\ Usage / History: This phonogram belongs to the LJS. It appears in Nihon shoki in one poem: NSK 1 ኪྃⱱከඦ \DNXPRWDWX Endowed with power, ఀᘾẟኪぞ㣹ᒱ LGXPZR\DS\HJDNL this two-fold Izumo fence— ඦ☻ㄒ᫕∞ WXPDJRPHQL to conceal ourselves, ኪぞ㣹ᯨ㒔೜├ \DS\HJDNLWXNXUX I have built this two-fold fence. ㉗ᘕኪぞ㣹ᒱì VRQR\DS\HJDNLwe Yes, within this two-fold fence! ƿQR FODLPVWKDWWKLVphonogram also appears in 0DQ¶\ǀVKnj, once, in MYS 2760, but most manuscripts agree that this is actually ీ, which some manuscripts have corrupted to ᚉ. This appears to be the source of later ᘔ (see above). OJ: we LH: ћues > ћueh NOM: NA

EMC: ћiweih SV: WX͏

493

OC: *wîs GO: we KN: kuwei SK: K\H\

⭯

࢖ ᨰ

Usage / History: This phonogram belongs to the LJS. The SV data appears to be anomalous, but consider that related graphs like Ⴭ and ☾ ! are both SV hu͏. This phonogram appears once in Nihon shoki, in a poem: NSK 43 ⹫ࠎ࿅◚ᮃ㛢⪏ NRNRURSDPRSHGR I thought of you ᮃⱏᘢ◚ PRWRS\HSD at the trunk of the tree. ᯨÅⅲ᪊ᮃ⮎ᾖ kimi wo omopide I remembered you, 㡲íᘢ◚ suweS\HSD my beloved, when ఀᬽⅲ᪊ᮃẚᾖ imwo wo omopide I looked up at the crown. Some, such as -LGDLEHWVXNRNXJRGDLMLWHQ (1967:903), claim this phonogram also appears in 0DQ¶\ǀVKnj, but if it ever did, evidence suggests that would have been in MYS 804, but most scholars agree that ្ in some manuscripts is actually a mistake for ᝴. I treat it as such.  OJ: we OC: *Ҍûi LH: ҌuΩi EMC: Ҍw̵i GO: we KN: wai NOM: ôi SV: ôi SK: ZR\ Usage / History: This phonogram belongs to the LJS. It appears only in Nihon shoki, and only once in a poem: NSK 12 ဟࠎዉᱵᘭ WDWDQDPHWH With our shields arrayed ఀ㑣⍰⬟ᳰᦶ⬟ LQDVDQR\DPDQR we have fought many battles ⹫⬟ⳝ⏤ẟ NRQRPD\XPR on Mount Inasa, ᫆႘⪆ᦶẟ⨶ẝ i\XNLPDPZRUDSL going through the trees ከࠎ௓㝙㯟 WDWDNDSHED and watching the enemy. ࿴౛◚ᳰ㝰ᛣ ZDUHSD\Dwenu Thus are we famished. அᦶ㏵➼฼ VLPDWXWRUL Birds of the island— Ᏹ௓㆜㣹➼ⱱ ukapi ga WRPR come now to our rescue, ఀⳝ㍺㛤⌗⹫⚲ ima suke ni kone you friends of the cormorants. OJ: we OC: *dzôiҌ LH: dzuaiҌ EMC: dzwâҌ GO: za KN: sa NOM: WR̩ SV: WR̩ SK: cwa Usage / History: This kungana suggests to the reader OJ we ‘sit.’ This usage appears in Kojiki, though only three times, in the names: 㢠⏣㒊‫‮‬î㐃 NUKATABYE YUWE MURAZI (KG), ኱‫‮‬î OPOYUWE (KG), and ⱝ‫‮‬î WAKAYUWE (KG). This usage also appears in +LWDFKLIXGRNL: ‫‮‬î㐃 YUWE MURAZI. OJ: we LH: ћuѓh, ћuѓk EMC: ћwaѠh, ћwѓk NOM: ho̩, ho̩ch, v͏ch SV: ho̩

494

OC: *ZUrNK or *ZrN GO: we KN: kuwai SK: KZD\

Usage / History: This kungana calls to mind OJ we ‘picture, drawing.’ This usage only appears in 0DQ¶\ǀVKnj, twice in a toponym, transcribing the place name Yoshie: ⦪ï YOSIWE, ྜྷï YOSIWE.

ಐ ‫ݝ‬ ᢘ

OJ: we OC: *dzôih LH: dzuъih EMC: dzwa GO: za KN: sa NOM: WRj SV: WRj SK: cwa Usage / History: This kungana calls to mind OJ we ‘seat.’ This usage only appears in 0DQ¶\ǀVKnj in the name ⱝ‫‮‬ð⋤ Prince WAKA YUWE. OJ: we OC: *siauh or *sauh LH: WVKLDXKVLDXK EMC: sjäuh GO: seu KN: seu NOM: WL͇u SV: WL͇u SK: V\ZR Usage / History: This kungana suggests OJ we ‘smile.’ The graph ဏ is an older form of ➗ ‘smile,’ and later took the derivative meaning of ‘bloom,’ since it appears that the blossom opens up and smiles. This usage only appears in 0DQ¶\ǀVKnj. There are only six examples, and all represent the place name \RVLZH: ⬟ñ YOSIWE, ྜྷ ñ YOSIWE, ⦪ñ YOSIWE, and ᚸñ YOSIWE. OJ: wi OC: *wai LH: wai EMC: jwe GO: wi KN: wi NOM: YtYuv͓, v˯, vͥ SV: vi, v͓ SK: ZX\ Usage / History: This phonogram belongs to the WS, appearing in one toponym in Wei zhi: W࿃ *wai-ng‫ܧ‬. This phonogram was generally avoided because of its more common function as a verb. However there is evidence in the Paekche material quoted in Nihon shoki that Paekche also used this as a phonogram: Wဪྍྩࠊ ⓒ⃽ᮏグபࠊWဪᒱᙗࠊྡ᭷㠀ᒱ ‘Wikaka KIMI; Paekche pongi states that Wika Kimi is named Upwiki.’ This usage, though rare, appears in the Chikuzen Census of 702: Ἃ␃W㈽ Saru Wimye. This phonogram also appears in Nihon shoki, once in a poem: NSK 91 ᪊ᙗ⬟ጡ⬟ omi no kwo no The son of the Omi has ⪨㈿⬟அ㨱ᰓᯨ \DSXQRVLEDJDNL made a fine brushwood fence. ጞ㝀㦐వÅ VLWDWR\RPL But if the earth quakes 㑣Wᡃ⯅㔟᧸㨱 nawi JD\RULNRED that brushwood fence ⪨㯪ክஅ㨱ᰓᯨ \DUHPXVLEDJDNL will likely fall to pieces. This is the primary phonogram used to transcribe wi in 0DQ¶\ǀVKnj, appearing a total of 48 times. MYS 42 SIPOsawi ni Is my beloved riding on a boat ₻ᕥW஧ ஬༑➼ඤ஀ᔱ㑔 IRAGWO no SIMAS\H rowing toward Irago Island

495

Ρ

ⱥ

ᴶ⯪Ⲵ KOGU PUNE NI among the violent breakers IMWO NORUUD08.$ near the shore? ጒ஌Ⰻභ㮵 ARAKI SIMAMWI wo It is dangerous around the island. Ⲩᔱᘔஇ This also appears in the Bussoku poetic sequence. BSS 12 బఄἼẚ஀ sakipapi no The band of brothers 㜿㒔ఄṆẟຍ⨶ DWXNLWRPRJDUD who are greatly blessed 㯞Wከ฼ᘭ mawiWDULWH journeyed and saw these 㯞బ⡿ᑣᘺ♮∹ masame ni mik\emu with their actual eyes— ẚṆ஀Ṇẟᚿబ SLWRQRWRPRVi sa Praise be to them. Ᏹ♩ᚿஂẟ㜿␃ྍ XUHVLNXPRDUXND How delighted are we, too.  OJ: wi OC: *wus or *ZUΩWV LH: wѠs > wih EMC: jwih GO: wi KN: wi NOM: v͓, Yu SV: v͓ SK: wX\ Usage / History: This phonogram belongs to the PBS. It appears in .RU\ǂJL, ḟᢤò౑⪅ࠊ ẚᚑ஬ရ“Next is the EDW-wih Envoy, which is comparable the Junior Fifth Rank” (Takeuchi 1977:34). This phonogram appears in -ǀJnj6KǀWRNXKǀǀWHLVHWVX in the name òዉ㒊ᶲ ⋤ Prince WinaBYE TATIBANA. Because the graph semantically referred to imperial ascension to the throne, and the rank one held at court, this graph was generally avoided as a phonogram. This graph also appears in Nihon shoki, used once in a poem: NSK 21 Ἴ㎫ᯨ㇧㎫ SDVLNL\RVL Ah, how wonderful! ࿴⸤ᖯ⬟ఞከ⏤ ZDJLS\HQRNDWD\X Clouds are climbing upward ༐ẟòከ▱༐ᬽ kumwowi WDWLNXPR from the direction of home. This phonogram also appears in 0DQ¶\ǀVKnj, but only four times. MYS 2449 Like Mount Kagu seen dimly 㤶ᒣᑣ kaguYAMA ni KUMWOwi TANABIKI through the thin clouds, 㞼ò᱆᭧ ᪊ಖࠎᛮஂ opoposiku will I yearn for the children APIMI KWORA wo even though I only saw ┦ぢᏊ➼இ NOTI KWOPWImu KAMO their faces dimly? ᚋᠷ∹㬞 OJ: wi OC: *wΩi LH: wui EMC: jwei GO: wi KN: wi NOM: NA SV: vi SK: wX\ Usage / History: This phonogram EHORQJVWRWKH(-67KLVXVDJHILUVWDSSHDUVLQWKH*DQJǀML Temple record in the name బஂ⨶㡋 Sakurawi. It also appears on the Nasu .RNX]ǀVWHOH LQWKHQDPH 㑣㡲㡋ᥦ Nasu Wide. This phonogram is the primary graph used to transcribe wi in Kojiki, but there are only 20 examples in the entire work, like బ㡋Ἑ Sawi River (KG).

496

ਘ

♋

KK 21 బ㡋㈡Ἴ⏝ sawiJDSD\ZR Clouds rise and spread ஂẟከ▱࿴ከ⌮ NXPZRWDWLZDWDUL over this way from Sawi River. ᏱἾഛኪ㯞 XQHEZL \DPD The leaves of the trees チ⬟Ἴబኪ⸤ያ NRQRSDVD\DJLQX on Mount Unebi are rustling. ຍ᫝ᕸຍ∹Ⓩ㡲 ND]HSXNDPXWRVX A strong wind is about to blow. This phonogram is used in Nihon shoki, once in an annotational note, and once in a poem: ∦ᒃࠊṈபఞဟ㡋 ³ௗµThe place name ∦ᒃ’ is read NDWDwi” (NSG). It also appears in the name 㡋㑣බ Wina KIMI (NSG). NSK 57 ன▱࿴ከ㡲 XWLZDWDVX I look out and see ᳰ㣹Ἴ᭥ඏ㡲 \DJDSD\HQDVX richly growing foliage; ௻௨฼ᦶ㡋༐౛ NLLULPDwiNXUH I have come with a rich troupe.  OJ: wi OC: *Ҍui LH: Ҍui EMC: Ҍjwei GO: wi KN: wi NOM: X\Rai SV: X\ SK: wX\ Usage / History: This phonogram belongs to the LJS. It appears on the Ina Mabito epitaph stone (707) in the name óዉཀ Minister Wina, and óዉ㙾බ Minister Wina KAGAMI. I have found one fairly firm example on mokkan: ‫ڧ‬ó㑣 Xwina (MK 324), which may be part of the name Wina. It also appears in Nihon shoki, three times in poetry: NSK 113 ⪨㯞㬽᧛∞ \DPDJDSDQL There are two mandarin ducks ⅲᚿ㈿㢒㒔óᗏ ZRVLSXWDWXwiWH at the mountain stream, WDJXSL\RNX paired off so nicely. 㝀⹯ẝ㡸೜ 㝀⹯㝎ᒗఀះஇ WDJXS\HUXLPRZR Who has taken my beloved ከ౛ᰓጾ∞㞱Ṋ WDUHNDZLQLN\HPX who paired off so well with me? OJ: wi OC: *wΩs LH: wus > wuh EMC: jweih LMC: \M GO: wi KN: wi NOM: NA SV: v͓ SK: wX\ Usage / History: This phonogram belongs to the CBS. The use of this graph is quite limited, because of its semantics, as it is a verb ‘to say.’ It appears in Nihon shoki in three poems: NSK 5 㣡௻㒔㒭฼ RNLWXWRUL Birds in the offing— ㍋ⱱ㇋໙ᚿ☻∞ kamoduku sima ni ducks gather on the island. ࿴ᡃㅝ⚲ᚿ wa ga winesi As long as I live ఀⱱ᧛࿴⣲㑘⌗ LPRSDZDVXUD]L I will always remember ㆨ⬟᧸㒭㥀㒭ẕ \RQRNRWRJRWRPR the maiden with whom I slept. This phonogram appears once in 0DQ¶\ǀVKnj, in a difficult to penetrate poem: MYS 503 ⌔⾰஀ TAMAGINU no Sunken deep into the turmoil, like disheveled robes, ⊃⸛ᕥㅝỿ SAWI sawi SIDUMI 497

ᐙጒᑣ ≀୙ㄒ᮶⪋ ᛮ㔠ὠ　

ਅ

ѕ

⊈ ̡

IPYE NO IMWO ni MONO IPAZU KINITE OMOPIKANETU MO

I came to my beloved at home without saying a word. How unbearable are my thoughts.

OJ: wi OC: *Ҍoi or *Ҍoih LH: Ҍ\ai, Ҍ\aih EMC: Ҍjwe LMC Ҍ\M GO: wi KN: wi NOM: uͽ, u͋ SV: uͽ SK: wX\ Usage / History: This phonogram belongs to the CBS. It appears twice in Nihon shoki poetry. NSK 36 Å㇋ከᦶ⸼ PLGXWDPDUX Water dammed up at ㇧బÅ⬟ఀᡄ⌗ \RVDPLQRLNHQL the reservoir of Yosami— ያ㑣Ἴ༐฼ QXQDSDNXUL I did not realize ◚㝙㭼༐㎫⨶⌗ SDSHN\HNXVLUDQL how far the water shield à㐝ẚ⳱༐ wiJXSLWXNX had grown. ఞ◚ᦶከ᭥⬟ NDSDPDWD\HQR And I did not realize ẚ㎫㣹⨶⬟ SLVLJDUDQR how much the water chestnut బ㎫㭼༐㎫⨶⌗ VDVLN\HNXVLUDQL had grown by the weirs. 㜿㣹チᒃ࿅㎫ DJDNRNRURVL What a fool I have been, ఀኪனྂ⌗㎫ặ L\DXNZRQLVLWH my heart not having noticed. OJ: wi OC: *wΩiҌ LH: wiuҌ EMC: jweiҌ LMC Ҍ\M GO: wi KN: wi NOM: vƭ SV: vƭ SK: ZX\ Usage / History: This phonogram belongs to the CBS. It appears in Nihon shoki, once in a personal name ô㑣 Wina. It also is found in two poems. NSK 80 ፜ᣇ⨶᪁ᯨ DWDUDVLNL Such a pitiful waste, ôඏㅦ⬟㝀೜ᙗ winaE\HQRWDJXPL that inking string used by ᰓヱᚿ㡲ᙗඏ⓯ kakesi suminapa the Inabe carpenter. ᪨ᡃ㑣✍㯟 VLJDQDN\HED If he is no longer here, ᣇ౛ᰓࠎヱṊ㡸 WDUHNDNDNHPX\R what skilled person will remain ፜ᣇ⨶㡲ᙗඏ⓯ DWDUDsuminapa to use the inking string?  OJ: wi OC: *Ҍoi LH: Ҍ\ai EMC: Ҍjwe LMC Ҍ\M GO: wi KN: wi NOM: NA SV: X\Xý SK: wX\ Usage / History: This phonogram belongs to the CBS. It appears in Nihon shoki in one annotational note: ᒡ⪹ᒃࠊṈபᛱἼÅ萎 ³ௗµgather in a large group’ is read ipamiwi” (NSG).  OJ: wi OC: *WVHƾҌ LH: WVLHƾҌ EMC: WVMäƾҌ GO: siau KN: sei NOM: W͑QKW͋nh SV: W͑nh SK: F\HQJ

498

Usage / History: This kungana calls to mind OJ wi ‘well.’ This usage appears to been quite popular, as it appears in the earliest extant Japanese corpus, appearing in Ḉö SAKURAWI and ᆏö SAKAWI. The earliest datable usage is in the Mino Census of 702: 㓇ö SAKAWI, ▼ö ISIWI, and öᡭ WITE. This usage also appears on the Ina Mabito epitaph stone (707) in the name ≻öᒣᓵ KUMAWI YAMA WOKA. This usage also appears in Kojiki in names: ྡㅝöị㮵 ‘My name is WIPIKA.’ ⊈öἙ SAWIGAPA ‘Sawi River,’ and ⚄ඵö⪥ KAMU YAWI MIMI. This graph appears in Nihon shoki in a variety of names: öග WIPIKA, ⚄ඵö⪥ KAMU YAWI MIMI, and ⣒ö፾ ITWOWI PIMYE. There is only one example of ஭ in 0DQ¶\ǀVKnj, though it appears in a number of names and toponyms: MYS 3398 ẚ➼ᮍዉ஀ SLWRPZLQDQR Even if all the words チ➼Ἴከ⏤Ⓩẟ NRWRSDWD\XWRPR of people were to vanish, Ἴᑣᛮዉ⬟ panisina no do not let the words of my child at ఀᛮö஀ᡭඤᡃ isiWI no TEGWO ga チⓏዉከᘏ᭮⚇ NRWRQDWD\HVRQH Ishii in Hanishina vanish.

ᤕ

୐

OJ: wi OC: *WUa LH: WUD EMC: WUMZR GO: WLR KN: WLR NOM: WU˯, ch˱a SV: WU˱, ch˱ SK: F\H Usage / History: This kungana suggests to the reader OJ wi ‘boar.’ This usage is primarily used in people’s names that were born in the year of the boar. Examples from the Mino Census in 702 are ÷㯞࿅ WImaro, ㉥÷ AKAWI, 㯮÷ KURWOWI, and ÷ᡭ㈽ WITEmye. There are a few examples in Kojiki: ᑡྡ᪥Ꮚᘓ÷ᚰ SUKUNA TAKYEWI KOKORO and ㉥ ÷ Ꮚ AKAWIKWO. Examples in Nihon shoki include ÷౑㐃 WI TUKAPI MURAZI, ⏨ᘵ÷ᡭ IRODO WITE, and Ṋ÷ᚰ TAKYEWI KOKORO. This usage also appears six times in 0DQ¶\ǀVKnj, though many represent the place name Wina. Below is a representative example. MYS 2731 The violent waves at Ushimado ∵❆அ USIMADWO NO NAMI no SIPOsaWI crash upon the shore and ᾉ஀ሷᕥ÷ SIMA TOYOMI cause the island to resound— ᔱ㡪 YOSORISI KIMI PA maybe I will not see the noble ᡤ౫அྩ APAZU KAMO ARAMU whose report clamored in my ears. ୙┦㬞ᑗ᭷ OJ: wi OC: *ka LH: kѠъ(h) EMC: kjwo GO: ko KN: kio NOM: c˱ SV: c˱ SK: ke, NX\ Usage / History: This kungana suggests to the reader OJ wi ‘to sit.’ This usage appears in Kojiki in one toponym: ‡ᐽΎἨ WISAME [NO] SIMIDU (KG). This same toponym appears in Nihon shoki as ‡㓰Ἠ WISAMEGAWI (NSG). Both 499

usages are based on the story where Yamato Takeru sits at the springs and clears his head by drinking of the water. This usage also appears three times in 0DQ¶\ǀVKnj. MYS 312 MUKASI KOSO Surely anciently ᫇⪅♫ it was called the rural area 㞴Ἴ‡୰㊧ nanipa WINAKA TO IPAREN\HPH of Naniwa, but now ᡤゝዖ⡿ IMA MIYAKWOBIKI the metropolis has moved ௒⪅ிᘬ MIYAKWOEZLQLN\HUi and it is more like a capital city. 㒔ഛோ㭼㔛

⍴

‫ݲ‬

ܵ

OJ: wi OC: NA LH: linh EMC: ljenh GO: ULQ KN: ULQ NOM: NA SV: l̵n SK: lin Usage / History: This kungana suggests to the mind OJ wi ‘a rush.’ This usage appears once in 0DQ¶\ǀVKnj: MYS 3192 KUSAKAGE NO While gazing out at Arai Cape, ⲡⶱஅ hidden in the grass, Ⲩ藺அᇸ஀ ARAWI NO SAKI no on Kasa Island, ➟ᔱஇ KASA SIMA wo MITUTU ka KIMI NO perhaps you are crossing over ぢஆྍྩஅ YAMADI KWOYUUDPX on the mountain path. ᒣ㐨㉸Ⰻ↓ OJ: wina OC: *wΩn or *wen LH: wun, wan EMC: jwΩn, jwän GO: win, wen KN: win NOM: YLrQ SV: YLrQ SK: wen, wun Usage / History: This usage belongs to the LJS, appearing in documents preservered in 6KǀVǀLQ LQ WKH WRSRQ\PV ù㎩㒆 Winabye District or ù㎭㒆 Winabye District. This usage also appears on a wooden tablet excavated from the Nara capital site: 㞃ఄᅜᬛኵ㒆‫⨾ڧ‬ከ㒓▼㒊ù୓࿅ Oki Province Titibu District X Mita Village, ISIBYE Winamaro…’ (unnumbered tablet). OJ: wo OC: *hâ or *hâh LH: ha, hah EMC: xuo, xuoh GO: ko KN: ko NOM: hô, ho, hò SV: hô SK: hwo Usage / History: This phonogram belongs to the WS, and appears to have dropped out of the orthographic pool by the inception of the Paekche-influenced orthography. The initial of this phonogram appears to have transcribed a fricative, which likely then lenited to a glide (*h > w). Because of this reasoning, this graph is placed here in the dictionary. The phonogram ࿧ is used to redner the names of both the queen of Yamatai, and her enemy, the king: ༝ᙗ *Pe-me-h‫ܧ‬, versus ༝ ᙗᘪ *Pe-me-kuƾ-h‫ܧ‬. There is also two toponyms: ୙ᅧ *Pu-h‫ ܧ‬Domain and 㑚ᅧ *H‫ܧ‬-‫ݦ‬ip Domain. This phonogram reappears in 0DQ¶\ǀVKnj, used a total of 22 times in the anthology. 500

MYS 1 ᡃチ⫼㰾 ࿌┠ ᐙẟྡ㞝ẕ

᠔

थ

WA kosoBA NORAME IPYE wo mo NA

Then it shall be I who will tell you WO mo of my home and of my name.

OJ: wo OC: *Ҍâ EMC: Ҍэ GO: u KN: wo LH: Ҍa > Ҍэ NOM: ô, o SV: ô SK: wo Usage / History: This phonogram belongs to the WS, preserved in Wei zhi in toponyms such as ⮻᪁Ù᪦ᅧ *ܳu‫ݦ‬-sie-‫ܧݦ‬-t‫ܤ‬nh domain, ᘚ㎮ᙗÙ㑧㤿ᅧ *phu‫ܤ‬n-dĨܺn-mie‫ܧݦ‬-ya-ma domain, ‘Mie-‫ܧݦ‬-ya-ma Domain of Phu‫ܤ‬n-dĨܺn,’ and Ùያ *‫ܧݦ‬-n‫ܧ‬. This phonogram also appears on the Silla Chyeng-Tyey stele (536) in the names ኱Ù➨ᑻேᑠÙᮍ甌ᑠÙ୍ᨭ‫* ڧ‬dei-tĞhak of the 15th rank (D‫ܤ‬h-‫)ܧݦ‬, *dei-mus of the 16th rank (Si‫ܤ‬u-‫)ܧݦ‬, and *‫ݦ‬it-kie-X of the 16th rank (Si‫ܤ‬u-‫)ܧݦ‬. Also on the Tanyang Silla stele (551) there is the name Ù⚰ම *‫ܧݦ‬-lei‫ݦ‬-ܵ‫ܭ‬i. This phonogram is one of the primary graphs used in Nihon shoki to transcribe wo, used nine times in annotational notes, and 48 times in poetry: ᑡ ⏨ࠊṈபÙ➼Ꮩ ³ௗµyoung man’ is read woWRNZR” (NSG). NSK 54 ⳱⸤Ἶ㉱ WXJLQHSX Taking my journey ᥾ⳝஅ࿅㣹ἼÙ \DPDVLURJDSDwo up the Yamashiro River, Å᥾⬟᭸฼ mL\DQRSRUL where trees grow thick, ࿴㣹⬟᭸౛㯟 wa ga QRSRUHED I journeyed past the palace. 㜿ⅲ⌗㇧㎫ DZRQL\RVL I traveled beond ඏ⨶ⅲ㍺␲ QDUDZRsugwi the blue hills of Nara. ⅲ㝀ặ ZRGDWH I headed beyond ኪⳝⱏÙ㍺␲ \DPDWRwo sugwi the aegis peaks of Yamato. ࿴㣹Å㣹᭸㎫༐⌗Ἴ wa ga migaposi kuni pa The land I longed to behold was ⟠㇋⨶⣖ከఞÅ᥾ NDGXUDkwi WDNDPL\D the high palace in Kazuraki— ࿴⸤ᖯ⬟㜿ከ฼ ZDJLS\HQRDWDUL everything around my home. This phonogram also appears in ,]XPRIXGRNL: 㡲బ஀Ù Susanowo. ƿQR    FODLPV WKDW Whis phonogram appears in 0DQ¶\ǀVKnj a total of five times, but exclusively in the verb ZRZRUX. However, recent textual criticism now believes all five examples of ⅲ to be corruptions of an original Ⅽ (see below). OJ: wo OC: *Ҍâ LH: Ҍъ EMC: Ҍэ GO: u KN: wo NOM: ͝, ͕ SV: ͝ SK: wo Usage / History: This phonogram belongs to the PBS. It appears in the fragment of what is likely a name on the Silla Chyeng Tyey stele (536): ኱ú‫* ڧڧڧڧ‬d‫ܤ‬h‫ܧݦ‬XXXX. Likely this is a variant of the 15th Silla rank, often written as ኱ⅲ. This graph is also used in Nihon shoki, once in an annotational note, and 25 times in poetry: ୣᓁࠊṈபú௓బᲠ ³ௗµtip of the hill’ is read wokasaki.”

