Man’yōshū (Book 2): A New English Translation Containing the Original Text, Kana Transliteration, Romanization, Glossing and Commentary 9004433333, 9789004433335

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Man’yōshū (Book 2)

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Man’yōshū Book 2 A New English Translation Containing the Original Text, Kana Transliteration, Romanization, Glossing and Commentary By

Alexander Vovin

LEIDEN | BOSTON

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The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2012017145

Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. isbn 978-90-04-43185-0 (hardback) isbn 978-90-04-43333-5 (e-book) Copyright 2020 by Alexander Vovin. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. Koninklijke Brill NV reserves the right to protect this publication against unauthorized use. Requests for re-use and/or translations must be addressed to Koninklijke Brill NV via brill.com or copyright.com. This book is printed on acid-free paper and produced in a sustainable manner.

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To the memory of my mother, Svetlana (Sophia) Vovin 17.10.1937–25.10.2018 Saint Petersburg, Russia—Beaumont du Gâtinais, France

∵

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Contents Preface ix Acknowledgments xii List of Charts xiv Abbreviations xv Names of Eras in Asuka and Nara Periods xix Introduction 1

Man’yōshū (Book Two) 相聞・Relationship Poems 35 挽歌・Elegies 124

Bibliography 273

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Preface With this volume (book two) I continue the new English translation of the Man’yōshū (萬葉集), the earliest and largest Japanese poetic anthology (ca. between 759 and 785 AD)1 with detailed commentaries. The first eight volumes of this translation were books fifteen, five, fourteen, twenty, seventeen, eighteen, one, and nineteen of the Man’yōshū, and have already appeared (Vovin 2009c, 2011a, 2012, 2013, 2016a, 2016c, 2017a, and 2018a). I provided the explanation to this seemingly eclectic order of translation in the preface to the translation of book fifteen, so I will not repeat it here. The order of translation after book two will continue to follow the previous pattern. I intend to translate book sixteen next. This new translation is an academic one. There are several reasons for that. First, the Man’yōshū is not only a work of literature; it is the most important compendium of Japanese culture during the Asuka period (592–710 AD) and most of the Nara period (710–784 AD). A literary translation will inevitably call for poetically-sounding English at the expense of the Japanese text. However, I want to present the Man’yōshū to the reader having preserved as far as possible the actual flavor and semantics of the poems. That is, I want the Japanese poets of that distant age to speak to the reader in their own words, rather than according to English poetics. Consequently, I have endeavored to make the translations as literal as possible without violating English usage. Second, many realia of this distant era are absolutely alien not only to Westerners, but also to modern Japanese. This requires an extensive commentary, which has no place in a literary translation, because it may seem an interruption of the general flow of the text. Third, I provide the original text, kana transliteration, romanization, and glossing with morphemic analysis for the benefit of the specialists and students of Old Japanese, who will be interested in learning the language. Finally, like the previous translators Pierson, Honda, and Suga, I am not a native speaker of English; ironically, however, a native speaker of English has yet to complete a translation of the Man’yōshū. Book two of the Man’yōshū is important for both the history of the Japanese language, and the history of Japanese literature. Its main value is twofold: first, it contains many poems written in the mixed phonographic-logographic

1  Inclusion of Munzasi province among Tōkaidō and not Tōsandō provinces may further narrow this gap to 771–785 AD, because before 771 AD Munzasi province was a part of Tōsandō region.

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Preface

script. Second, it represents the second of the last four books of the Man’yōshū collectively known as Opotömö-nö Yakamöti’s poetic diary. In my translation I have kept notes on grammar to a minimum, as detailed explanations would simply repeat my A Descriptive and Comparative Grammar of Western Old Japanese, which also has sections on Eastern Old Japanese (Vovin 2005a, 2009a; second edition 2020). Since this is the most detailed grammar of Western Old Japanese in any language, even including Japanese, those who are specifically interested in grammatical issues are advised to consult it while reading through the translation of poems written in Western Old Japanese. For those who are not, I hope that the glossing and morphemic analysis will provide enough guidance. Some readers may find my romanization of Old Japanese difficult to digest, especially if they have no knowledge of the history of the Japanese language. This romanization, which is essentially a mix of a transcription and a transliteration of the Old Japanese original text, serves the dual purpose of conveying both the phonology of Old Japanese and its writing. Thus, even if the text contains unetymological spellings (like the confusion between kō-rui /mô/ and otsu-rui /mö/, since the contrast between /ô/ and /ö/ after /m/ was already lost in all the books of the Man’yōshū except book five, where it is preserved to a certain extent), they are faithfully romanized according to the spelling found in a given text. In the general Introduction to book fifteen the reader will find detailed explanations for this practice that might seem to be an idiosyncrasy. In my romanization I have also tried to reflect the actual phonetics of the language of the time, which was considerably different from that of modern Japanese. Thus, for example, Modern Japanese fricative /h/ was Old Japanese stop /p/, and Modern Japanese voiced obstruents /b/, /d/, /g/, /z/ were prenasalized stops /mb/, /nd/, /ŋg/, /nz/ transliterated as /mb/, /nd/, /ŋg/, and /nz/ in order to reflect phonetics rather than phonology for the benefit of readers who are not linguists. In Classical philology it has already been known, starting from Erasmus of Rotterdam, that one cannot read Ancient Greek in its Modern Greek pronunciation, but the idea that the same is true for Old Japanese and Modern Japanese seems to come very slowly to the minds of the majority of Western Japanologists engaged in historical and literary studies. In any case, for the benefit of those who do not like to bother with a romanization based on the principles of historical linguistics, I have provided the kana transliteration, since I cannot bring myself to romanize Old Japanese as if it were Modern Japanese. The only minor deviation that I allowed myself with the kana transliteration is to introduce subscripts ₁ and ₂ which denote kō-rui and otsu-rui syllabic signs respectively. I hope that this deviation at least helps the notion of kō

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Preface

xi

and otsu vowels, already known for roughly one hundred years, to find its way into the romanizations of Old Japanese in Western Japanological literature. Another change that is introduced starting from book seventeen and also maintained in book two is the subdivision of all particles that were before glossed as PT irrelevant to their function into four classes: interrogative particles (IP), emphatic particles (EP), desiderative particles (DP), and restrictive particles (RP). Please remember that I do not classify case markers, diminutive suffixes, or plural suffixes as particles: these are treated on their own. For the details on case markers, diminutive and plural suffixes please consult the relevant pages of Vovin (2005a). I also introduce an additional change from book two: the term infinitive (INF) is now abandoned as misleading and is replaced with a term converb (CONV). Alexander Vovin Poligny March 2018–January 2020

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Acknowledgments Like the translation of most other books of the Man’yōshū that appeared up to date, book two proved to be a long process, albeit for completely different reasons. It probably took the maximum time to complete, in spite of the fact that book two is not very long and does not present outstanding difficulties like other books that have already been published. There are relatively very few new biographies to comment on and comparatively few new realia that require extensive commentaries. First, and foremost I hasten to express my gratitude to the members of my family: my wife Sambi, and our two children, Yasha and Masha, who helped in various ways. I am extremely grateful to my former publisher at Global Oriental (now part of Brill), Paul Norbury, who initiated this project back in 2009 and frequently went out of his way to support it and improve my translation. Paul is now happily retired, and I am also grateful to my editors in Brill, Patricia Radder and Irene Jager for all their help. My gratitude also goes to my French colleagues without whose help my move to France would be impossible: Irène Tamba, Redouane Djamouri, Étienne de la Vaissière, Alain Peyraube, Jean-Noël Robert, Michel de Fornel, Jean Claude Anscombre, Laurent Sagart, Guillaume Jacques, and Anton Antonov. As always, I am grateful to my many colleagues and friends around the globe: Ross Bender, John Whitman, Bjarke Frellesvig, Osada Toshiki (長田俊樹), Maria Chiara Migliore, Kawasaki Tamotsu (川崎保), Ross King, David McCraw, Robert Blust, Lyle Campbell, Ken Rehg, Murasaki Kyōko (村崎恭子), Evelyn Nakanishi, Mehmet Ölmez, Shimabukuro Moriyo (島袋盛世), Suda Jun’ichi (須田淳一), Suzuki Sadami (鈴木貞美), Takubo Yukinori (田窪行則), Aleksandra Jarosz, Vladimir Bokarius, Ty Borders, Greg Brown, Anna Bugaeva, Alexei Egorov, Stefan Georg, Hayata Teruhiro (早田輝 洋), Kageyama Tarō (影山太郎), and Kibe Nobuko (木部暢子). No lesser gratitude goes to many French people who helped us in many ways to settle down in France: Patrick Charles-Messance, Vida Chikezie, Hervé Autran, Sami and Stéphanie Saleh, Jean and Marguerite Chaise, Christiane Babiak, and Augustin de Benoist, as well as many others too numerous to mention here. I am grateful to all the generations of students at the University of Hawai’i at Mānoa who took my seminars on Western Old Japanese, Eastern Old Japanese, and the Man’yōshū over the years: James Baskind, John Bentley, James Canegata, Tom Dougherty, Blaine Erickson, Hamada Masumi, Timothy Harris, Hino Sukenari, David Iannucci, Steven Ikier, John Kupchik, Lin Chihkai, William Matsuda, Marc Miyake, Matthew McNicoll, Matthias Nyitrai, Shimabukuro

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Acknowledgments

xiii

Moriyo, Adam Schuetzler, and Lina Terrell. It was this experience in the classroom that finally led me to the decision to organize the translation in the order in which it is presented in these volumes. As always, my special gratitude goes to Sven Osterkamp (Bochum University) for sharing with me his wonderful MYSearcher, a web-based search engine for the Man’yōshū. Having it on my hard drive greatly facilitated my work. The translation of book two is dedicated to the memory of my mother.

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Charts 1 2

Poetic sequences in book two 2 Man’yōgana phonographic signs used in the Man’yōshū 19

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Abbreviations

Languages

Chin. Chinese EMC Early Middle Chinese EOJ Eastern Old Japanese LHC Later Han Chinese LMC Late Middle Chinese MdJ Modern Japanese MC Middle Chinese MJ Middle Japanese MK Middle Korean OJ Old Japanese OK Old Korean PAN proto-Austronesian PJ proto-Japonic PJN proto-Japanese PMP proto-Malayo-Polynesian PPN proto-Polynesian PR proto-Ryūkyūan Sk. Sanskrit WOJ Western Old Japanese



Texts and Sources

BS FK GK GM HB HIB HM HZWM IM KGU KJK KJKD

Bussoku seki no uta (佛足石歌), 753 AD Fudoki kayō (風土記歌謡), ca. 737 AD Genryaku kōhon (元暦校本), mid-Heian period to 1184 AD Genji monogatari (源氏物語), ca. 1008 AD Hirose-bon (廣瀬本), 18th century Heian ibun (平安遺文), 8th–12th centuries Hamamatsu chūnagon monogatari (濱松中納言物語), ca. 1056 AD Honzō wamyō (本草倭名), 918 AD Ise monogatari (伊勢物語), late 9th or early 10th century Kagura uta (神楽歌), 9th–10th centuries Kojiki (古事記), 712 AD Kojiki den (古事記傳), 1798 AD

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xvi

Abbreviations

KK Kojiki kayō (古事記歌謡), 712 AD KKS Kokin wakashū (古今和歌集), 921 AD KYS Kin’yō wakashū (金葉和歌集), 1124 AD MNT Monggol-un ni’uča tobča’an, 1262 AD MYS Man’yōshū (萬葉集), ca. 771–785 AD NHB Nishi Honganji-bon (西本願寺本), late Kamakura period. NK Nihonshoki kayō (日本書紀歌謡), 720 AD NSK Nihonshoki (日本書紀), 720 AD NKBT Nihon koten bungaku taikei (日本古典文学大系) NR Nihon ryōiki (日本靈異記), early 9th century NT Norito (祝詞), 7–9th centuries OGJ Okinawa go jiten (沖縄語辞典) OS Omoro sōshi (おもろさうし), 16–17th centuries RK Ruijū koshū (類聚古集), end of Heian period RMS Ruijū myōgi shō (類聚名義抄), 1081 AD SKSK Samkwuk saki (三國古事記), 1145 AD SM Senmyō (宣命), 7–8th centuries SNK Shoku Nihongi kayō (続日本紀歌謡), 797 AD SSI Shōsōin documents (正倉院文書), 7–8th centuries SSJ Shinsen jikyō (新撰字鏡), 898–901 AD TM Taketori monogatari (竹取物語), late (?) 9th century AD UHM Utsuho monogatari (宇津保物語), early to mid-10th century AD USM Uji shūi monogatari (宇治拾遺物語), 1213–1221 AD WMS Wamyōshō (倭名抄), 931–938 AD



Grammatical Terms

ABS Absolutive ADJ Adjectivizer ASSER Assertive ATTR Attributive BEN Benefactive CAUS Causative CL Classifier COM Comitative COMP Comparative CON Conjunctive gerund CONC Concessive gerund COND Conditional gerund

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Abbreviations

xvii

CONJ Conjunction CONJC Conjectural CONV Converb COOP Cooperative COOR Coordinative gerund DAT Dative DEB Debitive DER Derivational formant DES Desiderative DIR Directive DLF Directive-locative focus DP Desiderative particle DV Defective verb EMPH Emphatic EP Emphatic particle EV Evidential EXCL Exclamation FIN Final verbal form FP Focus particle GEN Genitive GER Gerund H High tone HON Honorific HUM Humble INTER Interjection INSTR Instrumental IP Interrogative particle L Low tone LOC Locative NEG Negative NML Nominalizer OBJ Object marker OSM Oblique stem marker PAST Past tense PEJ Pejorative PERF Perfective PLUR Plural POL Polite POSS Possessive POT Potential

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xviii

Abbreviations

PREF Prefix PREV Preverb PROG Progressive PT Particle RA Reported action REC Reciprocal RP Restrictive particle RETR Retrospective SING Singular SUB Subordinative gerund SUBJ Subjunctive SUP Suppositional TENT Tentative TERM Terminative TOP Topic VB Verbalizer

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Names of Eras in Asuka and Nara Periods The following chart is supposed to be a guide to the character spelling of eras during Asuka and Nara periods. I also provide the starting year according to the Western calendar.

Romanization

Characters

Starting year

Suiko Jomei Kōgyoku Taika Hakuchi Saimei Tenji Kōbun Tenmu Shuchō (Akamî töri) Jitō Monmu Taihō Kyōun (Keiun) Wadō Reiki Yōrō Jinki Tenpyō Tenpyō Kanpō Tenpyō Shōhō Tenpyō Hōji Tenpyō Jingo Tenpyō Keiun Hōki Ten’ō Enryaku

推古 舒明 皇極 大化 白雉 齊明 天智 弘文 天武 朱鳥 持統 文武 大寶 慶雲 和同 靈龜 養老 神龜 天平 天平感寶 天平勝寶 天平寶字 天平神護 天平景雲 寶龜 天應 延暦

593 AD 629 AD 642 AD 645 AD 650 AD 655 AD 662 AD 672 AD 673 AD 686 AD 687 AD 697 AD 701 AD 704 AD 708 AD 715 AD 717 AD 724 AD 729 AD 749 AD 749 AD 757 AD 765 AD 767 AD 770 AD 781 AD 782 AD

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Introduction The general introduction to the translation of the Man’yōshū (萬葉集) ‘Anthology of Myriad Leaves’ is located at the front of book fifteen (Vovin 2009c: 1–31). Here, therefore, I provide only essential information as well as the additions/revisions that concern book two. 1

General Information on Book Two

By the traditional count, book two (2.85–234) comprises 150 poems in two genres, relationship poems (sōmonka, 相聞歌) and elegies (banka, 挽歌): 131 tanka and nineteen chōka. However, the two variants of 2.91, 2.129, and 2.199 have sufficient discrepancy to consider them different poems that I labeled as 2.91, 2.91a, 2.129, 2.129a, 2.199 and 2.199a in order not to affect the traditional count. Book two is heavily dominated by Kakînömötö-nö asömî Pîtömarö which makes it one of the most outstanding from the point of view of literature. Kakînömötö-nö asömî Pîtömarö is the author of thirty-four poems, that include most of the longest chōka, and among them the longest poem in the whole Man’yōshū, 2.199 (as well as 2.199a). The order of the poems is mostly chronological, from 662 AD to November 715 AD, if we exclude five poems ascribed to legendary persons from fourth and fifth centuries, although there are some minor violations. Book two is split into two large sections according to their genres: relationship poems (sōmon, 相聞) are represented by poems 2.85–2.140, and more numerous elegies (banka, 挽歌) by 2.141–2.234. In this book relationship poems are strictly limited to love poems, and elegies to the laments about death. All chōka except three (2.131, 2.135, and 2.138) are found in the second section of book two that includes elegies. This is quite reminiscent of the similar structure in books seventeen and eighteen, where almost all chōka are located in the second part of these books, and is very different from book nineteen, where most chōka are found in the first section. The script is predominantly mixed phonographic-logographic, with certain poems written mostly logographically, while there are no cases of complete or almost complete phonography. In this respect book two is even more logographic than book one, not to mention books nineteen and sixteen. This is not to say that the remaining books of the Man’yōshū are completely devoid of the phonographic writing: it is still present to varying degrees in different books of the anthology, but logographic writing clearly dominates the scene.

© Alexander Vovin, 2020 | doi:10.1163/9789004433335_002

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2

Introduction

On the other hand, book two presented a surprise in its phonographic writing as well, as it has revealed practically unprecedented number of new kungana signs that did not appear so far. Mysteriously enough these kungana signs are not mentioned in any of the previous sources, such as Omodaka et al. 1967, Osterkamp 2011, and Bentley 2016. The following chart presents all poetic sequences in both these sections alongside with their authors and dates. All dates before mid-seventh century should be taken with a huge grain of salt, as there are no traces of pre-WOJ language in any poems with early dates. Chart 1

Poetic sequences in book two

Poems

Date

Authors

Poetic sequence

85–88

Between 395 and 428

Empress Ipapîmê

89

Probably between 687 and 729 Not dated but likely around 454–455 (?) Not dated but likely between 662 and 672 Not dated but likely between 662 and 669

Anonymous

Four poems expressing Empress Ipapîmê’s thoughts about Emperor Nintoku A honkadori to the poem 2.87 A poem on her feelings for Imperial Prince Karu A poetic exchange between Emperor Tenji and Princess Kaŋgamî A poetic exchange between Princess Kaŋgamî and Pundiparanö Kamatari On his wedding to unemê Yasumîkô

90 91–92

93–94

95

96–100

Princess Sötöpori Emperor Tenji, Princess Kaŋgamî Princess Kaŋgamî, Pundipara-nö Kamatari

Not dated but likely Pundipara-nö Kamatari between 662 and 669 Not dated Meditation Teacher Kumë, Isikapa-nö Iratumê

101–102 Not dated, but likely Opotömö-nö Yasumarö, the third quarter of Köse-nö Iratumê the seventh century

A poetic exchange between Meditation Teacher Kumë and Isikapa-nö Iratumê A poetic exchange between Opotömö-nö Yasumarö and Köse-nö Iratumê

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3

Introduction Chart 1

Poems

Poetic sequences in book two (cont.)

Date

103–104 Not dated but likely between 673 and 686 105–106 Not dated, but very likely not long before October and not later than November 686 107–108 Not dated but no later than 686

Authors

Poetic sequence

Emperor Tenmu, Pundipara-nö Ipopê

A poetic exchange between Emperor Tenmu and Pundipara-nö Ipopê Imperial Princess Opoku Two poems on a secret visit by Imperial Prince Opotu to Ise shrine

Imperial Prince Opotu, Isikapa-nö Iratumê

A poetic exchange between Imperial Prince Opotu and Isikapa-nö Iratumê 109 Not dated but no Imperial Prince Opotu On the exposure of his later than 686 secret of sleeping with Isikapa-nö Iratumê by Tumôri-nö muranzi Töporu through the divination 110 Not dated but likely Imperial Prince Pînamîsi A poem sent to Isikapano later than 686 nö Iratumê ŋ Imperial Prince Yu gë, 111–113 Not dated but no A poetic exchange later than 699, and Princess Nukata between Imperial Prince probably about ten Yuŋgë and Princess years or so earlier Nukata Imperial Princess Three poems by Imperial 114–116 Not dated but Princess Tandima on her probably sometimes Tandima love to Imperial Prince in 690s or early Pondumî 700s before 708 Imperial Prince Töneri, A poetic exchange 117–118 Not dated but maiden from Töneri clan between Imperial Prince probably end of Töneri and a maiden from the seventh or Töneri clan beginning of the eighth century

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4 Chart 1

Poems

Introduction Poetic sequences in book two (cont.)

Authors

Poetic sequence

119–122 Not dated but no later than 699

Imperial Prince Yuŋgë

123–125 Not dated but no later than the early eighth century

Śrāmaṇera Mîkata, the daughter of Sönö-nö omî Ikupa

126–128 Not dated but no later than the early eighth century

Isikapa-nö Iratumê, Opotömö-nö sukune Tanusi

129

Isikapa-nö Iratumê

Four poems by Imperial Prince Yuŋgë about his thoughts of Imperial Princess Kï A poetic exchange between Śrāmaṇera Mîkata and the daughter of Sönö-nö omî Ikupa after he became bedridden with an illness soon after marrying her A poetic exchange between Isikapa-nö Iratumê and Opotömö-nö sukune Tanusi A poem Isikapa-nö Iratumê sent to Opotömönö sukune Sukunamarö A poem that Imperial Prince Naŋga gave to [his] younger brother Three poems on Ipamî province and parting with his wife A variant of 2.132

130

Date

Not dated but no later than the early eighth century Not dated but no later than 699

Imperial Prince Naŋga

131–133 Not dated but probably late seventh century 134 Not dated but probably late seventh century 135–137 Not dated

Kakînömötö-nö asömî Pîtömarö

138–139 Not dated

Anonymous

140

Yösamî-nö wotömê

Not dated but probably late seventh century

Kakînömötö-nö asömî Pîtömarö or anonymous Anonymous

Three poems on Ipamî province and love Two poems on Ipamî province and love A poem on the parting with Kakînömötö-nö asömî Pîtömarö

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5

Introduction Chart 1

Poems

Poetic sequences in book two (cont.)

Date

Authors

141–146 Between November Imperial Prince Arima, Naŋga-nö imîkî Okîmarö, 658 AD and February 13, 701 AD Yamanöupë-nö Okura, Kakînömötö-nö Pîtömarö Empress Yamatö-nö 147–155 Slightly before, Opo Kisaki, a court lady, on, and after Princess Nukata January 7, 672 156–158 May 23, 679 or Imperial Prince Takëti slightly later

Poetic sequence Six poems on pine branches tied by Imperial Prince Arima

Nine poems on the illness, death, and funeral of Emperor Tenji Three poems on the sudden death of Imperial Princess Töwoti 159–162 October 686 Empress Jitō Four poems on the death of Emperor Tenmu 163–166 Likely in November Imperial Princess Opoku A poem on the Four 686 poems on the death and funeral of Imperial Prince Opotu Twenty-seven poems on 167–193 May 689. The date Kakînömötö-nö asömî the death and funeral of Pîtömarö (167–169), of the burial of Imperial Prince Pînamîsi anonymous (170), Imperial Prince retainers of Imperial Pînamîsi is May 7, Prince Pînamîsi 689 (171–193) 194–195 On or shortly after Kakînömötö-nö asömî Two poems presented by October 6, 691 Pîtömarö Kakînömötö-nö asömî Pîtömarö to Imperial Princess Patusembë and Imperial Prince Osakambë on the occasion of the death of Imperial Prince Kapasima 196–198 April–May 700 Kakînömötö-nö asömî Three poems on the Pîtömarö funeral of Imperial Princess Asuka

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6 Chart 1

Poems

Introduction Poetic sequences in book two (cont.)

Date

199–202 On or shortly after August 13, 696 203

Probably winter of 708

Authors

Poetic sequence

Kakînömötö-nö asömî Pîtömarö, Princess Pînökuma (202) Imperial Prince Pondumî

Four poems on the death and funeral of Imperial Prince Takëti Poem on looking on the grave of Imperial Princess Tandima Three poems on the death of Imperial Prince Yuŋgë Six poems on the death of his wife Three poems on the death of unemê from Tu in Kîmbï Three poems on a dead person on the rocks of Samîne island in Sanukî province A poem about his approaching death Two poems about the death of her husband

204–206 699

Okîsömë-nö Andumapîtö 207–216 Not dated, but Kakînömötö-nö asömî probably before 710 Pîtömarö 217–219 07.22.750 Kakînömötö-nö asömî Pîtömarö 220–222 Not dated, but Kakînömötö-nö asömî probably before 710 Pîtömarö

223

Not dated, but probably after 710 224–225 Not dated, but probably after 710 226

Not dated, but probably after 710

Kakînömötö-nö asömî Pîtömarö Yösamî-nö wotömê, a wife of Kakînömötö-nö asömî Pîtömarö Tandipî-nö mapîtö

227

Not dated, but Anonymous probably after 710 228–229 Between January 23, Courtier Kapambê 711 and February 10, 712 230–234 November 715

Kasa-nö asömî Kanamura

A poem assuming the role of Kakînömötö-nö asömî Pîtömarö in response to Yösamî-nö wotömê A variant of 2.226 Two poems on grieving after seeing a corpse of a maiden at the pine field on Pîmêsima island Five poems about Imperial Prince Sikï’s death and funeral

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2

Is the Old Japanese Poetry Really Not Rhymed?

The consensus in the field has been so far that the Japanese poetry at any period of its existence is not rhymed. In a sense, it should not come as a surprise, because neither Ancient Greek and Roman nor Sanskrit poetry is rhymed. Moreover, as far as Europe is concerned, the medieval poetry acquires rhyme pretty late. Thus, it seems that poetic rhyme was a Chinese invention, which spread from China into Persia, and from there subsequently to Europe. The traditional Chinese rhyme is located at the end of lines, with an obligatory rhyming of the second and fourth lines of a quatrain. The first line can also be occasionally rhyming, but never the third. Thus, the rhyming scheme of a traditional Chinese poem can be represented as XAXA or AAXA, where an A represents rhyming and an X non-rhyming lines. Contrary to a widespread but false misconception in the West that Chinese rhymes are vague and imprecise, as a matter of fact they are very strict, since not only the finals, but also the tones of rhyming syllables must be identical for these syllables to rhyme. My guess is that this ‘expert’ opinion about the looseness of the traditional Chinese rhymes is based on reading Six Dynasties and Tang periods poems by literature specialists, majority of whom are completely unfamiliar with the basics of the Chinese historical phonology. An example of a famous poem Thoughts during a quiet night (静夜思) by Li Bai (李白) from the Tang period will illustrate both the scheme of rhyming and the futility of the above-mentioned misconception: 牀前明月光 疑是地上霜 擧頭望明月 低頭思故郷

There is a light of the bright moon before my bed. I tend to think it is the frost on the ground. When I raise my head, I see the bright moon. When I lower my head, I think of my place of birth.

Now let us look at the readings of the last characters of each line in Early Middle Chinese, which was likely still the orthoepic standard during the time of Li Bai’s youth: 光 ‘light’: EMC kwaŋA 霜 ‘frost’: EMC šjaŋA 月 ‘the moon’: EMC ŋjwɐtD 郷 ‘village’: EMC xjaŋA

As one can see, rhyming characters in lines one, two, and four all share the same final -aŋ and the same level tone A.

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Even a very quick look at line endings of any Old or Classical Japanese poem immediately reveals that there are no comparable phenomena, therefore, after all, the traditional consensus about the absence of rhymes in the Japanese traditional poetry seems to be well justified. However, to the best of my knowledge, I believe that there is yet one more possibility that has been completely overlooked up to date. Namely, a rhyming system does not necessarily have to be line-final, it can also be line-initial, as demonstrated by the traditional Mongolian poetry. The earliest samples of Mongolian verse are found in the thirteenth century text The Secret History of Mongols (Monggol-un ni’uča tobča’an), and will be provided below. The line-initial position of a rhyme in the traditional Mongolian poetry is probably due to the location of stress in Middle Mongolian on first syllables of words. teberigü činu daba’at olon dababa uyyilaqdaqu činu usut olon ketülbe qayila’asu qarayiǰu ülü üǰegü čimayi qayibasu qa’ulqa inu ülü olqu či1 The one who held you in his arms Has already crossed many ridges; The one you bewail Has already crossed many streams. If you call him, And he looks back, he will not see you; If you look for his tracks, His trail you will not find.2 (MNT §56) qatun qalqatan ökit öčilten ǰe’e-yin ǰisün ökin-u öngge-ber

1  The transcription is given according to Ligeti (1971: 36). 2  The translation is that of de Rachewiltz (2004.1: 12).

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9

Have the qatuns3 as shields, Have their daughters as intercessors. We live thanks to the good looks of our granddaughters (MNT §64)4 südütü moqay-a södürte’esü södürgen-tür inu bü oroya südü’er ama’ar olulčaǰu büsireye Should a snake with venomous teeth Provoke discord between us, Let us not succumb to his provocations. By explaining only mouth to mouth We shall believe each other! (MNT §177)5 By looking at these three Middle Mongolian poems above, we can come to the following conclusions. First, Mongolian rhymes can be very strict (similar to Chinese) like in the third example, or rather loose, more resembling alliteration, like rhyming da- with qa- or uyyi- with usu- in the first example. Second, in addition to the patterns ABBA, ABCB, there is also AA …, so it appears that unlike Chinese rhyming there is no single pattern. Third, like in the second example, there are lines that do not rhyme at all. For testing the hypothesis whether the similar phenomenon exists in the Old Japanese poetry, I have selected two-medium size and one short chōka from book two. I include here only the transcription, therefore for the translations and the commentaries, the reader should consult the corresponding parts of the main text. While Western Old Japanese has eight vowels; a, î, u, ï, ö, ê, ë, and ô, the secondary vowels ï, ê, ë are rarely found in first syllables. This leaves us essentially with five vowels a, î, u, ö, ô, and consequently trying to determine the existence of the initial rhyme on the basis of a tanka with its five lines invites too much chance. The data are presented below:

3  Qatun is a wife of a khan. 4  Ligeti (1971: 39), de Rachewiltz (2004.1: 15). 5  Ligeti (1971: 131), de Rachewiltz (2004.1: 96).

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2.131

Line number and transcription

Rhyme

Register

(1) Ipamî-nö UMÎ (2) Tunô-nö URA MÏ-wo (3) URA NA-si tö (4) PÎTÖ kösö MÎ-ram-ë (5) KATA NA-SI tö (5a) ISÔ NA -SI tö (6) PÎTÖ kösö MÎ-ram-ë (7) yö-si we ya si (8) URA pa NA-KU tömö (9) yö-si we ya si (10) KATA pa NA-KU tömö (10a) ISÔ pa NA-KU tömö (11) ISANA TÖR-U (12) UMÎ PÊ-wo SAS-I-TE (13) Nikîtandu-nö (14) AR-ISÔ-nö UPË-ni (15) ka-AWO-KU OP-URU (16) TAMA MO okî-tu MO (17) ASA PA PUR-U (18) KAnZE kösö YÖR-Am-ë (19) YUPU PA PUr-u (20) NAMÎ kösö K-Î-YÖR-E (21) NAMÎ-NÖ MUTA (22) KA YÖR-I KA-KU YÖR-U (23) TAMA MO-nasu (24) YÖR-I-NE-si IMÔ-wo

A B B A C A A D B D C A A B A C C C C C B C C C C D C A B D D C D C

H L L H H H H L L L H H H L H H ? L L H H/L L L H L H ? L L H H H L L

(23a) pasi-kî yö-si (24a) IMÔ-ŋGA TAMÖTÖ-wo

(25) TUYU SIMÔ-nö (26) OK-Î-TE SI K-URE-mba (27) KÖNÖ MÎTI-NÖ (28) YASÔ KUMA-ŋGÖTÖ-NI (29) YÖRÖnDU TAmBÎ (30) KAPÊR-I-MÎ S-URE-ndö

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Introduction 2.131 (cont.)

Line number and transcription

Rhyme

Register

(31) iya TÖPO n-i (32) SATÔ pa SAKAR-I-n-u (33) IYA TAKA n-i (34) YAMA mô KÔYE-k-î-n-u (35) NATU KUSA-NÖ (36) OMÖP-Î-sinaye-te (37) sinôp-uram-u (38) IMÔ-ŋGA KAnDÔ MÎ-M-U (39) NAmBÎK-Ê KÖNÖ YAMA

A C A C C D A A C

H H H L H L L L L

Line number and transcription

Rhyme

Register

(1) Tunô sap-ap-u (2) Ipamî-NÖ UMÎ-nö (3) KÖTÖ sapêk-u (4) Kara SAKÎ AR-I (5) ikuri-ni sö (6) PUKA MÎRU OP-Uru (7) AR-ISÔ-ni sö (8) TAMA MO pa OP-Uru (9) TAMA MO-nasu (10) NAmBÎK-Î NE-si KÔ-wo (11) PUKA MÎRU-nö (12) PUKAmë-te OMÖP-Ë-ndö (13) sa-NE-SI YÔ pa (14) IKUnDA mô AR-AnZ-U (15) PAP-U tuta-nö (16) WAKARE si K-URE-mba (17) KÎMÔ MUKAP-U (18) KÖKÖRÖ-wo ITA-MÎ (19) OMÖP-Î-TUTU

A B C D B A D D D D A A D B D D B C C

L H L L ? L H L L L L L L L L L L L L

2.135

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2.135 (cont.) Line number and transcription

Rhyme

Register

(20) KAPÊRIMÎ S-URE-ndö (21) OPO-m-BUNE-nö (22) WATAR-I-nö YAMA-NÖ (23) MÔMÎT-I-m-BA-NÖ (24) TIR-I-NÖ MA ŋGAP-Î-ni (25) IMÔ-ŋGA SÔnDE (26) SAYA n-i mô MÎ-YE-nZ-u (27) TUMA-ŋ-GÖMÖR-U (28) YAKAMÎ-nö YAMA-nö (28a) MURÔKAMÎ YAMA -nö (29) KUMÔ MA-YÔRI (30) WATAR-ap-u TUKÏ-nö (31) WOSI-KÊ-nDÖMÖ (32) KAKUR-Ap-î K-URE-mba (33) AMA-n-DUTAP-U (34) IR-I PÎ SAS-I-n-ure (35) MASURA WO tö (36) OMÖP-ÊR-U WARE mô (37) SIK-Î TAPË-nö (38) KÖRÖMÖ-NÖ SÔnDE pa (39) TÖPOR-I-TE NURE-n-u

D C D E B B D A D A A D C D D B D C B C C

L L H L H L L H ? H L H L L L H H L H L L

Line number and transcription

Rhyme

Register

(1) UTU SEMÎ si (2) KAMÏ-ni APË-N-E-mba (3) PANARE-WI-TE (4) ASA NA ŋGËK-U KÎMÎ (5) SAKAR-I-WI-TE (6) A-ŋGA KÔP-URU KÎMÎ (7) TAMA NAR-Amba (8) TE-ni MAK-Î-MÖT-I-TE

A B B B B B B C

H L L L H ? L L

2.150

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Introduction 2.150 (cont.)

Line number and transcription

Rhyme

Register

(9) KÎNU NAR-Amba (10) NUK-U TÖKÎ mô NA-KU (11) A-ŋGA KÔP-URU (12) KÎMÎ sö kîsö-nö YÔ (13) YIMË-NI MÎ-YE-t-uru

D A B D D

L H ? H L

If we simply look at rhyming patterns in the second column and initial syllables of lines in the first column, Old Japanese rhymes appear to be no more than alliterations that in most cases show the commonality of the vowel only. This is to be expected, because the phonological structure of Old Japanese is much simpler than of Chinese or Mongolian. However, there is one further peculiarity that makes Old Japanese initial alliterations look like initial rhymes as in Middle Mongolian. Namely, it is the fact that these initial rhymes share not only nucleus vowels, but also the initial register of the first word on the line: either high (H) or low (L). Register is without any doubt the most important part of the Japonic accentual system, as unlike locus it is found in all parts of speech and in all varieties of Japonic. As the reader can see for himself/herself, the exceptions to this rule of the register commonality in rhymes are very few. A word of caution is necessary: we know close to nothing about the accent in the Nara period, therefore the labels above are based on the first chronologically available information on the register from the Ruijū myōgi shō (類聚名義 抄, 1081 AD) from the late Heian period. But this is a legitimate substitution, because Western Old Japanese of Nara and Middle Japanese of Kyōto were based on two closely related but not identical dialects. This might also explain a few register incongruences in rhymes: quite possibly these discrepancies are due to the Western Old Japanese, but, of course, we will never know. The brief outline presented above should not be taken as more than the initial formulation of the hypothesis, no matter how attractive it might seem. The detailed study will involve looking for and confirming the same pattern not only in other books of the Man’yōshū, but also in the other collections of Old Japanese poetry, such as the Kojiki kayō (古事記歌謡, 712 AD), the Nihonshoki kayō (日本書紀歌謡, 720 AD), the Fudoki kayō (風土記歌謡, ca. 737 AD), the Bussoku seki no uta (佛足石歌, 753 AD), etc. The next logical step will be looking

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Introduction

for a possibility of the same rhyming in sedōka and tanka, both in the Nara and the Heian periods. As it usually happens, answering some questions invites more questions. The first natural question that arises in this given situation is about the origin of commonality between Middle Mongolian and Old Japanese rhyming system. Since the direct borrowing is apparently out of question, I believe that we have to think about the diffusion as in the case of European and Chinese rhymes. But while the directionality of the diffusion is quite transparent in the case of Europe and China, here we have much more difficult case. The diffusion from Japan to Mongolia seems to be very unlikely, so I believe there are two possibilities: the diffusion from Mongolia to Japan, or the diffusion to both from some third source. The first possibility might be tempting for rejection from the start given the temporal gap between The Secret History of Mongols from 1262 AD and the Man’yōshū from ca. 759–785 AD. However, recently discovered inscriptions in Ancient Mongolian (Maue 2018, 2019; Vovin 2018b, 2019a, 2019b) demonstrate that Mongolian as a written language goes back to at least the end of the sixth century AD. Although, we do not have yet any samples of poetic texts in Ancient Mongolian, chances are that they exhibited the same rhyming system as Middle Mongolian. The second possibility of the diffusion from the third source, if it ever happened, would be most likely from Old Korean. Both Old and Middle Korean poetry is traditionally defined as not rhyming, but to the best of my knowledge, nobody so far looked at the possibility of line-initial rhyming. Therefore, this is another piece of research that has to be done before we can define the direction of diffusion of the line-initial rhyming in East Asia. 3

Ainu Elements in Book Two

There are only two likely new Ainu loans attested in book two. First is WOJ tata-nan-duk- in line eleven of the poem 2.194. The standard explanation of WOJ tata-nan-duk- is ‘to fold up’, the same as tatanapar- (Inaoka 1985: 328), attested, for example, in the poem 1.38. Even leaving aside the obvious phonetic difficulties of such an equation, the image of a folded soft skin is unlikely to be very aesthetically appeasing. I believe that we might deal here with a very old loan from Ainu, cf. Ainu taktak ‘jade’ and nan ‘face’ (Chiri 1956: 63, 128). The cluster -kt- is expected to be simplified in Old Japanese to -t-, but it apparently blocked the expected intervocalic voicing -t- > -nd- in the recipient language. Since no codas except -y are allowed by Old Japanese phonotactic rules, Ainu taktak > OJ tata is absolutely uncontroversial. The remaining -duk- in WOJ is, of course, of Japonic provenance: tuk- ‘to attach’.

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15

The hydronim Nipu could be of Ainu origin as well, cf. Ainu nípu ‘storage for frozen salmon at a river bank’ (Chiri 1956: 66). Ainu nípu is certainly could be further analyzed as ni ‘tree, wood’ and pu ‘storage’, which implies the original meaning ‘wooden storage’. Attested in 2.130. 4

Loans from Korean in Book Two

Not surprisingly, several new Korean loans are also found in book two. I do not include into the following list those elements that were already listed under the section Loans from Korean in the introduction to book one (Vovin 20017a: 5–7). – WOJ ŋgötö ‘like’ is probably a combination of the reduced form -ŋ of the genitive case marker -nö and the word kötö ‘like’, borrowed from otherwise unattested OK predecessor of MK kʌt- ‘be like’. Attested in: 2.112, 2.129, 2.129a, 2.168, 2.199, 2.199a, 2.207, 2.213, and 2.217. – WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’, see the commentary to 5.804. There is no etymology for masura. It could possibly be a Japanese-Korean hybrid: OJ ma-, intensive prefix with the meaning ‘true, real’ + MK súh ‘male’6 + OJ -ra, suffix of endearment. Attested in: 2.117, 2.118, 2.135, and 2.230. – WOJ tak- ‘to braid up’, ‘to raise one’s hair into a coiffure’. The word must be a loan from Korean, cf. MK tàh- ‘to braid one’s hair’, ‘to plait’ (MdK ttah-). Attested in 2.123. – WOJ SÖmï ‘young (n.)’. Cf. MK cyèm-ḯy ‘young (n.)’, a nominalization of the adjectival verb cyèm- ‘to be young’7 by the addition of the deverbal nominalizer -ḯy (Yi 1981: 108). Although we cannot reconstruct with certainty the reading of the first syllable, it is likely that MK or OK cye would be borrowed as WOJ sö.8 There is no evidence for the reconstruction of an OK form, but for all practical purposes I will consider that it is identical or close to the MK form. Attested in 2.128.

6  In Modern Korean su ‘male’ is used only for animals, but it appears that in earlier stages of the language it was also applicable to humans. 7  Cf. MdK celm- ‘to be young’. MK has a tendency to lose -r- before labial consonants, cf. MK nep- ~ MdK nelp- ‘to be broad, to be wide’. We should probably reconstruct PK *cyem- and *nep- here, given Ceycwu forms cem- and nep- (NB: there are no celm- and nelp-), and consider MdK celm- and nelp- forms as innovative showing secondary -l- insertion. 8  The further support to this hypothesis can be found in the fact that Isikapa-nö Iratumê is a descendant of Sôŋga clan, which has a Korean origin (Vovin 2002: 36), see the commentary to the preface to the poems 2.129–129a below.

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Introduction

– It is a mystery why the character 社 ‘Shintō shrine’ is used for writing a focus particle kösö in lines two, six, eighteen and twenty in the poem 2.131, as well as in poems 2.138, 2.145 and elsewhere in the Man’yōshū, as there is no such a reading for this character. Japanese scholars usually invoke a parallel with the usage of 乞 köp- ‘to ask’, ‘to pray’ (Takeda 1956.2: 401; Omodaka 1977.2: 144; Inaoka 1985: 131). This theory faces an unsurmountable problem of the correspondence /-p-/ to /-s-/. There is an alternative, a benefactive auxiliary -köse- that has irregular imperative form -kös-ö. This etymology is not unproblematic, and I have already surveyed it in the commentary to 17.3898. In addition, while the underlying benefactive auxiliary imperative -kös-ö might still work as an explanation for the writing of kösö with 乞, it is considerably less likely for 社 ‘shrine’, which is not the act of imploring deities per se, but the place of worship and/or performing Shintō shamanistic rites. I believe that there is another possibility: there is MK kús ‘shamanistic rites’, which might represent a possible apocope in otherwise unattested OK *kusu or *kusï. Unfortunately, the native word for ‘shamanistic shrine’ did not survive in Korean.9 Attested in: 2.131, 2.138, and 2.145. – WOJ i ‘this’ (已) /i/ cannot be anything but a loan of the Korean demonstrative pronoun i ‘this’, cf. OK and MK i ‘id.’. Attested in 2.156. – WOJ -ɣuy (?) (矣), genitive case marker is comparable to frequently used Old Korean locative (or genitive) -ɣuy (cf. MK -uy). Attested in: 2.156. – WOJ susurô (自得) ‘self’ can only be compared with MK sùsúrwó ‘self’ (cf. OK 自矣 SUSU-ɣuy ‘self-GEN’ ‘[my] own’ in 自矣心米 SUSU-ɣuy MOZOm-ay ‘in [my] own heart’ (Hyangka 14.1)). In this case 自 should render logographically SUSU ‘self’, and 得 phonographically the instrumental case marker -rwó. The Sino-Korean reading of the character 得 is tïk, but no final consonants are possible in Old Japanese. Furthermore, given the historical process of -t- > -r- lenition in Korean, such a usage appears to be quite possible, although at the present point the problem of the vocalic correspondence -ô- : -ï- remains. Attested in 2.156. – WOJ sapêk- is an interesting word. Japanese tradition holds it to be the same word as sapëŋg- ‘to be obstructed, to be blocked, to be incomprehensible’ (Takeda 1956.2: 412; Omodaka et al. 1967: 299; Omodaka 1977.2: 160–161;

9  This should come as no wonder, since shamanism was greatly oppressed during the last Li dynasty (1392–1910 AD). Interestingly enough, the same hostile attitude was inherited by the modern Korean Christian population, while it does not extend to Confucianism.

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17

Inaoka 1985: 136),10 but this is certainly phonetically impossible because of the vocalism in the second syllable and the final consonant. The explanation of kötö sapêk-u Kara ‘Korea, where speech is incomprehensible’ by Sengaku, I am afraid, is completely incorrect. There are three attestations of WOJ sapêk- in Old Japanese: in MYS 2.135, 2.199 and 2.199a and in the identical context, so the word in question comes very close to a hapax legomenon. Nevertheless, in addition to its low occurrence, total absence from Eastern Old Japanese and Ryukyuan, and obvious connection with Korea, clearly points to the direction of a loanword. MK sʌlp- [sʌrp] R, OK SɅLpa- (attested as adnominals *sʌrpa-n 白反 (Hyesengka, line 8) and SɅLPAɣ-ʌn 白乎隱 (Tosolka, line 2)) ‘to say, to tell’ < PK *sʌrpak- fits the bill perfectly (the simplification of MK and OK -rp- to OJ -p-is expected. Thus, kötö sapêk-u Kara is ‘Korea, where [they] talk’ or ‘Korea, where [they] say speeches/words’. Attested in: 2.135, 2.199, and 2.199a. 5

Compiler of Book Two

The compiler of book two is unknown. However, I think that it was a person who: a) lived at least some of his life in the eighth century; b) he or much less likely she must have been close to Opotömö clan or to Yamanöupë-nö Okura to have access to now not extant Ruijū Karin of Yamanöupë-nö Okura. Also, the main compiler of book two probably had no good access to the final text of the Nihonshoki, which explains the errors in the prefaces and postscripts that are heavily dependent on the Ruijū Karin. Namely, in book two like in book one there are references to the Nihonshoki; however, there are discrepancies between the present extant copy of the Nihonshoki, and the copy the compiler used, which probably was a draft version. Note that although it is frequently claimed that at least books one and two were compiled according to the imperial decree, it does not explain the simple fact how the poems about the exile of Prince Womî (1.23–24) have found their way into book one, or poems by and about Imperial Prince Arima (2.141–146) and poems by Imperial Prince Opotu (2.105–107, 2.109, 2.163–166), both of whom were guilty of the high treason, could make it to the book two if it really were an official collection. Much more likely case is that we have on our hands the private collection of OJ poetry belonging to the Opotömö clan. Given the deteriorating position of this once very prominent clan in the late Asuka and especially Nara periods, it would be 10  The latter two are just repeating Sengaku’s explanation.

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Introduction

no surprise if this private collection would be more along the lines of ‘imperial dissidence’, rather than of ‘imperial imagination’, which is nothing but the imagination of the ‘imperial imagination’ by Torquil Duthie (2014).11 The most likely person to fit the position described above is Opotömö-nö Tambîtö, the father of Opotömö-nö Yakamöti, who probably in his turn edited the earlier compilation by his father. 6

Man’yōgana Script

Man’yōgana script was discussed in detail in the introduction to the translation of book fifteen. In spite of two recent excellent books on the man’yōgana script (Osterkamp 2011; Bentley 2016), we still do not have a complete list of man’yōgana signs published anywhere, needless to mention Omodaka et al. (1967). Osterkamp 2011 concentrated on disyllabic ongana, barely scratching kungana. Bentley 2016 is a very valuable contribution to the study of the historical usage of monosyllabic ongana signs, but it has very few additions beyond the list published already in Omodaka et al. (1967). Meanwhile, anyone trying to tackle mixed phonographic-logographic books like one and two, will be overwhelmed by the extensive usage of kungana, especially disyllabic. There is also a significant number of disyllabic ongana. Very few of these signs, especially kungana, are included into Omodaka et al. (1967), Osterkamp (2011), and Bentley (2016). Admittedly, some of these graphs are extremely rare, appearing only once or twice in the whole anthology, but so are some of the monosyllabic ongana included in Omodaka et al. (1967) and Bentley (2016). Meanwhile other previously unlisted signs are quite frequent, and should be memorized by any student of Old Japanese. Therefore, edition of book one resulted in a huge influx of signs not included in Bentley 2016, and edition of book two led to further addition of the new signs. My own expanded list (that will undoubtedly continue to grow following the study of other books), does not pretend to be all-inclusive for Old Japanese, as it presents only those graphs that are used in the Man’yōshū. The compilation of an all-inclusive list or a dictionary of the man’yōgana remains the task for the future, as at the present point it depends on three major directions of research: the thorough study of the man’yōgana in the Man’yōshū, wooden tablets (mokkan, 木簡), and late Old Japanese and early Middle Japanese texts in the man’yōgana.

11  The whole Duthie’s hypothesis of ‘imperial imagination’ in the Man’yōshū is based solely on book one that has only eighty-four poems out of 4,516 in the anthology.

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Introduction

As usual, I place below the revised chart with new additions that are given in bold script. Chart 2

Man’yōgana phonographic signs used in the Man’yōshū

Transcription

Man’yōgana signs

a　あ

ongana: 阿 安 kungana: 足 吾 鳴呼 disyllabic ongana: 英 [aŋga] disyllabic kungana: 赤 [aka]12 金 [akî]13 朝 [asa]14 淺 [asa]15 相 [apî] [apu] [ara]16 荒 [ara]17 在 [ari, aru]18 綾 [aya]19 文 [aya]20 trisyllabic kungana: 茜, 茜草 [akane]21 ongana: 伊 夷 以 怡 異 移 因 印 壱 已22 kungana: 射 五十 馬声 disyllabic ongana: 因 [ina] 印 [ina] 壱 [iti] 盤 [ipa]23 disyllabic kungana: 勇 [isa]24 五百 [ipo]25 乞 [inde]26

i　い

12  Not listed in Bentley 2016. 13  Not listed in Bentley 2016. 14  Not listed in Bentley 2016. 15  Not listed in Bentley 2016. 16  Not listed in Bentley 2016. There is only one example of 相 ara in the Man’yōshū (19.4211). The character 相 sometimes seems to indicate just monosyllabic [pu], but this is just a graphic illusion, due to the vowel contraction a+a > a. 17  Not listed in Bentley 2016. 18  Not listed in Bentley 2016. 19  Not listed in Bentley 2016. 20  Not listed in Bentley 2016. Attested in 2.204. 21  Not listed in Bentley 2016. 22  Bentley lists this phonogram, but he also says: “It appears only in the Man’yōshū and then only in Book 20, where it is used seven times” (2016: 85). This statement is not completely accurate. While Bentley is right that this phonogram appears only in the Man’yōshū, it is not limited to book twenty, see also 10.2011, 14.3393, as well as 1.43 and 4.511, the latter two being discussed in the commentary to 1.43 in this book. I will also defer to the publication of book two the discussion of the usage of 已 in 2.156. 23  Attested only once with this reading in the Man’yōshū (1.22). It is a rare phonogram in this text, and it appears as expected ongana phonogram pa in two other examples found in 6.933 and 11.2522 (but it is more likely that in this last case 盤 renders pani, and not just pa). Bentley includes 盤 as a phonogram for pa (2016: 274), but not for ipa. 24  Not listed in Bentley 2016. 25  Not listed in Bentley 2016. 26  Bentley lists this phonogram only with the reading köti (2016: 136).

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20 Chart 2

Introduction Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

u　う

ongana: 于 汙 宇 有 羽 烏 雲 kungana: 氐 菟 卯 得 disyllabic ongana: 雲 [una] 鬱 [utu] disyllabic kungana: 打 [uti]27 敲 [uti]28 於 [upë]29 浦 [ura]30 裏 [ura]31 ongana: 衣 愛 依 kungana: 得 榎 荏 ongana: 意 於 応 乙 憶 飫 disyllabic ongana: 乙 [otu] 邑 [opî, opu, opo] disyllabic kungana: 息 [okî]32 忍 [osi]33 凡 [opo]34 ongana: 加 迦 可 賀 珂 箇 架 嘉 甲 甘 敢 kungana: 鹿 香 蚊 芳 歟 所 disyllabic ongana: 甘 [kamu] 敢 [kamu] 漢 [kani] 干 [kani] 葛 [katu] 甲 [kapî] 香 [kaŋgu] 高 [kaŋgu]35 各 [kaku] 閑 [kana]36 disyllabic kungana: 借 [kasi]37 方 [kata]38 片 [kata]39 異 [kata]40 兼 [kane]41 鴨 [kamô]42 辛 [kara]43 柄 [kara]44 韓 [kara]45 trisyllabic kungana: 限 [kaŋgîru]46 蜻 [kaŋgîru, kaŋgîrô]47

e　え₁ o　お

ka　か

27  Not listed in Bentley 2016. 28  Not listed in Bentley 2016. 29  Not listed in Bentley 2016. 30  Not listed in Bentley 2016. Attested in 2.189, 2.210 and 2.213. 31  Not listed in Bentley 2016. 32  Not listed in Bentley 2016. 33  Not listed in Bentley 2016. 34  Not listed in Bentley 2016. Attested in 2.219, 6.965, and 6.974. 35  Used only for writing kaŋgu in Kaŋgu yama in 1.13 and 1.14. Not listed in Bentley 2016. 36  See the detailed discussion of this phonogram in Bentley (2016: 108). It occurs only once in the Man’yōshū (1.1), and, as it seems in the whole OJ corpus as well (Bentley 2016: 108). 37  Not listed in Bentley 2016. 38  Not listed in Bentley 2016. 39  Not listed in Bentley 2016. 40  Not listed in Bentley 2016. 41  Not listed in Bentley 2016. Attested in 2.194. 42  Not listed in Bentley 2016. 43  Attested only in place names. Not listed in Bentley 2016. 44  Not listed in Bentley 2016. 45  Only for spelling Kara ‘China’. Not listed in Bentley 2016. 46  Not listed in Bentley 2016. 47  Not listed in Bentley 2016. Attested in 2.189 and 2.210. - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

21

Introduction Chart 2

Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

kî　き₁

ongana: 支 伎 吉 岐 棄 枳 企 芡48 kungana: 寸 杵 來 disyllabic kungana: 切 [kîrô]49 ongana: 紀 幾 貴 奇 騎50 綺 寄 記 kungana: 城 木 樹 ongana: 久 玖 口 群 苦 丘 九 鳩 君 kungana: 來 國51 小52 disyllabic ongana: 君 [kuni] disyllabic kungana: 草 [kusa]53 國 [kuni]54 ongana: 祁 家 計 鶏 介 奚 谿 価 係 結 kungana: 異 disyllabic ongana: 兼 [kêmu] 監 [kêmu] 険 [kêmu] disyllabic kungana: 來 [kêri, kêru]55 ongana: 気 既 kungana: 毛 食 飼 消 ongana: 古 故 庫 祜 祜 姑 孤 枯 kungana: 子 兒 籠56 小 粉

kï　き₂ ku　く

kê　け₁

kë　け₂ kô　こ₁

48  The character 芡 as an ongana for kî occurs only once in the OJ corpus: in the preface to 1.22. It is not listed in Bentley 2016. 49  Not listed in Bentley 2016. Attested in 2.213. 50  Attested only twice in the Man’yōshū, both times in the place name Akï in 1.45 and 1.46 (Bentley 2016: 152). 51  Not listed in Bentley 2016. 52  Not listed in Bentley 2016. Attested in 2.199. This reading is apparently due to the raising of *o > u. 53  Not listed in Bentley 2016. 54  Not listed in Bentley 2016. 55  Not listed in Bentley 2016. Attested in 2.216. 56  Bentley lists this kungana phonogram as kô occurring three times in the Man’yōshū (2.193, 4.487, 11.2710) (2016: 164). But he apparently overlooks the fact that it is also used as ŋgô in 1.23 and 12.3205. - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

22 Chart 2

Introduction Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

kö　こ₂

ongana: 己 許 巨 居 去 虚 忌 興 kungana: 木 disyllabic ongana: 金 [kömu] 今 [kömu] 近 [könö] 乞 [köti] 興 [köŋgö] disyllabic kungana: 乞 [kösö]57 言 [kötö]58 來 [körö]59 社 [kösö]60 ongana: 何 我 賀 河 蛾 disyllabic kungana: 方 [ŋgata]61 金 [ŋgane]62 柄 [ŋgara]63 ongana: 芸 祇 岐 伎 ongana: 疑 宜 義 ongana: 具 遇 求 隅 群 kungana: 來64 disyllabic ongana: 群 [ŋguni/ŋguri] disyllabic kungana: 晩 [ŋgura] ongana: 牙 雅 夏 ongana: 義 宜 㝵 ongana: 胡 呉 候 後 虞 吾 kungana: 籠65 ongana: 其 期 碁 凝 ongana: 佐 沙 作 左 者 柴 紗 草 匝 讃 散 尺 積 kungana: 狭 猨 羅 disyllabic ongana: 三 [samu] 雜 [sapa] [sapî] 障 [apa] [apî] [apu]66 匝 [sapî] 颯 [sapu] 讃 [sanu] 散 [sani] 薩 [sati] [satu] 相 [saŋga] [saŋgu] 尺 [saka] 作 [saka] [saku] 積 [saka]

ŋga　が ŋgî　ぎ₁

ŋgï　ぎ₂ ŋgu　ぐ

ŋgê　げ₁

ŋgë　げ₂ ŋgô　ご₁

ŋgö　ご₂

sa　さ

57  Bentley lists this phonogram only with the reading köti (2016: 136). 58  Not listed in Bentley 2016. 59  Not listed in Bentley 2016. Attested in 2.123. 60  Not listed in Bentley 2016. 61  Not listed in Bentley 2016. Attested in 2.229. 62  Not listed in Bentley 2016. 63  Not listed in Bentley 2016. 64  Not listed in Bentley 2016. Attested in the place name Kaŋguyama in 2.199 and 2.199a. 65  Bentley lists this phonogram only as kô, but not ŋgô (2016: 164). It occurs as ŋgô in two poems in the Man’yōshū: 1.23 and 12.3205. 66  Not listed in Bentley 2016.

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23

Introduction Chart 2

Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

si　し

Man’yōgana signs disyllabic kungana: 坂 [saka]67 開 [saku]68 前 [sakî]69 辟 [sakî]70 神 [sasa]71 樂 [sasa]72 刺 [sasu]73 障 [sapa]74 澤 [sapa]75 禁 [sapë]76 鮫 [samë]77 去 [sara]78 [sari]79 核 [sane]80 ongana: 斯 志 之 師 紫 新 四 子 思 司 芝 詩 旨 寺 時 指 此 至 次 死 偲 事 詞 信 使81 kungana: 爲 磯 disyllabic ongana: 信 [sina] 鍾 [siŋgu] 色 [sikî/sikö] 餝 [sika] 式 [sikî] 拭 [sikî] 叔 [siku] disyllabic kungana: 及 [sikî] [siku]82 布 [sikî]83 下 [sita]84 科 [sina]85 小竹 [sinô]86 塩 [sipo]87 嶋 [sima]88 染 [simî]89 霜 [simô]90 白 [sira]91

67  Not listed in Bentley 2016. 68  Not listed in Bentley 2016. 69  Not listed in Bentley 2016. 70  Not listed in Bentley 2016. 71  Not listed in Bentley 2016. 72  Attested only in place names. Not listed in Bentley 2016. 73  Not listed in Bentley 2016. 74  Not listed in Bentley 2016. 75  Not listed in Bentley 2016. 76  Not listed in Bentley 2016. 77  Not listed in Bentley 2016. Attested in 2.194. 78  Not listed in Bentley 2016. 79  Not listed in Bentley 2016. 80  Not listed in Bentley 2016. 81  Not listed in Bentley 2016. Attested in 2.199 and 2.199a. This is a quasi-logographic phonogram. 82  Not listed in Bentley 2016. 83  Not listed in Bentley 2016. Attested in 2.167 and 2.217. 84  Not listed in Bentley 2016. Attested in 2.217. 85  Not listed in Bentley 2016. 86  Not listed in Bentley 2016. 87  Not listed in Bentley 2016. 88  Not listed in Bentley 2016. 89  Not listed in Bentley 2016. Attested in 2.196. 90  Not listed in Bentley 2016. Attested in 2.204. 91  Not listed in Bentley 2016.

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24 Chart 2

Introduction Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

su　す

ongana: 湏 須 周 酒 洲 珠 数 kungana: 酢 簀 栖 渚 爲 disyllabic ongana: 駿 [suru] 宿 [suka] [suku] disyllabic kungana: 次 [sukî]92 隅 [sumî]93 墨 [sumî]94 ongana: 勢 世 西 斉 kungana: 瀬 湍 背 脊 迫 disyllabic ongana: 瞻 [semî] ongana: 蘇 宗 祖 素 kungana: 十 麻 disyllabic kungana: 虚 [sôra]95 ongana: 曾 所 僧 増 則 kungana: 衣 背 其 苑 ongana: 射 蔵 邪 社 謝 座 disyllabic kungana: 坂 [nzaka]96 ongana: 自 士 慈 尽 時 寺 仕 緇97 ongana: 受 授 聚 殊 洲98 ongana: 是 ongana: 俗 ongana: 叙 序 賊99

se　せ

sô　そ₁

sö　そ₂ nza　ざ nzi　じ nzu　ず nze　ぜ nzô　ぞ₁ nzö　ぞ₂

92  Not listed in Bentley 2016. 93  Not listed in Bentley 2016. 94  Not listed in Bentley 2016. 95  Not listed in Bentley 2016. 96  Not listed in Bentley 2016. 97  The character 緇 for nzi seems to be found only in MYS 15.3708. 98  In placenames only. 99  The phonogram 賊 as a sign for /nzö/ is attested only in the Man’yōshū (Omodaka et al. 1967: 896). However, it appears as a phonogram in the Man’yōshū just once, in the word kînzö (伎賊) ‘last night’ (MYS 2.150). This is the only phonographic attestation of this word in the Western Old Japanese part of the Man’yōshū. Interestingly enough, Omodaka et al. transcribe this word in the same poem as kîsö in the entry on kîsö ‘last night’ (1967: 241). In addition, the same word is attested in Eastern Old Japanese four times in 14.3505, 14.3522, 14.3550, and 14.3563 written as 伎曾 /kîsö/ with a voiceless /s/. Thus, I believe that the phonogram 賊 was read /sö/ and I think that this word should be read as kîsö in Western Old Japanese as well.

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25

Introduction Chart 2

Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

ta　た

ongana: 多 太 他 丹 kungana: 田 手 disyllabic ongana: 丹 [tani] 塔 [tapu] 但 [tani] [tandi] 當 [taŋgî] disyllabic kungana: 妙 [tapë]100 玉 [tama]101 絶 [tayu]102 垂 [taru]103 ongana: 知 智 恥 陳 珍 遲 kungana: 道 千 乳 路 血 茅 disyllabic ongana: 珍 [tinu] ongana: 都 豆 通 追 川 kungana: 津 齋 disyllabic ongana: 筑 [tukî, tuku] 對 [tusi] disyllabic kungana: 乍 [tutu]104 角 [tunô]105 爪 [tuma]106 妻 [tuma] [nduma]107 嬬 [tuma]108 積 [tumî]109 列 [tura]110 頬 [tura] 鶴 [turu]111 ongana: 弖 氐 提 天 帝 底 堤 代 kungana: 手 価 直 而112 disyllabic ongana: 点 [temu] ongana: 刀 斗 都 土 度 kungana: 戸 門 利 礪 速

ti　ち

tu　つ

te　て

tô　と₁

100  Not listed in Bentley 2016. 101  Not listed in Bentley 2016. 102  Not listed in Bentley 2016. 103  Not listed in Bentley 2016. 104  Not listed in Bentley 2016. 105  Not listed in Bentley 2016. 106  Not listed in Bentley 2016. 107  Not listed in Bentley 2016. 108  Not listed in Bentley 2016. It is a rare phonogram in the Man’yōshū, occurring only once with certainty (1.50), and possibly in one other case. 109  Not listed in Bentley 2016. 110  Not listed in Bentley 2016. 111  Not listed in Bentley 2016. 112  Not listed in Bentley 2016. Attested in 2.211.