501

NSK 37 ᙗ▱⬟அ฼ ྂ◚⃦ሳ➼⥥ú ఞᮍ⬟ㄒ➼ ᯨ⹫᭥அ௓ᘕ 㜿ẚᦶ༐⨶ᦶ༐

ሜ

˷

PLWLQRVLUL NZRSDGDZRWRP\Hwo kamwi QRJRWR NLNR\HVLNDGR DSLPDNXUDPDNX

I had heard about the maiden from Kohada in the land behind the road, her reputation like thunder, but here we lie together.

OJ: wo OC: *waW LH: ZDW EMC: jwщW GO: ZDWL KN: ZHWX NOM: vi͇W SV: vi͇W SK: wal, wel Usage / History: This phonogram belongs to the PBS. It appears in the Paekche materials quoted in Nihon shoki: æబศᒇ Wosa Bun’woku. It seems clear that this wosa means ‘interpret’ or ‘interpreter’ in the languae of Paekche, as this word is also found in Nihon shoki written as ㆞ㄒ ‘interpet speech.’ It is interesting that these two phonograms taken as semantograms means ‘talk-assist.’ This rendition is preserved in a number of wooden tablets. One dated ninth month of 762 has the name ⛙æబ኱ᮧ PADA Wosa OPOMURA (MKK 19:20). The Mino Census of 702 preserves this same name or title in æబ㈽ Wosamye. OJ: wo OC: *ўâ LH: ўa > ћэ EMC: ћuo GO: wo, go KN: ko NOM: h͛ SV: h͛ SK: hwo Usage / History: This phonogram belongs to the EJS. This appears in the earliest extant Japanese corpus. In the genealogy preserved in -ǀJnj 6KǀWRNX Kǀǀ WHLVHWVX we find names like û㯞࿅ྂ⋤ Prince Womarokwo, û㜿ᑽ஀ᘺᕫ➼ Woane no Mikoto, and ûἋከᐑ woVDWD MIYA ‘the Wosata Palace.’ It also appears in a SRHPVXSSRVHGO\ZULWWHQQRWORQJDIWHUWKHGHDWKRI6KǀWRNX7DLVKL ⨾ຍᘺû㡲 mikami wosu Mount Tabasami ከ፠బ⨾ኪ㯞஀ WDEDVDPL\DPDQR which rules from above: 㜿㐜ຍẼᑣ adikake ni alas, I stood there ẚṆ஀㯞ûஅᚿ SLWRQRPDwosisi in the shade of the aji tree ࿴ఱ᪊ಖᨭ⨾Ἴẕ wa ga opokimi mo begging our master’s return. This phonogram also appears on the Funa Obito epitaph, recording the name ûፅ㝁ᐑ wosada MIYA ‘Wosada Palace.’ This phonogram appears 173 times in the liturgies: ཧධ⨭ฟேྡûၥᡤ▱ᚿ࿶㐣ᅾûἼ⚄┤ഛ኱┤ഛ∞ぢ┤⪺┤ ᆘᘭ MAWIRIMAKADURU PITO [NO] NA wo TWOPISIRAsi, TWOGA AYAMATI ARAMU woED KAMUNAPOEZi OPONAPOEwi ni MINAPOSI KIKINAPOSIMASIWH “He will enquire and know the names of the people who enter and leave (the palace), and if there are transgressions or mistakes, Kamu 1DREL DQG ƿQDREL ZLOO VHH DQG rectify, and hear and rectify these…” (NT 9). This phonogram appears on a variety of mokkan: ûἼ኎ Wopamye (MK 3291), ஂࢶ஀û⏤ẚᅄ NXWX no wo\XSLYO ‘four (batches?) of small shoe strings’ (MK 415). This phonogram is used somewhat sparingly in Nihon shoki, appearing once in an annotational note, and in five poems: 弈↛ࠊṈபûㅛⱞ␃␃∞ ³ௗµthe string turns and turns’ is read wo PRNXUXUXQL.” 502

⮣

⒩

NSK 117 ఀ☻⣖㑣ᒗ imakwi QDUX Above the knoll ûṊ౛ᡃ⚷ᮼ∞ woPXUHJDXSHQL that is Imaki— ೜ㅶፋᑽẕ kumo dani mo if even a cloud ᪨ᒗ೜அከࠎ፠ VLUXNXVLWDWDED would clearly appear to rise up 㑣∞ᰓ㑣ⓥᰓṊ nani ka nagekamu then I would not lament. This is the primary phonogram to transcribe wo in 0DQ¶\ǀVKnj, used 2104 times in the anthology. MYS 797 ஂኪ᪁ྍẕ NX\DVLkamo How regrettable. ྍஂ᪁Ⰻᦶୡ፠ NDNXVLUDPDVHED If I had known that things 㜿ûᑣ୚᪁ awo QL\RVL would turn out this way. ஂያ▱チ➼඼➼ NXQXWLNRWRJRWR I would have shown you the scenery ⨾ୡᦶ᪁ẕ஀இ misemasi mono wo of this land, surrounded by green. An abbreviated version of this phonogram yields NDWDNDQD ࣤ.  OJ: wo OC: *wΩƾ LH: wuƾ EMC: juƾ GO: wou KN: \XX NOM: hùng SV: hùng SK: ung Usage / History: This usage is difficult to date. Since it is used to represent wo, it would seem to preserve a tradition that predates Middle Chinese. For now I date it as EJS. It appears once in Shoku Nihongi, in the surname 㞝൤ Wogi (765.4.12). Most believe that this phonogram was used as a kungana for OJ wo ‘male,’ which I agree with. What I argue here is that it is possible that originally this phonogram was used for its earlier reading of wou, and as the name above suggests, the final -ƾ introduced the pre-nasalized gi of the second syllable. Later, when the Middle Chinese reading of this phonogram had evolved into something closer to \XX, the usage was reanalyzed as a kungana, which see below.  OJ: wo OC: *wan LH: wan EMC: jwщn GO: won KN: wen NOM: NA SV: YLrQ SK: wen Usage / History: This phonogram belongs to the EJS, and appears once on a mokkan: ⿁➼኎ ZRWRP\H‘maiden’ (MK 2243). This phonogram is the primary graph to transcribe wo in Kojiki. 㮴チ袁࿅チ 袁࿅㏓ SIPO kowoURNRwoURQL“salt water made a sound of crackling”; 㜿㑣㏓ ኪᚿឡୖ袁Ⓩྂ袁 DQDQL\DVLHwoWRNZRwo ‘Oh my, what a wonderful young man.’ And カ㣗ப袁㡲 “The graph 㣗 ‘to govern’ is read wosu.” KK 53 ῒᒱᖯ㏓Ἴ RNLS\HQLSD There are boats 袁ኵἾ㒔⨶⨶⋪ woEXQHWXUDUDNX lined up out in the offing. ஂ₃㑧ኪ⬟ NXUZR]D\DQR Black like a sheath ᦶబ㇋ྂ࿴⸤ẟ masadukwo wagimwo my beautiful beloved, ⋪㏓ᖯ⋪㝀Ⰻ㡲 NXQLS\HNXGDUDVX she heads for her home. This phonogram appears nine times in 0DQ¶\ǀVKnj. 503

⣡

MYS 4341 ከ▱Ἴዉ⬟ WDWLEDQDQR I left my father ⨾袁฼஀బยᑣ miwoULQRVDWZRQL in Miori Village TITI ZRRNLWH in Tachibana, ∗இ᪊ఄᘭ MITI no NAGATI pa and I find it so hard 㐨஀㛗㐨Ἴ ⏤ఄຍᘭດຍẟ \XNLNDWHQXNDPR to take this long path home.  OJ: wo, woni OC: *wanҌ LH: wanҌ EMC: jwщnҌ GO: womu KN: wen NOM: vi͍n, vi͏n SV: vi͍n, vi͏n SK: wen Usage / History: This phonogram belongs to the EJS.There are a few examples of this phonogram found on mokkan: Ᏻ㐲㒓 Awo Village (unnumbered tablet), ຍᕝ 㐲 NDWXwo ‘bonito’ (MKK 27:37). It is a primary phonogram to transcribe wo in Kojiki in the first third of the work. ඵಛ㐲࿅ᬛ YAMATA woURWL ‘eight headed serpent’ (KG), ᡴ➉அⓏ㐲㐲 Ⓩ㐲㐲㏓ SAKITAKE NO WRwowo WRwowo ni ‘the drainboard made of split bamboo bending over with the weight (of the fish)...’ (KG). KK 2 ኪ▱ᐩチ⬟ \DWLSRNRQR The august deity ㏑ᚤ⬟⨾チⓏἼ kamwi QRPLNRWRSD Yachi Hoko ኪ᪁㯞ஂ∞ \DVLPDNXQL could not marry a spouse 㒔㯞㯞ᒱ㏑Ἶᘭ WXPDPDNLNDQHWH in the land of eight islands. ⓏᐩⓏᐩ᪁ WRSRWRSRVL Then he heard ᨾᚿ⬟ஂ㏓㏓ kwosi no kuni ni there was a wise maiden బຍᚿ㈽㐲 VDNDVLP\Hwo in the far-off land 㜿⌮Ⓩᒱຍᚿᘭ DULWRNLNDVLWH of Koshi. ஂἼᚿ㈽㐲 NXSDVLP\Hwo He heard there was 㜿⌮Ⓩఄチᚿᘭ DULWRNLNRVLWH a beautiful maiden. బ⏝፠ẚ㏓ VD\ZREDSLQL Off he hurriedly went 㜿⌮ከከ᪁ DULWDWDVL to seek her hand in marriage. ⏝፠ẚ㏓ \ZREDSLQL He went back and forth 㜿⌮㏑⏝፠ໃ DULND\ZRSDVH seeking her hand in marriage. ከ▱㈡㐲ẕ WDWLJDwo mo Without even undoing ఀ㯞㝀Ⓩຍཷᘭ LPDGDWRND]XWH the belt of his sword— ῒ㡲ẚ㐲ẕ osupi wo mo without taking off LPDGDWRNDQHED his cloak ఀ㯞㝀ⓏຍἾ፠ 㐲Ⓩ㈽⬟ woWRP\HQR he pushed repeatedly 㑣㡲ኪఀከᩯ㐲 QDVX\DLWDWZRwo on the door to ῒ᭯ኵⰋẚ RVREXUDSL where the maiden slumbered. ࿴ఱከከໃ⚰፠ ZDJDWDWDVHUHED As I stand here ẚチ㇋Ⰻẚ SLNRGXUDSL I repeatedly pull on the door. ࿴ఱከከໃ⚰፠ ZDJDWDWDVHUHED As I stand here, 㜿㐲ኪ㯞㏓ DZR\DPDQL in the blue mountains ያᘏἼ㑣ఄያ QX\HSDQDNLQX the thrush has called out. బᛣ㒔Ⓩ⌮ VDQZRWXWRUL The bird of the true field, ᒱ⸤᪁ἼⓏ⯅∹ NLJLVLSDWR\RPX the pheasants are rowdy. 504

∞Ἴ㒔Ⓩ⌮ QLSDWXWRUL The bird of the yard, ㏑♮Ἴ㑣ஂ NDN\HSDQDNX the chickens are cackling. Ᏹ⚰ከஂẕ XUHWDNXPR How vexing, 㑣ஂ㑣␃Ⓩ⌮ຍ QDNXQDUXWRULND these birds who cry out! チ⬟Ⓩ⌮ẕ NRQRWRUi mo Someone strike and silence Ᏹ▱ኪ⡿チୡἾ XWL\DPHNRVHQH even these birds. This phonogram appears very rarely in Nihon shoki, but it is used to write the name 㐲ᬛፉ Woti IRATUMYE (NSG). This phonogram also appears 57 times in 0DQ¶\ǀVKnj. MYS 191 KENRURMO wo When it is time for hunting ẟチ࿅　㐲 and we wear our down robes ᫓෤∦タ⪋ TOKI KATAMAKETE IDEMASIsi on the great plain of Uda ᖾஅ where we have gone out Ᏹ㝀஀኱㔝⪅ uda no OPONWO PA OMOPOYEmu KAMO I will likely be reminded of you. ᡤᛕṊ㬞 ,Q GRFXPHQWV SUHVHUYHG LQ 6KǀVǀLQ ZH ILQG QDPHV OLNH ᑠ㔝ᮅ⮧㐲ಸ WONWO ASOMI Wonibe, and 㐲ᩜ㒆 Wonipu District. There are also wooden tablets excavated from Nara with the toponym ⱝ ⊃ ᅜ 㐲 ᩜ 㒆 WAKAsa Province Wonipu District, one dated 750 (MK 1950). The cursive form of this phonogram yields KLUDJDQD ࢆ.

ඹ

ᢘ

OJ: wo OC: *Ҍons LH: Ҍ\DQK EMC: Ҍjwщn GO: womu KN: wen NOM: oán SV: oan, oán SK: wen Usage / History: This phonogram belongs to the LJS. It appears twice in 0DQ¶\ǀVKnj. MYS 819 వ⬟ዉྍἼ \RQRQDNDSD How bothersome is longing ྂ㣕᪁ᐅᚿᜨኪ kwopwi VLJHVLZH\D in the world. ຍஂஅ㜿Ⰻ፠ NDNXVLDUDED If this is how things are ⅲᱵ⬟Ἴዉᑣẕ ume no pana nimo I wish I could have been ዉⰋ㯞அ໚⬟ý QDUDPDVLPRQRwo a plum blossom instead. OJ: wo OC: *wai GO: wi KN: wi LH: wai EMC: jwe NOM: YtYuv͓, v˯, vͥ SV: vi, v͓ SK: ZX\ Usage / History: This phonogram belongs to the LJS. This usage is quite peculiar, as the phonology does not match well, but there are five examples of this phonogram in 0DQ¶\ǀVKnj, all representing the second mora of the verb ZRZRUX‘to bend under the weight of something.’ This graph appears to have been corrupted during scribal transmission, changing from ∔ > Ⅽ > ⅲ. MYS 1752 ᑕ⾜┦஀ IYUKIAPI no How I desire a maiden ᆏஅ㋃ᮏᑣ SAKA NO PUMOTO ni who would show me SAKIwowoUX the blooming cherry blossoms 㛤இWὶ

505

Ḉⰼஇ ௧ぢඤẟḧᚓ

ೢ

⮬ ❟

SAKURA NO PANA wo MISEMU KWO moGAMO

so full they bend the branches at the foot of Iyukiai Hill.

OJ: wo OC: *љwΩըƾ LH: ћuΩƾ EMC: ћwΩƾ LMC: xўuΩƾ GO: gu KO: kou NOM: NA SV: ho̹ng SK: KZR\QJ Usage / History: This phonogram belongs to the LJS. It only appears in Nihon shoki. The most well NQRZQ XVDJH LV LQ WKH QDPH RI *UHDW .LQJ .HQ]ǀ ZKRVH QDPH LV þィ Wokye. This phonogram also appears five times in poetry: NSK 66 బ⍰⨶㣹ከ VDVDUDJDWD Undo the string with 㑑அᯨ⬟⮎ẟþ nisiki no pimwo wo the bamboo whisk design— ➼ᯨ⯊Ềᖇ WRNLVDNHWH that brocade string. 㜿㯞ከ⤎Ἶཷ㏓ DPDWDSDQH]XQL I cannot spend many nights; ከ⃦ẚ➼⏝⬟ᮍ WDGDSLWR\ZRnomwi let us spend but one night.  OJ: wo OC: *Ҍoƾ EMC: Ҍjwoƾ GO: wou KN: \RX LH: Ҍuoƾ NOM: ~QJͯun SV: ung SK: wong Usage / History: This usage belongs to the LJS, and appears in the Shoku Nihongi, in the name 㞥Ⰻᒲ Wora Peak (721.10.13). OJ: wo, ZRWLZRWR OC: *waW LH: ZDW EMC: jwщW GO: ZRWL KN: ZHWX NOM: vi͏W, v˱ͫW SV: vi͏W SK: wel, hwal Usage / History: This phonogram belongs to the LJS. It can transcribe wo as well as ZRWL and ZRWR. This phonogram appears in Nihon shoki to transcribe the toponym ㉺ᬛ Woti (NSG), and it is plausible that this continues an older tradition of using a geminate to signify the preceding vowel is short: wotti. The place name ㉺ᬛ Woti also appears in 0DQ¶\ǀVKnj; but the anthology preserves a variety of usages of this phonogram: Ἡ℩㉺ዪ PATUSE WotoMYE ‘the maiden of Hatsuse’ (MYS 424), though in another poem we find ㉺➼㈽ⰋἼ wotoP\HUD SD ‘as for the maidens...’ (MYS 865); there are even times when the phonogram appears alone and the reading has to be inferred: ㉺⬟Ⳣཎ Woti no SUGAPARA ‘the field of rushes in Ochi’ (MYS 1341). An example where the phonogram is used to transcribe wo appears below. MYS 848 ஂẟᑣᚓኵ NXPZRQLWREX Rather than consuming the potion ஂ㡲฼Ἴ∹⏝Ἴ NXVXULSDPX\ZRSD ‘Flying through the clouds’ ⨾ஓྂᘺ፠ NL\DNZRPLED if I could see the capital ఀኪஅྜྷ㜿ఱᚤ L\DVLNLDJDPwi then this decrepit body of mine 㯞ከ㉺▱ያಸஅ PDWDwoWLQXEHVL would be young again. An example where it is used for ZRWL is below.

506

MYS 194 ⋢ᆶ஀ ㉺⬟኱㔝அ ᪦㟢ᑣ ⋢　⪅ᇻᡴ ኤ㟝ᑣ ⾰⪅ἡ⪋ ⲡᯖ ᪑ᐟ㬞Ⅽ␃ ୙┦ྩᨾ

ߟ

TAMADARE no woti no OPONWO NO ASA TUYU ni TAMAMO PA PIDUTI YUPUGWIRI ni KOROMO PA NURETE KUSA MAKURA TABINE KAMO SUUX APANU KIMI YUWE

On the great plains of Ochi where the jewels hang down, your jeweled skirts drenched with the morning dew, and your robes soaked with the evening mists you make a grass pillow to sleep outdoors, because you will not meet your lord.

OJ: wo OC: *Ҍâ LH: Ҍa EMC: Ҍuo LMC: ҌuΩ GO: u KO: wo NOM: ô SV: ô SK: wo Usage / History: This phonogram belongs to the CBS. It appears only in Nihon shoki. It is perhaps well known for representing the name of Susanowo: ⣲ᡆᑛ (NSG). This phonogram also appears twice in annotational notes and 16 times in poetry: 㞝ㄘࠊṈபከ✍┱ ³ௗµferocity’ is read woWDN\HEwi” (NSG). NSK 96 㔝⤉☻೜ൽ \DVLPDNXQL I searched the eight islands 㒔☻ࠎ♮ျἾᗏ WXPDPDNLNDQHWH but could not find a spouse. ᧛ᒗẚ⬟ SDUXSLQR Under the spring sun ျ㡲ᡃ⬟೜ൽࠎ kasuga no kuni ni in the land of Kasuga ೜Ἴ⤉ㅦ NXSDVLP\Hwo I had heard that 㜿฼➼ᯨࠎᗏ DULWRNLNLWH there was a beautiful maiden. ⯅៖ᚿㅦ \RURVLP\Hwo I had heart that 㜿฼➼ᯨࠎᗏ DULWRNLNLWH there was a proper woman. ⳝ⣖బ೜ makwi saku A fine grain of wood, 㑊⬟ఀ㝀ᅯ SLQRLWDWZRwo I pushed opened that door 㣡᪁ẝ⨶ᯨ RVLSLUDNL made of Japanese cypress. ೖ౛௨᲍㨱ᚿ ZDUHLULPDVL I went inside 㜿㒔ᅯ၆ DWZRWZRUL and held her leg, 㒔㯟ᛣ၆⤉ᗏ WXPDGZRULVLWH holding the edge of her hem, 㨱೜ᄶᅯ၆ PDNXUDWZRUL holding her pillow— ఀះᡃሐ LPRJDWHwo holding my spouse. ೖ౛ൽ㨱ᰓ᪁ẖ ZDUHQLPDNDVLPH I wrapped her hand ೖᡃሐ㯟 ZDJDWHwoED around my waist ఀះൽ㨱ᰓ⤉ẖ imo ni makasime and she my arm— 㯟ᕥᲠ㏸ᄶ PDVDNZLGXUD wrapped it around her. ከࠎ௻㜿⸝᧛᲍ WDWDNLD]DSDUL And like a vine, ▮ὔ▴▮៖ VLVLNXVLUR we caressed, intertwined. ன㨱ఀ⚲▮ᗘൽ XPDLQHVLWZRQL We slept deeply, ൽ᧛㒔➼၆ QLSDWXWRUL sweet like meat on a skewer. ᰓ✍᧛ඏ೜ඏ᲍ NDN\HSDQDNXQDUL The fowl I keep ያ㒔➼฼ QZRWXWRUL have begun to cackle.

507

ᖀ

ᯨ⽥▮᧛➼వṊ NLJLVLSDWR\RPX And in the fields ፠⤉✍▴ㅶ SDVLN\HNXPR the pheasants add their call. ఀ㯞ፋ௨᧛Ꮶᗏ LPDGDLSD]XWH The dawn has already come 㜿㛤ൽၨ᲍ DNHQLN\HUL before I have been able ೖ⽥ះ wagimo to confess my feelings, my love.  OJ: wo OC: *Ҍwâ LH: Ҍua EMC: Ҍэ LMC: ҌuΩ GO: u KO: wo NOM: ô, ͙ SV: ô, ͙ SK: wo Usage / History: This phonogram belongs to the CBS. This graph is almost always written as Ở. As noted under this graph read as u, this is primarily used to transcribe u, but DV ƿQR   SRLQWV RXW WKHUH DUH D QXPEHU RI H[DPSOHV LQ WKH 0LQR Census of 702 where it seems quite certain that this usage is transcribing wo, which the Sino-Xenic data support. Examples from the Mino Census include Ø ᡭ㈽ WoTEmye, Øዉ㈽ Wonamye, Ø㯞࿅ Womaro, Øᚿ㈽ Wosimye, and Øᒇ㈽ WoYAmye. OJ: wo OC: *ҌônҌ LH: ҌuanҌ EMC: ҌwânҌ LMC: Ҍ\an GO: won KN: wan NOM: NA SV: X\͋n SK: wan Usage / History: This phonogram belongs to the CBS. This rare usage appears once in Nihon shoki in a poem. NSK 71 㜿ᦶ⃦㟝 amadamu Flying in the sky ⟠␃
➼㈽ NDUXwoWRP\H Princess Karu, ␗ဟඏ௓㯟 LWDQDNDED people will notice ⮎➼㈨฼ያ㝙Å SLWRVLULQXEHPL if I cry uncontrollably. ᖭ⯊⬟ኪᦶ⬟ SDVDQR\DPDQR I will be like the dove Ἴย⬟ SDWZRQR of Mount Hasa ㈨ဟඏ௻㏓ዉ໙ VLWDQDNLQLQDNX who coos in a soft voice.

ி!!