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26 Chart 2

Introduction Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

tö　と₂

ongana: 止 等 登 騰 得 kungana: 鳥 十 跡 迹 常 disyllabic ongana: 徳 [tökö] 得 [tökö] disyllabic kungana: 友 [tömö]113 trisyllabic kungana: 乏 [tömösi]114 ongana: 陁 太 大 disyllabic ongana: 弾 [ndani] disyllabic kungana: 谷 [ndani]115 ongana: 遲 治 地 ongana: 豆 頭 都 disyllabic ongana: 曇 [ndumî] disyllabic kungana: 付 [nduku]116 附 [ndukî] [nduku]117 頬 [ndura]118 ongana: 提   ಪ代田低泥埿 ongana: 度 渡 土 ongana: 杼 騰 藤 特 ongana: 那 奈 寧 難 南 kungana: 名 魚 中 菜 七 莫 disyllabic ongana: 南 [namî, namu] 難 [nani] disyllabic kungana: 中 [naka]119 鳴 [naku]120 成 [nasu]121 梨 [nasi]122 夏 [natu]123 波 [namî]124 雙 [namî/namï]125 楢 [nara]126 trisyllabic kungana: 長柄 [naŋgara]127 隱 [nambari]128

nda　だ

ndi　ぢ ndu　づ

nde　で ndô　ど₁ ndö　ど₂ na　な

113  Not listed in Bentley 2016. 114  Not listed in Bentley 2016. 115  Not listed in Bentley 2016. 116  Not listed in Bentley 2016. 117  Not listed in Bentley 2016. 118  Not listed in Bentley 2016. Attested in 2.196. 119  Not listed in Bentley 2016. Attested in 2.220. 120  Not listed in Bentley 2016. 121  Not listed in Bentley 2016. 122  Not listed in Bentley 2016. 123  Not listed in Bentley 2016. 124  Not listed in Bentley 2016. 125  Not listed in Bentley 2016. 126  Not listed in Bentley 2016. It is used seven times in the Man’yōshū, all of them except one (12.3166), for writing place name Nara. 127  Not listed in Bentley 2016. 128  Not listed in Bentley 2016. Attested in 2.203 in the place name Yönambari. - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

27

Introduction Chart 2

Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

ni　に

ongana: 爾 迩 仁 日 二 而 尼 耳 人 柔 kungana: 丹 荷 似 煮 煑129 disyllabic kungana: 柔 [nikî]130 熟 [nikî]131 西 [nisi]132 ongana: 奴 怒 努 濃 農 kungana: 沼 宿 寝 渟 去133 disyllabic kungana: 塗 [nure]134 去 [nuru]135 ongana: 尼 禰 泥 埿 年 kungana: 根 宿 disyllabic ongana: 念 [nemu] ongana: 努 怒 弩 奴 kungana: 野 ongana: 乃 能 kungana: 荷 笶 箆 之136 ongana: 波 播 幡 芳 婆 破 方 防 八 房 半   ᾤ 薄 伴 泊 叵 盤137 kungana: 羽 葉 歯 者 disyllabic ongana: 盤 [pani] disyllabic kungana: 旗 [panda]138 花 [pana]139 埴 [pani]140

nu　ぬ

ne　ね

nô　の₁ nö　の₂ pa　は

129  Certainly a variant of 煮. 130  Not listed in Bentley 2016. 131  Not listed in Bentley 2016. Strictly speaking, this is a kungana of Korean origin, without a lexical attestation in OJ, cf. OK nik- ‘to be hot’, ‘to ripen’. 132  Not listed in Bentley 2016. Attested in 2.205 and 2.213. 133  Not listed in Bentley 2016. Attested in 2.120. 134  Not listed in Bentley 2016. 135  Not listed in Bentley 2016. Attested in 2.207. 136  Used only as a kungana for the attributive form n-ö of the copula n- or the comparative case marker -nö. Not listed in Bentley 2016. 137  Bentley’s saying that “This graph appears several times in the Man’yōshū” (2016: 274) is an overstatement, as it appears in this major OJ text only three times (1.22, 6.933, 11.2522). As a matter of fact, the only unambiguous example of 盤 used for pa can be found in 6.933. In 1.22 it clearly stands for ipa, and it is more likely that in 11.2522 it renders pani, and not pa. 138  Not listed in Bentley 2016. 139  Not listed in Bentley 2016. 140  Attested in the place name Paniyasu in 2.199 and 2.199a. Not listed in Bentley 2016. - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

28 Chart 2

Introduction Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

pî　ひ₁

ongana: 比 卑 必 臂 嬪 賔 kungana: 日 檜 氷 disyllabic kungana: 引 [pîkï]141 櫃 [pîtu]142 埿 [pîndu]143 ongana: 非 斐 悲 飛 kungana: 火 干 乾 ongana: 布 不 敷 府 賦 否 負 福 kungana: 經 歴 disyllabic ongana: 粉 [puni] 福 [puku] disyllabic kungana: 蓋 [puta]144 ongana: 平 弊 霸 幣 敝 陛 遍 返 反 弁 kungana: 部 辺 重 隔 disyllabic ongana: 伯 [pêkî] ongana: 閇 倍 拝 kungana: 戸   ら綜經 ongana: 保 富 宝 朋 倍 抱 方 凡 品 kungana: 帆 穂 太145 disyllabic ongana: 凡 [pomu] 品 [pomu] ongana: 婆 伐 ongana: 毘 毗 鼻 妣 婢 disyllabic kungana: 延 [mbîkî]146 ongana: 備 肥 ongana: 夫 父 部 扶 disyllabic kungana: 吹 [mbukî]147 振 [mbukî]148 ongana: 辨 便 別 ongana: 倍 ongana: 煩

pï　ひ₂ pu　ふ

pê　へ₁

pë　へ₂ po　ほ

mba　ば mbî　び₁ mbï　び₂ mbu　ぶ mbê　べ₁ mbë　べ₂ mbo　ぼ

141  Not listed in Bentley 2016. Used to write pîkï in asi pîkï. 142  Not listed in Bentley 2016. 143  Not listed in Bentley 2016. Attested in 2.194. 144  Not listed in Bentley 2016. 145  Contraction from opo ‘great’. Attested in 13.3309 and 19.4211. Not listed in Bentley 2016. 146  Not listed in Bentley 2016. Attested in 2.207. 147  Not listed in Bentley 2016. 148  Not listed in Bentley 2016.

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29

Introduction Chart 2

Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

ma　ま

ongana: 麻 磨 万 萬 馬 末 満 摩 kungana: 眞 間 目 信 鬼 disyllabic ongana: 望 [maŋga] [maŋgu] 莫 [maku] 幕 [maku] disyllabic kungana: 巻 [maku]149 儲 [makë]150 設 [makë]151 松 [matu]152 圓 [matô]153 儛 [mapa]154 trisyllabic kungana: 相 [masani]155 ongana: 弥 美 民 kungana: 三 御 見 水 参 視 disyllabic ongana: 敏 [mînu] disyllabic kungana: 水 [mîndu]156 ongana: 微 未 味 尾 kungana: 身 実 箕 ongana: 牟 武 无 模 務 無 謀 鵡 儛 kungana: 六 disyllabic ongana: 目 [muku] disyllabic kungana: 村 [mura]157 ongana: 賣 咩 馬 面 kungana: 女 婦 disyllabic kungana: 食 [mêsi] [mêsu] [mêse]158 ongana: 米 梅 迷 昧 晩 kungana: 目 眼 ongana: 毛

mî　み₁

mï　み₂ mu　む

mê　め₁

më　め₂ mô　も₁

149  Not listed in Bentley 2016. 150  Not listed in Bentley 2016. 151  Not listed in Bentley 2016. 152  Not listed in Bentley 2016. This is a rare phonogram in the Man’yōshū, which is used as a kungana for matu ‘waits’ in 1.73, 13.3258, 13.3324, and possibly in a couple other less clear cases. 153  Not listed in Bentley 2016. 154  Not listed in Bentley 2016. Attested in the poem 2.187. 155  Not listed in Bentley 2016. It occurs only once in the Man’yōshū (11.2507). 156  Not listed in Bentley 2016. 157  Not listed in Bentley 2016. 158  Not listed in Bentley 2016.

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30 Chart 2

Introduction Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

mö　も₂

ongana: 母 disyllabic kungana: 圓 [mörö]159 諸 [mörö]160 ongana: 茂 文 聞 忘 蒙 畝 問 門 勿 木 物 悶161 kungana: 裳 藻 哭 喪 裙 disyllabic ongana: 物 [moti] disyllabic kungana: 望 [moti]162 成 [mori]163 ongana: 夜 移 陽 耶 益 野 楊 也 kungana: 屋 八 矢 disyllabic kungana: 山 [yama]164 安 [yasu]165 ongana: 由 喩 遊 油 kungana: 弓 湯 ongana: 延 叡 曳 遙 要 kungana: 兄 江 枝 吉 ongana: 用 欲 容 kungana: 夜 ongana: 余 與 予 餘 誉 kungana: 世 吉 四 代 齒166 disyllabic kungana: 縦 [yösi] ongana: 羅 良 浪 楽 kungana: 等167 disyllabic ongana: 藍 [ramu] 濫 [ramu] 覧 [ramu] 臘 [rapu] 楽 [raku] 落 [raku] ongana: 理 利 里 隣 ongana: 留 流 類

mo　も

ya　や

yu　ゆ ye　え₂ yô　よ₁ yö　よ₂

ra　ら

ri　り ru　る

159  Not listed in Bentley 2016. 160  Not listed in Bentley 2016. 161  Bentley maintains that this phonogram appears only once in the Nihonshoki (2016: 199), but apparently this is not true, since it is also attested in MYS 2.196 and 2.207. 162  Not listed in Bentley 2016. Attested in 2.167. 163  Not listed in Bentley 2016. 164  Not listed in Bentley 2016. 165  Attested in the place name Paniyasu in 2.199, 2.199a, and 2.201. Not listed in Bentley 2016. 166  Listed in Bentley (2016: 533), but only as a kungana in 11.2773. Its usage as a quasilogographic phonogram in 1.10 is not mentioned. 167  Not listed in Bentley 2016.

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31

Introduction Chart 2

Man’yōgana phonographic signs used in the Man’yōshū (cont.)

Transcription

Man’yōgana signs

re　れ

ongana: 禮 礼 例 列 烈 連 disyllabic ongana: 廉 [remu] ongana: 漏 路 ongana: 呂 侶 里 ongana: 和 丸 kungana: 輪 disyllabic ongana: 丸 [wani] disyllabic kungana: 渡 [wata]168 ongana: 爲 位 謂 kungana: 井 猪 居 ongana: 惠 廻 慧 佪 kungana: 画 座 咲 ongana: 乎 袁 烏 遠 怨 呼 越 矣169 焉170 kungana: 小 尾 少 麻 男 雄 緒 絃171 綬 𠮧 disyllabic ongana: 越 [woti] [wotö]172 disyllabic kungana: 處 [wotö]173

rô　ろ₁ rö　ろ₂ wa　わ

wi　ゐ we　ゑ wo　を

7

Textual History of Book Two

The textual transmission of book two is more or less decent, although it is far behind other recently published books: one, seventeen, eighteen, and especially nineteen. The lacunae in the Genryaku kōhon (元暦校本) are quite considerable: the first poem in this manuscript is 2.91 and the last recorded is 2.146. Thus, the poems 2.85–2.90 and 2.147–2.234 are totally missing in the Genryaku kōhon. The number of the missing poems is ninety-four, which constitutes almost two thirds of book two. There is an interesting peculiarity in script: unlike other Man’yōshū books in the Genryaku kōhon, most of the poems from book two 168  Not listed in Bentley 2016. 169  Not listed in Omodaka et al. 1967 and Bentley 2016. 170  Not listed in Bentley 2016. Attested in 2.196. 171  Not listed in Bentley 2016. 172  Not listed in Bentley 2016. 173  Not listed in Bentley 2016.

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Introduction

are written in the block kaisho (楷書), and not the semi-cursive gyōsho (行書) style. As usual, none of the chōka has a kana transcription, but this is typical for the Genryaku kōhon in general. It is also important to keep in mind that the Genryaku kōhon is somewhat earlier than the Kanazawa-bon and the Ruijū koshū. The next oldest manuscript of the Man’yōshū, the Kanazawa-bon (金澤本) has the following lacunae: 2.125–131, 2.176–183, and 2.214–219, altogether twenty poems. In addition, only the last three lines and the last character on the previous line survive from forty-five lines of the poem 2.220. The following poems are missing in the Ruijū koshū (類聚古集): 2.95, 2.107– 109, 2.117–118, 2.123–124, 2.131, 2.135, and 2.138, altogether ten poems. By comparison, eight poems from book nineteen, seven poems from book eighteen, fifteen poems from book seventeen, and four poems from book one are also missing from the Ruijū koshū. Thus, there is no single manuscript before the Nishi Honganji-bon (西本願 寺本), where book two would be preserved in its entirety. However, there is not a single poem in book two that is absent from all three manuscripts: the Genryaku kōhon, the Kanazawa-bon, and the Ruijū koshū; therefore, we can reconstruct in most cases the text of book two on the basis of these manuscripts, only with the occasional appeal to the Nishi Honganji-bon, the Hirose-bon (廣 瀬本), and other manuscripts.

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Man’yōshū Book Two

∵

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相聞・Relationship Poems

Preface to the Poems 2.85–90

本文・Original Text 難波高津宮御宇天皇代大鷦鷯天皇謚曰仁徳天皇 Translation The reign of the Emperor who ruled from Takatu palace in Nanipa. The posthumous name of Emperor Opo sanzakî is Emperor Nintoku.

Commentary On Nanipa see the commentary to the poem 20.4329. Takatu palace was located in Hōenzaka ward (法円坂) of the central district of Ōsaka city. The Nanipa palaces of Emperors Kōtoku and Shōmu were located on the same spot. Now it is a park (Inaoka 1985: 14), called Naniwa-no miya seki kōen (難波宮跡公園), the ‘Park of the ruins of the Naniwa palace’. The actual name of Emperor Nintoku (仁徳天皇, r. 395–428 AD1) is Opo sanzakî (大鷦鷯), lit. ‘big wren’. This name is played upon in KK 68. The tumulus of Emperor Nintoku, nowadays in Sakai city (Sakai shi, 堺市), is the biggest of all Ancient Japanese tumuli, and is the first to be constructed on the coast, and not in the heartland of Yamatö. This provides some ground to the suspicion that Nintoku was actually either a founder or a consolidator of the power of a new foreign (Korean?) dynasty,2 which had its stronghold on the coast, easily accessible from the sea.

Preface to the Poems 2.85–88

本文・Original Text 磐姫皇后思天皇御作歌四首 Translation Four poems that Empress Ipapîmê composed thinking of the Emperor.

1  Traditional dates of his reign are 313–400 AD. 2  Most likely the second, because Nintoku was a son of Emperor Ōjin, who had clear Korean connections.

© Alexander Vovin, 2020 | doi:10.1163/9789004433335_003

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MAN ’ YŌSHŪ BOOK TWO

Commentary Empress Ipapîmê (磐姫皇后) of Emperor Nintoku is famous for her jealousy. The famous story of how she abandoned the emperor when he married Imperial Princess Yata (八田皇女) is narrated in both KJK III and NSK XI. She comes from a powerful Kandurakï (葛城) clan. Empress Ipapîmê is the mother of Emperor Richū (履中天皇, r. 428–433 AD), Emperor Hanzei (反正天皇, r. 433–438 AD), and Emperor Inkyō (允恭天皇, r. 438–455 AD). She is the author of four poems in the Man’yōshū: 2.85–2.88.

2.85

本文・Original Text (1) 君之行 (2) 氣長成奴 (3) 山多都祢 (4) 迎加將行 (5) 待尓可將待 仮名の書き下し・Kana Transliteration (1) き₁み₁がゆき₁ (2) け₂ながくなりぬ (3) やまたづね (4) むかへ₂かゆかむ (5) まちにかまたむ Romanization (1) KÎMÎ-ŋGA YUK-Î (2) kë NA ŋGA-KU NAR-I-n-u (3) YAMA tandune (4) MUKAPË ka YUK-AM-U (5) MAT-I n-i ka MAT-AM-U Glossing with Morphemic Analysis (1) lord-POSS go-CONV (2) day be.long-CONV become-CONV-PERF-FIN (3) mountain visit(CONV) (4) meet(CONV) IP go-TENT-ATTR (5) wait-NML DV-CONV IP wait-TENT-ATTR Translation (1) Since [my] lord has gone away, (2) there have been many days. (3/4) Should [I] go to the mountains to meet [you], (5) or should [I] just wait? Commentary WOJ kë ‘day’ < *kay, probably a loan from OK *hʌr ‘the sun, day’ (MK hʌy H ‘the sun’), but cf. the same word surviving in the MK day count: hʌrʌ ‘one day’, ithur ‘two days’, saʌri < *se-hʌri ‘three days’, naʌri < *ne-hʌri ‘four days’. kë naŋga-ku nar-i-n-u lit., ‘days have become long’ implies that much time has passed.

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Poems

Omodaka believes that the original form of line four should be mukapë-ni ka yuk-am-u, with -ni omitted to keep the syllable count (1977.2: 15).

Postscript to the Poem 2.85

本文・Original Text 右一首歌山上憶良臣類聚歌林載焉 Translation The poem above was placed in the Ruijū karin of Yamanöupë-nö Okura. Commentary On the biography of Yamanöupë-nö Okura see the commentary to the preface to 5.794. On the Ruijū karin (類聚歌林) ‘A Forest of Poetry Organized by Categories’ see the commentary to the postscript to the poems 1.5–6.

2.86

本文・Original Text (1) 如此許 (2) 戀乍不有者 (3) 高山之 (4) 磐根四巻手 (5) 死奈麻死物呼 仮名の書き下し・Kana Transliteration (1) かくばかり (2) こ₁ひ₂つつあらずは (3) たかやまの₂ (4) いはねしまき₁て (5) しなましも₂の₂を Romanization (1) KA-KU-mBAKARI (2) KÔPÏ-TUTU AR-AnZ-U pa (3) TAKA YAMA-NÖ (4) IPA NE si MAK-Î-te (5) SIn-amasi mönöwo Glossing with Morphemic Analysis (1) be.thus-CONV-RP (2) long.for(CONV)-COOR exist-NEG-CONV TOP (3) high mountain-GEN (4) rock root EP pillow-CONV-SUB (5) die-SUBJ CONJ Translation (5) [I] would die (3/4) using roots of rocks of high mountains as a headrest (2) without longing for [you] (1) so much, (5) but …

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MAN ’ YŌSHŪ BOOK TWO

Commentary Japanese tradition holds that ne in ipa ne is a suffix. But all suffixes must have functions, and this one appears to have none. Since in Ancient Japanese world view, rocks were supposed to be living things and to grow like trees, I believe that this ne is what it is: the word for ‘root’, the fact that is also confirmed by the script.

2.87

本文・Original Text (1) 在管裳 (2) 君乎者將待 (3) 打靡 (4) 吾黒髪尓 (5) 霜乃置萬代日 仮名の書き下し・Kana Transliteration (1) ありつつも (2) き₁み₁をばまたむ (3) うちなび₁く (4) あがくろ₁かみ₁に (5) しも₁の₂おくまでに Romanization (1) AR-I-tutu mo (2) KÎMÎ-womba MAT-AM-U (3) uti-NAmBÎK-U (4) A-ŋGA KURÔ KAMÎ-ni (5) SIMÔ-nö OK-U-mande-ni Glossing with Morphemic Analysis (1) exist-CONV-COOR FP (2) lord-ACC(EMPH) wait-TENT-FIN (3) PREFstream-ATTR (4) I-POSS black hair-LOC (5) frost-GEN lie-ATTR-TERM-LOC Translation (2) [I] will wait for [my] lord (1) while [I] live (5) until the frost falls (3/4) on my black streaming hair. Commentary Japanese scholars traditionally read the character 吾 in line four as wa-ŋga (Takeda 1956.2: 322; Takagi et al. 1957: 63; Omodaka 1977.2: 19; Inaoka 1985: 18; Aso 2006: 246; Tada 2009.1: 92; etc.). I prefer the reading a-ŋga, because historically OJ a is a singular ‘I’, while OJ wa is either a collective ‘I’, like in ‘my Emperor’ or ‘my house’, or a plural ‘we’, although since the reading is hidden behind the logographic spelling, we certainly cannot tell for sure. OJ simô ‘frost’ is, of course, used here metaphorically for gray hair.

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Poems

2.88

本文・Original Text (1) 秋田之 (2) 穂上尓霧相 (3) 朝霞 (4) 何時邊乃方二 (5) 我戀將息 仮名の書き下し・Kana Transliteration (1) あき₁の₂たの₂ (2) ほの₂うへ₂にき₂らふ (3) あさがすみ₁ (4) いつへ₁の₂か たに (5) あがこ₁ひ₂やまむ Romanization (1) AKÎ-NÖ TA-NÖ (2) PO-NÖ UPË-ni KÏR-ap-u (3) ASA-ŋ-GASUMÎ (4) ITU PÊ-nö KATA-ni (5) A-ŋGA KÔPÏ YAM-AM-U Glossing with Morphemic Analysis (1) autumn-GEN paddy-GEN (2) ear-GEN top-LOC fog-ITER-ATTR (3) morningGEN-mist (4) when side-GEN side-LOC (5) I-POSS long.for(NML) stop-TENT-FIN Translation (4/5) When will my longing stop, going aside (3) [like] the morning mist (2) that constantly gathers above [rice] ears (1) in autumn fields? Commentary Line two is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since po-nö upë ‘above rice ears’ was in all probability pronounced as [ponöpë]. The spelling 霧相 of kïrap-u in line two is very interesting because the logogram 霧 KÏR ends in a consonant followed by a kungana 相 apu. This violates the [V]CVCVCV … principle of the man’yōgana spelling system. We would normally expect the spelling like KÏrapu or KÏRApu. It is, of course, possible to claim that 相 apu is used as a logogram, too, but the semantics seem dubious in this case. Cf. the similar case of watar-ap-u in 2.135. Line four is famous for being difficult for analysis. I follow here the explanation of Omodaka (1977.2: 21–23) and Inaoka (1985: 19–20) that 何時 itu ‘when’ is temporal, and 邊乃方二 pê-nö kata-ni ‘to the side’ is spatial here.

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MAN ’ YŌSHŪ BOOK TWO

Preface to the Poem 2.89

本文・Original Text 或本歌曰 Translation A certain book says: Commentary This book is mentioned below in the postscript.

2.89

本文・Original Text (1) 居明而 (2) 君乎者將待 (3) 奴婆珠能 (4) 吾黒髪尓 (5) 霜者零騰文 仮名の書き下し・Kana Transliteration (1) ゐあかして (2) き₁み₁をばまたむ (3) ぬばたまの₂ (4) あがくろ₁かみ₁に (5) しも₁はふると₂も Romanization (1) WI-AKAS-I-TE (2) KÎMÎ-womba MAT-AM-U (3) numba TAMA-nö (4) A-ŋGA KURÔ KAMÎ-ni (5) SIMÔ pa PUR-U tömo Glossing with Morphemic Analysis (1) sit(CONV)-stay.up.all.night-CONV-SUB (2) lord-ACC(EMPH) wait-TENT-FIN (3) pitch-black jade-COMP (4) I-POSS black hair-LOC (5) frost TOP fall-FIN CONJ Translation (2) [I] will wait for [my] lord (1) sitting [outside] up through the night, (5) even if the frost falls (4) on my black hair (3) like a pitch-black jade. Commentary This poem is apparently a variant of 2.87 and represents a honkadori (本歌取り) ‘allusive variation’ technique, although we do not know whether 2.87 or 2.89 is the original text. Omodaka believes that 2.89 is the original composition, because OJ simô ‘frost’ indicates actual precipitation here, but is used metaphorically in 2.87 (1977.2: 26–27).

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On WOJ numba tama ‘pitch-black jade’ see the commentary to 15.3598. On the reading of the character 吾 as a-ŋga vs. more traditional wa-ŋga see the commentary to 2.87.

Postscript to the Poem 2.89

本文・Original Text 右一首古歌集中出 Translation The above poem appears in the Anthology of Old Poems. Commentary The Anthology of Old Poems (Kokashū, 古歌集) is no longer extant. Besides book two, it is also referred to in books seven, nine, ten, and eleven of the Man’yōshū. It contained chōka, tanka, and sedōka. Judging by the nature and content of the compositions, the Anthology of Old Poems included poems from Empress Jitō period to early Nara, but the compiler and the structure of this collection remain unknown. Whether the Anthology of Old Poems (Kokashū, 古 歌集) and the Old Anthology (Koshū, 古集) mentioned in the books seven and nine of the Man’yōshū, represent the same book or not, also remains unclear (Inaoka 1985: 23).

Preface to the Poem 2.90

本文・Original Text 古事記曰輕太子姧輕太郎女故其太子流於伊豫湯也此時衣通王不堪 戀慕而追徃時歌曰 Translation The Kojiki says: Crown Prince Karu slept illegally with Karu-nö Opo Iratumê, therefore the Crown Prince was exiled to hot springs in Iyö [province]. At this time Princess Sötöpori could not bear [her] longing for [him] and followed [Crown Prince Karu]. [Her] poem [composed at this] time said: Commentary Crown Prince Karu, a.k.a. Kïnasi-nö Karu-nö mîkô (木梨輕皇子) ‘Imperial Prince Kïnasi-nö Karu’ is a son of Emperor Inkyō (允恭天皇, r. 438–455 AD).

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MAN ’ YŌSHŪ BOOK TWO

After the death of his father, he was captured by his younger brother Prince Anapo (穴穂), future Emperor Ankō (安康天皇, r. 455–457 AD) on the pretext of his illicit affair with Karu-nö Opo Iratumê and exiled to hot springs in Iyö province. He was followed by Karu-nö Opo Iratumê, and both committed ritual double suicide there, which is the first example of it recorded in the Japanese history. Crown Prince Karu is the author of one poem in the Man’yōshū, 13.3263. Karu-nö Opo Iratumê, a.k.a. Princess Sötöpori (衣通王) is a younger sister of Crown Prince Karu by the same mother (this was probably the reason why the sexual relationship between them was illegal). She was called Sötöpori (衣通) because the light from her body was shining through her clothes (KJK III, Inkyō reign). On the rest see the commentary to Crown Prince Karu immediately above. Karu-nö Opo Iratumê is the author of one poem in the Man’yōshū: 2.90. On Iyö (伊豫) province see the commentary to the postscript to the poems 1.5–6.

2.90

本文・Original Text (1) 君之行 (2) 氣長久成奴 (3) 山多豆乃 (4) 迎乎將徃 (5) 待尓者不待此 云山多豆者是今造木者也

仮名の書き下し・Kana Transliteration (1) き₁み₁がゆき₁ (2) け₂ながくなりぬ (3) やまたづの₂ (4) むかへ₂をゆかむ (5) まつにはまたじ Romanization (1) KÎMÎ-ŋGA YUK-Î (2) kë NA ŋGA-ku NAR-I-n-u (3) YAMA tandu-nö (4) MUKAPË-wo YUK-AM-U (5) MAT-U-ni pa MAT-AnZI Glossing with Morphemic Analysis (1) lord-POSS go-CONV (2) day be.long-CONV become-CONV-PERF-FIN (3) mountain elderberry-COMP (4) meet(NML)-ACC go-TENT-FIN (5) waitATTR-LOC TOP wait-NEG.TENT Translation (1) Since [my] lord has gone away, (2) there have been many days. (3/4) Should [I] go to meet [you] like mountain elderberry tree? (5) When [I] wait for [you], [I] cannot [just sit and] wait. Yama tandu ‘mountain elderberry’ mentioned here is

present-day mîyatukôŋgï.

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Commentary This poem is absolutely identical (except for the predominantly logographic script used in the Man’yōshū) with the poem KK 88 written completely phonographically. Note also that in the Kojiki this poem is attributed to the Inkyō reign, and not to Nintoku’s reign, as in the Man’yōshū. It is also almost identical with 2.85 above. However, it is clear that either 2.85 or 2.90 represent honkadori (本歌取り) ‘allusive variation’: first two lines are completely identical, and the others represent variations. On WOJ kë ‘day’ see the commentary to 2.85. WOJ tandu ‘elderberry tree’ (also WOJ mîyatukôŋgï and MJ miyatokogi, MdJ niwatoko) is considered to be a permanent epithet (makura-kotoba, 枕詞) to the verb mukapë- ‘to meet’ because its branches and leaves grow in apposition (Inaoka 1985: 24).

Postscript to the Poem 2.90

本文・Original Text 右一首歌古事記與類聚歌林所説不同歌主亦異焉因檢日本紀曰難波 高津宮御宇大鷦鷯天皇廿二年春正月天皇語皇后納八田皇女將爲妃 時皇后不聽爰天皇歌以乞於皇后云々卅年秋九月乙卯朔乙丑皇后遊 行紀伊國到熊野岬取其處之御綱葉而還於是天皇伺皇后不在而娶八 田皇女納於宮中時皇后到難波濟聞天皇合八田皇女大恨之云々亦曰 遠飛鳥宮御宇雄朝嬬稚子宿祢天皇廿三年春三月甲午朔庚子木梨輕 皇子爲太子容姿佳麗見者自感同母妹輕太娘皇女亦艶妙也云々遂竊 通乃悒懐少息廿四年夏六月御羮汁凝以作氷天皇異之卜其所由卜者 曰有内乱蓋親々相姧乎云々仍移太娘皇女於伊豫者今案二代二時不 見此歌也 Translation What the Kojiki and the Ruijū karin say about the above poem is not the same. The author of the poem [mentioned] by them is also different. When [we] examine the Nihonshoki, it says that when Emperor [Opo Sanzakî] in the first spring lunar month of the twenty-second year of the reign of Emperor Opo Sanzakî who ruled from Takatu palace in Nanipa told the Empress that [he wants] to install Imperial Princess Yata [in the palace] and to make [her his] consort, the Empress did not acquiesce. Then the Emperor composed a poem to ask the Empress[’s permission]. On the kinoto-ushi day of the ninth autumn lunar month of the thirtieth year the Empress went to an excursion to Kïyi province. Reaching Kumanô cape, [she] gathered there the leaves of mî-tuna-kasipa

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oak and returned. At this time, the Emperor knowing that the Empress was not [in the palace] wed Imperial Princess Yata and installed [her] in the palace. [At this] time, the Empress reached the crossing of Nanipa and heard that the Emperor married Imperial Princess Yata. [She] was greatly angered. [The Nihonshoki] also says that on the kanoe-ne (庚子) day of the third spring lunar month of the twenty-third year of Emperor Wo Asanduma Wakuŋgô sukune who ruled from the distant Asuka palace Imperial Prince Kïnasi-nö Karu was appointed the Crown Prince. [His] appearance was handsome, and people looking [at him] were deeply moved. [His] younger sister from the same mother, Imperial Princess Karu-nö Opo Iratumê was also beautiful. So [they] ended up secretly seeing each other. Therefore, their desire was somewhat relieved. In the sixth summer lunar month the soup in the Emperor’s hot meal froze and became ice. The Emperor was surprised and asked a fortune-teller about the reason for this. The fortune-teller said: “There is an internal disorder. Namely, [your] relatives are engaging in an illicit sexual affair”. Consequently, [the Emperor] sent Imperial Princess [Karu-nö] Opo Iratumê [to the exile] in Iyö. As [I] believe now, one does not see this poem in any of the two reigns. Commentary On the Ruijū karin (類聚歌林) ‘A Forest of Poetry Organized by Categories’ see the commentary to the postscript to the poems 1.5–6. As both Omodaka (1977.2: 29–30) and Inaoka (1985: 26) outlined, the passage from the Nihonshoki cited in this postscript is not completely identical with the currently extant version of the Nihonshoki. But the discrepancies are all minor textual differences, and do not affect the general meaning of this passage. On Takatu palace see the commentary to the preface to the poems 2.85–90. On Nanipa see the commentary to 20.4329. On Emperor Opo Sanzakî see the commentary to the preface to the poems 2.85–90. On the Empress see the commentary to the preface to the poems 2.85–88. Kinoto-ushi (乙丑) is the second day in the sixty-day cycle, but is not necessarily the second day of a lunar month. On Kïyi province see the commentary to the postscript to 1.7. The location of Kumanô cape (熊野岬) is unknown (Nakanishi 1985: 444). Apparently, it was somewhere on the Kumanô area coast. Kumanô region corresponded to the southern part of Kïyi province. Nowadays it corresponds to the southern part of Wakayama prefecture (Wakayama ken, 和歌山県) and Mie prefecture (Mie ken, 三重県). The leaves of mî-tuna-kasipa oak were used for placing offerings during religious ceremonies. - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Wo Asanduma Wakuŋgô sukune is the real name of Emperor Inkyō (允恭天皇, r. 438–455 AD). Inkyō is his posthumous name. The exact location of the Distant Asuka palace (Töpo-tu Asuka-nö mîya, 遠飛鳥宮) is not known. There are several hypotheses placing it in the vicinity of present-day Asuka village (Asuka mura, 明日香村) or Kashihara city (Kashihara shi, 橿原市) (Nakanishi 1985: 467). Two reigns are Nintoku’s and Inkyō’ reigns. KK 88/MYS 2.90 indeed does not appear in the extant version of the Nihonshoki either, but one should not forget that only limited number of poems from the Kojiki have their doublet variants in the Nihonshoki.

Preface to the Poems 2.91–102

本文・Original Text 近江大津宮御宇天皇代天命開別天皇謚曰天智天皇 Translation The reign of the Emperor who ruled from Apumî Opotu palace. The posthumous name of Emperor Amë-nö mîkötö pîrakasu wakë is Emperor Tenji.

Commentary On Apumî province see the commentary to the postscript to the poem 1.7. On Apumî Opotu palace see the preface to the poems 1.13–14. On the biography of Emperor Tenji see the commentary to the preface to the poems 1.13–14.

Preface to the Poems 2.91–2.91a

本文・Original Text 天皇賜鏡王女御歌一首 Translation A poem that the Emperor send (lit. granted) to Princess Kaŋgamî. Commentary The Emperor is Emperor Tenji. On his biography see the commentary to the preface to the poems 1.13–14.

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Princess Kaŋgamî (possibly a daughter or a granddaughter of Emperor Jomei) was a consort of Emperor Tenji and then the main wife of Nakatömî-nö (thereafter Pundipara-nö) Kamatari. She passed away in 683 AD. Princess Kaŋgamî is the author of five poems in the Man’yōshū: 2.92, 2.93, 4.489, 8.1419, and 8.1607.

2.91

本文・Original Text (1) 妹之家毛 (2) 継而見麻思乎 (3) 山跡有 (4) 大嶋嶺尓 (5) 家母有猨尾 仮名の書き下し・Kana Transliteration (1) いも₁がいへ₁も₁ (2) つぎ₁てみ₁ましを (3) やまと₂なる (4) おほしまの₂ね に (5) いへ₁も₂あらましを Romanization (1) IMÔ-ŋGA IPÊ mô (2) TU ŋG-Î-TE MÎ-masi-wo (3) Yamatö-N-AR-U (4) OPOSIMA-NÖ NE-ni (5) IPÊ mö AR-Amasi-wo Glossing with Morphemic Analysis (1) beloved-POSS house FP (2) continue-CONV-SUB see-SUBJ-ACC (3) Yamatö-LOC-exist-ATTR (4) Oposima-GEN peak-LOC (5) house FP exist-SUBJ-ACC Translation (2) [I] would constantly see (1) the house of [my] beloved, (5) if [this] house were (4) at Oposima peak (3) that is in Yamatö. Commentary There are sufficient differences in lines one, two and five to establish two different variants of this poem: 2.91 and 2.91a. There is no Oposima peak nowadays, but Omodaka speculates that it might have been modern Sigiyama (信貴山) near Ikomayama (生駒山) (1977.2: 33).

2.91a

本文・Original Text (1) 妹之當 (2) 継而毛見武尓 (3) 山跡有 (4) 大嶋嶺尓 (5) 家居麻之乎

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仮名の書き下し・Kana Transliteration (1) いも₁があたり (2) つぎ₁ても₁み₁むに (3) やまと₂なる (4) おほしまの₂ねに (5) いへ₁をらましを Romanization (1) IMÔ-ŋGA ATARI (2) TU ŋG-Î-TE mô MÎ-m-u-ni (3) Yamatö-N-AR-U (4) OPOSIMA-NÖ NE-ni (5) IPÊ WOR-Amasi-wo Glossing with Morphemic Analysis (1) beloved-POSS vicinity (2) continue-CONV-SUB FP see-TENT-ATTRLOC (3) Yamatö-LOC-exist-ATTR (4) Oposima-GEN peak-LOC (5) house live-SUBJ-ACC Translation (2) Because [I] want to constantly see (1) the vicinity [of the house] of [my] beloved, (5) if [she] would live in the house (4) at Oposima peak (3) that is in Yamatö. Commentary The same as for 2.91.

Preface to the Poem 2.92

本文・Original Text 鏡王女奉和御歌一首 Translation A poem that Princess Kaŋgamî presented in response. Commentary On Princess Kaŋgamî see the commentary to the preface to 2.91–91a.

2.92

本文・Original Text (1) 秋山之 (2) 樹下隱 (3) 逝水乃 (4) 吾許曽益目 (5) 御念従者

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仮名の書き下し・Kana Transliteration (1) あき₁やまの₂ (2) こ₂の₂したがくり (3) ゆくみ₁づの₂ (4) あれこ₂そ₂まさめ₂ (5) おも₂ほすよ₁りは Romanization (1) AKÎ YAMA-NÖ (2) KÖ-NÖ SITA-ŋ-GAKUR-I (3) YUK-U MÎnDU-nö (4) ARE kösö MAS-Am-ë (5) OMÖP-OS-U-YÔRI pa Glossing with Morphemic Analysis (1) autumn mountain-GEN (2) tree-GEN under-LOC-be.hidden-CONV (3) goATTR water-COMP (4) I FP exceed-TENT-EV (5) think-HON-ATTR-ABL TOP Translation (3) Like the water that is flowing (2) hidden under trees (1) in autumn mountains, (4) my [love for you] is more (5) than yours [for me]. Commentary The first three lines represent a metaphoric introduction (hiyutekina jo, 比喩的 な序) to the rest of the poem. The love of the author is compared to the water in the autumn that flows in more abundant quantity than during the dry period in the summer (Omodaka 1977.2: 36).

Preface to the Poem 2.93

本文・Original Text 内大臣藤原卿娉鏡王女時鏡王女贈内大臣歌一首 Translation A poem that Princess Kaŋgamî sent to Minister of the Center Pundipara, the High Noble, when he asked her to marry [him]. Commentary The Minister of the Center or the Inner Minister (Naidaijin, 内大臣) is the fourth most important position in the court bureaucracy according to the Taihōryō system (although it is extra-code) after the Great Minister (Daijōdaijin, 太政 大臣), the Minister of the Left (Sadaijin, 左大臣), and the Minister of the Right (Udaijin, 右大臣).

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Minister of the Center Pundipara, the High Noble (Naidaijin Pundipara-nö mapêtukîmî, 内大臣藤原卿) is Pundipara-nö Kamatari (previously Nakatömî-nö Kamatari), on whose biography see the preface to the poem 1.16. On 卿 (Kyau, Mapêtukîmî) ‘High Noble’ see the commentary to 5.815. On Princess Kaŋgamî see the commentary to the preface to 2.91–91a.

2.93

本文・Original Text (1) 玉匣 (2) 覆乎安美 (3) 開而行者 (4) 君名者雖有 (5) 吾名之惜裳 仮名の書き下し・Kana Transliteration (1) たまくしげ₂ (2) おほふをやすみ₁ (3) あけ₂ていなば (4) き₁み₁がなはあ れど₂ (5) あがなしをしも Romanization (1) TAMA KUSI-ŋ-GË (2) OPOP-U-wo YASU-mî (3) AKË-TE IN-Amba (4) KÎMÎ-ŋGA NA pa AR-E-nDÖ (5) A-ŋGA NA si WOSI-mo Glossing with Morphemic Analysis (1) jewel comb-GEN-box (2) cover-ATTR-ABS be.easy-GER (3) open(CONV)SUB go.away-COND / dawn(CONV)-SUB go.away-COND (4) lord-POSS name TOP exist-EV-CONC (5) I-POSS name EP be.regrettable-EXCL Translation (2) Because it is easy to put a cover (1) [on] a jewel comb-box, (3) if [one] opens [it]/if [you] depart at dawn (4) although the reputation of [my] lord will still be undamaged, (5) my reputation will be pitiful! Commentary Pierson wrote a long but incoherent commentary on the grammar in this poem (1931: 13–16), which reveals nothing but the lack of his understanding of the basics of Old Japanese grammatical structures. The jewel comb-box is used here as a metaphor for a relationship. Since a comb-box has a lid, covering it indicates the concealment of a relationship. But when a man departs at dawn from a woman’s place, the nature of such a relationship becomes apparent to everybody. Due to the prominent position of

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Pundipara-nö Kamatari in the Japanese society of the day, keeping his personal relationships in secret was, of course, out of question. Line three is hypermetric ( ji amari, 字余り). This might be a graphic illusion with in- ‘to go away’ analyzed as an auxiliary in the first sense, since akëte inamba ‘if [one] opens [it]’ would be in all probability pronounced as [akëtenamba], but highly unlikely in the second sense ‘if [you] go away at dawn’, because in that case in- ‘to go away’ would be difficult to recognize as a lexical verb.

Preface to the Poem 2.94

本文・Original Text 内大臣藤原卿報贈鏡王女歌一首 Translation A poem that Minister of the Center Pundipara, the High Noble sent to Princess Kaŋgamî in response. Commentary On the Minister of the Center or the Inner Minister (Naidaijin, 内大臣) see the commentary to the preface to 2.93. Minister of the Center Pundipara, the High Noble (Naidaijin Pundipara-nö mapêtukîmî, 内大臣藤原卿) is Pundipara-nö Kamatari (previously Nakatömî-nö Kamatari), on whose biography see the preface to the poem 1.16. On 卿 (Kyau, Mapêtukîmî) ‘High Noble’ see the commentary to 5.815. On Princess Kaŋgamî see the commentary to the preface to 2.91–91a.

2.94

本文・Original Text (1) 玉匣 (2) 將見圓山乃 (3) 狭名葛 (4) 佐不寐者遂尓 (5) 有勝麻之自 或本歌曰 (1) 玉匣 (2) 三室戸山乃 仮名の書き下し・Kana Transliteration (1) たまくしげ₂ (2) み₁むまと₁やまの₂ (3) さなかづら (4) さねずはつひ₁に (5) ありかつましじ (1) たまくしげ₂ (2) み₁むろ₁と₁やまの₂

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Romanization (1) TAMA KUSI-ŋ-GË (2) MÎ-M-U Matô YAMA-nö (3) sana-KAnDURA (4) sa-NE-ⁿZu pa TUPÎ n-i (5) ari-KAT-Umasinzi (1) TAMA KUSI-ŋ-GË (2) mî-murô-tô YAMA-nö Glossing with Morphemic Analysis (1) jewel comb-GEN-box (2) look-TENT-ATTR Matô mountain-GEN (3) vine (4) PREF-sleep-NEG-CONV TOP finally DV-CONV (5) ITER-bear-NEG.POT (1) jewel comb-GEN-box (2) HON-mountain-place mountain-GEN

Translation (4) If we finally do not sleep together (3) [intertwined like] vines (2) from Matô mountain that seems to look like (1) a jewel comb-box, (5) [I] would not be able to bear it any longer. A certain book says: (2) of the mountain place (1) [that is like]

jewel comb-box

Commentary There is a variant of this poem with a minor discrepancy in the second line, but it does not warrant to view it as a separate poem. The reading of line two is problematic. Most of modern Japanese scholars read it as mî-mörö-nö yama-nö (Omodaka 1977.2: 45; Inaoka 1985: 33). This tradition probably overall goes back to Kamochi Masazumi’s reading mî-murônö yama-nö (1912.1: 372). But there are serious problems with both of these readings, and actually more so with the dominant modern view than with Kamochi’s reading. First of all, 將見 in the Man’yōshū always stands for mîmu, never for mîmö. I am not aware of any exceptions. Second, the kungana for the character 圓 is either matô or mörö. The modern reading has a great difficulty to explain these two facts combined, as witnessed by a lengthy, but quite impressionistic discussion in Omodaka (1977.2: 45–46). As down-to-earth Takeda has pointed out, there is no other way but to read line two as mî-m-u matô yama-nö if one follows the writing system (1956.2: 337). Although we do not know, what exactly Matô yama is, Takeda’s guess that it indicates Mîwa mountain (三輪山) is good enough. In any case, the script and the language should have precedence over any fancy interpretations or theories. In the variant, WOJ murô is probably the same word as WOJ mure ‘mountain’, and it may well be a Korean loanword, reflecting the OK predecessor of MK mwòrwó ‘mountain’ (YP 4.21b). This must be an old loanword preceding the raising of pre-OJ *o > WOJ u in non-final syllables. WOJ sana kandura ~ sane kandura is the same plant as MJ sane kandura (MdJ sane kazura or binan kazura) ‘Kazura Japonica’. It is an evergreen plant that

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grows in the wild in the mountains. It intertwines with other plants and can stretch very far. Its leaves are glossed, with purple color on the bottom side. Kazura Japonica blooms during the summer and fall with yellowish five-petal flowers, and it bears juicy red colored fruits. Its metaphorical usage in poetry is associated with meeting (Nakanishi 1985: 315). Vowel verb kate- means ‘to bear, to dare’, not ‘to win’, like its consonantal counterpart kat-.

Preface to the Poem 2.95

本文・Original Text 内大臣藤原卿娶釆女安見兒時作歌一首 Translation A poem that Minister of the Center Pundipara, the High Noble composed when he wed unemê Yasumîkô. Commentary On the Minister of the Center or the Inner Minister (Naidaijin, 内大臣) see the commentary to the preface to 2.93. Minister of the Center Pundipara, the High Noble (Naidaijin Pundipara-nö mapêtukîmî, 内大臣藤原卿) is Pundipara-nö Kamatari (previously Nakatömî-nö Kamatari), on whose biography see the preface to the poem 1.16. On 卿 (Kyau, Mapêtukîmî) ‘High Noble’ see the commentary to 5.815. On WOJ unemê see the commentary to 1.51.

2.95

本文・Original Text (1) 吾者毛也 (2) 安見兒得有 (3) 皆人乃 (4) 得難尓爲云 (5) 安見兒 衣多利 仮名の書き下し・Kana Transliteration (1) あれはも₁や (2) やすみ₁こ₁えたり (3) み₂なひ₁と₂の₂ (4) えかてにすと₂い ふ (5) やすみ₁こ₁えたり Romanization (1) ARE pa mô ya (2) Yasumîkô E-TAR-I (3) MÏNA PÎTÖ-nö (4) E-kate-n-i S-U TÖ IP-U (5) Yasumîkô E-TAR-I - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Glossing with Morphemic Analysis (1) I TOP EP EP (2) Yasumîkô get(CONV)-PERF.PROG-FIN (3) all person-GEN (4) get(CONV)-POT-NEG-NML do-FIN DV say-ATTR (5) Yasumîkô get(CONV)PERF.PROG-FIN Translation (1) It is me (2) who got Yasumîkô! (5) [I] got Yasumîkô (3/4) that, as it is said, no one is able to get. Commentary Line four is hypermetric ( ji amari, 字余り).

Preface to the Poems 2.96–100

本文・Original Text 久米禪師娉石川郎女時歌五首 Translation Five poems from the time when Meditation Teacher Kumë was asking Isikapa-nö Iratumê to marry him. Commentary Buddhist priests and monks were not allowed to marry in Japan before the Meiji period, therefore this exchange certainly took place before this person from Kumë clan took vows. Nothing is known about the biography of Meditation Teacher Kumë. He is the author of three poems in the Man’yōshū: 2.96, 2.99, and 2.100. Nothing is known about the biography of Isikapa-nö Iratumê either. She is the author of two poems in the Man’yōshū: 2.97 and 2.98.

2.96

本文・Original Text (1) 水薦苅 (2) 信濃乃真弓 (3) 吾引者 (4) 宇真人佐備而 (5) 不欲常將言 可聞 禪師 仮名の書き下し・Kana Transliteration (1) み₁こ₂も₂かる (2) しなぬの₂まゆみ₁ (3) あがひ₁かば (4) うまひ₁と₂さび₂て (5) いなと₂いはむかも - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Romanization (1) mî-KÖMÖ KAR-U (2) Sinanu-nö MA-YUMÎ (3) A-ŋGA PÎK-Amba (4) uma-pîtö sambï-TE (5) INA tö IP-AM-U kamo Glossing with Morphemic Analysis (1) HON-reed.mat cut-ATTR (2) Sinanu-GEN INT-bow (3) I-POSS pull-COND (4) horse-man behave.like(CONV)-SUB (5) no DV say-TENT-ATTR EP Translation (3) If I pull (2) the real bow from Sinanu (1) where [they] cut reeds for mats (5) [I] wonder whether you say ‘no’ (4) behaving like a noble woman. Meditation Teacher

Commentary This poem certainly has some ritualistic meaning in it that is passed over in silence in the extant commentaries because no one knows what it actually means. It seems that the reference to pulling bow has some sexual connotation, but it is impossible to pinpoint what it is exactly. My wife Sambi thinks that it might indicate seduction. Omodaka replaced in his edition the character 真 in lines two and four with the character 眞 (1977.2: 51), in spite of the fact that the Kanazawa-bon he had relied upon for this poem has clearly 真, and not 眞. In my edition I opted for following the Kanazawa-bon script. On Sinanu (信濃) province see the commentary to 14.3352. This province was famous for producing bows (Takeda 1956.2: 342). It looks like most bows there were made out of catalpa tree (andusa, 梓) (Omodaka 1977.2: 51). WOJ uma-pîtö lit. ‘horse-man’ is not a ‘stable boy’, but an ‘aristocrat, noble man/woman’. The notion comes from the fact that aristocrats were mounted warriors, and this is certainly due to the Korean cultural influence. Line five is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since tö ip- ‘DV say-’ was in all probability pronounced as [töp] or [tip]. The author is indicated by the smaller size characters after the poem, in this case Meditation Teacher.

2.97

本文・Original Text (1) 三薦苅 (2) 信濃乃真弓 (3) 不引爲而 (4) 強佐留行事乎 (5) 知跡言莫 君二 郎女

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仮名の書き下し・Kana Transliteration (1) み₁こ₂も₂かる (2) しなぬの₂まゆみ₁ (3) ひ₁かずして (4) しひ₂さるわざを (5) しると₂いはなくに Romanization (1) mî-KÖMÖ KAR-U (2) Sinanu-nö MA-YUMÎ (3) PÎK-AnZ-U S-I-TE (4) SIPÏ-nZ-Ar-u WAnZA-wo (5) SIR-U tö IP-An-aku n-i Glossing with Morphemic Analysis (1) HON-reed.mat cut-ATTR (2) Sinanu-GEN INT-bow (3) pull-NEG-NML doCONV-SUB (4) force-NEG-exist-ATTR matter-ACC (5) know-FIN DV say-NEGNML DV-CONV Translation (5) [I] do not say that [I] know (4) that [you] do not force [me] (3) and do not pull (2) the real bow from Sinanu (1) where [they] cut reeds for mats Iratumê Commentary On pulling the bow see the commentary to 2.96. There is a strong tendency ‘to correct’ the first character 強 ‘strong’, ‘to force’ in line four to 弦 ‘bow string’, a tradition that goes back to Keichū (1690/1926.1: 391), and was adopted by most modern scholars as well, e.g. Inaoka (1985: 38–39). However, given the fact that all old manuscripts: the Genryaku kōhon, the Kanazawa-bon, the Ruijū koshū, the Nishi honganji-bon, the Kishū-bon, as well as the Hirose-bon all have 強 ‘strong’, this correction is certainly ad hoc, and like Takeda (1956.2: 343) and Omodaka (1977.2: 52), I follow the evidence from the manuscripts mentioned above, and not the idiosyncratic proposal by Keichū. All oldest manuscripts (with the exception Ruijū koshū) and the Hirose-bon have character 佐 in line four, while the Nishi honganji-bon and the later manuscripts exhibit 作 instead. Omodaka replaced in his edition the character 真 in line two with the character 眞 (1977.2: 51), in spite of the fact that the Kanazawa-bon he had relied upon the edition of this poem has clearly 真, and not 眞. In my edition I opted for following the Kanazawa-bon script. On Sinanu (信濃) province see the commentary to 14.3352. This province was famous for producing bows (Takeda 1956.2: 342). It looks like that most bows there were made out of catalpa tree (andusa, 梓) (Omodaka 1977.2: 52). Line five is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since tö ip- ‘DV say-’ was in all probability pronounced as [töp] or [tip].

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The author is indicated by the smaller size characters after the poem, in this case Iratumê.

2.98

本文・Original Text (1) 梓弓 (2) 引者随意 (3) 依目友 (4) 後心乎 (5) 知勝奴鴨 郎女 仮名の書き下し・Kana Transliteration (1) あづさゆみ₁ (2) ひ₁かばまにまに (3) よ₂らめ₂ど₂も₂ (4) の₂ちの₂こ₂こ₂ろ₂を (5) しりかてぬかも₁ Romanization (1) AnDUSA YUMÎ (2) PÎK-Amba MANIMA N-I (3) YÖR-Am-ë-ndömö (4) NÖTI-NÖ KÖKÖRÖ-wo (5) SIR-I-kate-n-u kamô Glossing with Morphemic Analysis (1) catalpa bow (2) pull-COND according DV-CONV (3) approach-TENT-CONC (4) after-GEN heart-ACC (5) know-CONV-POT-NEG-ATTR EP Translation (2) If [you] pull (1) the catalpa bow (2/3) [I] would follow [you] according to [your desire], but (5) [I] cannot know (4) [your] feelings afterwards. Iratumê Commentary On OJ andusa ‘catalpa tree’ (梓) and andusa yumî ‘catalpa bow’ see the commentaries to 14.3487 and 14.3489.

2.99

本文・Original Text (1) 梓弓 (2) 都良絃取波氣 (3) 引人者 (4) 後心乎 (5) 知人曽引 禪師 仮名の書き下し・Kana Transliteration (1) あづさゆみ₁ (2) つらをと₂りはけ₂ (3) ひ₁くひ₁と₂は (4) の₂ちの₂こ₂こ₂ろ₂ を (5) しるひ₁と₂そ₂ひ₁く

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Romanization (1) AnDUSA YUMÎ (2) tura-wo TÖR-I-pakë (3) PÎK-U PÎTÖ pa (4) NÖTI-NÖ KÖKÖRÖ-wo (5) SIR-U PÎTÖ sö PÎK-U Glossing with Morphemic Analysis (1) catalpa bow (2) bow-string-ACC take-CONV-draw(CONV) (3) pull-ATTR person TOP (4) after-GEN heart-ACC (5) know-ATTR person FP pull-ATTR Translation (2/3) The person who strings and pulls (1) [his] catalpa bow (5) [that] person pulls knowing (4) [his] feelings afterwards. Meditation Teacher Commentary On OJ andusa ‘catalpa tree’ (梓) and andusa yumî ‘catalpa bow’ see the commentaries to 14.3487 and 14.3489. On pulling the bow see the commentary to 2.96. Japanese scholars treat the character 絃 ‘string, cord’ in line two as a logogram (Takeda 1956.2: 345; Omodaka 1977.2: 55; Inaoka 1985: 41). This is not impossible, but strange given the preceding 都良 tura ‘bow-string’. I think that 絃 ‘string, cord’ is used here phonographically as a kungana for wo, accusative case marker. Cf. the character 緒 ‘string’ that is also used phonographically in the man’yōgana for the syllable wo. Certainly, the choice of spelling was probably influenced by the preceding word tura ‘bow-string’.

2.100

本文・Original Text (1) 東人之 (2) 荷向篋乃 (3) 荷之緒尓毛 (4) 妹情尓 (5) 乗尓家留香聞 禪師

仮名の書き下し・Kana Transliteration (1) あづまと₂の₂ (2) の₂さき₁の₂はこ₁の₂ (3) にの₂をにも₁ (4) いも₁はこ₂こ₂ろ₂に (5) の₂りにけ₁るかも₁ Romanization (1) AnDUMA-TÖ-NÖ (2) NÖSAKÎ-NÖ PAKÔ-nö (3) NI-NÖ WO n-i mô (4) IMÔ PA KÖKÖRÖ-ni (5) NÖR-I-n-i-kêr-u kamô

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Glossing with Morphemic Analysis (1) Anduma-person-GEN (2) first.tribute-GEN box-GEN (3) load-GEN cord DV-CONV FP (4) beloved TOP heart-LOC (5) ride-CONV-PERF-CONV-RETRATTR EP Translation (3) As the cords of the load (2) of the boxes with the first tribute (1) of Anduma people [that are firmly attached to horses], (4/5) [my] heart is [firmly] set on [my] beloved. Meditation Teacher Commentary OJ nösakî refers to the first tribute delivered from the provinces to imperial court. The tribute from Anduma provinces included seaweed, salt, different kinds of fish, especially tuna, sea cucumbers, mandarin oranges, miso, walnuts, and rice (Nakanishi 1985: 144–145). It was transported to the capital on horseback in boxes.

Preface to the Poem 2.101

本文・Original Text 大伴宿祢娉巨勢郎女時歌一首大伴宿祢諱曰安麻呂也難波朝右大臣 大紫大伴長徳卿之第六子平城朝任大納言兼大將軍薨也 Translation A poem by Opotömö-nö sukune from the time when he was asking Köse-nö Iratumê to marry him. The taboo name of Opotömö-nö sukune is Yasumarö. [He] was the sixth son of Opotömö-nö Naŋgatökö, the Minister of the Right of the Nanipa court with the Third Senior Rank (大紫 Taishi, lit. ‘Great Purple’), and the High Noble. Before [Opotömö-nö sukune Yasumarö] passed away, he was appointed Dainagon and the Great Military Commander. Commentary A taboo name (諱) is the real name of a person used during his life. It was tabooed after his death. Opotömö-nö sukune Yasumarö (originally Opotömö-nö muranzi Yasumarö) is the father of Opotömö-nö Tambîtö and Opotömö-nö Sakanöupë-nö Iratumê and the grandfather of Opotömö-nö Yakamöti. In 672 AD he participated in the suppression of Jinshin rebellion. In the thirteenth year of Tenmu (685 AD) Opotömö-nö muranzi Yasumarö was granted kabane title sukune instead

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of muranzi and became Opotömö-nö sukune Yasumarö. He served Tenmu, Jitō, Monmu, and Genmei Emperors and Empresses. Opotömö-nö sukune Yasumarö was appointed as Minister of the Ministry of Ceremonial Affairs (Shikibu[shō], 式部[省]) in the first lunar month of the second year of Taihō (February 702 AD) with the Junior Third Rank, and in the sixth lunar month of the same year (July 702 AD) the Minister of the Ministry of War (Hyōbu[shō], 兵部[省]). In the eighth lunar month of the second year of Kyōun3 (August 24– September 22, 705 AD) he was appointed Dainagon, and in the eleventh month of the same year (November 21–December 20, 705 AD) the Governor-General of Dazaifu. In the third lunar month of the first year of Wadō (March 27–April 24, 708 AD) he was promoted to the Senior Third Rank. Opotömö-nö sukune Yasumarö passed away on the first day of the fifth lunar month of the seventh year of Wadō (June 17, 714 AD). Empress Genmei was grieving over his death and posthumously promoted him to the Junior Second Rank. Opotömö-nö sukune Yasumarö is the author of three poems in the Man’yōshū: 2.101, 3.299, and 4.517 (Omodaka 1977.2: 58; Nakanishi 1985: 217). On Senior Counsellor (Dainagon, 大納言) see the commentary to the postscript to the poems 20.4293–4294. On pre-Taihōryō ranks like 大紫 Taishi, lit. ‘Great Purple’ see the introduction to book nineteen. On Köse-nö Iratumê see the preface and the commentary to 2.102. Opotömö-nö muranzi Naŋgatökö has had rather uneventful and smooth career rising from the Junior Fourth Rank (小徳 Shōtoku, lit. ‘Small Virtue’) in the Suiko system of court ranks to the Minister of the Right and Third Senior Rank (大紫 Taishi, lit. ‘Great Purple’) in the 649 AD Taika system of ranks. He passed away in the seventh lunar month of the second year of Hakuchi (July 23–August 21, 651 AD) (Nakanishi 1985: 218). There are no poems by him in the Man’yōshū.

2.101

本文・Original Text (1) 玉葛 (2) 實不成樹尓波 (3) 千磐破 (4) 神曽著常云 (5) 不成樹別尓 仮名の書き下し・Kana Transliteration (1) たまかづら (2) み₂ならぬき₂には (3) ちはやぶる (4) かみ₂そ₂つくと₂い ふ (5) ならぬき₂ご₂と₂に 3  Alternative reading is Keiun.

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Romanization (1) TAMA KAnDURA (2) MÏ NAR-AN-U KÏ-ni pa (3) TI-[I]PA YAmBUR-U (4) KAMÏ sö TUK-U tö IP-U (5) NAR-AN-U KÏ-ŋgötö-ni Glossing with Morphemic Analysis (1) jewel vine (2) fruit bear-NEG-ATTR tree-LOC TOP (3) thousand-rock crushATTR (4) deity FP attach-ATTR DV say-ATTR (5) bear-NEG-ATTR tree-every-LOC Translation (4) [They] say that deities (3) crushing thousand rocks (2/4) descend on the trees that bear no fruits (1) [like] jewel vine, (5) on every tree that bears [no fruits]. Commentary Tama kandura ‘jewel vine’ (i.e. ‘beautiful vine’) is supposed to be a permanent epithet (makura-kotoba, 枕詞) for fruits and flowers, but since it is absolutely transparent, and because tama kandura ‘jewel vine’, ‘beautiful vine’ can be used not only as a makura-kotoba, but by itself, I translate it as such here. Omodaka surmises that the image of a tree that does not bear fruits is used metaphorically for a woman who does not yield to a man (1977.2: 60). On OJ ti-[i]pa yambur-u ‘crushing thousand rocks’ see the commentary to 20.4402.

Preface to the Poem 2.102

本文・Original Text 巨勢郎女報贈歌一首即近江朝大納言巨勢人卿之女也 Translation A poem that Köse-nö Iratumê sent in response. Namely, [she] is the daughter of Dainagon Köse, the High Noble from Apumî court Commentary Nothing much is known in addition to the information in the above preface about the biography of Köse-nö Iratumê, except a possibility that she was a wife of Opotömö-nö Yasumarö and the mother of Opotömö-nö sukune Tanusi. 2.102 is the only poem by her in the Man’yōshū (Nakanishi 1985: 233).

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On Senior Counsellor (Dainagon, 大納言) see the commentary to the postscript to the poems 20.4293–4294. Dainagon Köse-nö Pîtö, the High Noble (Dainagon Köse-nö pîtö-nö mapêtukîmî, 大納言巨勢人卿) (Nakanishi 1985: 233) chose the losing side in the Jinshin rebellion and served as a general for Prince Opotömö. He killed Prince Yamambê during the rebellion, and as a result was sent in exile in the eighth lunar month of the first year of Tenmu (September 672 AD) together with his children and grandchildren (Nakanishi 1985: 233). This demonstrates the leniency of Tenmu: under his descendant Empress Kōken seventy years later he would pay with his life for much lesser offense. Köse-nö Iratumê apparently escaped this fate, probably because she was already married to Opotömö-nö Yasumarö, who was Tenmu’s supporter. On pre-Taihōryō ranks like 大紫 Taishi, lit. ‘Great Purple’ see the introduction to book nineteen.

2.102

本文・Original Text (1) 玉葛 (2) 花耳開而 (3) 不成有者 (4) 誰戀尓有目 (5) 吾孤非念乎 仮名の書き下し・Kana Transliteration (1) たまかづら (2) はなの₂み₂さき₁て (3) ならざるは (4) たがこ₁ひ₂にあらめ₂ (5) あはこ₁ひ₂おも₂ふを Romanization (1) TAMA KAnDURA (2) PANA NÖMÏ SAK-Î-TE (3) NAR-AnZ-AR-U pa (4) TA-ŋGA KÔPÏ n-i AR-Am-ë (5) A PA kôpï-OMÖP-U-wo Glossing with Morphemic Analysis (1) jewel vine (2) flower RP bloom-CONV-SUB (3) bear-NEG-existATTR TOP (4) who-POSS longing DV-CONV exist-TENT-EV (5) I TOP long(CONV)-think-ATTR-ACC Translation (4) Whose longing would [it] be (1) when a jewel vine (2) only blooms with flowers and (3) does not bear fruits? (5) I think [of you] and long [for you], but …

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Commentary On tama kandura ‘jewel vine’ (i.e. ‘beautiful vine’) see the commentary to 2.101. The basic meaning of this poem is that Köse-nö Iratumê tells Opotömö-nö Yasumarö that she is not an unyielding woman like a beautiful vine that only bears flowers without fruits, but on the contrary, she is deeply in love with him. Lines four and five are hypermetric ( ji amari, 字余り). This is almost certainly a graphic illusion: in case of line four, since n-i ar- ‘DV-CONV exist-’ regularly contracts to [nar], but less certain in the case of line five, because the contraction of kôpï-omöp- to [kôpïmöp] is also possible but less regular.

Preface to the Poems 2.103–104

本文・Original Text 明日香清御原宮御宇天皇代天渟中原瀛真人天皇謚曰天武天皇 Translation Reign of the Emperor who ruled from Asuka Kîyômîpara palace. The posthumous name of Emperor Ama-nö Nu-na para Okî ma-pîtö is Emperor Tenmu.

Commentary On the biography of Emperor Tenmu (Tenmu tennō, 天武天皇) see the preface to the poem 1.21. The Asuka Kîyômîpara mîya (明日香清御原宮) ‘Asuka Kîyômîpara palace’ is the residence of both Emperor Tenmu and Empress Jitō (until 695 AD). It was probably located near present-day elementary school in Asuka village (Nakanishi 1985: 416).

Preface to the Poem 2.103

本文・Original Text 天皇賜藤原夫人御歌一首 Translation A poem that the Emperor sent to his Pundipara consort.

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Commentary The Emperor is Emperor Tenmu (Tenmu tennō, 天武天皇), on whose biography see the preface to the poem 1.21. The number of an Emperor’s consorts was limited by the Ritsuryō code. He could have two Imperial Consorts (kisaki, 妃), three Consorts ( funin, 夫人), and Four Minor Consorts (bin, 嬪). Tenmu had two Pundipara consorts, both of whom were daughters of Pundipara-nö Kamatari. The one meant here is likely to be the second daughter, Pundipara-nö Ipopê (藤原五百重), who was the mother of Imperial Prince Nipîtambê (新田部皇子), and was called the Mistress (tônzi, 刀自) of Opopara village (Opopara-nö satô, 大原乃郷) (Takeda 1956.2: 351). Pundipara-nö Ipopê is the author of two poems in the Man’yōshū: 2.104 and 8.1465.

2.103

本文・Original Text (1) 吾里尓 (2) 大雪落有 (3) 大原乃 (4) 古尓之郷尓 (5) 落巻者後 仮名の書き下し・Kana Transliteration (1) わがさと₁に (2) おほゆき₁ふれり (3) おほはらの₂ (4) ふりにしさと₁に (5) ふらまくはの₂ち Romanization (1) WA-ŋGA SATÔ-ni (2) OPO YUKÎ PUR-ER-I (3) OPOPARA-nö (4) PUR-I-n-i-si SATÔ-ni (5) PUR-Am-aku pa NÖTI Glossing with Morphemic Analysis (1) I-POSS residence-LOC (2) big snow fall-PROG-FIN (3) Opopara-GEN (5) become.old-CONV-PERF-CONV-PAST.ATTR village-LOC (5) fall-TENT-NML TOP later Translation (1) In my village (2) big snow is falling. (5) [It] will probably fall later (3/4) in the village of Opopara that has become old. Commentary OJ wa- ‘I’ in line one is a collective ‘I’: there are also other inhabitants in the Emperor’s residence.

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OJ satô in line one indicates not so much a village, but the area of the imperial residence. This is in contrast to line four, where satô clearly means ‘village’. WOJ pur- ‘to become old’ indicates that there are fewer people living there, and that the village itself became dilapidated (Takeda 1956.2: 352). There is clearly a play on words and/or sound between pur- ‘to fall’ and pur- ‘to become old’, as well as between opo ‘big’ and Opopara (Takeda 1956.2: 353). It is interesting that this sound play occurs in the very beginning of lines two-three and four-five, closely resembling the initial rhyme in traditional Mongolian poetry. See the Introduction to book two for more details.

Preface to the Poem 2.104

本文・Original Text 藤原夫人奉和歌一首 Translation A poem that Pundipara consort presented [to the Emperor] in response. Commentary On Pundipara consort see the commentary to the preface to the poem 2.103.

2.104

本文・Original Text (1) 吾岡之 (2) 於可美尓言而 (3) 令落 (4) 雪之摧之 (5) 彼所尓塵家武 仮名の書き下し・Kana Transliteration (1) わがをかの₂ (2) おかみ₁にいひ₁て (3) ふらしめ₂し (4) ゆき₁の₂くだけ₂し (5) そ₂こ₂にちりけ₁む Romanization (1) WA-ŋGA WOKA-nö (2) okamî-ni IP-Î-TE (3) PUR-ASIMË-SI (4) YUKÎ-NÖ KUnDAKË-si (5) SÖKÖ-ni TIR-I-kêm-u Glossing with Morphemic Analysis (1) I-POSS hill-LOC (2) dragon-DAT say-CONV-SUB (3) fall-CAUS(CONV)PAST.ATTR (4) snow-GEN break(CONV)-PAST.ATTR (5) there-LOC fallCONV-PAST/TENT-FIN

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Translation (4) The broken off [pieces] of the snow (1/3) that the dragon from my hill made fall (2) after [I] told [him] (5) fell down there [in your place]. Commentary Pundipara consort actually tells Emperor Tenmu that there is snow in Opopara village, and that the snow that fell is Asuka represents just pieces of it. OJ wa- ‘I’ in line one is a collective ‘I’: there are also other inhabitants on the hill. WOJ okamî (於可美, 龗), tentatively glossed as ‘dragon’, is a deity that commands water and snow. The etymology of the word is obscure. The last syllable -mî is probably ‘dragon, deity’, on which see the commentaries to 15.3597 and 1.38. However, the first two syllables oka- have opaque meaning. It is not very likely that they have to do anything with ok- ‘to place, to put’.

Preface to the Poems 2.105–140

本文・Original Text 藤原宮御宇天皇代高天原廣野姫天皇謚曰持統天皇元年丁亥十一年譲位輕太子 尊号曰太上天皇也

Translation Reigns of the Empress and Emperor Monmu who ruled from Pundipara palace.

The posthumous name of Empress Taka Ama-para Pîrö-nö Pîmê is Empress Jitō. [Her] first year has the cyclic signs 丁亥, and in [her] eleventh year [she] yielded the throne to Crown Prince Karu. [After that her] honorary title was the Retired Empress.

Commentary The phrase 藤原宮御宇天皇代 might be ambiguous: ‘the reign of Empress who ruled from Pundipara palace’ or ‘the reigns of Empress [Jitō] and Emperor [Monmu] who ruled from Pundipara palace’, because both Jitō and Monmu ruled from the same palace. At the first glance the following passage in the small script might seem to disambiguate it in favor of Empress alone, but since Crown Prince Karu, future Emperor Monmu, is also mentioned, and because there is no separate preface for the poems from the reign of Monmu, I adopt here the second variant. On Pundipara palace (Pundipara-nö mîya, 藤原宮) see the commentary to the preface to the poems 1.28–75.

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On the biography of Empress Jitō (Jitō tennō, 持統天皇) see the preface to the poems 1.28–75. On the biography of Crown Prince Karu (輕太子), the future Emperor Monmu (Monmu Tennō, 文武天皇) see the preface to the poems 1.28–75.

Preface to the Poems 2.105–106

本文・Original Text 大津皇子竊下於伊勢神宮上來時大伯皇女御作歌二首 Translation Two poems composed by Imperial Princess Opoku when Imperial Prince Opotu secretly went to Ise Shrine and was coming back to the capital. Commentary Imperial Prince Opotu (大津皇子) is a son of Emperor Tenmu and Imperial Princess Opota (大田皇女), and a younger brother of Imperial Princess Opoku (大伯皇女). He took an active part in the suppression of Jinshin rebellion. He had 7th Princely Rank (Jōdaini, 浄大弐) in the first lunar month of the fourteenth year of Tenmu (February 686 AD) under 685 AD Tenmu system of Ranks. After Tenmu’s demise, his plan of rebellion was discovered in the tenth lunar month of Shuchō (October 23–November 20, 686 AD) and he was granted suicide.4 Imperial Prince Opotu was twenty-four years old at the time of his death (Nakanishi 1985: 208), which places him at the time of Jinshin rebellion (672 AD) as a ten-year old; therefore his ‘active participation’ as a military commander at this time seems more than dubious. The suicide happened shortly after his secret visit to his elder sister Imperial Princess Opoku (大伯皇女), who was serving as a Chief Priestess (Saigū, 齋宮) at Ise Shrine. We can only guess the reason for this secrecy, but given the facts that Ise Priestesses were supposed in theory (but not in actual practice) to lead celibate lives, and that the contents and the tone of the poems 2.105–106 leaves little room for doubt that Imperial Prince Opotu and Imperial Princess Opoku were romantically and sexually involved in spite of being brother and sister (as was de facto rule of day, although the sexual relationship between full siblings was not quite officially welcomed), their forbidden love seems to be the likeliest explanation. Imperial Prince Opotu is the author of four poems in the Man’yōshū; 2.107, 2.109, 3.416, 4  Granting a person the right to commit suicide was more honorable death sentence than an execution.

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8.1512, and his poems are also preserved in the anthology of Chinese poems Kaifūsō (懐風藻, 751 AD). On Ise Shrine (Ise Jingū, 伊勢神宮) see the commentary to the postscript to the poem 1.22. Imperial Princess Opoku (大伯皇女) is the elder sister of Imperial Prince Opotu by the same parents. In addition to the information already provided above on her connection with her younger brother and her service as the Chief Priestess of Ise Shrine, the following should be added. She was named Opoku because she was born in Opoku (大伯) of Bizen province (備前國) in 661 AD5 during a rescue expedition to save Paekche. Imperial Princess Opoku returned to the capital from Ise in the eleventh lunar month of the first year of Shuchū (November 21–December 20, 686) after her younger brother Imperial Prince Opotu was ordered to commit a suicide after his rebellion plot was discovered the previous month. She passed away in the twelfth lunar month of the first year of Taihō (January 702 AD). Imperial Princess Opoku is the author of six poems in the Man’yōshū: 2.105, 2.106, 2.163–166 (Nakanishi 1985: 207).

2.105

本文・Original Text (1) 吾勢祜乎 (2) 倭邊遣登 (3) 佐夜深而 (4) 鷄鳴露尓 (5) 吾立所霑之 仮名の書き下し・Kana Transliteration (1) わがせこ₁を (2) やまとへ₁やると₂ (3) さよ₁ふけ₂て (4) あかと₂き₁つゆに (5) あがたちぬれし Romanization (1) WA-ŋGA se-kô-wo (2) YAMATÖ-pê YAR-U tö (3) sa-YÔ pukë-te (4) AKATÖKÎ TUYU-ni (5) A-ŋGA TAT-I NURE-si Glossing with Morphemic Analysis (1) I-POSS beloved-DIM-ACC (2) Yamatö-DIR send-FIN DV (3) PREF-night deepen(CONV)-SUB (4) early.dawn dew-LOC (5) I-POSS stand-CONV get. wet(CONV)-PAST.ATTR

5  We have in this case a rare occasion of having the date of birth, especially for a woman.

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Translation (2) [I] heard that [they] send to Yamatö (1) my dear beloved. (3) After the dead of the night (4/5) [I] stepped into the early dawn dew and got wet. Commentary OJ wa- ‘I’ in line one is a collective ‘I’: women were supposed to share their men, and men for the most part also shared women. In the phonographic writing there is no examples of a-ŋga se or a-ŋga se-kô in the Man’yōshū. Likewise, there are no phonographic examples of a-ŋga imô or a-ŋga imô-kô. Thus, all logographic examples of the first person pronoun preceding se ~ se-kô or imô ~ imô-kô must be read as wa-ŋga, not a-ŋga. On akatökî ‘early dawn’ see the commentary to the preface to the poems 19.4148–4149. This word is written here with a rebus writing 鷄鳴 ‘rooster crying’. The usage of the past attributive -si instead of the past final -kî shows that at least the last phrase is nominalized. This poem probably portrays the situation when Imperial Princess Opoku was seeing off Imperial Prince Opotu (Omodaka 1977.2: 70). Omodaka points out that se ~ se-kô ‘elder brother’ could be used without paying any respect for age (1977.1: 127). But his example of the elder sister addressing her younger brother in this manner involves only the present poem 2.105, while as I pointed out in the commentary above to the preface to the poems 2.105–106 there are very strong grounds to suspect that their relationship was not exactly just brotherly-sisterly. One also should not forget that Omodaka Hisataka was a product of his time, when an open discussion of the sexual matters in Japan was still very strongly discouraged: no doubt still under the everlasting influence of Victorian England’s morals. Therefore, I believe that in this case (as in many others) the relationship significance of the term se ~ se-kô overrides its gender and kinship relevance.

2.106

本文・Original Text (1) 二人行杼 (2) 去過難寸 (3) 秋山乎 (4) 如何君之 (5) 獨越武 仮名の書き下し・Kana Transliteration (1) ふたりゆけ₂ど₂ (2) ゆき₁すぎ₂がたき₁ (3) あき₁やまを (4) いかにかき₁み₁ が (5) ひ₁と₂りこ₁ゆらむ

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Romanization (1) PUTA-RI YUK-Ë-nDÖ (2) YUK-Î-SU ŋGÏ-ŋGATA-kî (3) AKÎ YAMA-wo (4) IKA N-I KA KÎMÎ-ŋGA (5) PÎTÖ-RI KÔY-URAm-u Glossing with Morphemic Analysis (1) two-CL go-EV-CONC (2) go-CONV-pass(CONV)-be.difficult-ATTR (3) autumn mountain-ACC (4) how DV-CONV IP lord-POSS (5) one-CL cross-TENT2-ATTR Translation (4) How [my] lord (5) would cross alone (3) autumn mountains (2) that are difficult to pass through (1) even if two of us go [together]? Commentary Again, in this poem there is another give-away of the romantic involvement between Imperial Princess Opoku and Imperial Prince Opotu: she probably would not be addressing her little brother as kîmî ‘lord’ if the relationship was just between an elder sister and younger brother.

Preface to the Poem 2.107

本文・Original Text 大津皇子贈石川郎女御歌一首 Translation A poem sent by Imperial Prince Opotu to Isikapa-nö Iratumê. Commentary On Imperial Prince Opotu (大津皇子)’s biography see the commentary to the preface to the poems 2.105–106. Nothing is known about the biography of Isikapa-nö Iratumê. This Isikapa-nö Iratumê is supposed to be a different person, and not the same Isikapa-nö Iratumê that was involved in the poetic exchange with Meditation Teacher Kumë in 2.96–2.100. But she is considered to be the same person as Isikapa-nö Iratumê that appears from now on in book two (Omodaka 1977.2: 73; Nakanishi 1985: 200). This second Isikapa-nö Iratumê is the author of four poems in the Man’yōshū: 2.108, 2.126, 2.128, and 2.129. As we learn from the preface to 2.110, her adult name (字) was Oponakô (大名兒).

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2.107

本文・Original Text (1) 足日木乃 (2) 山之四付二 (3) 妹待跡 (4) 吾立所沾 (5) 山之四附二 仮名の書き下し・Kana Transliteration (1) あしひ₁き₂の₂ (2) やまの₂しづくに (3) いも₁まつと₂ (4) あれたちぬれぬ (5) やまの₂しづくに Romanization (1) ASI pîkï n-ö (2) YAMA-NÖ sinduku-ni (3) IMÔ MAT-U tö (4) ARE TAT-I NURE-N-U (5) YAMA-NÖ sinduku-ni Glossing with Morphemic Analysis (1) foot low DV-ATTR (2) mountain-GEN drop-LOC (3) beloved wait-FIN DV (4) I stand-CONV get.wet(CONV)-PERF-FIN (5) YAMA-NÖ sinduku-ni Translation (3/4) When [I] was standing and waiting for [my] beloved I got drenched (2) by the [water] drops in the mountain (1) with low feet, (5) by the [water] drops in the mountain. Commentary On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655.

Preface to the Poem 2.108

本文・Original Text 石川郎女奉和歌一首 Translation A poem presented by Isikapa-nö Iratumê in response. Commentary On Isikapa-nö Iratumê see the commentary to the preface to 2.107.

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2.108

本文・Original Text (1) 吾乎待跡 (2) 君之沾計武 (3) 足日木能 (4) 山之四附二 (5) 成益物乎 仮名の書き下し・Kana Transliteration (1) あをまつと₂ (2) き₁み₁がぬれけ₁む (3) あしひ₁き₂の₂ (4) やまの₂しづくに (5) ならましも₂の₂を Romanization (1) A-wo MAT-U tö (2) KÎMÎ-ŋGA NURE-kêm-u (3) ASI pîkï n-ö (4) YAMA-NÖ sinduku n-i (5) NAR-Amasi mönöwo Glossing with Morphemic Analysis (1) I-ACC wait-FIN DV (2) lord-POSS get.wet(CONV)-PAST/TENT-ATTR (3) foot low DV-ATTR (4) mountain-GEN drop DV-CONV (5) become-SUBJ CONJ Translation (5) [I] would like to become (4) [water] drops in the mountain (3) with low feet (2) [by which my] lord was drenched (1) saying that [he] was waiting for me (5) but … Commentary On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655.

Preface to the Poem 2.109

本文・Original Text 大津皇子竊婚石川女郎時津守連通占露其事皇子御作歌一首 未詳 Translation A poem composed by Imperial Prince Opotu when Tumôri-nö muranzi Töporu exposed through the divination that the former secretly slept with Isikapa-nö Iratumê. Not yet sufficiently known. Commentary On Imperial Prince Opotu (大津皇子)’s biography see the commentary to the preface to the poems 2.105–106.

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On Isikapa-nö Iratumê see the commentary to the preface to 2.107. Not much is known about the biography of Tumôri-nö muranzi Töporu (津守連通). As his family name indicates, he is from the clan that was hereditary guard of Sumînöye harbor in Tu province (津國) in the past, which traces his ancestry to Tumôri-nö muranzi from Indumî province (和泉國), a descendant of the local provincial deity (Omodaka 1977.2: 75). In the first lunar month of the seventh year of Wadō (January 21–February 18, 714 AD) he was promoted from the Senior Seventh Rank, Upper Grade to the Junior Fifth Rank, Lower Grade and appointed a Governor of Mîmasaka province (美作國) in the tenth lunar month of the same year (November 12–December 12, 714 AD). Tumôri-nö muranzi Töporu was famous as a Yin-Yang (陰陽) Master and was promoted to the Junior Fifth Rank, Upper Grade in the first lunar month of the seventh year of Yōrō (February 10–March 10, 723 AD), and this notice in the Shoku Nihongi (続日本紀) is the last mention about him. There are no poems authored by him in the Man’yōshū (Nakanishi 1985: 258). The characters 未詳 ‘not yet sufficiently known’ in small script are present only in the Genryaku kōhon, the Kanazawa-bon, and the Kishū-bon and probably are not part of the original text (Omodaka 1977.2: 75).

2.109

本文・Original Text (1) 大船之 (2) 津守之占尓 (3) 將告登波 (4) 益爲尓知而 (5) 我二人宿之 仮名の書き下し・Kana Transliteration (1) おほぶねの₂ (2) つも₁りがうらに (3) の₂らむと₂は (4) まさしにしりて (5) わがふたりねし Romanization (1) OPO PUNE-NÖ (2) TUMÔRI-ŋGA URA-ni (3) NÖR-AM-U tö pa (4) MASAsi n-i SIR-I-TE (5) WA-ŋGA PUTA-RI NE-si Glossing with Morphemic Analysis (1) big boat-GEN (2) Tumôri-POSS divination-LOC (3) report-TENT-FIN DV TOP (4) certain DV-CONV know-CONV-SUB (5) we-POSS two-CL sleep(CONV)-PAST. ATTR

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Translation (1) (makura-kotoba) (4) It will be certainly known (2/3) according to what Tumôri would report in his divination (5) that two of us slept together. Commentary Line one opo pune-nö ‘big boat-GEN’ is a permanent epithet (makura-kotoba, 枕詞) to tu ‘harbor’, which constitutes a part of the family name Tumôri of Tumôri-nö muranzi Töporu. Although it is absolutely transparent: ‘of big boats’, it is impossible to translate it adequately here. On the biography of Tumôri-nö muranzi Töporu see the commentary to the preface to 2.109. The love affair between Imperial Prince Opotu and Isikapa-nö Iratumê had to be conducted in secret, because as it becomes clear from the next poem 2.110 she was a special favorite of Imperial Prince Pînamîsi.

Preface to the Poem 2.110

本文・Original Text 日並皇子尊贈賜石川女郎御歌一首 女郎字曰大名兒也 Translation A poem by Imperial Prince Pînamîsi that [he] sent to Isikapa-nö Iratumê. Iratumê’s adult name is Oponakô.

Commentary On Imperial Prince Pînamîsi (日並皇子, 日雙斯皇子) see the commentary to 1.49. On Isikapa-nö Iratumê see the commentary to the preface to 2.107. As we learn from the preface to 2.110, her adult name (字) was Oponakô (大名兒).

2.110

本文・Original Text (1) 大名兒 (2) 彼方野邊尓 (3) 苅草乃 (4) 束之間毛 (5) 吾忘目八 仮名の書き下し・Kana Transliteration (1) おほなこ₁を (2) をちかたの₁へ₁に (3) かるくさの₂ (4) つかの₂あひ₁だも₁ (5) あれわすれめ₂や

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Romanization (1) Oponakô-wo (2) WOTI KATA NÔ PÊ-ni (3) KAR-U KUSA-nö (4) TUKA-NÖ APÎnDa mô (5) ARE WASURE-m-ë ya Glossing with Morphemic Analysis (1) Oponakô-ACC (2) over.there side field side-LOC (3) cut-ATTR grass-GEN (4) bundle-GEN interval FP (5) I forget-TENT-EV IP Translation (5) Would I forget (1) Oponakô (4) [even for a moment as short as] a space between [grass stalks] in the bundle (3) of the grass cut (2) at the side of the field over there? [—Certainly not!] Commentary Oponakô (大名兒) is the adult name (字) of Isikapa-nö Iratumê, see the commentary to the preface to 2.110. On the controversy whether to read the character 草 ‘grass’ in line three as OJ kusa ‘grass’ or OJ kaya ‘kaya grass, miscanthus’ (on the latter see the commentary to 14.3997), see the commentary to 1.10. I follow Takeda who reads kusa ‘grass’ (1956.2: 363) and not Omodaka, who argues for kaya ‘miscanthus’ (1977.2: 81). This poem uses metaphorically the ultrashort space between grass stalks in a bundle as a symbol for the brief time.

Preface to the Poem 2.111

本文・Original Text 幸于吉野宮時弓削皇子贈與額田王歌一首 Translation A poem that Imperial Prince Yuŋgë (弓削皇子) sent to Princess Nukata (額田王) when he went to Yösinô palace. Commentary Not much is known about Imperial Prince Yuŋgë (弓削皇子) and his biography. He is a son of Emperor Tenmu and younger brother of Imperial Prince Naŋga (長皇子). Imperial Prince Yuŋgë passed away in the third year of Monmu (699 AD) with the 8th Princely Rank ( Jōkōni, 浄廣弐) (Nakanishi 1985: 281).

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On Princess Nukata (額田王) see the commentary to the preface to 1.7. On Yösinô (吉野) and Yösinô palace (吉野宮) see the commentary to the preface to the poems 18.4098–4100.

2.111

本文・Original Text (1) 古尓 (2) 戀流鳥鴨 (3) 弓絃葉乃 (4) 三井能上従 (5) 鳴濟遊久 仮名の書き下し・Kana Transliteration (1) いにしへ₁に (2) こ₁ふると₂りかも₁ (3) ゆづるはの₂ (4) み₁ゐの₂うへ₂よ₁り (5) なき₁わたりゆく Romanization (1) INISIPÊ-ni (2) KÔP-Uru TÖRI kamô (3) yunduru-PA-nö (4) mî-WI-nö UPË-YÔRI (5) NAK-Î-WATAR-I-YUk-u Glossing with Morphemic Analysis (1) past-LOC (2) long.for-ATTR bird EP (3) yunduru-leaf-GEN (4) HON-well-GEN top-ABL (5) sing-CONV-cross-CONV-go-FIN Translation (2) I wonder whether a bird longing for (1) the past (5) was singing and flying (4) over the beautiful well (3) near the yunduru-pa [trees]. Commentary WOJ inisipê ‘ancient time, past’ etymologically is a compound that goes back to in- ‘to go away’, -i-, converb, -si, past attributive, and -pê ‘side’; thus literally ‘the side that went away’. On OJ yunduru-pa ‘yuzuri-ha, Daphniphyllum macropodum’ see the commentary to 14.3572. The prefix mî- in mî-wi in line four has the beautification function: ‘a beautiful well’. Omodaka argues that the well mentioned here is the same well that appears in 1.52 and is indirectly referred to in 1.53 (1977.2: 83). This makes no sense, because the well in these two poems was located in Pundipara capital, while the well mentioned here surely must have been in the Yösinô palace, at the distance of about 30 km as a crow flies.

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Preface to the Poem 2.112

本文・Original Text 額田王奉和歌一首 従倭京進入 Translation A poem that Princess Nukata (額田王) responded with. She respectfully sent it from

the capital of Yamatö.

Commentary On Princess Nukata (額田王) see the commentary to the preface to 1.7. It is not clear what is meant by the capital of Yamatö here: it might be either Kîyômîpara palace in Asuka or Pundipara capital, where Empress Jitō moved in the twelfth lunar month of the eighth year of her reign (December 22, 694 AD– January 20, 695 AD) (Takeda 1956.2: 366).

2.112

本文・Original Text (1) 古尓 (2) 戀良武鳥者 (3) 霍公鳥 (4) 蓋哉鳴之 (5) 吾念流碁騰 仮名の書き下し・Kana Transliteration (1) いにしへ₁に (2) こ₁ふらむと₂りは (3) ほと₂と₂ぎ₁す (4) けだしやなき₁し (5) あがおも₂へ₁るご₂と₂ Romanization (1) INISIPÊ-ni (2) KÔP-Uram-u TÖRI pa (3) POTÖTÖ ŋGÎSU (4) KËnDASI YA NAK-Î-SI (5) A-ŋGA OMÖP-Êr-u-ŋgötö Glossing with Morphemic Analysis (1) past-LOC (2) long.for-TENT2-ATTR bird TOP (3) cuckoo (4) may.be IP cryCONV-PAST.ATTR (5) I-POSS think-PROG-ATTR-like Translation (3) Cuckoo, (2) a bird that was longing for (1) the past, (4) may be [it] was crying? (5) Like me [when I am] thinking [about you]. Commentary On WOJ inisipê ‘ancient time, past’ see the commentary to 2.111.

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On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. WOJ ŋgötö ‘like’ is probably a combination of the reduced form -ŋ of the genitive case marker -nö and the word kötö ‘like’, borrowed from otherwise unattested OK predecessor of MK kʌt- ‘be like’. Line five is hypermetric ( ji amari, 字余り).

Preface to the Poem 2.113

本文・Original Text 従吉野折取蘿生松柯遣時額田王奉入歌一首 Translation A poem that Princess Nukata (額田王) presented [to Imperial Prince Yuŋgë], when [he] had send to [her] from Yösinô a branch of a pine covered with moss that [he] had broken off. Commentary On Princess Nukata (額田王) see the commentary to the preface to 1.7. On Yösinô (吉野) see the commentary to the preface to the poems 18.4098–4100. Character 蘿 indicates a kind of lichen-like moss (MJ mandu-no koke, saruwoŋgase, MdJ saruogase) a parasitic plant that attaches to branches of pines and other plants, and can hang down from these branches (Takeda 1956.2: 368).

2.113

本文・Original Text (1) 三吉野乃 (2) 玉松之枝者 (3) 波思吉香聞 (4) 君之御言乎 (5) 持而加 欲波久 仮名の書き下し・Kana Transliteration (1) み₁よ₂しの₁の₂ (2) たままつがえ₂は (3) はしき₁かも (4) き₁み₁がみ₁こ₂と₂ を (5) も₂ちてかよ₁はく Romanization (1) mî-Yösinô-nö (2) TAMA MATU-ŋGA YE pa (3) pasi-kî kamo (4) KÎMÎ-ŋGA MÎ-KÖTÖ-wo (5) MÖT-I-TE kayôp-aku - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Glossing with Morphemic Analysis (1) HON-Yösinô-GEN (2) jewel pine-POSS branch TOP (3) be.lovely-ATTR EP (4) lord-POSS HON-word-ACC (5) hold-CONV-SUB go.frequently-NML Translation (2) The branch of a jewel[-like] pine (1) from beautiful Yösinô (3) is lovely! (5) [It] brings [me] all the time (4) the words of [my] lord. Commentary On mî-Yösinô ‘beautiful Yoshino’ see the commentary to 1.25. On Yösinô see the commentary to the preface to 18.4098–4100. On matu ‘pine’ see the commentary to 19.4169. The emphatic particle kamö (also spelled as kamô, kamo, and on one occasion as kamu) triggers the change of a final verbal form into attributive irrespective whether it precedes or follows this form (Vovin 2020.2: 1141ff).

Preface to the Poem 2.114

本文・Original Text 但馬皇女在高市皇子宮時思穂積皇子御作歌一首 Translation A poem that Imperial Princess Tandima composed thinking of Imperial Prince Pondumî when [she] was in the palace of Imperial Prince Takëti. Commentary Imperial Princess Tandima (但馬皇女) is a daughter of Emperor Tenmu and Pïkamî-nö Iratumê (氷上娘), a daughter of Pundipara-nö Kamatari. She was born in the second lunar month of the second year of Tenmu (March 13– April 10, 674 AD) and passed away in the sixth lunar month of the first year of Wadō (June 23–July 21, 708 AD) with the Third Princely Rank. There are poems by Imperial Princess Tandima about her love for Imperial Prince Pondumî, as well as a poem by the latter composed when he looked at her grave covered by snow in the Man’yōshū (2.203). There was likely a tale about their love story, but it is no longer extant. Imperial Princess Tandima is the author of four poems in the Man’yōshū: 2.114–116 and 8.1515. There is also one poem by her in the Kakyō hyōshiki (歌經標式, 772 AD), composed in response to Imperial Prince Pondumî (Takeda 1956.2: 369; Nakanishi 1985: 250). The fact that she was in the palace of

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Imperial Prince Takëti indicates that she was either a consort or a concubine of the latter (Omodaka 1977.2: 89). Imperial Prince Takëti (高市皇子) is a son of Emperor Tenmu and Amakô-nö Iratumê (尼子娘), a daughter of Munakata-nö kîmî Tökunzen (胸形君徳善), the father of Prince Naŋgaya (長屋王). He was probably born in the fifth year of Hakuchi (654 AD) and was fighting at the side of his father, Emperor Tenmu during the Jinshin rebellion (672 AD). After the death of the Crown Prince Kusakambë he was appointed as the Great Minister (Daijōdaijin, 太政大臣) on the fifth day of the seventh lunar month of the fourth year of Jitō (August 15, 690 AD) and was de facto the next Crown Prince. Imperial Prince Takëti took an active part in overseeing the construction of Pundipara capital. He passed away on the tenth day of the seventh lunar month of the tenth year of Jitō (August 13, 696 AD). Imperial Prince Takëti is the author of three poems in the Man’yōshū: 2.156–158 (Omodaka 1977.2: 89; Inaoka 1985: 69; Nakanishi 1985: 246–247). Imperial Prince Pondumî (穂積皇子) is a son of Emperor Tenmu and his consort Oponu-nö Iratumê (大蕤娘), a daughter of Sôŋga-nö Akaye (蘇我赤兄). He was born in the second year of Tenmu (673 AD), and passed away in the first month of the first year of Reiki (February 9–March 9, 715 AD) with the First Princely Rank. Imperial Prince Pondumî was the eighth son of Emperor Tenmu, and twenty years younger than Imperial Prince Takëti, so it is no wonder that he stole the heart of Imperial Princess Tandima. He is the author of four poems in the Man’yōshū: 2.203, 8.1513–1514, and 16.3816 (Inaoka 1985: 69–70; Nakanishi 1985: 273–274).

2.114

本文・Original Text (1) 秋田之 (2) 穂向乃所縁 (3) 異所縁 (4) 君尓因奈名 (5) 事痛有登母 仮名の書き下し・Kana Transliteration (1) あき₁の₂たの₂ (2) ほむき₁の₂よ₂れる (3) かたよ₂りに (4) き₁み₁によ₂りなな (5) こ₂ちたかりと₂も₂ Romanization (1) AKÎ-NÖ TA-NÖ (2) PO MUK-Î-nö YÖR-ER-U (3) kata YÖR-I-NI (4) KÎMÎ-ni YÖR-I-n-ana (5) köt-ITA-K-AR-I tömö

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Glossing with Morphemic Analysis (1) autumn-GEN paddy-GEN (2) [rice] ear turn.to-NML-GEN approach-PROGATTR (3) one approach-NML-COMP (4) lord-DAT approach-CONV-PERF-DES (5) rumor-be.painful-CONV-exist-FIN CONJ Translation (5) Even though the rumors are painful, (4) [I] want to cling to [my] lord, (2/3) like an ear [of rice] that [always] bends to one side (1) in an autumn paddy. Commentary There is an unusual usage of the character 異 kötö as a kungana for kata, but this is supported by the poem 11.2247 that has identical first three lines, and where kata is written logographically with the character 片. WOJ kata ‘one’ is a loan from OK hʌtʌŋ ‘one’ (cf. MK hʌna).

Preface to the Poem 2.115

本文・Original Text 勅穂積皇子遣近江志賀山寺時但馬皇女御作歌一首 Translation A poem that Imperial Princess Tandima composed when Imperial Prince Pondumî was sent to a mountain temple in Siŋga by the imperial decree. Commentary On Imperial Princess Tandima (但馬皇女) and Imperial Prince Pondumî (穂積 皇子) see the commentary to the preface to the poem 2.114. Mountain temple in Siŋga is Sūfukuji (崇福寺), which was established in the seventh year of Tenji (668 AD) by the imperial decree in the mountains to the North-West of Apumî Opotu palace that corresponds to the southern foothills of Hiei mountain. Later it was merged with Onjōji (園城寺), but was abolished in the Muromachi period. Today its remains share the same protected ground with ruins of Bonshakuji (梵釋寺).

2.115

本文・Original Text (1) 遺居而 (2) 戀管不有者 (3) 追及武 (4) 道之阿廻尓 (5) 標結吾勢

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仮名の書き下し・Kana Transliteration (1) おくれゐて (2) こ₁ひ₂つつあらずは (3) おひ₁しかむ (4) みちの₂くまみ₂ に (5) しめ₂ゆへ₁わがせ Romanization (1) OKURE-WI-TE (2) KÔPÏ-tutu AR-AnZ-u pa (3) OP-Î-SIK-Am-u (4) MÎTI-NÖ KUMA MÏ-ni (5) SIMË YUP-Ê WA-ŋGA se Glossing with Morphemic Analysis (1) be.left.behind(CONV)-live(CONV)-SUB (2) long.for(CONV)-COOR existNEG-CONV TOP (3) follow-CONV-go.after-TENT-FIN (4) road-GEN bend turn(NML)-LOC (5) sign tie-IMP I-POSS beloved Translation (1/2) Rather than to live being left behind longing for [you], (3) I would go following [you]. (5) My beloved, tie signs [for me] (4) at [all] road bends and turns. Commentary Line one and two literally mean ‘without longing [for you] being left behind to live’. We have already seen the line two as the same line two in 2.86. OJ wa- ‘I’ in line five see the commentary to 2.105.

Preface to the Poem 2.116

本文・Original Text 但馬皇女在高市皇子宮時竊接穂積皇子事既形而御作歌一首 Translation A poem that Imperial Princess Tandima composed when it became public knowledge that [she] was secretly meeting with Imperial Prince Pondumî while being in Imperial Prince Takëti’s palace. Commentary On Imperial Princess Tandima (但馬皇女), Imperial Prince Pondumî (穂積 皇子), and Imperial Prince Takëti (高市皇子) see the commentary to the preface to 2.114.

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2.116

本文・Original Text (1) 人事乎 (2) 繁美許知痛美 (3) 己世尓 (4) 未渡 (5) 朝川渡 仮名の書き下し・Kana Transliteration (1) ひ₁と₂ご₂と₂を (2) しげ₂み₁こ₂ちたみ₁ (3) おの₂がよ₂に (4) いまだわたら ぬ (5) あさかはわたる Romanization (1) PÎTÖ-ŋ-götö-wo (2) SI ŋGË-mî köt-iTA-mî (3) ONÖ-ŋGA YÖ-ni (4) IMAnDA WATAR-AN-U (5) ASA KAPA WATAR-U Glossing with Morphemic Analysis (1) person-GEN-word-ABS (2) be.dense-GER rumor-be.painful-GER (3) selfPOSS age-LOC (4) not.yet cross-NEG-ATTR (5) morning river cross-FIN Translation (1/2) Because people’s words are dense and rumors are painful, (5) [I] will cross the morning river (4) that [I] have not yet crossed (3) in [my] own life. Commentary Crossing morning river must be a symbolic expression with the exact meaning now lost for us. Omodaka’s opinion that it indicates a secret affair done in the darkness at early dawn (1977.2: 97) is untenable, because OJ asa is very different from WOJ akatökî ‘early dawn, pre-dawn’, on which see the commentary to 17.3945. In temporal progression, it is akatökî ‘early dawn’ → akëmbonö ‘dawn’ → asakë ‘early morning’ → asa ‘morning’. Therefore, OJ asa ‘morning’ is fully sunlit, and there is no darkness which conceals any secret affairs. I believe that Inaoka’s opinion is much more solid in this case, as he appeals to the textual influence from the Chinese poetry in the Shījīng (詩經), and the Six Dynasties (六朝) poetry although unfortunately he provided no exact references to any verses or lines. Inaoka believes that crossing the river indicates involvement in an amorous adventure (1985: 76). If he is right, then by this poem Imperial Princess Tandima demonstrates her resolve to stay with Imperial Prince Pondumî.

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Preface to the Poem 2.117

本文・Original Text 舎人皇子御歌一首 Translation A poem by Imperial Prince Töneri. Commentary On Imperial Prince Töneri’s biography see the commentary to the Preface to the poem 20.4294. He is the author of three poems in the Man’yōshū: 2.117, 9.1706, and 20.4294.

2.117

本文・Original Text (1) 大夫哉 (2) 片戀將爲跡 (3) 嘆友 (4) 鬼乃益卜雄 (5) 尚戀二家里 仮名の書き下し・Kana Transliteration (1) ますらをや (2) かたこ₁ひ₂せむと₂ (3) なげ₂け₂ど₂も₂ (4) しこ₂の₂ます らを (5) なほこ₁ひ₂にけ₁り Romanization (1) MASURA WO YA (2) KATA KÔPÏ SE-M-U tö (3) NA ŋGËK-Ë-ndömö (4) SIKÖ n-ö masura WO (5) NAPO KÔPÏ-n-i-kêr-i Glossing with Morphemic Analysis (1) noble man IP (2) one long.for(NML) do-TENT-FIN DV (3) lament-EVCONC (4) disgusting DV-ATTR noble man (5) still long.for(CONV)-PERF-CONVRETR-FIN Translation (1/2/3) Although noblemen lament whether [they] should do an unrequited longing, (4) a disgusting nobleman (5), as it turned out, is still longing for [you]. Commentary On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ see the commentary to 5.804. There is no etymology for masura. It could possibly be a

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Japanese-Korean hybrid: OJ ma-, intensive prefix with the meaning ‘true, real’ + MK súh ‘male’6 + OJ -ra, suffix of endearment. On WOJ kata ‘one’ see the commentary to 2.114. WOJ sikö ‘disgusting, repugnant’ is an uninflected adjective that requires an attributive form of a copula after it to modify a following noun, cf. sikö t-u okîna ‘disgusting old man’ in line forty-eight of 17.4011.

Preface to the Poem 2.118

本文・Original Text 舎人娘子奉和歌一首 Translation A poem presented in response by the maiden from Töneri clan. Commentary On maiden from Töneri clan see the commentary to the preface to 1.61.

2.118

本文・Original Text (1) 嘆管 (2) 大夫之 (3) 戀礼許曽 (4) 吾結髪乃 (5) 漬而奴礼計礼 仮名の書き下し・Kana Transliteration (1) なげ₂き₁つつ (2) ますらをの₂ (3) こ₁ふれこ₂そ₂ (4) あがゆふかみ₁の₂ (5) ひちてぬれけ₁れ Romanization (1) NA ŋGËK-Î-tutu (2) MASURA WO-NÖ (3) KÔP-Ure kösö (4) A-ŋGA YUP-U KAMÎ-nö (5) PÎT-I-TE nure-kêr-e Glossing with Morphemic Analysis (1) lament-CONV-COOR (2) noble man-GEN (3) long.for-EV FP (4) I-POSS tieATTR hair-GEN (5) become.soaked-CONV-SUB become.loose(CONV)-RETR-EV

6  In Modern Korean su ‘male’ is used only for animals, but it appears that in earlier stages of the language it was also applicable to humans.

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Translation (2) As a nobleman (3) does long for [me], (1) lamenting, (4) my hair-band (5) became soaked and loose. Commentary On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ see the commentary to 5.804. There is no etymology for masura. It could possibly be a Japanese-Korean hybrid: OJ ma-, intensive prefix with the meaning ‘true, real’ + MK súh ‘male’7 + OJ -ra, suffix of endearment. The major problem is how to read line two in this poem. The older tradition, reflected in the Genryaku kōhon, proposed masura wo-nö ka-ku, and the newer one, appearing for the first time in the Nishi honganji-bon, and later reinforced by Keichū’s authority, opted for masura wo-nö könö. Needless to say, neither ka-ku nor könö can be found in the original script 大夫之, and in addition the newer tradition with könö makes the text ungrammatical. However, both the Genryaku kōhon (2.118) and the Hirose-bon (1.52b) give two variants of readings: one being masura wo-nö ka-ku and another masura wo-nö. It is quite clear that these unwarranted insertions have normalization of the poem meter as their goal. But lines can be hypometric ( ji tarazu, 字足らず), so I think this is the case with line two, and I interpret it simply as masura wo-nö.

Preface to the Poems 2.119–122

本文・Original Text 弓削皇子思紀皇女御歌四首 Translation Four poems [composed by] Imperial Prince Yuŋgë about [his] thoughts of Imperial Princess Kï. Commentary On Imperial Prince Yuŋgë (弓削皇子) see the commentary to the preface to the poem 2.111. Imperial Princess Kï (紀皇女) is a daughter of Emperor Tenmu and his consort Oponu-nö Iratumê (大蕤娘), a daughter of Sôŋga-nö Akaye (蘇我赤兄), the same parents as of Imperial Prince Pondumî, and the younger sister of the 7  In Modern Korean su ‘male’ is used only for animals, but it appears that in earlier stages of the language it was also applicable to humans.

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latter. She probably passed away during the Pundipara capital period. Imperial Princess Kï is the author of two poems in the Man’yōshū: 3.390 and 12.3098 (Nakanishi 1985: 228).

2.119

本文・Original Text (1) 芳野河 (2) 逝瀬之早見 (3) 須臾毛 (4) 不通事無 (5) 有巨勢濃香問 仮名の書き下し・Kana Transliteration (1) よしの₁がは (2) ゆくせの₂はやみ₁ (3) しましくも₁ (4) よ₂ど₂むこ₂と₂なく (5) ありこ₂せぬかも Romanization (1) Yösinô-ŋ-GAPA (2) YUK-U SE-NÖ PAYA-mî (3) SIMASI-KU mô (4) YÖnDÖM-U KÖTÖ NA-KU (5) AR-I-köse-n-u kamo Glossing with Morphemic Analysis (1) Yösinô-GEN-river (2) go-ATTR rapids-GEN be.fast-GER (3) be.a.while-CONV FP (4) stagnate-ATTR matter not.exist-CONV (5) exist-CONV-BEN-NEG-ATTR EP Translation (1/2) Because the rapids [where] Yösinô river goes [through] are fast, (4) [it] never stagnates (3) even for a little while—(4/5) [I] wish [our relationship] will never stagnate! Commentary On Yösinô see the commentary to the preface to 18.4098–4100. Note the alternative (and rarer) spelling 芳野 instead of more usual 吉野 Yösinô. On OJ benefactive -köse- see Vovin (2020.2: 899–902). Note that this morpheme did not survive into Middle Japanese of the Heian period.

2.120

本文・Original Text (1) 吾妹兒尓 (2) 戀乍不有者 (3) 秋芽之 (4) 咲而散去流 (5) 花尓有猿尾

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仮名の書き下し・Kana Transliteration (1) わぎ₁も₁こ₁に (2) こ₁ひ₂つつあらずは (3) あき₁はぎ₂の₂ (4) さき₁てちり ぬる (5) はなにあらましを Romanization (1) WA-ŋG-ÎMÔ-KÔ-ni (2) KÔPÏ-tutu AR-AnZ-U pa (3) AKÎ PA ŋGÏ-NÖ (4) SAKÎ-TE TIR-I-n-uru (5) PANA n-i AR-Amasi-wo Glossing with Morphemic Analysis (1) I-POSS-beloved-DIM-DAT (2) long.for(CONV)-COOR exist-NEG-CONV TOP (3) autumn bush.clover-GEN (4) bloom-CONV-SUB fall-CONV-PERF-ATTR (5) flower DV-CONV exist-SUBJ-ACC Translation (2) Without constantly longing for (1) my beloved (5) [I] would be a flower (3) of the autumn bush clover (4) that fell after blooming, (5) but … Commentary OJ wa- is a collective ‘I’, see the commentary to 2.105. Line two is hypermetric ( ji amari, 字余り). On WOJ paŋgï ‘bush clover’ see the commentaries to 15.3656 and 20.4297. The logographic spelling of the perfective -n- with the character 去 ‘to go away’ demonstrates that historically -n- is a grammaticalization of the verb in‘to go away’.

2.121

本文・Original Text (1) 暮去者 (2) 塩満來奈武 (3) 住吉乃 (4) 淺鹿乃浦尓 (5) 玉藻苅手名 仮名の書き下し・Kana Transliteration (1) ゆふさらば (2) しほみ₁ちき₁なむ (3) すみ₁の₂え₂の₂ (4) あさかの₂うらに (5) たまもかりてな Romanization (1) YUPU sar-amba (2) sipo MÎT-I-K-Î-n-am-u (3) Sumînöye-nö (4) Asaka-nö URA-ni (5) TAMA MO KAR-I-te-na

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Glossing with Morphemic Analysis (1) evening thus.exist-COND (2) tide be.full-CONV-come-CONV-PERFTENT-FIN (3) Sumînöye-GEN (4) Asaka-GEN bay-LOC (5) pearl seaweed cut-CONV-PERF-DES Translation (1) When it is evening (2) the full tide would have come in. (5) [I] want to cut pearly seaweed (4) in Asaka bay (5) in Sumînöye. Commentary The character 去 sar- ‘to go away’ in line one is a disyllabic kungana for [sara], not a logogram. Sar- is a contraction for sa ‘thus’ and ar- ‘to exist’. The conditional converb -amba may have a temporal function when followed by a tentative verbal form. For details see Vovin (2020.2: 654–662). The character 塩 sipo ‘salt’ in line two is used as a disyllabic kungana for ‘tide’. The characters 淺 asa ‘shallow’ and 鹿 ka ‘deer’ in line four are kungana signs that transcribe together Asaka, the name of an area. Asaka (spelled as 淺鹿 or 淺香) corresponds to the present day area between Asaka (淺香) in Sumiyoshi district (住吉区) of Ōsaka city and Asaka yama town (Asaka yama chō, 淺香山町) in Sakai city (Sakai-shi, 堺市) (Nakanishi 1985: 414).

2.122

本文・Original Text (1) 大船之 (2) 泊流登麻里能 (3) 絶多日二 (4) 物念痩奴 (5) 人能兒故尓 仮名の書き下し・Kana Transliteration (1) おほふねの₂ (2) はつると₂まりの₂ (3) たゆたひ₁に (4) も₂の₂おも₂ひ₁や せぬ (5) ひ₁と₂の₂こ₁ゆゑに Romanization (1) OPO PUNE-NÖ (2) PAT-Uru tömari-nö (3) tayutap-î-ni (4) MÖNÖ OMÖP-Î YASE-n-u (5) PÎTÖ-nö KÔ YUWE n-i Glossing with Morphemic Analysis (1) big boat-GEN (2) anchor-ATTR harbor-COMP (3) roll-NML-LOC (4) matter think-CONV get.emaciated(CONV)-PERF-FIN (5) person-GEN girl reason DV-CONV

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Translation (5) Because of that girl (3/4) I got emaciated rolling in my thoughts [of her] (1/2) like a big boat in the harbor where [it] is anchored. Commentary Line four is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since mönö omöp- ‘to think of the matters’ was almost certainly pronounced as [mönömöp-], because this contracted phonetic spelling is attested quite frequently. The morphosyntax of this poem is not quite clear: we would expect a comparative case marker not after tömari ‘harbor’, but after pune ‘boat’, with the word order like tömari-ni pat-uru opo pune-nö ‘like a big boat that is anchored in a harbor’. Possibly poetic language got in the way. Also the imagery itself is puzzling: why would a big boat roll while being in a harbor: one would expect it to roll in the open sea, but not in the calm waters of a harbor.

Preface to the Poems 2.123–125

本文・Original Text 三方沙弥娶園臣生羽之女未經幾時臥病作歌三首 Translation Three poems composed when Śrāmaṇera Mîkata became bed-ridden with an illness soon after [he] married the daughter of Sönö-nö omî Ikupa. Commentary On Śrāmaṇera Mîkata (Mîkata-nö samî, 三方沙弥) see the commentary to te postscript to the poems 19.4227–4228. Nothing is known about the biographies of Sönö-nö omî Ikupa (園臣生羽) or his daughter. Omî is a kabane title. The daughter is also referred to as Iratumê in the signature to 2.124 below.

2.123

本文・Original Text (1) 多氣婆奴礼 (2) 多香根者長寸 (3) 妹之髪 (4) 比來不見尓 (5) 掻入津 良武香 三方沙弥

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仮名の書き下し・Kana Transliteration (1) たけ₂ばぬれ (2) たかねばながき₁ (3) いも₁がかみ₁ (4) こ₂の₂こ₂ろ₂み₁ ぬに (5) かき₁いれつらむか Romanization (1) tak-ë-mba nure (2) tak-an-e-mba NA ŋGA-kî (3) IMÔ-ŋGA KAMÎ (4) KÖNÖ körö MÎ-N-U-ni (5) kak-î-IRE-t-uram-u ka Glossing with Morphemic Analysis (1) braid.up-EV-CON become.loose(CONV) (2) braid.up-NEG-EV-CON be.longATTR (3) beloved-POSS hair (4) this time see-NEG-ATTR-LOC (5) scratchCONV-insert(CONV)-PERF-TENT2-ATTR IP Translation (4) As [I] do not see these days (3) the hair of [my] beloved, (2) which are long when [she] does not braid [them] up (1) and which become loose when [she] does, (5) [I wonder whether she] combs them? Śrāmaṇera Mîkata Commentary The author does not see his wife, because during an illness he was supposed to avoid any sexual intercourse. WOJ tak- means ‘to braid up’, ‘to raise one’s hair into a coiffure’. The word must be a loan from Korean, cf. MK tàh- ‘to braid one’s hair’, ‘to plait’ (MdK ttah-). The usage of 來 for körö demonstrates the imprecise phonographic nature of the kungana as compared with the ongana. Line five is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since kak-î-ire- ‘to think of the matters’ was almost certainly pronounced as [kakîre].

2.124

本文・Original Text (1) 人皆者 (2) 今波長跡 (3) 多計登雖言 (4) 君之見師髪 (5) 乱有等母 娘子

仮名の書き下し・Kana Transliteration (1) ひ₁と₂み₂なは (2) いまはながしと₂ (3) たけ₁と₂いへ₂ど₂ (4) き₁み₁がみ₁し かみ₁ (5) み₁だれたりと₂も₂

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Romanization (1) PÎTÖ MÏNA pa (2) IMA pa NA ŋGA-SI tö (3) tak-ê tö IP-Ë-nDÖ (4) KÎMÎ-ŋGA MÎ-si KAMÎ (5) MÎnDARE-TAR-I tömö Glossing with Morphemic Analysis (1) person all TOP (2) now TOP be.long-FIN DV (3) braid.up-IMP DV say-EVCONC (4) lord-POSS see(CONV)-PAST.ATTR hair (5) be.disheveled(CON)-PERF/ PROG-FIN CONJ Translation (1/3) Although all people say: “Braid [your hair] up. (2) Now [they] are long”. (4/5) Even though the hair that [my] lord saw have been disheveled. Iratumê Commentary On WOJ tak- ‘to braid up’ see the commentary to the poem 2.123. Line three is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since tö ip- ‘DV say-’ was in all probability pronounced as [töp] or [tip].

2.125

本文・Original Text (1) 橘之 (2) 蔭履路乃 (3) 八衢尓 (4) 物乎曽念 (5) 妹尓不相而 三方沙弥 仮名の書き下し・Kana Transliteration (1) たちばなの₂ (2) かげ₂ふむみ₁ちの₂ (3) やちまたに (4) も₂の₂をそ₂お も₂ふ (5) いも₁にあはずして Romanization (1) TATImBANA-NÖ (2) KA ŋGË PUM-U MÎTI-nö (3) YA TI-MATA-ni (4) MÖNÖ-wo sö OMÖP-U (5) IMÔ-ni AP-AnZ-U S-I-TE Glossing with Morphemic Analysis (1) mandarin.orange-GEN (2) shadow step-ATTR road-GEN (3) eight roadfork-COMP (4) matter-ACC FP think-ATTR (5) beloved-DAT meet-NEG-NML do-CONV-SUB

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Translation (5) Without meeting [my] beloved, (4) [I] am thinking about [many] things, (3) that are like many forks (2) of a road that goes through the shadow (1) of mandarin oranges [trees]. Śrāmaṇera Mîkata Commentary On tatimbana ‘mandarin orange’ see the commentary to the poem 15.3779. OJ ya ‘eight’ may have the meaning of just ‘many’. WOJ ti-mata is a ‘road fork’. This word demonstrates that the original Japonic word for ‘road’ is just ti, and the later mîti consists etymologically of the beautification prefix mî- and ti ‘road’. Lines four and five are hypermetric ( ji amari, 字余り). This might be a graphic illusion in the case of line four, where sö omöp- could potentially contract to [sömöp], but any kind of a contraction is unlikely in the line five.

Preface to the Poem 2.126

本文・Original Text 石川女郎贈大伴宿祢田主歌一首 即佐保大納言大伴卿之第二子母曰巨勢 朝臣也

Translation A poem that Isikapa-nö Iratumê sent to Opotömö-nö sukune Tanusi. Namely,

the second son of Opotömö Sapo dainagon, the High Noble, and mother named [the daughter of] Köse-nö asömî.

Commentary The commentary in the small script is present in the Genryaku kōhon, the Ruijū koshū, and the Hirose-bon, but is absent in the Kanazawa-bon. This distribution indicates that it is a lacuna in the Kanazawa-bon, rather than a later addition to other three manuscripts. On Isikapa-nö Iratumê see the commentary to the preface to 2.107. As we learn from the preface to 2.110, her adult name (字) was Oponakô (大名兒). Opotömö-nö sukune Tanusi is a son of Opotömö-nö Yasumarö and a younger half-brother of Opotömö-nö Tambîtö. He is also known as [Opotömö-nö sukune] Nakamarö (中郎), (see the postscript to 2.128). Nothing else is known about his biography other than he was very handsome and women were attracted to him. He is the author of only one poem in the Man’yōshū: 2.127.

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2.126

本文・Original Text (1) 遊士跡 (2) 吾者聞流乎 (3) 屋戸不借 (4) 吾乎還利 (5) 於曽能風流士 仮名の書き下し・Kana Transliteration (1) み₁やび₁をと₂ (2) あれはき₁け₁るを (3) やど₁かさず (4) あれをかへ₁せり (5) おそ₂の₂み₁やび₁を Romanization (1) MÎYAmBÎ WO tö (2) ARE pa KÎK-Êr-u-wo (3) yandô KAS-AnZ-u (4) ARE-wo KAPÊS-Er-i (5) osö n-ö MÎYAmBÎ WO Glossing with Morphemic Analysis (1) elegant man DV (2) I TOP hear-PROG-ATTR-ACC (3) lodging lend-NEGCONV (4) I-ACC make.return-PROG-FIN (5) dumb DV-ATTR elegant man Translation (2) Although I have heard (1) that [you are] an elegant man, (4) [you] made me to return (3) without providing [me] with a lodging, (5) a dumb elegant man. Commentary The problem in this poem is how to read the character 遊. Older readings all treat it is asômbî ‘play’; therefore, asômbî wo is a ‘playful man’ (Omodaka 1977.2: 119). This is certainly closer to the script, but does not make much sense in the general context of this poem. Perhaps both meanings ‘elegant’ and ‘playful’ were meant here and both should be combined in this context. This characteristics coincide with that of the main protagonist of the much later Ise monogatari, as portrayed in the original serene and beautiful text (before it was converted by Mostow 2010 into a rollicking pornographic novel). The hero is depicted as a man who posseses both of the features; elegant man from the capital who is also a playful lover.

Postscript to the Poem 2.126

本文・Original Text 大伴田主字曰仲郎容姿佳艶風流秀絶見人聞者靡不歎息也時有石川 女郎自成雙栖之感恒悲獨守之難意欲寄書未逢良信爰作方便而似賤 嫗己提堝子而到寝側哽音蹢足叩戸諮曰東隣貧女將取火來矣於是仲

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郎暗裏非識冒隱之形慮外不堪拘接之計任念取火就跡歸去也明後女 郎既恥自媒之可愧復恨心契之弗果因作斯歌以贈謔戯焉 Translation Opotömö-nö Tanusi ([his] adult name is Nakamarö) was handsome and elegant. The people who saw him or heard him were all left breathless. [At this] time there was [this person] Isikapa-nö Iratumë. Thinking that [she] herself wants to “make a paired nest” with [him], and regretting the difficulty of sleeping alone, [she] wanted to send a letter, but [she] was unable to find a reliable messenger. Therefore, disguising herself skillfully as a low-class old woman, [she] took herself a portable brazier and went [to the place] where [Opotömö-nö Tanusi] slept, and said in the hoarse voice: “A poor woman who is your neighbor to the East came to take some fire”. Nakamarö did not understand the ruse in the darkness, and did not follow [her] plan. [He] let [her] take the fire and sent [her] on [her] way. The next day Iratumê was ashamed of her trick, but [at the same time] she was resentful that it did not succeed. Therefore, [she] composed a poem making it all a joke.8 Commentary This postscript appears as a preface in the Ruijū koshū (15: 55–56). On Opotömö-nö sukune Tanusi see the commentary to the preface to 2.126. On Isikapa-nö Iratumê see the commentary to the preface to 2.107. As we learn from the preface to 2.110, her adult name (字) was Oponakô (大名兒). The expression 成雙栖 ‘to make a paired nest’ is an allusion to the lines in Lamenting Poem (Dàowángshī, 悼亡詩) by Pān Ānrén (潘安仁, 247–300 AD) in the thirtieth volume of the Wenxuan: 如彼翰林鳥雙栖一朝隻 ‘It is like two single birds making a paired nest in that white forest’ (Inaoka 1985: 108). The expression 獨守之難 ‘the difficulty of guarding alone’ also comes from the twenty-ninth volume of the Wenxuan and conveys the idea of difficulty for sleeping alone (Omodaka 1977.2: 120). The expression 良信 refers to a ‘good messenger’, ‘reliable messenger’ (Omodaka 1977.2: 120; Inaoka 1985: 108). Inaoka notes that 方便 ‘to be skillful’, ‘to use as a trick’ is a Buddhist term (Inaoka 1985:108). There is no Buddhist content in this story, however.

8  Pierson, apparently unable to deal with a complex kanbun text, gives just a synopsis of this postscript, and very imprecise at best, e.g. how can one put fire into a kettle?! (1931: 59). Therefore, the honor of making the first translation of this postscript into a non-East Asian language goes to Gluskina (1971: 494).

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Preface to the Poem 2.127

本文・Original Text 大伴宿祢田主報贈歌一首 Translation A poem that Opotömö-nö sukune Tanusi sent in response. Commentary On Opotömö-nö sukune Tanusi see the commentary to the preface to the poem 2.126.

2.127

本文・Original Text (1) 遊士尓 (2) 吾者有家里 (3) 屋戸不借 (4) 令還吾曽 (5) 風流士者有 仮名の書き下し・Kana Transliteration (1) み₁やび₁をに (2) あれはありけ₁り (3) やど₁かさず (4) かへ₁ししあれそ₂ (5) み₁やび₁をにはある Romanization (1) MÎYAmBÎ WO n-i (2) ARE pa AR-I-kêr-i (3) yandô KAS-AnZ-u (4) KAPÊS-I-SI ARE sö (5) MÎYAmBÎ WO N-I AR-U Glossing with Morphemic Analysis (1) elegant man DV-CONV (2) I TOP exist-CONV-RETR-FIN (3) lodging lendNEG-CONV (4) make.return-CONV-PAST.ATTR I FP (5) elegant man DV-CONV exist-ATTR Translation (1/2) I have been an elegant man. (4/5) I am an elegant man who made [you] return (3) without providing [you] with a lodging. Commentary The tone of the poem might seem to be very far from being polite, but so was the act that triggered it, (see the postscript to 2.126 above), but to understand it in the proper perspective, the reader should definitely read the following poem 2.128 and the postscript to the latter. There are no poetic marvels in this poem,

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so, the only reason it was included into the Man’yōshū was probably the fact that it is surrounded by two much more superior poems that make the part of the same poetic exchange.

Preface to the Poem 2.128

本文・Original Text 同石川女郎更贈大伴田主中郎歌一首 Translation A[nother] poem that the same Isikapa-nö Iratumê again sent to Opotömö-nö sukune Tanusi Nakamarö. Commentary On Isikapa-nö Iratumê see the commentary to the preface to 2.107. As we learn from the preface to 2.110, her adult name (字) was Oponakô (大名兒). On Opotömö-nö sukune Tanusi, also known by his adult name Nakamarö (中郎) see the commentary to the preface to 2.126.

2.128

本文・Original Text (1) 吾聞之 (2) 耳尓好似 (3) 葦若未乃 (4) 足痛吾勢 (5) 勤多扶倍思 仮名の書き下し・Kana Transliteration (1) あがき₁き₁し (2) み₁み₁によ₂くにる (3) あしそ₂み₂の₂ (4) あしひ₁くわがせ (5) つと₁め₂たぶべ₂し Romanization (1) A-ŋGA KÎK-Î-si (2) MÎMÎ-ni YÖ-KU NI-RU (3) ASI SÖmï-nö (4) ASI PÎK-U WA-ŋGA se (5) TUTÔMË-tamb-umbë-si Glossing with Morphemic Analysis (1) I-POSS hear-CONV-PAST.ATTR (2) ear-LOC be.good-CONV resemble-ATTR (3) reed-GEN young-COMP (4) leg be.lame-ATTR I-POSS beloved (5) take.care. of.oneself(CONV)-HON-DEB-FIN

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Translation (1/2) It fits well with the rumors that I heard. (5) [You] should take care of yourself, (4) my beloved who is lame (3) like a young reed. Commentary This poem might seem openly rude to us in the twenty-first century, because it refers mockingly to a handicap of Opotömö-nö sukune Tanusi, who was lame. However, if we look at the following postscript, it turns out to be a poem composed for a visit paid to a sick person. On OJ asi ‘reed’ see the commentary to 14.3445. It can be a symbol of a life force (Nakanishi 1985: 305). Although many Japanese grammarians label the -ru form of strong vowel verbs (the traditional kami ichidan (上一段) verbal class) as both final and attributive, I have demonstrated before that as a matter of fact this form in -ru is just an attributive, for details see Vovin (2020.2; 453, 535–536). The greatest problem with reading and interpretation of this poem is related to characters 若未 in line three. Most modern Japanese commentators universally believe that 未 is a mistake here for 末, and replace 若未 with 若 末 accordingly, which they read as ure ‘top (of a plant)’ (Takeda 1956.2: 392; Inaoka 1985: 116–117; etc.), an idea that is believed to go back to Motoori Norinaga, but Inaoka notes that it is not to be found in any Norinaga’s works on the Man’yōshū (1985: 117). Both Tsuchiya (1976.1: 211) and Omodaka (1977.2: 126–128) read 若未 as kambï, believing that it is kambï ‘buds’ of asi ‘reeds’, claiming that it is a permanent epithet (makura-kotoba, 枕詞) to asi ‘foot, leg’, the idea that was originally proposed by Sengaku in his commentary (Satake 1981: 24). The spelling 葦若未乃 is quite strange for asi kambï-nö, which does not present itself in the Man’yōshū, although it is found in other OJ texts, but not as a permanent epithet (makura-kotoba, 枕詞). See also the critique of this theory by Inaoka (1985: 117). Admittedly, the characters 未 and 末 are too easy to confuse in the cursive or even semi-cursive writing, and, in addition 若末 standing for ure ‘top (of a plant)’ appears in two other poems in the Man’yōshū: 10.1937 and 10.2109. Therefore, the reading asi-nö ure-nö is more persuasive than asi kambï-nö, but there are two problems. First, all manuscripts have 若未 and not 若末. It is highly unlikely that all different lines of the Man’yōshū manuscripts make the same mistake, unless it was already made in the Ur-text. But such a hypothesis would be highly speculative, and cannot be proven, of course. It is quite a different matter, if there was no mistake at all, and all the manuscripts simply preserve what was in the original text, namely 若未 and not 若末.

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Second, the context of 10.1937 and 10.2109 is quite different from 2.128. Why would a lameness of a person be compared to the tops of reeds? Reeds, as mentioned above, symbolize a life force. But young reeds, not being strong enough, certainly could serve as a good comparison of an insufficient life force. From this point of view, let us try to decipher 若未. The second character 未 is a wellknown ongana phonogram mï. However, the first character 若 is never used as a phonogram, therefore it must be a logogram ‘young’. Here comes a difficulty, though: if we try to read it as OJ wakamï, we get complete nonsense, because such a form of an inflected adjective waka- ‘to be young’ does not exist in OJ. Consequently, we are left with YOUNG-mï, and because we cannot find an OJ or even a Japonic explanation for this word, it is highly likely that we deal with a loanword here. Although we do not know how to read 若 ‘young’, the remaining ‘tail’ -mï points among all neighboring languages to Korean, cf. MK cyèm-ḯy ‘young (noun)’, a nominalization of the adjectival verb cyèm- ‘to be young’9 by the addition of the deverbal nominalizer -ḯy (Yi 1981: 108). Although we cannot reconstruct with certainty the reading of the first syllable, it is likely that MK or OK cye would be borrowed as WOJ sö.10 There is no evidence for the reconstruction of an OK form, but for all practical purposes I will consider that it should be identical or close to the MK form. Therefore, I read line three as asi sömï-nö, ‘like the young reeds’, lit. ‘like the youngs [of] reeds’. WOJ tutômë- usually means ‘to work’, ‘to do labor’, but in a fewer number of cases it can also mean ‘to take care of oneself’. WOJ tamb-, auxiliary honorific verb, is a contraction of tamap-.