ତ

OJ: wo OC: *siauҌ LH: siauҌ EMC: sjäuҌ GO: seu KN: seu NOM: WL͋XWƭu SV: WL͋u SK: swo Usage / History: This kungana suggests to the reader OJ wo ‘small.’ Because it has only three strokes, this kungana gained popularity rather early on. This usage appears in Nihon shoki: ñ಴ WOKURA (NSG), and ñᶫ WOBASI (NSG). There are also many examples in 0DQ¶\ǀVKnj MYS 1214 Even the leaves of Ᏻኴ㒊ཤ ada PYE YUKU ñⅭᡭ஀ᒣஅ WOSUTE no YAMA NO the Podocarp tree on Mount Osute on the road toward Ada, ┿ᮌⴥẟ MAKWI NO PA mo PISASIKU MINEBA which I have not see for a long time, ஂ୙ぢ⪅ KOKE MUSIQLN\HUL have become covered with moss. ⹛⏕ᑣᐙ㔛. 508

୉

ଦ

⼱

OJ: wo OC: *mΩiҌ LH: muiҌ EMC: mjweiҌ GO: mi KB: EL NOM: vƭ, vã, v̫i SV: vƭ SK: mi Usage / History: This kungana calls to mind OJ wo ‘tail.’ In Kojiki there are names such as ኳ அC⩚ᙇ AMA NO WOPAPARI (KG), and ⓑᲞC KASINOWO (KG). On wooden tablets excavated from the old Fujiwara Palace ruins (fl. 694–710) we find names like ㄒ㒊ྩC຾ KATARIBYE KIMI WOKATU (MKK 11:32). Nihon shoki also preserves a number of examples of this graph, primarily in names and toponyms: ୕C MIWO (NSG) and ≀㒊኱㐃C㍿ MONONOBYE OPOMURAZI WOKOSI (NSG). This kungana is quite popular in 0DQ¶\ǀVKnj: MYS 750 OMOPITAYE Having given up ᛕ⤯ ࿴ഛす≀C waEZLNISI MONO WO and languishing in despair, NAKA NAKA NI then half-heartedly ୰ࠎⲴ NANI ka KURUSIKU I started seeing you again, ዉఱ㎞ⱞ APIMISOMEN\HPX somewhat painfully. ┦ぢጞව OJ: wo OC: *hjau or *hjauh LH: ĞauҌ, Ğauh EMC: ĞjäuҌ, Ğjäuh GO: seu KN: seu NOM: WKL͇XWK͑XWK͋u SV: WKL͋XWKL͇u SK: swo Usage / History: This kungana suggests to the mind OJ wo ‘small (in number).’ This usage appears in Nihon shoki:  㑹 WONWO (NSG), and  㯞 ࿅ WOmaro (NSG). Regarding 㑹 WONWO above, while NKBT has this as ᑠ㑹, it seems clear that there are more manuscripts with ᑡ than ᑠ, though I admit deciding which is original is difficult. There are a few examples of this usage in 0DQ¶\ǀVKnj. There is the name ᪥ ⨨⪁ PEKI [NO] WO-OYU (MYS 354), ⣖㮵ዪ㑻 Kwi [NO] WOSIKA [NO] IRATUMYE (MYS 1648). OJ: wo OC: *PUâi LH: mai > ma EMC: ma GO: ma KN: ma NOM: ma SV: ma SK: ma Usage / History: This kungana suggests to the reader OJ wo ‘hemp.’ There is only one example in Kojiki: 㯞⤌㑻ዪ WOKUMI [NO] IRATUMYE (KG). Only one name is written with this graph in Nihon shoki: 㯞⦼ WOMI (NSG). There are five examples of this graph transcribing wo in 0DQ¶\ǀVKnj. MYS 2172 A GA YADWO NO My beloved, put out your hand ࿃ᒇᡞஅ and touch the miscanthus 㯞ⰼᢲ㠂 WOBANA OSINABE OKU TUYU ni in my yard that bends ⨨㟢ᑣ TE PURE WAGIMOKWO under the weight of the dew; ᡭ゙࿃ጒඤ OTIMAKU mo MIMU let us watch it fall. ⴠᕳẟᑗぢ

509

ᨇ

⮣

Ἐ

OJ: wo OC: *nΩըm LH: nΩm EMC: n̵m GO: namu KN: damu NOM: nam SV: nam SK: nam Usage / History: This kungana suggests to the reader OJ wo ‘male.’ There is a tradition that the earliest example of this kungana appears on the Suda Hachiman mirror inscription (ca. 500) where we find ኱ ⋤ ᖺ ⏨ ᘵ ⋤ , which sometimes is interpreted as ‘In the time of the Great King, King WO-OTO....’ However, this is the sole evidence for a kungana this far back in time, and I think David Lurie (2001:163–164) is right to interpret this as simply ‘the younger brother, the prince.’ This means that some of the earliest examples come from wooden documents dug up from the site of the ancient Fujiwara Palace (fl. 694–710) where we find a name ඵ⏣㒊ᚸ YATABYE OSIWO (MK 2025). This semantogram appears in Kojiki, in names like ኳஅᚸ AME NO OSIWO (KG), ⅆஅኪ⸤㏿⚄ the deity PWI NO YAGIPAYAWO (KG), and ▼ ⟄ அ  ⚄ the deity IPATUTNOWO (KG). Related names appear also in Nihon shoki: ☬⟄࿨ IPATUTUNOWO [NO] MIKOTO (NSG), ኱㏠ኳⓚ Great King WOPODO (NSG), and チໃே Kose WOPITO (NSG). This usage also appears in 0DQ¶\ǀVKnj: MYS 13 Mount Kagu fought 㧗ᒣἼ KAGUYAMA pa 㞼᰿ⅆ㞝ᚿ➼ uQHEZL:2WOVLWR with Mount Unebi ⪥᲍⯅ MIMINASI TO afraid to lose his spouse, APIARASWOPIKI Mount Miminashi. ┦ㄵ➇ఄ KAMWIYO YWORI It appears that it has been ⚄௦ᚑ KAKU ni ARUUDVL thus since the Age of the Gods. ዴṈᑣ᭷Ⰻஅ OJ: wo OC: *wΩƾ LH: wuƾ EMC: juƾ GO: wou KN: \XX NOM: hùng SV: hùng SK: wung Usage / History: This kungana, like ⏨ above, suggests to the reader OJ wo ‘male.’ This usage appears in Nihon shoki, in examples like 㞴Ἴྜྷኈ㞝ᡂ Nanipa Kisi WONARI (NSG), ቃ㒊⮧㞝ᦶ౶ SAKAPIBYE OMI WOmaro (NSG), and ⸽ᡃ ಴㯞࿅ࠊ᭦ྡ㞝␜ Swoga KURAmaro, also known as WOMASA (NSG). This usage also appears in 0DQ¶\ǀVKnj. MYS 436 PITOGOTO NO These days when rumors ேゝஅ SIGEKI KONO PI from people are bothersome— ⦾ẚ᪥ TAMA NARABA if you were a jewel then I would ⋢᭷⪅ TE ni MAKI MOTITE wrap you around my wrist and ᡭᑣᕳᣢ⪋ KWOPWIZARAMASI WO I would not have to yearn for you. ୙ᠷ᭷┈㞝  OJ: wo OC: *s-laҌ LH: ziaҌ EMC: zjwoҌ GO: zio KN: sio NOM: NA SV: W͹ SK: V\H

510

Usage / History: This kungana suggests to the reader OJ wo ‘thread, string.’ This usage appears in 0DQ¶\ǀVKnj. MYS 321 In awe of the highness ᕸኈ⬟ᕊஇ puzi no NE wo TAKAMI KASIKWOMI of the peak of Mount Fuji 㧗ぢᜍぢ AMAKUMWO mo even the heavenly clouds ኳ㞼ẟ are spreading out, ఀཤ⩚᩹ iYUKI PABAKARI ⏣⳯ᘬ≀ TANABIKU MONO WO unable to continue on. ⥴ PIOKIBYE This usage also appears in ,]XPRIXGRNL in the name ᪥⨨㒊᰿⥴ ⥴⤌ TAKEWOGUMI. NEWO. It is also see in +L]HQIXGRNL in the name ೺⥴

ỹ

ன

OJ: wo LH: dĨuh EMC: dĨjΩuh NOM: NA SV: WKͭ Usage / History: This kungana suggests to the reader OJ wo in 0DQ¶\ǀVKnj, and then only once. MYS 2918 OPOKATA PA ኱᪉⪅ NANI KAMO KWOPWIMU ఱ㬞ᑗᠷ KOTOAGE SEZU ゝᨀ୙Ⅽ IMWO ni YORI NEmu ጒᑣ౫ᐟ∹ TOSI PA TIKAKI WO ᖺ⪅㏆

OC: *duh GO: ziu KN: siu SK: V\ZX ‘string.’ This usage only appears Why should I be so smitten if this were ordinary? Even if I do not declare it the time when I can be near and sleep with my beloved is close.

OJ: wo OC: *љUrp LH: љѓp EMC: ћiep GO: JHIX KN: kaIX NOM: giáp SV: hi͏p SK: K\HS Usage / History: This kungana calls to mind OJ wo ‘peak.’ This usage is only found in Nihon shoki in the following place names: ᭤ᐑ the MAGARIWO Palace (NSG), ㇔๓ᅧ㛗⦩ TOYO [NO] KUNI [NO] MITI [NO] KUTI [NO] KUNI [NO] NAGAWO [NO] AGATA ‘Nagao District of the Buzen Province’ (NSG), and ᯽  KASIPAWO (NSG). OJ: wo OC: *kiûh LH: keuh EMC: kieuh GO: keu KN:keu NOM: khi͇uNrX SV: khi͇u SK: N\ZR Usage / History: This phonogram appears to be a vulgar version of the character ྉ ‘shout’ (ྉ > ⎓ > ൬  $V ƿQR 2:123) points out, this kungana suggests to the mind OJ wo which is a shout or exclamation. There are 22 examples in 0DQ¶\ǀVKnj, which is the only text that preserves this usage. Every example of this graph represents the accusative (or direct object) particle wo.

൬

511

MYS 1405 ⻴㔝￟ ேஅᠱ⪅ ᮅⵗ ྩஅᡤᛮ⪋ Ⴗ㰾୙⑓

AKIDUNWO WO PITO NO KAKUREBA ASA MAKISI KIMI GA OMOPOYETE NAGEKI PA YAMAZU

512

As people mentioned the moor of Akizu, I thought of you whose ashes I spread this morning and my laments cease not.

Y ⤖

⾙

Ს

OJ: \D OC: *la or *ja LH: ja EMC: jia GO: zia KN: sia NOM: Wj SV: Wj SK: \D Usage / History: This phonogram belongs to the WS. As I have already argued (2008:7) it is very likely that the Historiographical Office of the Wei replaced a semantically more neutral graph, such as ⪨ LH ja with 㑧. Because ⪨ does not have the z- initial reading, it is more likely that 㑧 was selected to transcribe \D. This graph represents the name of the queen’s capital city in Wei zhi: 㑧㤿ྎ *yama-tԥ. It also renders toponyms such as ఀ㑧 *i-ya and 㑧㤿 *ya-ma. This phonogram also appears in several toponyms on the peninsula as preserved in Wei zhi: ୙ ᪁ ⃲ 㑧 ᅧ *pu-se-bun-ya domain, ᙗ ⅲ 㑧 㤿 ᅧ *me-‫ܧ‬-ya-ma domain, ≸㑧ᅧ *k‫ܧ‬-ya domain, and Ᏻ㑧ᅧ *an-ya domain. This phonogram is used by the Kojiki compiler to transcribe za (which see). As this phonogram means ‘wickedness,’ it was generally avoided in Japanese transcriptions. See ⪨ below.  OJ: \D\DNX OC: *Ҍek LH: Ҍiek EMC: Ҍjiäk GO: \DNX KN: eki NOM: tFK͓ch SV: tFK SK: ik Usage / History: This phonogram belongs to the PBS. It appears in one name in the record of Tenmu in Nihon shoki: 㡑ዉᮎ㔠฼ Komu Riyak of the 10th rank. This graph appears in Nihon shoki: ᕧໃᮅ⮧ከ㡲 Kose [NO] ASOMI Tayasu, and 㡲㒆 Yasu District (of Afumi Province). It also appears in Man’\ǀshnj in toponyms like ㆭᒱᅧᏳ㒆 Aya District in Sanuki Province. Shoku Nihongi preserves names like ᕧໃᮅ⮧ኴ㡲Kose ASOMI Tayasu (706.7.11), whose name also appears later as ᕧໃᮅ⮧ከ㤳 Kose ASOMI Tayasu (708.3.13), and బ㒆 Saya District (722.2.16). There are a variety of cases where the -k- is retained, or is used to show a velar geminate: Ề⋤ Prince Yake (Shoku Nihongi, 713.4.23), ୖ㧗ಙ Ziyau-kau Yakusinu (724.5.13),  ᩆ 㒆 Yaku Distrcit (Shoku Nihongi, 733.6.2), and ஂᔱ Yaku Island (754.1.17), and 㢌㒆 Yakidu (Yakudu?) District (757.8.13).  OJ: \D OC: *lai LH: jai > je EMC: jie GO: i KN: i NOM: di, da\Gͥi, gia\U˯i SV: diULJL SK: i Usage / History: This phonogram belongs to the PBS. It appears in quotes in Nihon shoki from Paekche material. In the Jingnj record there appears a Paekche man named ∞Ἴ y Nipaya. It is interesting that in the Atsuta manuscript there is a marginal note 513

to the side of this name: ⚾グࠊ⛣㡢㔝 ‘Shiki notes that the phonogram ⛣ is to be read as 㔝 \D.’ Then in the seventh year of Keitai, a Japanese official named ✠✚⮧ᢲᒣ PODUMI [NO] OMI OSIYAMA is mentioned in Paekche pongi as ጤព᪁y㯞ᒱᙗ Osiyama Kimi of Wa (ጤ). Finally in the sixth year of Kinmei, when the king of Paekche presents a Buddhist statue to the Yamato court, the compilers note ௨Ṉຌᚨࠊ㢪ኳⓚ⋓຾ၿஅᚨࠊኳⓚᡤ⏝ࠊᙗyᒃ ᅧࠊ೜ⵚ⚟♸ ‘With this merit (of making a Buddhist statue) we pray that the Divine Ruler will obtain excellent virtue, and that the land of the miyake (ᙗ⛣ᒃ ᅧ) under his jurisdiction will be blessed.’ It is very possible that the Shoki compilers have adjusted parts of this missive, like changing ೖ⋤ to ኳⓚ, but the rendition ᙗ⛣ᒃᅧ attests to the fact that the original content of the missive was not seriously altered. There are a number of examples of ⛣ transcribing \D in the earliest extant corpus of Japan. In the no longer extant ‘*DQJǀML UREDQ inscription’ we find Prince Shǀtoku Taishi’s name written as ᭷ 㯞 y ย ➼ ᕬ ᙗ ᙗ ஀ ᙗ ᕫ ➼ Umayatwo Toyomimi no Mikoto and Empress Suiko’s name is preserved as ➼ ᕬᙗᒃຍ᪁ᨭyẚᙗ஀ᙗᕫ➼ Toyo Mike Kasikiya Pimye no Mikoto. There are also a few examples still preserved in people’s names in the Mino Census of 702: yஇ㈽ Yawomye, ᚿ㈽y㈽ Simyeyamye, ᙗy㈽ Miyamye, and y ࿴ Yawa. There is also an interesting mokkan excavated from the ƿtsu dig with this information: ㄖ㜿బ࣒ຍ࣒yẕ ³ௗµfalsely accuse’ is glossed asamukamu ya mo ‘could (someone/thing) deceive us?¶ௗ´ (MKK 33:145). There is one example of this orthographic tradition preserved in Man’\ǀshnj. MYS 812 チ➼㦐Ἴያ NRWRWRSDQX Though a piece of wood does not ⣖ᑣⱱᏳ⌮➼ẟ kwi QLPRDULWRPR utter words, would I ever lay it ࿴ఱୡྂᡃ wa ga sekwo ga on the ground, that favorite ከ㑣♩஀⨾ᕧ㦐 WDQDUHQR PLNRWR august NRWR belonging 㒔ᆅᑣពຍ⡿yẕ WXWLQLokame ya mo to my beloved elder?

⁇

OJ: \D OC: *la or *ja LH: ja EMC: jia GO: \D KN: \D NOM: NA SV: daUa SK: \D Usage / History: This phonogram belongs to the PBS. It appears on the Kwangkaytho stele: ྂᶍ耶⨶ᇛ *k‫ܧ‬-mo-ya-la fortress, and ྂᐙ耶⨶ᇛ *k‫ܧ‬-ka-ya-la fortress. It appears once in the record of Kinmei in the name of a man from .RJXU\ǂ, 㧗㯇 ே㢌㟝၆耶㝎 ‘Tumuriyapye, a man from Kwoma.’ The Yǀrǀ Census of 721 contains a few names with this graph: 㜿耶㈽ Ayamye and ྂ㜿耶㈽ Kwoayamye. This phonogram appears on one mokkan dated 745: ซᾏ㜿耶⏨OPOSIAMA AyaWO (MK 327). This phonogram is also used in Nihon shoki, in six annotational notes, and 15 times in poetry: ᪥ᮏࠊṈப耶㯞㦐 “ ‘Japan’ this is read yaPDWR” (NSG). NSK 91 ᪊ᙗ⬟ጡ⬟ omi no kwo no The son of the Omi has 耶㈿⬟அ㨱ᰓᯨ yaSXQRVLEDJDNL made a fine brushwood fence. ጞ㝀㦐వÅ VLWDWR\RPL But if the earth quakes 514

㑣∔ᡃ⯅㔟᧸㨱 nawLJD\RULNRED that brushwood fence 耶㯪ክஅ㨱ᰓᯨ yaUHPXVLEDJDNL will likely fall to pieces. This phonogram appears once in 0DQ¶\ǀVKnj. MYS 818 Ἴὶబ♩፠ SDUXVDUHED When it is spring 㯞㇋బஂ耶Ⓩ⬟ madu saku yado no will I spend the spring days ⅲᱵ⬟Ἴዉ ume no pana gazing alone at ẚ➼฼⨾㒔ࠎኪ SLWRULPLWXWX\D the plum blossoms ἼὶẚஂⰋబṊ SDUXSLNXUDVDPX that bloom first in my garden?

঑

OJ: \D OC: *jah < *jakh LH: jah EMC: jiah GO: \D KN: \D NOM: d̩ SV: d̩U̩ SK: \DLRN Usage / History: This phonogram belongs to the EJS. It appears in Jǀgnj ShǀWRNXKǀǀ WHLVHWVX, in a very old rendition of the name of Great Queen Suiko: Ṇవ⨾Ẽຍᚿᨭ ẚ ኎ኳⓚ Great King Toyo Mikekasikiya Pimye. It also appears in a poem composed by Kose Mitsue after the death of the prince: ⨾ຍᘺஇ㡲 mikami wosu Mount Tabasami ከ፠బ⨾ 㯞஀ WDEDVDPLyama no that rules from above; 㜿㐜ຍẼᑣ adikake ni alas, I stood there ẚṆ஀㯞இஅᚿ SLWRQRPDZRVLVL in the shade of the aji, ࿴ఱ᪊ಖᨭ⨾Ἴẕ wa ga opokimi pamo begging our master’s return. This phonogram appears eight times in the liturgies: ⋤➼ཀ➼இẕᖹஂኳ ⓚᡃᮅᘐ∞ఀຍᚿ ஂἼཿ⬟ዴஂ௙ዊ฼ OPOKIMITATI MAPYETU KIMITATI wo mo TAPIRAKEku SUMYERA ga MIKADWO ni ikasiyaNX SD\H QR GOTOku TUKAPEMATUUL“We pray that the princes and ministers also will be at peace, and that they may serve the throne as the plants grow thickly…” (NT 2). This phonogram is popular in the orthography found on mokkan: ୸㒊ఀ ኎ WaniBYE Iyamye (unnumbered tablet), அẚ➼➼ࠎὶยẟព ᚿᕫࠎ࿅᭮ VLSLWRWRWRUX WZRPRLyasi NRNRURVR‘Even if I take my father-in-law, such base feelings…’ (MK 174). This is the principal phonogram found in Kojiki: ጒ㜿 ୖヅᚿྂἾ⚄ ‘a younger sister, the deity Aya Kasikwone’ (KG), 㜿㑣㏓ ᚿឡୖ⿁Ⓩྂ⿁ ana ni ya VLHZRWRNZRZR ‘Ah, what a wonderful male’ (KG), and Ἴ㏓ 㡲ẝྂ⚄ ‘the deity Paniyasubikwo’ (KG). KK 40 チ⬟⨾ᒱ⿁ kono miki wo The person who ㏑⨾♮∹ẚⓏἼ kamik\HPXSLWRSD brewed this august wine— ᭯⬟㒔㇋⨾ VRQRWXGXPL did he brew it Ᏹ㡲㏓ከᘭᘭ XGXQLWDWHWH while singing, Ᏹከẚ㒔㒔 XWDSLWXWX standing his drum ㏑⨾♮⚰㏑ẕ kamik\HUXNDPR as if it were a mortar? 㯞ẚ㒔㒔 PDSLWXWX Did he brew it ㏑⨾♮⚰ຍẕ kamik\HUXNDPR while he danced? チ⬟⨾ᒱ⬟ kono miki no This august wine ⨾ᒱ⬟ miki no august wine, 515

㜿 ㏓Ᏹከ㝀ᛣ᪁ aya QLXWDGDQZRVL how delightful it is. బబ sa sa Drink! Drink! This phonogram is the principal graph used in Nihon shoki, appearing in six ኪ ³ௗµhow annotational notes, and 45 times in the poetry: ዺဢࠊṈப㜿㑣⪋᝴ኪ beautiful’ is read ana ni we ya” (NSG). NSK 1

ྃⱱከඦ yaNXPRWDWX Endowed with power, ఀᘾẟ ぞ㣹ᒱ idumwo yaS\HJDNL this two-fold Izumo fence— ඦ☻ㄒ࿡∞ WXPDJRPHQL to conceal ourselves,

ぞ㣹ᯨ㒔೜├ yaS\HJDNLWXNXUX I have built this two-fold fence. ㉗ᘕ ぞ㣹ᒱᘔ sono yaS\HJDNLZH Yes, within this two-fold fence! This phonogram also appears in the Bussoku stone poems: BSS 2 ᘺ⸽▱㜿㯞฼ PLVZRWLDPDUL The person who is complete ᕸከ㒔஀ຍከ▱ SXWDWXQRNDWDWL with the thirty-two marks

⸽ஂబ➼ yaVZRNXVDWR and the eighty types of merits ᭯ኴ♩␃ẚṆ஀ VRGDUHUXSLWRQR at the place where the footprints ᕸ⨾ᚿ㜿Ṇࠎᕫ࿅ SXPLVLDWRWRNRUR have been trod— 㯞♩ᑣẕ㜿␃ྍẟ PDUHQLPRDUXNDPR how rare these are! This is the principal phonogram in 0DQ¶\ǀVKnj, appearing some 543 times in the anthology. MYS 3618

㯞Ἑ఑⬟ yamagapa no Though we enjoy ourselves ఄḧྜྷྍἼୡᑣ NL\ZRNLNDSDVHQL by the pristine shoals Ᏻ⸽ಸᯆẕ DVZREHGRPR of the mountain river, ዉⰋ⬟⨾ኪᨾἼ QDUDQRPL\DNZRSD I cannot forget the capital in Nara. ࿴㡲♩ྍ⚇㒔ẕ ZDVXUHNDQHWXPR

̃

Ꮛ

OJ: \D OC: *laҌ LH: jaҌ EMC: jiaҌ GO: \D KN: \D NOM: UmU̫, giã SV: Um SK: \D Usage / History: This phonogram belongs to the LJS. It appears in the Mino Census of 702 in names like 㔛㒔㈽ Yaritumye, ฼㈽ Yarimye, Ṇ㯞࿅ Toya Maro, and ᭯㯞࿅ Yaso Maro. This phonogram is the second most popular graph to transcribe \D in Man’\ǀshnj, after ኪ, appearing 146 times. MYS 243 OPOKIMI PA Our great lord ⋤⪅ TITOSE ni masamu will exist for a thousand years. ༓ṓ஧㯞బṊ SIRAKUMWO mo Will there ever come a day ⓑ㞼ẟ MIPUNE no YAMA ni when the white clouds on ୕⯪஀ᒣᑣ TAYURU PI DUDPHya Mount Mifune disappear? ⤯᪥ᏳⰋ⡿ OJ: \D LH: jaƾ NOM: GjQJWKang

EMC: jiaƾ SV: d˱˯ng

516

OC: *laƾ GO: \DX KN: \DX SK: \DQJ

Usage / History: This phonogram belongs to the LJS, and appears in the name ㈗Ặ Yakwi, which is found on a stone epitaph dated to the 11th year of Tenpyǀ (739). It also appears on a tablet excavated from a dig in North Takagi in Toyama Prefecture: Ᏻ୓࿅ 㯞࿅࿅ ୓࿅ ୓࿅, where someone was practicing writing names: YASUmaro, Yamaro-ro ya Yamaro Yamaro (MKK 17:135). This phonogram also appears in a Silla name recorded in Shoku Nihongi 㡑 ዉ㯞᫇ ⠇Ziaku Yausetu of the 10th rank (723.8.8 . This phonogram also appears in Man’\ǀshnj, where it is used both for its phonological and semantic value: ᳿ is a poplar tree. MYS 840 Ἴὶ 㑣ᐅ SDUXyanagwi The spring willow— ྍ㇋Ⰻᑣஇ฼ᚿ NDGXUDQLZRULVL the plum blossom I broke off ⅲᱵ⬟Ἴዉ ume no pana to decorate my hair, ከ♩ྍ᭷ྍಸᚿ WDUHNDXNDEHVL who has let it float బຍ㇋ᒱ⬟ಸᑣ sakaduki no pe ni inside my wine cup?