Postscript to the Poem 2.128

本文・Original Text 右依中郎足疾贈此歌問訊也 Translation The above [poem] was based on the leg disease of Nakamarö. [Isikapa-nö Iratumê] set [to him] this poem, [and then] visited [him]. 9  Cf. MdK celm- ‘to be young’. MK has a tendency to lose -l- before labial consonants, cf. MK nep- ~ MdK nelp- ‘to be broad, to be wide’. We should probably reconstruct PK *cyem- and *nep- here, given Ceycwu forms cem- and nep- (NB: there are no celm- and nelp-), and consider MdK celm- and nelp- forms as innovative showing secondary -l- insertion. 10  The further support to this hypothesis can be found in the fact that Isikapa-nö Iratumê is a descendant of Sôŋga clan, which has a Korean origin (Vovin 2002: 36), see the commentary to the preface to the poems 2.129–129a below.

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Commentary On Opotömö-nö sukune Tanusi, also known by his adult name Nakamarö (中郎) see the commentary to the preface to 2.126. Therefore, the whole situation should not be viewed as exchanging mutual insults, but rather as a tragic-comic. There certainly were no bad feelings, otherwise the bed-side visit by Isikapa-nö Iratumê would be hard to imagine.

Preface to the Poems 2.129–129a

本文・Original Text 大津皇子宮侍石川女郎贈大伴宿祢宿奈麻呂歌一首 女郎字曰山田郎女 也宿奈麻呂宿祢者大納言兼大將軍卿之第三子也

Translation A poem that Isikapa-nö Iratumê who served in the palace of Imperial Prince Opotu sent to Opotömö-nö sukune Sukunamarö. The adult name of Iratumê is

Yamanda-nö Iratumê. Sukunamarö-nö sukune is the third son of the High Noble the Dainagon and the Great Military Commander.

Commentary Although the Japanese tradition treats the following two poems as a single poem with three different lines, it is probably more appropriate to distinguish between the variants 2.129 and 2.129a, as the differences are quite substantial. On Imperial Prince Opotu see the commentary to the preface to the poems 2.105–106. On Isikapa-nö Iratumê see the commentary to the preface to 2.107. As we learn from the preface to 2.110, her adult name (字) was Oponakô (大名兒). A different adult name, Yamanda (山田) is mentioned here, so at the first glance we can think that it is a different Isikapa-nö Iratumê, but Yamanda looks like a clan name or a placename, and not an adult name. Inaoka notes that there was a place name Yamanda Isikapa (山田石川) in Isikapa district (Isikapa-gun, 石川郡) of Kapati province (河内國), which was the residence of Sôŋga (蘇我) clan. Inaoka further adds that there are personal names like Sôŋga Yamanda Isikapa-nö Marö (蘇我山田石川麻呂), and that the descendants of Sôŋga were called Isikapa undi (石川氏) ‘Isikapa clan’ (1985: 120). Since Sôŋga clan was of the Korean origin (Vovin 2002: 36), this, incidentally, explains why Isikapa-nö Iratumê used a Korean word in the previous poem 2.128. Opotömö-nö sukune Sukunamarö (大伴宿祢宿奈麻呂) is the third son of Opotömö-nö sukune Yasumarö, who is referred to in this preface as the

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High Noble Dainagon and the Great Military Commander (大納言兼大將 軍卿).11 Not much is known about his biography. In the first lunar month of the first year of Wadō (February 708 AD) he was promoted to the Junior Fifth Rank, Lower Grade, and in the first lunar month of the fifth year of Wadō (February 11–March 11, 712 AD) to the Junior Fifth Rank, Upper Grade. He served as the Commander of the Left Palace Guard and the Governor of Bingo province. There is also a record of him as being promoted to the Junior Fourth Rank, Lower Grade in the first lunar month of the first year of Jinki (February 724 AD). After that, there are no records of him in the Shoku Nihongi. Opotömö-nö sukune Sukunamarö married his half-sister from a different mother, Opotömö-nö Sakanöupë-nö Iratumê (大伴坂上郎女), who bore to him two daughters, Sakanöupë-nö Opowotömê (坂上大嬢) and Sakanöupë-nö Otöwotömê (坂上二嬢).12 Sakanöupë-nö Opowotömê became the wife of Opotömö-nö Yakamöti. Opotömö-nö sukune Sukunamarö is the author of two poems in the Man’yōshū: 4.532 and 4.533 (Omodaka 1977.2: 131–132; Inaoka 1985: 119–120; Nakanishi 1985: 212).

2.129

本文・Original Text (1) 古之 (2) 嫗尓爲而也 (3) 如此許 (4) 戀尓將沉 (5) 如手童兒 仮名の書き下し・Kana Transliteration (1) ふりにし (2) おみ₁なにしてや (3) かくばかり (4) こ₁ひ₂にしづまむ (5) た わらはの₂ご₂と₂ Romanization (1) PUR-I-N-I-si (2) OMÎNA n-i S-I-TE ya (3) KA-KU mBAKARI (4) KÔPÏ-ni SInDUM-AM-U (5) TA-WARAPA-NÖ-ŋGÖTÖ Glossing with Morphemic Analysis (1) age-CONV-PERF-CONV-PAST.ATTR (2) old.woman DV-CONV do-CONVSUB IP (3) be.thus-CONV RP (4) long.for(CONV)-LOC sink-TENT-ATTR (5) hand-baby-GEN-like 11  On the biography of Opotömö-nö sukune Yasumarö see the commentary to the preface to the poem 2.101. 12  According to a different version, these two daughters were from Pundipara-nö Namarö (藤原奈麻呂), her third husband. On Opotömö-nö Sakanöupë-nö Iratumê’s biography see the commentary to the preface to the poems 17.3927–3928. - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Translation (2) Being an old woman (1) who has aged (4) did [I] sink in longing (3) so much (5) like a toddler? Commentary The time frame for this poem is twenty years after Isikapa-nö Iratumê had her affairs with Imperial Princes Opotu and Pondumî (Omodaka 1977.2: 133). She was close to forty years old at the time of composition (Inaoka 1985: 121). Line one is hypometric ( ji tarazu, 字足らず). The WOJ form for ‘old woman’ was probably omîna, although the earliest phonetic attestations omina, omuna, and ouna do not predate the early Heian period. However, cf. OJ womîna ‘woman’ which underwent the similar phonetic evolution: OJ womîna → MJ womuna → MdJ onna. WOJ sindum- ‘to sink, to be submerged’ normally indicated the physical act, such as drowning, and this is the only example in the Man’yōshū, where it is used metaphorically. There is in all probability the Chinese literary influence behind this usage, cf. Liú Gōng-gàn (劉公幹), Two poems sent to Xú Gàn (徐幹) (Wenxuan, 文選): 「思子沈心曲、長歎不能言」 ‘[I] think about [you] who sank deep into [my] heart, and cannot express [my] long sadness in words’ (Inaoka 1985: 121). Inaoka notes that WOJ ta-warapa probably indicated a toddler, who has just started to walk and still needs to be supported by his/her mother’s hands (1985: 121). WOJ ŋgötö ‘like’ is probably a combination of the reduced form -ŋ of the genitive case marker -nö and the word kötö ‘like’, borrowed from otherwise unattested OK predecessor of MK kʌt- ‘be like’. Here the reduced form -ŋ of the genitive case marker -nö must have been already lexicalized, because it is preceded by another genitive marker -nö.

2.129a

本文・Original Text (1) 古之 (2) 嫗尓爲而也 (3) 戀乎大尓 (4) 忍金手武 (5) 多和良波乃如 仮名の書き下し・Kana Transliteration (1) ふりにし (2) おみ₁なにしてや (3) こ₁ひ₂をだに (4) しの₂び₁かねてむ (5) たわらはの₂ご₂と₂

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Romanization (1) PUR-I-N-I-si (2) OMÎNA n-i S-I-TE ya (4) SINÖmB-Ï-kane-te-m-u (5) ta-warapa-nö-ŋGÖTÖ

(3)

KÔPÏ-wo

ndani

Glossing with Morphemic Analysis (1) age-CONV-PERF-CONV-PAST.ATTR (2) old.woman DV-CONV do-CONVSUB IP (3) long.for(NML)-ACC RP (4) bear-CONV-NEG.POT (CONV)-PERF-TENTATTR (5) hand-baby-GEN-like Translation (2) Being an old woman (1) who has aged (4) can [I] not bear (3) even as little as longing (5) like a toddler? Commentary The last three lines of the variant 2.129a are separated from 2.129 by the ubiquitous 一云 ‘a variant says’. Line five in 2.129 and 2.129a is the same, but in 2.129 it is presented in completely logographic script, while in 2.129a is almost completely phonographic. Lines three and four, are, however completely different: while 2.129 speaks about the sinking into the longing, 2.129a narrates the impossibility to bear the longing. Overall, 2.129 offers more unexpected image than 2.129a, see the commentary to 2.129 above. For the rest, the commentary to 2.129a is identical to the commentary to 2.129.

Preface to the Poem 2.130

本文・Original Text 長皇子與皇弟御歌一首 Translation A poem that Imperial Prince Naŋga gave to [his] younger brother the Imperial Prince. Commentary On the biography of Imperial Prince Naŋga see the commentary to the preface to 1.60. The younger brother of Imperial Prince Naŋga is probably Imperial Prince ŋ Yu gë (弓削皇子) (Inaoka 1985: 122), on whom see the commentary to the preface to the poem 2.111.

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2.130

本文・Original Text (1) 丹生乃河 (2) 瀬者不渡而 (3) 由久遊久登 (4) 戀痛吾弟 (5) 乞通來祢 仮名の書き下し・Kana Transliteration (1) にふの₂かは (2) せはわたらずて (3) ゆくゆくと₂ (4) こ₁ひ₂いたしあ おと₂ (5) こ₂ちかよ₁ひ₁こ₂ね Romanization (1) Nipu-nö KAPA (2) SE pa WATAR-AnZ-U-TE (3) yuku-yuku tö (4) KÔPÏ-ITA-SI A OTÖ (5) köti KAYÔP-Î-KÖ-n-e Glossing with Morphemic Analysis (1) Nipu-GEN river (2) rapids TOP cross-NEG-CONV-SUB (3) rapid DV (4) long.for(CONV)-be.painful-FIN I younger.brother (5) here cross-CONVcome-DES-IMP Translation (1/2/3) As the rapids in Nipu river are fast, [I can]not cross [them] (4) My younger brother, [my] longing for [you] is [so] painful. (5) [I] wish [you] come over here. Commentary There are several Nipu rivers, but the one meant here is probably the tributary of Yösinô river, which originates at the north-western side of Mt. Otenjōgadake (大天井岳) in Yoshino county (Yoshino-gun, 吉野郡) of Nara prefecture and joins Yösinô river in Gojō city (Gojō-shi, 五条市) (Inaoka 1985: 122). The hydronym Nipu could be of Ainu origin, cf. Ainu nípu ‘storage for frozen salmon at a river bank’ (Chiri 1956: 66). Ainu nípu is certainly could be further analyzed as ni ‘tree, wood’ and pu ‘storage’, which implies the original meaning ‘wooden storage’. Line four is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since kôpï-ita-si ‘longing is painful’ was in all probability pronounced as [kôpïtasi]. Most Japanese scholars read the character 弟 ‘younger brother’ as WOJ se ‘elder brother’, arguing that se could be used as a term of endearment towards younger brothers, and also appealing to the evidence from 2.165 that has 弟世 na se that they interpret as ‘younger brother’ (Omodaka 1977.2: 139–140; Inaoka 1985: 125). I demonstrate in the commentary to 2.165 below that 弟世 na se is

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likely to have a different explanation. Takeda, on the other hand, reads 吾弟 as wa otö ‘my younger brother’ (1956.2: 396). While Omodaka is right in his critique that wa ‘I, we’ cannot be used without the following case marker -ŋga when used to indicate possession (1977.2: 139), the same is not true of WOJ a ‘I’, cf. a se ‘my beloved’ (KK 29). In addition, otö ‘younger brother’ is perfectly attested in WOJ. Thus, I correct Takeda’s reading wa otö of 吾弟 to a otö. Another controversy involves the reading of the character 乞 in the beginning of line five. Some scholars prefer the reading köti ‘here’, e.g. Omodaka (1977.2: 140), while the others opt for inde, an interjection, e.g. Inaoka (1985: 125–126).13 It is really a toss of a coin here, as there is no decisive evidence for any of these two solutions, since both readings are possible, I follow Omodaka here.

Preface to the Poems 2.131–133

本文・Original Text 柿本朝臣人麻呂従石見國別妻上來時歌二首并短歌 Translation Two poems [composed by] Kakînömötö-nö asömî Pîtömarö when [he] was leaving Ipamî province going to the capital and parted with [his] wife with a tanka envoy. Commentary On the biography of Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to 1.29a–29b. There is no historical record of his sojourn in Ipamî province (Inaoka 1985: 127). Ipamî province (石見國) corresponds to the western part of present-day Shimane prefecture (島根県) (Nakanishi 1985: 426). It was one of the Middle Provinces (Chūkoku, 中國) according to the Ritsuryō code. On the Ritsuryō code classification of Yamatö provinces, see the commentary to 5.818. The preface has the wrong count of poems here: there is only one chōka 2.131 (not two!) and two tanka envoys (2.132–133).

13  Kinoshita (2004) offered a third solution that suggests that 乞 is a logogram ‘to ask, to beg’, therefore he reads it as köp-î, but this can be rejected on the grounds of ungrammaticality.

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2.131

本文・Original Text (1) 石見乃海 (2) 角乃浦廻乎 (3) 浦無等 (4) 人社見良目 (5) 滷無等 一云 礒無登 (6) 人社見良目 (7) 能咲八師 (8) 浦者無友 (9) 縦畫屋師 (10) 滷 者一云礒者無鞆 (11) 鯨魚取 (12) 海邊乎指而 (13) 和多豆乃 (14) 荒礒乃上 尓 (15) 香青生 (16) 玉藻息津藻 (17) 朝羽振 (18) 風社依米 (19) 夕羽振流 (20) 浪社來縁 (21) 浪之共 (22) 彼縁此依 (23) 玉藻成 (24) 依宿之妹乎 一云 (23a) 波之伎余思 (24a) 妹之手本乎 (25) 露霜乃 (26) 置而之來者 (27) 此 道乃 (28) 八十隈毎 (29) 萬段 (30) 顧爲騰 (31) 弥遠尓 (32) 里者放奴 (33) 益高尓 (34) 山毛越來奴 (35) 夏草之 (36) 念思奈要而 (37) 志怒布 良武 (38) 妹之門將見 (39) 靡此山 仮名の書き下し・Kana Transliteration (1) いはみ₁の₂うみ₁ (2) つの₁の₂うらみ₂を (3) うらなしと₂ (4) ひ₁と₂こ₂そ₂み₁ らめ₂ (5) かたなしと₂ 一云いそ₁なしと₂ (6) ひ₁と₂こ₂そ₂み₁らめ₂ (7) よ₂しゑやし (8) うらはなくと₂も₂ (9) よ₂しゑやし (10) かたは 一云いそ₁は なくと₂も₂ (11) いさ なと₂る (12) うみ₁へ₁をさして (13) にき₁たづの₂ (14) ありそ₁の₂うへ₂に (15) か あをくおふる (16) たまもおき₁つも (17) あさはふる (18) かぜこ₂そ₂よ₂らめ₂ (19) ゆふはふる (20) なみ₁こ₂そ₂き₁よ₂れ (21) なみ₁の₂むた (22) かよ₂りか くよ₂る (23) たまもなす (24) よ₂りねしいも₁を 一云 (23a) はしきよ₂し (24a) いも₁が たも₂と₂を (25) つゆしも₁の₂ (26) おき₁てしくれば (27) こ₂の₂み₁ちの₂ (28) や そ₁くまご₂と₂に (29) よ₂ろ₂づたび₁ (30) かへ₁りみ₁すれど₂ (31) いやと₂ほに (32) さと₁はさかりぬ (33) いやたかに (34) やまも₁こ₁え₂き₁ぬ (35) なつくさ の₂ (36) おも₂ひ₁しなえ₂て (37) しの₁ふらむ (38) いも₁がかど₁み₁む (39) な び₁け₁こ₂の₂やま Romanization (1) Ipamî-nö UMÎ (2) Tunô-nö URA MÏ-wo (3) URA NA-si tö (4) PÎTÖ kösö MÎ-ram-ë (5) KATA NA-SI tö variant: ISÔ NA-SI tö (6) PÎTÖ kösö MÎ-ram-ë (7) yö-si we ya si (8) URA pa NA-KU tömö (9) yö-si we ya si (10) KATA pa variant: ISÔ pa NA-KU tömö (11) ISANA TÖR-U (12) UMÎ PÊ-wo SAS-I-TE (13) Nikîtandu-nö (14) AR-ISÔ-nö UPË-ni (15) ka-AWO-KU OP-URU (16) TAMA MO okî-tu MO (17) ASA PA PUR-U (18) KAnZE kösö YÖR-Am-ë (19) YUPU PA PUr-u (20) NAMÎ kösö K-Î-YÖR-E (21) NAMÎ-NÖ MUTA (22) KA YÖR-I KA-KU YÖR-U (23) TAMA MO-nasu (24) YÖR-I-NE-si IMÔ-wo variant: (23a) pasi-kî yö-si (24a) IMÔ- ŋGA TAMÖTÖ-wo (25) TUYU SIMÔ-nö (26) OK-Î-TE SI K-URE-mba (27) KÖNÖ MÎTI-nö (28) YASÔ KUMAŋGÖTÖ-NI (29) YÖRÖnDU TAmBÎ (30) KAPÊR-I-MÎ S-URE-ndö (31) iya TÖPO n-i (32) SATÔ pa SAKAR-I-n-u (33) IYA TAKA n-i (34) YAMA mô KÔYE-k-î-n-u

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(35) NATU KUSA-NÖ (36) OMÖP-Î-sinaye-te (37) sinôp-uram-u (38) IMÔ-ŋGA KAnDÔ MÎ-M-U (39) NAmBÎK-Ê KÖNÖ YAMA Glossing with Morphemic Analysis (1) Ipamî-GEN sea (2) Tunô-GEN bay go.around(NML)-ACC (3) bay not.existFIN DV (4) person FP look-TENT2-EV (5) seashore not.exist-FIN DV variant: shore not.exist-FIN DV (6) person FP look-TENT2-EV (7) be.good-FIN INTER EP EP (8) bay TOP not.exist-CONV CONJ (9) be.good-FIN INTER EP EP (10) seashore TOP variant: beach TOP not.exist-CONV CONJ (11) whale catchATTR (12) seaside-ACC point-CONV-SUB (13) Nikîtandu-GEN (14) roughrock-GEN top-LOC (15) PREF-be.green-CONV grow-ATTR (16) pearl seaweed offing-GEN/LOC seaweed (17) morning wing flop-ATTR (18) wind FP approachTENT-EV (19) evening wing flop-ATTR (20) wave FP come-CONV-approach-EV (21) wave-GEN together (22) thus approach-CONV be.thus-CONV approachFIN (23) pearl seaweed-COMP (24) approach-CONV-sleep(CONV)-PAST.ATTR beloved-ACC variant: (23a) be.lovely-ATTR be.good-FIN (24a) beloved-POSS sleeve-ACC (25) dew frost-GEN (26) cover-CONV-SUB EP come-EV-CON (27) this road-GEN (28) many bend-every-LOC (29) many time (30) return-CONV-look(NML) doEV-CONC (31) more.and.more far DV-CONV (32) home.place TOP be.separatedCONV-PERF-FIN (33) more.and.more high DV-CONV (34) mountain FP cross(CONV)-come-CONV-PERF-FIN (35) summer grass-COMP (36) love-CONVwither(CONV)-SUB (37)long.for-TENT2-ATTR (38)beloved-POSS gatesee-TENT-FIN (39) recline-IMP this mountain Translation (4) People probably view (2) the circumference of bay Tunô (1) in Ipamî sea (3) as having no bay [at all]. (6) People probably view [it] (5) as having no seashore [at all] variant: as having no shore [at all]. (7) Although it is so, (8) even if there is no bay, (9) although it is so, (10) even if there is no seashore variant: beach (16) seaweed in the offing, pearl[-like] seaweed (15) are really green and growing (14) at the rough rocks (13) in Nikîtandu (12) facing the seaside (11) where [they] catch whales (18) the wind comes (17) flopping its wings [like a bird] in the morning. (20) The waves come (19) flopping their wings [like a bird] in the evening. (21) Together with the waves (22) [the seaweed] come here and there. (25) when dew [or] frost (26) covers (23/24) [my] pearl seaweed-like beloved with whom [I] slept together, variant: (24a) sleeves of [my] beloved, (23a) who is lovely and good, (30) although [I] look back (29) many times (28) at each of the multiple bends (27) of this road, (31/32) [alas, I] have got more and more far away from [my] home. (33/34) [I] have crossed higher and higher mountains. (39) Oh, these mountains, please step aside! (38) [I] want to see the gate of

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[my] beloved, (37) for whom [I] long, (36) withering from love (35) like summer grass. Commentary Line one is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since Ipamî-nö umî ‘Iwami sea’ was in all probability pronounced as [ipamînumî] (more likely) or [ipamînömî] (less likely). On Ipamî province see the commentary to the preface to the poems 2.131–133. 角 /tunô/ ‘horn’ in line two is a disyllabic kungana. The exact location of Tunô is unknown, but it was somewhere in the vicinity of Gōtsu city (都野津町) in present-day Shimane prefecture. It appears in two poems in the Man’yōshū: 2.131 and 2.138. (Nakanishi 1985: 473). On ura mï ‘circumference of a bay’ see the commentary to 15.3627. It is a mystery why the character 社 ‘Shintō shrine’ is used for writing a focus particle kösö in lines two, six, eighteen and twenty in this poem and elsewhere in the Man’yōshū, as there is no such a reading for this character. Japanese scholars usually invoke a parallel with the usage of 乞 köp- ‘to ask’, ‘to pray’ (Takeda 1956.2: 401; Omodaka 1977.2: 144; Inaoka 1985: 131). This theory faces an unsurmountable problem of the correspondence /-p-/ to /-s-/. There is an alternative, a benefactive auxiliary -köse- that has irregular imperative form -kös-ö. This etymology is not unproblematic, and I have already surveyed it in the commentary to 17.3898. In addition, while the underlying benefactive auxiliary imperative -kös-ö might still work as an explanation for the writing of kösö with 乞, it is considerably less likely for 社 ‘shrine’, which is not the act of imploring deities per se, but the place of worship and/or performing Shintō shamanistic rites. I believe that there is another possibility: there is MK kús ‘shamanistic rites’, with possible apocope in OK *kusu or *kusï. Unfortunately, the native word for ‘shamanistic shrine’ did not survive in Korean.14 The origin of the disyllabic kungana character 縦 for /yösi/ in line nine is obscure, and Japanese scholars pass it in silence. WOJ isana ‘whale’ clearly consists of -na ‘fish’ and isa-, that most likely means ‘whale’,15 but theoretically can be anything. Luckily enough we have just isa (伊佐) ‘whale’ attested in the fragments of Ikî Fudoki (Akimoto 1958: 528). Possibly there is some connection with PPN *ise ‘fish species’ (Walsh and Biggs 1966: 22), but there are both phonetic and semantic problems. In addition, the 14  This should come as no wonder, since shamanism was greatly oppressed during the last Li dynasty (1392–1910 AD). Interestingly enough, the same hostile attitude was inherited by the modern Korean Christian population, while it does not extend to Confucianism. 15  Cf. рыба-кит ‘whale’ in Russian folklore, lit. ‘fish-whale’.

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directionality of borrowing can only be Japanese > Polynesian, and this tells us nothing in terms of the history of the Japanese word. To the best of my knowledge, there are no other internal or external parallels for OJ isa ‘whale’. Thus, it looks like that after the eighth century this word has completely disappeared from the language. WOJ na ‘fish’ (independently attested, e.g. in MYS 5.869) is an interesting word. Omodaka et al. believe that WOJ na ‘vegetables’ and na ‘fish’ is the same word (1967: 511–512), but I trust that we have to divorce them. WOJ na ‘fish’ reminds of Kradai *pla ‘fish’, which might have undergone the following development: *pla > *la > na (since Japonic does not have initial l-).16 The exact location of Nikîtandu is unknown, but it was somewhere in the vicinity of Gōtsu city (Gōtsu shi, 江津市) in present-day Shimane prefecture (Nakanishi 1985: 473). It appears in two poems in the Man’yōshū: 2.131 and 2.138. There is a proposal to read 和多豆 as Watandu, mentioned by Nakanishi (1985: 473) without a reference, but it will violate the meter, making this line hypometric ( ji tarazu, 字足らず). Omodaka reads 依米 in line eighteen as yösemë (1977.2: 148–149), partially following Kamochi Masazumi’s earlier proposal to read it as yöse (1912.1: 464– 465). Omodaka is well aware that this reading destroys parallelism with 縁 yöre in line twenty, and yör- ‘to approach’ can only be intransitive. Omodaka then tries to circumvent this problem by claiming an ungrammaticality of an intransitive verb here, as he believes that it is the wind that makes seaweed to approach. But then yör- in line twenty still stays ungrammatical. Consequently, I follow here an older tradition that treats 依米 in line eighteen as yöramë, an evidential tentative of the intransitive yör-. This is also a position adopted by Takeda (1956.2: 398) and Inaoka (1985: 135–136). Line fourteen is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since ar-isô-nö upë-ni ‘on the rough rocks’ was in all probability pronounced as [arisônöpëni]. OJ kandô ‘gate’ may involve a sexual metaphor, referring not only to the gate of the house itself, but also the female sexual organ.

Preface to the Poems 2.132–133

本文・Original Text 反歌二首

16  On Kradai borrowings in Japonic see (Vovin 2011c).

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Translation Two [tanka] envoys. Commentary The envoys are to the poem 2.131.

2.132

本文・Original Text (1) 石見乃也 (2) 高角山之 (3) 木際従 (4) 我振袖乎 (5) 妹見都良武香 仮名の書き下し・Kana Transliteration (1) いはみ₁の₂や (2) たかつの₁やまの₂ (3) こ₂の₂まよ₁り (4) わがふるそ₁で を (5) いも₁み₁つらむか Romanization (1) Ipamî-nö ya (2) TAKA Tunô YAMA-NÖ (3) KÖ-NÖ MA-YÔRI (4) WA-ŋGA PUR-U SÔnDE-wo (5) IMÔ MÎ-t-uram-u ka Glossing with Morphemic Analysis (1) Ipamî-GEN EP (2) high Tunô mountain-GEN (3) tree-GEN space-ABL (4) I-POSS wave-ATTR sleeve-ACC (5) beloved see(CONV)-PERF-TENT2ATTR IP Translation (5) Has [my] beloved seen (4) how I waved [my] sleeves (3) from the space between the trees (2) at high Tunô mountain (1) in Ipamî? Commentary On Ipamî province see the commentary to the preface to the poems 2.131–133. On Tunô see the commentary to the poem 2.131. The ritual of waving one’s sleeves was meant to invite the soul of one’s beloved, whether alive or dead (Inaoka 1990: 59).

2.133

本文・Original Text (1) 小竹之葉者 (2) 三山毛清尓 (3) 乱友 (4) 吾者妹思 (5) 別來礼婆

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仮名の書き下し・Kana Transliteration (1) ささの₂はは (2) み₁やまも₁さやに (3) さやげ₂ど₂も₂ (4) われはいも₁おも₂ ふ (5) わかれき₁ぬれば Romanization (1) SASA-NÖ PA pa (2) mî-YAMA mô SAYA n-i (3) SAYA ŋG-Ë-ndömö (4) WARE pa IMÔ OMÖP-U (5) WAKARE-K-Î-N-Ure-mba Glossing with Morphemic Analysis (1) bamboo.grass-GEN leaf TOP (2) HON-mountain FP rustling DV-CONV (3) rustle-EV-CONC (4) I TOP beloved think-FIN (5) separate(CONV)come-CONV-PERF-EV-CON Translation (1/3) Although leaves of the bamboo grass (2/3) are rustling on the beautiful mountain, too, (4) I am thinking of [my] beloved (5) because [I] came [here] separating [from her]. Commentary OJ sasa ‘bamboo grass’ is a small bamboo that grows in the wild in mountains and fields. It spreads by subterranean stems and grows in bushes. OJ sasa was one of the objects used during Shintō shamanistic ceremonies, such as, for example, sacred kagura dances and music performed at shrines. It was then called yu-sasa ‘sacred bamboo grass’ (Nakanishi 1985: 315).

Preface to the Poem 2.134

本文・Original Text 或本反歌曰 Translation An envoy in a certain book says: Commentary This envoy is to the poem 2.131 and is a textual variant of 2.132.

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2.134

本文・Original Text (1) 石見尓有 (2) 高角山乃 (3) 木間従文 (4) 吾袂振乎 (5) 妹見監鴨 仮名の書き下し・Kana Transliteration (1) いはみ₁にある (2) たかつの₁やまの₂ (3) こ₂の₂まゆも (4) わがそ₁でふる を (5) いも₁み₁け₁むかも₁ Romanization (1) Ipamî-ni AR-U (2) TAKA Tunô YAMA-nö (3) KÖ-NÖ MA-YÔRI (4) WA-ŋGA SÔnDE PUR-U-wo (5) IMÔ MÎ-kêm-u kamô Glossing with Morphemic Analysis (1) Ipamî-LOC exist-ATTR (2) high Tunô mountain-GEN (3) tree-GEN space-ABL (4) I-POSS wave-ATTR sleeve-ACC (5) beloved see(CONV)-PAST.TENT-ATTR EP Translation (5) [I] wonder whether [my] beloved saw (4) how I waved [my] sleeves (3) from the space between the trees (2) at high Tunô mountain (1) that is in Ipamî? Commentary On Ipamî province see the commentary to the preface to the poems 2.131–133. Line one is hypermetric ( ji amari, 字余り), but this is a graphic illusion, since Ipamî-ni ar-u ‘the one which is Ipamî’ was pronounced as [ipamînaru]. On Tunô see the commentary to the poem 2.131. The ritual of waving one’s sleeves was meant to invite the soul of one’s beloved, whether alive or dead (Inaoka 1990: 59).

2.135

本文・Original Text (1) 角障經 (2) 石見之海乃 (3) 言佐敝久 (4) 辛乃埼有 (5) 伊久里尓曽 (6) 深海松生流 (7) 荒礒尓曽 (8) 玉藻者生流 (9) 玉藻成 (10) 靡寐之兒 乎 (11) 深海松乃 (12) 深目手思騰 (13) 左宿夜者 (14) 幾毛不有 (15) 延都 多乃 (16) 別之來者 (17) 肝向 (18) 心乎痛 (19) 念乍 (20) 顧爲騰 (21) 大舟 之 (22) 渡乃山之 (23) 黄葉之 (24) 散之乱尓 (25) 妹袖 (26) 清尓毛不見

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(27) 嬬隱有 (28) 屋上乃一云室上山山乃 (29) 自雲間 (30) 渡相月乃 (31) 雖 惜 (32) 隱比來者 (33) 天傳 (34) 入日刺奴礼 (35) 大夫跡 (36) 念有吾毛 (37) 敷妙乃 (38) 衣袖者 (39) 通而沾奴 仮名の書き下し・Kana Transliteration (1) つの₁さはふ (2) いはみ₁の₂うみ₁の₂ (3) こ₂と₂さへ₁く (4) からの₂さき₁な る (5) いくりにそ₂ (6) ふかみ₁るおふる (7) ありそ₁にそ₂ (8) たまもはおふる (9) たまもなす (10) なび₁き₁ねしこ₁を (11) ふかみ₁るの₂ (12) ふかめ₂ておも₂ へ₂ど₂ (13) さねしよ₁は (14) いくだも₁あらず (15) はふつたの₂ (16) わかれし くれば (17) き₁も₁むかふ (18) こ₂こ₂ろ₂をいたみ₁ (19) おも₂ひ₁つつ (20) か へ₁りみ₁すれど (21) おほぶねの₂ (22) わたりの₂やまの₂ (23) も₁み₁ちばの₂ (24) ちりの₂まがひ₁に (25) いも₁がそ₁で (26) さやにも₁み₁え₂ず (27) つまご₂ も₂る (28) やかみ₁の一云むろ₁かみ₁やまやまの₂ (29) くも₁まよ₁り (30) わたらふ つき₂の₂ (31) をしけ₁ど₂も₂ (32) かくらひ₁くれば (33) あまづたふ (34) いりひ₁ さしぬれ (35) ますらをと₂ (36) おも₂へ₁るわれも₁ (37) しき₁たへ₂の₂ (38) こ₂ ろ₂も₂の₂そ₁では (39) と₂ほりてぬれぬ Romanization (1) Tunô sap-ap-u (2) Ipamî-NÖ UMÎ-nö (3) KÖTÖ sapêk-u (4) Kara SAKÎ AR-I (5) ikuri-ni sö (6) PUKA MÎRU OP-Uru (7) AR-ISÔ-ni sö (8) TAMA MO pa OP-Uru (9) TAMA MO-nasu (10) NAmBÎK-Î NE-si KÔ-wo (11) PUKA MÎRU-nö (12) PUKAmë-te OMÖP-Ë-ndö (13) sa-NE-SI YÔ pa (14) IKUnDA mô AR-AnZ-U (15) PAP-U tuta-nö (16) WAKARE si K-URE-mba (17) KÎMÔ MUKAP-U (18) KÖKÖRÖ-wo ITA-MÎ (19) OMÖP-Î-TUTU (20) KAPÊRIMÎ S-URE-ndö (21) OPO-m-BUNE-nö (22) WATAR-I-nö YAMA-NÖ (23) MÔMÎTI-m-BA-NÖ (24) TIR-I-NÖ MA ŋGAP-Î-ni (25) IMÔ-ŋGA SÔnDE (26) SAYA n-i mô MÎ-YE-nZ-u (27) TUMA-ŋ-GÖMÖR-U (28) YAKAMÎ-nö [variant: MURÔKAMÎ YAMA] YAMA-nö (29) KUMÔ MA-YÔRI (30) WATAR-ap-u TUKÏ-nö (31) WOSI-KÊ-nDÖMÖ (32) KAKUR-Ap-î K-URE-mba (33) AMA-n-DUTAP-U (34) IR-I PÎ SAS-I-n-ure (35) MASURA WO tö (36) OMÖP-ÊR-U WARE mô (37) SIK-Î TAPË-nö (38) KÖRÖMÖ-NÖ SÔnDE pa (39) TÖPOR-I-TE NURE-n-u Glossing with Morphemic Analysis (1) Tunô say(?)-ITER(?)-ATTR (2) Ipamî-GEN sea-GEN (3) speech say-ATTR (4) Korea cape exist-FIN (5) sea.rock-LOC FP (6) deep seaweed grow-ATTR (7) rough-rock-LOC FP (8) pearl seaweed TOP grow-ATTR (9) pearl seaweedCOMP (10) recline-CONV sleep(CONV)-PAST.ATTR girl-ACC (11) deep seaweedCOMP (12) deepen(CONV)-SUB think-EV-CONC (13) PREF-sleep(CONV)-PAST. ATTR night TOP (14) how.many FP exist-NEG-FIN (15) creep-ATTR vine-COMP

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(16) part(NML) EP come-EV-CON (17) liver face-ATTR (18) heart-ABS be.painfulGER (19) think-CONV-COOR (20) look.back(NML) do-EV-CONC (21) largeDV(ATTR)-boat-COMP (22) cross-NML-GEN mountain-GEN (23) leaves.turn. red.and.yellow-NML-DV(ATTR)-leaf-GEN (24) fall-NML-GEN be.jumbled-NMLLOC (25) beloved-POSS sleeve (26) clear DV-CONV FP see-PASS-NEG-FIN (27) spouse-GEN-hide-ATTR (28) Yakamî [variant: Murôkamî] mountain-GEN (29) cloud interval-ABL (30) cross-ITER-ATTR moon-GEN (31) miss-EV-CONC (32) hide-ITER-CONV come-EV-CON (33) heaven-LOC-cross-ATTR (34) enter-NML sun shine-CONV-PERF-EV (35) excellent.brave man DV (36) think-PROG-ATTR I FP (37) spread-NML mulberry.tree.bark.cloth-GEN (38) garment-GEN sleeve TOP (39) pass.through-CONV-SUB be.drenched(CONV)-PERF-FIN Translation (4) There is a cape [of] Korea (3) [about which they] are talking (2) in the sea of Ipamî, (1) [where] Tunô [bay] ? (6) Deep seaweed are growing (5) on rocks in the sea. (8) Pearly seaweed are growing (7) on rough rocks. (12) Although [I] think deeply (11) like deep seaweed (10) about the girl, [with whom I] slept lying [together], (13) the nights [that we] slept there [together] (14) were not many. (15/16) When the parting, creeping like a vine, comes (17/18) [my] heart facing the liver is painful, and (19) [I] continue to think [about her]. (20) Although [I] look back, (26) [I] cannot see clearly (25) the sleeves of [my] beloved (24) in a jumble of falling (23) red and yellow [autumn] leaves (22) on the mountains that [I] cross (21) like in a large boat. (31) Although [I] miss (30) the moon that crosses (29) [the sky] between the clouds (28) of Yakamî mountain (27) where spouses are secluding [themselves] in a chamber, (32) when [the moon] is hiding, (33/34) the rising sun that goes across the sky is indeed shining. (35/36) Even I, who is considered excellent [and] brave man, (38) [have] the sleeves of [my] garment (37) from the spread mulberry tree bark cloth (39) completely drenched [with tears]. Commentary On Tunô see the commentary to the poem 2.131. WOJ sapap-u 障經 looks like a verb. Since both 障 and 經 are likely to be used here as kungana, the meaning of this verb is obscure, unless it is an iterative form of *sap- that is discussed below. On Ipamî province see the commentary to the preface to the poems 2.131–133. WOJ sapêk- is an interesting word. Japanese tradition holds it to be the same word as sapëŋg- ‘to be obstructed, to be blocked, to be incomprehensible’ (Takeda 1956.2: 412; Omodaka et al. 1967: 299; Omodaka 1977.2: 160–161;

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Inaoka 1985: 136),17 but this is certainly phonetically impossible because of the vocalism in the second syllable and the final consonant. The explanation of kötö sapêk-u Kara ‘Korea, where speech is incomprehensible’ by Sengaku, I am afraid, is completely incorrect. There are just two attestations of WOJ sapêkin Old Japanese besides this poem: in MYS 2.199 and 2.199a and in the identical context, so the word in question comes very close to a hapax legomenon. Nevertheless, in addition to its low occurrences, total absence from Eastern Old Japanese and Ryukyuan, and obvious connection with Korea, clearly points to the direction of a loanword. MK sʌlp- [sʌrp] R, OK SɅLpa- (attested as adnominals *sʌrpa-n 白反 (Hyesengka, line 8) and SɅLPAɣ-ʌn 白乎隱 (Tosolka, line 2)) ‘to say, to tell’ < PK *sʌrpak- fits the bill perfectly (the simplification of MK and OK -rp- to OJ -p-is expected). Thus, kötö sapêk-u Kara is ‘Korea, where [they] talk’ or ‘Korea, where [they] say speeches/words’. There are several hypotheses about the exact location of Kara cape: a) vicinity of Tōgane (唐鐘) harbor in Kokubunji town (Kokubunji chō, 国分寺町) of Hamada city (Hamada shi, 浜田市) in present-day Shimane prefecture, b) cape Ōhana (Ōhana saki, 大鼻崎) in Hashi town (Hashi machi, 波子町) of Gōtsu city (Gōtsu shi, 江津市) in the same prefecture, c) Kara island (Kara shima, 韓島) in Nima town (Nima chō, 仁摩町) of Nima county (Nima gun, 邇摩郡)18 in the same prefecture, d) a cape in Waki town (Waki chō, 和木町) of Gōtsu city (Gōtsu shi, 江津市) (Nakanishi 1985: 439). WOJ ikuri is a ‘rock in the middle of the sea’. Its etymology is obscure, although the Japanese tradition traces it to *i-kuri ‘?-pebble’ (Omodaka et al. 1967: 71). It remains unclear, though, what i- is, and rocks in the middle of the sea are by no means ‘pebbles’. Line twelve is hypermetric ( ji amari, 字余り). Ya-kamî is literally ‘top of the chamber/house’, which explains the permanent epithet (makura-kotoba, 枕詞) tuma-ŋ-gömör-u ‘[where] spouses are hiding’ that modifies ya ‘chamber, house’. Mt. Yakamî is mentioned in the Man’yōshū just once in this poem. Omodaka (1977.2: 165) and Nakanishi (1985: 492) identify it as Mt. Murokami (Murokami-yama, 室神山, 246 m) also called Takasen (高仙) or Asarifuji (浅利富士) in Gōtsu city (Gōtsu shi, 江津市) in present-day Shimane prefecture, although Inaoka expresses a different opinion, considering Yakami and Murokami to represent two different mountains (1985: 160–161). It is quite certain that the character 神 /kami/ in Murokami 室神 /Murokami/ must be a later spelling, because in Western Old Japanese kamî ‘top’ (上) and kamï ‘deity’ (神) are not homophones. 17  The latter two are just repeating Sengaku’s explanation. 18  Abolished on October 1, 2005 and integrated into Ōda city (Ōda shi, 大田市).

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Note that the character 相 in line thirty is used as a kungana sign for apu. Consequently, this leaves the logogram 渡 ‘to cross’ to stand for WATAR-, violating the principle of the syllabic writing that underlies all man’yōgana, unless the repetition of vowels was meant here: WATAR-Aap-u. Cf. the similar case of kïrap-u in 2.88. The evidential form sas-i-n-ure in line thirty-four has a function of final predicate. Note that it is not preceded by a focus particle kösö. I translated it as ‘is indeed shining’, where ‘indeed’ is used to convey strong emphatic statement. On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ see the commentary to 5.804. There is no etymology for masura. It could possibly be a Japanese-Korean hybrid: OJ ma-, intensive prefix with the meaning ‘true, real’ + MK súh ‘male’19 + OJ -ra, suffix of endearment. On sik-î tapë-nö ‘of/like the spread mulberry tree bark cloth’ see the commentary to 5.509, and on tapë ‘cloth of the mulberry tree bark’ see the commentary to 15.3607 and 15.3587.

Preface to the Poems 2.136–137

本文・Original Text 反歌二首 Translation Two envoys. Commentary These two tanka envoys are to the chōka 2.135

2.136

本文・Original Text (1) 青駒之 (2) 足掻乎速 (3) 雲居曽 (4) 妹之當乎 (5) 過而來計類一云 (4) 當者 (5) 隠來計留

19  In Modern Korean su ‘male’ is used only for animals, but it appears that in earlier stages of the language it was also applicable to humans.

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仮名の書き下し・Kana Transliteration (1) あをこ₁まが (2) あがき₁をはやみ₁ (3) くも₁ゐにそ₂ (4) いも₁があたりを (5) すぎ₂てき₁にけ₁る一云 (4) あたりは (5) かくりき₁にけ₁る₁ Romanization (1) AWO KÔMA-ŋGA (2) A-ŋ-GAK-Î-wo PAYA-MÎ (3) KUMÔWI-NI sö (4) IMÔ-ŋGA ATARI-wo (5) SU ŋGÏ-TE K-Î-N-I-kêr-u variant: (4) ATARI pa (5) KAKUR-I-N-I-kêr-u Glossing with Morphemic Analysis (1) dark stallion-POSS (2) foot-GEN-gallop-NML-ABS be.fast-GER (3) cloudexist(NML)-COMP FP (4) beloved-POSS vicinity (5) pass(CONV)-SUB come-CONV-PERF-CONV-RETR-ATTR variant: (4) vicinity TOP (5) hide-CONV-PERFCONV-RETR-ATTR

Translation (1/2) Because the stride of [my] black stallion is fast (5) [I] came [here] passing (4) the vicinity of [the house of my] beloved (3) [which is now distant] like clouds. Variant: (4) The vicinity (5) hid away. Commentary MYS 2.136 is written almost completely logographically with the exception of absolutive -wo, focus particle sö, accusative -wo (topic pa in the variant) and attributive retrospective -kêr-u. WOJ awo is literally ‘blue, green’, but in general it refers to all colors of the dark side of the specter. Since there are no blue or green horses in nature, a black stallion is certainly meant here.

2.137

本文・Original Text (1) 秋山尓 (2) 落黄葉 (3) 須臾者 (4) 勿散乱曽 (5) 妹之當將見一云知里 勿乱曽

仮名の書き下し・Kana Transliteration (1) あき₁やまに (2) おつるも₁み₁ちば (3) しましくは (4) なちりまがひ₁そ₂ (5) いも₁があたりみ₁む一云ちりなまがひ₁そ₂

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Poems

Romanization (1) AKÎ YAMA-ni (2) OT-URU MÔMÎT-I-m-BA (3) SIMASI-KU pa (4) NA-TIR-I-MA ŋGAP-Î-sö (5) IMÔ-ŋGA ATARI MÎ-M-U variant: tir-i NA-MA ŋGAP-Î-sö

Glossing with Morphemic Analysis (1) autumn mountain-LOC (2) fall-ATTR leaves.turn.red.and.yellow-NMLDV(ATTR)-leaf (3) be.for.a.short.while-CONV TOP (4) NEG-fall-CONV-be. jumbled-CONV-do (5) beloved-POSS vicinity see-TENT-FIN variant: fall-CONV NEG-be.jumbled-CONV-do

Translation (2) Red and yellow leaves (1) in the autumn mountains, (4) do not fall in disarray (3) for a short while! (5) [I] want to see the vicinity of [the house of my] beloved. Variant: Fall not in disarray. Commentary Like the previous poem 2.136, this poem is also in almost complete logographic script.

Preface to the Poems 2.138–139

本文・Original Text 或本歌一首并短歌 Translation A [chōka] poem from a certain book with a tanka [envoy]. Commentary We do not know what this book is.

2.138

本文・Original Text (1) 石見之海 (2) 津乃浦乎無美 (3) 浦無跡 (4) 人社見良米 (5) 滷無跡 (6) 人社見良目 (7) 吉咲八師 (8) 浦者雖無 (9) 縦惠夜思 (10) 滷者雖無 (11) 勇魚取 (12) 海邊乎指而 (13) 柔田津乃 (14) 荒礒之上尓 (15) 蚊青生

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(16) 玉藻息都藻 (17) 明來者 (18) 浪己曽來依 (19) 夕去者 (20) 風己曽 來依 (21) 浪之共 (22) 彼依此依 (23) 玉藻成 (24) 靡吾宿之 (25) 敷妙之 (26) 妹之手本乎 (27) 露霜乃 (28) 置而之來者 (29) 此道之 (30) 八十隈毎 (31) 萬段 (32) 顧雖爲 (33) 弥遠尓 (34) 里放來奴 (35) 益高尓 (36) 山毛超 來奴 (37) 早敷屋師 (38) 吾嬬乃兒我 (39) 夏草乃 (40) 思志萎而 (41) 將 嘆 (42) 角里將見 (43) 靡此山 仮名の書き下し・Kana Transliteration (1) いはみ₁の₂うみ₁ (2) つの₂うらをなみ₁ (3) うらなしと₂ (4) ひ₁と₂こ₂そ₂み₁ら め₂ (5) かたなしと₂ (6) ひ₁と₂こ₂そ₂み₁らめ₂ (7) よ₂しゑやし (8) うらはなくと₂ も₂ (9) よ₂しゑやし (10) かたはなくと₂も₂ (11) いさなと₂る (12) うみ₁へ₁をさし て (13) にき₁たづの₂ (14) ありそ₁の₂うへ₂に (15) かあをくおふる (16) たまも おき₁つも (17) あけ₂くれば (18) なみ₁こ₂そ₂き₁よ₂れ (19) ゆふされば (20) か ぜこ₂そ₂き₁よ₂れ (21) なみ₁の₂むた (22) かよ₂りかくよ₂る (23) たまもなす (24) なび₁き₁わがねし (25) しき₁たへ₂の₂ (26) いも₁がたも₂と₂を (27) つゆし も₁の₂ (28) おき₁てしくれば (29) こ₂の₂み₁ちの₂ (30) やそ₁くまご₂と₂に (31) よろ₂づたび₁ (32) かへ₁りみ₁すれど₂ (33) いやと₂ほに (34) さと₁さかりき₁ぬ (35) いやたかに (36) やまも₁こ₁え₂き₁ぬ (37) はしき₁やし (38) わがつまの₂ こ₁が (39) なつくさの₂ (40) おも₂ひ₁しなえ₂て (41) なげ₂くらむ (42) つの₁の₂ さと₁み₁む (43) なび₁け₁こ₂の₂やま Romanization (1) Ipamî-NÖ UMÎ (2) TU n-ö URA-wo NA-mî (3) URA NA-SI tö (4) PÎTÖ kösö MÎ-ram-ë (5) KATA NA-SI tö (6) PÎTÖ kösö MÎ-ram-ë (7) YÖ-SI we ya si (8) URA pa NA-KU TÖMÖ (9) yö-si we ya si (10) KATA pa NA-KU TÖMÖ (11) isaNA TÖR-U (12) UMÎ PÊ-wo SAS-I-TE (13) Nikîtandu-nö (14) AR-ISÔ-NÖ UPË-ni (15) ka-AWO-KU OP-URU (16) TAMA MO okî-tu MO (17) AKË-K-URE-mba (18) NAMÎ kösö K-Î-YÖR-E (19) YUPU SAR-E-mba (20) KAnZE kösö K-Î-YÖR-E (21) NAMÎ-NÖ MUTA (22) KA YÖR-I KA-KU YÖR-U (23) TAMA MO-nasu (24) NAmBÎK-Î WA-ŋGA NE-si (25) SIK-Î TAPË-NÖ (26) IMÔ-ŋGA TAMÖTÖ-wo (27) TUYU SIMÔ-nö (28) OK-Î-TE si K-URE-mba (29) KÖNÖ MÎTI-NÖ (30) YASÔ KUMA-ŋGÖTÖ-NI (31) YÖRÖnDU TAmBÎ (32) KAPÊRIMÎ S-URE-nDÖ (33) iya TÖPO n-i (34) SATÔ pa SAKAR-I-n-u (35) IYA TAKA n-i (36) YAMA mô KÔYE-k-î-n-u (37) pasi-kî ya si (38) WA-ŋGA TUMA n-ö KÔ-ŋga (39) NATU KUSA-nö (40) OMÖP-Î-siNAYE-te (41) NA ŋGËK-URAM-U (42) Tunô-NÖ SATÔ MÎ-M-U (43) NAmBÎK-Ê KÖNÖ YAMA

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Glossing with Morphemic Analysis (1) Ipamî-GEN sea (2) harbor DV-ATTR bay-ABS not.exist-GER (3) bay not.existFIN DV (4) person FP look-TENT2-EV (5) seashore not.exist-FIN DV (6) person FP look-TENT2-EV (7) be.good-FIN INTER EP EP (8) bay TOP not.exist-CONV CONJ (9) be.good-FIN INTER EP EP (10) seashore TOP not.exist-CONV CONJ (11) whale catch-ATTR (12) sea side-ACC point-CONV-SUB (13) Nikîtandu-GEN (14) rough-rock-GEN top-LOC (15) PREF-be.green-CONV grow-ATTR (16) pearl seaweed offing-GEN/LOC seaweed (17) dawn(CONV)-come-EV-CON (18) wave FP come-CONV-approach-EV (19) evening go.away-EV-CON (20) wind FP approach-TENT-EV (21) wave-GEN together (22) thus approach-CONV be.thusCONV approach-FIN (23) pearl seaweed-COMP (24) recline-CONV I-POSS sleep(CONV)-PAST.ATTR (25) spread-CONV mulberry.tree.bark.cloth-GEN (26) beloved-POSS sleeve-ACC (27) dew frost-GEN (28) cover-CONV-SUB EP comeEV-CON (29) this road-GEN (30) many bend-every-look.back(NML) do-EVCONC (31) many time (32) look.back(NML) do-EV-CONC (33) more.and.more far DV-CONV (34) home.place TOP be.separated-CONV-PERF-FIN (35) more. and.more high DV-CONV (36) mountain FP cross(CONV)-come-CONV-PERFFIN (37) be.lovely-ATTR EP EP (38) I-POSS spouse DV-ATTR girl-POSS (39) summer grass-COMP (40) love-CONV-wither(CONV)-SUB (41) lament-TENT2-ATTR (42) Tunô-GEN home.place see-TENT-FIN (43) recline-IMP this mountain Translation (2) Because there is no harbor bay (1) on the sea of Ipamî (4) people probably view [it] (3) as having no bay. (6) People probably view [it] (5) as having no seashore. (8) Even if there is no bay, (7) it is all right. (10) Even if there is no seashore, (9) it is all right. (16) Seaweed in the offing, pearl[-like] seaweed (15) are really green and growing (14) at the rough rocks (13) in Nikîtandu (12) facing the sea side (11) where [they] catch whales. (17) When the dawn comes, (18) the waves approach. (19) When the evening goes away (20) the wind comes. (21) Together with the waves (22) [the seaweed] come here and there. (27) When dew [and] frost (28) fall and cover (26) the sleeves of [my] beloved (25) [made] from the spread mulberry tree bark cloth (24) on which I slept, reclining (23) like pearly seaweed. (32) Although [I] look back (31) many times (30) at each of the multiple bends (29) of this road, (33/34) [alas, I] have got further and further away from [my] home. (35/36) [I] have crossed higher and higher mountains. (43) Oh, these mountains, please step aside! (42) [I] want to see [my] home in Tunô, (41) for which [I] lament, (40) withering from love (35) like summer grass (38) for the girl who is my spouse, (37) who is lovely and good.

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Commentary This poem seems to be a variant of 2.131, although there are some important discrepancies: 2.138 is four lines longer than 2.131, and there are also some lines that are different. In any case, it is mysteriously absent from Pierson’s translation of the Man’yōshū (1931). Line one is hypermetric ( ji amari, 字余り), but this is a graphic illusion, since Ipamî-nö umî ‘the sea of Ipamî’ was pronounced as [ipamînumî]. On Ipamî province see the commentary to the preface to the poems 2.131–133. On the usage of the character 社 as a kungana for kösö in lines four and six see the commentary to 2.131. On the origin of the disyllabic kungana character 縦 for /yösi/ in line nine see the commentary to 2.131. On WOJ isana, isa ‘whale’ and na ‘fish’ see the commentary to 2.131. On Nikîtandu see the commentary to 2.131. On Tunô see the commentary to the poem 2.131. On sik-î tapë-nö ‘of/like the spread mulberry tree bark cloth’ see the commentary to 5.509, and on tapë ‘cloth of the mulberry tree bark’ see the commentary to 15.3607 and 15.3587. WOJ pasi-kî ya si in line thirty-seven is probably a corruption of pasi-kî yö-si ‘be.lovely-ATTR be.good-FIN’.

Preface to the Poem 2.139

本文・Original Text 反歌一首 Translation An envoy. Commentary This envoy is to the chōka 2.138.

2.139

本文・Original Text (1) 石見之海 (2) 打歌山乃 (3) 木際従 (4) 吾振袖乎 (5) 妹將見香

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仮名の書き下し・Kana Transliteration (1) いはみ₁の₂うみ₁ (2) うつたの₂やまの₂ (3) こ₂の₂まよ₁り (4) わがふるそ₁で を (5) いも₁み₁つらむか Romanization (1) Ipamî-NÖ UMÎ (2) Ututa-NÖ YAMA-nö (3) KÖ-NÖ MA-YÔRI (4) WA-ŋGA PUR-U SÔnDE-wo (5) IMÔ MÎ-T-URAM-U ka Glossing with Morphemic Analysis (1) Ipamî-GEN sea (2) Ututa-GEN mountain-GEN (3) tree-GEN intervalABL (4) I-POSS wave-ATTR sleeve-ACC (5) beloved see(CONV)-PERF-TENT2ATTR IP Translation (5) Would [my] beloved see (4) the sleeves that I waved (3) from the space between trees (2) on Ututa mountain (1) at the sea of Ipamî? Commentary This poem is very close textually to 2.134 above. Line one is hypermetric ( ji amari, 字余り), but this is a graphic illusion, since Ipamî-nö umî ‘the sea of Ipamî’ was pronounced as [ipamînumî]. On Ipamî province see the commentary to the preface to the poems 2.131–133. Mt. Ututa must be somewhere in present-day Shimane prefecture, but its exact location is unknown (Nakanishi 1985: 429). It is mentioned only once in in this poem in the Man’yōshū. The ritual of waving one’s sleeves was meant to invite the soul of one’s beloved, whether alive or dead (Inaoka 1990: 59).

Postscript to the Poems 2.138–139

本文・Original Text 右歌體雖同句々相替因此重載 Translation Although [two] poems above are the same [as 2.131 and 2.134, they] have the lines transposed, therefore [I] place them here again.

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Commentary This commentary indicates that the poems 2.138 and 2.139 are textually very close to 2.131 and 2.134 respectively.

Preface to the Poem 2.140

本文・Original Text 柿本朝臣人麻呂妻依羅娘子與人麻呂相別歌一首 Translation A poem [composed by] Yösamî-nö wotömê, the wife of Kakînömötö-nö asömî Pîtömarö at the parting with Pîtömarö. Commentary Yösamî (依羅) may refer either to Yösamî clan or represent a placename (Inaoka 1985: 179).

2.140

本文・Original Text (1) 勿念跡 (2) 君者雖言 (3) 相時 (4) 何時跡知而加 (5) 吾不戀有牟 仮名の書き下し・Kana Transliteration (1) なおも₂ひ₁と₂ (2) き₁み₁はいふと₂も₂ (3) あはむと₂き₁ (4) いつと₂しりてか (5) あがこ₁ひ₂ざらむ Romanization (1) NA-OMÖP-Î tö (2) KÎMÎ pa IP-U TÖMÖ (3) AP-AM-U TÖKÎ (4) ITU tö SIR-I-TE ka (5) A-ŋGA KÔPÏ-nZ-AR-Am-u Glossing with Morphemic Analysis (1) NEG-worry-CONV DV (2) lord TOP say-FIN CONJ (3) meet-TENT-ATTR time (4) when DV know-CONV-SUB IP (5) I-POSS long.for-NEG-exist-TENT-ATTR Translation (2) Even if [my] lord says: (1) “Do not worry [about me]”, (5) would I not long for [you], (3/4) and do [we] know the time when [we] will meet [again]?

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Commentary This poem is almost completely in the logographic script. The traditional Japanese reading of line one is na-omöp-î-sö tö, making it hypermetric. However, -sö ‘do’ is not obligatory in the Old Japanese negative imperative form, which can have just na-omöp-î unlike Middle (Classical) Japanese (Vovin 2020.2: 512–515). Note also that -sö does not appear in the script.

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挽歌・Elegies

Preface to the Poems 2.141–146

本文・Original Text 後岡本宮御宇天皇代天豊財重日足姫天皇譲位後即後岡本宮 Translation The reign of the Empress who ruled later from the Wokamötö palace. Empress

Amë töyö takara ikasi pîmë after her abdication [ruled] later in the Wokamötö palace.

Commentary The Empress is Empress Saimei (Saimei tennō, 齊明天皇, r. 655–661 AD). For more details of her biography see the commentary to the preface of MYS 1.7. On the Wokamötö palace see the commentary to the poem 1.2.

Preface to the Poems 2.141–142

本文・Original Text 有間皇子自傷結松枝歌二首 Translation Two poems by Imperial Prince Arima, when he tied branches of a pine, lamenting his own [fate]. Commentary Imperial Prince Arima is a son of Emperor Kōtoku (Kōtoku tennō, 孝徳天皇, r. 645–654 AD). In the ninth lunar month of the third year of Empress Saimei (October 13–November 11, 657 AD) he went to Murô hot springs under the pretext of treating his illness. Upon his return Imperial Prince Arima praised the condition of the country, and reported that he was cured just by observing the land. Empress Saimei upon hearing this, in the tenth lunar month of the fourth year of Saimei (November 658 AD) went to Kï hot springs together with her son Imperial Prince Naka-nö Opoye (中大兄皇子, future Emperor Tenji) and others. Meanwhile, the person in charge of the government during her absence, Sôŋga-nö Akaye (蘇我赤兄) criticized the rule of Empress Saimei and instigated Imperial Prince Arima to a rebellion. The latter agreed and responded that it was the time to raise troops. On that night Sôŋga-nö Akaye sent a messenger to Kï hot springs and denounced Imperial Prince Arima’s rebellion. © Alexander Vovin, 2020 | doi:10.1163/9789004433335_004

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Imperial Prince Arima was soon arrested and sent to Kï hot springs. He was subsequently interrogated by Imperial Prince Naka-nö Opoye. Imperial Prince Arima was continuously responding with just one statement; “The Heaven and Akaye know, I do not know anything”. He was then strangled at Pundisirô slope (Pundisirôsaka, 藤白坂) (Nakanishi 1985: 198). Imperial Prince Arima is an author of just two poems in the Man’yōshū: 2.141 and 2.142. In the later tradition he is often considered as one of the vengeful spirits of the Man’yōshū.

2.141

本文・Original Text (1) 磐白乃 (2) 濱松之枝乎 (3) 引結 (4) 真幸有者 (5) 亦還見武 仮名の書き下し・Kana Transliteration (1) いはしろ₁の₂ (2) はままつがえ₂を (3) ひ₁き₁むすび₁ (4) まさき₁くあらば (5) またかへ₁りみ₁む Romanization (1) Ipasirô-nö (2) PAMA MATU-ŋGA YE-wo (3) PÎK-Î MUSUmB-Î (4) MA-SAKÎ-KU AR-Amba (5) MATA KAPÊR-I MÎ-m-u Glossing with Morphemic Analysis (1) Ipasirô-GEN (2) seashore pine-POSS branch-ACC (3) pull-CONV tie-CONV (4) INT-be.lucky-CONV exist-COND (5) again return-CONV look-TENT-FIN Translation (3) [I] pull and tie (2) branches of a pine on the seashore (1) of Ipasirô. (4) If [I] am indeed lucky, (5) [I] will come back again and look [at them]. Commentary Ipasirô (磐白), more frequently spelled as Ipasirö (岩代)1 is located in the Nanbu town (Nanbu chō, 南部町) of Hidaka county (Hidaka gun, 日高郡) in present-day Wakayama prefecture. Kï hot springs (present-day Sirahama onsen, 白浜温泉) are in twelve kilometers to the South-East of it (Nakanishi 1985: 425). On OJ matu ‘pine’ see the commentary to the poem 19.4169.

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2.142

本文・Original Text (1) 家有者 (2) 笥尓盛飯乎 (3) 草枕 (4) 旅尓之有者 (5) 椎之葉尓盛 仮名の書き下し・Kana Transliteration (1) いへ₁にあれば (2) け₂にもるいひ₁を (3) くさまくら (4) たび₁にしあれば (5) しひ₁の₂はにもる Romanization (1) IPÊ-NI AR-E-mba (2) KË-ni MOR-U IPÎ-wo (3) KUSA MAKURA (4) TAmBÎ-ni si AR-E-mba (5) SIPÎ-NÖ PA-ni MOR-U Glossing with Morphemic Analysis (1) home-LOC exist-EV-CON (2) container-LOC pile-ATTR dry.rice-ACC (3) grass headrest (4) journey-LOC EP exist-EV-CON (5) chinquapin-GEN leaf-LOC pile-FIN Translation (4) When [I] am on a journey (3) [where I use] grass as a headrest, (5) [I] put on chinquapin’s leaves (2) the dry rice that [I] put in a container (1) when [I] am at home. Commentary Line one looks hypermetric ( ji amari, 字余り), but this is a graphic illusion, since ipê-ni aremba ‘when [I] am at home’ was pronounced as [ipênaremba]. On OJ sipî ‘chinquapin’ see the commentary to the poem 14.3493. WOJ ipî ‘dry rice’ is a transparent nominalization of MJ ip- ‘to eat’ (no OJ attestations). It was predominantly used as an easy to preserve food during travel.

Preface to the Poems 2.143–144

本文・Original Text 長忌寸意吉麻呂見結松哀咽歌二首 Translation Two poems by Naŋga-nö imîkî Okîmarö composed when [he] saw in grief the tied branches of the pine.

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Commentary On Naŋga-nö imîkî Okîmarö see the commentary to the poem 1.57.

2.143

本文・Original Text (1) 磐代乃 (2) 崖之松枝 (3) 將結 (4) 人者反而 (5) 復將見鴨 仮名の書き下し・Kana Transliteration (1) いはしろ₂の₂ (2) き₂しの₂まつがえ₂ (3) むすび₁け₁む (4) ひ₁と₂はかへ₁り て (5) またみ₁け₁むかも₁ Romanization (1) Ipasirö-nö (2) KÏSI-NÖ MATU-ŋGA YE (3) MUSUmB-Î-KÊM-U (4) PÎTÖ pa KAPÊR-I-TE (5) MATA MÎ-KÊM-U kamô Glossing with Morphemic Analysis (1) Ipasirö-GEN (2) coast-GEN pine-POSS branch (3) tie-CONV-PAST/TENT-ATTR (4) person TOP return-CONV-SUB (5) again look-CONV-PAST/TENT-ATTR EP Translation (4/5) [I] wonder whether the person (3) who tied (2) branches of a pine at the coast (1) of Ipasirö (4) would return and (5) look [at them] again. Commentary On Ipasirö ~ Ipasirô see the commentary to the poem 2.141. On OJ matu ‘pine’ see the commentary to the poem 19.4169. The ‘person’ is, of course, Imperial Prince Arima.