⭫

၀ ⦕

OJ: \D OC: *laƾ LH: jaƾ EMC: jiaƾ GO: \Du KN: \DX NOM: d˱˯ng SV: d˱˯ng, cang, giang SK: \DQJ Usage / History: This phonogram belongs to the LJS, and it appears that this usage was influenced by Chinese immigrants. This phonogram appears in documents SUHVHUYHGLQ6KǀVǀLQLQQDPHVVXFKDV 㝧ೃYakwo or 㝧⬌ Yakwo, or 㝧ᯨ Yaki. This phonogram appears in Nihon shoki in the names 㝧⬌ྐ Yakwo [NO] PUBITO (NSG), and ୖ㝧ဇ㒆 Upper Yamye District (NSG). It should be noted that ƿno (1977:817) writes that 㝧⬌ appears in the record of Sujin, but it actually appears in the 10th year of Suiko. This phonogram also appears in Man’\ǀshnj in the poet’s name 㯞⏣㐃㝧᫓ ASADA [NO] MURAZI Yasu (MYS 569–570). OJ: \D OC: *laƾ LH: jaƾ EMC: jiaƾ GO: \DX KN: \DX NOM: ÿjQJÿang SV: d˱˯ng SK: \DQJ Usage / History: This phonogram belongs to the LJS, and appears in the name ⬌ Yakwo as found in a GRFXPHQWLQWKH6KǀVǀLQ OJ: \D OC: *laҌ LH: jaҌ EMC: jiaҌ GO: \D KN: \D NOM: dã SV: GmU̩ SK: \D Usage / History: This phonogram belongs to the LJS. It is seldom used to transcribe \D because it was more popular as a semantogram for nwo ‘field.’ It appears once in Nihon shoki: ⟃⣸ྩ⸃㔝㤿 Tukusi KIMI Sarayama. This phonogram appears twice in one poem in MaQ¶\ǀVKnj. 517

MYS 804 ➼ఄ⬟బ㏑฼இ ➼ࠎᑿ㏑⚲ ࿘ල᪁㔝฼㒔♩ ⨾ዉ஀࿴ከ ㏑ල₃ఄྍ⨾ᑣ ఀ㒔஀㯞ྍ ᪁ẟ஀ᕸ฼ᐙṊ

Ꮋ

၉

WRNLQRVDNDULZR WRGRPZLNDQH sugusiyaULWXUH PLQDQRZDWD NDJXUZRNLNDPLQL LWXQRPDND VLPZRQRSXULN\HPX

Unable to hang on to the best of those times time has marched on. Upon this black hair, black as the guts of the snail, frost has lighted without my knowing it.

OJ: \D OC: NA LH: NA EMC: jia GO: \D KN: \D NOM: da, GjGͳa SV: da SK: \D Usage / History: This phonogram belongs to the LJS, but it is confined to Nihon shoki. It appears in one annotational note, and 31 times in poetry: 㤨㏿᪥ࠊṈபൽ⸤Ἴ ༝ ³ௗµThe deity Nigi Hayahi’ is read nigi payapi” (NSG). NSK 12 ဟࠎዉᱵᘭ WDWDQDPHWH With our shields arrayed ఀ㑣⍰⬟ᦶ⬟ inasa no yama no we have fought many battles ⹫⬟ⳝ⏤ẟ NRQRPD\XPR on Mount Inasa, ᫆႘⪆ᦶẟ⨶ẝ i\XNLPDPZRUDSL going through the trees ከࠎ௓㝙㯟 WDWDNDSHED and watching the enemy. ࿴౛◚㝰ᛣ ZDUHSDya wenu Thus are we famished. அᦶ㏵➼฼ VLPDWXWRUL Birds of the island— Ᏹ௓㆜㣹➼ⱱ ukapi ga WRPR come now to our rescue, ఀⳝ㍺㛤⌗⹫⚲ ima suke ni kone you friends of the cormorants. OJ: \D OC: NA LH: NA EMC: jia GO: \D KN: \D NOM: NA SV: da SK: \D Usage / History: This phonogram belongs to the LJS, and appears only in Nihon shoki. This graph appears in three annotational notes and 13 times in the poetry in Nihon shoki: ὋᐑࠊṈப༐⋪฼⬟ᙗ ³ௗµKukuri Palace’ is read NXNXUL QR PLya” (NSG). NSK 54 ⳱⸤Ἶ㉱ WXJLQHSX Taking my journey ⳝஅ࿅㣹Ἴ㫽 yaPDVLURJDSDZR up the Yamashiro River, where trees grow thick, Å⬟᭸฼ miya QRSRUL ࿴㣹⬟᭸౛㯟 wa ga QRSRUHED I journeyed past the palace. 㜿ⅲ⌗㇧㎫ DZRQL\RVL I traveled beyond ඏ⨶ⅲ㍺␲ QDUDZRsugwi the blue hills of Nara. ⅲ㝀ặ ZRGDWH I headed beond ኪⳝⱏⅲ㍺␲ \DPDWRZRsugwi the aegis peaks of Yamato. ࿴㣹Å㣹᭸㎫༐⌗Ἴ wa ga migaposi kuni pa The land I longed to behold was ⟠㇋⨶⣖ከఞÅ NDGXUDkwi WDNDPLya the high palace in Kazuraki— ࿴⸤ᖯ⬟㜿ከ฼ ZDJLS\HQRDWDUL everything around my home. 518

OJ: \D OC: NA LH: NA EMC: jia GO: \D KN: \D NOM: NA SV: da SK: \D Usage / History: This phonogram belongs to the LJS and appears once in an annotational note in Nihon shoki: ゝᒇࠊṈபఀᾋ ³ௗµIfuya Shrine’ is read ipuya” (NSG).

㺪! ဋ ⳬ

ୖ

OJ: \D OC: *jak LH: jak EMC: jiäk GO: \DNX KN: eki NOM: d͓ch SV: U͓ch SK: oik Usage / History: This phonogram belongs to the LJS, and appears in Nihon shoki, but only to write the name of an island: ⋪Yaku. Again, it is important to notice the geminate here (\DNNX) which likely signifies a short vowel in the first syllable.  OJ: \D OC: *jaƾҌ LH: jaƾҌ EMC: jiaƾҌ LMC: jiaƾ GO: \DX KN: \DX NOM: d˱ͩng SV: d˱ͩng, d˱ͫng SK: \DQJ Usage / History: This phonogram belongs to the CBS, and appears in rather innovative VSHOOLQJV ,Q D GRFXPHQW SUHVHUYHG LQ 6KǀVǀLQ ZH ILQG 㣴ᚨ which apparently represents Yamato, with the assumption that the velar nasal of \DQJ was interpreted as an -m- FIƿQR ,QWHUestingly this same usage appears on five different mokkan excavated from the Nara ruins (MK 78, 91, 144, 12118, MKK 12:138). This phonogram also appears in +L]HQIXGRNL in the toponym 㣴 ∗ Yabu < *yanpu. OJ: \D OC: *Ҍôk LH: Ҍok EMC: Ҍuk GO: woku KN: woku NOM: ͕c SV: ͙c SK: wok Usage / History: This kungana suggests to the reader OJ \D ‘roof.’ This usage is very old, and appears in the oldest extant records. In the genealogy of Jǀgnj ShǀWRNX Kǀǀ WHLVHWVX the following name is preserved: ≀㒊ᐊ MONONOBYE MURWOYA. This name may actually be a mistake for Ᏺ MORIYA, but the texts agree on MURWOYA. This appears on several mokkan: ఀໃᅜᏳ⃰㒆㛗㒓 Ise Province Anwo District NAGAYA Village (MKK 3:12), 㧗బ⨾TAKAYA Sami (unnumbered tablet). This usage appears in Kojiki in a number of names: ኳඳᔱ the island AME PUTAYA (KG), ኱ẝྂ⚄ the deity OPOYAbikwo (KG), 㮵㔝ẚ㈽ ⚄ the deity KAYANWO Pimye (KG). This phonogram is used over 100 times in Nihon shoki, as the following few examples illustrate: ࿃គ᰿ᑛ AYA KASIKONE [NO] MIKOTO (NSG), ࿃᷃ᇛᑛ AYA KASIKWI [NO] MIKOTO (NSG), ኱ὠጲ࿨ OPOYATU PIMYE [NO] MIKOTO (NSG), and 㛗 the place name NAGAYA (NSG). This semantogram is also quite prevalent in Man’\ǀshnj.

519

MYS 7 㔠㔝஀ ⨾ⲡⱉⵌ ᯆ♩㔛அ ඡ㐨஀ᐑᏊ⬟ ೉஬ⓒ♒ᡤᛕ

ӷ

ᮧ

AKI NO NWO no miKUSA KARIPUKI YAGRUHULVL uDI no MIYAKWO no KARI IPO SI OMOPOYU

I recall that temporary hut where we spent one night in the capital at Uji which was thatched with grass from the golden fields.

OJ: \D OC: *SUrW LH: pѓW EMC: păW GO: IDWL KN: IDWX NOM: EiW SV: EiW SK: phal Usage / History: This kungana calls to mind OJ \D ‘eight.’ This usage is also used fairly early. In the Mino Census of 702 the following names include this graph: ‰༑㯞࿅ YASWO Maro, ‰ᔱ㈽ YASIMAmye, and ‰▱Ἴ YAtipa. There are also a number of examples of this kungana in Kojiki: ᪥Ꮚ‰஭࿨ PIKWO YAWI [NO] MIKOTO (KG). As this represents a number, in the mythology many of these same names are used in Nihon shoki. This kungana is also popular in Man’\ǀshnj. MYS 21 MURASAKI no Like the purple grass ⣸ⲡ⬟ if I were to think evil of ᑣಖᩎ㢮ጒஇ nipoS\HUXIMWO wo my blushing beloved, ᑣⱞஂ᭷⪅ nikuku ARABA PITODUMA YUWE ni would I also yearn for ேᎼᨾᑣ ARE KWOPWIME YAMO another’s spouse like this? ࿃ᠷ┠‰᪉ OJ: \D OC: *lhiҌ LH: ĞiҌ EMC: ĞiҌ GO: si KN: si NOM: WK͑WK̓ SV: WK͑ SK: ci Usage / History: This kungana calls to mind OJ \D ‘arrow.’ The earliest datable example appears in the Mino Census of 702: U ⏣ 㒊 YATABYE, and ᑍ U ㈽ KIYAmye. This phonogram is also found in Kojiki in two names: ೖ㣕⩚Uⱝ ᒇ ẚ ㈽ YAMATO TOBIPAYA WAKAYA Pimye and ᐑ ୺ U Ἑ ᯞ ẚ ㈽ MIYANUSI YAKAPAYE Pimye. This phonogram appears on a number of excavated tablets: U⏣㒊 YATABYE (MK 13), ‫ྩู⏣ڧ‬Uஇ XTA WAKE KIMI YAwo (unnumbered tablet). It also appears in a fragment of a poem (MK 1613): ዉᑣ⓶ࢶᑣ QDQLSDWXQL At the ferry of Naniwa బஂUᕫ஀⓶ዉ saku YA ko no pana how these blossoms bloom— ᕸ⏤ᕫẕ฼ pX\ugRPRUL awakening from winter ఀ┿⓶ࠎ␃㒊Ṇ iMA SDSDUXPYE Wo now they say it is almost spring. బஂU‫⓶ڧڧ‬ዉ saku YA (ko no?) pana These blossoms that are in bloom. This usage also appears in Nihon shoki: U⏣ⓚዪ Princess YATA (NSG), and U⏣㒊 YATABYE (NSG). This usage is somewhat prevalent in Man’\ǀshnj, though the majority of cases are not logographic, but simple semantograms of ▮ ‘arrow.’

520

MYS 3225 ྜྷဏඵᖌ ᾆ⪅↓཭ ྜྷ␓Uᑎ ♒⪅↓཭ ዟὠᾉ ㄵᴶධ᮶ ⓑỈ㑻அ㔮⯪

ᶭ

⼑ ೄ

YOSIWEYAsi TOMO YOSIWEYAsi ISWO PA NAKU TOMO OKITU NAMI URA PA NAKU

SINWOGI KOGIRI KO AMA NO TURIBUNE

But that is fine, though we have no bay— that is fine, though we have no rocky beach— you fishing boat with the divers, push your way over here, rowing over the waves in the offing!

OJ: \D OC: *WVHQV LH: WVLanh EMC: WVMänh GO: semu KN: sen NOM: WrQWL͍n SV: WL͇QWL͍n SK: F\HQ Usage / History: This kungana suggests to the mind OJ \D ‘arrow,’ as ⟺ is a bamboo arrow. There is only one example of this kungana in Nihon shoki: ⏣⌔຾኱඗ⓚᏊ Prince YATA [NO] TAMAKATU [NO] OPOYE (NSG). A fragment of a name on a bamboo tablet contains this graph: ཱྀᮅ⮧኱㊊ YAX ASOMI OPOTARI (MKK 9:13). This phonogram appears in ,]XPR IXGRNL, mainly toponyms: ㉥  KAMINOYA, ᒣ Mount YA, and ᖭ PATAYA. It is also in +LWDFKL IXGRNL: ᣓ YAPAZU, a surname. OJ: \DPX OC: *jam LH: jam EMC: jiäm GO: \HPX KN: \HPX NOM: GLrP SV: GLrP, ULrP SK: \HP Usage / History: This phonogram belongs to the LJS, and appears in ,]XPRIXGRNL: 㮴෬㒓 Yamuya Village, and 㮴ኪ♫ Yamuya Shrine. OJ: \H OC: *lan LH: jan EMC: jiän GO: \emu KN: \HQ NOM: dan SV: GLrQ, UX\rQ SK: \HQ Usage / History: This phonogram belongs to the WS. It appears in the name of a domain included in the federation called Benshin: 㤿ᅧ *ma-jan or *ma-jen. This phonogram also has multiple readings, like ⛣. In Nihon shoki this phonogram transcribes the personal name, 㑣᪁ Yenasi, which is also written in a quote from Paekche pongi as ⛣㑣᪁ Yenasi. This phonogram also appears in Kojiki, and is the main graph to transcribe \H. Examples include the following from a song: KK 2 㜿㐲ኪ㯞㏓ DZR\DPDQL In the blue mountains ያἼ㑣ఄያ nuye pa nakinu the thrush has called out. బᛣ㒔Ⓩ⌮ VDQZRWXWRUL The bird of the true field, ᒱ⸤᪁ἼⓏ⯅∹ NLJLVLSDWR\RPX the pheasants are rowdy. ∞Ἴ㒔Ⓩ⌮ QLSDWXWRUL The bird of the yard, ㏑♮Ἴ㑣ஂ NDN\HSDQDNX the chickens are cackling. 521

Ს

‫ۏ‬

This phonogram appears once in Nihon shoki’s poetry. NSK 23 ␗⬟▱⬟ LQRWLQR You young men who ᦶ᭯♮ົẚⱏ◚ PDVRN\HPXSLWRSD are so full of life— ከࠎÅチⳝ WDWDPLNRPR take a branch of white oak of ᘢហ฼⬟ኪᦶ⬟ S\HJXULQR\DPDQR multi-layered Mount Heguri. ᚿ㑘ఞஅ㣹ሳ VLUDNDVLJDye wo Stick in your hair, னཷ⌗ᕥໃ uzu ni sase and adorn your head. チ⬟ᅛ kono kwo Even you, my child. This phonogram appears 56 times in 0DQ¶\ǀVKnj, and along with せ, is the main phonogram to transcribe \H. MYS 807 Ᏹ㇋㒔ோἼ XWXWu nipa There is no way Ᏻᕸవᚿ໚ዉᏊ DSX\RVLPRQDVL for us to meet in reality. ያ፠ከ㯞⬟ QXEDWDPDQR See me in your ⏝ὶ⬟ఀ᫕ோ㉺ \ZRUXQRLPHQLZR dreams at night, 㒔ఄᥦ⨾チ᭮ WXJLWHPLye koso black as ink.  OJ: \H OC: *lai LH: jai > je EMC: jie GO: i KN: i SK: i NOM: di, da\JLa\U˯i SV: diULJL Usage / History: This phonogram, as mentioned under OJ: i, belongs to the PBS. There is some evidence that this phonogram also had the reading /ye/, which may have been a transitional reading from OC to EMC. Coblin (1983:149) reconstructs the Eastern Han pronunciation of this graph as *jie, showing that the nucleus was likely the mid front vowel /e/ and not the high front one /i/. Schuessler (2009:213) seems to agree. A good example of this usage appears in Shoki: 㜿㈼y㑣᪁ ake yenasi. The apparent Japanese version of this name is ᘏ㑣᪁ Yenasi. This name also appears in the main record as well as in the quotes from Paekche pongi. The opposite may also be true, however, and the nuclear vowel was actually the fronted one. It is difficult to know, so I list this graph under both headings and .  OJ: \H OC: *los or *ORWV LH: juas EMC: jiwäih GO: \e KN: \HL NOM: NA SV: du͏ SK: \H Usage / History: This phonogram belongs to the EJS. The earliest example appears in the early poetry contained in Jǀgnj ShǀWRNXKǀǀ WHLVHWVX: ఀຍ␃ᡃ஀ LNDUuga no Our great ruler’s name Ṇ⨾⬟இఱἼ஀ WRPLQRZRJDSDQR will never be forgotten, ከ፠チ᭯ WDyeEDNRVR even if the brook ࿴ఱ᪊ಖᨭ⨾஀ wa ga opokimi no Tomi in Ikaruga ᘺዉ࿴㡲Ⰻ⡿ PLQDZDVXUDyeme should cease to flow in its bed. This phonogram is used in the liturgies, which I have already posited actually 522

reflect a state of early Old Japanese (2001:26): ఀຍᚿኪஂἼ LNDVL\D NXSD ye ‘flourish like the thick branches of the mulberry’ (NT 2) and బຍᚿ⡿㈷ sakayesime TAMAPYE ‘that you may be made to prosper’ (NT 2). This phonogram also appears in Nihon shoki, once in the annotational notes: ⫝̸ࠊṈப㜿 ³ௗµprotective arm pad worn by archers’ is called aye.” This phonogram is used twice in Man’\ǀshnj: MYS 4428 ࿴ᡃୡዉஇ wa ga sena wo I have sent 㒔ஂᚿἼኪ฼ᘭ WXNXVLSD\DULWH my husband to Tsukushi Ᏹ㒔ஂஅ⨾ XWXNXVLPL and miss him dearly. ẚἼⓏຍዉࠎ yeSLSDWRNDQDQD Perhaps I should sleep 㜿ኪᑣྍẟ⚲∹ D\DQLNDPRQHPX with the cord of my robe tied.

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OJ: \H OC: *laWV LH: jas EMC: jiäih GO: \ei KN: \HL NOM: d̩LGiLGjL SV: d͏, du͏ SK: \H Usage / History: This phonogram belongs to the CBS. It is the main phonogram in Nihon shoki to transcribe \H, appearing in one annotational note, and 25 times in poetry: ⲧࠊṈபἼ ³ௗµthe graph ⲧ sprout’ is read paye” (NSG). NSK 86 ᪊ᒱẖះ⯅ RNLPHPR\R Alas Okime, 㜿⏠Å⬟᪊ᒱẖ apumi no okime Okime from Afumi— 㜿㡲⏝฼⡔ DVX\ZRULSD tomorrow you return to hide Å㔝☻ᡃ೜฼ᗏ PL\DPDJDNXULWH in the mountains and I will ᙗᏦျㅶ㜿⨶∹ miye]XNDPRDUDPX be able to see you no more. This phonogram also appears twice in MaQ¶\ǀVKnj, but both are in border poems. MYS 4321 ྍஅྂఄኪ NDVLNZRNL\D Filled with trepidation ⨾チ➼ຍᡃᕸ⌮ PLNRWRNDJDSXUL I receive the august command— 㜿㡲⏤฼ஓ DVX\XUL\D From tomorrow I likely will ຍᡃ∹ከ⚲∹ kaye JDPXWDQHPX be sleeping with straw, ఀ∹ዉஅᑣᚿᘭ LPXQDVLQLVLWH without my beloved. This phonogram is also used once in the imperial edicts. ዴ᫝㓶஦⪅⪺⮬ KAKU [NO] SIKOGOTO PA KIKOyezi ‘Such filthy acts will probably not be handed down (to others)’ (SM 17). OJ: \H OC: *jau LH: jau EMC: jiäu GO: \eu KN: \HX NOM: Uao SV: dao, Uao, giao SK: \ZR Usage / History: This phonogram belongs to the LJS. It occurs in one poem in Nihon shoki, which Mori (1991:243) lists as \ZR instead of \H. However, as noted below, this graph appears twice in one Man’\ǀshnj poem, both times clearly transcribing \H. The usual explanation for 㜿㐶ẚ is that D\ZRSL is a variant form of D\XSL ‘leg straps.’ For the time being I view this as a variant form. 523

NSK 74 㣡Å⬟ྂ⡔ omi no kwo pa The servant of the crown, ከಸ⬟ἼఞᦶႲ WDSHQRSDNDPDZR arranging his hemp trousers 㑣ࠎ㝎Ⴒ⤉ QDQDS\HZRVL and his seven-fold armor, ൽ᧛ൽ㝀ࠎጞㅉ QLSDQLWDWDVLWH is standing out in the garden. 㜿㐶ẚ㑣㝀㡲ᬽ ayepi nadasu mo He straightens his leg straps. This graph appears twice in one poem in 0DQ¶\ǀVKnj. MYS 3309 MONO OMOPAZU While walking along the road ≀୙ᛕ MITI YUKU YUKU MO without being deep in thought ㊰⾜ཤ　 AWOYAMA wo when I looked back up 㟷ᒣஇ PURISAKE MIREBA at the blue mountains ᣺㓇ぢ⪅ there was a beautiful maiden, 㒔㏣ឿⰼ WXWX]LPANA ᑣኴ㐶㉺㈽ niPOye ZRWRP\H colorful as the azalea blossoms. SAKURABANA A maiden in full bloom సᵹⰼ బྍ㐶㉺㈽ sakaye ZRWRP\H like the cherry blossoms. NARE wo zo mo People say that Ợஇླྀẕ WARE ni YOSU TO IPU you are attracted to me. ࿃ᑣ౫ப WARE wo zo MO People say that ࿃இླྀ≀ NARE ni YOSU TO IPU I am attracted to you. Ợᑣ౫ப NA PA IKA NI OMOPU What do you think? Ợ⪅ዴఱᛕஓ

┶

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OJ: \H OC: *Ҍiauh LH: Ҍiauh EMC: Ҍjiäu GO: \eu KN: \HX NOM: \rX\͇u, HRpR SV: \rX\͇u SK: \ZR Usage / History: This phonogram belongs to the LJS. It appears only in Man’\ǀshnj, but it is the primary graph used to transcribe \H, appearing in the anthology a total of 70 times. MYS 1418 IPABASIRU Yes, spring has come ▼⃭ when the true bracken ᆶぢஅୖ஀ TARUMI NO UPE no ᕥ࿴Ⰻጅ஀ VDZDUDELQR standing by the waterfall ẟ要ฟ᫓ᑣ mwoye IDURU PARU ni gushing forth from the boulder NARI NI KYERU KAMO has shot forth its buds. ᡂ᮶㬞  OJ: \H OC: *weƾҌ LH: weƾҌ EMC: jiwäƾҌ GO: \DX KN: \HL NOM: gi̫nh, nh̫nh SV: dƭnh SK: \HQJ Usage / History: This usage belongs to the LJS. It appears once in Shinshaku kegon onshiki, where ⡍ ‘panpipes’ is glossed as ᕸ puye. There also is a wooden fragment (mokkan) excavated from Dazaifu which contains the toponym ⸃㯞ጿ(㒆) Satuma YeH'LVWULFWUHSUHVHQWLQJDORQJYRZHO ,QQHLJKERULQJƿVXPL3URYLQFH there is a district Soo traditionally written as ᄻၖ. The place name ⣖ఀ for .LLDOVRFRPHVWRPLQG,WLVSRVVLEOHWKDW2OG-DSDQHVHOLNHPRGHUQ5\njN\njDQ

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had compensatory lengthening for monosyllables. These renditions may be a vestige of this.

Ӛ

ᖅ

OJ: \H OC: *hwaƾ LH: K\aƾ EMC: xwiajƾ GO: NL\DX KN: kuwei NOM: KXrQKKX\rQK SV: KX\QK SK: K\HQJ Usage / History: This kungana calls to mind OJ \H ‘older.’ It is possible that this usage was modeled after that on the peninsula. .RU\ǂJL records, ḟኴ኱Ƹẚ஧ရ “Next is Great da-hyaƾ, which is comparable to the second rank” (Takeuchi 1977:34). This usage was quite popular, and appears in the earliest extant records preserved in Japan. In Jǀgnj ShǀWRNXKǀǀ WHLVHWVX we find it in the name ᒣ௦኱ ⋤ Prince YAMASIRO OPOYE. In the Mino Census of 702 there is the name  㯞 ࿅ YEmaro and  ᒇ ㈽ YEYAmye. On the Sairinji Buddha statue inscription (ca. 659) we find the name 㛗 NAGAYE. This usage also appears in Kojiki in names like ẚ㈽ YEpimye (KG) or ᖌᮌ YEsiKWI (KG), which possibly are not really names as much as rather vague designations: ‘elder X’ or ‘elder Y.’ Nihon shoki contains examples much like those in Kojiki: ⊶ YEUKASI (NSG), ☾ᇛ YESIKWI (NSG), and ಴ୗ YEKURAZI (NSG). There are a number of similar usages in 0DQ¶\ǀVKnj, but perhaps the best known example is the cryptic poem, number nine. My translation of the first two extremely cryptic lines follows that of Vovin (2002:456–458). MYS 9 Ⳙᄲᅭ㞄 nacuh-RLWRODO-in When I look up at அ኱┦୐∎ㅜỀ WK\HWD-po-ni-ke-ca mud-ke the evening moon, I asked— WA GA SEKWO GA at the base of ࿃℩Ꮚஅ the sacred oak tree that ᑕ❧Ⅽව ITATASERIN\HPX my beloved had planted. ஬ྍ᪂ఱᮏ ITUkasi ga MOTO Thus this is actually the remnant of a Paekche or Silla poem, the first two stanzas preserving the Old Korean rendition, while the last three stanzas have been converted into Old Japanese. As can be seen, ඗ here is not \H, but is ke, based on the EMC xwiajƾ. An example of ඗ transcribing \H in 0DQ¶\ǀVKnj appears below: MYS 196 SIKARE KAMO Is it because of this? ↛᭷㬞 I feel deep sadness, ⥤ᑣ៯ AYA ni KANASIMI like the unrequited love of ᐟ㫽அ NUYEDORI no KATAKWOPWIDUMA the thrush longing for its mate, ∦ᠷᎼ ASA TORI NO or the morning bird ᮅ㫽 KAYWOPASU KIMI GA flying back and forth, ᚃ᮶Ⅽྩஅ NATUGUSA no and my thoughts for you droop ኟⲡ஀ OMOPI siNAYETE as the wilting summer grass. ᛕஅⴎ⪋ OJ: \H LH: kэƾ NOM: giang, nhăng

EMC: kåƾ SV: giang 525

OC: *NU{ƾ GO: kau KN: kau SK: kang

Usage / History: This kungana causes the reader to connect Ụ ‘great river’ to OJ \H ‘river inlet.’ This usage appears in Kojiki in toponyms like 㛗 NAGAYE (KG), ኱  OPOYE (KG), or a name such as ቚ኱⚄ ‘the great deity SUMIYE’ (KG). In Nihon shoki examples are limited to names like ☾ᇛ⦩୺ⴥ PAYE, the district governor of SIKWI (NSG), ᇼ PORIYE (NSG), or ⍞ᾆᔱᏊ MIDUNOYE URASIMAKWO (NSG). This kungana also appears in Man’\ǀshnj. It appears in the name Ύ SUMINOYE and others. MYS 252 ARATAPE NO At the bay of Fujie Ⲩ᰻ of rough fabric ⸨அᾆᑣ PUDIYE NO URA ni will I be mistaken as a 㕥ᑍ㔮 SUZUKWI TURU AMA TO KA MIRAMU diver catching sea bass? ⓑỈ㑻㊧㤶ᑗぢ TABI YUKU WARE wo The wayfarer that I am. ᪑ཤ࿃இ

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OJ: \H OC: *ke LH: kie EMC: WĞje GO: si KN: si NOM: chi SV: chi SK: ci Usage / History: This kungana suggests to the mind OJ \H ‘branch.’ The earliest datable examples appear in the Mino Census of 702: ⓒ㈽ MWOMWOYEmye. This kungana also appears in Kojiki in a number of names: ኱⋤ Prince OPOYE, ▮ Ἑ  ẚ ㈽ YAKAPAYE Pimye, and ᝴ ㈡ 㛗  NAGAYE of Wega. Examples of this kungana in Nihon shoki include names like ኱ⴥⓚᏊ Prince OPOPAYE (NSG), Ἑ㑔ⓒ⮧ KAPApye MOMOYE OMI (NSG), and ஬ⓒ IPOYE (NSG). There is one example of this usage in Man¶\ǀVKnj. MYS 3256 ᩝࠎ୹ SIKUSIKU NI She will probably not be OMOPAZU PITO PA thinking constantly of me, ୙ᛮேྒྷ ARURAMEDO but alas, I will not 㞪᭷ be able to forget her 巼ᩥ࿃⪅ SIMASIKU mo A PA WASURAYENU KAMO for at least a little while. ᛀ἟㬞 OJ: \H OC: *NLW LH: NLW EMC: NMLW GO: NLWL KN: NLWX NOM: ki͇WFiW SV: FiW SK: kil Usage / History: This kungana suggests to the reader OJ \H ‘good, fortunate.’ This usage is generally confined to the place name ఫ³ SUMIYE, which appears in both Nihon shoki and Man’\ǀshnj. This usage also appears in +DULPD IXGRNL in the place name ³ᕝ YEGAPA and ኱³ᕝ OPOYEGAPA. It also appears in +LWDFKL IXGRNL in ³๓㑚 YESAKI Village. 

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OJ: \HPX OC: *lam LH: jam EMC: jiäm GO: \emu KN: \HPX NOM: YLrP SV: YLrP SK: \HP Usage / History: This usage belongs to the LJS, and appears as the toponym 㣕 Pwiyemu, ZKLFK DSSHDUV LQ DQFLHQW GRFXPHQWV LQ SRVVHVVLRQ RI 6KǀVǀLQ This same toponym appears on several mokkan (MK 2015, 2020). OJ: \R OC: *la LH: ja EMC: jiwo GO: \R KN: \R NOM: dͷ SV: dͷ, giͷ SK: \H Usage / History: This phonogram belongs to the WS, used in the name of the queen’s heir, as recorded in Wei zhi: ྎ與 *dԥ-y‫ܤ‬. This phonogram also appears on the Chyangnyeng Silla inscription (561) in the name ኱➼與ྂዉᮎ *dai-tԥng-ja-k‫ ܧ‬of the 11th rank. It also appears on the Hamcwu Silla King hunting stele (568), in the name ႎ㒊與㞴኱⯋ *ja-nan of the 12th rank from the First Quarter of the Capital. This phonogram also appears in the earliest extant corpus of Japanese texts, appearing in the now lost inscription on the Iyo Dǀgo Hot springs stele, supposedly dated around 596 (though it may actually date much later). The toponym in question is ዀ與ᮧ Iyo Village. This phonogram appears five times in the liturgies, four of which represent \RUL ‘from’: ໭᪉బΏ㔛இ▱⬟ᡤஇ ዉ∹ከ▱␿㨣அఫຍⓏᐃ㈷ẚ KITA [NO] MO [PA] sadwo yoULZRWL no TOKORO wo QDPXWDWL EKI [NO] ONI NO SUMIND WR SADAMETAMApi “From the direction of the north, (the deities) have determined that the dwellings of you, the demons of pestilence, will be the distant places from Sado Island northward…” (NT 16). This phonogram appears on a number of mokkan: ఀᅜఀ㒆 Iyo Province Iyo District (MK 3561), ᭮ᕸዪ YosopuMYE (unnumbered tablet), and ⚇ ୓࿅ Yonemaro (unnumbered tablet). This phonogram is generally avoided by the Kojiki scribe/editor, because of its grammatical use in classical Chinese syntax, meaning ‘and.’ There are, however, seven examples of this graph in the early Kojiki poetry: KK 6 㜿Ἴẕ與 a pa mo yo Because I too ㈽㏓᪁㜿⚰፠ P\HQLVLDUHED am but a woman, 㑣㐲ᒱᘭ QDZRNLWH other than you 㐲Ἴ㑣ᚿ wo pa nasi I have no other man. 㑣㐲ᒱᘭ QDZRNLWH Other than you I have no other spouse. 㒔㯞Ἴ㑣᪁ WXPDSDQDVL 㜿ኪຍᒱ⬟ D\DNDNLQR At the bottom of ᕸἼኪ㈡᪁ከ∞ SXSD\DJDVLWDQL the veil of finely woven cloth— ∹᪁ኵ㡲㯞 PXVLEXVXPD at the bottom of ∞ྂኪ㈡᪁ከ∞ QLNZR\DJDVLWDQL the soft bedding— ከஂኵ㡲㯞 WDNXUEXVXPD at the bottom of the gently బኪල㈡᪁ከ∞ VD\DJXJDVLWDQL rustling mulberry sheets— 㜿࿴⏤ᒱ⬟ DZD\XNLQR please lie with me, 527

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࿴ຍኪὶ∹Ἶ㐲 ZDND\DUXPXQHZR taking my young breast, ከஂ㇋ᛣ⬟ WDNXGXQXQR soft like powder snow, ᪁㊰ᒱከ㝀∹ᒱ VLUZRNLWDGDPXNL in your white arms, ᭯㝀ከᒱ VRGDWDNL wrapping your hands, ከከᒱ㯞㑣㈡⌮ WDWDNLPDQDJDUL those true hands 㯞ከ㯞ബ PDWDPDGH around my back ከ㯞ബబ᪁㯞ᒱ WDPDGHVDVLPDNL with your arms outstretched ẟẟ㑣㈡㏓ mwomwo naga ni like jewels on a string ఀ㐲᪁㑣ୡ i wo si nase and your legs stretched out. Ⓩ與⨾ᒱ WRyo miki Drink this ከᘭ㯞㒔Ⰻୡ WDWHPDWXUDVH eternal wine. This phonogram is used three times in Nihon shoki annotational notes, and seven times in poetry: ኳྜྷⴱࠊṈப㜿ᦶ⬟與బᅯ⨶ࠋ୍பࠊ與᭳㇋⨶ ³ௗµheavenly auspicious vine’ is read ama no yoVDWXUD. Another tradition says this is yoVRWXUD” (NSG). NSK 91 ᪊ᙗ⬟ጡ⬟ omi no kwo no The son of the Omi has ⪨㈿⬟அ㨱ᰓᯨ \DSXQRVLEDJDNL made a fine brushwood fence. ጞ㝀㦐వÅ VLWDWR\RPL But if the earth quakes 㑣∔ᡃ與㔟᧸㨱 nawi ga yoULNRED that brushwood fence ⪨㯪ክஅ㨱ᰓᯨ \DUHPXVLEDJDNL will likely fall to pieces. This is the primary phonogram to transcribe \R in Man’\ǀshnj, appearing 171 times. MYS 27 YOKI PITO no Good people of old took a good ῄே஀ YOSI TO YOKU MITE look at this place, Ⰻ㊧ྜྷぢ⪋ YOSI TO IPIsi saying it was good, Yoshino. ዲᖖゝᖌ ⰾ㔝ྜྷぢ YOSINWO YOKU MIyo You good people here, YOKI PITO YOKU MI take a good look at Yoshino. Ⰻேᅄ᮶୕ This phonogram also appears on the Bussoku stone inscription: BSS 3 ఄẚṆ஀ yoNLSLWRQR I cannot see 㯞బ⡿ᑣ⨾♮∹ masame ni mik\emu even the footprints that ⨾㜿Ṇ㡲Ⰻஇ PLDWRVXUDZR the righteous men must ࿴♩Ἴ⾰⨾㡲ᘭ ZDUHSDHPLVXWH have seen before their eyes— ఀἼᑣ᝴฼㒔ஂ LSDQLZHULWXNX engrave them on the rock. ከ㯞ᑣ᝴฼㒔ஂ WDPDQLZHULWXNX Engrave them on the jewel.  OJ: \R OC: *la LH: ja EMC: jiwo GO: \R KN: \R NOM: d˱U˱ SV: d˱ SK: \H Usage / History: This phonogram belongs to the WS. This phonogram is often abbreviated to వ. It appears in the name of the land of ኵ㣾 *pu-y‫( ܤ‬what is later called Puyo). Wei zhi also mentions a king of Puyo known as 㯞㣾 *ma-y‫ܤ‬.

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This phonogram also appears on the Kwangkaytho stele: ኵ *pu-y‫ܤ‬,  ᇛ *y‫ ܤ‬fortress, and ㈽໙Ẹᅜ the people of *m‫ܭ‬-ko-y‫ܤ‬. This phonogram also appears on the Inariyama tumulus sword: ຍᕪᢨ Ka-sa-pai-yo. This phonogram appears in -ǀJnj6KǀWRNXKǀǀWHLVHWVX, in Suiko’s name: Ṇ  ⨾ Ẽ ຍ ᚿ ᨭ ኪ ẚ ኎ ኳ ⓚ Empress Toyo Mike Kasikiya Pimye. This phonogram appears on a number of mokkan:  ᚿ 㔝 ዪ YosiNWOMYE (unnumbered tablet), and a fragment of a poem: Ἴὶዉ♩Ἴఀ୓ᚿ‫⏤͐ڧڧڧ‬ ⡿ఀẕἼኪஂఀ‫ڧڧ‬ያ‫ڧ‬Ṇ฼㜿Ἴᚿ‫ ڧ‬SDUXQDUHEDLPDVL;;;«\XPHyo i PR SD\DNX L;;QX; WRUL DSDVL;« ‘Because is is spring / right now… / never even (think of sleep) / quickly… / you harmonized with me’ (MK 179). This is the principal phonogram used in Kojiki: ᨾ㜿బ⡿⋪ KARE asame yoku ‘Thus, look around well…’ (KG), ẚ㈽ከከⰋఀ㡲Ề⌮ẚ㈽ Princess Pimye Tatara Isukeyori (KG). KK 8 㜿ຍ㝀㯞Ἴ akadama pa The red beads ⿁బ㛠ẚ㏑⚰ᯆ ZRVDSHSLNDUHGR glow even on the string, ᪁Ⰻከ㯞⬟ VLUDWDPDQR but your appearance, ᒱ⨾ఱ᭯ẚ᪁ kimi ga yosopisi white like a pearl, ከᕸᩯஂ㜿⌮♮⌮ WDSXWZRNXDULN\HUL is indeed magnificent. This phonogram appears twice in the annotational notes and nine times in the poetry in Nihon shoki: ἨὠᖹᆏࠊṈபẕ㒔ẚ⨶బྍ ³ௗµthe flat hill of Yomi’ is read yoPRWX SLUDVDND” (NSG). NSK 97 㥏㛤⬟ WDNHQR Wonderful, flourishing bamboo ௨▴⨾ፋ㛤ᄞ㛤 ikumidake yodake with long joints and leaves— ㅶ➼㝎Ⴒ㯟 PRWRS\HZRED We will make a NRWR Ⳅ➼ൽ㒔೜၆ NRWRQLWXNXUL out of the base of it, 㡲⾫㝎Ⴒ㯟 VX\HS\HZRED and make a flute ᗓ᭥ൽ㒔೜၆ SX\HQLWXNXUL out of the top of it. This phonogram appears in Man’\ǀshnj 142 times. MYS 873 Let us pass down this tradition ࿅㇋ᑣ yoURGXyo ni ྍከ฼㒔ኟ➼அ NDWDULWXJ\HWRVL to the myriad generations— チ⬟ከỀோ NRQRWDNHQL it seems she waved ẚ౛ᕸ฼ᐙⰋஅ SLUHSXULN\HUDVL her scarf on this peak, 㯞㏻⨶బ⏝Ꮋ㠃 PDWXUDVD\ZRSLP\H Princess Sayo of Matsura.

έ ఢ

OJ: \R LH: ja NOM: d˱U˱ Usage / History: See 㣾 above. OJ: \R LH: jΩҌ > jѠҌ NOM: dƭ

EMC: jiwo SV: d˱

OC: *la GO: \R KN: \R SK: \H

EMC: jiѠ SV: dƭ

OC: *lΩҌ GO: i KN: i SK: i

529

Usage / History: This is a somewhat difficult phonogram to track, as it is easily confused with ᕫko. Based on the currently available data, I place this phonogram in the PBS. It appears on the Inariyama tumulus sword inscription in the name ᘭzຍ฼⋓ ᒃ Teyokari Waka. This phonogram also appears on in a Buddhist inscription preserved in the Gangǀji Temple record, in the name of Suiko: ➼zᙗᒃຍ᪁ኪẚᙗ஀ᙗᕫ➼ Toyo Mikasiya Pimye no Mikoto. It also appears in the rendition of the name of Shǀtoku Taishi as preserved in an inscription said to have been written on the Hǀrynjji Tenjukoku mandala tapestry: ➼zยᙗᙗ஀ᙗᕫ➼ Toyo Twomimi no Mikoto. This phonogram fell out of use, likely because of its grammatical use in classical Chinese syntax. One meaning of ᕬ is ‘only’ or ‘very.’

⛈

ⲇ

OJ: \R OC: *lah LH: jah EMC: jiwoh GO: \R KN: \R NOM: d͹ SV: d˱, d͹, dͭU˱, Uͷ SK: \H Usage / History: This phonogram belongs to the LJS. It is often abbreviated to ண. It appears ணIyo Province. Of the three examples of this early on in the name ఀ㇧orఀண phonogram in Kojiki, two transcribe Iyo, while the third is ㇧ẕ㒔ᚿチ㈽ yoPRWXVLNRP\H ‘the ugly woman of Hades’ (KG). This phonogram is the primary graph used to transcribe \R in Nihon shoki, appearing 29 times in the poetry. NSK 10 ఀⳝἼ㇧ ima pa yo We have now won! ఀⳝἼ㇧ ima pa yo For now we have won! 㜿ࠎ᫬ኪሳ DDVL\DZR Fools! Serves you right! ఀⳝ⃦⪋ẟ imada ni mo Have the had enough, 㜿ㄗ㇧ ago yo you, my troops? ఀⳝ⃦⪋ẟ imada ni mo Have the had enough, 㜿ㄗ㇧ agwo yo you, my lads? This phonogram appears quite often in Man’\ǀshnj, though it is frequently used to represent DUDND]LPH ‘in advance.’ It is also used for Iyo in many headnotes, but the phonogram used to transcribe \R actually only appears in one poem: MYS 322 ᴟṈ␲ kogosi KAMO And you stood on Izaniwa Hill, ఀ㇧⬟㧗ᕊ஀ iyo no TAKANE no ᑕ⊃ᗞ஀ IzaNIPA no a high peak in Iyo WOKA ni TATASITE that is rugged and steep.... ᓵᑣ❧⪋ OJ: \R LH: jaҌ NOM: d͹, d͹a

EMC: jiwoҌ SV: d͹

530

OC: *laҌ GO: \R KN: \R SK: \H

Usage / History: This phonogram belongs to the CBS. It is sometimes used to transcribe the toponym ఀ㡸Iyo in the Nara era. This phonogram appears in Nihon shoki, once in an annotational note and in three poems: ㅳࠊṈபᏱဟ㡸Å ³ௗµsong’ is read as XWDyomi” (NSG). NSK 113 ⪨㯞㬽᧛∞ \DPDJDSDQL There are two mandarin ducks ⅲᚿ㈿㢒㒔ጾᗏ ZRVLSXWDWXZLWH at the mountain stream, 㝀⹯ẝ㡸೜ WDJXSL\RNX paired off so nicely. 㝀⹯㝎ᒗఀះஇ WDJXS\HUXLPRZR Who has taken my beloved ከ౛ᰓጾ∞㞱Ṋ WDUHNDZLQLN\HPX who paired off so well with me?

̔ ⚙ ˌ

۱

OJ: \R LH: jah NOM: d͹ Usage / History: See ㇧ above.

OC: *lah EMC: jiwoh GO: \R KN: \R SV: d˱, d͹, dͭU˱, Uͷ SK: \H

OJ: \R OC: *la LH: ja EMC: jiwo GO: \R KN: \R NOM: dͫ SV: d˱, d͹GXU˱ SK: \H Usage / History: This phonogram belongs to the CBS, and appears once in an annotational note in Nihon shoki: 㷴 Ἠ அ ❟ ࠊ Ṉ ப ㆨ ẕ 㒔 ತ 㐝 ẚ ³ௗµhearth of the underworld’ is read yoPRWXSHJXSL” (NSG). OJ: \R OC: *OKDWV LH: Ğas MC: Ğjäih GO: se KN: sei NOM: WKiWK͇, WKp SV: WK͇ SK: V\H\ Usage / History: This kungana suggests to the reader OJ \R ‘world, society.’ Nihon shoki preserves names such as /く㊊፾ YOSO TARASI PIMYE (NSG) and ℠ὠ/ く OKITU YOSO (NSG). This usage also appears in Man¶\ǀVKnj, but primarily to transcribe TOKOYO. MYS 2885 As the night wore on ᕥኪ῝⪋ saYWO PUKETE IMWO wo OMOPIDE I recalled my beloved ጒஇᛕฟ SIKITAPE NO and lamented so bitterly ᕸጁஅ MAKURA mo SOYO ni that the spread out bedding, ᯖẟ⾰/஧ NAGEKITURU KAMO my pillow, shook. Ⴣ㭯㬞 OJ: \R OC: *NLW LH: NLW EMC: NMLW GO: NLWL KN: NLWX NOM: ki͇WFiW SV: FiW SK: kil Usage / History: This kungana calls to mind OJ \R ‘good, auspicious.’ In the Yamashiro Atago Census of 726 we find the name ³ย⮬㈽ which appears to represent 531

YOtwozimye, but also might be KITItwozimye. In Nihon shoki there are two names with this kungana: 㪭✚³஦ WANI TUMI YOGOTO (NSG), and ⳱⏣³ ✫ UDA [NO] YONABARI ‘Yonabari of Uda District’ (NSG). This kungana also appears in Man’\ǀshnj a total of five times, but all transcribe Yonabari (³㞃, ³ྡᙇ or ³㨶ᙇ). MYS 2190 WA GA KADWO NO The miscanthus at the gate ࿃㛛அ ASADI IRODUKU of my house is in full color. ῦⱴⰍᑵ ³㨶ᙇ⬟ YONABARI no It seems that the autumn leaves ᾉᰘ஀㔝அ NAMISIBA no NWO NO of the trees on Namishiba Plain MOMIDI TIRUUDVL in Yonabari are scattering. 㯤ⴥᩓⰋ᪂

ࡈ

ͦ

ܵ

OJ: \R OC: *sis LH: sis > sih EMC: sih GO: si KN: si NOM: Wͱ SV: Wͱ SK: so Usage / History: This kungana calls to mind OJ \R ‘four.’ This usage is only found in Man’\ǀshnj, appearing five times. MYS 27 YOKI PITO no Good people of old took a good ῄே஀ YOSI TO YOKU MITE look at this place, Ⰻ㊧ྜྷぢ⪋ YOSI TO IPIsi saying it was good, Yoshino. ዲᖖゝᖌ ⰾ㔝ྜྷぢ୚ YOSINWO YOKU MI\R You good people here, YOKI PITO YOKU MI take a good look at Yoshino. ⰋேB᮶୕ OJ: \R OC: *lΩըkh LH: dΩh EMC: d̵ih GO: dai KN: WDL NOM: ÿͥi SV: ÿ̩i SK: GR\ Usage / History: This kungana suggests to the reader the OJ word \R ‘reign or dynasty.’ This usage is only found in Man’\ǀshnj, used twice. MYS 1461 PIRU PA SAKI The Albizia, the sleeping tree ᬀ⪅ဏ YWORU PA KWOPWINURU whose flowers bloom in the day ኪ⪅ᠷᐟ and slumber at night. ྜṅᮌⰼ NEBU NO PANA KIMI NOMWI MIME YA Shall only I gaze at it? ྩ⪥ᑗぢဢ You view it also! ࿴Ềబಸᑣぢwake sape ni MIYO OJ: \R OC: *hâ or *hâh LH: ha, hah EMC: xuo, xuoh GO: ko KN: ko NOM: ho, hò, hô SV: hô SK: hwo Usage / History: This kungana is somewhat cryptic. There is only one example of this usage in Man’\ǀshnj, so the proper interpretation is not completely clear. It seems that the graph ࿧ ‘to call out’ is intended here, suggesting \R, a similar word used as a greeting in some forms of vulgar English.