2.144

本文・Original Text (1) 磐代之 (2) 野中尓立有 (3) 結松 (4) 情毛不解 (5) 古所念未詳 仮名の書き下し・Kana Transliteration (1) いはしろの₂ (2) の₁なかにたてる (3) むすび₁まつ (4) こ₂こ₂ろ₂も₁と₂け₂ ず (5) いにしへ₁おも₂ほゆ未詳

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Romanization (1) Ipasirö-NÖ (2) NÔ NAKA-ni TAT-ER-U (3) MUSUmB-Î MATU (4) KÖKÖRÖ mô TÖKË-nZ-U (5) INISIPÊ OMÖP-OY-U Glossing with Morphemic Analysis (1) Ipasirö-GEN (2) field middle-LOC stand-PROG-ATTR (3) tie-NML pine (4) heart FP untie-NEG-CONV (5) old.times think-PASS-FIN Translation (3) [Like] the pine [with] tied [branches] (1/2) standing in the middle of Ipasirö field, (4) [my] heart is bound, too, (5) [when I] am thinking of old times. Not yet clear.

Commentary On Ipasirö ~ Ipasirô see the commentary to the poem 2.141. On OJ matu ‘pine’ see the commentary to the poem 19.4169. The meaning of the commentary 未詳 ‘not yet clear’ written in small characters is difficult to explain. Since this poem is attributed to Kakînömötö-nö Pîtömarö in the Shūi wakashū (拾遺和歌集, ca. 1005–1007 AD), it probably indicates a doubt in the authorship of Naŋga-nö imîkî Okîmarö (Inaoka 1985: 194). But most likely this commentary was inserted by scribe in the late Heian period, especially that it does not appear in all manuscripts of the Man’yōshū.

Preface to the Poem 2.145

本文・Original Text 山上臣憶良追和歌一首 Translation A poem composed by Yamanöupë-nö Okura as a rejoinder. Commentary On Yamanöupë-nö Okura’s biography see the commentary to the preface of the poem 5.794.

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2.145

本文・Original Text (1) 鳥翔成 (2) 有我欲比管 (3) 見良目杼母 (4) 人社不知 (5) 松者知良武 仮名の書き下し・Kana Transliteration (1) つばさなす (2) ありがよ₁ひ₁つつ (3) み₁らめ₂ど₂も₂ (4) ひ₁と₂こ₂そ₂しら ね (5) まつはしるらむ Romanization (1) TUmBASA-nasu (2) ari-ŋgayôp-î-tutu (3) MÎ-ram-ë-ndömö (4) PÎTÖ kösö SIR-AN-E (5) MATU pa SIR-Uram-u Glossing with Morphemic Analysis (1) wing-COMP (2) ITER-go.back.and.forth-CONV-COOR (3) look-TENT2-EVCONC (4) person FP know-NEG-EV (5) pine TOP know-TENT2-FIN Translation (1/2/3) Although winged, [the soul of Imperial Prince Arima] was constantly traveling back and forth to look at the pine, (4) people do not know [that]. (5) But the pine would know. Commentary This poem by the grand maître not surprisingly includes quite a number of phonograms, like many of his other poems in different books of the Man’yōshū. On the usage of the character 社 as a kungana for kösö in line four see the commentary to 2.131. On OJ matu ‘pine’ see the commentary to the poem 19.4169. Note that I have sinned a little bit against the Old Japanese grammar in lines two and three in order to make the English translation smoother.

Postscript to the Poems 2.141–145

本文・Original Text 右件歌等雖不挽柩之時所作准擬歌意故以載于挽歌類焉

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Translation Although the poems above were not composed while pulling the coffin [ceremony, they] are comparable to elegies in their poetic meaning, therefore [I] placed [them] among elegies. Commentary Pulling coffin certainly refers to a burial ceremony.

Preface to the Poem 2.146

本文・Original Text 大寳元年辛丑幸于紀伊國時見結松歌一首柿本朝臣人麻呂歌集中出也 Translation A poem [composed upon] seeing the tied [branches of] a pine on the first day of the first year of Taihō during the imperial excursion to Kïyi province. [It] appears in the collection of poems by Kakînömötö-nö Pîtömarö.

Commentary First day (辛丑) of the first year of Taihō corresponds to February 13, 701 AD. On Kakînömötö-nö Pîtömarö see the commentary to the preface to the poems 17.3969–3972.

2.146

本文・Original Text (1) 後將見跡 (2) 君之結有 (3) 磐代乃 (4) 子松之宇礼乎 (5) 又將見香聞 仮名の書き下し・Kana Transliteration (1) の₂ちみ₁むと₂ (2) き₁み₁がむすべ₁る (3) いはしろ₂の₂ (4) こ₁まつがうれ を (5) またみ₁け₁むかも Romanization (1) NÖTI MÎ-M-U tö (2) KÎMÎ-ŋGA MUSUmB-ÊR-U (3) Ipasirö-nö (4) kô-MATUNÖ ure-wo (5) MATA MÎ-KÊM-U kamo

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Glossing with Morphemic Analysis (1) after see-TENT-FIN DV (2) lord-POSS tie-PROG-ATTR (3) Ipasirö-GEN (4) DIM-pine-GEN end-ACC (5) again see(CONV)-PAST/TENT-ATTR EP Translation (2/5) [I] wonder whether [my] lord could see again (4) the ends [of branches] of a small pine (3) in Ipasirö (2) that [he] has tied (1) saying that [he] would see [them] later. Commentary On Ipasirö ~ Ipasirô see the commentary to the poem 2.141. On OJ matu ‘pine’ see the commentary to the poem 19.4169.

Preface to the Poems 2.147–155

本文・Original Text 近江大津宮御宇天皇代天命開別天皇謚曰天智天皇 Translation The reign of the Emperor who ruled from Apumî Opotu palace. [This is] Emperor Amë Mîkötö Pîrakasu Wakë. [His] posthumous name is Emperor Tenji.

Commentary On Apumî Opotu palace (近江大津宮) and on the biography of Emperor Tenji (天智天皇) see the commentary to the preface to the poems 1.13–14.

Preface to the Poem 2.147

本文・Original Text 天皇聖躬不豫之時太后奉御歌一首 Translation A poem presented by the Empress when the Emperor was unwell. Commentary The Emperor is Emperor Tenji (Tenji tennō, 天智天皇). On his biography see the commentary to the preface to the poems 1.13–14.

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The Empress is Empress Yamatö-nö Opo Kisaki (倭大后), also known as Princess Yamatö (Yamatö Pîmê-nö Opokîmî, 倭姫王). Nothing is known about her biography, except that she was a daughter of the Imperial Prince Opoye (大 兄), and was appointed as the Second Empress (二位后) in the seventh year of Tenji (668 AD). Empress Yamatö-nö Opo Kisaki is the author of four poems in the Man’yōshū: 2.147, 2.148, 2.149 and 2.153.

2.147

本文・Original Text (1) 天原 (2) 振放見者 (3) 大王乃 (4) 御壽者長久 (5) 天足有 仮名の書き下し・Kana Transliteration (1) あまの₂はら (2) ふりさけ₂み₁れば (3) おほき₁み₁の₂ (4) み₁いの₂ちはな がく (5) あまたらしたり Romanization (1) AMA-NÖ PARA (2) purisakë-MÎ-RE-mba (3) OPO KÎMÎ-nö (4) MÎ-INÖTI pa NA ŋGA-ku (5) AMA-TAR-AS-I-TAR-I Glossing with Morphemic Analysis (1) heaven-GEN plain (2) look.up-look-EV-CON (3) great lord-GEN (4) HON-life TOP be.long-CONV (5) heaven-fill-HON-CONV-PERF/PROG-FIN Translation (2) When [I] look up (1) [at] the Heaven’s plain (3/4) [I see that my] Great Lord’s life is long, and (5) is filling the Heaven. Commentary Line four looks hypermetric ( ji amari, 字余り), but this is a graphic illusion, since mî-inöti ‘HON-life’ was pronounced as [mînöti]. Incidentally, this demonstrates that OJ inöti ‘life’ was [inöti], and not *[yinöti] with an initial y- that would block the contraction mî < mî-i. On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to the poem 5.794.

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Preface to the Poem 2.148

本文・Original Text 一書曰近江天皇聖體不豫御病急時太后奉獻御歌一首 Translation A certain book says: “A poem presented by the Empress when the Emperor was unwell and then suddenly became ill”. Commentary The Emperor is Emperor Tenji (Tenji tennō, 天智天皇). On his biography see the commentary to the preface to the poems 1.13–14. The Empress is Empress Yamatö-nö Opo Kisaki (倭大后). On her biography see the preface to the poem 2.147.

2.148

本文・Original Text (1) 青旗乃 (2) 木旗能上乎 (3) 賀欲布跡羽 (4) 目尓者雖視 (5) 直尓不相 香裳 仮名の書き下し・Kana Transliteration (1) あをはたの₂ (2) こ₂はたの₂うへ₂を (3) かよ₁ふと₂は (4) め₂にはみ₁れど₂ も₂ (5) ただにあはぬかも Romanization (1) AWO PATA-nö (2) KÖ-PATA-nö UPË-wo (3) kayôp-u tö pa (4) MË-ni pa MÎ-RE-nDÖMÖ (5) TAnDA n-i AP-AN-U kamo Glossing with Morphemic Analysis (1) green flag-COMP (2) tree-flag-GEN top-ACC (3) go.back.and.forth-FIN DV TOP (4) eye-LOC TOP see-EV-CONC (5) direct DV-INF meet-NEG-ATTR EP Translation (4) Although [I] see with [my own] eyes (3) that [you] are going back and forth (2) over the trees (1) that are like green flags, (5) [I] wonder whether [we can] meet directly.

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Commentary It is not quite clear what awo pata ‘green flags’ are. Sengaku believed that these are dark funeral flags, but his proposal makes no sense, because Emperor Tenji was not yet dead, as it becomes clear from the preface above. Kamo-no Mabuchi, on the other hand, was inclined to view them as white funerary flags, which makes even less sense, because in Japan, unlike China, white was never a color of morning, and because our text clearly says 青 ‘blue, green, dark’. Both Keichū and Omodaka suggested that awo pata ‘green flags’ are nothing but a metaphor for green trees (Omodaka 1977.2: 199). OJ kö-pata (木旗) is traditionally treated as a place name located to the north of Uji city (Uji-shi, 宇治市) in present-day Kyōto prefecture (Omodaka 1977.2: 199; Inaoka 1985: 207–208), but there is no backing evidence for this proposal. Therefore, I prefer the literal translation of kö-pata (木旗) as ‘tree flags’.

Preface to the Poem 2.149

本文・Original Text 天皇崩後之時倭太后御作歌一首 Translation A poem composed by the Empress when the Emperor passed away. Commentary The Emperor is Emperor Tenji (Tenji tennō, 天智天皇). On his biography see the commentary to the preface to the poems 1.13–14. The Empress is Empress Yamatö-nö Opo Kisaki (倭大后). On her biography see the preface to the poem 2.147. Emperor Tenji (Tenji tennō, 天智天皇) passed away on January 7, 672 AD, which is the non ante quem date for the composition of this poem.

2.149

本文・Original Text (1) 人者縦 (2) 念息登母 (3) 玉蘰 (4) 影尓所見乍 (5) 不所忘鴨 仮名の書き下し・Kana Transliteration (1) ひ₁と₂はよ₂し (2) おも₂ひ₁やむと₂も₂ (3) たまかづら (4) かげ₂にみ₁え₂つ つ (5) わすらえ₂ぬかも

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Romanization (1) PÎTÖ pa yö-si (2) OMÖP-Î-YAM-U tömö (3) TAMA KAnDURA (4) KA ŋGË-ni MÎ-YE-TUTU (5) WASUR-AYE-N-U kamo Glossing with Morphemic Analysis (1) person TOP be.good-FIN (2) think-CONV-stop-FIN CONJ (3) pearl vine (4) shadow-LOC see-PASS-COOR (5) forget-PASS-NEG-ATTR EP Translation (1/2) Even if people think that [it] is fine, (5) [I] will not be able to forget [you], (4) seeing [you] all the time in the shadow (3) [of] pearl[-like] vine! Commentary On the origin of the disyllabic kungana character 縦 for /yösi/ in line one see the commentary to 2.131. On OJ kandura ‘vine’ see the commentary to 14.3507. Vine is a metaphor referring to a love relationship.

Preface to the Poem 2.150

本文・Original Text 天皇崩時婦人作歌一首姓氏未詳 Translation A poem composed by a [court] lady when the Emperor passed away. [Her] family

name and clan are not known.

Commentary The Emperor is Emperor Tenji (Tenji tennō, 天智天皇). On his biography see the commentary to the preface to the poems 1.13–14. Emperor Tenji (Tenji tennō, 天智天皇) passed away on January 7, 672 AD, which is the non ante quem date for the composition of this poem.

2.150

本文・Original Text (1) 空蝉師 (2) 神尓不勝者 (3) 離居而 (4) 朝嘆君 (5) 放居而 (6) 吾戀君 (7) 玉有者 (8) 手尓巻持而 (9) 衣有者 (10) 脱時毛無 (11) 吾戀 (12) 君曽 伎賊乃夜 (13) 夢所見鶴 - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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仮名の書き下し・Kana Transliteration (1) うつせみ₁し (2) かみ₂にあへ₂ねば (3) はなれゐて (4) あさなげ₂くき₁み₁ (5) さかりゐて (6) あがこ₁ふるき₁み₁ (7) たまならば (8) てにまき₁も₂ちて (9) き₁ぬならば (10) ぬくと₂き₁も₁なく (11) あがこ₁ふる (12) き₁み₁そ₂き₁ぞ₂の₂ よ₁ (13) いめ₂にみ₁え₂つる Romanization (1) UTU SEMÎ si (2) KAMÏ-ni APË-N-E-mba (3) PANARE-WI-TE (4) ASA NA ŋGËK-U KÎMÎ (5) SAKAR-I-WI-TE (6) A-ŋGA KÔP-URU KÎMÎ (7) TAMA NAR-Amba (8) TE-ni MAK-Î-MÖT-I-TE (9) KÎNU NAR-Amba (10) NUK-U TÖKÎ mô NA-KU (11) A-ŋGA KÔP-URU (12) KÎMÎ sö kîsö-nö YÔ (13) YIMË-NI MÎ-YE-t-uru Glossing with Morphemic Analysis (1) ephemeral cicada EP (2) deity-DAT win-NEG-EV-CON (3) be.separated(CONV)-exist(CONV)-SUB (4) morning lament-ATTR lord (5) be.apartCONV-exist(CONV)-SUB (6) I-POSS long.for-ATTR lord (7) pearl be-COND (8) hand-LOC wrap-CONV-hold-CONV-SUB (9) garment be-COND (10) take.offATTR time not.exist-CONV (11) I-POSS long.for-ATTR (12) lord FP last.night-GEN night (13) dream-LOC see-PASS-PERF-ATTR Translation (1/2) Because an ephemeral cicada is not equal to a deity, (3) [we] are separated, and (4) [my] lord [for whom I] lament in the morning (5) is away [from me]. (6/7) If [my] lord for [whom] I long, were a pearl, (8) [I] would wrap [him] around [my] arm, (9) if [he] were a garment, (10) [I] would never take [it] off. (12) Last night [my] lord (11) for [whom] I long (13) appeared in [my] dream. Commentary On OJ utu semî ‘ephemeral cicada’ see the commentary to 15.3617 and 14.3456. The lord referred to in this poem is, of course, Emperor Tenji (Tenji tennō, 天智天皇). On his biography see the commentary to the preface to the poems 1.13–14. Emperor Tenji (Tenji tennō, 天智天皇) passed away on January 7, 672 AD, which is the non ante quem date for the composition of this poem. On the initial y- in OJ yimë ‘dream’ (cf. MJ yume ‘id.’ with i-breaking) see Vovin (2020.1: 52–54).

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Preface to the Poems 2.151–152

本文・Original Text 天皇大殯之時歌二首 Translation Two poems [composed] when the Emperor[’s body] was placed into a temporary coffin. Commentary The Emperor is Emperor Tenji (Tenji tennō, 天智天皇). On his biography see the commentary to the preface to the poems 1.13–14. Emperor Tenji (Tenji tennō, 天智天皇) passed away on January 7, 672 AD, which is the non ante quem date for the composition of this poem.

2.151

本文・Original Text (1) 如是有乃 (2) 懐知勢婆 (3) 大御船 (4) 泊之登萬里人 (5) 標結麻思乎 額田王

仮名の書き下し・Kana Transliteration (1) かからむの₂ (2) おも₂ひ₁しりせば (3) おほみ₁ふね (4) はてしと₂まりに (5) しめ₂ゆはましを額田王 Romanization (1) KA-K-AR-AM-U-nö (2) OMÖP-Î SIR-I-s-emba (3) OPO MÎ-PUNE (4) PATE-SI tömari-ni (5) SIMË YUP-Amasi-wo Nukata Opo kîmî Glossing with Morphemic Analysis (1) be.thus-CONV-exist-TENT-ATTR-COMP (2) think-NML know-CONV-PAST. ATTR-COND (3) great HON-boat (4) anchor(CONV)-PAST.ATTR stopping.placeLOC (5) sign tie-SUBJ-ACC Princess Nukata. Translation (2) If [I] would think and know (1) that [it] would be like that, (5) [I] would tie a [prohibitive] sign (3/4) at the stopping place where [my Emperor’s] great boat anchored, (5) but … Princess Nukata.

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Commentary There are two script problems in this poem that are connected directly to the reading and interpretation of the text. The last character 乃 /nö/ on line one was glossed by kana と /tö/ in all early manuscripts, but this is impossible because 乃 does not have such a reading. Keichū certainly realized this problem so he “corrected” 乃 /nö/ to 刀 /tô/ in order to represent the defective verb tö ‘to say’ introducing a quotation. But Keichū in the seventeenth century could not possibly know about the kō-otsu distinctions that existed 1,000 years earlier in Old Japanese. All the examples for an earlier merger of tô and tö frequently cited in the literature are in fact illusory. This merger at the earliest could not have happen before the very late eighth century, thus I strictly follow the man’yōgana script here. Even more interesting is the first character 懐 kökörö ‘heart’, or omöp-î ‘thought’ on line two. It appears as such in all the earliest manuscripts where this poem is attested: the Kanazawa-bon, the Ruijū koshū, and the Nishi honganji-bon. All later manuscripts have 豫 kanete ‘in advance’ instead. However, an adverb would be ungrammatical in this morphosyntactic context, therefore I follow the oldest tradition. On WOJ simë ‘sign’ see the commentary to the poem 18.4096. On Princess Nukata (額田王) and her biography see the commentary to the preface to the poem 1.7.

2.152

本文・Original Text (1) 八隅知之 (2) 吾期大王乃 (3) 大御船 (4) 待可將戀 (5) 四賀乃辛埼舎 人吉年

仮名の書き下し・Kana Transliteration (1) やすみ₁ちし (2) わご₂おほき₁み₁の₂ (3) おほみ₁ふね (4) まちかこ₁ふら む (5) しがの₂からさき₁舎人吉年 Romanization (1) yasu mît-i-si (2) WA-ŋgö OPO KÎMÎ-nö (3) OPO MÎ-PUNE (4) MAT-I ka KÔP-URAM-U (5) Siŋga-nö Kara SAKÎ. Töneri-nö Yösitösi. Glossing with Morphemic Analysis (1) peace be.filled-INF-PAST.ATTR (2) we-POSS Great Lord-GEN (3) greatHON-boat (4) wait-CONV IP long.for-TENT2-ATTR (5) Siŋga-GEN Korea cape. Töneri-GEN Yösitösi.

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Translation (4/5) Will the Korean cape in Siŋga long for waiting (3) the great boat (2) of our Great Lord (1) who was filled with peace? Töneri-nö Yösitösi. Commentary On 八隅知之 yasu mît-i-si ‘was filled with peace/ease’ see the commentary to the poem 1.3. On WOJ possessive case marker -ŋgö (期) instead of -ŋga in wa-ŋgö opo kîmî ‘our Great Lord’ see the commentary to 18.4063 and 20.4360. On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. On Siŋga ‘Siŋga area’, Kara ‘Korea’, and Kara sakî ‘Korean cape’ see the commentary to the poem 1.30. Nothing is known about the biography of Töneri-nö Yösitösi, and it is not even clear whether Töneri is a ‘retainer’ or a name of the clan. The second solution is more likely (Omodaka 1977.2: 216).

Preface to the Poem 2.153

本文・Original Text 太后御歌一首 Translation A poem [composed] by the Empress. Commentary The Empress is Empress Yamatö-nö Opo Kisaki (倭大后). On her biography see the preface to the poem 2.147.

2.153

本文・Original Text (1) 鯨魚取 (2) 淡海乃海乎 (3) 奥放而 (4) 榜來船 (5) 邊附而 (6) 榜來船 (7) 奥津加伊 (8) 痛勿波祢曽 (9) 邊津加伊 (10) 痛莫波祢曽 (11) 若草乃 (12) 嬬之 (13) 念鳥立

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仮名の書き下し・Kana Transliteration (1) いさなと₂る (2) あふみ₁の₂うみ₁を (3) おき₁さけ₂て (4) こ₂ぎ₁くるふね (5) へ₁につき₁て (6) こ₂ぎ₁くるふね (7) おき₁つかい (8) いたくなはねそ₂ (9) へ₁つかい (10) いたくなはねそ₂ (11) わかくさの₂ (12) つまの₂ (13) おも₂ ふと₂りたつ Romanization (1) ISANA TÖR-U (2) Apumî-nö UMÎ-wo (3) OKÎ SAKË-TE (4) KÖ ŋG-Î-K-URU PUNE (5) PÊ-NI TUK-Î-TE (6) KÖ ŋG-Î-K-URU PUNE (7) OKÎ-tu kayi (8) ITA-KU NA-pane-sö (9) PÊ-tu kayi (10) ITA-KU NA-pane-sö (11) WAKA KUSA-nö (12) TUMA-NÖ (13) OMÖP-U TÖRI TAT-U Glossing with Morphemic Analysis (1) whale catch-ATTR (2) Apumî-GEN sea-ACC (3) offing leave(CONV)-SUB (4) row-CONV-come-ATTR boat (5) shore-LOC reach-CONV-SUB (6) row-CONVcome-ATTR boat (7) offing-GEN/LOC oar (8) be.strong-CONV NEG-hit-do (9) shore-GEN/LOC oar (10) be.strong-CONV NEG-hit-do (11) young grassCOMP (12) spouse-GEN (13) love-ATTR bird depart-FIN Translation (4) Boats that come rowing (3) leaving [to] the offing (2) on the sea of Apumî (1) where [they] catch whales, and (6) boats that come rowing (5) reaching the shore, (7/8) do not hit [your] oars strongly [going] to the offing, (9/10) do not hit [your] oars strongly [going] to the shore, (11/12/13) [as] birds that [my] young grass-like spouse loves will fly away. Commentary On WOJ isana, isa ‘whale’ and na ‘fish’ see the commentary to 2.131. On Apumî province see the commentary to the postscript to the poem 1.7. Catching whales in the sea of Apumî (present-day lake Biwa) is a hyperbola, because the sea of Apumî is a fresh water lake. And whales do not live in fresh water. Line nine is hypometric ( ji tarazu, 字足らず). Line twelve is hypometric ( ji tarazu, 字足らず).

Preface to the Poem 2.154

本文・Original Text 石川夫人歌一首

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Translation A poem [composed] by Lady Isikapa. Commentary Lady Isikapa (石川夫人) is from the Isikapa branch of Sôŋga clan (蘇我氏). She is probably the same person as Oti-nö Iratumê (遠智娘), the fourth consort of Emperor Tenji and the daughter of Sôŋga-nö Yamanda Isikapa Marö (蘇我山田 石川麿). Other hypotheses prefer her younger sister Mêi-nö Iratumê (姪娘), or Oponu-nö Iratumê (大蕤娘), a daughter of Sôŋga-nö Akaye (Nakanishi 1985: 200), who passed away on August 6, 724 AD. Both were consorts of Emperor Tenji. There is as well a seemingly endless list of other candidates (Inaoka 1985: 223–224). There is just this one poem by her (whoever she exactly is) in the Man’yōshū.

2.154

本文・Original Text (1) 神樂浪乃 (2) 大山守者 (3) 爲誰可 (4) 山尓標結 (5) 君毛不有國 仮名の書き下し・Kana Transliteration (1) ささなみ₁の₂ (2) おほやまも₁りは (3) たがため₂か (4) やまにしめ₂ゆふ (5) き₁み₁も₁あらなくに Romanization (1) Sasanamî-nö (2) OPO YAMA MÔRI pa (3) TA-ŋGA TAMË ka (4) YAMA-ni SIMË YUP-U (5) KÎMÎ mô AR-AN-Aku n-i Glossing with Morphemic Analysis (1) Sasanamî-GEN (2) Great Mountain guard TOP (3) who-POSS for IP (4) mountain-LOC sign tie-ATTR (5) lord FP exist-NEG-NML DV-CONV Translation (3) For whom (2) the guard of the Great Mountain (1) in Sasanamî will tie a [prohibitive] sign, (5) when [my] lord is no more? Commentary On Sasanamî in Apumî province and its Korean connection see the commentary to the poem 1.29a. The usage of the character 神 ‘deity’ as sasa is difficult to explain.

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The Great Mountain indicates a mountain located at the Imperial Court (Inaoka 1985: 223). On WOJ simë ‘sign’ see the commentary to the poem 18.4096. It prohibited the entry to a certain territory.

Preface to the Poem 2.155

本文・Original Text 従山科御陵退散之時額田王作歌一首 Translation A poem Princess Nukata composed when [everyone] retreated from the mausoleum in Yamasina. Commentary Yamasina (山科) area included Yamasina district in present-day Kyōto city as well as an area to the north of Kohata (木幡) in Uji city (Uji shi, 宇治市) (Nakanishi 1985: 493). The mausoleum refers to Emperor Tenji’s mausoleum. On Princess Nukata (額田王) and her biography see the commentary to the preface to the poem 1.7.

2.155

本文・Original Text (1) 八隅知之 (2) 和期大王之 (3) 恐也 (4) 御陵奉仕流 (5) 山科乃 (6) 鏡 山尓 (7) 夜者毛 (8) 夜之盡 (9) 晝者母 (10) 日之盡 (11) 哭耳呼 (12) 泣乍 在而哉 (13) 百磯城乃 (14) 大宮人者 (15) 去別南 仮名の書き下し・Kana Transliteration (1) やすみ₁ちし (2) わご₂おほき₁み₁の₂ (3) かしこ₁き₁や (4) み₁はかつかふ る (5) やましなの₂ (6) かがみ₁の₂やまに (7) よ₁るはも₁ (8) よ₁の₂こ₂と₂ご₂と₂ (9) ひ₁るはも₂ (10) ひ₁の₂こ₂と₂ご₂と₂ (11) ねの₂み₂を (12) なき₁つつありてや (13) も₁も₁しき₂の₂ (14) おほみ₁やひ₁と₂は (15) ゆき₁わかれなむ Romanization (1) yasu mît-i-si (2) wa-ŋgö OPO KÎMÎ-NÖ (3) KASIKÔ-KÎ YA (4) MÎ-PAKA TUKAP-Uru (5) Yamasina-nö (6) KA ŋGAMÎ-NÖ YAMA-ni (7) YÔRU pa

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mô (8) YÔ-NÖ KÖTÖ-ŋGÖTÖ (9) PÎRU pa mö (10) PÎ-NÖ KÖTÖ-ŋGÖTÖ (11) NE-NÖMÏ-wo (12) NAK-Î-TUTU AR-I-TE YA (13) MÔMÔ [I]SI KÏ-nö (14) OPO MÎYA PÎTÖ pa (15) YUK-Î-WAKARE-n-am-u Glossing with Morphemic Analysis (1) peace be.filled-INF-PAST.ATTR (2) we-POSS Great Lord-GEN (3) be.awesome EP (4) HON-grave serve-ATTR (5) Yamasina-GEN (6) Kaŋgamî-GEN mountainLOC (7) night.time TOP EP (8) night-GEN matter-matter (9) day.time TOP EP (10) day-GEN matter-matter (11) sound-RP-ACC (12) cry-CONV-COOR existCONC-SUB EP (13) hundred stone fortress-COMP (14) Great Palace person TOP (15) go-CONV-separate(CONV)-PERF-TENT-FIN Translation (2) Our Great Lord (1) who was filled with peace (3) is awesome! (6) At Kaŋgamî mountain (5) in Yamasina (4) where [they] built his grave (7) at the night time (8) through the night, [and] (9) at the day time (10) through the day, (14) the courtiers from the Great Palace (13) [built] like a fortress from hundreds of stones (11/12) [could] only cry loudly, and (15) [now] leave [the grave forever]. Commentary On 八隅知之 yasu mît-i-si ‘was filled with peace/ease’ see the commentary to the poem 1.3. On WOJ possessive case marker -ŋgö (期) instead of -ŋga in wa-ŋgö opo kîmî ‘our Great Lord’ see the commentary to 18.4063 and 20.4360. On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. On Yamasina see the commentary to the preface to the poem 2.155. Kaŋgamî mountain is Misasagi Sawayama in present-day Yamasina district of Kyōto city. The mausoleum of Emperor Tenji is at the mountain on the northern side of it (Nakanishi 1985: 433). Line eleven is hypometric ( ji tarazu, 字足らず). Interpretation of sikï in mômô sikï as [i]si kï ‘stone fortress’ is no more than a working (and not a very reliable) hypothesis, because both palaces and fortresses in Ancient Japan were built mostly from wood. But the explanation of sikï as ‘spread’, a derivation from the verb sik- ‘to spread’, which I adopted elsewhere in different contexts, seems to be also out of place here, and is further aggravated by a phonetic difficulty, since we would expect sik-î with a kō-type î, and not the otsu-type ï. Certainly, it also can be a case similar to asi pîkï-nö ‘with pulled out feet’. The Japanese tradition declares both to be permanent

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epithets (makura-kotoba, 枕詞), but the lack of explanation with a detailed analysis is not an explanation.

Preface to the Poems 2.156–162

本文・Original Text 明日香清御原宮御宇天皇代天渟中原瀛真人天皇謚曰天武天皇 Translation The reign of the Emperor who ruled from Asuka Kîyômîpara palace. This is

Emperor Ama-nö Nu-na Para Okî-nö Ma-pîtö. [His] posthumous name is Emperor Tenmu.

Commentary Emperor Tenmu ruled in 673–686 AD.

Preface to the Poems 2.156–158

本文・Original Text 十市皇女薨時高市皇子尊御作歌三首 Translation Three poems composed by Imperial Prince Takëti when Imperial Princess Töwoti passed away. Commentary On Imperial Princess Töwoti (十市皇女) and her biography see the commentary to the poem 1.22. On Imperial Prince Takëti (高市皇子) and his biography see the commentary to the poem 2.114.

2.156

本文・Original Text (1) 三諸之 (2) 神之神須疑 (3) 已具耳矣自得 (4) 見監乍共 (5) 不寝 夜叙多

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仮名の書き下し・Kana Transliteration (1) み₁も₂ろ₂の₂ (2) かみ₂の₂かむすぎ₂ (3) 已具耳矣自得 (4) 見監乍共 (5) いねぬよ₁ぞ₂おほき₁ Romanization (1) mî-môrô-NÖ (2) KAMÏ-NÖ KAMU-suŋgï (3) i kuni-ɣuy SUSU-rwo (4) MÎkêm-i-TUTU TÖMÖ (5) YI NE-N-U YÔ nzö OPO-KÎ Glossing with Morphemic Analysis (1) three-mountain-GEN (2) deity-GEN sacred criptomeria (3) this land-LOC self-INSTR (4) look-PAST.TENT-CONV-COOR CONJ (5) sleep sleep-NEG-ATTR night FP be.many-ATTR Translation (3/4) Even if [I] would have looked myself in this land (2) at the deity’s sacred cryptomerias (1) at Three Mountains, (5) the nights when [I] do not sleep are many. Commentary The text corresponding to lines three and four is traditionally known as difficult to read and interpret. Every commentator has essentially his/her own hypothesis, which are all united by an ad hoc assumption that there are plenty of scribal mistakes that corrupted the text. However, once we leave the Japanocentric view of Ancient Japan behind and assume that we deal here with an Old Japanese–Old Korean macaronic poem, which we have full right to assume, since we have already seen the precedent in the poem 1.9, then the reading becomes easy and all the pieces of the puzzle fall into their places. The very first signal that should have alerted anyone to the possibility of having Korean elements in this poem is right on the line one: WOJ môrô2 ‘mountain’ is transparent loan of an Old Korean word, which is known to us only in its Middle Korean form: mwòrwó ‘mountain’ (YP 4.21b). When we find ourselves at the beginning of line three, the very first character 已 /i/ cannot be anything but the Korean demonstrative pronoun i ‘this’. The next two characters 具耳 have the ongana value ŋguni. One of the most important phonotactic rules throughout the history of the Korean language 2  Although WOJ mörö ‘all’ has otsu-type vowel /ö/, the character 諸 here can only stand for môrô, because in 2.94 we have murô ‘mountain’, with a raising ô > u. Also, as we have already seen on more than one occasion, kungana is notoriously imprecise.

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has been the automatic voicing of stops in an intervocalic position, thus, e.g. -k- > -g-.3 But since there are no plain voiced stops in Western Old Japanese, they were rendered as prenasalized voiced stops, thus in our case here -g- > -ŋg-. Consequently, 具耳 ŋguni represents the Japanese word kuni ‘land, province’. The fourth character 矣 is frequently used in Old Korean for the locative (or genitive) -ɣuy (cf. MK -uy). The fifth and sixth characters 自得 can be compared with MK sùsúrwó ‘self’ (cf. OK 自矣 SUSU-ɣuy ‘self-GEN’ ‘[my] own’ in 自矣心米 SUSU-ɣuy MOZOm-ay ‘in [my] own heart’ (Hyangka 14.1)). In this case 自 should render logographically SUSU ‘self’, and 得 phonographically the instrumental case marker -rwó. The Sino-Korean reading of the character 得 is tuk, but no final consonants are possible in Old Japanese. Furthermore, given the historical process of -t- > -r- lenition in Korean, such a usage appears to be quite possible. The final four characters 見監乍共 are even easier to decipher. The first character 見 ‘to see, to look’ is likely to be a logogram, given the context of this poem. The second character 監 occurs as a man’yōgana sign kêmu. The third character 乍 is a frequent man’yōgana logogram for the coordinative converb -TUTU, and the fourth character is a man’yōgana logogram for the conjunction TÖMÖ. Therefore, the four characters 見監乍共 can be safely read in Western Old Japanese as MÎ-kêm-î-TUTU TÖMÖ ‘even if [I] would have looked’. Two little problems remain. First, normally in Western Old Japanese mood markers can be followed only by suffixes of final predication, thus at first glance, the presence of -î-tutu CONV-COOR after the past tentative -kêm- may seem ungrammatical. However, one should not forget that in Western Old Japanese the coordinative -tutu is a morphosyntactic chameleon, as it can function either as a converb or as a final form (Vovin 2020.2: 819–825). The conjunction tömö ‘even if’ follows a final predication form. The second problem is that line three is hypermetric ( ji amari, 字余り), but there are plenty of hypermetric lines in the Man’yōshū, so it is really not a big issue. On WOJ murô ~ môrô ‘mountain’ see the commentary to the poem 2.94. On OJ suŋgï ‘cryptomeria’ see the commentary to the poem 14.3363.

3  With a further development -k- > -g- > -ɣ-/-h- > -0- in later periods, but this is irrelevant for our material.

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2.157

本文・Original Text (1) 神山之 (2) 山邊真蘇木綿 (3) 短木綿 (4) 如此耳故尓 (5) 長等思伎 仮名の書き下し・Kana Transliteration (1) み₁わやまの₂ (2) やまへ₁まそ₁ゆふ (3) み₁じかゆふ (4) かくの₂み₂ゆゑ に (5) ながくと₂おも₂ひ₁き₁ Romanization (1) MÎWA YAMA-NÖ (2) YAMA PÊ MA-sô YUPU (3) MÎnZIKA YUPU (4) KA-KU NÖMÏ YUWE n-i (5) NA ŋGA-KU tö OMÖP-Î-kî Glossing with Morphemic Analysis (1) Mîwa mountain-GEN (2) mountain side INT-hemp fiber.strip (3) short fiber.strip (4) be.thus-CONV RP reason DV-CONV (5) be.long-CONV DV think-CONV-PAST/FIN Translation (4) Just because of this (5) [I] thought that [it] is long, (3) a short fiber strip, (2) a fiber strip of the true hemp from the mountain side (1) of Mîwa mountain. Commentary The overall meaning of this poem is that the author thought about the life of Imperial Princess Töwoti as one that would be long, but it turned out to be a short one. On Mt. Mîwa see the commentary to the poem 1.17. OJ yupu ‘fiber strip’ was made from the fiber of the mulberry tree’s bark. It was first steamed, then soaked in water, dried in the sun, and finally split into strips. It was white and beautiful, and frequently used as an offering for deities.

2.158

本文・Original Text (1) 山振之 (2) 立儀足 (3) 山清水 (4) 酌尓雖行 (5) 道之白鳴 仮名の書き下し・Kana Transliteration (1) やまぶき₁の₂ (2) たちよ₂そ₂ひ₁たる (3) やましみ₁づ (4) くみ₁にゆか め₂ど₂ (5) み₁ちの₂しらなく

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Romanization (1) yamambukî-NÖ (2) TAT-I YÖSÖP-Î-tar-u (3) YAMA SI MÎnDU (4) KUM-Î-ni YUK-AM-Ë-nDÖ (5) MÎTI-NÖ sir-an-aku Glossing with Morphemic Analysis (1) kerria-GEN (2) stand-CONV adorn-CONV-PERF/PROG-ATTR (3) mountain clear water (4) scoop.up-NML-LOC go-TENT-EV-CONC (5) way-GEN be.known-NEG-NML Translation (4) Although [I] would go to scoop up (3) the clear water [of] the mountain (2) that is adorned (1) by kerria roses, (5) the way is not known [to me]! Commentary On WOJ yamambukî ‘kerria rose’ see the commentary to the poem 20.4302. This poem represents the imagination that deceased Imperial Princess Töwoti is wandering the mountain where kerria roses are blooming, and that the author, Imperial Prince Takëti is going there as well to scoop up the clear mountain water. There is a transparent association with Yellow Springs (黄泉), because the color of blooming yamambukî ‘kerria roses’ is also yellow. WOJ sir- ‘to know’ is an intransitive verb.

Postscript to the Poems 2.156–158

本文・Original Text 紀曰七年戊寅夏四月丁亥朔癸巳十市皇女卒然病發薨於宮中 Translation The [Nihonsho]ki says: “On the thirteenth day of the fourth lunar month of the seventh year Imperial Princess Töwoti suddenly fell ill and passed away in the palace”. Commentary The thirteenth day of the fourth lunar month of the seventh year of Tenmu corresponds to May 23, 679 AD. On Imperial Princess Töwoti (十市皇女) and her biography see the commentary to the poem 1.22.

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Preface to the Poem 2.159

本文・Original Text 天皇崩之時大后御作歌一首 Translation A poem composed by the Empress when the Emperor passed away. Commentary The Emperor is Emperor Tenmu (Tenmu tennō, 天武天皇), on whose biography see the preface to the poem 1.21. He passed away in October 686 AD. The Empress is Empress Jitō (Jitō Tennō, 持統天皇), on whose biography see the commentary to the preface to the poems 1.28–75.

2.159

本文・Original Text (1) 八隅知之 (2) 我大王之 (3) 暮去者 (4) 召賜良之 (5) 明來者 (6) 問賜良 志 (7) 神岳乃 (8) 山之黄葉乎 (9) 今日毛鴨 (10) 問給麻思 (11) 明日毛鴨 (12) 召賜萬旨 (13) 其山乎 (14) 振放見乍 (15) 暮去者 (16) 綾哀 (17) 明來者 (18) 裏佐備晩 (19) 荒妙乃 (20) 衣乃袖者 (21) 乾時文無 仮名の書き下し・Kana Transliteration (1) やすみ₁ちし (2) わがおほき₁み₁の₂ (3) ゆふされば (4) め₁したまふらし (5) あけ₂くれば (6) と₂ひ₁たまふらし (7) かむをかの₂ (8) やまの₂も₁み₁ちを (9) け₁ふも₁かも₂ (10) と₂ひ₁たまはまし (11) あすも₁かも₂ (12) め₁したまはまし (13) そ₂の₂やまを (14) ふりさけ₂み₁つつ (15) ゆふされば (16) あやにかなし み₁ (17) あけ₂くれば (18) うらさび₂くらし (19) あらたへ₂の₂ (20) こ₂ろ₂も₂の₂ そ₁では (21) ふると₂き₁もなし Romanization (1) yasu mît-i-si (2) WA-ŋGA OPO KÎMÎ-NÖ (3) YUPU SAR-E-mba (4) MÊS-I-TAMAP-Urasi (5) AKË K-URE-mba (6) TÖP-Î-TAMAP-Urasi (7) KAMU-WOKA-nö (8) YAMA-NÖ MÔMÎT-I-wo (9) KÊPU mô kamö (10) TÖP-Î-TAMAP-Amasi (11) ASU mô kamö (12) MÊS-I-TAMAP-Amasi (13) SÖNÖ YAMA-wo (14) purisakë-MÎ-TUTU (15) YUPU SAR-E-mba (16) AYA N-I KANASI-MÎ (17) AKË K-URE-mba (18) ura sambï KURAS-I (19) ARA TAPË-nö (20) KÖRÖMÖ-nö SÔnDE pa (21) P-URU TÖKÎ mo NA-SI

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Glossing with Morphemic Analysis (1) peace be.filled-CONV-PAST.ATTR (2) we-POSS great lord-GEN (3) evening go.away-EV-CON (4) summon-CONV-HON-SUP (5) dawn come-EV-CON (6) askCONV-HON-SUBJ (7) deity hill-GEN (8) mountain-GEN leaves.turn.red.and. yellow-NML-ACC (9) today FP EP (10) ask-CONV-HON-SUBJ (11) tomorrow FP EP (12) summon-CONV-HON-SUBJ (13) that mountain-ACC (14) look.up(CONV)look(CONV)-COOR (15) evening go.away-EV-CON (16) strange DV-CONV be.sadGER (17) dawn come-EV-CON (18) grief like live-CONV (19) rough mulberry. tree.bark.cloth-GEN (20) garment-GEN sleeve TOP (21) dry-ATTR time FP not. exist-FIN Translation (2) Our Great Lord, (1) who was full of peace, (4) would probably summon [me] (3) when an evening goes away. (5) When a dawn comes (6) [he] would probably ask [me]. (9) [I] wonder whether today (10) [he] would probably ask [me] (8) about red and yellow autumn leaves on the mountain (7) of Kamuwoka, too. (11) [I] wonder whether tomorrow (12) [he] would summon [me], too. (15) When an evening goes away (14) while [I] am looking up (13) at that mountain, (16) [I] feel strangely sad. (17) When a dawn comes (18) [I] live grieving, and (20) the sleeves of [my] garment (19) of rough mulberry tree bark cloth (21) will never dry. Commentary On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. Kamuwoka (lit. ‘deity hill’) mountain is the present-day Ikatsuchi-no oka (雷の岳) located in Asuka village (Asuka mura, 明日香村) of Nara prefecture (Nakanishi 1985: 438). On WOJ mômîti ‘red and yellow autumn leaves’ see the commentary to the poem 15.3693.

Preface to the Poems 2.160–161

本文・Original Text 一書曰天皇崩之時太上天皇御製歌二首 Translation [It]is said in a certain book: “Two poems composed by the Retired Empress when the Emperor passed away”.

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Commentary The Retired Empress is Empress Jitō (Jitō Tennō, 持統天皇), on whose biography see the commentary to the preface to the poems 1.28–75. The Emperor is Emperor Tenmu (Tenmu tennō, 天武天皇), on whose biography see the preface to the poem 1.21. We do not know what this book is.

2.160

本文・Original Text (1) 燃火物 (2) 取而裹而 (3) 福路庭 (4) 入澄不言八 (5) 面智男雲 仮名の書き下し・Kana Transliteration (1) も₁ゆるひ₂も (2) と₂りてつつみ₁て (3) ふくろ₁には (4) いると₂いはずや (5) おも₂しらなくも₁ Romanization (1) MÔY-URU PÏ mo (2) TÖR-I-TE TUTUM-Î-TE (3) pukurô-ni pa (4) IR-U tö IP-AnZ-U ya (5) OMO SIR-An-aku mô Glossing with Morphemic Analysis (1) burn-ATTR fire FP (2) take-CONV-SUB wrap-CONV-SUB (3) bag-LOC TOP (4) insert-FIN DV say-NEG-FIN IP (5) face be.known-NEG-NML EP Translation (4) Do not [they] say that [they] put in (3) to a bag (1) even a burning fire (2) [by] taking and wrapping [it]? (5) [But your] face is [now] unknown [to me]. Commentary This poem is extremely difficult to understand in spite of the fact that there are no unknown words. In all probability it refers to some mystical ritual that is now lost. Unfortunately, no other commentator has a better explanation of the overall meaning of this poem. However, there is a general belief in Japan that a soul of the deceased may take a form of fire and wander (Sambi Vovin, p.c.).

2.161

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仮名の書き下し・Kana Transliteration (1) きたやまに (2) たなび₁くくも₁の₂ (3) あをくも₁の₂ (4) ほしはなれゆき₁ (5) つき₂をはなれて Romanization (1) KITA YAMA-NI (2) TANAmBÎK-U KUMÔ-NÖ (3) AWO KUMÔ-NÖ (4) POSI PANARE(CONV)-go-CONV (5) TUKÏ-wo PANARE-TE Glossing with Morphemic Analysis (1) north mountain-LOC (2) trail-ATTR cloud-GEN (3) dark cloud-GEN (4) star be.separated(CONV)-go-CONV (5) moon-ACC be.separated(CONV)-SUB Translation (3) Dark clouds, (2) trailing clouds (1) at northern mountains (4) go away from stars, (5) leaving the moon, and … Commentary Kita (向南) ‘north’ is an example of a rebus writing (lit. ‘facing south’). For the details on rebus writing in Old Japanese see Vovin (2005: 34–36). Unfortunately, we do not know whether the word kita ‘north’ was kîta with a kō-type vowel /i/, or kïta with an otsu-type vowel /ï/. North in Ancient Japan had a strong association with death and darkness. This association is further reinforced by calling the ‘north’ as ‘facing south’, the latter being the opposite of the north not only geographically but also metaphorically as the symbol of life and light. Surprisingly enough, neither Omodaka et al. (1967) nor Bentley (2016) include phonogram 矣 /wo/ that occurs in the Man’yōshū 48 times.

Preface to the Poem 2.162

本文・Original Text 天皇崩之後八年九月九日奉爲御齋會之夜夢裏習賜御歌一首 古歌 集中出

Translation A poem recited [by the Retired Empress] in a dream on the night [before] the funeral feast on the ninth day of the ninth lunar month of the eighth year [of Tenmu] after the Emperor passed away. It is from an old poetic anthology.

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Commentary The Retired Empress is Empress Jitō (Jitō Tennō, 持統天皇), on whose biography see the commentary to the preface to the poems 1.28–75. The ninth day of the ninth lunar month of the eighth year of Tenmu corresponds to October 7, 680 AD. The Emperor is Emperor Tenmu (Tenmu tennō, 天武天皇), on whose biography see the preface to the poem 1.21. Note that he actually passed away in the ninth lunar month of the fourteenth year of his rule (September 23– October 22, 686 AD).

2.162

本文・Original Text (1) 明日香能 (2) 清御原乃宮尓 (3) 天下 (4) 所知食之 (5) 八隅知之 (6) 吾 大王 (7) 高照 (8) 日之皇子 (9) 何方尓 (10) 所念食可 (11) 神風乃 (12) 伊 勢能國者 (13) 奥津藻毛 (14) 靡足波尓 (15) 塩氣能味 (16) 香乎礼流國尓 (17) 味凝 (18) 文尓乏寸 (19) 高照 (20) 日之御子 仮名の書き下し・Kana Transliteration (1) あすかの₂ (2) き₁よ₁み₁はらの₂み₁やに (3) あめ₂の₂した (4) しらしめ₁しし (5) やすみ₁ちし (6) わがおほき₁み₁ (7) たかてらす (8) ひ₁の₂み₁こ₁ (9) いか さまに (10) おもほしめ₁せか (11) かむかぜの₂ (12) いせの₂くには (13) おき₁ つもも₁ (14) なみ₁たるなみ₁に (15) しほけ₂の₂み₂ (16) かをれるくにに (17) う まこ₂り (18) あやにと₂も₂しき₁ (19) たかてらす (20) ひ₁の₂み₁こ₁ Romanization (1) Asuka-nö (2) KÎYÔMÎPARA-nö MÎYA-ni (3) AMË-NÖ SITA (4) SIR-AS-I-mêsi-si (5) yasu mît-i-si (6) WA-ŋGA OPO KÎMÎ (7) TAKA TER-AS-U (8) PÎ-NÖ MÎ-KÔ (9) IKA SAMA n-i (10) OMÖP-OS-I-mês-e ka (11) KAMU-KAnZE-nö (12) Ise-nö KUNI pa (13) OKÎ-tu MO mô (14) NAM-Î-tar-u NAMÎ-ni (15) SIPO-kë nömï (16) kawor-er-u KUNI-ni (17) UMA KÖR-I (18) AYA n-i tömösi-kî (19) TAKA TER-AS-U (20) PÎ-NÖ MÎ-KÔ Glossing with Morphemic Analysis (1) Asuka-GEN (2) Kîyômîpara-GEN palace-LOC (3) Heaven-GEN under (4) rule-HON-CONV-HON-CONV-PAST.ATTR (5) peace be.filled-CONV-PAST. ATTR (6) we-POSS Great Lord (7) high shine-HON-ATTR (8) sun-GEN HON-child (9) how manner DV-CONV (10) think-HON-CONV-HON-EV IP (11) deity-wind-GEN

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(12) Ise-GEN province TOP (13) offing-GEN/LOC seaweed FP (14) bend-CONVPERF/PROG-ATTR wave-LOC (15) salt-fragrance RP (16) be.fragrant-PROG-ATTR land-LOC (17) tasty freeze-CONV (18) strange DV-CONV be.attractive-ATTR (19) high shine-HON-ATTR (20) sun-GEN HON-child Translation (6) Our Great Lord (5) who was full of peace (4) deigned to rule (3) [the land] under Heaven (2) from Kîyômîpara palace (1) in Asuka. (8) The child of the Sun (7) that shines highly (9) in what manner (10) did [he] deign to think? (16) In the fragrant land (15) the salt fragrance (14) of waves that are bending (13) seaweed in the offing (12) [in] Ise province (11) where the divine wind is blowing (18) [you] are strangely attractive (17) [like] a frozen taste, (20) the child of the Sun (19) that shines highly. Commentary The shape of this poem is extremely odd. First, it contains even number of lines instead of expected odd. Second, it is full of hypometric ( ji tarazu, 字足ら ず) lines: one, six, eight, twelve, seventeen, and twenty. Line two is hypermetric ( ji amari, 字余り). On Asuka Kîyômîpara palace see the commentary to the preface to the poem 1.21. On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to the poem 5.794. Ise province (Ise-nö kuni, 伊勢國) corresponds to the central and eastern parts of present-day Mie prefecture. Ise province was one of the Great Provinces (大國) under the Ritsuryō (律令) code. On the Ritsuryō code classification of Yamatö provinces see the commentary to 5.818. 味凝 uma köri ‘tasty frozen’ is believed to be a makura-kotoba for aya ‘strange’ (Inaoka 1985: 250). WOJ nam- ‘to bend’ is a hapax legomenon that is attested only in this poem.

Preface to the Poems 2.163–234

本文・Original Text 藤原宮御宇天皇代高天原廣野姫天皇天皇元年丁亥十一年譲位輕太子尊号曰太 上天皇

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Translation The reign of the Empress who ruled from Pundipara palace. [This is] the Empress

Taka Amë-nö Para Pîrönô pîmê. The first year of the Empress was Dīng-hài (丁亥). In the eleventh year she abdicated [in favor of] Crown Prince Karu and was respectfully called the Retired Empress.

Commentary The Empress a.k.a. Retired Empress is Empress Jitō (Jitō Tennō, 持統天皇), on whose biography see the commentary to the preface to the poems 1.28–75. She ruled in 687–696 AD, and abdicated in January 697 AD in favor of Crown Prince Karu, future Emperor Monmu (r. 697–701 AD). On the biography of Crown Prince Karu (輕太子), the future Emperor Monmu (Monmu Tennō, 文武天皇) see the preface to the poems 1.28–75. On Pundipara palace (Pundipara-nö mîya, 藤原宮) see the commentary to the preface to the poems 1.28–75. The part of the commentary 天皇元年丁亥十一年譲位輕太子尊号曰太上 天皇 ‘The first year of the Empress was Dīng-hài (丁亥). In the eleventh year she abdicated [in favor of] Crown Prince Karu and was respectfully called the Retired Empress’ is not present in all manuscripts.

Preface to the Poems 2.163–164

本文・Original Text 大津皇子薨之後大來皇女従伊勢齋宮上京之時御作歌二首 Translation Two poems composed by Imperial Princess Opoku when [she] came to the capital from Ise Shrine after Imperial Prince Opotu passed away. Commentary On Imperial Prince Opotu and the dramatic history of his death see the commentary to the preface to the poems 2.105–106. On Imperial Princess Opoku (大伯皇女 or 大來皇女) see the commentary to the poems 2.105–106. On Ise Shrine (Ise Jingū, 伊勢神宮) see the commentary to the postscript to the poem 1.22. Saigū (齋宮) is actually the Chief Priestess of Ise Shrine, the position that was occupied by Imperial Princess Opoku at this time.

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2.163

本文・Original Text (1) 神風乃 (2) 伊勢能國尓母 (3) 有益乎 (4) 奈何可來計武 (5) 君毛 不有尓 仮名の書き下し・Kana Transliteration (1) かむかぜの₂ (2) いせの₂くににも₂ (3) あらましを (4) なにしかき₁け₁む (5) き₁み₁も₁あらなくに Romanization (1) KAMU-KAnZE-nö (2) Ise-nö KUNI-ni mö (3) AR-Amasi-wo (4) naNI SI ka K-Î-kêm-u (5) KÎMÎ mô AR-AN-AKU n-i Glossing with Morphemic Analysis (1) deity-wind-GEN (2) Ise-GEN province-LOC FP (3) exist-SUBJ-ACC (4) what EP IP come-CONV-PAST/TENT-ATTR (5) lord FP exist-NEG-NML DV-CONV Translation (3) [I] would stay (2) in Ise province (1) where the divine wind [is blowing]. (4) For what did [I] come? (5) Because [my] lord is no more … Commentary On Ise province see the commentary to the poem 2.162. WOJ kamu-kanze ‘divine wind’ is a wind blowing in a place where deities are residing or a wind that deities create (Omodaka et al. 1967: 221). Since Ise was believed to be the place where deities are found, kamu-kanze ‘divine wind’ is used as a permanent epithet (makura-kotoba, 枕詞) for this place name.

2.164

本文・Original Text (1) 欲見 (2) 吾爲君毛 (3) 不有尓 (4) 奈何可來計武 (5) 馬疲尓 仮名の書き下し・Kana Transliteration (1) み₁まくほり (2) あがするき₁み₁も₁ (3) あらなくに (4) なにしかき₁け₁む (5) うまつかるるに

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Romanization (1) MÎ-M-AKU POR-I (2) A-ŋGA S-URU KÎMÎ mô (3) AR-AN-AKU n-i (4) naNI SI ka K-Î-kêm-u (5) UMA TUKAR-URU-ni Glossing with Morphemic Analysis (1) see-TENT-NML want-CONV (2) I-POSS do-ATTR lord FP (3) exist-NEGNML DV-CONV (4) what EP IP come-CONV-PAST/TENT-ATTR (5) horse be.tired-ATTR-LOC Translation (1/2) Because [my] lord whom I wanted to see (3) is no more (4) for what did [I] come (5) when [my] horse is tired? Commentary This poem is very close textually to the preceding poem 2.163. For a woman to travel on a horseback was highly unusual. It means that Imperial Princess Opoku was in a great hurry to come to Yamatö.

Preface to the Poems 2.165–166

本文・Original Text 移葬大津皇子屍於葛城二上山之時大來皇女哀傷御作歌二首 Translation Two poems composed by Imperial Princess Opoku who was grieving when the remains of Imperial Prince Opotu were transferred to Putaŋgamî mountain in Katuraŋgï. Commentary On Imperial Prince Opotu and the dramatic history of his death see the commentary to the preface to the poems 2.105–106. On Imperial Princess Opoku (大伯皇女 or 大來皇女) see the commentary to the poems 2.105–106. Katuraŋgï (葛城) corresponds to the eastern part of the foothill area of Kongō mountain (金剛山) in the south-western part of present-day Nara prefecture (Nakanishi 1985: 436). Mt. Putaŋgamî (二上山), not to be confused with Putaŋgamî mountain in Etchū province, is the same mountain as modern Nijōsan (二上山). It

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represents the northern continuation of Katsuragi mountain chain (Katsuragi sanmyaku, 葛城山脈), and has two peaks, Male (540 m) and Female (474 m). The grave of Imperial Prince Opotu is located at the summit of the Male peak (Nakanishi 1985: 480).

2.165

本文・Original Text (1) 宇都曽見乃 (2) 人尓有吾哉 (3) 従明日者 (4) 二上山乎 (5) 弟世登吾 將見 仮名の書き下し・Kana Transliteration (1) うつそ₂み₁の₂ (2) ひ₁と₂にあるあれや (3) あすよ₁りは (4) ふたがみ₁やま を (5) いろ₂せと₂あがみ₁む Romanization (1) utu sömî-nö (2) PÎTÖ n-i AR-U ARE YA (3) ASU-YÔRI pa (4) PUTA ŋGAMÎ YAMA-wo (5) IRÖse tö A-ŋGA MÎ-M-U Glossing with Morphemic Analysis (1) ephemeral cicada-GEN (2) person DV-CONV exist-ATTR I IP (3) tomorrowABL TOP (4) Putaŋgamî mountain-ACC (5) younger.brother DV I-POSS look-TENT-ATTR Translation (2) Am I [not] a person (1) of the ephemeral world? (3) From tomorrow (4/5) I will look at Putaŋgamî mountain as [my] younger brother. Commentary On OJ utu semî ‘ephemeral cicada’ see the commentary to 15.3617 and 14.3456. WOJ sömî ‘cicada’4 is a phonetic (dialectal?) variant of OJ semî ‘id.’ Line two looks hypermetric ( ji amari, 字余り), but this is a graphic illusion, since n-i ar-u ‘DV-CONV exist-ATTR’ was pronounced as [naru]. WOJ iröse is a ‘brother from the same mother’. Line five is hypermetric ( ji amari, 字余り). 4  Not listed in Omodaka et al. (1967).

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2.166

本文・Original Text (1) 礒之於尓 (2) 生流馬醉木乎 (3) 手折目杼 (4) 令視倍吉君之 (5) 在常 不言尓 仮名の書き下し・Kana Transliteration (1) いそ₁の₂うへ₂に (2) おふるあしび₁を (3) たをらめ₂ど₂ (4) み₁すべ₂き₁き₁ み₁が (5) ありと₂いはなくに Romanization (1) ISÔ-NÖ upë-ni (2) OP-Uru ASImBÎ-wo (3) TA-WOR-Am-ë-ndö (4) MÎ-S-Umbëkî KÎMÎ-ŋGA (5) AR-I tö IP-AN-AKU n-i Glossing with Morphemic Analysis (1) rock-GEN top-LOC (2) grow-ATTR andromeda-ACC (3) hand-break-TENTEV-CONC (4) see-CAUS-DEB-ATTR lord-POSS (5) exist-FIN DV say-NEG-NML DV-CONV Translation (3) Although [I] would break [with my] hand (2) andromeda flowers that are growing (1) on a rock, (4) [my] lord whom [I] should show [them], (5) is not mentioned [among] living. Commentary Given the geographical setting of Imperial Prince Opotu’s grave in Katuraŋgï, WOJ isô must mean here a ‘rock’, and not a ‘rocky shore’. On WOJ asimbî ‘andromeda’ see the commentary to the poem 20.4511.

Postscript to the Poem 2.166

本文・Original Text 右一首今案不似移葬之歌蓋疑従伊勢神宮還京之時路上見花感傷哀 咽作此歌乎 Translation [I] think that the poem above does not look like a poem on transferring remains to a grave. Was not this poem composed when [Imperial Princess Opoku] was

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going from Ise Shrine to the capital and saw in [her] grief the [andromeda] flowers? [Such] is [my] doubt. Commentary On Imperial Princess Opoku (大伯皇女 or 大來皇女) see the commentary to the poems 2.105–106. On Ise Shrine (Ise Jingū, 伊勢神宮) see the commentary to the postscript to the poem 1.22.

Preface to the Poem 2.167

本文・Original Text 日並皇子尊殯宮之時柿本朝臣人麻呂作歌一首并短歌 Translation A poem composed by Kakînömötö-nö asömî Pîtömarö when the remains of Imperial Prince Pînamîsi were placed in a temporary coffin in [his] mausoleum. Followed by tanka. Commentary On Imperial Prince Pînamîsi (a.k.a. Kusakambë) see the commentary to the poem 1.49. On Kakînömötö-nö asömî Pîtömarö see the commentary to the preface to the poems 17.3969–3972.

2.167

本文・Original Text (1) 天地之 (2) 初時 (3) 久堅之 (4) 天河原尓 (5) 八百萬 (6) 千萬神之 (7) 神集 (8) 集座而 (9) 神分 (10) 分之時尓 (11) 天照 (12) 日女之命 (13) 天 乎婆 (14) 所知食登 (15) 葦原乃 (16) 水穂之國乎 (17) 天地之 (18) 依相 之極 (19) 所知行 (20) 神之命等 (21) 天雲之 (22) 八重掻別而 (23) 神下 (24) 座奉之 (25) 高照 (26) 日之皇子波 (27) 飛鳥之 (28) 浄之宮尓 (29) 神 随 (30) 太布座而 (31) 天皇之 (32) 敷座國等 (33) 天原 (34) 石門乎開 (35) 神上 (36) 上座奴 (37) 吾王 (38) 皇子之命乃 (39) 天下 (40) 所知食 世者 (41) 春花之 (42) 貴在等 (43) 望月乃 (44) 満波之計武跡 (45) 天下 (46) 四方之人乃 (47) 大船之 (48) 思憑而 (49) 天水 (50) 仰而待尓 (51) 何

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方尓 (52) 御念食可 (53) 由縁母無 (54) 真弓乃岡尓 (55) 宮柱 (56) 太布 座 (57) 御在香乎 (58) 高知座而 (59) 明言尓 (60) 御言不御問 (61) 日月之 (62) 數多成塗 (63) 其故 (64) 皇子之宮人 (65) 行方不知毛 仮名の書き下し・Kana Transliteration (1) あめ₂つちの₂ (2) はじめ₂の₂と₂き₁の₂ (3) ひ₁さかたの₂ (4) あまの₂かはら に (5) やほよ₂ろ₂づ (6) ちよ₂ろ₂づかみ₂の₂ (7) かむつど₁ひ₁ (8) つど₁ひ₁い まして (9) かむはかり (10) はかりしと₂き₁に (11) あまてらす (12) ひ₁るめ₁の₂ み₁こ₂と₂ (13) あめ₂をば (14) しらしめ₁すと₂ (15) あしはらの₂ (16) み₁づほの₂ くにを (17) あめ₂つちの₂ (18) よ₂りあひ₁の₂き₁はみ₁ (19) しらしめ₁す (20) か み₂の₂み₁こ₂と₂と₂ (21) あまくも₁の₂ (22) やへ₁かき₁わけ₂て (23) かむくだし (24) いませまつりし (25) たかてらす (26) ひ₁の₂み₁こ₁は (27) と₂ぶと₂りの₂ (28) き₁よ₁み₁の₂み₁やに (29) かむながら (30) ふと₁しき₁まして (31) すめ₁ろ₂ き₁の₂ (32) しき₁ますくにと₂ (33) あまの₂はら (34) いはと₁をひ₁らき₁ (35) かむ あがり (36) あがりいましぬ (37) わがおほき₁み₁ (38) み₁こ₁の₂み₁こ₂と₂の₂ (39) あめ₂の₂した (40) しらしめ₁しせば (41) はるはなの₂ (42) たふと₁から むと₂ (43) もちづき₂の₂ (44) たたはしけ₁むと₂ (45) あめ₂の₂した (46) よ₂も の₂ひ₁と₂の₂ (47) おほふねの₂ (48) おも₂ひ₁たの₂み₁て (49) あまつみ₁づ (50) あふぎ₁てまつに (51) いかさまに (52) おも₂ほしめ₁せか (53) つれも₂な き₁ (54) まゆみ₁の₂をかに (55) み₁やばしら (56) ふと₁しき₁いまし (57) み₁あ らかを (58) たかしりまして (59) あさこ₂と₂に (60) み₁こ₂と₂と₂はさず (61) ひ₁ つき₂の₂ (62) まねくなりぬれ (63) そ₂こ₂ゆゑに (64) み₁こ₁の₂み₁やひ₁と₂ (65) ゆくへ₁しらずも₁ Romanization (1) AMË TUTI-NÖ (2) PAnZIMË-NÖ TÖKÎ-NÖ (3) PÎSA KATA N-Ö (4) AMA-NÖ KAPARA-ni (5) YAPO YÖRÖnDU (6) TI YÖRÖnDU KAMÏ-NÖ (7) KAMU-TUnDÔP-Î (8) TUnDÔP-Î-IMAS-I-TE (9) KAMU-PAKAR-I (10) PAKAR-I-si TÖKÎ-ni (11) AMA-TER-AS-U (12) PÎRU MÊ N-Ö MÎ-KÖTÖ (13) AMË-womba (14) SIR-AS-I-mês-u tö (15) ASI PARA-nö (16) mîndu PO-NÖ KUNI-wo (17) AMË TUTI-NÖ (18) YÖR-I-AP-Î-NÖ KÎPAMÎ (19) SIR-AS-I-MÊS-U (20) KAMÏ N-Ö MÎ-KÖTÖ tö (21) AMA-KUMÔ-NÖ (22) YA PÊ kaki-WAKË-TE (23) KAMU-KUnDAS-I (24) IMASE-MATUR-I-si (25) TAKA TER-AS-U (26) PÎ-NÖ MÎ-KÔ pa (27) TÖmB-U TÖRI-NÖ (28) KÎYÔMÎ-NÖ MÎYA-ni (29) KAMU-NA-ŋ-GARA (30) PUTÔ sikî-MAS-I-TE (31) SUMÊRÖKÎ-NÖ (32) SIK-Î-MAS-U KUNI tö (33) AMA-NÖ PARA (34) IPA TÔ-wo PÎRAK-Î (35) KAMU-A ŋGAR-I (36) A ŋGAR-I-IMAS-I-n-u (37) WA-ŋGA OPO KÎMÎ (38) MÎKÔ N-Ö MÎ-KÖTÖ-nö (39) AMË-NÖ SITA (40) SIR-AS-I-mês-i-s-emba (41) PARU PANA-NÖ (42) TAPUTÔ-K-AR-AM-U tö (43) moti-nDUKÏ-nö (44) TATAp-as-i-kêm-u tö (45) AMË-NÖ SITA (46) YÖ

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MO-NÖ PÎTÖ-nö (47) OPO PUNE-NÖ (48) OMÖP-Î-TANÖM-Î-TE (49) AMA-TU MÎnDU (50) APU ŋG-Î-TE MAT-U-ni (51) IKA SAMA n-i (52) OMOP-OS-I-mês-e ka (53) TURE mö NA-KÎ (54) Mayumî-nö WOKA-ni (55) MÎYA-m-BASIRA (56) PUTÔ sik-î-IMAS-I (57) MÎ-araka-wo (58) TAKA SIR-I-MAS-I-TE (59) ASA-kötö-ni (60) MÎ-KÖTÖ TÖP-AS-AnZ-U (61) PÎ TUKÏ-NÖ (62) MANE-KU NAR-I-n-ure (63) SÖKÖ YUWE N-I (64) MÎKÔ-NÖ MÎYA PÎTÖ (65) YUK-U PÊ SIR-AnZ-Umô Glossing with Morphemic Analysis (1) Heaven Earth-GEN (2) beginning-GEN time-GEN (3) eternal strong DV-ATTR (4) Heaven river.plain-LOC (5) eight.hundred ten.thousand (6) thousand ten. thousand deity-GEN (7) deity-gather-NML (8) gather-CONV-HON-CONV-SUB (9) deity-council (10) confer-CONV-PAST.ATTR (11) Heaven-shine-HON-ATTR (12) day.time woman DV-ATTR HON-deity (13) Heaven-ACC(EMPH) (14) ruleHON-CONV-HON-FIN DV (15) reed plain-GEN (16) fresh rice.ear-GEN land-ACC (17) Heaven earth-GEN (18) approach-CONV meet-NML-GEN limit (19) rule-HONCONV-HON-ATTR (20) deity DV-ATTR HON-deity DV (21) Heaven-cloud-GEN (22) eight layer PREF-divide(CONV)-SUB (23) deity-descend-CONV (24) exist(HON)(CONV)-HON-CONV-PAST.ATTR (25) high shine-HON-ATTR (26) sun-GEN HON-child TOP (27) fly-ATTR bird-GEN (28) Kîyômî-GEN palaceLOC (29) deity-PLUR-GEN-character (30) majestic rule-CONV-HON-CONVSUB (31) Emperor-GEN (32) rule-CONV-HON-ATTR land DV (33) Heaven-GEN plain (34) rock door-ACC open-CONV (35) deity-rise-CONV (36) rise-CONVHON-CONV-PERF-FIN (37) we-POSS Great Lord (38) Imperial.Prince DV-ATTR HON-deity-GEN (39) Heaven-GEN under (40) rule-HON-CONV-HON-CONVPAST.ATTR-COND (41) spring flower-COMP (42) be.awesome-CONV-existTENT-FIN DV (43) full-moon-COMP (44) be.full-HON-CONV-PAST/TENT-FIN DV (45) Heaven-GEN under (46) four direction-GEN person-GEN (47) big boat-COMP (48) think-CONV-rely-CONV-SUB (49) Heaven-GEN/LOC water (50) look.up-CONV-SUB wait-ATTR-LOC (51) how manner DV-CONV (52) thinkHON-CONV-HON-EV IP (53) connection FP not.exist-ATTR (54) Mayumî-GEN hill-LOC (55) palace-GEN-pillar (56) majestic spread-CONV-HON-CONV (57) HON-palace-ACC (58) high rule-CONV-HON-CONV-SUB (59) morningevery-LOC (60) word ask-HON-NEG-FIN (61) day month-GEN (62) be.manyCONV become-CONV-PERF-EV (63) there reason DV-CONV (64) Imperial. Prince-GEN palace person (65) go-ATTR side know-NEG-EXCL

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Translation (5/6) Myriads and myriads of deities (7/8) gathered together (9) [for] a deitycouncil (3/4) on the River Plain of eternal and strong Heaven (1/2) at the time of the beginning of Heaven and Earth (10) and decided that (12) the female deity of the Sun (11) shining high in Heaven (14) would rule (13) the Heaven, and that (20) the great deity (19) would rule (16) the land of fresh rice plants (15) of the reed plains (17/18) to the limit where Heaven and Earth meet. (23) [This] deity descended (22) through eight layers (21) of Heavenly clouds, and (24) was established (25/26) as a son of the high shining sun (29) who having the nature of a deity (30) ruled majestically (28) from Kîyômî palace (27) in Asuka, (31) and the Emperor, (32) ruling the land, (34) opened the rock door (33) at the Heavenly plain, (35/36) and went up as a deity to Heaven [and did not return]. (37) When our Great Lord, (38) the divine Imperial Prince (40) deigned to rule (39) [the land] under Heaven, (42) [he] was awesome (41) like a spring flower, (44) [he] was complete (43) like the full moon, and (46) people from four directions (45) under Heaven (48) were relying [on him] (47) like [on] a big boat. (50) When [everyone] was looking up and waiting for (49) the water from Heaven, (51) how (52) did [he] deign to think [about it]? (58) [He now] rules high (57) in the palace (56) with majestically built (55) palace pillars (54) on Mayumî hill (53) that has no connection [to him] at all, (60) and does not say a word (59) every morning. (63) For this reason, (61/62) as many days and months have passed, (64) courtiers of the Imperial Prince (65) do not know where to go! Commentary Out of two variants 2.167 and 2.167a, the original poem by Kakînömötö-nö asömî Pîtömarö is probably 2.167a (Inaoka 1985: 275–277). Such an archaism as -an-i s-u ‘NEG-NML do-FIN’ instead of its contracted form -anz-u ‘NEG-FIN’ on line sixty-five also speaks in favor of it. In order to produce a smooth and comprehensible English translation of this poem, I took some liberty with the syntax. The Plain of eternal and strong Heaven is Takamaŋgapara (高天原), the abode of Heavenly deities. The Heavenly River is the Milky way (Ama-nö kapa, 天の河) that appears not only in the legend of the Weaver (Tanambata, 七夕), but also in the first volume of the Kojiki (古事記), where Ancient Japanese myths are narrated. The passage on the gathering of the council of deities is a quote from the Kojiki. The female deity of the Sun is the deity Amaterasu Ōmikami, lit. ‘Great Deity shining in the Heaven’.

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Reed plain (Asipara, 葦原) is a metaphoric name for Japan. Line twenty-six is hypometric ( ji tarazu, 字足らず). Rock door (Ipa tô, 石門) is the entrance to Heaven. WOJ tömb-u töri ‘flying bird’ is an alternative reading of characters 飛鳥 for place name Asuka. On Asuka Kîyômîpara palace see the commentary to the preface to the poem 1.21. On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to the poem 5.794. Line thirty-seven is hypermetric ( ji amari, 字余り), but this might be a graphic illusion, since wa-ŋga opo kîmî ‘our great lord’ could have been pronounced as [waŋgopokîmî]. On Imperial Prince Pînamîsi (a.k.a. Kusakambë) see the commentary to the poem 1.49. Line forty-six is hypometric ( ji tarazu, 字足らず). The palace on Mayumî hills is Imperial Prince Pînamîsi’s mausoleum. Mayumî (真弓) hills is a hilly area stretching from Asuka village (Asuka mura, 明日香村) to Sada (佐田) hill in Takatori town (Takatori chō, 高取町) in present-day Nara prefecture. The tumulus of Imperial Prince Pînamîsi is on Sada hill (Nakanishi 1985: 485). WOJ araka ‘palace’ consists of ar-a ‘to exist-NML’ and ka ‘place’. The nominalizer -a is very rare and unproductive, cf. tuka ‘mound’ < tuk- ‘to build’ plus nominalizer -a.

2.167a

本文・Original Text (1) 天地之 (2) 初時 (3) 久堅之 (4) 天河原尓 (5) 八百萬 (6) 千萬神之 (7) 神集 (8) 集座而 (9) 神分 (10) 分之時尓 (11) 指上 (12) 日女之命 (13) 天 乎婆 (14) 所知食登 (15) 葦原乃 (16) 水穂之國乎 (17) 天地之 (18) 依相 之極 (19) 所知行 (20) 神之命等 (21) 天雲之 (22) 八重雲別而 (23) 神下 (24) 座奉之 (25) 高照 (26) 日之皇子波 (27) 飛鳥之 (28) 浄之宮尓 (29) 神 随 (30) 太布座而 (31) 天皇之 (32) 敷座國等 (33) 天原 (34) 石門乎開 (35) 神登 (36) 座尓之可婆 (37) 吾王 (38) 皇子之命乃 (39) 天下 (40) 所知 食世者 (41) 春花之 (42) 貴在等 (43) 望月乃 (44) 満波之計武跡 (45) 食國 (46) 四方之人乃 (47) 大船之 (48) 思憑而 (49) 天水 (50) 仰而待尓 (51) 何 方尓 (52) 御念食可 (53) 由縁母無 (54) 真弓乃岡尓 (55) 宮柱 (56) 太布 座 (57) 御在香乎 (58) 高知座而 (59) 明言尓 (60) 御言不御問 (61) 日月 之 (62) 數多成塗 (63) 刺竹之 (64) 皇子宮人 (65) 歸邊不知尓爲

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仮名の書き下し・Kana Transliteration (1) あめ₂つちの₂ (2) はじめ₂の₂と₂き₁の₂ (3) ひ₁さかたの₂ (4) あまの₂かはら に (5) やほよ₂ろ₂づ (6) ちよ₂ろ₂づかみ₂の₂ (7) かむつど₁ひ₁ (8) つど₁ひ₁い まして (9) かむはかり (10) はかりしと₂き₁に (11) さしあがる (12) ひ₁るめ₁の₂ みこ₂と₂ (13) あめ₂をば (14) しらしめ₁すと₂ (15) あしはらの₂ (16) み₁づほの₂ くにを (17) あめ₂つちの₂ (18) よ₂りあひ₁の₂き₁はみ₁ (19) しらしめ₁す (20) か み₂の₂み₁こ₂と₂と₂ (21) あまくも₁の₂ (22) やへ₁くも₁わけ₂て (23) かむくだし (24) いませまつりし (25) たかてらす (26) ひ₁の₂み₁こ₁は (27) と₂ぶと₂りの₂ (28) き₁よ₁み₁の₂み₁やに (29) かむながら (30) ふと₁しき₁まして (31) すめ₁ろ₂ き₁の₂ (32) しき₁ますくにと₂ (33) あまの₂はら (34) いはと₁をひ₁らき₁ (35) か むの₂ぼり (36) いましにしかば (37) わがおほき₁み₁ (38) み₁こ₁の₂み₁こ₂と₂ の₂ (39) あめ₂の₂した (40) しらしめ₁しせば (41) はるはなの₂ (42) たふと₁ からむと₂ (43) もちづき₂の₂ (44) たたはしけ₁むと₂ (45) をすくに (46) よ₂も の₂ひ₁と₂の₂ (47) おほふねの₂ (48) おも₂ひ₁たの₂み₁て (49) あまつみ₁づ (50) あふぎ₁てまつに (51) いかさまに (52) おも₂ほしめ₁せか (53) つれも₂な き₁ (54) まゆみ₁の₂をかに (55) み₁やばしら (56) ふと₁しき₁いまし (57) み₁あ らかを (58) たかしりまして (59) あさこ₂と₂に (60) み₁こ₂と₂と₂はさず (61) ひ₁ つき₂の₂ (62) まねくなりぬれ (63) さすたけ₂の₂ (64) み₁こ₁の₂み₁やひ₁と₂ (65) ゆくへ₁しらにす Romanization (1) AMË TUTI-NÖ (2) PAnZIMË-NÖ TÖKÎ-NÖ (3) PÎSA KATA N-Ö (4) AMA-NÖ KAPARA-ni (5) YAPO YÖRÖnDU (6) TI YÖRÖnDU KAMÏ-NÖ (7) KAMU-TUnDÔP-Î (8) TUnDÔP-Î-IMAS-I-TE (9) KAMU-PAKAR-I (10) PAKAR-I-si TÖKÎ-ni (11) sas-i-A ŋGAR-U (12) PÎRU MÊ N-Ö MÎ-KÖTÖ (13) AMË-womba (14) SIR-AS-I-mês-u tö (15) ASI PARA-nö (16) mîndu PO-NÖ KUNI-wo (17) AMË TUTI-NÖ (18) YÖR-I-AP-Î-NÖ KÎPAMÎ (19) SIR-AS-I-MÊS-U (20) KAMÏ N-Ö MÎ-KÖTÖ tö (21) AMA-KUMÔ-NÖ (22) YA PÊ KUMÔ WAKË-TE (23) KAMU-KUnDAS-I (24) IMASE-MATUR-I-si (25) TAKA TER-AS-U (26) PÎ-NÖ MÎKÔ pa (27) TÖmB-U TÖRI-NÖ (28) KÎYÔMÎ-NÖ MÎYA-ni (29) KAMU-NA-ŋ-GARA (30) PUTÔ sik-îMAS-I-TE (31) SUMÊRÖKÎ-NÖ (32) SIK-Î-MAS-U KUNI tö (33) AMA-NÖ PARA (34) IPA TÔ-wo PÎRAK-Î (35) KAMU-NÖmBOR-I (36) IMAS-I-n-i-sika-mba (37) WA-ŋGA OPO KÎMÎ (38) MÎKÔ N-Ö MÎ-KÖTÖ-nö (39) AMË-NÖ SITA (40) SIR-AS-I-mês-i-s-emba (41) PARU PANA-NÖ (42) TAPUTÔ-K-AR-AM-U tö (43) moti-nDUKÏ-nö (44) TATAp-as-i-kêm-u tö (45) WOS-U KUNI (46) YÖ MO-NÖ PÎTÖ-nö (47) OPO PUNE-NÖ (48) OMÖP-Î-TANÖM-Î-TE (49) AMA-TU MÎnDU (50) APU ŋG-Î-TE MAT-U-ni (51) IKA SAMA n-i (52) OMOP-OS-I-mês-e ka (53) TURE mö NA-KÎ (54) Mayumî-nö WOKA-ni (55) MÎYA-m-BASIRA (56) PUTÔ sik-î-IMAS-I (57) MÎ-araka-wo (58) TAKA SIR-I-MAS-I-TE (59) ASA-kötö-ni

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(60) MÎ-KÖTÖ TÖP-AS-AnZ-U (61) PÎ TUKÏ-NÖ (62) MANE-KU NAR-I-n-ure (63) SAS-U TAKË-NÖ (64) MÎKÔ-NÖ MÎYA PÎTÖ (65) YUK-U PÊ SIR-AN-I S-U Glossing with Morphemic Analysis (1) Heaven earth-GEN (2) beginning-GEN time-GEN (3) eternal strong DV-ATTR (4) Heaven river.plain-LOC (5) eight.hundred ten.thousand (6) thousand ten. thousand deity-GEN (7) deity-gather-NML (8) gather-CONV-HON-CONVSUB (9) deity-council (10) confer-CONV-PAST.ATTR (11) shine-CONV-riseATTR (12) day.time woman DV-ATTR HON-deity (13) Heaven-ACC(EMPH) (14) rule-HON-CONV-HON-FIN DV (15) reed plain-GEN (16) fresh rice.earGEN land-ACC (17) Heaven earth-GEN (18) approach-CONV meet-NMLGEN limit (19) rule-HON-CONV-HON-ATTR (20) deity DV-ATTR HON-deity DV (21) Heaven-cloud-GEN (22) eight layer cloud divide(CONV)-SUB (23) deity-descend-CONV (24) exist(HON)(CONV)-HON-CONV-PAST.ATTR (25) high shine-HON-ATTR (26) sun-GEN HON-child TOP (27) fly-ATTR birdGEN (28) Kîyômî-GEN palace-LOC (29) deity-PLUR-GEN-character (30) majestic rule-CONV-HON-CONV-SUB (31) Emperor-GEN (32) rule-CONV-HON-ATTR land DV (33) Heaven-GEN plain (34) rock door-ACC open-CONV (35) deityascend-CONV (36) exist(HON)-CONV-PERF-CONV-PAST.EV-CON (37) we-POSS Great Lord (38) Imperial.Prince DV-ATTR HON-deity-GEN (39) Heaven-GEN under (40) rule-HON-CONV-HON-CONV-PAST.ATTR-COND (41) spring flowerCOMP (42) be.awesome-CONV-exist-TENT-FIN DV (43) full-moon-COMP (44) be.full-HON-CONV-PAST/TENT-FIN DV (45) Heaven-GEN under (46) four direction-GEN person-GEN (47) big boat-COMP (48) think-CONV-rely-CONVSUB (49) Heaven-GEN/LOC water (50) look.up-CONV-SUB wait-ATTR-LOC (51) how manner DV-CONV (52) think-HON-CONV-HON-EV IP (53) connection FP not.exist-ATTR (54) Mayumî-GEN hill-LOC (55) palace-GEN-pillar (56) majestic spread-CONV-HON-CONV (57) HON-palace-ACC (58) high ruleCONV-HON-CONV-SUB (59) morning-every-LOC (60) word ask-HON-NEG-FIN (61) day month-GEN (62) be.many-CONV become-CONV-PERF-EV (63) budATTR bamboo-COMP (64) Imperial.Prince-GEN palace person (65) go-ATTR side know-NEG-NML do-FIN Translation (5/6) Myriads and myriads of deities (7/8) gathered together (9) [for] a deitycouncil (3/4) on the River Plain of eternal and strong Heaven (1/2) at the time of the beginning of Heaven and Earth (10) and decided that (12) the female deity of the Sun (11) who rose shining (14) would rule (13) the Heaven, and that (20) the great deity (19) would rule (16) the land of fresh rice plants (15) of

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the reed plains (17/18) to the limit where Heaven and Earth meet. (23) [This] deity descended (22) through eight cloud layers (21) of Heavenly clouds, and (24) was established (25/26) as a son of the high shining sun (29) who having the nature of a deity (30) ruled majestically (28) from Kîyômî palace (27) in Asuka, (31) and the Emperor, (32) ruling the land, (34) opened the rock door (33) at the Heavenly plain, (35/36) and went up as a deity [and did not return]. (37) When our Great Lord, (38) the divine Imperial Prince (40) deigned to rule (39) [the land] under Heaven, (42) [he] was awesome (41) like a spring flower, (44) [he] was complete (43) like the full moon, and (46) people from four directions (45) under Heaven (48) were relying [on him] (47) like [on] a big boat. (50) When [everyone] was looking up and waiting for (49) the water from Heaven, (51) how (52) did [he] deign to think [about it]? (58) [He now] rules high (57) in the palace (56) with majestically built (55) palace pillars (54) on Mayumî hill (53) that has no connection [to him] at all, (60) and does not say a word (59) every morning. (61/62) As many days and months have passed, (64) courtiers of the Imperial Prince (63) who are like the budding bamboo (65) do not know where to go. Commentary On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to the poem 5.794. Lines forty-five and forty-six are hypometric ( ji tarazu, 字足らず). WOJ sas-u takë-nö ‘like the budding bamboo’ is considered to be a permanent epithet (makura-kotoba, 枕詞) to mîkô ‘Imperial Prince’ and mîya pîtö ‘courtier’ (Inaoka 1985: 275). On the rest see the commentary to the poem 2.167.

Preface to the Poems 2.168–169

本文・Original Text 反歌二首 Translation Two envoys. Commentary These envoys are to the poem 2.167.

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2.168

本文・Original Text (1) 久堅乃 (2) 天見如久 (3) 仰見之 (4) 皇子乃御門之 (5) 荒巻惜毛 仮名の書き下し・Kana Transliteration (1) ひ₁さかたの₂ (2) あめ₂み₁るご₂と₂く (3) あふぎ₁み₁し (4) み₁こ₁の₂み₁か ど₁の₂ (5) あれまくをしも₁ Romanization (1) PÎSA KATA n-ö (2) AMË MÎ-RU ŋGÖTÖ-ku (3) APU ŋG-Î-MÎ-si (4) MÎKÔ-nö MÎKAnDÔ-NÖ (5) ARE-m-aku WOSI-mô Glossing with Morphemic Analysis (1) eternal strong DV-ATTR (2) Heaven look-ATTR be.like-CONV (3) look.upCONV-look(CONV)-PAST.ATTR (4) Imperial.Prince-GEN palace-GEN (5) be.in. desolation-TENT-NML be.regrettable-EXCL Translation (5) It is regrettable that (4) the palace of Imperial Prince (3) on which [I] looked up (1/2) like looking at the eternal and strong Heaven (5) would be in desolation! Commentary On pîsa kata n-ö ‘eternal and strong’ (lit. ‘long [and] hard’) see the commentary to the poem 15.3650. On Imperial Prince Pînamîsi (a.k.a. Kusakambë) see the commentary to the poem 1.49. WOJ mîkandô primarily meant ‘court’, ‘palace’ or ‘dominion’; only in very late WOJ texts it acquires the meaning ‘emperor’. The etymology of this word is transparent: mî, honorific prefix + kandô ‘gate’. See also the commentary to the poem 15.3688. WOJ ŋgötö ‘like’ is probably a combination of the reduced form -ŋ of the genitive case marker -nö and the word kötö ‘like’, borrowed from otherwise unattested OK predecessor of MK kʌt- ‘be like’.

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2.169

本文・Original Text (1) 茜刺 (2) 日者雖照有 (3) 烏玉之 (4) 夜渡月之 (5) 隱良久惜毛或本以件 歌爲後皇子尊殯宮之時歌反也

仮名の書き下し・Kana Transliteration (1) あかねさす (2) ひ₁はてらせれど₂ (3) ぬばたまの₂ (4) よ₁わたるつき₂の₂ (5) かくらくをしも₁ Romanization (1) aka ne sas-u (2) PÎ pa TER-AS-ER-E-nDÖ (3) numba TAMA-NÖ (4) YÔ WATAR-U TUKÏ-NÖ (5) KAKUr-aku WOSI-mô Glossing with Morphemic Analysis (1) bright sun shine-ATTR (2) sun TOP shine-HON-PROG-EV-CONC (3) pitch-black jade-COMP (4) night cross-ATTR moon-GEN (5) hide-NML be.regrettable-EXCL Translation (1/2) Although the bright sun is shining, (5) it is regrettable that (4) the moon going through the night (3) [dark] like a pitch-black jade (5) hid [itself]! A certain book says that this poem [was composed] when the remains of the Imperial Prince were placed into a temporary coffin in [his] mausoleum.

Commentary On the permanent epithet (makura-kotoba, 枕詞) aka ne sasu and the explanation of the word ne as ‘the sun’ see the commentary to the poem 20.4455. On numba tama ‘pitch-black jade’ see the commentary to the poem 15.3598. The spelling of numba ‘pitch-black’ as 烏 ‘raven’, which has the same color, was probably intended as a rebus writing. The hidden moon stands metaphorically for deceased Imperial Prince Pînamîsi. We do not know what this book is.

Preface to the Poem 2.170

本文・Original Text 或本歌一首

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Translation A poem from a certain book. Commentary We do not know what this book is.

2.170

本文・Original Text (1) 嶋宮 (2) 勾乃池之 (3) 放鳥 (4) 人目尓戀而 (5) 池尓不潜 仮名の書き下し・Kana Transliteration (1) しまの₂み₁や (2) まがりの₂いけ₂の₂ (3) はなちど₂り (4) ひ₁と₂め₂にこ₁ひ₂ て (5) いけ₂にかづかず Romanization (1) SIMA-NÖ MÎYA (2) Ma ŋgari-nö IKË-NÖ (3) panatinDÖRI (4) PÎTÖ MË-ni KÔPÏ-TE (5) IKË-ni KAnDUK-AnZ-U Glossing with Morphemic Analysis (1) Sima-GEN palace (2) Maŋgari-GEN pond-GEN (3) aquatic.bird (4) person eye-DAT long.for(CONV)-SUB (5) pond-LOC dive-NEG-FIN Translation (3) Aquatic birds (2) from Maŋgari pond (1) in Sima Palace (5) do not dive into the pond, (4) longing for human eyes. Commentary Sima-nö mîya ‘island palace’ (嶋宮) is a palace of Imperial Prince Pînamîsi (a.k.a. Kusakambë) that was located in the vicinity of Ishibutai tumulus (Ishibutai kofun, 石舞台古墳) in Asuka village (Asuka mura, 明日香村) in present-day Nara prefecture (Inaoka 1985: 282). Maŋgari pond (Maŋgari-no ikë, 勾池) was located at Ike paddy (lit. ‘Pond Paddy’, Ikeda, 池田) in Asuka village (Asuka mura, 明日香村) in present-day Nara prefecture (Nakanishi 1985: 483). WOJ panatindöri is a ‘domesticated aquatic bird’ (Nakanishi 1985: 298).

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Preface to the Poems 2.171–193

本文・Original Text 皇子尊宮舎人等慟傷作歌廿三首 Translation Twenty-three poems composed by the retainers of the Imperial Prince in grief. Commentary On Imperial Prince Pînamîsi (a.k.a. Kusakambë) see the commentary to the poem 1.49.

2.171

本文・Original Text (1) 高光 (2) 我日皇子乃 (3) 萬代尓 (4) 國所知麻之 (5) 嶋宮波母 仮名の書き下し・Kana Transliteration (1) たかひ₁かる (2) わがひ₁の₂み₁こ₁の₂ (3) よ₂ろ₂づよ₂に (4) くにしらさまし (5) しまの₂み₁やはも₂ Romanization (1) TAKA PÎKAR-U (2) WA-ŋGA PÎ-NÖ MÎKÔ-nö (3) YÖRÖnDU YÖ-ni (4) KUNI SIR-AS-Amasi (5) SIMA-NÖ MÎYA pa mö Glossing with Morphemic Analysis (1) high shine-ATTR (2) we-POSS sun-GEN Imperial.Prince-GEN (3) ten.thousand age-LOC (4) land rule-HON-SUBJ (5) Sima-GEN palace TOP EP Translation (5) Oh, Sima Palace, where (2) our Imperial Prince of the Sun (1) that shines highly (4) would rule the land (3) for ten thousand ages! Commentary On Sima-nö mîya ‘island palace’ (嶋宮) see the commentary to the poem 2.170. On Imperial Prince Pînamîsi (a.k.a. Kusakambë) see the commentary to the poem 1.49.

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2.172

本文・Original Text (1) 嶋宮 (2) 上池有 (3) 放鳥 (4) 荒備勿行 (5) 君不座十方 仮名の書き下し・Kana Transliteration (1) しまの₂み₁や (2) かみ₁の₂いけ₂なる (3) はなちど₂り (4) あらび₂なゆ き₁そ₂ (5) き₁み₁いまさずと₂も Romanization (1) SIMA-NÖ MÎYA (2) KAMÎ-NÖ IKË-N-AR-U (3) panatinDÖRI (4) ARAmbï NA-YUK-Î SÖ (5) KÎMÎ IMAS-AnZ-U tömo Glossing with Morphemic Analysis (1) Sima-GEN palace TOP EP (2) upper-GEN pond-LOC-exist-ATTR (3) aquatic. bird (4) be.alienated(CONV) NEG-go-CONV-do (5) lord exist(HON)-NEG-FIN CONJ Translation (3) Aquatic birds (2) from the upper pond (1) in Sima Palace (4) do not fly away in alienation (5) even if the Lord is no more. Commentary On Sima-nö mîya ‘island palace’ (嶋宮) see the commentary to the poem 2.170. On panatinDÖRI ‘aquatic bird’ see the commentary to the poem 2.170. WOJ arambï- has two meanings; a) to be in disarray, b) to be alienated (Omodaka et al. 1967: 58). The Lord is Imperial Prince Pînamîsi (a.k.a. Kusakambë) on whom see the commentary to the poem 1.49.

2.173

本文・Original Text (1) 高光 (2) 吾日皇子乃 (3) 伊座世者 (4) 嶋御門者 (5) 不荒有益乎 仮名の書き下し・Kana Transliteration (1) たかひ₁かる (2) わがひ₁の₂み₁こ₁の₂ (3) いましせば (4) しまの₂み₁かど₁ は (5) あれざらましを

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Romanization (1) TAKA PÎKAR-U (2) WA-ŋGA PÎ-NÖ MÎKÔ-nö (3) IMAS-I-s-emba (4) SIMA-NÖ MÎKAnDÔ pa (5) ARE-nZ-AR-Amasi-wo Glossing with Morphemic Analysis (1) high shine-ATTR (2) we-POSS sun-GEN Imperial.Prince-GEN (3) exist(HON)CONV-PAST.ATTR-COND (4) Sima-GEN palace TOP (5) be.desolated-NEGexist-SUBJ-ACC Translation (2) If our Imperial Prince of the Sun (1) that shines highly (3) were living (4) [his] Sima Palace (5) would not be in desolation, but … Commentary On Sima-nö mîya ‘island palace’ (嶋宮) see the commentary to the poem 2.170. On Imperial Prince Pînamîsi (a.k.a. Kusakambë) see the commentary to the poem 1.49.

2.174

本文・Original Text (1) 外尓見之 (2) 檀乃岡毛 (3) 君座者 (4) 常都御門跡 (5) 侍宿爲鴨 仮名の書き下し・Kana Transliteration (1) よ₂そ₂にみ₁し (2) まゆみ₁の₂をかも₁ (3) き₁み₁ませば (4) と₂こ₂つみ₁かど₁ と₂ (5) と₂の₂ゐするかも₁ Romanization (1) YÖSÖ n-i MÎ-si (2) Mayumî-nö WOKA mô (3) KÎMÎ [I]MAS-E-mba (4) TÖKÖtu MÎKAnDÔ tö (5) TÖNÖWI S-URU kamô Glossing with Morphemic Analysis (1) other.place DV-CONV look(CONV)-PAST.ATTR (2) Mayumî-GEN hill FP (3) lord exist(HON)-EV-CON (4) eternal-GEN/LOC palace DV (5) serve(NML) do-ATTR EP Translation (3) Since [my] lord is [there], (2/5) [I] will serve at Mayumî hills (1) which [I] viewed as a place with no connection (4) as at the eternal palace!

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Commentary On Mayumî hills see the commentary to the poem 2.167. The palace on Mayumî hills is Imperial Prince Pînamîsi’s mausoleum.

2.175

本文・Original Text (1) 夢尓谷 (2) 不見在之物乎 (3) 欝悒 (4) 宮出毛爲鹿 (5) 佐日之隈廻乎 仮名の書き下し・Kana Transliteration (1) いめ₂にだに (2) み₁ざりしも₂の₂を (3) おほほしく (4) み₁やでも₁するか (5) さひ₁の₂くまみ₂を Romanization (1) YIMË-ni ndani (2) MÎ-nZ-AR-I-si MÖNÖ-wo (3) OPOPOSI-KU (4) MÎYA[I]nDE mô S-URU ka (5) Sapî-NÖ KUMA MÏ-wo Glossing with Morphemic Analysis (1) dream-LOC RP (2) see-NEG-exist-CONV-PAST.ATTR thing-ACC (3) have. heavy.heart-CONV (4) palace go.out(NML) FP do-ATTR IP (5) Sapî-GEN bend vicinity-ACC Translation (2) [I] have not seen [it] (1) even in [my] dreams (4) that [I] will go to serve in the palace (5) along the Sapî-nö kuma (3) with a heavy heart. Commentary Sapî-nö kuma refers to an area in Asuka village. The road there leads from Sima palace to Mayumî hills. Courtiers must have gone along this road during the funeral of Imperial Prince Pînamîsi (a.k.a. Kusakambë) (Inaoka 1985: 292). The place name Sapî-nö kuma is analyzable as sa-, locative prefix, pî ‘cypress’, -nö, genitive, and kuma ‘bend’.

2.176

本文・Original Text (1) 天地與 (2) 共將終登 (3) 念乍 (4) 奉仕之 (5) 情違奴

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仮名の書き下し・Kana Transliteration (1) あめ₂つちと₂ (2) と₂も₂にをへ₂むと₂ (3) おも₂ひ₁つつ (4) つかへ₂まつり し (5) こ₂こ₂ろ₂たがひ₁ぬ Romanization (1) AMË TUTI-TÖ (2) TÖMÖ N-I WOPË-M-U tö (3) OMÖP-Î-TUTU (4) TUKAPË-MATUR-I-si (5) KÖKÖRÖ TA ŋGAP-Î-n-u Glossing with Morphemic Analysis (1) Heaven Earth-COM (2) together DV-CONV end-TENT-FIN DV (3) think-CONVCOOR (4) serve(CONV)-HUM-CONV-PAST.ATTR (5) heart differ-CONV-PERF-FIN Translation (3) While [I] was thinking (4) that [I] would serve [my lord] (1/2) until both Heaven and Earth would end, (5) [it] did not happen as [I] desired. Commentary The end of Heaven and Earth essentially means the same as the End of the World in Western tradition.

2.177

本文・Original Text (1) 朝日弖流 (2) 佐太乃岡邊尓 (3) 群居乍 (4) 吾等哭涙 (5) 息時毛無 仮名の書き下し・Kana Transliteration (1) あさひ₁てる (2) さだの₂をかへ₁に (3) むれゐつつ (4) わがなくなみ₁た (5) やむと₂き₁も₁なし Romanization (1) ASA PÎ ter-u (2) Sanda-nö WOKA pê-ni (3) MURE-WI-TUTU (4) WA-ŋGA NAK-U NAMÎTA (5) YAM-U TÖKÎ mô NA-SI Glossing with Morphemic Analysis (1) morning sun shine-ATTR (2) Sanda-GEN hill side-LOC (3) gather(CONV)exist(CONV)-COOR (4) we-POSS cry-ATTR tear (5) stop-ATTR time FP not. exist-FIN

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Translation (2) At the side of Sanda hill (1) where the morning sun is shining (4) the tears that we are shedding (3) together (5) never stop [running]. Commentary On Sanda (Sada, 佐田) hill as the location of Imperial Prince Pînamîsi (a.k.a. Kusakambë) mausoleum see the commentary to the poem 2.167.

2.178

本文・Original Text (1) 御立爲之 (2) 嶋乎見時 (3) 庭多泉 (4) 流涙 (5) 止曽金鶴 仮名の書き下し・Kana Transliteration (1) み₁たたしの₂ (2) しまをみ₁ると₂き₁ (3) にはたづみ₁ (4) ながるるなみ₁た (5) と₂め₂そ₂かねつる Romanization (1) MÎ-TAT-As-i-NÖ (2) SIMA-wo MÎ-RU TÖKÎ (3) NIPA tanDUMÎ (4) NA ŋGAR-URU NAMÎTA (5) TÖMË sö kane-t-uru Glossing with Morphemic Analysis (1) HON-stand-HON-NML-GEN (2) Sima-ACC see-ATTR time (3) garden spring (4) flow-ATTR tear (5) stop (CONV)FP NEG/POT-ATTR Translation (2) When [I] see Sima [palace] (1) where [the Imperial Prince] deigned to stand, (5) [I] cannot stop (4) tears that are flowing (3) [like] a spring [water] in the garden. Commentary The Imperial Prince is Imperial Prince Pînamîsi (a.k.a. Kusakambë) on whom see the commentary to the poem 1.49. On Sima palace ‘island palace’ (嶋宮) see the commentary to the poem 2.170. I explained previously WOJ nipa tandumî as nipa ta-n-dumî as ‘water filling gardens and paddies’ (see the commentary to the poem 19.4160), but this etymology is better abandoned because we lack the word mî ‘water’ in nipa ta-ndumî. WOJ tandumî can potentially be tandu mî ‘crane[-shaped] well’, but this is, of course, a speculative proposal.

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2.179

本文・Original Text (1) 橘之 (2) 嶋宮尓者 (3) 不飽鴨 (4) 佐田乃岡邊尓 (5) 侍宿爲尓徃 仮名の書き下し・Kana Transliteration (1) たちばなの₂ (2) しまの₂み₁やには (3) あかぬかも₁ (4) さだの₂をかへ₁に (5) と₂の₂ゐしにゆく Romanization (1) TATImBANA-NÖ (2) SIMA MÎYA-ni pa (3) AK-AN-U kamô (4) Sanda-nö WOKA PÊ-ni (5) TÖNÖWI S-I-ni YUK-U Glossing with Morphemic Analysis (1) Tatimbana-GEN (2) Sima palace-LOC TOP (3) be.satisfied-NEG-ATTR EP (4) Sanda-GEN hill side-LOC (5) serve(NML) do-NML-LOC go-FIN Translation (3) [I] could not have enough [of service] (2) in Sima palace (1) in Tatimbana! (5) [Therefore,] I am going to serve (4) at the side of Sanda hill. Commentary Tatimbana is a place name. It is the area including both western and eastern banks of Asuka river (Asukagawa, 飛鳥川) in Asuka village (Asuka mura, 明日 香村) in present-day Nara prefecture (Nakanishi 1985: 459–460). On Sima palace ‘island palace’ (嶋宮) see the commentary to the poem 2.170. Modern Japanese scholars read 不飽鴨 on line three as ak-an-e kamô vs. akan-u kamô in older commentaries (Takeda 1956.2: 500–501; Omodaka 1977.2: 311–312; Inaoka 1985: 298–299). Their major point is that lines one to three indicate the reason for lines four and five. But this modern reading is obviously ungrammatical, since the emphatic particle kamö requires an attributive and not an evidential form before it, so I follow the older tradition. On Sanda (Sada, 佐田) hill as the location of Imperial Prince Pînamîsi (a.k.a. Kusakambë) mausoleum see the commentary to the poem 2.167.

2.180

本文・Original Text (1) 御立爲之 (2) 嶋乎母家跡 (3) 住鳥毛 (4) 荒備勿行 (5) 年替左右

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仮名の書き下し・Kana Transliteration (1) み₁たたしの₂ (2) しまをも₂いへ₁と₂ (3) すむと₂りも₁ (4) あらび₂なゆき₁そ₂ (5) と₂しかはるまで Romanization (1) MÎ-TAT-As-i-NÖ (2) SIMA-wo mö IPÊ tö (3) SUM-U TÖRI mô (4) ARAmbï NA-YUK-Î SÖ (5) TÖSI KAPAR-U-MAnDE Glossing with Morphemic Analysis (1) HON-stand-HON-NML-GEN (2) Sima-ACC FP home DV (3) live-ATTR bird FP (4) be.alienated(CONV) NEG-go-CONV-do (5) year change-ATTR-TERM Translation (3) Birds who lived (2) as at home in Sima [palace], (1) where [the Imperial Prince] deigned to stand, (5) until the [new] year begins, (4) do not fly away being alienated. Commentary The Imperial Prince is Imperial Prince Pînamîsi (a.k.a. Kusakambë) on whom see the commentary to the poem 1.49. On Sima palace ‘island palace’ (嶋宮) see the commentary to the poem 2.170. WOJ arambï- has two meanings; a) to be in disarray, b) to be alienated (Omodaka et al. 1967: 58). The spelling of the terminative case marker -mande as 左右 ‘left [and] right’ is an example of a rebus writing.

2.181

本文・Original Text (1) 御立爲之 (2) 嶋之荒礒乎 (3) 今見者 (4) 不生有之草 (5) 生尓來鴨 仮名の書き下し・Kana Transliteration (1) み₁たたしの₂ (2) しまの₂ありそ₁を (3) いまみ₁れば (4) おひ₂ざりしくさ (5) おひ₂にけ₁るかも₁ Romanization (1) MÎ-TAT-As-i-NÖ (2) SIMA-NÖ AR-ISÔ-wo (3) IMA MÎ-RE-mba (4) OPÏ-nZAR-I-si KUSA (5) OPÏ-n-i-kêr-u kamô

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Glossing with Morphemic Analysis (1) HON-stand-HON-NML-GEN (2) Sima-GEN rough-rock-ACC (3) now lookEV-CON (4) grow-NEG-exist-CONV-PAST.ATTR (5) grow(CONV)-PERF-CONVRETR-ATTR EP Translation (3) When [I] look now (2) at rough rocks in Sima [palace], (1) where [the Imperial Prince] deigned to stand, (4/5) it turned out that the grass that did not grow [there, now] has grown. Commentary The Imperial Prince is Imperial Prince Pînamîsi (a.k.a. Kusakambë) on whom see the commentary to the poem 1.49. On Sima palace ‘island palace’ (嶋宮) see the commentary to the poem 2.170. The grass growing on the rocks in the palace garden symbolizes the desolation, since after the passing of the Imperial Prince there is nobody to take care of the garden and cut the grass.

2.182

本文・Original Text (1) 鳥む立 (2) 飼之鴈之兒 (3) 栖立去者 (4) 檀岡尓 (5) 飛反來年 仮名の書き下し・Kana Transliteration (1) と₂ぐらたて (2) かひ₁しかりの₂こ₁ (3) すたちなば (4) まゆみ₁の₂をかに (5) と₂び₁かへ₁りこ₂ね Romanization (1) TÖ ŋGURA TATE (2) KAP-Î-si KARI-NÖ KÔ (3) SU TAT-I-n-amba (4) Mayumî-NÖ WOKA-ni (5) TÖmB-Î-KAPÊR-I-KÖ-n-e Glossing with Morphemic Analysis (1) bird.cage raise(CONV) (2) feed-CONV-PAST.ATTR wild.goose-GEN child (3) nest leave-CONV-PERF-COND (4) Mayumî-GEN hill-LOC (5) fly -CONV-return-CONV-come-DES-IMP Translation (2) Baby wild goose, whom [I] fed (1) [in] a bird cage, (3) when [you] leave [your] nest, (5) [I] want [you] to fly back (4) to Mayumî hills.

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Commentary WOJ töŋgura ‘bird cage’ could be constructed from different materials, including wood. For more details, see the commentary to the poem 19.4154. On WOJ kari ‘wild goose’ see the commentary to the poem 15.3665. On Mayumî hills see the commentary to the poem 2.167.

2.183

本文・Original Text (1) 吾御門 (2) 千代常登婆尓 (3) 將榮等 (4) 念而有之 (5) 吾志悲毛 仮名の書き下し・Kana Transliteration (1) わがみ₁かど₁ (2) ちよ₂と₂こ₂と₂ばに (3) さかえ₂むと₂ (4) おも₂ひ₁てありし (5) あれしかなしも₁ Romanization (1) WA-ŋGA MÎKAnDÔ (2) TI YÖ TÖKÖtömba n-i (3) SAKAYE-M-U tö (4) OMÖPÎ-TE AR-I-si (5) ARE si KANASI-mô Glossing with Morphemic Analysis (1) we-POSS imperial.palace (2) thousand age eternally DV-CONV (3) flourishTENT-FIN DV (4) think-CONV-SUB exist-CONV-PAST.ATTR (5) I EP be.sad-EXCL Translation (4) Having thought that (1) our imperial palace (3) would flourish (2) for a thousand ages, (5) I am [so] sad! Commentary WOJ mîkandô primarily meant ‘court’, ‘palace’ or ‘dominion’; only in very late WOJ texts it acquires the meaning ‘emperor’. The etymology of this word is transparent: mî, honorific prefix + kandô ‘gate’. See also the commentary to the poem 15.3688.

2.184

本文・Original Text (1) 東乃 (2) 多藝能御門尓 (3) 雖伺侍 (4) 昨日毛今日毛 (5) 召言毛無

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仮名の書き下し・Kana Transliteration (1) ひ₁むかしの₂ (2) たぎ₁の₂み₁かど₁に (3) さも₁らへ₂ど₂ (4) き₁の₂ふも₁け₁ ふも₁ (5) め₁すこ₂と₂も₁なし Romanization (1) PÎMUKASI-nö (2) taŋgî-nö MÎKAnDÔ-ni (3) SAMÔRAP-Ë-nDÖ (4) KÎNÖPU mô KÊPU mô (5) MÊS-U KÖTÖ mô NA-SI Glossing with Morphemic Analysis (1) east-GEN (2) rapids-GEN palace-LOC (3) serve-EV-CONC (4) yesterday FP today FP (5) summon-ATTR word FP not.exist-FIN Translation (3) Although [I] serve (1/2) at the palace of the eastern rapids, (5) [I] was not summoned (4) neither yesterday nor today. Commentary Inaoka believes that WOJ taŋgî is ‘waterfall, rapids’ pointing out that a voiceless -k- in this word appeared only in Middle (Classical) Japanese (1985: 307), but as matter of fact both spellings takî with the voiceless -k- and taŋgî with the prenasalized voiced -ŋg- are attested in Western Old Japanese (Omodaka et al. 1967: 413). Also, it is necessary to note that the WOJ word for ‘waterfall’ was tarumî, while takî ~ taŋgî referred more to the ‘rapids’ (Omodaka et al. 1967: 413, 450–451). The palace of eastern rapids was situated on the eastern side of Sima palace.

2.185

本文・Original Text (1) 水傳 (2) 礒乃浦廻乃 (3) 石上乍自 (4) 木丘開道乎 (5) 又將見鴨 仮名の書き下し・Kana Transliteration (1) み₁なつたふ (2) いそ₁の₂うらみ₂の₂ (3) いはつつじ (4) もくさくみ₁ちを (5) またも₂み₁むかも₁ Romanization (1) MÎ-NA TUT-AP-U (2) ISÔ-nö URA MÏ-nö (3) IPA tutunzi (4) mo-ku sak-u MÎTI-wo (5) MATA MÖ MÎ-M-U kamô

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Glossing with Morphemic Analysis (1) HON-water pass.over-ITER-ATTR (2) rock-GEN bay circumference-GEN (3) rock rhododendron (4) be.overgrown-CONV bloom-ATTR road-ACC (5) again FP see-TENT-ATTR EP Translation (5) [I] wonder whether [I] would see again (3/4) the road where rhododendrons bloom luxuriantly [on] the rocks (2) from the circumference of the bay with rocks (1) on which the water passes over. Commentary WOJ mî-na ‘water’ consists of mî-, honorific prefix and na ‘water’, which appears mostly in compounds, such as na-nduk- ‘to soak in water’, mî-na-ŋ-gîpa ‘water front’, etc. There is a strong probability that this word is somehow connected to Kradai *r-nam ~ *d-nam ‘water’. On WOJ ura mï ‘bay circumference’ see the commentary to the poem 15.3627. WOJ tutunzi ‘rhododendron’ (tsutsuji, ツツジ, 躑躅) could be either an evergreen or a deciduous tree that grows in the wild in mountainous areas. It blooms with five-petal red or white flowers (Nakanishi 1985: 321). Note that the character 上 ‘top’ in the original text corresponds to no word in this poem. Thus, it is an empty graphic device. WOJ mo- means ‘to grow thick, to grow luxuriantly’.

2.186

本文・Original Text (1) 一日者 (2) 千遍参入之 (3) 東乃 (4) 大寸御門乎 (5) 入不勝鴨 仮名の書き下し・Kana Transliteration (1) ひ₁と₂ひ₁には (2) ちたび₁まゐりし (3) ひ₁むかしの₂ (4) おほき₁み₁かど₁ を (5) いりかてぬかも₁ Romanization (1) PÎTÖ PÎ-NI pa (2) TI TAmBÎ MAWI-[I]R-I-si (3) PÎMUKASI-nö (4) OPO-kî MÎKAnDÔ-wo (5) IR-I-kate-N-U kamô Glossing with Morphemic Analysis (1) one day-LOC TOP (2) thousand time go(HUM)(CONV)-enter-CONV-PAST. ATTR (3) east-GEN (4) be.great-ATTR palace-ACC (5) enter-CONV-POT-NEGATTR EP - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Translation (5) [I] wonder whether [I] could not enter (4) the great palace (3) of the East (2) that [I] entered thousand times (1) in one day. Commentary The great palace of the East is probably the same as the palace of eastern rapids situated on the eastern side of Sima palace and mentioned in the poem 2.184.

2.187

本文・Original Text (1) 所由無 (2) 佐太乃岡邊尓 (3) 反居者 (4) 嶋御橋尓 (5) 誰加住儛無 仮名の書き下し・Kana Transliteration (1) つれも₂なき₁ (2) さだの₂をかへ₁に (3) かへ₁りゐば (4) しまの₂み₁はしに (5) たれかすまはむ Romanization (1) TURE MÖ NA-KÎ (2) Sanda-nö WOKA PÊ-ni (3) KAPÊR-I-WI-mba (4) SIMA-NÖ mî-PASI-ni (5) TARE ka SUm-ap-am-u Glossing with Morphemic Analysis (1) connection FP not.exist-ATTR (2) Sanda-GEN hill side-LOC (3) return-CONVexist-COND (4) Sima-GEN HON-bridge-LOC (5) who IP live-ITER-TENT-ATTR Translation (3) If [I] return (2) to the side of Sanda hill (1) that has no connection [to me], (5) who would be living (4) at the bridge of Sima? Commentary On Sanda (Sada, 佐田) hill as the location of Imperial Prince Pînamîsi (a.k.a. Kusakambë) mausoleum see the commentary to the poem 2.167. On Sima palace ‘island palace’ (嶋宮) see the commentary to the poem 2.170. It is not quite clear what WOJ pasi ‘bridge’ refers here to. Inaoka points out that it might be either a bridge or a staircase (1985: 312). Given the existence of rapids and ponds in Sima palace, I think that the reference to a bridge is more likely.

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2.188

本文・Original Text (1) 旦覆 (2) 日之入去者 (3) 御立之 (4) 嶋尓下座而 (5) 嘆鶴鴨 仮名の書き下し・Kana Transliteration (1) あさくも₁り (2) ひ₁の₂いりゆけ₂ば (3) み₁たたしの₂ (4) しまにおりゐて (5) なげ₂き₁つるかも₁ Romanization (1) ASA KUMÔR-I (2) PÎ-NÖ IR-I-YUK-Ë-mba (3) MÎ-TAT-AS-I-NÖ (4) SIMA-ni ORI-WI-TE (5) NA ŋGËK-Î-t-uru kamô Glossing with Morphemic Analysis (1) morning be.cloudy-CONV (2) sun-GEN enter-CONV-go-EV-CON (3) HON-stand-NML-GEN (4) Sima-LOC descend(CONV)-exist(CONV)-SUB (5) lament-CONV-PERF-ATTR EP Translation (2) When the sun hides away (1) in the morning clouds, (5) [I] am lamenting (4) going down to Sima where (3) [the Imperial Prince] deigned to stand! Commentary The Imperial Prince is Imperial Prince Pînamîsi (a.k.a. Kusakambë) on whom see the commentary to the poem 1.49. On Sima palace ‘island palace’ (嶋宮) see the commentary to the poem 2.170.

2.189

本文・Original Text (1) 旦日照 (2) 嶋乃御門尓 (3) 欝悒 (4) 人音毛不爲者 (5) 真浦悲毛 仮名の書き下し・Kana Transliteration (1) あさひ₁てる (2) しまの₂み₁かど₁に (3) おほほしく (4) ひ₁と₂おと₂も₁せね ば (5) まうらかなしも₁ Romanization (1) ASA PÎ TER-U (2) SIMA-nö MÎKAnDÔ-ni (3) OPOPOSI-KU (4) PÎTÖ OTÖ mô SE-N-E-mba (5) MA-ura KANASI-mô

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Glossing with Morphemic Analysis (1) morning sun shine-ATTR (2) Sima-GEN palace-LOC (3) have.heavy.heartCONV (4) person sound FP do-NEG-EV-CON (5) INT-heart be.sad-EXCL Translation (4) Because there are no voices of people (2) in Sima palace where (1) the morning sun is shining, (3) [I] feel gloomy, and (5) [my] heart is sad! Commentary On Sima palace ‘island palace’ (嶋宮) see the commentary to the poem 2.170.

2.190

本文・Original Text (1) 真木柱 (2) 太心者 (3) 有之香杼 (4) 此吾心 (5) 鎮目金津毛 仮名の書き下し・Kana Transliteration (1) まき₂はしら (2) ふと₁き₁こ₂こ₂ろ₂は (3) ありしかど₂ (4) こ₂の₂あがこ₂こ₂ろ₂ (5) しづめ₂かねつも₁ Romanization (1) MA-KÏ PASIRA (2) PUTÔ-KÎ KÖKÖRÖ pa (3) AR-I-sika-ndö (4) KÖNÖ A-ŋGA KÖKÖRÖ (5) SInDUmë-kane-t-umô Glossing with Morphemic Analysis (1) INT-tree pillar (2) be.great-ATTR heart TOP (3) exist-CONV-PAST.EV-CONC (4) this I-POSS heart (5) get.quiet-NEG.POT-PERF-EXCL Translation (3) Although [I] had (2) the heart great (1) like a pillar from a true tree, (4) this heart of mine (5) could not become quiet! Commentary WOJ ma-kï ‘true tree’ usually refers to either a criptomeria (suŋgï, 杉) or a cypress (pî, 檜). Both were highly valued as a construction material for buildings. The overall meaning of this poem is that the author’s heart, which was unmovable like a great tree, cannot get over the passing of the Imperial Prince.

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2.191

本文・Original Text (1) 毛許呂裳遠 (2) 春冬片設而 (3) 幸之 (4) 宇陁乃大野者 (5) 所念武鴨 仮名の書き下し・Kana Transliteration (1) け₁こ₂ろ₂もを (2) と₂き₁かたまけ₂て (3) いでましし (4) うだの₂おほの₁は (5) おも₂ほえ₂むかも₁ Romanization (1) KË körömo-wo (2) TÖKÎ katamakë-TE (3) InDE-MAS-I-si (4) Unda-nö OPO NÔ pa (5) OMÖP-OYE-m-u kamô Glossing with Morphemic Analysis (1) fur garment-ACC (2) time come.close(CONV)-SUB (3) go.out(CONV)-HONCONV-PAST.ATTR (4) Unda-GEN great field TOP (5) think-PASS-TENT-ATTR EP Translation (2) When the time comes close (1) [to wear] a fur garment, (5) [I] will remember (4) the great field of Unda, (3) where [the Imperial Prince] deigned to go out [for hunting]! Commentary The majority of Japanese scholars understand kë körömö ‘fur garment’ as a permanent epithet (makura-kotoba, 枕詞) for the word 春 ‘spring’, but some take it literally (Inaoka 1985: 318). I follow the minority point of view. It is also necessary to note that the accusative case marker -wo would be a highly unusual device to connect a permanent epithet to a following word. 春冬 ‘spring [and] winter’ is a rebus writing for OJ tökî ‘time’. Unda (宇陁) refers to the area coinciding with Ōuda town (Ōuda chō, 大宇 陀町) in Ōuda city (Ōuda shi, 大宇陀市) in present-day Nara prefecture.

2.192

本文・Original Text (1) 朝日照 (2) 佐太乃岡邊尓 (3) 鳴鳥之 (4) 夜鳴變布 (5) 此年己呂乎

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仮名の書き下し・Kana Transliteration (1) あさひ₁てる (2) さだの₂をかへ₁に (3) なくと₂りの₂ (4) よ₁なき₁かへ₁らふ (5) こ₂の₂と₂しこ₂ろ₂を Romanization (1) ASA PÎ TER-U (2) Sanda-nö WOKA PÊ-ni (3) NAK-U TÖRI-NÖ (4) YÔ NAK-Î-KAP-ÊR-Ap-u (5) KÖNÖ TÖSI körö-wo Glossing with Morphemic Analysis (1) morning sun shine-ATTR (2) Sanda-GEN hill side-LOC (3) cry-ATTR birdGEN (4) night cry-CONV-change-PROG-ITER-ATTR (5) this year time-ACC Translation (2) At the side of Sanda hill, where (1) the morning sun is shining (3) singing birds (4) are continuing to cry differently in the night (5) this year. Commentary On Sanda (Sada, 佐田) hill as the location of Imperial Prince Pînamîsi (a.k.a. Kusakambë) mausoleum see the commentary to the poem 2.167. Singing birds are crying differently because they mourn the passing of Imperial Prince Pînamîsi.

2.193

本文・Original Text (1) 八多籠良我 (2) 夜晝登不云 (3) 行路乎 (4) 吾者皆悉 (5) 宮道叙爲 仮名の書き下し・Kana Transliteration (1) はたこ₁らが (2) よ₁るひ₁ると₂いはず (3) ゆくみ₁ちを (4) われはこ₂と₂ご₂ と₂ (5) み₁やぢにぞ₂する Romanization (1) patakô-ra-ŋga (2) YÔRU PÎRU tö IP-AnZ-U (3) YUK-U MÎTI-wo (4) WARE pa KÖTÖ-ŋGÖTÖ (5) MÎYA-n-DI N-I nzö S-URU Glossing with Morphemic Analysis (1) peasant-PLUR-POSS (2) night.time day.time DV say-NEG-CONV (3) go-ATTR road-ACC (4) we TOP all (5) palace-GEN-way DV-CONV FP do-ATTR

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Translation (4) We are all (5) treading the way to the palace (1/3) by the road that peasants went (2) either day or night. Commentary WOJ patakô ‘peasant’ is a hapax legomenon, but with a transparent etymology consisting of WOJ pata ‘dry field’ and kô ‘child, lad’. Palace here certainly indicates the mausoleum of Imperial Prince Pînamîsi (a.k.a. Kusakambë) on Sanda (Sada, 佐田) hill.

Postscript to the Poem 2.193

本文・Original Text 右日本紀曰三年己丑夏四月癸未朔乙未薨 Translation [As for the poem] above, the Nihonshoki says that [Imperial Prince Pînamîsi] was buried on the thirteenth day of the fourth summer lunar month in the third year [of Jitō]. Commentary The thirteenth day of the fourth summer lunar month in the third year of Jitō corresponds to May 7, 689 AD.

Preface to the Poems 2.194–195

本文・Original Text 柿本朝臣人麻呂獻泊瀬部皇女忍坂部皇子歌一首并短歌 Translation A poem presented by Kakînömötö-nö asömî Pîtömarö to Imperial Princess Patusembë and Imperial Prince Osakambë. Followed by a tanka. Commentary On Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to the poems 17.3969–3972.

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Imperial Princess Patusembë (泊瀬部皇女) is a daughter of Emperor Tenmu. According to the Shoku Nihongi (続日本紀), in the first lunar month of the first year of Reiki (靈亀, February–March 715 AD) she was given 100 houses of dependent population and granted the Fourth Princely Rank (四品). In the second lunar month of the ninth year of Tenpyō (天平, March–April 737 AD) Imperial Princess Patusembë was promoted to the Third Princely Rank (三品). She passed away in the third lunar month of the thirteenth year of Tenpyō (March–April, 741 AD) (Nakanishi 1985: 262). Imperial Prince Osakambë (忍坂部皇子) is a son of Emperor Tenmu and an elder brother of Imperial Princess Patusembë. He took an active part in the compilation of the no longer extant Teiki (帝紀) in the tenth year of Tenmu (681 AD) and of the Taihō Ritsuryō code (大寶律令) in the first year of Taihō (大寶, 701 AD). At that time Imperial Prince Osakambë had the Third Princely Rank (三品). He had quite an illustrious career marked by different high honors and important appointments. According to the Shoku Nihongi (続日本紀), Imperial Prince Osakambë passed away in the fifth lunar month of the second year of Keiun (慶雲, March–April, 705 AD).

2.194

本文・Original Text (1) 飛鳥 (2) 明日香乃河之 (3) 上瀬尓 (4) 生玉藻者 (5) 下瀬尓 (6) 流觸經 (7) 玉藻成 (8) 彼依此依 (9) 靡相之 (10) 嬬乃命乃 (11) 多田名附 (12) 柔 膚尚乎 (13) 劔刀 (14) 於身副不寐者 (15) 烏玉乃 (16) 夜床母荒良無 一云 阿礼奈牟 (17) 所虚故 (18) 名具鮫兼天 (19) 氣田敷藻 (20) 相屋常念而 一 云公毛相哉登 (21) 玉垂乃 (22) 越能大野之 (23) 旦露尓 (24) 玉裳者埿打 (25) 夕霧尓 (26) 衣者沾而 (27) 草枕 (28) 旅宿鴨爲留 (29) 不相君故 仮名の書き下し・Kana Transliteration (1) と₂ぶと₂りの₂ (2) あすかの₂かはの₂ (3) かみ₁つせに (4) おふるたまも は (5) しも₁つせに (6) ながれふらばふ (7) たまもなす (8) かよ₂りかくよ₂り (9) なび₁かひ₁し (10) つまの₂み₁こ₂と₂の₂ (11) たたなづく (12) にき₁はだすら を (13) つるき₁たち (14) み₂にそ₁へ₂ねねば (15) ぬばたまの₂ (16) よ₁と₂こ₂も₂ あるらむ 一云あれなむ (17) そ₂こ₂ゆゑに (18) なぐさめ₂かねて (19) け₂だし くも (20) あふやと₂おも₂ひ₁て 一云き₁み₁も₁あふやと₂ (21) たまだれの₂ (22) を ちの₂おほの₁の₂ (23) あさつゆに (24) たまも₁はひ₁づち (25) ゆふき₂りに (26) こ₂ろ₂も₂はぬれて (27) くさまくら (28) たび₁ねかも₁する (29) あはぬき₁ み₁ゆゑ

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Romanization (1) TÖmB-U TÖRI-NÖ (2) Asuka-nö KAPA-NÖ (3) KAMÎ-TU SE-ni (4) OP-URU TAMA MO pa (5) SIMÔ-TU SE-ni (6) NA ŋGARE-PURAmBAp-u (7) TAMA MO-nasu (8) KA YÖR-I KA-KU YÖR-I (9) NAmBÎK-ap-î-si (10) TUMA n-ö MÎKÖTÖ-nö (11) tata-nan-duk-u (12) NIKÎ PAnDA-SURA-wo (13) TURUKÎ TATI (14) MÏ-NI SÔPË NE-N-E-mba (15) numba TAMA-nö (16) YÔ TÖKÖ mö AR-Uram-u variant: aren-am-u (17) sökö YUWE N-I (18) naŋgusamë-kane-te (19) këndasiku mo (20) AP-U ya tö OMÖP-Î-TE variant: kîmî mô AP-U YA tö (21) TAMA-n-DARE-nö (22) Woti-nö OPO NÔ-NÖ (23) ASA TUYU-ni (24) TAMA MÔ pa pîndut-i (25) YUPU KÏRI-ni (26) KÖRÖMÖ pa NURE-TE (27) KUSA MAKURA (28) TAmBÎ NE kamô S-Uru (29) AP-AN-U KÎMÎ YUWE Glossing with Morphemic Analysis (1) fly-ATTR bird-GEN (2) Asuka-GEN river-GEN (3) upper-GEN/LOC rapidsLOC (4) grow-ATTR pearl seaweed TOP (5) lower-GEN/LOC rapids-LOC (6) flow(CONV)-touch-ATTR (7) pearl seaweed-COMP (8) thus approachCONV this.way approach-CONV (9) recline-ITER-CONV-PAST.ATTR (10) spouse DV-ATTR deity-GEN (11) pearl-face-attach-ATTR (12) soft skin-RP-ACC (13) double.edge.sword long.sword (14) body-LOC follow(CONV) sleep-NEG-EV-CON (15) pitch-black jade-COMP (16) night bed FP be.in disarray-TENT2-FIN variant: be.in.disarray(CONV)-PERF-TENT-FIN (17) there reason DV-CONV (18) console(CONV)NEG.POT(CONV)-SUB (19) probably FP (20) meet-FIN IP DV think-CONV-SUB variant: lord FP meet-FIN IP DV (21) jade-GEN-hang(NML)-GEN (22) Woti-GEN great field-GEN (23) morning dew-LOC (24) jade skirt TOP be.wet-CONV (25) evening fog-LOC (26) garment TOP be.wet(CONV)-SUB (27) grass head.rest (28) journey sleep(NML) EP do-ATTR (29) meet-NEG-ATTR lord reason Translation (4) Pearl seaweed that grow (3) in the upper rapids (2) of Asuka river, (1) where birds fly, (6) flow down (5) to the lower rapids. (14) Because [you] do not sleep clinging close to [his] body (13) [like] a double edge sword and a long sword (11) to the pearl face and (12) soft skin (10) [of your] deity spouse (9) towards whom [you] reclined (7) like pearl seaweed (8) this way and that way, (15/16) [your] bed in the night dark like a pitch-black jade would be in disarray variant: has probably been in disarray. (17) For that reason (18) [you] could have no consolation, and (19) probably (20) thinking: “Will [I] meet [him]?” variant: thinking: “Will [I] meet [my] lord?” (24) [you make your] jade[-like] skirt wet (23) in the morning dew (22) at the great field of Woti, (21) where jades are hanging, and (26) [you make your] garments wet (25) in the evening fog. (29) Because of [your] lord

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whom [you] do not meet (28) [you] will sleep on a journey (27) [using] grass as the headrest. Commentary On tömb-u töri (飛鳥) ‘flying bird’ and Asuka see the commentary to the poem 2.167. Asuka river originates in dry fields on Takatori mountain (高取山, 584 m) in present-day Nara prefecture, circles western foothills of Inafuti mountain (稲淵山), then flows to the northwest of the ruins of Fujiwara capital and joins Yamato river (大和川) (Nakanishi 1985: 416). The standard explanation of WOJ tata-nan-duk- in line eleven is ‘to fold up’, the same as tatanapar- (Inaoka 1985: 328), attested, for example, in the poem 1.38. Even leaving aside the obvious phonetic difficulties of such an equation, the image of a folded soft skin is unlikely to be very aesthetically appeasing. I believe that we might be dealing here with a very old loan from Ainu, cf. Ainu taktak ‘jade’ and nan ‘face’ (Chiri 1956: 63, 128). The cluster -kt- is expected to be simplified in Old Japanese to -t-, but it apparently blocked the expected intervocalic voicing -t- > -nd- in the recipient language. Since no codas except -y are allowed by Old Japanese phonotactic rules, Ainu taktak > OJ tata is absolutely uncontroversial. The remaining -duk- in WOJ is, of course, of Japonic provenance: tuk- ‘to attach’. On WOJ turukî ‘double edge sword’ and tati ‘long sword’ see the commentary to the poem 5.804. On numba tama ‘pitch-black jade’ see the commentary to the poem 15.3598. On the rebus writing of numba ‘pitch-black’ as 烏 ‘raven’ see the commentary to the poem 2.169. WOJ tama-n-dare-nö ‘of the hanging jades’ on line twenty-one is considered to be a permanent epithet (makura-kotoba, 枕詞) for the place name Woti. Why any jade would be hanging in Woti remains unclear. Woti (越, 越智) refers to the area around Takatori town (Takatori chō, 高取 町) in present-day Nara prefecture (Nakanishi 1985: 499).