532

MYS 723 ᖖ஧㊧ ࿃⾜Ⳙᅧ ᑠ㔠㛛ᑣ ≀ᝒⰋᑣ ᛕ᭷அ ࿃ඤ஀ย⮬⥴ 㔝ᖸ⋢அ ኪᬀ㊧୙ゝ ᛕ஧ᛮ ࿃㌟⪅⑭ያ Ⴣ୹ᖌ ⿇ᕥಸἡያ

⽰

ᨁ

TOKOYO ni TO WA GA YUKANAKUNI WOKANATWO ni MONOGANASIUD ni OMOPYERIsi A GA KWO QRWZR]L:2 NUBATAMA NO YWORU PIRU TO IPAZU OMOPU ni si A GA MWI PA YASEnu NAGEKU NI si SWODE sape NUREnu

OJ: \R LH: WĞhΩҌ EMC: WĞhѠҌ NOM: x͑, x͑a x̓, x͋ SV: x͑ Usage / History: This kungana suggests to the reader the usage is found once in Man’\ǀshnj. MYS 2773 SASU TAKE NO ่➉ 㰾㞃᭷ YOGOMORITE ARE WA GA SEKWO GA ࿃⫼Ꮚஅ WAGARISI KOZU ࿃チ୙᮶⪅ ARE KWOPWIME YAMO ࿃ᑗᠷඵ᪉

It is not as if I am going to the Eternal Land. Thinking about how you, my child, young lady, stood at the small metal gate with such a somber look— remembering you day and night, black as ink, I have lost weight. Because of my lamenting even my sleeves have become wet. OC: *k-hjΩҌ GO: si KN: si SK: chi

OJ word \R of \Rpapi ‘age.’ This Hide within the joint of the bamboo stalk sticking out! If you, my beloved, had not come to my place would I have fallen in love?

OJ: \X OC: *ju LH: ju EMC: jiΩu GO: \X KN: \XX NOM: G{GRUR SV: du, GRUR SK: \ZX Usage / History: This phonogram belongs to the WS. It appears in Wei zhi in the toponym ඃ ᅧ *‫ݦ‬u-ju domain. This phonogram appears in early texts to transcribe the palace of Empress Suiko: ➼ Ⰻᐑ Toyura Palace and ➼ ⨶ᐑ Toyura Palace. This phonogram appears three times in the liturgies: ᣢ 㯞Ἴ฼௙ዊ⚰ ␃ᖯᖆஇࠊ⚄୺⚃㒊➼ཷ㈷ᘭ MOTIyumaSDUL TUKAPEMATUUHUX MITEGURA wo KAMUNUSI PAPURIBYERA UKETAMAPARIWH “…the offerings presented that have been purified are received and presented by the shrine officiators and the ritual officiators…” (NT 1). This phonogram appears on a number of mokkan: 㜿 ayu ‘trout’ (MK 190), ▼ᕝ ᜨ୓࿅ISIKAPA Yuwemaro (MKK12:138), ▱ኵ ฼ 㒆 Ⰻ 㔛  Tiburi District Yura Village (MKK 5:85), and ẚ piyu ‘amaranth’ (MK 2214). This is also the only phonogram used in Kojiki to transcribe \X: ▩ Ề POKO yuke ‘squeeze (the handle) of his halberd....’ KK 15 ከከ㑣⡿ᘭ WDWDQDPHWH Having proceeded through ఀ㑣బ⬟ኪ㯞⬟ LQDVDQR\DPDQR the trees on Mount Inasa 533

チ⬟㯞⏝ẕ ko no PD\ZRPR where shields are arrayed, ఀ ᒱ㯞ẟⰋẚ iyuNLPDPZRUDSL and fought our battles ከከຍ㛠፠ WDWDNDSHED while keeping watch, ࿴⚰Ἴኪ᝴ያ ZDUHSD\DZHQX how I am famished. ᚿ㯞㒔Ⓩ⌮ VLPDWXWRUL You birds of the island, XNDSLJDWRPR friend of the cormorants, Ᏹୖຍẚ㈡Ⓩẕ ఀ㯞㡲Ề∞チἾ ima suke ni kone come now to my rescue. This phonogram is quite prevalent in Nihon shoki, appearing in two annotational notes, and 13 times in the poetry: 㠋ࠊṈப ᒱ ³ௗµquivers’ are called yuki” (NSG). NSK 46 ன☻⮎ⱏ⬟ XPDSLWRQR I tell you plainly, ከ⳱ᒗ⹫➼ኴặ WDWXUXNRWRGDWH making a nobleman’s promise— ன☩ ㇋ὶ usayuGXUX she is only ከ᭥㯟⳱㣹ົ⌗ WD\HPDWXJDPXQL a spare bowstring for the time ዉ⨶㝙ặẟ㣹ᮃ QDUDEHWHPRJDPR when the one I have breaks. This is the main phonogram used to transcribe \X in 0DQ¶\ǀVKnj, appearing roughly 444 times. MYS 867 ᯨ⨾ྍ ఄ kimi ga yuki Long are the days Ề㑣ᡃஂዉ⌮ያ NHQDJDNXQDULQX since you took your journey. ዉⰋ㐜㑣␃ QDUDGLQDUX The trees in the courtyard ᚿ⁹஀ᕫኴ▱ẕ VLPDQRNRGDWLPR along the Nara road ྍ∹బ㣕ோᐙ㔛 kamusapwiQLN\HUL have taken on an antique air. This phonogram also appears in the Bussoku footprint poems: BSS 1 ⨾㜿Ṇ㒔ஂ␃ PLDWRWXNXUX The resounding sound of ఀᚿ஀ẚ㰯ఄἼ LVLQRSLELNLSD the rock where the footprints 㜿⡿ᑣఀከ฼ DPHQLLWDUL are carved reaches to heaven; the earth even reverberates. 㒔▱బ㛠 㡲♩ WXWLVDSHyuVXUH ▱ࠎἼࠎ㈡ከ⡿ᑣ WLWLSDSDJDWDPHQL for father and mother— ẟ࿅ẚṆ஀ከ⡿ᑣ PRURSLWRQRWDPHQL for all people. The cursive form of this graph is the basis for KLUDJDQD ࡺ, while an abbreviation of this graph results in NDWDNDQD ࣘ.

ߑ

OJ: \X OC: *loh LH: joh EMC: jiuh GO: \X KN: \X NOM: dͭ, gi͡, nhͯ SV: dͭ, dNJ, giͭ SK: \ZX Usage / History: This phonogram belongs to the LJS. This graph appears in Nihon shoki, in one annotational note, and 23 times in poetry: ⪁Ṉப᪊! ³ௗµelderly’ is read oyu” (NSG). NSK 128 㜿⟠ᝅ㤿⬟ akagwoma no The red horse hestitates ௨!௻Ἴࠎ⟠ᒗ iyuNLSDEDNDUX to move toward 㯞▴൲᧛⨶ PDNX]XSDUD the true vine field.

534

ዉ∞⬟㒔ᗏᨀ㦐 QDQLQRWXWHNRWR Why send a message when you ከ㢒ᑽஅ᭥㭜Ṋ WDGDQLVL\HN\HPX can just say it directly? This phonogram also appears once in 0DQ¶\ǀVKnj: MYS 894 㜿㯞⬟ぢ⹫! ama no MISWORA yu From the august, heavenly sky 㜿㯞㈡Ề฼ DPDNDNHUL flying through the firmament MIWATASIWDPDSL you look down upon us, ぢΏከ㯞ẚ KOTO WOPARI having finished your assignment— ஦␌

⣋

ᖿ

ᦛ

OJ: \X OC: *ju LH: ju EMC: jiΩu GO: \X KN: \XX NOM: du SV: du SK: \ZX Usage / History: This phonogram belongs to the LJS. This phonogram appears in a name on one mokkan: 㜿 ᩯ 㒊 ᑠ Ẋ ୓ ࿅ ྠ 㐟 ୓ ࿅  ‘AtwoBYE WOTONOmaro and Yumaro of the same surname’ (MKK 17:162). It appears in one name in Shoku Nihongi: Ᏻ㐟㯞࿅Ayu Maro. It appears in ,]XPR IXGRNL in 㐟グᒣ Mount Yukwi. This phonogram appears only six times in Man¶\ǀVKnj. MYS 111 INISIPYE ni Is it because the bird ྂᑣ KWOPUUXTORI KAMO yearns for the past? ᠷὶ㫽㬞 ᘪ⤋ⴥ஀ YUDURUPA no It soars over the imperial well by the Yuzuriha tree, ୕஭⬟ୖᚑ MIWI no UPE YWORI NAKIWATARI yuku crying out as it flies by. 㬆⃽㐟ஂ OJ: \X OC: *ju LH: ju EMC: jiΩu GO: \X KN: \XX NOM: d̳u, d̯XU̯u SV: dXUX SK: \ZX Usage / History: This phonogram belongs to the LJS, and appears only once in Man’\ǀshnj. MYS 4122 ኪ㯞⬟ከஇ⌮ᑣ \DPDQRWDZRULQL On the saddle of the mountain チ⬟ぢ"ὶ kono MIyuUX the white heavenly clouds Ᏻ㯞⬟அⰋஂẕ DPDQRVLUDNXPR that I see presently— ࿴ከ㒔⨾⬟ ZDWDWXPLQR please stretch out ᪊ᯨ㒔⨾ኪᩎᑣ RNLWXPL\DS\HQL to the palace in the offing ከ▱࿴ከ㔛 WDWLZDWDUL of the deity of the sea, ➼⬟ලẟ฼Ᏻẚᘭ WRQRJXPRULDSLWH cloud up the whole sky Ᏻ⡿ẕከ㯞Ἴ⚲ DPHPRWDPDSDQH and give us rain. OJ: \X OC: *lo EMC: jiu GO: \X KN: \X LH: jo NOM: du SV: du SK: \ZX Usage / History: This phonogram belongs to CBS. It appears only in Nihon shoki, appearing only once in the poetry.

535

NSK 88 㣡Å⬟ྂ⬟ ⪨㝎⪨ျ⨶ျᯨ #ᒗୡⓏ⪨Åྂ

➛ ๘

⅕

omi no kwo no \DS\H\DNDUDJDNL yuUXVHWR\Dmikwo

The son of the Omi— do you, prince, demand entrance within my two-fold Kara fence?

OJ: \X OC: *lo LH: jo EMC: jiu GO: \X KN: \X NOM: NA SV: du SK: \ZX Usage / History: This phonogram belongs to the CBS, and appears only in Nihon shoki, twice in annotational notes: 㰻ᗞࠊṈப㋒㈖Ἴ ³ௗµsacred rice paddy’ is read yunipa” (NSG), 㰻ᚷࠊṈப㋒᪤ ³ௗµsacred wine’ is read yukwi” (NSG). OJ: \X OC: *loҌ LH: joҌ EMC: jiuҌ GO: \X KN: \X SV: dNJUNJ SK: \ZX NOM: UNJ Usage / History: This phonogram belongs to the CBS, but appears only in Nihon shoki, appearing once in the annotational notes and once in the poetry: ‫ࠊދ‬Ṉப$☻ ⌮ ³ௗµurine’ is read yuPDUL” (NSG). NSK 83 ఀඏṊ᪁├ LQDPXVLUR The willow growing along ࿣⡔Ἱẚ㔝ඏᨃ kapaswopi \DQDJZL the banks of the river bends ᐭ㏸$ถ㯟 midu yuNHED with the flow of the water. ඏᙁ௻᪊ᕫ㝀ᬛ QDELNLRNZLWDWL Fluttering or standing tall ᭯⬟Ἶ᧛Ᏹୡ൲ sono ne pa usezu the roots remain unchanged. The editors of the NKBT edition of Nihon shoki argue that the graph in the third stanza should be ႘, based on a number of texts, but they have followed the Kunaichǀ text. The editors of the Shǀgakkan text have the poem as I have provided above, perhaps precisely because they have not used the Kunaichǀ text in their collation. This is a difficult textual issue, as the NKBT editors have relied on five different manuscripts here, while the Shǀgakkan editors have consulted eight different manuscripts. For the time being I have followed the Shǀgakkan editors. OJ: \X OC: *jo LH: jo EMC: jiu GO: \X KN: \X NOM: dua SV: du SK: \ZX\ZRQJNZH Usage / History: This phonogram belongs to the CBS, but only appears in Nihon shoki, appearing once in an annotational note: ‫‮‬ேࠊṈப臾⾫ ³ௗµa woman in charge of the royal bath’ is read yuwe” (NSG). OJ: \X LH: joҌ NOM: NA

஬!!

EMC: jiuҌ SV: dNJUNJ

536

OC: *jo‫ݦ‬ GO: \X KN: \X SK: \ZX

Usage / History: This phonogram belongs to the CBS, and only appears in Nihon shoki, used in four different poems: NSK 119 ⪨㯞ྂ᭥ᗏ \DPDNZR\HWH Though I cross over mountains னÅೖ᯳␃㦐ẕ XPLZDWDUXWRPR and traverse the ocean, ᪊ẕஅᶂᯨ RPRVLUZRNL can I ever forget ఀ㯞⣖⬟⚷▱᧛ imakwi QRXWLSD the pleasant land ೖ㡲⨶&㯞᪨⌗ ZDVXUDyumasizi that is Imaki?

ೝ

ᛏ

OJ: \X OC: *kwΩƾ LH: kuƾ EMC: kjuƾ GO: kuu KN: kiu NOM: cung SV: cung SK: kwung Usage / History: This kungana suggests to the reader the OJ word \XPL, which is sometimes shortened to \X ‘bow.’ It appears fairly early, appearing in the genealogy of Prince Shǀtoku as preserved in Jǀgnj ShǀWRNX Kǀǀ WHLVHWVX: '๐⋤ Prince YUGE. It is also used for three names in Nihon shoki, the above mentioned Prince YUGE and '᭶ྩ YUTUKWI [NO] KIMI, who appears to be an immigrant from Paekche. The true reading of this name is thus in some doubt. This kungana also appears five times in Man’\ǀshnj poetry. MYS 2353 My spouse whom I hid 㛗㇂ PATUSE NO 'ᵳୗ YUDUKWI GA SITA NI at the base of the sacred KAKUSITARU TUMA zelkova tree in Hatsuse— ࿃㞃ᅾጔ ㉥᰿่ AKANE SASI under the moonlit night, TERERU TUKUYWO ni bright like the madder tree, ᡤග᭶ኪ㑑 PITO MIWHPX KAMO perhaps someone has seen her? ேぢ㯶㬞 OJ: \X OC: *lhâƾ LH: WKDƾ EMC: WKkƾ GO: WDX KN: WDX NOM: WKang SV: WKaQJWKiQJ SK: WKDQJV\DQJ Usage / History: This kungana suggests to the mind OJ \X ‘hot water.’ It appears in Kojiki in words like (ὠ▼ᮧ YUTU IPAMURA ‘village of the sacred rock’ (or ‘group of sacred rocks,’ KG) and (ὠὠ㛫᷸ YUTU TUMA GUSI ‘a scared moonshaped comb’ (KG). This usage appears in Nihon shoki in words like (ὠ∎᷸ YUTU TUMA GUSI ‘sacred moon-shaped comb’ (NSG), (ᒣ Mount YU (NSG), ࿃(ᕷᮧ AYUTI Village (NSG), and ‫‮‬ὠᮭᮌ YUTU KATURA ‘a scared NDWVXUD tree’ (NSG). This usage appears 28 times in Man’\ǀshnj. MYS 22 KAPA NO PE no On the sacred cluster of Ἑୖ஀ boulders upriver grass (ὠ┙ᮧ஧ YUTU IPAMURA ni

537

ⲡṊᕥཷ ᖖ୹ẟෂྡ ᖖ⹦ዪ↻ᡭ

᧸

KUSA musazu TUNE NImo GAMO NA TUNE WOTOMYE NITE

does not grow. I wish they could forever remain thus. Forever like a young maiden.

OJ: \ZR OC: *loƾh LH: joƾh EMC: jiwoƾh GO: \XX KN: \RX NOM:GQJUͭng SV: dͭng SK: \ZRQJ Usage / History: This phonogram belongs to the EJS. The syllable \ZR is quite rare in OJ, so there are few words or names that contain it, and this explains why such usages are difficult to find. The earliest datable example is from a wooden fragment dated 729 which reads ᧛☻ᅧబ)㒆 Parima Province Saywo District (MK 2080). Another undated fragment reads ᧛☻ᅜబ)㒆బ⏝㒓Ụᕝ㔛 Parima Province, Saywo District, Saywo Village YEGAPA Hamlet (MK 12655). In Kojiki ⏝ is the sole phonogram used to transcribe \ZR: ஂ⨶ୗ㑣Ὢከ 㝀)ᖯ⌰அ᫬ NXUDJ\H QDVX WDGDywoS\HUX NO TOKI ‘when (the land) floated back and forth on the water like a jellyfish...’ (KG); and 㤶)ẚ㈽ KAywo Pimye (KG). In the following poem this phonogram appears three times. KK 2 ኪ▱ᐩチ⬟ \DWLSRNRQR The august deity ㏑ᚤ⬟⨾チⓏἼ kamwi QRPLNRWRSD Yachi Hoko ኪ᪁㯞ஂ∞ \DVLPDNXQL could not marry a spouse 㒔㯞㯞ᒱ㏑Ἶᘭ WXPDPDNLNDQHWH in the land of eight islands. ⓏᐩⓏᐩ᪁ WRSRWRSRVL Then he heard ᨾᚿ⬟ஂ㏓㏓ kwosi no kuni ni there was a wise maiden బຍᚿ㈽㐲 VDNDVLP\HZR in the far-off land 㜿⌮Ⓩᒱຍᚿᘭ DULWRNLNDVLWH of Koshi. ஂἼᚿ㈽㐲 NXSDVLP\HZR He heard there was 㜿⌮Ⓩఄチᚿᘭ DULWRNLNRVLWH a beautiful maiden. బ)፠ẚ㏓ saywoEDSLQL Off he hurriedly went 㜿⌮ከከ᪁ DULWDWDVL to seek her hand in marriage. )፠ẚ㏓ ywoEDSLQL He went back and forth 㜿⌮㏑)፠ໃ DULNDywopase seeking her hand in marriage. ከ▱㈡㐲ẕ WDWLJDZRPR Without even undoing ఀ㯞㝀Ⓩຍཷᘭ LPDGDWRND]XWH the belt of his sword— ῒ㡲ẚ㐲ẕ osupi wo mo without taking off ఀ㯞㝀ⓏຍἾ፠ LPDGDWRNDQHED his cloak he pushed repeatedly 㐲Ⓩ㈽⬟ ZRWRP\HQR 㑣㡲ኪఀከᩯ㐲 QDVX\DLWDWZRZR on the door to ῒ᭯ኵⰋẚ RVREXUDSL where the maiden slumbered. In Nihon shoki this phonogram is used once in the annotational notes, and six times in poetry: 䜑ࠊṈப㯞)ᙁᯨ ³ௗµeyebrows’ is read maywoELNL” (NSG). The following exchange of poems revolves around the OJ word \ZR ‘night.’ NSK 25 is a question, and the answer is given in NSK 26.

538

NSK 25 ⌗ẚ㯟฼ QLSLEDUL How many nights have ⳱⋪Ἴሳ㡲ᨃặ WXNXSDZRsugZLWH we spent since passing through ␗⋪)ఞ⚲⳱ὶ ikuywo NDQHWXUX Niibari and Tsukuba? NSK 26 ఞ㣹ዉಸặ NDJDQDEHWH Counting the days— )⌗Ἴ⹫ࠎ⬟) ywo nipa kokono ywo nine nights have come and gone ẚ⌗Ἴⱏሳఞሳ SLQLSDWRZRNDZR and the sun has risen ten times. There are only 11 examples of this phonogram in 0DQ¶\ǀVKnj. MYS 217 AKIYAMA NO The beautiful maiden like ⛅ᒣ SITAPYEUXIMWO the leaves of autumn mountains, ୗ㒊␃ጒ what did they think ዉ)➉஀ naywo TAKE no 㦐㐲౫Ꮚ➼⪅ WRZRYWORU KWORA PA those supple maidens, IKASAMA ni tender and delicate ఱ᪉ᑣ OMOPIWORE ka like young bamboo? ᛕᒃྍ

ᓕ

૓

OJ: \ZR OC: *lok LH: jok EMC: jiwok GO: \RNX KN: \RNX NOM: dͭc SV: dͭc, Uͭc SK: \ZRN Usage / History: This phonogram belongs to the LJS. It appears in ,]XPR IXGRNL in the following line: 㜿⏝ 㒓ࠋ ᮏ Ꮠ㜿 * ‘The village of Aywo originally was rendered a-ywo.’ This phonogram also appears in +LWDFKLIXGRNL in the following poem: 㒔ஂἼᑽ∞ WXNXEDQHQL On the Tsukuba Peak ఀಖ฼ᘭ LSRULWH I set up temporary lodging, 㒔㯞ዉᚿ∞ WXPDQDVLQL and will it end up ࿴ᡃᑽ∹*࿅Ἴ wa ga nemu ywoURSD being a night I spend alone Ἴኪẕ SD\DPR without my spouse? 㜿Ềያ㈡ẕ akenu kamo Daybreak, hurry and come. This phonogram is the primary graph used to transcribe \ZR in Man’\ǀshnj, appearing 171 times. MYS 822 ࿴ఱ๎⬟ᑣ wa ga sono ni The plum blossoms Ᏹ⡿⬟Ἴዉ▱ὶ XPHQRSDQDWLUX in my gardent are scattering. ẚబྍከ⬟ SLVDNDWDQR Or is it that snow 㜿⡿*㔛⏤ྜྷ⬟ ame ywoUL\XNLQR is falling from the sky, 㑣ఱิஂὶຍẕ QDJDUHNXUXNDPR the far-off sky? OJ: \ZR OC: *loƾ GO: \XX KN: \RX LH: joƾ EMC: jiwoƾ NOM: GXQJURQJUXQJ SV: dung, dong SK: \ZRQJ Usage / History: This phonogram belongs to the LJS. It appears in +DULPD IXGRNL: ㆽ+㒆 Saywo District. This phonogram also appears once in 0DQ¶\ǀVKnj:

539

MYS 883 ᪊Ⓩ∞ྜྷᒱ ┠∞Ἴఀ㯞ኴぢཷ బ+ẚ㈽ᡃ ᚲ⚰ᕸ⌮ఄ➼ᩜ ྜྷẸⴙ㏻Ⰻ᳿‶

ಚ

RWRQLNLNL ME nipa imada MIzu saywo SLP\HJD SLUHSXULNLWRSX kimi PDWXUD\DPD

I have heard the rumors but have not seen it yet— Mount ‘I-will-wait-for-you’ Mount Matsura where Princess Sayo waved her scarf.

OJ: \ZR OC: *loƾ LH: joƾ EMC: jiwoƾ GO: \XX KN: \RX NOM: dong, dung SV: dong SK: \ZRQJ Usage / History: This phonogram belongs to the LJS. It appears only in Nihon shoki, used in two poems. NSK 18 ୍ப Another tradition says: ᪊᭸⪆ጊ,฼ RSRNLWZRywoUL Occupying himself ன௓ఞ༝ặ XNDJDSLWH with a princess, チ࿅బົⱏ NRURVDPXWR he is unaware 㡲⨶ྃሳᚿ⨶⌗ VXUDNXZRVLUDQL that someone spies a chance ẚ㈽㑣⣲ᐭ㡲ᮃ SLP\HQDVZRELVXPR from the large gate to kill him.  OJ: \ZR OC: *loƾh EMC: jiwoƾh LMC: M\Zƾ GO: \XX KN: \RX LH: joƾh NOM: d͕QJGQJUQJ SV: NA SK: NA Usage / History: This phonogram belongs to the CBS. It appears once in .DN\ǀK\ǀVKLNL in the phrase ᕫ⬟￠kono ywo ‘this night.’

෮

঑

OJ: \ZR OC: *jah < *jakh LH: jah EMC: jiah GO: \D KN: \D NOM: d̩ SV: d̩U̩ SK: \Doik Usage / History: This kungana suggests to the reader OJ \ZR ‘night.’ This usage appears in Nihon shoki in names like ᭶ ぢᑛ TUKWI YWOMI [NO] MIKOTO (NSG) and ⅆ ⧊࿨ PO [NO] YWORI [NO] MIKOTO (NSG). This usage also appears seven times in MaQ¶\ǀVKnj. MYS 393 MIYEZU TOMO Even if it is not visible ୙ᡤぢ༑᪉ Ꮱ୙ᠷ᭷⡿ TARE KWOPWIZARAme who does not yearn for it? YAMANO PA ni The moon hesitating to appear ᒣஅᮎᑣ ᑕ⊃ Ṕ᭶இ ISA YWOPU TUKWI wo over the edge of the mountains; YOSO NI MITE siKA To see it even from a distance. እぢ⪋ᛮ㤶 This usage also appears in ,]XPR IXGRNL: ぢᔱ YWOMI SIMA ‘Yomi Island.’ Also in +DULPD IXGRNL we find ஬᭶ 㒆 SAYWO District, and a person named ⊈஭㐃బ SAWI [NO] MURAZI SaYWO.