Preface to the Poem 2.195

本文・Original Text 反歌一首 Translation An envoy.

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Commentary This envoy is to the chōka 2.194.

2.195

本文・Original Text (1) 敷妙乃 (2) 袖易之君 (3) 玉垂之 (4) 越野過去 (5) 亦毛將相八方一云 乎知野尓過奴

仮名の書き下し・Kana Transliteration (1) しき₁たへ₂の₂ (2) そ₁でかへ₂しき₁み₁ (3) たまだれの₂ (4) をちの₁すぎ₂ゆ く (5) またも₁あはめ₂やも一云をちの₁にすぎ₂ぬ Romanization (1) SIK-Î TAPË-nö (2) SÔnDE KAPË-si KÎMÎ (3) TAMA-n-DARE-NÖ (4) Woti NÔ SU ŋGÏ-YUK-U (5) MATA mô AP-AM-Ë ya mo variant: Woti NÔ-ni SU ŋGÏ-n-u Glossing with Morphemic Analysis (1) spread-NML mulberry.tree.bark.cloth-GEN (2) sleeve exchange(CONV)PAST.ATTR lord (3) jade-GEN-hang(NML)-GEN (4) Woti field pass(CONV)-goFIN (5) again FP meet-TENT-EV IP EP variant: Woti field-LOC pass(CONV)-PERF-FIN Translation (2) [Your] lord with whom [you] exchanged sleeves (1) [made] from the spread mulberry tree bark cloth [as a head rest] (4) passed Woti field variant: passed at Woti field (3) where jades are hanging. (5) Will [you] meet [him] again? [— Certainly not!] Commentary On sik-î tapë-nö ‘of/like the spread mulberry tree bark cloth’ see the commentary to 5.509, and on tapë ‘cloth of the mulberry tree bark’ see the commentary to 15.3607 and 15.3587. On WOJ tama-n-dare-nö ‘of the hanging jades’ see the commentary to the poem 2.194. On Woti (越, 越智, 乎知) see the commentary to the poem 2.194. The variant line is for line four, although in all manuscripts it is somewhat confusingly placed after line five. Line five with -am-ë ya mö construction represents an irony question (hango, 反語), a question in the positive that anticipates a negative answer, and vice versa. - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Postscript to the Poem 2.195

本文・Original Text 右或本曰葬河嶋皇子越智野之時獻泊瀬部皇女歌也日本紀云朱鳥五 年辛卯秋九月己巳朔丁丑浄大参皇子川嶋薨 Translation [As for the poem] above, a certain book says: “When Imperial Prince Kapasima was buried at Woti field, [Kakînömötö-nö asömî Pîtömarö] presented [this poem] to Imperial Princess Patusembë”. The Nihongi5 says: “Imperial Prince Kapasima passed away [having] 9th Princely Rank (Jōdaisan, 浄大参) on the ninth day of the autumn ninth lunar month of the fifth year of Shuchō (朱鳥)”. Commentary On Imperial Prince Kapasima (河嶋皇子) and his biography see the commentary to the poem 1.34. On Woti (越, 越智, 乎知) see the commentary to the poem 2.194. On Imperial Princess Patusembë (泊瀬部皇女) see the commentary to the preface to the poems 2.194–195. The fifth year of Shuchō (朱鳥) is the same as the fifth year of Jitō (持統). The ninth day of the autumn ninth lunar month of the fifth year of Shuchō corresponds to October 6, 691 AD. On the system of Princely Ranks introduced in the fourteenth year of Tenmu (685 AD) see the introduction to book nineteen of the Man’yōshū (Vovin 2018a: 15).

Preface to the Poems 2.196–198

本文・Original Text 明日香皇女木 ら 殯宮之時柿本朝臣人麻呂作歌一首并短歌 Translation A poem composed by Kakînömötö-nö asömî Pîtömarö when the remains of the Imperial Princess Asuka were placed into a temporary coffin in [her] mausoleum at Kïnöpë. Followed by [two] tanka.

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Commentary Imperial Princess Asuka (明日香皇女) is a daughter of Emperor Tenji and a wife of Imperial Prince Osakambë. She was born in the first lunar month of the seventh year of Tenji (February–March 668 AD) and passed away in the fourth lunar month of the fourth year of Monmu (April–May 700 AD) with the 12th Princely Rank (Jōkōshi, 浄廣肆) (Nakanishi 1985: 194). The location of Kïnöpë (木 ら , 城上) is not quite clear. There are different hypotheses placing it in the vicinity of either Kita Katsuragi town (Kita Katsuragi chō, 北葛城町) or Asuka village (明日香村), etc. in present-day Nara prefecture (Nakanishi 1985: 441). On Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to the poems 17.3969–3972.

2.196

本文・Original Text (1) 飛鳥 (2) 明日香乃河之 (3) 上瀬 (4) 石橋渡一云石浪 (5) 下瀬 (6) 打 橋渡 (7) 石橋一云石浪 (8) 生靡留 (9) 玉藻毛叙 (10) 絶者生流 (11) 打橋 (12) 生乎爲礼流 (13) 川藻毛叙 (14) 干者波由流 (15) 何然毛 (16) 吾王 能 (17) 立者 (18) 玉藻之母許呂 (19) 臥者 (20) 川藻之如久 (21) 靡相之 (22) 宜君之 (23) 朝宮乎 (24) 忘賜哉 (25) 夕宮乎 (26) 背賜哉 (27) 宇都曽 臣跡 (28) 念之時 (29) 春部者 (30) 花折挿頭 (31) 秋立者 (32) 黄葉挿頭 (33) 敷妙之 (34) 袖携 (35) 鏡成 (36) 雖見不猒 (37) 三五月之 (38) 益目頬 染 (39) 所念之 (40) 君與時々 (41) 幸而 (42) 遊賜之 (43) 御食向 (44) 木  ら 之宮乎 (45) 常宮跡 (46) 定賜 (47) 味澤相 (48) 目辞毛絶奴 (49) 然有 鴨一云所己乎之毛 (50) 綾尓憐 (51) 宿兄鳥之 (52) 片戀嬬一云爲乍 (53) 朝鳥 一云朝霧 (54) 徃來爲君之 (55) 夏草乃 (56) 念之萎而 (57) 夕星之 (58) 彼 徃此去 (59) 大船 (60) 猶預不定見者 (61) 遣悶流 (62) 情毛不在 (63) 其 故 (64) 爲便知之也 (65) 音耳母 (66) 名耳毛不絶 (67) 天地之 (68) 弥遠 長久 (69) 思將徃 (70) 御名尓懸世流 (71) 明日香河 (72) 及万代 (73) 早布 屋師 (74) 吾王乃 (75) 形見何此焉 仮名の書き下し・Kana Transliteration (1) と₂ぶと₂りの₂ (2) あすかの₂かはの₂ (3) かみ₁つせに (4) いしばしわたし 一云いしなみ₁ (5) しも₁つせに (6) うちはしわたす (7) いしばしに一云いしなみ₁ に (8) おひ₂なび₁け₁る (9) たまもも₁ぞ₂ (10) たゆればおふる (11) うちはしに (12) おひ₂をゐれる (13) かはもも₁ぞ₂ (14) かるればはゆる (15) なにしかも₁ (16) わがおほき₁み₁の₂ (17) たたせば (18) たまもの₂も₂こ₂ろ₂ (19) こ₂やせば (20) かはもの₂ご₂と₂く (21) なび₁かひ₁し (22) よ₂ろ₂しき₁き₁み₁が (23) あさみ₁

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やを (24) わすれたまふや (25) ゆふみ₁やを (26) そ₂むき₁たまふや (27) う つそ₂み₁と₂ (28) おも₂ひ₁しと₂き₁に (29) はるへ₁には (30) はなをりかざし (31) あき₁たてば (32) も₁み₁ちばかざし (33) しき₁たへ₂の₂ (34) そ₁でたづさは り (35) かがみ₁なす (36) み₁れど₂も₂あかず (37) もちづき₂の₂ (38) いやめ₂ づらしみ₁ (39) おも₂ほしし (40) き₁み₁と₂と₂き₁ど₂き₁ (41) いでまして (42) あ そ₁び₁たまひ₁し (43) み₁け₁むかふ (44) き₂の₂へ₂の₂み₁やを (45) と₂こ₂み₁ やと₂ (46) さだめ₂たまひ₁て (47) あぢさはふ (48) め₂こ₂と₂も₁たえ₂ぬ (49) し かれかも₁一云そ₂こ₂をしも₁ (50) あやにかなしみ₁ (51) ぬえ₂ど₂りの₂ (52) かた こ₁ひ₂づま一云しつつ (53) あさと₂りの₂一云あさき₂りの₂ (54) かよ₁はすき₁み₁が (55) なつくさの₂ (56) おも₂ひ₁しなえ₂て (57) ゆふつづの₂ (58) かゆき₁か くゆき₁ (59) おほふねの₂ (60) たゆたふみ₁れば (61) なぐさもる (62) こ₂こ₂ ろ₂も₁あらず (63) そ₂こ₂ゆゑに (64) せむすべ₁しれや (65) おと₂の₂み₂も₂ (66) なの₂み₂もたえ₂ず (67) あめ₂つちの₂ (68) いやと₂ほながく (69) しの₁ ひ₁ゆかむ (70) み₁なにかかせる (71) あすかがは (72) よ₂ろ₂づよ₂までに (73) はしき₁やし (74) わがおほき₁み₁の₂ (75) かたみ₁にこ₂こ₂を Romanization (1) TÖmB-U TÖRI-NÖ (2) Asuka-nö KAPA-NÖ (3) KAMÎ-TU SE-ni (4) ISImBASI WATAS-I variant: ISINAMÎ (5) SIMÔ-TU SE-ni (6) UTIPASI WATAS-U (7) ISImBASI-NI variant: ISINAMÎ-NI (8) OPÏ-NAmBÎK-Er-u (9) TAMA MO mô nzö (10) TAY-URE-mba OP-Uru (11) UTIPASI-NI (12) OPÏ-wowir-er-u (13) KAPA MO mô nzö (14) KAR-URE-mba pay-uru (15) NANI SIKA mô (16) WA-ŋGA OPO KÎMÎ-nö (17) TAT-AS-E-mba (18) TAMA MO-NÖ mökörö (19) KÖY-AS-E-mba (20) KAPA MO-NÖ ŋGÖTÖ-ku (21) NAmBÎK-AP-Î-si (22) YÖRÖSI-KÎ KÎMÎ-ŋGA (23) ASA MÎYA-wo (24) WASURE-TAMAP-U YA (25) YUPU MÎYA-wo (26) SÖMUK-Î-TAMAP-U YA (27) utu sömî tö (28) OMÖP-Î-si TÖKÎ-NI (29) PARU pê-NI pa (30) PANA WOR-I KAnZAS-I (31) AKÎ TAT-E-mba (32) MÔMÎT-I-m-BA KAnZAS-I (33) SIK-Î-TAPË-NÖ (34) SÔnDE TAnDUSAPAR-I (35) KA ŋGAMÎ-nasu (36) MÎ-RE-nDÖMÖ AK-AnZ-U (37) MOTInDUKÏ-NÖ (38) IYA mëndurasimî (39) OMÖP-OS-I-si (40) KÎMÎ-TÖ TÖKÎ-nDÖKÎ (41) InDE-MAS-I-TE (42) ASÔmB-Î-TAMAP-Î-si (43) MÎ-KË-MUKAP-U (44) Kïnöpë-NÖ MÎYA-wo (45) TÖKÖ MÎYA tö (46) SAnDAMË-TAMAP-Î-TE (47) andi sapap-u (48) MË KÖTÖ mô TAYE-n-u (49) SIKAR-E kamô variant: sökö-wo si mô (50) aya n-i KANASI-MÎ (51) nuye-n-DÖRI-NÖ (52) kata KÔPÏ-n-DUMA variant: kata KÔPÏ S-I-TUTU (53) ASA TÖRI-NÖ variant: ASA KÏRI-NÖ (54) KAYÔP-As-u KÎMÎ-ŋGA (55) NATU KUSA-nö (56) OMÖP-Î-siNAYE-TE (57) YUPU-TU nDU-NÖ (58) KA YUK-Î KA-KU YUK-Î (59) OPO PUNE-NÖ (60) TAYUTAP-U MÎ-RE-mba (61) NA ŋGUSAmor-u (62) KÖKÖRÖ mô AR-AnZ-U (63) SÖKÖ YUWE N-I (64) SE-M-U SUmBÊ SIR-E ya (65) OTÖ NÖMÏ mö (66) NA NÖMÏ mô TAYE-nZ-U (67) AMË TUTI-NÖ (68) IYA TÖPO NA ŋGA-ku (69) SINÔP-Î-YUK-AM-U (70) MÎ-NA-ni KAK-As-er-u

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(71) Asuka-ŋGAPA (72) YÖRÖnDU YÖ-MAnDE-NI (73) pasi-kî ya-si (74) WA-ŋGA OPO KÎMÎ-nö (75) KATAMÎ n-i KÖKÖ-wo Glossing with Morphemic Analysis (1) fly-ATTR bird-GEN (2) Asuka-GEN river-GEN (3) upper-GEN/LOC shallowsLOC (4) stepping.stone cross-CONV variant: stepping.stone (5) lower-GEN/LOC shallows-LOC (6) wooden.board.bridge cross-FIN (7) stepping.stone-LOC variant: stepping.stone-LOC (8) grow(CONV)-recline-PROG-ATTR (9) pearl seaweed FP FP (10) break-EV-CON grow-ATTR (11) wooden.board.bridge-LOC (12) grow(CONV)-bend-PROG-ATTR (13) river seaweed FP FP (14) dry-EV-CON grow-ATTR (15) what thus FP (16) we-POSS great lady-GEN (17) stand-HON-EVCON (18) pearl seaweed-GEN like (19) lie.down-HON-EV-CON (20) river seaweedGEN be.like-CONV (21) recline-ITER-CONV-PAST.ATTR (22) be.good-ATTR lady-POSS (23) morning palace-ACC (24) forget(CONV)-HON-FIN IP (25) evening palace-ACC (26) turn.one’s.back.on-CONV-HON-FIN IP (27) ephemeral cicada DV (28) think-CONV-PAST.ATTR time-LOC (29) spring side-LOC TOP (30) flower break-CONV decorate-CONV (31) autumn rise-EV-CON (32) leaves. turn.red. or.yellow-NML-DV(ATTR)-leaf (33) spread-CONV-mulberry.tree. bark.cloth-GEN (34) sleeve touch-CONV (35) mirror-COMP (36) look-EVCONC be.satisfied-NEG-FIN (37) full.moon-COMP (38) more.and.more be.attractive-GER (39) think-HON-CONV-PAST.ATTR (40) lord-COM time-time (41) go.out(CONV)-HON-CONV-SUB (42) enjoy-CONV-HON-CONV-PAST. ATTR (43) HON-food-face-ATTR (44) Kïnöpë-GEN palace-ACC (45) eternal palace DV (46) establish(CONV)-HON-CONV-SUB (47) teal stop-ATTR (48) eye speech FP break(CONV)-PERF-FIN (49) be.thus-EV EP variant: there-ABS EP EP (50) strange DV-CONV be.sad-GER (51) nuye-DV(ATTR)-bird-COMP (52) one love(NML)GEN-spouse variant: one love(NML) do-CONV-COOR (53) morning bird-COMP variant: morning fog-COMP (54) go.back.and.forth-HON-ATTR lord-POSS (55) summer grass-COMP (56) love-CONV-whither(CONV)-SUB (57) evening-GEN/LOC star-COMP (58) be.thus go-CONV be.thus-CONV go-CONV (59) big boat-COMP (60) roll-ATTR see-EV-CON (61) cheer.up-ATTR (62) feeling FP exist-NEG-FIN (63) there reason DV-CONV (64) do-TENT-ATTR way know-EV IP (65) sound RP FP (66) name RP FP break-NEG-FIN (67) Heaven Earth-COMP (68) more.and. more far be.long-CONV (69) long.for-CONV-go-TENT-FIN (70) HON-name-LOC hang-HON-PROG-ATTR (71) Asuka-river (72) ten.thousand age-TERM-LOC (73) be.lovely-ATTR be.good-FIN (74) we-POSS great lady-GEN (75) keepsake DV-CONV here-ACC

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Translation (4) [They] placed stepping stones across (3) the upper shallows (2) of Asuka river (1) where birds fly, and (6) [they] placed wooden bridge (5) across [its] lower shallows. (9) Pearl seaweed (8) that grow reclining (7) at the stepping stones, (10) [they] grow [again] when [one] breaks [them]. (13) River seaweed (12) that grow bending (11) at the wooden bridge, (14) [they] grow [again] when [they] dry up. (15) Therefore, why (16) our Great Lady, (22) Good Lady (19) who was lying down (18) like pearl seaweed (21) and constantly reclining (20) like river seaweed (17) when [she] was standing, (24) forgot about (23) [her] morning palace [audience] and (26) turned her back on (25) [her] evening palace [audience]? (28) At the time when [she] thought (27) as a person of this world, (30) [she] broke off flowers and decorated [her hair with them] (29) in the spring, and (32) with the red and yellow leaves (31) in the autumn, (34) exchanging the sleeves (33) of the spread cloth from the mulberry tree bark, (41) [she] went out and (42) enjoyed herself (40) now and then with the lord (39) whom [she] thought (38) to be more and more attractive (37) like the full moon (35/36) which [one] cannot watch enough as if looking at the mirror. (46) Establishing (44) Kïnöpë palace (43) where the imperial food is served (45) as [her] eternal palace, and (48) her looks and words stopped (47) like a teal caught in the meshes of a net. (49) Because this is so, (50) [it] is strangely sad, and (54) the lord who goes back and forth (53) like a morning bird variant: like morning fog (52) with an unrequited love for [his] spouse variant: suffering constantly from an unrequited love (51) like a nuye bird, (56) withers from love (55) like summer grass, and (58) goes here and there (57) like an evening star. (60) Seeing [the lord] rolling (59) like a big boat, (62) [we] are in no mood (61) for cheering up. (63) For this reason, (64) will [we] know what to do? [—Certainly not!] (66) Only [her] name remains (65) in stories, (69) and [we] will long for [her] (68) more and more as long (67) as Heaven and Earth [exist]. (71) Asuka river (70) that bears [her] name (75) [will serve] here as a keepsake (74) of our Great Lady (72) who is lovely and good (73) for ten thousand ages. Commentary On tömb-u töri (飛鳥) ‘flying bird’ and Asuka see the commentary to the poem 2.167. On Asuka river see the commentary to the poem 2.194. WOJ isimbasi (石橋, lit. ‘stone bridge’) or isinami (石浪, lit. ‘stone waves’) is a crossing of a river or a pond made from flat stepping stones. WOJ utipasi (打橋) is a bridge made of wooden boards. It was possible to put stepping stones in the relatively shallow upper reaches of a river, but the construction of a bridge was necessary in the deeper lower reaches.

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Line eight is hypometric ( ji tarazu, 字足らず). Since this poem deals with Imperial Princess Asuka, I gloss and translate WOJ kîmî ‘lord’ as ‘lady’, except on lines forty and fifty-four, where it refers to Imperial Prince Osakambë, the husband of Imperial Princess Asuka. On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to the poem 5.794. Line seventeen is hypometric ( ji tarazu, 字足らず). Line nineteen is hypometric ( ji tarazu, 字足らず). WOJ ŋgötö ‘like’ is probably a combination of the reduced form -ŋ of the genitive case marker -nö and the word kötö ‘like’, borrowed from otherwise unattested OK predecessor of MK kʌt- ‘be like’. Here the reduced form -ŋ of the genitive case marker -nö must have been already lexicalized, because it is preceded by another genitive marker -nö. On OJ utu semî ‘ephemeral cicada’ see the commentary to 15.3617 and 14.3456. WOJ sömî ‘cicada’6 is a phonetic (dialectal?) variant of OJ semî ‘id.’ OJ pana ‘flowers’ on line thirty refers to plum blossoms, which were the primary object of admiration during the Asuka and Nara periods, unlike the following Heian periods when this function was transferred to sakura blossoms, which stayed in this capacity up to the present day. On Kïnöpë see the commentary to the preface to the poems 2.196–198. WOJ mî-kë-mukap-u ‘serving imperial food’ is considered to be a permanent epithet (makura-kotoba, 枕詞) for the place name Kïnöpë (Inaoka 1985: 340). Imperial food included such items as kï ‘onions’, andi ‘teals’, mîna ‘snails’, apa ‘millet’, and kï7 ‘rice wine’, therefore Inaoka speculated that the phonetic resemblance to the syllable /kï/ was the basis for this permanent epithet (1985: 340). WOJ tökö mîya ‘eternal palace’ is, of course, a metaphor for a grave. WOJ andi sapap-u ‘to stop a teal’ is considered to be a permanent epithet (makura-kotoba, 枕詞) for the word më ‘mesh of a net’ that is homophonous to WOJ më ‘eye’ (Inaoka 1985: 340). On WOJ nuye ‘golden mountain thrush’ see the commentary to the poem 5.892. On WOJ yupu-tundu ‘evening star’ see the commentary to the poem 5.904. As suggested in the glossing above, the word may actually be just ndu, with -tu representing a genitive-locative marker. If so, it may be somehow connected 6  Not listed in Omodaka et al. (1967). 7  On WOJ kï ‘rice wine’ having otsu-rui vowel /ï/ rather that kō-rui /î/ see Murayama (1988: 251–252).

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to Thai daaw3 ‘star’, cf. also PAN *bintuhǝn ‘id.’, although this proposal is, of course, highly speculative. On WOJ katamî ‘keepsake’ see the commentary to the poem 15.3596.

Preface to the Poems 2.197–198

本文・Original Text 短歌二首 Translation Two tanka [envoys]. Commentary These envoys are to the chōka 2.196.

2.197

本文・Original Text (1) 明日香川 (2) 四我良美渡之 (3) 塞益者 (4) 進留水母 (5) 能杼尓賀有 萬思一云水乃 (5) 與杼尓加有益 仮名の書き下し・Kana Transliteration (1) あすかがは (2) しがらみ₁わたし (3) せかませば (4) ながるるみ₁づも₂ (5) の₂ど₂にかあらまし一云み₁づの₂ (5) よ₂ど₂にかあらまし Romanization (1) Asuka-ŋGAPA (2) siŋgaram-î WATAs-i (3) SEK-Amas-emba (4) NA ŋGAR-Uru MÎnDU mö (5) nöndö n-i ka AR-Amasi variant: MÎnDU -nö (5) yöndö n-i ka AR -Amasi Glossing with Morphemic Analysis (1) Asuka-river (2) dam-NML put.across-CONV (3) block-SUBJ-COND (4) flowATTR water FP (5) calm DV-CONV IP exist-SUBJ variant: water-GEN (5) stagnant.pool

DV-CONV exist-SUBJ

Translation (3) If [they] were to block (1) Asuka river (2) putting a dam across, (4/5) would the flowing water be still, too? Variant: would the water be a stagnant pool?

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Commentary On Asuka river see the commentary to the poem 2.194. WOJ siŋgaramî ‘dam’ is a nominalization of the verb siŋgaram- ‘to dam’.

2.198

本文・Original Text (1) 明日香川 (2) 明日谷一云左倍將見等 (3) 念八方一云念香毛 (4) 吾王 (5) 御名忘世奴一云御名不所忘 仮名の書き下し・Kana Transliteration (1) あすかがは (2) あすだに一云さへ₂み₁むと₂ (3) おも₂へ₂やも一云おも₂へ₂か も₁ (4) わがおほき₁み₁の₂ (5) み₁なわすれせぬ一云み₁なわすらえ₂ぬ Romanization (1) Asuka-ŋGAPA (2) ASU ndani variant: sapë MÎ-M-U tö (3) OMÖP-Ë ya mo variant: OMÖP-Ë kamô (4) WA-ŋGA OPO KÎMÎ-NÖ (5) MÎ-NA WASURE se-n-u variant: MÎ-NA WASUR-AYE-N-U

Glossing with Morphemic Analysis (1) Asuka-river (2) tomorrow RP variant: RP see-TENT-FIN DV (3) think-EV IP EP variant: think-EV EP (4) we-POSS great lady-GEN (5) HON-name forget(NML) doNEG-ATTR variant: HON-name forget-PASS-NEG-ATTR Translation (3) I wonder (2) whether [I] will see just tomorrow variant: tomorrow as well (1) Asuka river? (5) [I] will never forget the name variant: [I] will not be able to forget the name (4) of our Great Lady. Commentary On Asuka river see the commentary to the poem 2.194. On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to the poem 5.794. Unlike modern Japanese, Western Old Japanese differentiates between wasur- ‘to forget intentionally’ and wasure- ‘to forget unintentionally’.

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Preface to the Poems 2.199–201

本文・Original Text 高市皇子尊城上殯宮之時柿本朝臣人麻呂作歌一首并短歌 Translation A poem composed by Kakînömötö-nö asömî Pîtömarö when the remains of the Imperial Prince Takëti were placed into a temporary coffin in [his] mausoleum at Kïnöpë. Followed by [two] tanka. Commentary On Imperial Prince Takëti (高市皇子) and his biography see the commentary to the poem 2.114. On Kïnöpë see the commentary to the preface to the poems 2.196–198. On Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to the poems 17.3969–3972.

2.199

本文・Original Text (1) 挂文 (2) 忌之伎鴨 (3) 言久母 (4) 綾尓畏伎 (5) 明日香乃 (6) 真神之原 尓 (7) 久堅能 (8) 天都御門乎 (9) 懼母 (10) 定賜而 (11) 神佐扶跡 (12) 磐 隱座 (13) 八隅知之 (14) 吾大王乃 (15) 所聞見爲 (16) 背友乃國之 (17) 真 木立 (18) 不破山越而 (19) 狛劔 (20) 和射見我原乃 (21) 行宮尓 (22) 安母 理座而 (23) 天下 (24) 治賜 (25) 食國乎 (26) 定賜等 (27) 鷄之鳴 (28) 吾妻 乃國之 (29) 御軍士乎 (30) 喚賜而 (31) 千磐破 (32) 人乎和爲跡 (33) 不奉 仕 (34) 國乎治跡 (35) 皇子随 (36) 任賜者 (37) 大御身尓 (38) 大刀取帶 之 (39) 大御手尓 (40) 弓取持之 (41) 御軍士乎 (42) 安騰毛比賜 (43) 齊 流 (44) 皷之音者 (45) 雷之 (46) 聲登聞麻ಪ  (47) 吹響流 (48) 小角乃音 母 (49) 敵見有 (50) 虎可𠮧吼登 (51) 諸人之 (52) 恊流麻ಪ 尓 (53) 指擧 有 (54) 幡之麾者 (55) 冬木成 (56) 春去來者 (57) 野毎 (58) 著而有火之 (59) 風之共 (60) 靡如久 (61) 取持流 (62) 弓波受乃驟 (63) 三雪落 (64) 冬 乃林尓 (65) 飄可毛 (66) 伊巻渡等 (67) 念麻ಪ (68) 聞之恐久 (69) 引 放 (70) 箭之繁計久 (71) 大雪乃 (72) 乱而來礼 (73) 不奉仕 (74) 立向之 毛 (75) 露霜之 (76) 消者消倍久 (77) 去鳥乃 (78) 相競端尓 (79) 渡會之 (80) 齋宮従 (81) 神風尓 (82) 伊吹或之 (83) 天雲乎 (84) 日之目毛不令 見 (85) 常闇尓 (86) 覆賜而 (87) 定之 (88) 水穂之國乎 (89) 神随 (90) 太 敷座而 (91) 八隅知之 (92) 吾大王之 (93) 天下 (94) 申賜者 (95) 萬代尓

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(96) 然之毛將有登 (97) 木綿花乃 (98) 榮時尓 (99) 吾大王 (100) 皇子之 御門乎 (101) 神宮尓 (102) 装束奉而 (103) 遣使 (104) 御門之人毛 (105) 白 妙乃 (106) 麻衣著 (107) 埴安乃 (108) 御門之原尓 (109) 赤根刺 (110) 日 之盡 (111) 鹿自物 (112) 伊波比伏管 (113) 烏玉能 (114) 暮尓至者 (115) 大殿 乎 (116) 振放見乍 (117) 鶉成 (118) 伊波比廻 (119) 雖侍候 (120) 佐母良比 不得者 (121) 春鳥之 (122) 佐麻欲比奴礼者 (123) 嘆毛 (124) 未過尓 (125) 憶毛 (126) 未不盡者 (127) 言左敝久 (128) 百濟之原従 (129) 神葬 (130) 葬 伊座而 (131) 朝毛吉 (132) 木上宮乎 (133) 常宮等 (134) 高之奉而 (135) 神 随 (136) 安定座奴 (137) 雖然 (138) 吾大王之 (139) 萬代跡 (140) 所念食而 (141) 作良志之 (142) 香來山之宮 (143) 萬代尓 (144) 過牟登念哉 (145) 天 之如 (146) 振放見乍 (147) 玉手次 (148) 懸而將偲 (149) 恐有騰文 仮名の書き下し・Kana Transliteration (1) かけ₂まくも (2) ゆゆしき₁かも₁ (2a) ゆゆしけ₁れど₂も₂ (3) いはまくも₂ (4) あやにかしこ₁き₁ (5) あすかの₂ (6) まかみ₂の₂はらに (7) ひ₁さかたの₂ (8) あまつみ₁かど₁を (9) かしこ₁くも₂ (10) さだめ₂たまひ₁て (11) かむさぶと₂ (12) いはがくります (13) やすみ₁ちし (14) わがおほき₁み₁の₂ (15) き₁こ₂しめ₁ す (16) そ₂と₂も₂の₂くにの₂ (17) まき₂たつ (18) ふはやまこ₁え₂て (19) こ₂まつ るき₁ (20) わざみ₁がはらの₂ (21) かりみ₁やに (22) あも₂りいまして (23) あめ₂ の₂した (24) をさめ₂たまひ₁ (25) をすくにを (26) さだめ₂たまふと₂ (27) と₂ りがなく (28) あづまの₂くにの₂ (29) み₁いくさを (30) め₁したまひ₁て (31) ち はやぶる (32) ひ₁と₂をやはせと₂ (33) まつろ₂はぬ (34) くにををさめ₂と₂ (35) み₁こ₁ながら (36) まけ₂たまへ₂ば (37) おほみ₁み₂に (38) たちと₁りはか し (39) おほみ₁てに (40) ゆみ₁と₁りも₂たし (41) み₁いくさを (42) あど₂も₁ひ₁ たまひ₁ (43) と₂と₂の₂ふる (44) つづみ₁の₂おと₂は (45) いかづちの₂ (46) こ₂ ゑと₂き₁くまで (47) ふき₁なせる (48) くだの₂おと₂も₂ (49) あたみ₁たる (50) と₁ らかほゆると₂ (51) も₂ろ₂ひ₁と₂の₂ (52) おび₁ゆるまでに (53) ささげ₂たる (54) はたの₂なび₁き₁は (55) ふゆご₂も₂り (56) はるさりくれば (57) の₁ご₂と₂ に (58) つけ₂てあるひ₂の₂ (59) かぜの₂むた (60) なび₁かふご₂と₂く (61) と₁ りも₂てる (62) ゆはずの₂さわき₁ (63) み₁ゆき₁ふる (64) ふゆの₂はやしに (65) つむじかも₁ (66) いまき₁わたると₂ (67) おも₂ふまで (68) き₁き₁の₂かし こ₁く (69) ひ₁き₁はなつ (70) やの₂しげ₂け₁く (71) おほゆき₁の₂ (72) み₁だれ てき₁たれ (73) まつろ₂はず (74) たちむかひ₁しも₁ (75) つゆしも₁の₂ (76) け₂ なばけ₂ぬべ₂く (77) ゆくと₂りの₂ (78) あらそ₁ふはしに (79) わたらひ₁の₂ (80) いつき₁の₂み₁やゆ (81) かむかぜに (82) いふき₁まと₁はし (83) あまく も₁を (84) ひ₁の₂め₂も₁み₁せず (85) と₂こ₂やみ₂に (86) おほひ₁たまひ₁て (87) さだめ₂てし (88) み₁づほの₂くにを (89) かむながら (90) ふと₁しき₁まし て (91) やすみ₁ちし (92) わがおほき₁み₁の₂ (93) あめ₂の₂した (94) まうした まへ₂ば (95) よ₂ろ₂づよ₂に (96) しかしも₁あらむと₂ (97) ゆふはなの₂ (98) さ

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かゆると₂き₁に (99) わがおほき₁み₁ (100) み₁こ₁の₂み₁かど₁を (101) かむみ₁ やに (102) よ₂そ₂ひ₁まつりて (103) つかはしし (104) み₁かど₁の₂ひ₁と₂も₁ (105) しろ₁たへ₂の₂ (106) あさご₂ろ₂も₂き₁て (107) はにやすの₂ (108) み₁か ど₁の₂はらに (109) あかねさす (110) ひ₁の₂こ₂と₂ご₂と₂ (111) ししじも₂の₂ (112) いはひ₁ふしつつ (113) ぬばたまの₂ (114) ゆふへ₁にいたれば (115) おほと₂ の₂を (116) ふりさけ₂み₁つつ (117) うづらなす (118) いはひ₁も₂と₂ほり (119) さ も₁らへ₂ど₂ (120) さも₂らひ₁えねば (121) はると₂りの₂ (122) さまよ₁ひ₁ぬれば (123) なげ₂き₁も₁ (124) いまだすぎ₂ぬに (125) おも₂ひ₁も₁ (126) いまだつき₁ ねば (127) こ₂と₂さへ₁く (128) くだらの₂はらゆ (129) かむはぶり (130) はぶ りいませて (131) あさも₁よ₂し (132) き₂の₂へ₂の₂み₁やを (133) と₂こ₂み₁やと₂ (134) たかくしまつりて (135) かむながら (136) しづまりましぬ (137) しかれど₂ も₂ (138) わがおほき₁み₁の₂ (139) よ₂ろ₂づよ₂と₂ (140) おも₂ほしめ₁して (141) つくらしし (142) かぐやまの₂み₁や (143) よ₂ろ₂づよ₂に (144) すぎ₂むと₂おも₂ へ₂や (145) あめ₂の₂ご₂と₂ (146) ふりさけ₂み₁つつ (147) たまだすき₁ (148) か け₂てしの₁はむ (149) かしこ₁くあれど₂も Romanization (1) KAKË-M-AKU mo (2) YUYUsi-kî kamô (3) IP-AM-Aku mö (4) aya n-i KASIKÔ-kî (5) Asuka-nö (6) Makamï-NÖ PARA-ni (7) PÎSA KATA n-ö (8) AMA-tu MÎKAnDÔ-wo (9) KASIKÔ-KU mö (10) SAnDAMË-TAMAP-Î-TE (11) KAMU-sambu tö (12) IPA-ŋ-GAKUR-I-MAS-U (13) yasu mît-i-si (14) WA-ŋGA OPO KÎMÎ-nö (15) KÎK-ÖS-I-MÊs-u (16) sötömö-nö KUNI-NÖ (17) MA-KÏ TAT-U (18) Pupa YAMA KÔYE-TE (19) Köma TURUKÎ (20) Wanzamîŋgapara-nö (21) KARI MÎYA-ni (22) amör-i-IMAS-I-TE (23) AMË-NÖ SITA (24) WOSAMË-TAMAP-Î (25) WOS-U KUNI-wo (26) SAnDAMË-TAMAP-U tö (27) TÖRI-ŋGA NAK-U (28) Anduma-nö KUNI-NÖ (29) MÎ-IKUSA-wo (30) MÊS-I-TAMAP-Î-TE (31) TI [I]PA YAmBUR-U (32) PÎTÖ-wo YAPAs-e tö (33) MATUR-ÖP-AN-U (34) KUNI-wo WOSAM-Ë tö (35) MÎKÖ-NA-ŋ-GARA (36) MAKË-TAMAP-Ë-mba (37) OPO MÎ-MÏ-ni (38) TATI TÔR-I-PAK-As-i (39) OPO MÎ-TE-ni (40) YUMÎ TÔR-I-MÖT-As-i (41) MÎ-IKUSA-wo (42) andömôp-i-TAMAP-Î (43) TÖTÖNÖP-Uru (44) TUnDUMÎ-NÖ OTÖ pa (45) IKAnDUTI-NÖ (46) KÖWE tö KÎK-U-mande (47) PUK-Î-NAS-Er-u (48) kunDAnö OTÖ mö (49) ATA MÎ-TAR-U (50) TÔRA ka POY-URU tö (51) MÖRÖ PÎTÖ-NÖ (52) OmBÎYUr-u-mande-ni (53) SASA ŋGË-TAR-U (54) PATA-NÖ NAmBÎK-Î pa (55) PUYU-ŋ-gömör-i (56) PARU sar-i K-URE-mba (57) NÔ-ŋGÖTÖ-NI (58) TUKE-TE AR-U PÏ-NÖ (59) KAnZE-NÖ MUTA (60) NAmBÎK-AP-U ŋGÖTÖ-ku (61) TÔR-I-MÖT-Er-u (62) YU-panzu-nö SAWAK-Î (63) mî-YUKÎ PUR-U (64) PUYU-nö PAYASI-ni (65) TUMUnZI kamô (66) i-MAK-Î-WATARU tö (67) OMÖP-U-mande (68) KÎK-Î-NÖ KASIKÔ-ku (69) PÎK-Î-PANAT-U (70) YA-NÖ SI ŋGË-k-êku (71) OPO YUKÎ-nö (72) MÎnDARE-TE K-Î-TAr-e

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(73) MATUR-ÖP-AnZ-U (74) TAT-I-MUKAP-Î-si mô (75) SIMÔ TUYU-NÖ (76) KË-N-Amba KË-N-Umbë-ku (77) YUK-U TÖRI-nö (78) ARASÔP-U PASI-ni (79) WATARAPÎ-NÖ (80) ITUK-Î N-Ö MÎYA-YU (81) KAMU-KAnZE-ni (82) i-PUKÎ MATÔP-As-i (83) AMA-KUMÔ-wo (84) PÎ-NÖ MË mô MÎ-SE-nZ-U (85) TÖKÖ YAMÏ-ni (86) OPOP-Î-TAMAP-Î-TE (87) SAnDAMË-TE-si (88) mîndu PO-NÖ KUNI-wo (89) KAMU-NA-ŋ-GARA (90) PUTÔ SIK-Î-MAS-I-TE (91) yasu mît-i-si (92) WA-ŋGa OPO KÎMÎ-NÖ (93) AMË-NÖ SITA (94) MAWUS-I-TAMAP-Ë-mba (95) YÖRÖnDU YÖ-ni (96) SIKAsi mô AR-AM-U tö (97) YUPU PANA-nö (98) SAKAY-URU TÖKÎ-ni (99) WA-ŋGA OPO KÎMÎ (100) MÎKÔ-NÖ MÎKAnDÔ-wo (101) KAMU-MÎYA n-i (102) YÖSÖP-Î-MATUR-I-TE (103) TUKAP-AS-I-si (104) MÎKAnDÔ-NÖ PÎTÔ mô (105) SIRÔ TAPË-nö (106) ASA KÖRÖMÖ KÎ-TE (107) Paniyasu-nö (108) MÎKAnDÔ-NÖ PARA-ni (109) AKA ne SAS-U (110) PÎ-NÖ KÖTÖ-ŋGÖTÖ (111) SISI nzimönö (112) i-pap-î-PUS-Î-tutu (113) numba TAMA-nö (114) YUPU PÊ-ni ITAR-E-mba (115) OPO TÖNÖ-wo (116) purisakë-MÎTUTU (117) UnDURA-nasu (118) i-pap-î-MÖTÖPOR-I (119) SAMÔRAP-Ë-nDÖ (120) samörap-î E-N-E-mba (121) PARU TÖRI-NÖ (122) samayôp-î-n-uremba (123) NA ŋGËK-Î mô (124) IMAnDA SU ŋGÏ-N-U-ni (125) OMÖP-Î mô (126) IMAnDA TUKÏ-N-E-mba (127) KÖTÖ sapêk-u (128) Kundara-NÖ PARA-YU (129) KAMU-PAmBUR-I (130) PAmBUR-I-iMASE-TE (131) ASA mô YÖ-SI (132) KïNÖPË-NÖ MÎYA-wo (133) TÖKÖ MÎYA tö (134) TAKA-KU si MATUR-I-TE (135) KAMU-NA-ŋ-GARA (136) SInDUMAR-I-MAS-I-n-u (137) SIKAR-E-nDÖMÖ (138) WA-ŋGA OPO KÎMÎ-NÖ (139) YÖRÖnDU YÖ tö (140) OMÖP-OS-I-MÊS-I-TE (141) TUKUr-as-i-si (142) KaŋguYAMA-NÖ MÎYA (143) YÖRÖnDU YÖ-ni (144) SU ŋGÏ-m-u tö OMÖP-Ë YA (145) AMË-NÖ ŋGÖTÖ (146) purisakë-MÎTUTU (147) TAMA-n-DAsukî (148) KAKË-TE SINÔP-AM-U (149) KASIKÔ-KU AR-E-ndömo Glossing with Morphemic Analysis (1) mention-TENT-NML FP (2) be.prohibitive-ATTR EP (3) say-TENT-NML FP (4) strange DV-CONV be.awesome-ATTR (5) Asuka-GEN (6) Makamï-GEN field-LOC (7) eternal strong DV-ATTR (8) Heaven-GEN/LOC palace-ACC (9) be.awesome-CONV FP (10) establish(CONV)-HON-CONV-SUB (11) deitylike DV (12) rock-LOC-hide-CONV-HON-ATTR (13) peace be.filled-CONV-PAST. ATTR (14) we-POSS great lord-GEN (15) hear-HON-CONV-look(HON)-ATTR (16) north-GEN land-GEN (17) INT-tree stand-ATTR (18) Pupa mountain cross(CONV)-SUB (19) Koguryǒ double.edge.sword (20) Wanzamîŋgapara-GEN (21) temporary palace-LOC (22) arrive(HON)-CONV-HON-CONV-SUB (23) Heaven-GEN under (24) rule(CONV)-HON-CONV (25) rule-ATTR land-ACC (26) establish(CONV)-HON-FIN DV (27) bird-POSS cry-ATTR (28) Anduma-GEN

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land-GEN (29) HON-warrior-ACC (30) summon-CONV-HON-CONV-SUB (31) thousand rock crush-ATTR (32) person-ACC pacify-IMP DV (33) serveITER-NEG-ATTR (34) land-ACC subjugate-IMP DV (35) prince-PLUR-GENnature (36) entrust(CONV)-HON-EV-CON (37) great HON-body-LOC (38) long. sword hold-CONV-carry-HON-CONV (39) great HON-hand-LOC (40) bow holdCONV-carry-HON-CONV (41) HON-warrior-ACC (42) lead-CONV-HON-CONV (43) arrange-ATTR (44) drum-GEN sound TOP (45) thunder-GEN (46) voice DV hear-ATTR-TERM (47) blow-CONV-sound-PROG-ATTR (48) military.flute-GEN sound FP (49) enemy see(CONV)-PERF/PROG-ATTR (50) tiger IP growl-ATTR DV (51) all person-GEN (52) be.scared-ATTR-TERM-LOC (53) raise(CONV)-PERF/ PROG-ATTR (54) flag-GEN recline-NML TOP (55) winter-LOC-be.hidden-NML (56) spring be.thus-CONV come-EV-CON (57) field-every-LOC (58) ignite(CONV)SUB exist-ATTR fire-GEN (59) wind-GEN together (60) recline-ITER-ATTR be.like-CONV (61) hold-CONV-carry-PROG-ATTR (62) bow-string-GEN make. noise-NML (63) HON-snow fall-ATTR (64) winter-GEN forest-LOC (65) whirlwind EP (66) DLF-whirl-CONV-cross-FIN DV (67) think-ATTR-TERM (68) hearNML-GEN be.awesome-CONV (69) pull-CONV-release-ATTR (70) arrow-GEN grow.thick-ATTR-NML (71) great snow-COMP (72) be.confused(CONV)-SUB come-CONV-PERF/PROG-EV (73) serve-ITER-NEG-CONV (74) stand-CONVface-CONV-PAST.ATTR FP (75) frost dew-COMP (76) perish(CONV)-PERF-COND perish(CONV)-PERF-DEB-CONV (77) go-ATTR bird-COMP (78) compete-ATTR edge-LOC (79) Watarapî-GEN (80) purify-NML DV-ATTR palace-ABL (81) deitywind-DAT (82) DLF-blow-CONV be.lost-CAUS-CONV (83) Heaven-cloud-ACC (84) sun-GEN eye FP see-CAUS-NEG (85) eternal darkness-LOC (86) cover-CONVHON-CONV-SUB (87) establish(CONV)-PERF(CONV)-PAST.ATTR (88) fresh rice. ear-GEN land-ACC (89) deity-PLUR-GEN-nature (90) majestic rule-CONV-HONCONV-SUB (91) peace be.filled-CONV-PAST.ATTR (92) we-POSS great lord-GEN (93) Heaven-GEN under (94) rule-CONV-HON-EV-CON (95) ten.thousand ageLOC (96) thus FP exist-TENT-FIN DV (97) fiber.strip flower-GEN (98) bloomATTR time-LOC (99) we-POSS great lord (100) Imperial.Prince-GEN palace-ACC (101) deity-palace DV-CONV (102) decorate-CONV-HUM-CONV-SUB (103) use. as.servants-HON-CONV-PAST.ATTR (104) palace-GEN person FP (105) white cloth.made.from. mulberry.tree.bark-COMP (106) hemp garment wear(CONV)SUB (107) Paniyasu-GEN (108) palace-GEN field-LOC (109) bright sun shine-ATTR (110) day-GEN every (111) deer like (112) DLF-crawl-CONV-lie.downCONV-COOR (113) pitch-black jade-COMP (114) evening side-LOC reach-EV-CON (115) great pavilion-ACC (116) look.up(CONV)-look(CONV)-COOR (117) quailCOMP (118) DLF-crawl-CONV-go.around-CONV (119) serve-EV-CONC (120) serveNML get-NEG-EV-CON (121) spring bird-COMP (122) sing-CONV-PERF-EV-CON

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(123) lament-NML FP (124) not.yet pass-NEG-ATTR-LOC (125) think-NML FP (126) not.yet be.exhausted-NEG-EV-CON (127) speech say-ATTR (128) Kundara-GEN field-ABL (129) deity-bury-NML (130) bury-CONVHON(CONV)-SUB (131) morning FP be.good-FIN (132) Kïnöpë-GEN palaceACC (133) eternal palace DV (134) be.high-CONV EP make(HUM)-CONV-SUB (135) deity-PLUR-GEN-nature (136) calm-CONV-HON-CONV-PERF-FIN (137) be.so-EV-CONC (138) we-POSS great lord-GEN (139) ten.thousand age DV (140) think-HON-CONV-HON-CONV-SUB (141) make-HON-CONV-PAST.ATTR (142) Kaŋgu mountain-GEN palace (143) ten.thousand age-LOC (144) pass-TENTFIN DV think-EV IP (145) Heaven-GEN like (146) look.up(CONV)-look(CONV)COOR (147) pearl-GEN-sleeve.cord (148) tuck.up(CONV)-SUB long.for-TENT-FIN (149) be.awesome-CONV exist-EV-CONC Translation (2) It is extremely prohibitive (1) even to mention [it]! (4) [And] it is strangely awesome (3) even to speak [about it]. (14) Our Great Lord (13) who was filled with peace (12) [and] hid [himself] in a rock (11) like a deity, (10) deigned to establish (9) so awesomely (7) an eternal and strong (8) Heavenly palace (6) at Makamï field (5) in Asuka (18) crossed Pupa mountain (17) where true trees grow (16) in the northern land (15) that [he] was ruling and (22) having arrived (21) to the temporary palace (20) in Wanzamîŋgapara (19) [with his] Koguryǒ double edge sword (24) ruling (23) [everything] under Heaven (26) [he] thought to establish (25) the land to rule. (30) [He] deigned to summon (29) his warriors (28) from the land of Anduma (27) where birds cry, and (32) told [them] to pacify the violent people, (34) told [them] to subjugate the lands that do not submit. (36) Because [he] entrusted [them with this task], (35) having the nature of Princes, (42) [he] led (41) his warriors (38) carrying a long sword (37) at his side and (40) holding a bow (39) in his hand. (43/44) Sounds of positioned drums (46) are heard as a voice (45) of thunder (51/52) and by the time all people are scared (48) by the sound of military flutes (47) that reverberates sounding (50) as a tiger growling (49) when [he] is seeing an enemy. (53/54) The reclining of raised flags (60) is like reclining (59) together with the wind (58) of fires ignited (57) in every field (56) when the spring thus comes (55) being hidden in winter. (68) It is awesome to hear (62) the noise of bow strings (61) that [they] are carrying (67) wondering (65) whether it is a whirlwind (66) whirling through (64) the winter forest (63) where the beautiful snow falls. (69) The released (70/72) arrows come thickly in confusion (71) like great snow. (78) At the moment when (73) [those] who did not submit and (74) were opposing (76) not caring whether [they] would perish (75) like frost

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and dew (78) and were fighting (77) like birds that fly away (82) have been made lost being blown away there (81) by the divine wind (80) from the sacred palace (79) in Watarapî. (84) [This wind] obscured even the sun (83) in the heavenly clouds (86) and covered [everything] (85) in eternal darkness. (94) When (92) our Great Lord (91) who was filled with peace (94) deigned to rule (93) [the land] under Heaven (90) ruling majestically (89) as a deity (88) the land of fresh rice ears (87) that [he] has established. (96) Thinking that it would be so (95) for ten thousand ages (97/98) at the time when white flowers were blooming (102) [we] decorated (100) the palace of the Imperial Prince, (99) our Great Lord, (101) as the deity palace. (104) People from the palace as well (103) whom [he] used as servants (106) are wearing hemp garments (105) that are like the cloth made from the mulberry tree bark (112) and are lying down and crawling there (111) like deer (107/108) at the field of Paniyasu palace (110) every day (109) when the bright sun shines. (113/114) When the evening [dark] like a pitch-black jade comes, (116) while looking up (115) at the great pavilion (118) [they] are crawling around [it] there (117) like quails (120) and because [they] cannot serve (119) although [they] serve, (122) when [they] sing (121) like spring birds, (123) and when [their] laments (124) have not yet passed, and (125) [their] thoughts (126) have not yet been exhausted (130) [they] buried [him] (129) with a burial of a deity (128) at the field of Kundara (127) where [they] say speeches, (133/134) and [they] erected as an eternal palace the high (132) palace at Kïnöpë (131) where mornings are good, too, (136) and [he] has rested [forever there] (135) as a deity. (137) Although it is so, (144) would [I] think that (142) the palace on Kaŋgu mountain (138) that our Great Lord (141) built (140) deigning to think (139) of ten thousand ages (144) would pass [away] (143) in ten thousand ages? (146) While [I] am looking up at [it] (145) like at Heaven, (148) [I] will long for [it], tucking up (147) [my] pearly sleeve cords, (149) although [it] is awesome. Commentary This is the longest chōka in the Man’yōshū, the second longest (16.3791) is approximately only two-thirds by length of 2.199, consisting of 115 lines, with the third longest (18.4094) with 107 lines being rather close to the second. Line two is hypometric ( ji tarazu, 字足らず). Line five is hypometric ( ji tarazu, 字足らず). On Asuka see the commentary to the poem 2.167. Makamï or Maŋgamï field (Makamï-nö para / Maŋgamï-ŋga para, 真神之原) indicates the area around Asuka temple (Asuka-dera, 飛鳥寺) in Asuka village (Asuka mura, 明日香村) of present-day Nara prefecture (Nakanishi 1985: 483).

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On pîsa kata n-ö ‘eternal and strong’ (lit. ‘long [and] hard’) see the commentary to the poem 15.3650. On WOJ sötömö ‘north’ (lit. sö-t-ömö back-GEN/LOC-side ‘back side’) see the commentary to the poem 1.52. On WOJ ma-kï ‘true tree’ see the commentary to the poem 2.190. Mt. Pupa (Pupa yama, 不破山) is a mountain located on the western side of Ōgaki city (Ōgaki shi, 大垣市) in present-day Gifu prefecture. Possibly it is close to Imasu mountain pass (Imasu tōge, 伊増峠) that leads to Kansai area (Nakanishi 1985: 481). The etymology of this place name is not clear, although it is obviously non-Japonic. Köma (狛) is a Japanese name for the state of Koguryǒ (Jpn. Kōkuri, 高句麗), one of the Three Kingdoms (Kor. Samguk, Jpn. Sankoku, 三國) vying for the supremacy on the Korean peninsula prior to 668 AD, when Korea was unified by Silla (WOJ Siraŋgï, 新羅). WOJ köma (狛) is a canine animal that looks like a wolf. It was used as a name for Koguryǒ because Yeymayk tribe (Jpn. Waibaku, 穢貊) was one of the ethnic constituents of the latter.8 On WOJ turukî ‘double edge sword’ see the commentary to the poem 5.804. Wanzamîŋgapara (和射見我原) is the same area as Sekigahara plain in present-day Gifu prefecture (Nakanishi 1985: 497). WOJ amör- means ‘to descend from Heaven’ (a contraction of ama- ‘Heaven’ + or- ‘to descend’), but it also has a meaning ‘to arrive’ (used as an honorific verb for deities, Emperors, and members of the imperial family). Line twenty-four is hypometric ( ji tarazu, 字足らず). Line thirty is hypometric ( ji tarazu, 字足らず). WOJ ti ipa yamburu ‘crushing thousand rocks’ is a metaphor for ‘violent’. On WOJ tati ‘long sword’ see the commentary to the poem 5.804. Line forty-eight is hypometric ( ji tarazu, 字足らず). WOJ kunda ‘military flute’ was originally made from horns, as the script 小 角 ‘small horn’ indicates, but later it was produced from bamboo as well. It was used for signals in military camps (Omodaka et al. 1967: 260). WOJ ŋgötö ‘like’ is probably a combination of the reduced form -ŋ of the genitive case marker -nö and the word kötö ‘like’, borrowed from otherwise unattested OK predecessor of MK kʌt- ‘be like’. After genitive case marker -nö the reduced form -ŋ of the genitive case marker -nö in ŋgötö must have been already lexicalized, because it is preceded by another genitive marker -nö. Line seventy is hypometric ( ji tarazu, 字足らず). Watarapî was a district in Ise province (Ise-no kuni, 伊勢の國) corresponding to Ise city (Ise shi, 伊勢市) and Watarai county (Watarai gun, 度会郡) in 8  The character 狛 was used as a variant of the character 貊.

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present-day Mie prefecture. Watarapî-nö itukî n-ö mîya ‘sacred palace in Watarapî’ is an alternative name for Ise shrine (Nakanishi 1985: 498). On Ise Shrine (Ise Jingū, 伊勢神宮) see the commentary to the postscript to the poem 1.22. On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to the poem 5.794. Line ninety-nine is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since wa-ŋga opo kîmî ‘our great lord’ was in all probability pronounced as [waŋgopokîmî]. On OJ yupu ‘fiber strip’ see the commentary to the poem 2.157. Here it is used as a metaphor for the white color. On line 101 the phonogram 使 is used as a quasi-logogram. On sirô tapë-nö ‘like the white cloth of the mulberry tree bark’, see the commentary to 15.3607. Paniyasu (埴安) corresponds to the north-eastern part of Kashihara city (Kashihara shi, 橿原市) in the vicinity of western foothills of Mt. Kaguyama in present day Nara prefecture. Paniyasu palace is the palace of Imperial Prince Takëti which was located at Mt. Kaguyama (Nakanishi 1985: 477). On the permanent epithet (makura-kotoba, 枕詞) aka ne sasu and the explanation of the word ne as ‘the sun’ see the commentary to the poem 20.4455. Line 110 is hypometric ( ji tarazu, 字足らず). On numba tama ‘pitch-black jade’ see the commentary to the poem 15.3598. The spelling of numba ‘pitch-black’ as 烏 ‘raven’, which has the same color, was probably intended as a rebus writing. Line 114 is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since yupu pê-ni itar-e-mba ‘when it comes to the evening time’ was in all probability pronounced as [yupupênitaremba]. Line 123 is hypometric ( ji tarazu, 字足らず). Line 125 is hypometric ( ji tarazu, 字足らず). On WOJ sapêk- ‘to say’ see the commentary to the poem 2.135. Kundara (百濟) here does not refer directly to one of the states on the Korean peninsula, but to either the area around Soga river (Soga-gawa, 蘇我 川) and Katsuragi river (Katsuragi-gawa, 葛城川) in the vicinity of Kōryō town (Kōryō chō, 広陵町) in present-day Nara prefecture, or, according to another hypothesis, to villages Higashi Kudara (Higashi Kudara mura, 東百済村) and Nishi Kudara (Nishi Kudara mura, 西百済村) in Takadono town (Takadono chō, 高殿町) of Kashihara city (Kashihara shi, 橿原市) in the same prefecture (Nakanishi 1985: 443). However, the place name Kundara (百濟) can possibly reflect the fact that it was an area where immigrants from Kundara state settled after its defeat by Silla in 662 AD.

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Line 131 asa mô yö-si ‘morning is good, too’ is considered to be a permanent epithet (makura-kotoba, 枕詞) to Kïnöpë (Inaoka 1985: 366), but I translate it, because it is transparent. On Kïnöpë see the commentary to the preface to the poems 2.196–198. The palace in Kïnöpë is a metaphor for Imperial Prince Takëti’s mausoleum. WOJ tökö mîya ‘eternal palace’ is, of course, a metaphor for a grave. Line 134 is hypermetric ( ji amari, 字余り). On tucking up the cords of one’s sleeves see the commentary to the poem 5.904. Line 149 is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since kasikô-ku ar-e-ndömo ‘although it is awesome’ was in all probability pronounced as [kasikôkarendömo].