540

Z ଙ

OJ: za OC: *m-lak or *m-lakh LH: Ĩak, Ĩah EMC: ҉iajk or ҉ia GO: zia KN: sia NOM: x̩ SV: x̩ SK: V\HNs\a Usage / History: This phonogram belongs to the PBS. It is used only once in the peninsular source material quoted in Nihon shoki: ௵ᒱᒣ nizaki [NO] MURE ‘Mount Nizaki.’ An apparently related example is ௵Ꮡᒣ. Compare the reconstructed phonology of the two: ᑕ LH Ĩah EMC ‫ݣ‬ia Ꮡ LH dzԥn EMC dzwԥn If these two are representations of the same mountain, then this suggests two possibilities: Paekche made no distinction between a voiced fricative and a voiced affricate. Also Paekche may not have made a distinction between the vowels /a/ and /ԥ/. Another possibility is, like with Japanese, Chinese did not provide a complete one-to-one match of phonograms with Paekche phonology. It is also possible there is a difference in time between the two transcriptions, showing evolution in one of the two languages (Chinese versus Paekche), or both. This phonogram is used in the Buzen census of 702 in the name 㜿ᙗ຾ Azami SUGURI. It also appears in the Atago register of 733: ⿁ẚ㈽ Woza Pimye. This phonogram also appears in Shoku Nihongi: ᭹ 㒊 㐃బ  PATORI MURAZI Saza (though some read it VD\D, 698.91), Ἴከ┾ேవ Pata MABITO Yoza (703.1.2), ୚ዪ⋤ Princess Yoza (706.6.24), and ∹ᚿ Muzasi (765.5.20). This usage also appears in the imperial edicts recorded in Shoku Nihongi: 㧗ኳཎ⚄✚ᆘ㡲ⓚぶ⚄㩃ᒱ⚄㩃ᘺ࿨஀ ᐃ㈷౗ὶ ኳ᪥Ⴙ㧗ᚚᗙḟஇ ຍ⸽ẝዣᑘ┓Ṇ∔⪋᝵㏫ᅾያஂዉከኵ♩ࠋ㯞ᗘẚࠋዉⰋ㯞࿅ࠋྂ㯞࿅➼ఀ ㏫ 㯼 இ ఀ  ዉ ẚ ⋡ ⪋ ඛ ෆ ┦ ᐙ இ ᅩ ⪋ ඼ இ ẅ ⪋ TAKAMA [NO] PARA NI KAMUDUMARIMAsu SUMYERA GA MURU KAMUUZRNL KAMUUZRPL [NO] MIKOTO no SADAME TAMAPIKYEUX AMATU PITUGI TAKAMIKURA [NO] TUGITE wo kaswopi UBAPI NUSUMAMU WR SITE ASIKU SAKASIMA NI ARU YATUKWO NXQDWDEXUH PDGZRSL QDUDPDUR NZRPDURRA i SAKASIMA NI ARU TOMOGARA wo izanapi PIKITE MADU NAISAU [NO] IPYE wo KAKUMITE SO wo KOROSITE ‘They planned to steal the order of succession to the heavenly sun-succeeding throne that was established by the male and female deities who came from the high plain of heaven and who are the ancestors of our imperial ruler. Kunatabure, Madohi, Naramaro, Komaro, and others induced and led their wicked band, and first surrounded the house of the Interior Minister and killed him...’ (SM 19). This phonogram is the primary graph used in Man’\ǀVKnj to transcribe za. It appears in examples such as ຍஅ kazasi ‘hair ornament’ (MYS 38), ఀ฼ izaUL ‘catch fish’ (MYS 252), ᕥ♩ᾉ sazaUHNAMI ‘ripples’ (MYS 206, 3012), and ࿴ waza ‘action, behavior’ (MYS 721, 2348, 2722). An example of this in a poem that is primarily in phonetic script is below. 541

MYS 3905 㐟ෆ஀ ከດஅྜྷᗞᑣ ᱵᰗ இ⌮ຍㅰᛮᗏ፠ ពẟẚዉ⨾ྍẟ

⤖

ASWOBU UTI no WDQZRVLNLNIPA ni UMEYANAGWI

ZRULNDzaVLWHED omopinami kamo

In the garden where our festivity is joyous, if we were to break off sprigs of the plum and willow to decorate our hair then we would leave no regrets.

OJ: za OC: *la or *ja LH: zia EMC: zia GO: zia KN: sia NOM: Wj SV: Wj SK: V\D, \D Usage / History: This phonogram belongs to the EJS, and appears mainly in Kojiki and 0DQ¶\ǀVKnj. The famous usage appears in the names of the procreation duo, Izanagi (ఀ㑧㑣ᒱ) and Izanami (ఀ㑧㑣⨾). It appears in other names like ∹ 㑧⮧ Muza OMI (KG), ᫓᪥அఀ㑧Ἑᐑ KASUGA NO IzaKAPA MIYA ‘the Kasuga Izakawa Palace’ (KG), and ⿁㑧ᮏ⋤ Prince Wozapo (KG). There is an interesting sentence stuffed into the mouth of Great King ƿjin, when he asks his two sons which is the dearer of two children, the older or the younger. Nintoku (Oposazaki) is quoted as saying the younger is dearer, at which point ƿjin says: బ㑧ᒱࠋ㜿⸤அゝዴᡃᡤᛮ sazaki, agi NO KOTO ZO WA GA OMOPU GA GOTOKO NARU ‘Sazaki, your words are precisely what I have been thinking.’ KK 43 ఀ㑧ྂᯆẕ iza kwodomo You children, ᛣẝὶ㒔⨾㏓ QZRELUXWXPLQL let us go pick wild leeks— ẚὶ㒔⨾㏓ SLUXWXPLQL on the path that I travel ࿴㈡⏤ஂ⨾▱⬟ ZDJD\XNXPLWLQR to pick leeks ㏑ලἼ᪁ kagupasi there was the fragrance Ἴ㑣ከ▱፠㑣Ἴ SDQDWDWLEDQDSD of the blossoms of the orange. ᮏ㒔ᘏἼ SZRWX\HSD In the upper branches birds have Ⓩ⌮㡋㈡Ⰻ᪁ WRULZLJDUDVL nested and scattered them. ᚿ㇋ᘏἼ VLGX\HSD In the lower branches ẚⓏⓏ⌮㈡Ⰻ᪁ SLWRWRULJDUDVL people have picked them. ⨾㒔ල⌮⬟ PLWXJXULQR In the middle branches, 㑣㏑㒔ᘏ⬟ QDNDWX\HQR as the middle of three chestnuts, ᮏ㒔ẟ⌮ SZRWXPRUL there is a bud— 㜿ຍⰋ⿁Ⓩ㈽⿁ DNDUDZRWRP\HZR a ruby of a maiden. ఀ㑧బబ፠ iza VDVDED It would be well వⰋ᪁㑣 \RUDVLQD if you made her your own. It is interesting to note that 㑧 only appears three times in 0DQ¶\ǀVKnj, all in Book 13. MYS 3226 Ἃ㑧⚰ᾉ The Hatsuse River sazaUHNAMI UKITE NAGARURU with the ripples ᾋ⪋ὶ that come floating down— 㛗㇂Ἑ PATUSEGAPA YORU BEKI ISWO NO how forlorn that there is no ྍ౫♒அ NAKIGA SABUSISA beach for our boat to approach. ↓⺅୙᛭ஓ

542

ী

⌖

OJ: za OC: *lha LH: Ğa EMC: юia GO: sia KN: sia NOM: xa SV: xa SK: V\D Usage / History: This phonogram belongs to the EJS, and appears only in Kojiki. According to ƿQR–175), this phonogram is used a total of eight times in Kojiki to represent various toponyms and names. It also appears once in the poetry. The majority of examples of ዝ in Kojiki render the word iza ‘let’s do it’ (KG). There is also a somewhat obscure name ஂẚ-ẕᬛ⚄kupizamoWL (KG). KK 38 ఀ-㜿⸤ iza agi Come on, you fellows, ᕸὶ⋪㯞㈡ SXUXNXPDJD rather than bear ఀከᘭῒἼཷἼ LWDWHRSD]XSD the wounds from Furukuma, ㏓ᮏᯆ⌮⬟ QLSRGRULQR let us dive and hide 㜿ᕸ⨾⬟Ᏹ⨾㏓ apumi no umi ni in the sea of Afumi, ㏑㇋ᒱໃ㑣࿴ kaduki senawa where the grebes are. OJ: za OC: *dzâƾ LH: dzъƾ EMC: dzaƾ GO: zau KN: sau NOM: WjQJ SV: WjQJ SK: cang Usage / History: I place this graph in the LJS. While this was a somewhat popular phonogram, appearing in Nihon shoki, 0DQ¶\ǀVKnj6KǀVǀLQGRFXPHQWVDQGRWKHUV, it does not appear to have been an early usage. The earliest usage I can find is to represent the toponym Ṋ蔵 Muza(si). Note that Kujiki’s list of provinces has Muzasi written as ᪣㑧ᚿ, making one believe the name evolved thus: mun-sasi > muzasi. This likely is an old Ainu place name, perhaps meaning ‘grass fortress’ (cf. Bentley 2006:369, n. 43). There is no reason to have Ṋⶶ represent the trisyllabic name muzasi, so it is logical to assume this is a type of abbreviation. An examination of the evidence preserved on wooden documents shows that almost all examples of this toponym from Nara era digs have the digraph Ṋⶶ. Only one example that I have found has Ṋ蔵ᚿ muzasi (MKK 19:12). However, there is one possibility, a tablet excavated from the old Fujiwara Captial (fl. 694– 710), where a faint transcription seems to be ∹㑧அ muzasi (MK 1238). This somewhat tenuous evidence suggests that the trisyllabic word was later represented by the digraph Ṋⶶ, where ⶶ does not represent final -si, but suggests to the reader that it should be added. All but one example of ⶶ in Nihon shoki is used to represent muzasi. The single example appears in a poem: NSK 96 ೖ౛௨᲍㨱ᚿ ZDUHLULPDVL I went inside 㜿㒔ᅯ၆ DWZRWZRUL and held her leg, 㒔㯟ᛣ၆⤉ᗏ WXPDGZRULVLWH holding the edge of her hem, 㨱೜ᄶᅯ၆ PDNXUDWZRUL holding her pillow— ఀះᡃሐႲ LPRJDWHZR holding my spouse. ೖ౛ൽ㨱ᰓ᪁ẖ ZDUHQLPDNDVLPH I wrapped her hand ೖᡃሐႲ㯟 ZDJDWHZRED around my waist 543

ఀះൽ㨱ᰓ⤉ẖ imo ni makasime and she my arm— 㯟ᕥᲠ㏸ᄶ PDVDNZLGXUD wrapped it around her. ከࠎ௻㜿藏᧛᲍ WDWDNLDzaSDUL And like a vine, ▮ὔ▴▮៖ VLVLNXVLUR we caressed, intertwined. There are eight examples of ⶶ in MDQ¶\ǀVKnj, all representing Ṋ 蔵 Muzashi.

᰷

♢

OJ: za OC: *daҌ LH: dĨaҌ EMC: d҉ia GO: zia KN: sia NOM: xã SV: xã SK: V\D Usage / History: This phonogram belongs to the LJS, and was mainly used in toponyms and personal names. It appears twice in the annotational notes in Nihon shoki: ⋡ᕝ Ṉபఀ0⟠Ἴ ³ௗµIza River’ is read izagapa” (NSG). This phonogram appears twice in 0DQ¶\ǀVKnj: MYS 880 Having lived five years 㜿㯞0㏑␃ amazaNDUX ẚዉᑣఀ㒔➼ୡ SLQDQLLWXWRVH in the countryside, ࿘㯞ẚ㒔ࠎ VXPDSLWXWX far from heaven, ⨾ኪᨾ⬟ᥦኵ฼ PL\DNZRQRWHEXUL I have competely forgotten ࿴࿘Ⰻᘏᑣᐙ฼ ZDVXUD\HQLN\HUL the proper conduct of the capital. OJ: za OC: *s-lakh LH: ziah EMC: zia GO: zia KN: sia NOM: W̩ SV: W̩ SK: V\D Usage / History: This phonogram belongs to the LJS. It appears in the imperial edicts of Shoku Nihongi: ኳᆘ⚄ᆅᆘ⚄இ ♳⚏ዊࠋᣣ⏽㐲ᡃⓚኳⓚᚚୡጞᘭ ᣎ௙ዊ฼ ⾗ ே இ ఀ ㅰ ዉ ẚ ⋡ ᘭ AME [NI] MASU KAMWI KUNI [NI] MASU KAMWI wo INORIMATURI, KAKEMAKU [MO] KASIKWOKI TOPOSUMYERAGI [NO] MIYO [WO] PAZIMETWH WOROGAMI TUKAPEMATUUL MOROBITO wo izanapi PIKIWIWH ‘We implore the deities that reside in the heavens and the deities that reside in the earth, and from the beginning of the successive reigns of the distant ancestors of the imperial rulers, whose names we reverence too much to speak, our ruler reveres and worships (the Buddha) and invites and leads the masses to (the construction of the Rashana Buddha)...’ (SM 13). This phonogram also appears once in a toponym in Shoku Nihongi: ୹ᚋᅧ ୚ㅰ㒆 Tanigo Province Yoza District (776.8.28). This phonogram appears six times in Man’\ǀshnj, five of which appear in the poetry. The single example outside of the poetry is the name: ㆨㅰዪ⋤ Princess Yoza (MYS 59). MYS 846 ྍ㡲⨾ከ㒔 NDVXPLWDWX Mist rises on this 㑣ᡃᒱἼὶ༝இ QDJDNLSDUXSLZR long spring day— ྍㅰໃ౛ᯆ kazaVHUHGo I have stuck a sprig of ఀ㔝㑣㒔ྍᏊᒱ L\DQDWXNDVLNL plum blossom in my hair, but ⅲᱵ⬟Ἴ㑣ྍẟ ume no pana kamo how I long for those plums.

544

ಐ

শ

ⓞ

OJ: za OC: *dzôiҌ LH: dzuъiҌ EMC: dzwa GO: za KN: sa NOM: WRj SV: WRj SK: cwa Usage / History: This phonogram belongs to the LJS, and appears once in Man’\ǀshnj. MYS 434 ຍð⓯ኪ⬟ kazaSD\DQR The white azaleas on the coastline of ⨾ಖ஀ᾆᘔஅ mipo no URAMWI NO SIRATUTUzi Miho with swift winds— ⓑ⟶௙ MIREDOMO SABUSI I still feel empty, thinking of ぢ༑᪉୙᛭ NAKI PITO OMOPEBA the person who is no longer here. ↓ேᛕ⪅ OJ: za OC: *dzaƾh LH: dܲъƾh EMC: WѺѠaƾ LMC: WѺa:ƾ GO: zau KN: sau NOM: NA SV: W̫ng SK: cang Usage / History: This phonogram belongs to the LJS. The phonogram ዔ only appears in Nihon shoki, appearing once in the annotational notes, and three times in the poetry. Beside these, it is mainly used in the names of the two procreating deities: ఀ1ㅙᑛ izanaki [NO] MIKOTO and ఀ1෈ᑛ izanami [NO] MIKOTO (NSG). The annotational note is: ཤ౗ࠊṈபఀ1 ³ௗµShall we?’ is read iza” (NSG). NSK 60 ◚ኪṌబἼ SD\DEXVDSD The quick falcon 㜿ᱵ⌗⬟᭸฼ DPHQLQRERUL climbs into the sky ➼ᙁ⟠៓᲍ WRELNDNHUL and soars overhead. ఀ⳱ᒱ㣹Ᏹಸ⬟ LWXNLJDXSHQR Dive down and capture the wren ⿸1ᒱ➼⨶బἾ kazaNLWRUDVDQH that is upon the sacred place. OJ: za OC: *dzaƾh LH: dܲъƾh EMC: WѺѠaƾ LMC: WѺa:ƾ GO: siau KN: sau NOM: WUang SV: WUang SK: cang Usage / History: This phonogram belongs to the CBS. It appears three times in Nihon shoki poetry. NSK 28 ⅲᬛ⟠ከ⬟ ZRWLNDWDQR In the direction 㜿㑘ࠎ㯞⳱㯟㑘 DUDUDPDWXEDUD of the thinly wooded pine grove, ᦶ⳱㯟㑘⌗ PDWXEDUDQL we will venture ࿴ከ฼႘♲ặ ZDWDUL\XNLWH across that pine grove. ⳱༐႘ᙗ⌗ WXNX\XPLQL Using zelkova bows with ᮎ฼ᳰሳከල㝙 PDUL\DZRWDJXSH sounding arrowhead arrows, Ᏹᦶẚ➼◚ XPDSLWRSD those of noble birth னᦶ㆜ⱏያ▱㔝 XPDSLWRGZRWL\D will fight with their own kind. ఀᚐጡ᧛ⱱ LWZRNZRSDPR Men with relatives ఀᚐጡያụ LWZRNZRGZRWL will fight together. ఀ裝㜿Ἴ㑣 iza apana Commence the battle, ࿴౛Ἴ ZDUHSD shall we? 545

ከᦶᒱἼᒗ னụ⬟㜿ᒙ㣹 Ἴ㑘⃰▱Ἴ ␗బㄗ㜿౛ᳰ ఀ裝㜿Ἴ㑣 ࿴౛Ἴ

WDPDNLSDUX XWLQRDVRJD SDUDQXWLSD LVDJZRDUH\D iza apana ZDUHSD

Minister Uti, possessing a strong spirit, does not have a stomach made of pebbles. Commence the battle, shall we?

OJ: zami OC: NA LH: NA EMC: dzam GO: zamu KN: samu NOM: NA SV: W̩m SK: cam Usage / History: This phonogram belongs to the LJS. It appears only in Nihon shoki in the toponym ࿴䒄wazami.

ㄱ! ᆔ

ᶅ

OJ: ze OC: *deҌ LH: dĨeҌ EMC: ĨjeҌ GO: ze KN: se SV: WK͓ SK: si NOM: WK͓ Usage / History: This phonogram belongs to the EJS. It would appear that Kojiki may have been one of the first documents to make a distinction between se and ze, as the latter was fairly rare. Earlier writers likely felt that context made the distinction sufficiently clear. This graph appears four times in Kojiki. One example appears below: KK 51 ▱ἼኪẚⓏ WLSD\DSLWR Very powerful those people Ᏹ㑀⬟࿴ከ⌮㏓ XGLQRZDWDULQL at the ferry of Uji ࿴ከ⌮3㑑 ZDWDULze ni at the shallows of the river ከᘭὶ WDWHUX where stands bow material: 㜿㇋బ⏤⨾㯞⏤⨾ DGXVD\XPLPD\XPL the zelkova and catalpa trees. ఀᒱⰋ∹Ⓩ LNLUDPXWR To cut down those trees チチ࿅Ἴẕ㛠ᯆ NRNRWRSDPRSHGR I had thought in my heart— ఀᩯⰋ∹Ⓩ LWZRUDPXWR to hold those trees チチ࿅Ἴẕ㛠ᯆ NRNRURSDPRGHGR I had thought in my heart, ẕⓏᖯἼ PRWRSHSD but at the base ᒱ⨾⿁᪊ẕẚബ kimi wo omopide I recalled my Lord. This graph also appears 28 times in Man’\ǀVKnj: MYS 799 OPONWO YAMA Mist spreads out over ኱㔝ᒣ ⣖฼ከ▱࿴ከὶ NZLUL WDWLZDWDUX the entire face of Mount ƿno. ࿴ఱ㑣ᐅஂ wa ga nageku Mist spreads out, ᪊ఄ⸽஀ྍ3ᑣ okiswo no kaze carried by the wind from ⣖฼ከ▱࿴ከὶ NZLUL WDWLZDWDUX the breath of my lament. OJ: ze LH: dĨas NOM: v̯u

OC: *GDWV EMC: Ĩjäih LMC: Ѻўiaj GO: ze KN: sei SV: ph͏ SK: V\H

546

Usage / History: This phonogram belongs to the LJS. This graph only appears in Nihon shoki poetry: NSK 8 ఞ∹ఞ3⬟ kamukaze no On the large boulder ఀ㰺⬟னÅ⬟ ise no umi no by the sea of Ise, ᪊㈝␗அ⌗ኪ RSRLVLQL\D swept by divine winds— ␗Ἴ⮎ⱱ➼ಸᒗ LSDSLPRWRSRUL the sea snails crawl about: அከ⃦Å⬟ VLWDGDPLQR the perwinkle.

࠘

⅋

OJ: ze OC: *GDWV LH: dĨas EMC: Ĩjäih LMC: Ѻўiaj GO: ze KN: sei NOM: ph͏, phè, WKƭ SV: WK͏ SK: V\H Usage / History: This phonogram belongs to the LJS, and appears once in the poetry of Nihon shoki: NSK 78 ᰓṊᰓ4⬟ kamukaze no By the divine-wind swept ocean ఀไ⬟ ise no of Ise Province, ఀไ⬟ያ⬟ ise no nwo no on a plain in Ise, ፅᰓ᭥Ⴒ VDND\HZR a man cuts the branches ఀ⿮⏠ὶᰓᯨᗏ LSRSXUXNDNLWH that have grown so thickly. OJ: zi OC: *dzih LH: dzih EMC: dzi GO: zi KN: si NOM: W͹, Wͳ SV: W͹ SK: co Usage / History: This phonogram belongs to the PBS. This phonogram appears on the Namsan stele, in what appears to be a fragment of a name: ‫ྏ⾃ڧ‬ම *X-dzitshit-gԥi. This phonogram also appears in several quotes from Paekche records preserved in Nihon shoki. Below are three examples of names or words from these Paekche quotes: 㐩⋡⾃᪁ Tal-syu Zisi, ∹⾃ẟ♩ Muzi Mwore, ஂ㡲 ᑽ⾃฼ Kusu Neziri. This phonogram is also found in the Suiko era corpus, as these two examples show: ఀ⾃∹Ⰻྩ iziPXUD KIMI Princess Ijimura (JǀJnjNL fragment), and ย⾃ ྂ 㑻 ዪ WZRzikwo IRATUMYE Princess Tojiko (ShǀWRNX genealogy). This phonogram also appears on a number of excavated tablets:ୗẟ㔝ᅜ㊊฼㒆Ἴ ⾃ྍ㔛㩗኱㉔୍ྂཧᖺ༑᭶ᘘ஧᪥ ‘On the twenty second day of the tenth month of the third year (703) one basket of trout was presented for the Great First Fruits Festival, from Pazika Village in ASIKAGA District of Lower KENWO Province’ (MK 3), ⛙ย⮬ዪ PATA Twozimye (MK 858), and a fragment of text: ྍዉ‫⾃ڧ‬㜿బ‫ڧڧ‬ᕫஅஇ‫ஂڧ‬฼அ⾃‫⌮ڧ‬฼‫ڧ‬㡲฼ዪ kanaXzi asa ;;NRVLZR;NXUL sizi X KOTOWAUL;VXULMYE (MK 1111). My translation is based on assumptions according to the grammar, so the following rendition and translation are very tentative. Assumed readings are underlined: kanapazi asa podokosi wo kaNXUL VLzi ni KOTOWARULWH VXULMYE… “I hid my unexpected morning performance, judging it profusely, and Surimye….” 547

This phonogram is also used in Kojiki, not in the poetry, but in place names which perhaps reflects an older usage: ఀ⾃∹ᅜ㐀 izimu [NO] KUNI [NO] MIYATUKWO ‘Governor of Ijimu’ (KG), and ᚿ⾃∹ sizimu, a man named Shijimu (KG). This phonogram is used fairly extensively in 0DQ¶\ǀVKnj to represent zi. MYS 849 ⬟チ฼ከ␃ QRNRULWDUX The plum blossoms ⏤Რோᮎ⾃౛␃ \XNLQLPDziUHUX that have mingled with Ᏹᱵ⬟༙ዉ ume no pana the enduring snow— ༙ஓஂዉ▱฼᭮ SD\DNXQDWLULVR Do not be in a hurry to scatter. ⏤ྜྷἼỀያ➼໚ \XNLSDNHQXWRPR Even if the snow should melt.

ॲ

ᬩ

OJ: zi OC: *dzUΩҌ LH: dܲΩҌ EMC: d҉Ѡ GO: zi KN: si NOM: sƭ, SV: sƭ SK: so Usage / History: This phonogram belongs to the EJS. It is used in Kojiki, representing the verb ᰿チ5∞チ5 nekozi ni kozi ‘pull up the root by the root’ (KG). An excavated bamboo tablet contains the following fragment dug up from the Fujiwara Palace (fl. 694–710): ༑ேย5 TOWO [AMARI NO] PITO WZRzi ‘ten women folk’ (MK 6081). This phonogram appears in Nihon shoki in the word ∹ 5 㑣 muzina ‘raccoon dog’ (NSG). The phonogram also appears twice in Nihon shoki poetry: NSK 58 ⳱⸤Ἶ㉱ WXJLQHSX This woman of ኪⳝஅ࿅ㅦ⬟ \DPDVLURP\HQR Yamashiro, thick with trees, チ⋪Ἴⱱ▱ NRNXSDPRWL dug up a large radish னᬛ㎫᪊᭸Ἶ XWLVLRSRQH with a wooden hoe. Ἶ5₃⬟ neziUZRQR Those arms of hers, ㎫₃ከፋṊᯨ VLUZRWDGDPXNL white like the large radish— ᦶ⟠൲㭼㯟⹫᭯ PDND]XN\HEDNRVR you could say you knew me not ㎫⨶൲➼ⱱఀἼᱵ VLUD]XWRPRLSDPH if we had never lay intertwined. This phonogram appears once in the edicts preserved in Shoku Nihongi: ᡤ ᛮᆘ⪋ᡃⓚኴୖኳⓚ኱๓ᑣᜍྂ5≀㐍㏥໦໨ᘔಖ⌮ⓑ㈷ẚ WA GA OPOKIMI OPOKI SUMYERA MIKOTO [NO] OPOMAPYE ni KASIkwozi MONO SIZIMAPI PARABAPI MOTOSRUL MAWOSI TAMApi ‘We tremble in awe before our Queen Dowager, and advance and retire as if crawling on the ground, and ask of her…’ (SM 6). This phonogram likely fell out of use in the Nara era because of its prominent use in many Chinese titles: ༤ኈ ‘doctor,’ රኈ ‘soldier,’ and ྑ⾨ኈ ‘palace guard of the right.’ OJ: zi OC: *dzinҌ LH: dzinҌ or dzinh EMC: dzin GO: zimu KN: sin NOM: W̵n, h͇W SV: W̵n SK: cin Usage / History: Examples of this phonogram used to write zi are quite rare, and as far as I can tell, only used to render one place name. Because of this, I tentatively place this 548

in the EJS, on the assumption that renderings of toponyms are resistant to change. Examples with the graph ┗ appear rarely in both Man’\ǀVKnj and Nihon shoki. All examples represent the place name puzi (Fuji) as ୙6.

∃ ຋

ᆣ

͘

OJ: zi LH: WVLΩ EMC: WVѠ NOM: NA SV: WLW˱ Usage / History: See the same phonogram under si.

OC: WVΩ GO: si KN: si SK: co

OJ: zi OC: *dzΩ LH: dziΩ EMC: dzѠ GO: si KN: si NOM: Wͳ SV: Wͳ SK: co Usage / History: It is difficult to chronologically place this phonogram, but extant textual evidence leads me to place it in the LJS. The earliest examples of this graph appear in early Nara texts, for example the rendition of ஂ7 kuzi ‘Kuji District’ appears in both Man’\ǀVKnj and other documents. Almost all extant examples of ឿ are used to write Kuji, which means this was a set spelling, and likely predates the late Asuka or early Nara eras. On this evidence it is tempting to place the graph in the EJS. There is also a personal name in Nihon shoki, Ḉ஭⮧ ࿴7ྂ SAKURAWI OMI Wazikwo, which appears in the record of Jomei, and lends some evidence that this phonogram may date back to the EJS. With such little evidence it is difficult to date, so I tentatively place it in the LJS. OJ: zi OC: *dΩ or *dΩҌ LH: dĨΩ EMC: dzѠ GO: zi KN: si NOM: WKuWKuDWKͥi SV: WKuWKͥi SK: si Usage / History: This phonogram belongs to the LJS, and appears only in 0DQ¶\ǀVKnj, where it is used three times. MYS 997 SUMINOYE no Like the corbicula on ఫྜྷ஀ ⢊℈அᅄL⨾ KWOPAMA NO sizimi Kohama in Suminoe, AKE MO MIZU will I continue to yearn 㛤⸴୙ぢ KOMORITE NOMWI YA only in secret without 㞃⪥ဢ KWOPWI WATARUnamu even opening up to you? ᠷᗘ༡ OJ: zi OC: *G]UΩҌ LH: dܲΩҌ EMC: dzѠ GO: zi KN: si SK: so NOM: sƭ SV: sƭ Usage / History: This phonogram belongs to the LJS, and appears only in 0DQ¶\ǀVKnj, where it is used three times. MYS 434 ຍᗙ⓯ኪ⬟ kazapa\DQR The white azaleas on the coastline of ⨾ಖ஀ᾆᘔஅ mipo no URAMWI NO 549

ⓑ⟶8 ぢ༑᪉୙᛭ ↓ேᛕ⪅

ଏ ᥠ

∉ ⳮ

SIRATUTUzi MIREDOMO SABUSI NAKI PITO OMOPEBA

OJ: zi LH: ziΩh EMC: zѠ LMC: sў҉ NOM: chùa SV: W͹ Usage / History: See the same phonogram under si.

Miho with swift winds— I still feel empty, thinking of the person who is no longer here. OC: *s-lΩh GO: zi KN: si SK: so, si

OJ: zi OC: *nΩh LH: ĔΩh EMC: ѪѠ LMC: ULҾ GO: ni KN: zi NOM: nh́ SV: nh͓ SK: i Usage / History: This phonogram belongs to the CBS. It appears five times in the poetry of Nihon shoki. NSK 124 Come out, child ன▱Ἴᚿ⬟ XWLSDVLQo 㒔ᱵ⬟㜿⣲ᙁ∞ WXPHQo DVZRELQL to play at the edge of ఀᥦ㯞ᰨྂ idemase kwo the plank bridge. ከ㯞ᥦ⬟ఀ㠫⬟ WDPDGHQo ip\e no Mistress Yaheko of 㔝㠫ྂ⬟ᗘc \DS\ekwo no WZR]L the Tamade House. ఀᥦ㯞ᚿ⬟ idemasi no There will be no regrets ೜ఀ᧛㜿⨶cⲗ NXLSDDUDzi zo if you come out. ఀᥦ㯞すྂ idemase kwo Come out, child— ከ㯞ᥦ⬟㠫⬟ WDPDGHQo ip\e no Mistress Yaheko of 㔝㠫ྂ⬟ᗘc \DS\HNZRQo WZRzi the Tamade House. OJ: zi OC: *noƾ LH: Ĕoƾ EMC: Ѫuawƾ LMC: U\Zƾ GO: niou KN: ziou NOM: nhung SV: nhung SK: \ZRQJ Usage / History: This phonogram belongs to the CBS. It appears only twice in Nihon shoki, both times in the annotational notes: ୙㈇᪊᪘ṈபᏱᡃ㑘☻ᖨ茸 ³ௗµI will not lose to a relative’ is read XJDUD PDNHzi” (NSG), ᱼṈபἼ茸 ³ௗµWax tree’ is read pazi” (NSG). OJ: zi OC: *nΩh LH: ĔΩh EMC: ѪѠ LMC: ULҾ GO: ni KN: zi NOM: NA SV: nhƭ, nh͓ SK: i Usage / History: This phonogram belongs to the CBS. It appears three times in Nihon shoki. Two examples from annotational notes are: ᡭᢔṈபከ⾯㣵㞳 ³ௗµHand-scoop’ is read WDNXziUL” (NSG), ಴ୗṈப⾯⨶㣵 “The name ಴ୗ is read NXUDzi” (NSG). There is one example in the poetry:

550

NSK 14 Å㒔Å㒔ᚿ ೜ᱵ⬟ᨾ㑘㣹 ௓⪆ⱱ➼⌗ Ᏹ᝴ᚿ◚㣵௓Å ྃ⮴ᙁẚ೜ ࿴౛◚ᾯ㍺౛൲ னᬛᘭஅኪⳝົ

⁄

⛳

Ө

PLWXPLWXVL NXPHQRNZRUDJD NDNLPRWRQL uwesi pazikami NXWLSLSLNX ZDUHSDZDVXUH]X XWLWHVL\DPDPX

You, the intrepid sons of the Kume— ginger is growing under the fence of our land. As I will not forget the sharp taste of that ginger we will utterly smite the enemy.

OJ: zi OC: *nΩҌ LH: ĔΩҌ EMC: ѪѠ LMC: ULҾ GO: ni KN: zi NOM: nh̫i, nhãi, nhƭ SV: nhƭ SK: i Usage / History: This phonogram belongs to the CBS. It appears once in the poetry in Nihon shoki: NSK 90 㣡⿮ᯨÅ⬟ opokimi no Though the great lord ⪨㝎⬟▴Åျᯨ \DS\HQRNXPLNDNL desires to weave together ျࠎᱵ㦐ㅛ kakamedomo a multi-layer fence of branches, ඏ㬆㜿ᦶஅ⽿ᙗ na wo amasizimi you will not weave the branches ျࠎ㎰೜ᙗᰓᯨ kakanu kumikaki and there will be no fence. The proper interpretation of the above stanza is in doubt, because amasizimi is of unknown meaning. Some scholars wonder if this is word is a form derived ultimately from DUXPDVL]LPL, with -r-loss that often occurs before a high vowel giving amasizimi. If that interpretation is correct, then the meaning would be ‘you should not be here.’ I have tentatively interpreted this as a form of amu ‘to weave.’ OJ: zi OC: *nis or *nih LH: ĔiVRUĔih EMC: Ѫi LMC: ULҾ GO: ni KN: zi NOM: nh́, nhu, SV: nh͓ SK: i Usage / History: This phonogram belongs to CBS. It appears once in Nihon shoki poetry: NSK 95 ፜Ⴒൽ⯅ᚿ DZRQL\RVL In the valley of ஀ᵹ⬟፠ፅᦶൽ QDUDQRSDVDPDQL the blue hills of Nara, ᪁ࠎ㈖ᬽ⬟ sisizi mono like beasts of prey, he lies Å㇋▴㝎ᚚᬽ᲍ PLGXNXS\HJRPRUL hidden by the banks— Åඏ᭯ࠎ▴ mina sosoku a large catch of tuna, VLELQRZDNXJZRZR the young man, Shibi. ᛮᐭ⬟࿴೜࿃Ⴒ 㜿ፅ⌮㏸㑣೧⬟ྂ DVDULGXQDZLQRNZR Boars, do not try to find him! OJ: zi LH: Ĕe NOM: nhi

EMC: ѪiΩ LMC: UL SV: nhi

551

OC: *nje GO: ni, gei KN: zi SK: \H\, o

Usage / History: This phonogram belongs to the CBS, and appears only once in Nihon shok, in the poetry: NSK 125 ከ⮴᧛㑣᧛ WDWLEDQDSD The fruit of the orange tree ᪊⬟ᡃ᭥ከࠎࠎ RQRJD\HGD\HGD grows each on its own branch, 㑣౛ࠎ㦐ẕ QDUHUHGRPR but when these are strung 㝀㯞∞㎰▴㦐ᒱ WDPDQLQXNWRNL together as jewels they are ᪊㔝ðᘯൽ㎰೜ R\Dzi wo ni nuku strung on the same cord. It should be mentioned that Nom preserves an older reading of nhè with the graph ၑ, thus underscoring the reading of gei and the Later Han reading of Ĕe.

ᢤ

ˁ

 

OJ: zi OC: *neҌ LH: ĔeҌ EMC: ѪiΩ LMC: ULҽ GO: ni KN: zi NOM: nh̫i, nhãi SV: nhƭ SK: i Usage / History: This phonogram belongs to the CBS, and appears only once in Nihon shoki, in the annotational notes. I group this in the CBS because ∞ is one of the main graphs used to transcribe ni (see ∞ under ni). Thus, this graph transcribes zi because of a later change in Chinese phonology. Consider the sole example in Shoki: ❧ ᪊ᾋ ῵ᅾ ᖹ⹦Ṉ ப⩚ ௻\ ☻᲍ 㝁ẝ 㑘⪋ 㝁㝁 ᚿ “The graphs ‘standing on the flat area of the flowing island’ are read ukizima UL WDSLUD QL WDWDVL” (NSG). Thus, ‘on the floating island’ is written ⩚ ௻\☻᲍ and represents uki ‘floating’ zima ‘island’ D UL ‘to be.’ OJ: zi OC: *љUâҌ LH: љaҌ EMC: ћaѠ > ћѓ: GO: ge KN: ka NOM: h̩ SV: há, h̩ SK: ha Usage / History: The usage of this character to represent OJ zi is very interesting. Clearly this usage has nothing to do with the underlying phonetics of the graph, because the graph transcribes a voiced fricative, but the Chinese has a velar. Thus, I conclude that this is a kungana. This graph must represent OJ si ‘down, below.’ Because the examples with ୗ always undergo sequential voicing, the rendition is always zi. The best example of ୗ for zi is in the name 㧗಴s TAKA KURAZI. Perhaps because the compilers thought the reading was somewhat counterintuitive, a gloss was added: ⾯⨶㣵 NXUD]L. OJ: zimi OC: *nhΩm LH: WĞim or Ğim EMC: юim GO: simu KN: simu NOM: WK̻mWK̹m SV: WKkP SK: sim Usage / History: The usage of this phonogram belongs to the LJS, and appears only +DULPD IXGRNLin the toponym ᚿ:sizimi Shijimi.

552

᧪ ჭ

ઇ

OJ: zimi OC: *dΩmҌ or *dΩms LH: dĨimҌ or dĨimh EMC: d҉im GO: zimu KN: simu NOM: WK̵m SV: WK̯m SK: sim Usage / History: This phonogram belongs to the LJS, and appears in the toponym ఀ;izimi Ijimi, word appearing four times in Nihon shoki, and several times also in Kujiki. OJ: zo OC: *s-laҌ LH: ziъҌ EMC: zjwoҌ GO: zio KN: sio NOM: W͹ SV: W͹ SK: V\H Usage / History: This is one of the few phonograms for zo, the voiced counterpart of so. It would appear from the available data that originally the early scribes did not make an attempt to represent the prenasalized counterpart. This may have been because the prenasalized fricative was rare. This phonogram belongs to the EJS. Consider the following examples from Kojiki: KK 44 ⨾㇋ከ㯞ὶ PLGXWDPDUX Those who pound the stakes వబ⨾⬟ఀỀ⬟ \RVDPLQRLNHQR into the dike at Yosami Pond 㡋ලẚᏱ▱ ZLJXSLXWL where water is dammed up ẚ᪁㈡Ⰻ⬟ SLVLJDUDQR do not know that someone else బ᪁♮ὶ᪁Ⰻ㏓ VDVLN\HUXVLUDQL has already stucks stakes in. ያ㑣Ἴஂ⌮ QXQDSDNXUL Those who gather pond rope Ἴ㛠♮ஂ᪁Ⰻ㏓ SDSHN\HNXVLUDQL do not know others have taken it. ࿴㈡チチ࿅ᚿ< ZDJDNRNRURzo It is my own heart ఀኪ⿁チ㏓᪁ᘭ L\DZRNRQLVLWH that has been so foolish. ఀ㯞⥂ཤ᮶

554

⨥

OJ: zo OC: *G]UD LH: dܲъ EMC: dܲjwo LMC: WѺўuΩ GO: zio KN: sio NOM: sͳ, xͳ SV: sͳ SK: cwo Usage / History: This phonogram belongs to the LJS, and appears once in the poetry in Nihon shoki: NSK 70 ᪊⿮௻ᙗⅲ opokimi wo They exiled the great ruler ᚿᦶ⌗Ἴኵ฼ VLPDQLSDEXUL to a distant island. ᕸඏ㜿ᦶ฼ SXQDDPDUL The boat will be full, ␗㣹ᖯ฼ཤ∹㗟 LJDS\HULNRPXzo and she will return to me. ࿴㣹ဟࠎÅ⏤ᱵ ZDJDWDWDPL\XPH So purify all the mats. ཤ➼ⅲチ᭯ NRWRZRNRVR ‘The mats’ are my words, ဟከÅ➼␗὆ᱵ WDWDPLWRLSDPH but that is not what I meant. ࿴㣹⳱ᦶⅲ⏤ᱵ ZDJDWXPDZR\XPH Stay clean and pure, my spouse.  OJ: zo OC: dzûns LH: dzuΩnh EMC: dzwΩnh LMC: WVўun GO: zon KN: son NOM: NA SV: W͙n SK: cwun Usage / History: This phonogram should belong to the LJS, as it only appears in Nihon shoki, but as it clearly represents zo. It only appears once in the poetry of Shoki. NSK 69 ࿴㣹ඏ໙⳱ᦶ wa ga QDNXWXPD I cry for my spouse. ཤ䨿ཤ᭯ kozo koso It was last night ᳰ୺༐὆ፋᕸ౛ \DVXNXSDGDSXUH that our flesh calmly touched.

㎌!

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OJ: zo OC: *naҌ or *nah LH: ĔъҌ or Ĕъh EMC: ĔĨjwo LMC: ULΩ GO: nio KN: zio NOM: nh͹,, QKjQK͹a SV: nh˱, nh͹, nhͷ SK: \H Usage / History: This graph belongs to the CBS. It appears twice in the poetry of Nihon shoki poetry. Below is one example: NSK 89 㣡⿮㝁ਈႲ RSRWDWLZR Though I stand here ከ㯪᧛ᯨከਈặ WDUHSDNLWDWLWH girded with a large sword, ㎰ျ൲Ⓩះ QXND]XWRPR I intend to fulfill 㡲⾫ፅ㝀ᚿặㅛ VXZHSDWDVLWHPR my desire and meet her— 㜿ἼክⓏ茹᪊ㅛ㈿ DSDPXWR zo omopu without drawing my sword. OJ: zu OC: *duҌ LH: dĨuҌ EMC: ĨjΩu GO: ziu KN: siu NOM: WKͭ SV: WK͕, WKͭ SK: V\ZX Usage / History: This phonogram belongs to the EJS, and is the oldest known phonogram used to represent OJ zu. The phonogram is used in Kojiki, as the following examples illustrate: ኳᏱ@኎ the deity AME Uzumye, ఀ㡲@⬟ᐑ isuzu no MIYA 555

‘Isuzu Palace,’ and ⨾ኪ@ẚ኎ Miyazu Pimye. It also appears in the following song: KK 37 Ἴ㯞㒔▱Ⓩ⌮ SDPDWXWLGRUL Plovers of the beach Ἴ㯞⏝Ἴ⏤㏑@ SDPD\ZRSD\XNDzu do not travel from the beach. ఀ⸽㇋ከᕸ LVZRGXWDSX They send from the rocky shore. This phonogram is also used in Nihon shoki and Man’\ǀVKnj. In Nihon shoki, the phonogram ཷ is used only once in the annotational notes, and twice in the poetry: ೥ᗛṈபబ@ᯨ ³ௗµCupboard’ is read sazuki” (NSG). NSK 66 బ⍰⨶㣹ከ VDVDUDJDWD Undo the string with 㑑அᯨ⬟⮎ẟᘯ nisiki no pimwo wo the bamboo whisk design— ➼ᯨ⯊Ềᖇ WRNLVDN\HWH that brocade string. 㜿㯞ከ⤎Ἶ@㑑 DPDWDSDQHzu ni I cannot spend many nights; ከ⃦ẚ➼⏝⬟ᮍ WDGDSLWR\ZRnomwi let us spend but one night. The phonogram ཷ is the main graph used to render OJ zu in Man’\ǀVKnj, appearing roughly 200 times in the anthology. MYS 22 KAPA NO PE no On the sacred cluster of Ἑୖ஀ boulders upriver grass ‫‮‬ὠ┙ᮧ஧ YUTU IPAMURA ni KUSA musazu does not grow. I wish they ⲡṊᕥ@ TUNE NImo GAMO NA could forever remain thus. ᖖ୹ẟෂྡ TUNE WOTOMYE NITE Forever like a young maiden. ᖖ⹦ዪ↻ᡭ

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OJ: zu OC: *duh LH: dĨuh EMC: ĨjΩuh GO: ziu KN: siu NOM: WKͭWKz SV: WK͕, WKͭ SK: V\ZX Usage / History: This phonogram belongs to the LJS, and is used once in 0DQ¶\ǀVKnj. MYS 4130 Ἴ฼ኵஂ㊰ SDULEXNXUZR While I continue to wear ᠕፩㒔ࠎỀዉᡃⰋ RELWXWXN\HQDJDUD the bag of needles and బย඼➼㑑 VDWZRJRWRQL have walked from village to ኳⰋబẚᏳὶỀ㦐 WHUDVDSLDUXN\HGR village flashing it as I go ẚ➼ẟⓏ㈡⡿A SLWRPRWRJDPHzu not a person has criticized me. OJ: zu OC: *do LH: dĨo EMC: Ĩju GO: ziu KN: siu NOM: WKD SV: WK SK: V\ZX Usage / History: This phonogram belongs to the LJS. It appears once in 0DQ¶\ǀVKnj. MYS 864 ᪊ஂ♩Ⅽኳ RNXUHZLWH Rather than being left behind 㑣ᡃྂ㣕ୡvἼ nagakwopwi sezu pa with a long yearning, ᘺ᭮⬟୙஀ misonopu no how I would like னᱵ⬟Ἴዉᑣᛀ ume no pana nimo to be even a plum blossom ዉⰋ㯞அẕ⬟இ QDUDPDVLPRQRZR in the august garden. 556

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OJ: zu OC: *dzoҌ, *dzoh LH: dzioҌ, dzioh EMC: dzjuҌ, dzjuh GO: ziu KN: siu NOM: Wͭ SV: Wͭ SK: ch\ZX Usage / History: This phonogram belongs to the LJS, and appears once in 0DQ¶\ǀVKnj. MYS 3229 When I look at the hair decoration ஬༑୵❧ IGUSI TATE MIWA SUWEMATURU RIWKH6KLQWǀSULHVWZKRVHWVXS ⚄㓇ᗙዊ PAPURIBYE GA the holy skewer, and prepares ⚄୺㒊அ and presents the holy wine, 㞼聚⋢ⶱ uzu TAMAKAGE MIREBA TOMOSImo how my heart is drawn to him. ぢ⪅ஈᩥ OJ: zu OC: *no LH: Ĕo EMC: ĔĨju LMC: U\Ω GO: niu KN: ziu NOM: nho, nhô, nhua SV: nho, nhu SK: \ZX Usage / History: This phonogram belongs to the CBS, used in Nihon shoki. This graph appears 17 times in the poetry. Below is one example. NSK 89 㣡⿮㝁ਈႲ RSRWDWLZR Though I stand here ከ㯪᧛ᯨከᴦặ WDUHSDNLWDWLWH girded with a large sword, ㎰ျCⓏះ nukazu WRPR I intend to fulfill 㡲⾫ፅ㝀ᚿặㅛ VXZHSDWDVLWHPR my desire and meet her— 㜿ἼክⓏⲗ᪊ㅛ㈿ DSDPXWR]RRPRSX without drawing my sword. OJ: zu OC: *noh LH: Ĕoh EMC: ĔĨjuh LMC: U\Ω GO: niu KN: ziu NOM: QK~ nh͕ SV: nhͭ SK: \ZX Usage / History: This phonogram belongs to the CBS and only appears in Nihon shoki. It appears twice in the annotational notes, and 12 times in the poetry: 㧳ⰼࠊṈப னD ³ௗµhair flowers (as ornaments)’ are known as uzu” (NSG). NSK 111 ⅲ㯟㔝ጞൽ ZRED\DVLQL Pulling me into the grove ೖ౛ⅲẚᒱ౛ᗏ ZDUHZRSLNLUHWH I know not which person ไጞẚ㦐⬟ sesi SLWRQR did it to me— ᪊ㅛᥦẕጞ⨶D RPRWHPRVLUDzu I know not the face, ఀᘢẕጞ⨶Dẕ LS\HPRVLUDzu mo nor even his home. OJ: zwo OC: *s-lok LH: ziok EMC: zjwok GO: zoku KN: sioku NOM: Wͭc, WKyL SV: Wͭc SK: V\ZRN Usage / History: This phonogram belongs to the LJS. This is the only clear usage for zwo in the ancient Japanese corpus. It is interesting that neither Kojiki nor Nihon shoki have any clear examples of zwo. Rather than claim that this prenasalized syllable

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did not exist in early Old Japanese, it is perhaps better to claim that it was rare, and the voiceless counterpart was multitasked. One example of this phonogram is found in 0DQ¶\ǀVKnj: MYS 890 IDEWH\XNLVL While counting the days ฟᘭ⏤ఄ᪁ PI wo kazwoSHWXWX since I left home, ᪥இྍE㛠㒔㒔 ᐙᕸࠎࠎ➼ N\HSXN\HSXWR today, it will be today! 㜿⿁㯞ከ࿘ⰋṊ DZRPDWDVXUDPX father and mother say ▱ࠎἼࠎⰋἼẕ WLWLSDSDUDSDPR who are surely waiting for me.

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&+$572)3+212*5$06$1':+(5(($&+$33($56   7KH WRS URZ LV D OLVW RI VRXUFHV DUUDQJHG FKURQRORJLFDOO\ 7KH OHIW FROXPQ LV HDFK SKRQRJUDPDUUDQJHGDOSKDEHWLFDOO\  $ 㜿 Ᏻ ፜ 㠝 ࿃ ㊊ Ⴒ࿧ $*$ ⱥ $.8 ᝵ $0$ ⳽ ዆ $08 㜌 $3$ 㬞 $3, ጸ $