2.199a

本文・Original Text (1) 挂文 (2a) 由遊志計礼杼母 (3) 言久母 (4) 綾尓畏伎 (5) 明日香乃 (6) 真神之原尓 (7) 久堅能 (8) 天都御門乎 (9) 懼母 (10) 定賜而 (11) 神 佐扶跡 (12) 磐隱座 (13) 八隅知之 (14) 吾大王乃 (15) 所聞見爲 (16) 背友 乃國之 (17) 真木立 (18) 不破山越而 (19) 狛劔 (20) 和射見我原乃 (21) 行 宮尓 (22) 安母理座而 (23) 天下 (24a) 掃賜而 (25) 食國乎 (26) 定賜等 (27) 鷄之鳴 (28) 吾妻乃國之 (29) 御軍士乎 (30) 喚賜而 (31) 千磐破 (32) 人乎和爲跡 (33) 不奉仕 (34a) 國乎掃部等 (35) 皇子随 (36) 任賜者 (37) 大御身尓 (38) 大刀取帶之 (39) 大御手尓 (40) 弓取持之 (41) 御軍 士乎 (42) 安騰毛比賜 (43) 齊流 (44) 皷之音者 (45) 雷之 (46) 聲登聞 麻ಪ (47) 吹響流 (48a) 笛乃音波 (49) 敵見有 (50) 虎可𠮧吼登 (51) 諸 人之 (52a) 聞或麻泥 (53) 指擧有 (54) 幡之麾者 (55) 冬木成 (56) 春去 來者 (57a) 冬木成 (58a) 春野焼火乃 (59) 風之共 (60) 靡如久 (61) 取持 流 (62) 弓波受乃驟 (63) 三雪落 (64a) 由布乃林 (65) 飄可毛 (66) 伊巻 渡等 (67a) 諸人 (68a) 見或麻ಪ尓 (69) 引放 (70) 箭之繁計久 (71a) 霰成 (72a) 曽知余理久礼婆 (73) 不奉仕 (74) 立向之毛 (75a) 朝霜之 (76a) 消 者消言尓 (77a) 打蝉等 (78a) 安良蘇布波之尓 (79) 渡會之 (80) 齋宮従 (81) 神風尓 (82) 伊吹或之 (83) 天雲乎 (84) 日之目毛不令見 (85) 常闇尓 (86) 覆賜而 (87) 定之 (88) 水穂之國乎 (89) 神随 (90) 太敷座而 (91) 八 隅知之 (92) 吾大王之 (93) 天下 (94) 申賜者 (95) 萬代尓 (96a) 如是毛安 良無等 (97) 木綿花乃 (98) 榮時尓 (99a) 刺竹 (100a) 皇子御門乎 (101) 神 宮尓 (102) 装束奉而 (103) 遣使 (104) 御門之人毛 (105) 白妙乃 (106) 麻 衣著 (107) 埴安乃 (108) 御門之原尓 (109) 赤根刺 (110) 日之盡 (111) 鹿自

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物 (112) 伊波比伏管 (113) 烏玉能 (114) 暮尓至者 (115) 大殿乎 (116) 振放見 乍 (117) 鶉成 (118) 伊波比廻 (119) 雖侍候 (120) 佐母良比不得者 (121) 春 鳥之 (122) 佐麻欲比奴礼者 (123) 嘆毛 (124) 未過尓 (125) 憶毛 (126) 未不 盡者 (127) 言左敝久 (128) 百濟之原従 (129) 神葬 (130) 葬伊座而 (131) 朝 毛吉 (132) 木上宮乎 (133) 常宮等 (134) 高之奉而 (135) 神随 (136) 安定座 奴 (137) 雖然 (138) 吾大王之 (139) 萬代跡 (140) 所念食而 (141) 作良志之 (142) 香來山之宮 (143) 萬代尓 (144) 過牟登念哉 (145) 天之如 (146) 振放 見乍 (147) 玉手次 (148) 懸而將偲 (149) 恐有騰文 仮名の書き下し・Kana Transliteration (1) かけ₂まくも (2a) ゆゆしけ₁れど₂も₂ (3) いはまくも₂ (4) あやにかしこ₁き₁ (5) あすかの₂ (6) まかみ₂の₂はらに (7) ひ₁さかたの₂ (8) あまつみ₁かど₁ を (9) かしこ₁くも₂ (10) さだめ₂たまひ₁て (11) かむさぶと₂ (12) いはがくりま す (13) やすみ₁ちし (14) わがおほき₁み₁の₂ (15) き₁こ₂しめ₁す (16) そ₂と₂も₂ の₂くにの₂ (17) まき₂たつ (18) ふはやまこ₁え₂て (19) こ₂まつるき₁ (20) わざ み₁がはらの₂ (21) かりみ₁やに (22) あも₂りいまして (23) あめ₂の₂した (24a) はらひ₁たまひ₁て (25) をすくにを (26) さだめ₂たまふと₂ (27) と₂りがなく (28) あづまの₂くにの₂ (29) み₁いくさを (30) め₁したまひ₁て (31) ちはやぶる (32) ひ₁と₂をやはせと₂ (33) まつろ₂はぬ (34a) くにをはらへ₁と₂ (35) み₁こ₁ ながら (36) まけ₂たまへ₂ば (37) おほみ₁み₂に (38) たちと₁りはかし (39) お ほみ₁てに (40) ゆみ₁と₁りも₂たし (41) み₁いくさを (42) あど₂も₁ひ₁たまひ₁ (43) と₂と₂の₂ふる (44) つづみ₁の₂おと₂は (45) いかづちの₂ (46) こ₂ゑと₂ き₁くまで (47) ふき₁なせる (48a) ふえ₂の₂おと₂は (49) あたみ₁たる (50) と₁ らかほゆると₂ (51) も₂ろ₂ひ₁と₂の₂ (52a) きき₁まと₁ふまで (53) ささげ₂たる (54) はたの₂なび₁き₁は (55) ふゆご₂も₂り (56) はるさりくれば (57a) ふゆ ご₂も₂り (58a) はるの₁やくひ₂の₂ (59) かぜの₂むた (60) なび₁かふご₂と₂く (61) と₁りも₂てる (62) ゆはずの₂さわき₁ (63) み₁ゆき₁ふる (64) ふゆの₂はや しに (64a) ゆふの₂はやし (65) つむじかも₁ (66) いまき₁わたると₂ (67a) も₂ ろ₂ひ₁と₂の₂ (68a) み₁まと₁ふまでに (69) ひ₁き₁はなつ (70) やの₂しげ₂け₁く (71a) あられなす (72a) そ₂ちよ₂りくれば (73) まつろ₂はず (74) たちむかひ₁ しも₁ (75a) あさしも₁の₂ (76a) け₂なばけ₂と₂いふに (77a) うつせみ₁と₂ (78a) あらそ₁ふはしに (79) わたらひ₁の₂ (80) いつき₁の₂み₁やゆ (81) かむかぜ に (82) いふき₁まと₁はし (83) あまくも₁を (84) ひ₁の₂め₂も₁み₁せず (85) と₂ こ₂やみ₂に (86) おほひ₁たまひ₁て (87) さだめ₂てし (88) み₁づほの₂くにを (89) かむながら (90) ふと₁しき₁まして (91) やすみ₁ちし (92) わがおほき₁み₁ の₂ (93) あめ₂の₂した (94) まうしたまへ₂ば (95) よ₂ろ₂づよ₂に (96a) かくしも₁ あらむと₂ (97) ゆふはなの₂ (98) さかゆると₂き₁に (99a) さすたけ₂の₂ (100a) み₁こ₁の₂み₁かど₁を (101) かむみ₁やに (102) よ₂そ₂ひ₁まつりて (103) つか はしし (104) み₁かど₁の₂ひ₁と₂も₁ (105) しろ₁たへ₂の₂ (106) あさご₂ろ₂も₂き₁

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て (107) はにやすの₂ (108) み₁かど₁の₂はらに (109) あかねさす (110) ひ₁ の₂こ₂と₂ご₂と₂ (111) ししじも₂の₂ (112) いはひ₁ふしつつ (113) ぬばたまの₂ (114) ゆふへ₁にいたれば (115) おほと₂の₂を (116) ふりさけ₂み₁つつ (117) う づらなす (118) いはひ₁も₂と₂ほり (119) さも₁らへ₂ど₂ (120) さも₂らひ₁えねば (121) はると₂りの₂ (122) さまよ₁ひ₁ぬれば (123) なげ₂き₁も₁ (124) いまだすぎ₂ ぬに (125) おも₂ひ₁も₁ (126) いまだつき₁ねば (127) こ₂と₂さへ₁く (128) くだら の₂はらゆ (129) かむはぶり (130) はぶりいませて (131) あさも₁よ₂し (132) き₂ の₂へ₂の₂み₁やを (133) と₂こ₂み₁やと₂ (134) たかくしたてて (135) かむなが ら (136) しづまりましぬ (137) しかれど₂も₂ (138) わがおほき₁み₁の₂ (139) よ₂ ろ₂づよ₂と₂ (140) おも₂ほしめ₁して (141) つくらしし (142) かぐやまの₂み₁や (143) よ₂ろ₂づよ₂に (144) すぎ₂むと₂おも₂へ₂や (145) あめ₂の₂ご₂と₂ (146) ふ りさけ₂み₁つつ (147) たまだすき₁ (148) かけ₂てしの₁はむ (149) かしこ₁くあり と₂も Romanization (1) KAKË-M-AKU mo (2a) yuyusi-kêre-ndömö (3) IP-AM-Aku mö (4) aya n-i KASIKÔ-kî (5) Asuka-nö (6) Makamï-NÖ PARA-ni (7) PÎSA KATA n-ö (8) AMA-tu MÎKAnDÔ-wo (9) KASIKÔ-KU mö (10) SAnDAMË-TAMAP-Î-TE (11) KAMU-sambu tö (12) IPA-ŋ-GAKUR-I-MAS-U (13) yasu mît-i-si (14) WA-ŋGA OPO KÎMÎ-nö (15) KÎK-ÖS-I-MÊs-u (16) sötömö-nö KUNI-NÖ (17) MA-KÏ TAT-U (18) Pupa YAMA KÔYE-TE (19) Köma TURUKÎ (20) Wanzamîŋgapara-nö (21) KARI MÎYA-ni (22) amör-i-IMAS-I-TE (23) AMË-NÖ SITA (24a) PARAP-Î-TAMAP-Î-TE (25) WOS-U KUNI-wo (26) SAnDAMË-TAMAP-U tö (27) TÖRI-ŋGA NAK-U (28) Anduma-nö KUNI-NÖ (29) MÎ-IKUSA-wo (30) MÊS-I-TAMAP-Î-TE (31) TI [I]PA YAmBUR-U (32) PÎTÖ-wo YAPAs-e tö (33) MATUR-ÖP-AN-U (34a) KUNI-wo PARAp-ê tö (35) MÎKÖ-NA-ŋ-GARA (36) MAKË-TAMAP-Ë-mba (37) OPO MÎ-MÏ-ni (38) TATI TÔR-I-PAK-As-i (39) OPO MÎ-TE-ni (40) YUMÎ TÔR-I-MÖT-As-i (41) MÎ-IKUSA-wo (42) andömôp-i-TAMAP-Î (43) TÖTÖNÖP-Uru (44) TUnDUMÎ-NÖ OTÖ pa (45) IKAnDUTI-NÖ (46) KÖWE tö KÎK-U-mande (47) PUK-Î-NAS-Er-u (48a) PUYE-nö OTÖ pa (49) ATA MÎ-TAR-U (50) TÔRA ka POY-URU tö (51) MÖRÖ PÎTÖ-NÖ (52a) KÎK-Î-MATÔP-U-mande (53) SASA ŋGË-TAR-U (54) PATA-NÖ NAmBÎK-Î pa (55) PUYU-ŋ-gömör-i (56) PARU sar-i K-URE-mba (57a) PUYU-ŋ-gömör-i (58a) PARU NÔ YAK-U PÏ-nö (59) KAnZE-NÖ MUTA (60) NAmBÎK-AP-U ŋGÖTÖ-ku (61) TÔR-I-MÖT-Er-u (62) YU-panzu-nö SAWAK-Î (63) mî-YUKÎ PUR-U (64a) yupu-nö PAYASI-ni (65) TUMUnZI kamô (66) i-MAK-Î-WATAR-U tö (67a) MÖRÖ PÎTÖ-NÖ (68a) MÎ-MATÔP-U-mande-ni (69) PÎK-Î-PANAT-U (70) YA-NÖ SI ŋGË-k-êku (71a) ARARE-nasu (72a) söti yör-ik-ure-mba (73) MATUR-ÖP-AnZ-U (74) TAT-I-MUKAP-Î-si mô (75a) ASA SIMÔ-NÖ (76a) KË-N-Amba KË TÖ IP-U-ni (77a) utu SEMÎ tö (78a) arasôp-u pasi-ni

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(79) WATARAPÎ-NÖ (80) ITUK-Î N-Ö MÎYA-YU (81) KAMU-KAnZE-ni (82) i-PUKÎ MATÔP-As-i (83) AMA-KUMÔ-wo (84) PÎ-NÖ MË mô MÎ-SE-nZ-U (85) TÖKÖ YAMÏ-ni (86) OPOP-Î-TAMAP-Î-TE (87) SAnDAMË-TE-si (88) mîndu PO-NÖ KUNI-wo (89) KAMU-NA-ŋ-GARA (90) PUTÔ SIK-Î-MAS-I-TE (91) yasu mît-i-si (92) WA-ŋGa OPO KÎMÎ-NÖ (93) AMË-NÖ SITA (94) MAWUS-I-TAMAP-Ë-mba (95) YÖRÖnDU YÖ-ni (96a) KA-KU SI mô ar-am-u tö (97) YUPU PANA-nö (98) SAKAY-URU TÖKÎ-ni (99a) SAS-U TAKË-NÖ (100a) MÎKÔ-NÖ MÎKAnDÔ-wo (101) KAMU-MÎYA n-i (102) YÖSÖP-Î-MATUR-I-TE (103) TUKAP-AS-I-si (104) MÎKAnDÔ-NÖ PÎTÔ mô (105) SIRÔ TAPË-nö (106) ASA KÖRÖMÖ KÎ-TE (107) Paniyasu-nö (108) MÎKAnDÔ-NÖ PARA-ni (109) AKA ne SAS-U (110) PÎ-NÖ KÖTÖ-ŋGÖTÖ (111) SISI nzimönö (112) i-pap-î-PUS-Î-tutu (113) numba TAMA-nö (114) YUPU PÊ-ni ITAR-E-mba (115) OPO TÖNÖ-wo (116) purisakë-MÎTUTU (117) UnDURA-nasu (118) i-pap-î-MÖTÖPOR-I (119) SAMÔRAP-Ë-nDÖ (120) samörap-î E-N-E-mba (121) PARU TÖRI-NÖ (122) samayôp-î-n-uremba (123) NA ŋGËK-Î mô (124) IMAnDA SU ŋGÏ-N-U-ni (125) OMÖP-Î mô (126) IMAnDA TUKÏ-N-E-mba (127) KÖTÖ sapêk-u (128) Kundara-NÖ PARA-YU (129) KAMU-PAmBUR-I (130) PAmBUR-I-iMASE-TE (131) ASA mô YÖ-SI (132) Kïnöpë-NÖ MÎYA-wo (133) TÖKÖ MÎYA tö (134) TAKA-KU si MATUR-I-TE (135) KAMU-NA-ŋ-GARA (136) SInDUMAR-I-MAS-I-n-u (137) SIKAR-E-nDÖMÖ (138) WA-ŋGA OPO KÎMÎ-NÖ (139) YÖRÖnDU YÖ tö (140) OMÖP-OS-I-MÊS-I-TE (141) TUKUr-as-i-si (142) KaŋguYAMA-NÖ MÎYA (143) YÖRÖnDU YÖ-ni (144) SU ŋGÏ-m-u tö OMÖP-Ë YA (145) AMË-NÖ ŋGÖTÖ (146) purisakë-MÎTUTU (147) TAMA-n-DAsukî (148) KAKË-TE SINÔP-AM-U (149) KASIKÔ-KU AR-E-ndömo Glossing with Morphemic Analysis (1) mention-TENT-NML FP (2a) be.prohibitive-EV-CONC (3) say-TENT-NML FP (4) strange DV-CONV be.awesome-ATTR (5) Asuka-GEN (6) Makamï-GEN field-LOC (7) eternal strong DV-ATTR (8) Heaven-GEN/LOC palace-ACC (9) be.awesome-CONV FP (10) establish(CONV)-HON-CONV-SUB (11) deity-like DV (12) rock-LOC-hide-CONV-HON-ATTR (13) peace be.filled-CONV-PAST.ATTR (14) we-POSS great lord-GEN (15) hear-HON-CONV-look(HON)-ATTR (16) northGEN land-GEN (15) hear-HON-CONV-look(HON)-ATTR (16) north-GEN land -GEN (17) INT-tree stand-ATTR (18) Pupa mountain cross(CONV)-SUB (19) Koguryǒ double.edge.sword (20) Wanzamîŋgapara-GEN (21) temporary palace-LOC (22) arrive(HON)-CONV-HON-CONV-SUB (23) Heaven-GEN under (24a) swipe-CONV-HON-CONV-SUB (25) rule-ATTR land-ACC (26) establish(CONV)-HON-FIN DV (27) bird-POSS cry-ATTR (28) Anduma-GEN land-GEN (29) HON-warrior-ACC (30) summon-CONV-HON-CONV-SUB

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(31) thousand rock crush-ATTR (32) person-ACC pacify-IMP DV (33) serveITER-NEG-ATTR (34a) land-ACC swipe-IMP DV (35) prince-PLUR-GEN-nature (36) entrust(CONV)-HON-EV-CON (37) great HON-body-LOC (38) long.sword hold-CONV-carry-HON-CONV (39) great HON-hand-LOC (40) bow holdCONV-carry-HON-CONV (41) HON-warrior-ACC (42) lead-CONV-HON-CONV (43) arrange-ATTR (44) drum-GEN sound TOP (45) thunder-GEN (46) voice DV hear-ATTR-TERM (47) blow-CONV-sound-PROG-ATTR (48a) flute-GEN sound TOP (49) enemy see(CONV)-PERF/PROG-ATTR (50) tiger IP growl-ATTR DV (51) all person-GEN (52) hear-CONV-be.lost-ATTR-TERM (53) raise(CONV)PERF/PROG-ATTR (54) flag-GEN recline-NML TOP (55) winter-LOC-be.hiddenNML (56) spring be.thus-CONV come-EV-CON (57a) winter-LOC-be.hidden-NML (58a) spring field burn-ATTR fire-GEN (59) wind-GEN together (60) reclineITER-ATTR be.like-CONV (61) hold-CONV-carry-PROG-ATTR (62) bow-stringGEN make.noise-NML (63) HON-snow fall-ATTR (64a) evening-GEN forest-LOC (65) whirlwind EP (66) DLF-whirl-CONV-cross-FIN DV (67a) all person-GEN (68a) look(CONV)-be.lost-ATTR-TERM-LOC (69) pull-CONV-release-ATTR (70) arrow-GEN grow.thick-ATTR-NML (71a) hail-COMP (72a) there approachCONV-come-EV-CON (73) serve-ITER-NEG-CONV (74) stand-CONV-face-CONVPAST.ATTR FP (75a) morning frost-COMP (76a) perish(CONV)-PERF-COND perish(IMP) DV say-ATTR-LOC (77a) ephemeral cicada DV (78a) competeATTR edge-LOC (79) Watarapî-GEN (80) purify-NML DV-ATTR palace-ABL (81) deity-wind-DAT (82) DLF-blow-CONV be.lost-CAUS-CONV (83) Heavencloud-ACC (84) sun-GEN eye FP see-CAUS-NEG (85) eternal darkness-LOC (86) cover-CONV-HON-CONV-SUB (87) establish(CONV)-PERF(CONV)PAST.ATTR (88) fresh rice.ear-GEN land-ACC (89) deity-PLUR-GEN-nature (90) majestic rule-CONV-HON-CONV-SUB (91) peace be.filled-CONV-PAST. ATTR (92) we-POSS great lord-GEN (93) Heaven-GEN under (94) rule-CONVHON-EV-CON (95) ten.thousand age-LOC (96a) be.thus-CONV EP FP existTENT-FIN DV (97) fiber.strip flower-GEN (98) bloom-ATTR time-LOC (99a) bud-ATTR bamboo-COMP (100a) Imperial.Prince-GEN palace-ACC (101) deity-palace DV-CONV (102) decorate-CONV-HUM-CONV-SUB (103) use. as.servants-HON-CONV-PAST.ATTR (104) palace-GEN person FP (105) white cloth.made.from.mulberry.tree.bark-COMP (106) hemp garment wear(CONV)SUB (107) Paniyasu-GEN (108) palace-GEN field-LOC (109) bright sun shine-ATTR (110) day-GEN every (111) deer like (112) DLF-crawl-CONV-lie. down-CONV-COOR (113) pitch-black jade-COMP (114) evening side-LOC reachEV-CON (115) great pavilion-ACC (116) look.up(CONV)-look(CONV)-COOR (117) quail-COMP (118) DLF-crawl-CONV-go.around-CONV (119) serve-EVCONC (120) serve-NML get-NEG-EV-CON (121) spring bird-COMP (122) singCONV-PERF-EV-CON (123) lament-NML FP (124) not.yet pass-NEG-ATTR-LOC

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(125) think-NML FP (126) not.yet be.exhausted-NEG-EV-CON (127) speech say-ATTR (128) Kundara-GEN field-ABL (129) deity-bury-NML (130) buryCONV-HON(CONV)-SUB (131) morning FP be.good-FIN (132) Kïnöpë-GEN palace-ACC (133) eternal palace DV (134) be.high-CONV EP make(HUM)-CONVSUB (135) deity-PLUR-GEN-nature (136) calm-CONV-HON-CONV-PERF-FIN (137) be.so-EV-CONC (138) we-POSS great lord-GEN (139) ten.thousand age DV (140) think-HON-CONV-HON-CONV-SUB (141) make-HON-CONV-PAST.ATTR (142) Kaŋgu mountain-GEN palace (143) ten.thousand age-LOC (144) pass-TENTFIN DV think-EV IP (145) Heaven-GEN like (146) look.up(CONV)-look(CONV)COOR (147) pearl-GEN-sleeve.cord (148) tuck.up(CONV)-SUB long.for-TENTFIN (149) be.awesome-CONV exist-EV-CONC Translation (2a) Although it is extremely prohibitive (1) even to mention [it], (4) it is strangely awesome (3) even to speak [about it]. (14) Our Great Lord (13) who was filled with peace (12) [and] hid [himself] in a rock (11) like a deity, (10) deigned to establish (9) so awesomely (7) an eternal and strong (8) Heavenly palace (6) at Makamï field (5) in Asuka (18) crossed Pupa mountain (17) where true trees grow (16) in the northern land (15) that [he] was ruling and (22) having arrived (21) to the temporary palace (20) in Wanzamîŋgapara (19) [with his] Koguryǒ double edge sword (24) swiping away (23) [all evil] under Heaven (26) [he] thought to establish (25) the land to rule. (30) [He] deigned to summon (29) his warriors (28) from the land of Anduma (27) where birds cry, and (32) told [them] to pacify the violent people, (34a) told [them] to swipe the lands (33) that do not submit. (36) Because [he] entrusted [them with this task], (35) having the nature of Princes, (42) [he] led (41) his warriors (38) carrying a long sword (37) at his side and (40) holding a bow (39) in his hand. (43/44) Sounds of positioned drums (46) are heard as a voice (45) of thunder (51/52a) and by the time all people are lost hearing (48a) the sound of flutes (47) that reverberates sounding (50) as a tiger growling (49) when [he] is seeing an enemy. (53/54) The reclining of raised flags (60) is like reclining (59) together with the wind (58a) of fires burning in spring fields (57a) being hidden in winter (56) when the spring thus comes (55) being hidden in winter. (62) The noise of bow strings (61) that [they] are carrying (65) wondering whether it is a whirlwind (66) whirling through (64a) the evening forest (63) where the beautiful snow falls (67a/68a) and by this time all people look being confused. (69) When the released (70/72a) arrows come thickly approaching there (71a) like hail (78a) At the moment when (73) [those] who did not submit and (74) were opposing (76a) saying if [we] perish, [we] perish (75a) like morning frost (78a) and were fighting (77a) like ephemeral cicadas (82) that have been made lost being

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blown away there (81) by the divine wind (80) from the sacred palace (79) in Watarapî. (84) [This wind] obscured even the sun (83) in the heavenly clouds (86) and covered [everything] (85) in eternal darkness. (94) When (92) our Great Lord (91) who was filled with peace (94) deigned to rule (93) [the land] under Heaven (90) ruling majestically (89) as a deity (88) the land of fresh rice ears (87) that [he] has established. (96a) Thinking that it would be exactly so (95) for ten thousand ages (97/98) at the time when white flowers were blooming (102) [we] decorated (100a) the palace of the Imperial Prince, (99a) who is like a budding bamboo, (101) as the deity palace. (104) People from the palace as well (103) whom [he] used as servants (106) are wearing hemp garments (105) that are like the cloth made from the mulberry tree bark (112) and are lying down and crawling there (111) like deer (107/108) at the field of Paniyasu palace (110) every day (109) when the bright sun shines. (113/114) When the evening [dark] like a pitch-black jade comes, (116) while looking up (115) at the great pavilion (118) [they] are crawling around [it] there (117) like quails (120) and because [they] cannot serve (119) although [they] serve, (122) when [they] sing (121) like spring birds, (123) and when [their] laments (124) have not yet passed, and (125) [their] thoughts (126) have not yet been exhausted (130) [they] buried [him] (129) with a burial of a deity (128) at the field of Kundara (127) where [they] say speeches, (133/134) and [they] erected as an eternal palace the high (132) palace at Kïnöpë (131) where mornings are good, too, (136) and [he] has rested [forever there] (135) as a deity. (137) Although it is so, (144) would [I] think that (142) the palace on Kaŋgu mountain (138) that our Great Lord (141) built (140) deigning to think (139) of ten thousand ages (144) would pass [away] (143) in ten thousand ages? (146) While [I] am looking up at [it] (145) like at Heaven, (148) [I] will long for [it], tucking up (147) [my] pearly sleeve cords, (149) although [it] is awesome. Commentary The poem 2.199a has nineteen lines different from 2.199. Since this is about 12–13% of the whole text, 2.199 and 2.199a are better to be treated as two different variants of the same text. The poem 2.199a tends to use phonographic script more than 2.199. Line 2.199a: 2a 由遊志計礼杼母 yuyusi-kêr-e-ndömö ‘although it is extremely prohibitive’ is different from line 2.199: 2 忌之伎鴨 YUYUsi-kî kamô ‘it is extremely prohibitive!’ both in script (the former is completely phonographic, while latter is partially logographic), but also grammatically: 2.199a: 2a ends in a concessive converb, while 2.199: 2 in an attributive plus the emphatic particle kamö.

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Line 2.199a: 24a 掃賜而 PARAP-Î-TAMAP-Î-TE ‘deigned to sweep, and’ is completely different from line 2.199: 24 治賜 WOSAMË-TAMAP-U ‘which [he] deigned to rule’. Line 2.199a: 34a 國乎掃部等 KUNI-wo PARAp-ê tö ‘told them: “Swipe the lands!”’ is different from line 2.199: 34 國乎治跡 KUNI-wo WOSAM-U tö ‘told [them] to swipe the lands’ both grammatically and lexically. Line 2.199a: 48a 笛乃音波 PUYE-nö OTÖ pa ‘the sound of flutes’ is different from line 2.199: 48 小角乃音母 kunDA-nö OTÖ mö ‘the sound of military flutes, too’ both grammatically and lexically. Line 2.199a: 52a 聞或麻泥 KÎK-Î-MATÔP-U-mande ‘by the time [all people] are lost hearing’ is lexically different from line 2.199: 52 恊流麻ಪ尓 OmBÎYUr-u-mande-ni ‘by the time [all people] are scared’. Lines 2.199a: 57a–58a 冬木成春野焼火乃 PUYU-ŋ-gömör-i PARU NÔ YAK-U PÏ-nö ‘of fires burning in spring fields being hidden in winter’ are almost completely different from lines 2.199: 57–58 野毎著而有火之 NÔ-ŋGÖTÖ-NI TUKE-TE AR-U PÏ-NÖ ‘of fires ignited in every field’. Line 2.199a: 64a 由布乃林 yupu-nö PAYASI ‘the evening forest’ is completely different from line 2.199: 64 冬乃林尓 PUYU-nö PAYASI-ni ‘in the winter forest’. Lines 2.199a: 67a–68a 諸人見或麻ಪ尓 MÖRÖ PÎTÖ-NÖ MÎ-MATÔP-Umande-ni ‘by this time all people look being confused’ are completely different from lines 2.199: 67–68 念麻ಪ聞之恐久 OMÖP-U-mande KÎK-Î-NÖ KASIKÔ-ku ‘it is awesome to hear wondering’. Lines 2.199a: 71a–72a 霰成曽知余理久礼婆 ARARE-nasu söti yör-i-k-ure-mba ‘come approaching there like hail’ are completely different from lines 2.199: 71–72 大雪乃乱而來礼 OPO YUKÎ-nö MÎnDARE-TE K-Î-TAr-e ‘come in confusion like great snow’. Lines 2.199a: 75a–78a 朝霜之消者消言尓打蝉等安良蘇布波之尓 ASA SIMÔ-NÖ KË-N-Amba KË TÖ IP-U-ni utu SEMÎ tö arasôp-u pasi-ni ‘saying if [we] perish, [we] perish like morning frost and when [they] were fighting like ephemeral cicadas’ show various lexical, grammatical and scriptural differences with lines 2.199: 75–78 露霜之消者消倍久去鳥乃相競端尓 SIMÔ TUYU-NÖ KË-N-Amba KË-N-Umbë-ku YUK-U TÖRI-nö ARASÔP-U PASI-ni ‘not caring whether [they] would perish like frost and dew and when [they] were fighting like birds that fly away’. For example, line 2.199a: 78a might look at the first glance identical with line 2.199: 78, but the difference is that line 2.199a: 78a 安良蘇布波之尓 arasôp-u pasi-ni ‘when [they] were fighting’ is written completely phonographically, while line 2.199: 78 is in logographic script except case marker -ni spelled phonographically: 相競端尓 ARASÔP-U PASI-ni ‘when [they] were fighting’.

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Line 2.199a: 96a 如是毛安良無等 KA-KU SI mô ar-am-u tö ‘thinking that it would be exactly so’ is lexically, grammatically, and scripturally different from line 2.199: 96 然之毛將有登 SIKAsi mô AR-AM-U tö ‘thinking that it would be so’. Line 2.199a: 99a 刺竹 SAS-U TAKE-NÖ ‘like a budding bamboo’ is completely different from line 2.199: 99 吾大王 WA-ŋGA OPO KÎMÎ ‘our Great Lord’. On sas-u take-nö ‘like a budding bamboo’ see the commentary to the poem 2.167a. Line 2.199a: 100a 皇子御門乎 MÎKÔ-NÖ MÎKAnDÔ-wo ‘the palace of the Imperial Prince’ is different from line 2.199: 100 皇子之御門乎 MÎKÔ-NÖ MÎKAnDÔ-wo ‘the palace of the Imperial Prince’ only by script: the genitive case marker -nö is spelled logographically as 之 in 2.199, but not in 2.199a. On the rest of the poem 2.199a see the commentary to the poem 2.199.

Preface to the Poems 2.200–201

本文・Original Text 短歌二首 Translation Two tanka [envoys]. Commentary These envoys are to the poem 2.199 (2.199a).

2.200

本文・Original Text (1) 久堅之 (2) 天所知流 (3) 君故尓 (4) 日月毛不知 (5) 戀渡鴨 仮名の書き下し・Kana Transliteration (1) ひ₁さかたの₂ (2) あめ₂しらしぬる (3) き₁み₁ゆゑに (4) ひ₁つき₂も₁しらに (5) こ₁ひ₂わたるかも₁ Romanization (1) PÎSA KATA N-Ö (2) AMË SIR-AS-I-N-Uru (3) KÎMÎ YUWE n-i (4) PÎ TUKÏ mô SIR-AN-I (5) KÔPÏ-WATAR-U kamô

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Glossing with Morphemic Analysis (1) eternal hard DV-ATTR (2) Heaven rule-HON-CONV-PERF-ATTR (3) lord reason DV-CONV (4) day month FP know-NEG-CONV (5) long.for(CONV)-crossATTR EP Translation (5) [I] continue to long for (4) countless days and months (3) because of [my] lord (1/2) who [now] rules eternal and hard Heaven. Commentary On pîsa kata n-ö ‘eternal and strong’ (lit. ‘long [and] hard’) see the commentary to the poem 15.3650. Some Japanese scholars read sir-anz-u instead of sir-an-i ‘not knowing’ (Inaoka 1985: 370). The kana script in the Kanazawa-bon reads 不知 as sir-anz-u in this poem and the next poem 2.201, but this should not be surprising, because by the mid-Heian period the negative converbial form -an-i was already obsolete.

2.201

本文・Original Text (1) 埴安乃 (2) 池之堤之 (3) 隱沼乃 (4) 去方乎不知 (5) 舎人者迷惑 仮名の書き下し・Kana Transliteration (1) はにやすの₂ (2) いけ₂の₂つつみ₁の₂ (3) こ₂も₂りぬの₂ (4) ゆくへ₁をしら に (5) と₂ねりはまと₁ふ Romanization (1) Paniyasu-nö (2) IKË-NÖ TUTUMÎ-NÖ (3) KÖMÖR-I NU-nö (4) YUK-U PÊ-wo SIR-AN-I (5) TÖNERI pa MATÔP-U Glossing with Morphemic Analysis (1) Paniyasu-GEN (2) pond-GEN embankment-GEN (3) be.hidden-NML marshGEN (4) go-ATTR side-ACC know-NEG-CONV (5) courtier TOP be.lost-FIN Translation (5) Courtiers are lost (4) not knowing how to go (3) to the hidden marsh (2) at the embankment of the pond (1) in Paniyasu [palace].

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Commentary On Paniyasu see the commentary to the poem 2.199. Here Paniyasu refers to Paniyasu palace of Imperial Prince Takëti that was located at Mt. Kaguyama. First three lines are considered to be a poetic introduction ( jo, 序) to the rest of the poem (Inaoka 1985: 371). WOJ nu ‘marsh’, where water stagnates and does not flow is a metaphor describing the mood of courtiers who mourn deceased Imperial Prince Takëti (Inaoka 1985: 371).

Preface to the Poem 2.202

本文・Original Text 或書反歌一首 Translation One envoy from a certain book. Commentary We do not know what this book is.

2.202

本文・Original Text (1) 哭澤之 (2) 神社尓三輪須惠 (3) 雖禱祈 (4) 我王者 (5) 高日所知奴 仮名の書き下し・Kana Transliteration (1) なき₁さはの₂ (2) も₁りにみ₁わすゑ (3) いの₂れど₂も₂ (4) わがおほき₁み₁ は (5) たかひ₁しらしぬ Romanization (1) Nakîsapa-NÖ (2) MÔRI-ni mîwa suwe (3) INÖR-E-nDÖMÖ (4) WA-ŋGA OPO KÎMÎ pa (5) TAKA PÎ SIR-AS-I-n-u Glossing with Morphemic Analysis (1) Nakîsapa-GEN (2) shrine-LOC sacred.wine place(CONV) (3) pray-EV-CONC (4) we-POSS great lord TOP (5) high sun rule-HON-CONV-PERF-FIN

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Translation (3) Although [I] prayed (2) placing sacred wine in the shrine (1) of Nakîsapa, (4) our Great Lord (5) has reached the stage [when he] rules the High Sun. Commentary Nakîsapa shrine (Nakîsapa-nö môri, 哭澤之神社) is the same shrine as modern Uneonotutamoto shrine (Uneonotutamoto jinja, 畝尾都多本神社), a small shrine located in Kinomoto town (Kinomoto chō, 木之本町) of Kashihara city (Kashihara shi, 橿原市) in the western foothills of Mt. Kaguyama (香具山) in present-day Nara prefecture (Nakanishi 1985: 469). WOJ mîwa is a rice wine used as an offering to deities.

Postscript to the Poem 2.202

本文・Original Text 右一首類聚歌林曰檜隈女王怨泣澤神社之歌也案日本紀云十年丙申 秋七月辛丑朔庚戌後皇子尊薨 Translation The Ruijū Karin says about the poem above: “It is a poem [composed by] Princess Pînökuma grieving at Nakîsapa shrine”. The Nihongi says: “The latter Imperial Prince passed away on the tenth day of the autumn seventh lunar month of the tenth year [of Jitō]”. Commentary On the Ruijū Karin (類聚歌林) see the commentary to the postscript to the poems 1.5–6. Princess Pînökuma (檜隈女王) might be the same person as Princess Pînömapê (檜前女王) who is mentioned in the Shoku Nihongi (続日本紀) as having Upper Junior Fourth Rank in the second lunar month of the ninth year of Tenpyō (March–April 737 AD) (Nakanishi 1985: 264). On Nakîsapa shrine see the commentary to the poem 2.202. The tenth day of the autumn seventh lunar month of the tenth year of Jitō corresponds to August 13, 696 AD. The latter Imperial Prince is Imperial Prince Takëti (高市皇子). On his biography see the commentary to the poem 2.114.

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Preface to the Poem 2.203

本文・Original Text 但馬皇女薨後穂積皇子冬日雪落遥望御墓悲傷流涕御作歌一首 Translation After Imperial Princess Tandima had passed away, Imperial Prince Pondumî looking from afar at [her] grave on a winter day when snow was falling, composed a poem grieving and shedding tears. Commentary On Imperial Princess Tandima (但馬皇女), and Imperial Prince Pondumî (穂積皇子), as well as their biographies see the commentary to the preface to the poem 2.114.

2.203

本文・Original Text (1) 零雪者 (2) 安播尓勿落 (3) 吉隱之 (4) 猪養乃岡之 (5) 寒有巻尓 仮名の書き下し・Kana Transliteration (1) ふるゆき₁は (2) あはになふりそ₂ (3) よなばりの₂ (4) ゐかひ₁の₂をかの₂ (5) さむからまくに Romanization (1) PUR-U YUKÎ pa (2) apa n-i NA-PUR-I-SÖ (3) Yönambari-NÖ (4) Wikapî-nö WOKA-NÖ (5) SAMU-K-AR-Am-aku n-i Glossing with Morphemic Analysis (1) fall-ATTR snow TOP (2) heavy.snow DV-CONV NEG-fall-NML-do(IMP) (3) Yönambari-GEN (4) Wikapî-GEN hill-GEN (5) be.cold-CONV-exist-TENTNML DV-CONV Translation (5) Because it is probably cold (4) on Wikapî hill (3) in Yönambari, (1) falling snow, (2) do not fall heavily! Commentary WOJ apa on line two is a hapax legomenon that is difficult to explain. There are multiple hypotheses regarding its meaning, but only two of them should - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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deserve our attention. One considers apa to be an alternative form of WOJ sapa ‘many’, ‘abundant’, resulting from an irregular initial s- loss, attested sporadically in other cases in Japonic, e.g. sak- ~ ak- ‘to split’. However, this sporadic phonetic shift is not attested synchronically in Western Old Japanese. Another hypothesis, which I adopt here, appeals to the dialect of Asawi district (Asawi gun, 浅井郡) in Apumî province (Apumî-nö kuni, 近江國), where according to Motoori Norinaga, apa means ‘heavy snow’ and yukî ‘light snow’, as mentioned by Tachibana Chikage in his Man’yōshū ryakuge (Tachibana 1796 [1929.1]: 159). Yönambari (吉隱) coincides with mountainous area in Sakurai city (Sakurai shi, 桜井市) between Hatsuse (初瀬) and Haibara town (Haibara chō, 榛原町) of Uda county (Uda gun, 宇陀郡) in present-day Nara prefecture (Nakanishi 1985: 497). Wikapî hill (Wikapî-nö woka, 猪養乃岡) is located on Takadono (高殿) mountainside in the north-eastern part of Yönambari (Nakanishi 1985: 498).

Preface to the Poems 2.204–206

本文・Original Text 弓削皇子薨時置始東人作歌一首并短歌 Translation A poem composed by Okîsömë-nö Andumapîtö when Imperial Prince Yuŋgë passed away. Followed by tanka [envoys]. Commentary On Imperial Prince Yuŋgë (弓削皇子) see the commentary to the preface to the poem 2.111. On Okîsömë-nö Andumapîtö see the commentary to the postscript to the poem 1.66.

2.204

本文・Original Text (1) 安見知之 (2) 吾王 (3) 高光 (4) 日之皇子 (5) 久堅乃 (6) 天宮尓 (7) 神 随 (8) 神等座者 (9) 其乎霜 (10) 文尓恐美 (11) 晝波毛 (12) 日之盡 (13) 夜 羽毛 (14) 夜之盡 (15) 臥居雖嘆 (16) 飽不足香裳

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仮名の書き下し・Kana Transliteration (1) やすみ₁ちし (2) わがおほき₁み₁ (3) たかひ₁かる (4) ひ₁の₂み₁こ₁ (5) ひ₁さ かたの₂ (6) あまつみ₁やに (7) かむながら (8) かみ₂と₂いませば (9) そ₂こ₂ をしも₁ (10) あやにかしこ₁み₁ (11) ひ₁るはも₁ (12) ひ₁の₂こ₂と₂ご₂と₂ (13) よ₁る はも₁ (14) よ₁の₂こ₂と₂ご₂と₂ (15) ふしゐなげ₂け₂ど₂ (16) あき₁たらぬかも Romanization (1) yasu mît-i-si (2) WA-ŋGA OPO KÎMÎ (3) TAKA PÎKAR-U (4) PÎ-NÖ MÎKÔ (5) PÎSA KATA n-ö (6) AMA-TU MÎYA-ni (7) KAMU-NA-ŋ-GARA (8) KAMÏ tö IMAS-E-mba (9) SÖKÖ-wo si mô (10) aya n-i KASIKÔ-mî (11) PÎRU pa mô (12) PÎ-NÖ KÖTÖ-ŋGÖTÖ (13) YÔRU pa mô (14) YÔ KÖTÖ-ŋGÖTÖ (15) PUS-I-WI NA ŋGËK-Ë-nDÖ (16) AK-Î-TAR-AN-U kamo Glossing with Morphemic Analysis (1) peace be.filled-CONV-PAST.ATTR (2) we-POSS great lord (3) high shineATTR (4) sun-GEN Prince (5) eternal hard DV-ATTR (6) Heaven-GEN/LOC palace-LOC (7) deity-PLUR-GEN-nature (8) deity DV exist(HON)-EV-CON (9) there-ABS EP EP (10) strange DV-CONV be.awesome-GER (11) day.time TOP EP (12) day-GEN every (13) night.time TOP EP (14) night every (15) lie.downCONV-sit(CONV) lament-EV-CONC (16) be.satisfied-CONV-be.enough-NEGATTR EP Translation (8) Because (3/4) the high-shining Sun Prince, (2) our Great Lord, (1) who was filled with peace (8) resides as a deity (7) [with his] divine nature (6) in the palace of Heaven (5) that is eternal and hard, (10) it is strangely awesome (9) there. (15) Although [I] am lamenting while sitting or lying down (12) every day (11) in the day time (14) [and] every night (13) in the night time, (16) [I] cannot [grieve] enough! Commentary This chōka has a very strange form, as it comprises even, and not odd number of lines. In addition, six lines are hypometric. For the same phenomena see also the poem 2.162. Line two is hypometric ( ji tarazu, 字足らず). On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to the poem 5.794. Line four is hypometric ( ji tarazu, 字足らず). On pîsa kata n-ö ‘eternal and strong’ (lit. ‘long [and] hard’) see the commentary to the poem 15.3650.

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Line six is hypometric ( ji tarazu, 字足らず). Residing in the Heavenly palace is, of course, a metaphor for death. Line twelve is hypometric ( ji tarazu, 字足らず). Line thirteen is hypometric ( ji tarazu, 字足らず). Line fourteen is hypometric ( ji tarazu, 字足らず).

Preface to the Poem 2.205

本文・Original Text 反歌一首 Translation An envoy. Commentary This envoy is to the chōka 2.204.

2.205

本文・Original Text (1) 王者 (2) 神西座者 (3) 天雲之 (4) 五百重之下尓 (5) 隱賜奴 仮名の書き下し・Kana Transliteration (1) おほき₁み₁は (2) かみ₂にしませば (3) あまくもの₂ (4) いほへ₁の₂したに (5) かくりたまひ₁ぬ Romanization (1) OPO KÎMÎ pa (2) KAMÏ n-i si MAS-E-mba (3) AMA-KUMÔ-NÖ (4) IPO PÊ-NÖ SITA-ni (5) KÖMÖR-I-TAMAP-Î-n-u Glossing with Morphemic Analysis (1) great lord TOP (2) deity DV-CONV EP exist(HON)-EV-CON (3) Heavencloud-GEN (4) five.hundred layer-GEN below-LOC (5) be.hidden-CONVHON-CONV-PERF-FIN Translation (1/2) Because the Great Lord is a deity (5) [he] secluded himself (4) under five layers (3) of Heavenly clouds.

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Commentary Secluding oneself under five layers of Heavenly clouds is a metaphor for death. On WOJ opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to the poem 5.794.

Preface to the Poem 2.206

本文・Original Text 又短歌一首 Translation And another tanka [envoy]. Commentary This envoy is to the chōka 2.204.

2.206

本文・Original Text (1) 神樂浪之 (2) 志賀佐射礼浪 (3) 敷布尓 (4) 常丹跡君之 (5) 所念有 計類 仮名の書き下し・Kana Transliteration (1) ささなみ₁の₂ (2) しがさざれなみ₁ (3) しくしくに (4) つねにと₂き₁み₁が (5) おも₂ほえ₂たりけ₁る Romanization (1) Sasanamî-NÖ (2) Siŋga sanzare NAMÎ (3) siku-siku n-i (4) TUNE n-i tö KÎMÎ-ŋGA (5) OMÖP-OYE-TAR-I-kêr-u Glossing with Morphemic Analysis (1) Sasanamî-GEN (2) Siŋga ripple wave (3) frequent DV-CONV (4) always DV-CONV DV lord-POSS (5) think-PASS(CONV)-PERF/PROG-CONVRETR-ATTR Translation (3/4/5) [Our] Lord deigned to think frequently that [he] will live forever (1/2/3) like the ripple waves in Siŋga of Sasanamî are eternal.

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Commentary On Sasanamî in Apumî province and its Korean connection see the commentary to the poem 1.29a. On Siŋga ‘Siŋga area’ see the commentary to the poem 1.30.

Preface to the Poems 2.207–212

本文・Original Text 柿本朝臣人麻呂妻死之後泣血哀慟作歌二首并短歌 Translation Two poems composed by Kakînömötö-nö asömî Pîtömarö when [he] was grieving and weeping with blood after [his] wife died. Followed by tanka [envoys]. Commentary On Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to the poems 17.3969–3972. Two poems are chōka 2.207 and 2.210 followed respectively by tanka 2.208– 209 and 2.211–212.

2.207

本文・Original Text (1) 天飛也 (2) 輕路者 (3) 吾妹兒之 (4) 里尓思有者 (5) 懃 (6) 欲見騰 (7) 不已行者 (8) 人目乎多見 (9) 真根久徃者 (10) 人應知見 (11) 狭根葛 (12) 後毛將相等 (13) 大船之 (14) 思憑而 (15) 玉蜻 (16) 磐垣淵之 (17) 隱耳 (18) 戀管在尓 (19) 度日乃 (20) 晩去之如 (21) 照月乃 (22) 雲隱如 (23) 奥 津藻之 (24) 名延之妹者 (25) 黄葉乃 (26) 過伊去等 (27) 玉梓之 (28) 使 乃言者 (29) 梓弓 (30) 聲尓聞而 (30a) 一云聲耳聞而 (31) 將言爲便 (32) 世 武爲便不知尓 (33) 聲耳乎 (34) 聞而有不得者 (35) 吾戀 (36) 千重之一 隔毛 (37) 遣悶流 (38) 情毛有八等 (39) 吾妹子之 (40) 不止出見之 (41) 輕 市尓 (42) 吾立聞者 (43) 玉手次 (44) 畝火乃山尓 (45) 喧鳥之 (46) 音母 不所聞 (47) 玉桙 (48) 道行人毛 (49) 獨谷 (50) 似之不去者 (51) 爲便乎 無見 (52) 妹之名喚而 (53) 袖曽振鶴 或本有謂之 (54) 名耳 (55) 聞而有不得者句 仮名の書き下し・Kana Transliteration (1) あまと₂ぶや (2) かるの₂み₁ちは (3) わぎ₁も₁こ₁が (4) さと₁にしあれば (5) ねもこ₂ろ₂に (6) み₁まくほしけ₂ど₂ (7) やまずいかば (8) ひ₁と₂め₂をお

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ほみ₁ (9) まねくいかば (10) ひ₁と₂しりぬべ₂み₁ (11) さねかづら (12) の₂ちも₁ あはむと₂ (13) おほふねの₂ (14) おも₂ひ₁たの₂み₁て (15) たまかぎ₁る (16) い はかき₁ふちの₂ (17) こ₂も₂りの₂み₂ (18) こ₁ひ₂つつあるに (19) わたるひ₁の₂ (20) くれぬるがご₂と₂ (21) てるつき₂の₂ (22) くも₁がくるご₂と₂ (23) おき₁つも の₂ (24) なび₁き₁しいも₁は (25) も₁み₁ちばの₂ (26) すぎ₂ていゆくと₂ (27) た まづさの₂ (28) つかひ₁の₂いへ₂ば (29) あづさゆみ₁ (30) おと₂にき₁き₁て (30a) 一云おと₂の₂み₂き₁き₁て (31) いはむすべ₁ (32) せむすべ₁しらに (33) おと₂ の₂み₂を (34) き₁き₁てありえねば (35) あがこ₁ふる (36) ちへ₁の₂ひ₁と₂へ₁も₁ (37) なぐさもる (38) こ₂こ₂ろ₂も₁ありやと₂ (39) わぎ₁も₁こ₁が (40) やまずいで み₁し (41) かるの₂いちに (42) あがたちき₁け₂ば (43) たまだすき₁ (44) うね び₂の₂やまに (45) なくと₂りの₂ (46) こ₂ゑも₂き₁こ₂え₂ず (47) たまほこ₂の₂ (48) み₁ちゆき₁び₁と₂も₁ (49) ひ₁と₂りだに (50) にてしゆかねば (51) すべ₁を なみ₁ (52) いも₁がなよ₁び₁て (53) そ₁でそふりつる 或本有謂之 (54) なの₂み₂を (55) き₁き₁てありえねば句

Romanization (1) AMA-TÖmB-U ya (2) Karu-NÖ MÎTI pa (3) WA-ŋG-ÎMÔ-KÔ-ŋGA (4) SATÔ n-i si AR-E-mba (5) NEMOKÖRÖ N-I (6) MÎ-M-AKU POSI-KÊ-ndö (7) YAM-AnZ-U IK-Amba (8) PÎTÖ MË-wo OPO-mî (9) mane-ku IK-Amba (10) PÎTÖ SIR-I-N-UmBË-mî (11) sane-KAnDURA (12) NÖTI mô AP-AM-U tö (13) OPO PUNE-NÖ (14) OMÖP-Î-TANÖM-Î-TE (15) TAMA KA ŋGÎRU (16) IPA KAKÎ PUTI-NÖ (17) KÖMÖR-I NÖMÏ (18) KÔPÏ-tutu AR-U-ni (19) WATAR-U PÎ-nö (20) KURE-n-uru-ŋGA ŋGÖTÖ (21) TER-U TUKÏ-nö (22) KUMÔ-ŋ-GAKUR-U ŋGÖTÖ (23) OKÎ-tu MO-NÖ (24) nambîk-î-si IMÔ pa (25) MÔMÎT-I-m-BA-nö (26) SU ŋGÏ-TE i-YUK-U tö (27) TAMA-[A]nDUSA-NÖ (28) TUKAPÎ-nö IP-Ë-mba (29) AnDUSA YUMÎ (30) OTÖ n-i KÎK-Î-TE (30a) OTÖ NÖMÏ KÎK-Î-TE (31) IP-AM-U sumbê (32) se-m-u sumbê SIR-An-i (33) OTÖ NÖMÏ-wo (34) KÎK-Î-TE AR-I-E-N-E-mba (35) A-ŋGA KÔP-URU (36) TI PÊ-NÖ PÎTÖ PÊ mô (37) NA ŋGUSAMOr-u (38) KÖKÖRÖ mô AR-I ya tö (39) WA-ŋG-ÎMÔ-KÔ-ŋGA (40) YAM-AnZ-U InDE MÎ-si (41) Karu-NÖ ITI-ni (42) A-ŋGA TAT-I KÎK-Ë-mba (43) TAMA-n-DAsukî (44) Unembï-nö YAMA-ni (45) NAK-U TÖRI-NÖ (46) KÖWE mö KÎK-ÖYE-nZ-u (47) TAMA POKÖ-NÖ (48) MÎTI YUK-Î-m-BÎTÖ mô (49) PÎTÖ-RI ndani (50) NI-TE-si YUK-AN-E-mba (51) sumbê-wo NA-mî (52) IMÔ-ŋGA NA YÔmB-Î-TE (53) SÔnDE sö PUR-I-t-uru A certain book says: (54) NA NÖMÏ-WO (55) KÎK-Î-TE AR-I-E-N-E-mba

Glossing with Morphemic Analysis (1) Heaven-fly-ATTR EP (2) Karu-GEN road TOP (3) I-POSS-beloved-DIM-POSS (4) village DV-CONV EP exist-EV-CON (5) eager DV-CONV (6) see-TENT-NML be.desirable-EV-CONC (7) stop-NEG-CONV go-COND (8) person eye-ABS

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be.many-GER (9) be.many go-COND (10) person know-CONV-PERF-DEBGER (11) vine (12) after FP meet-TENT-FIN DV (13) big boat-COMP (14) thinkCONV-rely-CONV-SUB (15) pearl dragonfly (16) rock fence deep.pool-COMP (17) seclude.oneself-NML RP (18) long.for(CONV)-COOR exist-ATTR-LOC (19) cross-ATTR sun-GEN (20) set.down(CONV)-PERF-ATTR like (21) shineATTR moon-GEN (22) cloud-LOC-hide-ATTR like (23) offing-GEN/LOC seaweedCOMP (24) recline-CONV-PAST.ATTR beloved TOP (25) leaves.turn.red.and. yellow-NML-DV(ATTR)-leaf-COMP (26) pass(CONV)-SUB DLF-go.away-FIN DV (27) pearl-catalpa-GEN (28) messenger-GEN tell-EV-CON (29) catalpa bow (30) sound DV-CONV hear-CONV-SUB (30a) sound RP hear-CONV-SUB (31) sayTENT-ATTR way (32) do-TENT-ATTR way know-NEG-CONV (33) sound RP-ACC (34) hear-CONV-SUB exist-CONV-get-NEG-EV-CON (35) I-POSS long.for-ATTR (36) thousand layer-GEN one layer FP (37) be.at.ease-ATTR (38) heart FP existFIN IP DV (39) I-POSS-beloved-DIM-POSS (40) stop-NEG-CONV go.out(CONV) see(CONV)-PAST.ATTR (41) Karu-GEN market-LOC (42) I-POSS stand-CONV listen-EV-CON (43) pearl-GEN-sleeve.cord (44) Unembï-GEN mountain-LOC (45) cry-ATTR bird-GEN (46) voice FP hear-PASS-NEG-FIN (47) jewel spearCOMP (48) way go-NML-DV(ATTR)-person FP (49) one-CL RP (50) look. like(CONV)-PERF(CONV)-PAST.ATTR go-NEG-EV-CON (51) way-ABS not.existGER (52) beloved-POSS name call-CONV-SUB (53) sleeve FP wave-CONV-PERFATTR A certain book says: (54) name RP-ACC (55) hear-CONV-SUB exist-CONV-get-NEG-EV-CON Translation (3/4) Because the village of my dear beloved is (2) at Karu road, (1) where wild geese fly in Heaven, (5/6) although [I] eagerly want to see [her], (7) if [I] go incessantly, (8) there are many [prying] eyes of people, (9) if [I] go many times, (10) people would surely know. (12) Thinking that [we] will meet later (11) like vines, (14) [I] relied [on this] (13) like on a big boat, and (18) as [I] continued to long for [you] (17) just in secret (16) like hidden in the deep pool [behind] the rocky fence (15) shining like a pearl dragonfly, (27/28) when a messenger [with] a shining like pearl catalpa tree branch told [me] that (24) [my] beloved who reclined [near me] (23) like seaweed in the offing, (19/20) like the sun crossing [the sky] that sets down, (23/24) like the shining moon that hides in the clouds (26) passed away like autumn colorful leaves, (30) hearing [this] as a sound (30a) hearing [this] just [as] a sound (29) of the catalpa bow, (32) [I] did not know what to do (31) and what to say. (34) Because [I] could not hear (33) even a sound, (35/38) [I] was thinking: “Will my heart longing for [her] (37) be at ease (36) just a little bit?” (42) And when I stood and listened (41) in Karu market (39) where my beloved (40) went all the time and where [I] saw [her], (46) [I] could not hear even the voices (45) of crying birds (44) at Mt. Unembï (43) [that

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tucked its sleeves with] sleeve cords. (49/50) As no one who went looked like [her] (48) among the people who went along the way (47) [straight] as a jewel spear (51) there was no [other] way [for me], (52) [but] to call the name of my beloved, and (53) to wave [my] sleeves. A certain book says: (55) As [I] could not hear

(54) even [her] name.

Commentary Line one is a permanent epithet (makura-kotoba, 枕詞) for the placename Karu, that apparently involves a word-play with the word kari ‘wild goose’. Line two is hypometric ( ji tarazu, 字足らず). Line seven is hypermetric ( ji amari, 字余り). Line nine is hypermetric ( ji amari, 字余り). On WOJ sana-kandura ~ sane-kandura ‘Kazura Japonica’ see the commentary to the poem 2.94. WOJ kaŋgîru is ‘dragonfly’. Tama kaŋgîru ‘pearl-like dragonfly’ indicates small radiant light (Inaoka 1985: 387–388). WOJ ŋgötö ‘like’ is probably a combination of the reduced form -ŋ of the genitive case marker -nö and the word kötö ‘like’, borrowed from otherwise unattested OK predecessor of MK kʌt- ‘be like’. On OJ andusa ‘catalpa tree’ (梓) and andusa yumî ‘catalpa bow’ see the commentaries to 14.3487 and 14.3489. Catalpa branches were used for attaching letters to them (Inaoka 1985: 389). Line thirty is hypometric ( ji tarazu, 字足らず). Line thirty-four is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since kîk-î-te ar-i-e-n-e-mba ‘because [I] could not hear’ was in all probability pronounced as [kîkîtarienemba]. Line thirty-eight is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since kökörö mô ar-i ya tö ‘thinking: “Is there a heart, too?”’ was in all probability pronounced as [kökörömariyatö]. WOJ iti ‘market’, ‘market place’ was usually open from the Hour of the Horse (11 am–1 pm) and till the sunset. It was a multifunctional place where not only trade, but other social activities, such as different political ceremonies, prayers for the rain, as well as executions also took place (Inaoka 1985: 390). Line forty-one is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since karu-nö iti-ni ‘at Karu market’ was in all probability pronounced as [karunitini]. WOJ tama-n-dasukî ‘pearly sleeve cords’ is usually supposed to be a permanent epithet (makura-kotoba, 枕詞) to Mt. Unembï (Takeda 1956.2: 582; Inaoka 1985: 390), but one can easily imagine a metaphor for a manly Mt. Unembï that

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tucks its sleeves. Following my practice of translating makura-kotoba if they can be translated at all, I also translate this one. Tucking one’s sleeves with sleeve cords is a metaphor for getting down to an important business. On Mt. Unembï see the commentaries to the preface to the poem 1.2 and to the poems 1.13 and 1.29. On tama pokö-nö ‘like a jewel spear’ see the commentary to 5.886. The ritual of waving one’s sleeves was meant to invite the soul of one’s beloved, whether alive or dead (Inaoka 1990: 59). It is not quite clear whether lines fifty-four and fifty-five are a variant of lines fifty-two and fifty-three, or they represent the end of the text lost in the main variant (Inaoka 1985: 393), or were cut from the text by the author (Omodaka 1977.2: 435). The first is rather improbable, since we would expect 7–7 syllables long lines at the end of a chōka, but not 4–7, with the first line being severely hypometric ( ji tarazu, 字足らず) especially in a poem like 2.207 that does not exhibit too many metric irregularities. As for the second opinion, it is not quite clear where these two lines would be cut from, either. Thus, I think the safest solution would be to conjecture that these two lines belong to another variant of this poem that is no longer extant, although theoretically these two lines could be a variant of lines thirty-three and thirty-four. However, under this scenario it is not clear why they are placed at the very end of the poem 2.207 instead of immediately after lines thirty-three and thirty-four. Therefore, I translate them, but not as a part of 2.207.

Preface to the Poems 2.208–209

本文・Original Text 短歌二首 Translation Two tanka [envoys]. Commentary These envoys are to the preceding chōka 2.207

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2.208

本文・Original Text (1) 秋山之 (2) 黄葉乎茂 (3) 迷流 (4) 妹乎將求 (5) 山道不知母 一云路不 知而

仮名の書き下し・Kana Transliteration (1) あき₁やまの₂ (2) も₁み₁ちをしげ₂み₁ (3) まと₁ひ₁ぬる (4) いも₁をも₂と₂め₂ む (5) やまぢしらずも₂ 一云み₁ちしらずして Romanization (1) AKÎ YAMA-NÖ (2) MÔMÎT-I-wo SI ŋGË-MÎ (3) MATÔP-Î-N-Uru (4) IMÔ-wo MÖTÖMË-M-U (5) YAMA-n-DI SIR-AnZ-Umö … A variant: MÎTI SIR-AnZ-U s-i-te Glossing with Morphemic Analysis (1) autumn mountain-GEN (2) leaves.turn.red.and.yellow-NML-ABS grow. thick-GER (3) get.lost-CONV-PERF-ATTR (4) beloved-ACC seek-TENTATTR (5) mountain-GEN-road know-NEG-EXCL A variant: road know-NEG-NML do-CONV-SUB Translation (1/2) Leaves that turned yellow and red on autumn mountains are growing thickly … (3/4/5) [I] got lost on the mountain road where [I] would look for [my] beloved, as [I] do not know [it]! A variant: (5) without knowing the road Commentary On WOJ mômîti ‘red and yellow autumn leaves’ see the commentary to the poem 15.3693. In Ancient Japan there was a belief that dead people were wandering in the mountains, maintaining in this way a connection with this world (Inaoka 1985: 396). See also 2.210, 3.471, and 7.1409.

2.209

本文・Original Text (1) 黄葉之 (2) 落去奈倍尓 (3) 玉梓之 (4) 使乎見者 (5) 相日所念

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仮名の書き下し・Kana Transliteration (1) も₁み₁ちばの₂ (2) ちりゆくなへ₂に (3) たまづさの₂ (4) つかひ₁をみ₁れば (5) あひ₁しひ₁おも₂ほゆ Romanization (1) MÔMÎT-I-m-BA-NÖ (2) TIR-I-YUK-U napë n-i (3) TAMA-[A]nDUSA-NÖ (4) TUKAPÎ-wo MÎ-RE-mba (5) AP-Î-SI PÎ OMÖP-OY-U Glossing with Morphemic Analysis (1) leaves.turn.red.and.yellow-NML-DV(ATTR)-leaf-GEN (2) fall-CONV-goATTR CONJ DV-CONV (3) pearl-catalpa-GEN (4) messenger-ACC see-EV-CON (5) meet-CONV-PAST.ATTR day think-PASS-FIN Translation (4) When [I] saw the messenger (3) with a pearly catalpa [branch] (1/2) at the same time as red and yellow leaves continued to fall, (5) [I] suddenly thought of the days when [we] met. Commentary On WOJ mômîti ‘red and yellow autumn leaves’ see the commentary to the poem 15.3693. On OJ andusa ‘catalpa tree’ (梓) and andusa yumî ‘catalpa bow’ see the commentaries to 14.3487 and 14.3489. Catalpa branches were used for attaching letters to them (Inaoka 1985: 389).

2.210

本文・Original Text (1) 打蝉等 (2) 念之時尓 … 一云宇都曽臣等念之 (3) 取持而 (4) 吾二人見 之 (5) 趍出之 (6) 堤尓立有 (7) 槻木之 (8) 己知碁知乃枝之 (9) 春葉 之 (10) 茂之如久 (11) 念有之 (12) 妹者雖有 (13) 憑有之 (14) 兒等尓者 雖有 (15) 世間乎 (16) 背之不得者 (17) 蜻火之 (18) 燎流荒野尓 (19) 白妙 之 (20) 天領巾隱 (21) 鳥自物 (22) 朝立伊麻之弖 (23) 入日成 (24) 隱去 之鹿齒 (25) 吾妹子之 (26) 形見尓置有 (27) 若兒乃 (28) 乞泣毎 (29) 取 與 (30) 物之無者 (31) 烏徳自物 (32) 腋挾持 (33) 吾妹子與 (34) 二人吾宿 之 (35) 枕付 (36) 嬬屋之内尓 (37) 晝羽裳 (38) 浦不樂晩之 (39) 夜者裳 (40) 氣衝明之 (41) 嘆友 (42) 世武爲便不知尓 (43) 戀友 (44) 相因乎無見 (45) 大鳥乃 (46) 羽易乃山尓 (47) 吾戀流 (48) 妹者伊座等 (49) 人云者

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(50) 石根左久見手 (51) 名積來之 (52) 吉雲曽無寸 (53) 打蝉跡 (54) 念之 妹之 (55) 珠蜻 (56) 髣髴谷裳 (57) 不見思者 仮名の書き下し・Kana Transliteration (1) うつせみ₁と₂ (2) おも₂ひ₁しと₂き₁に … 一云うつそ₂み₁と₂おも₂ひ₁し (3) と₂りも₂ ちて (4) わがふたりみ₁し (5) はしりでの₂ (6) つつみ₁にたてる (7) つき₂ の₂き₂の₂ (8) こ₂ちご₂ちの₂え₂の₂ (9) はるの₂はの₂ (10) しげ₂き₁がご₂と₂く (11) おも₂へ₁りし (12) いも₁にはあれど₂ (13) たの₂め₁りし (14) こ₁らにはあれど₂ (15) よ₂の₂なかを (16) そ₂むき₁しえねば (17) かぎ₁ろ₁ひ₂の₂ (18) も₁ゆるあら の₁に (19) しろ₁たへ₂の₂ (20) あまひ₁れがくり (21) と₂りじも₂の₂ (22) あさだち いまして (23) いりひ₁なす (24) かくりにしかば (25) わぎ₁も₁こ₁が (26) かた み₁におけ₁る (27) み₁ど₂りこ₁の₂ (28) こ₂ひ₁なくご₂と₂に (29) と₂りあたふる (30) も₂の₂しなけ₁れば (31) をと₂こ₂じも₂の₂ (32) わき₁ばさみ₁も₂つ (33) わぎ₁ も₁こ₁と₂ (34) ふたりわがねし (35) まくらづく (36) つまやの₂うちに (37) ひ₁ るはも (38) うらさび₂くらし (39) よ₁るはも (40) いき₁づき₁あかし (41) なげ₂ け₂ど₂も₂ (42) せむすべ₁しらに (43) こ₁ふれど₂も₂ (44) あふよ₂しをなみ₁ (45) おほと₂りの₂ (46) はがひ₁の₂やまに (47) あがこ₁ふる (48) いも₁はいま すと₂ (49) ひ₁と₂の₂いへ₂ば (50) いはねさくみ₁て (51) なづみ₁こ₂し (52) よ₂ け₁くも₁そ₂なき₁ (53) うつせみ₁と₂ (54) おも₂ひ₁しいも₁が (55) たまかぎ₁る (56) ほの₂かにだにも (57) みえ₂なくおも₂へ₂ば Romanization (1) utu SEMÎ tö (2) OMÖP-Î-si TÖKÎ-ni A variant: utu sömî tö OMÖP-Î-si (3) TÖR-I-MÖT-I-TE (4) WA-ŋGA PUTA-RI MÎ-si (5) PASIR-I-nDE-NÖ (6) TUTUMÎ-ni TAT-ER-U (7) TUKÏ-NÖ KÏ-NÖ (8) köti-ŋgöti-nö YE-NÖ (9) PARU-NÖ PA-NÖ (10) SI ŋGË-KÎ-ŋGA ŋGÖTÖ-ku (11) OMÖP-ÊR-I-si (12) IMÔ N-I pa AR-E-nDÖ (13) TANÖM-ÊR-I-si (14) KÔ-ra n-i pa AR-E-nDÖ (15) YÖ-NÖ NAKA-wo (16) SÖMUK-Î si E-N-E-mba (17) kaŋgîrôpï-NÖ (18) MÔY-Uru ARA NÔ-ni (19) SIRÔ TAPË-NÖ (20) AMA-PÎRE-ŋ-GAKUR-I (21) TÖRI nzimönö (22) ASA-n-DAT-I-imas-i-te (23) IR-I PÎ-nasu (24) KAKUR-I-n-i-sika-mba (25) WA-ŋG-ÎMÔ-KÔ-ŋGA (26) KATAMÎ n-i OK-ÊR-U (27) MÎnDÖRI KÔ-nö (28) KÖP-Î NAK-U ŋGÖTÖ N-I (29) TÖR-I ATAP-URU (30) MÖNÖ si NA-KÊRE-mba (31) wotökö nzimönö (32) WAKÎ-m-BASAM-Î MÖT-U (33) WA-ŋG-ÎMÔ-KÔ-TÖ (34) PUTA-RI WA-ŋGA NE-si (35) MAKURA-n-DUK-U (36) TUMA-YA-NÖ UTI-ni (37) PÎRU pa mo (38) ura SAMBÏ KURAs-i (39) YÔRU pa mo (40) IKÎnDUK-Î AKAs-i (41) NA ŋGËK-Ë-ndömö (42) se-m-u sumbê SIR-An-i (43) KÔP-URE-ndömö (44) AP-U YÖSI-wo NA-mî (45) OPO TÖRI-nö (46) Paŋgap[-]î-nö YAMA-ni (47) A-ŋGA KÔP-Uru (48) IMÔ pa imas-u tö (49) PÎTÖ-NÖ IP-Ë-mba (50) IPA NE sakum-î-te (51) nandum-î KÖ-si (52) YÖ-KÊku mô sö NA-kî (53) utu SEMÎ

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tö (54) OMÖP-Î-si IMÔ-ŋGA (55) TAMA KA ŋGÎRU (56) PONÖKA N-I ndani mo (57) MÎ-YE-N-AKU OMÖP-Ë-mba Glossing with Morphemic Analysis (1) ephemeral cicada DV (2) think-CONV-PAST.ATTR time-LOC A variant: ephemeral cicada think-CONV-PAST.ATTR (3) take-CONV-hold-CONV-SUB (4) we-POSS two-CL look(CONV)-PAST.ATTR (5) run-CONV-go.out(NML)-GEN (6) dam-LOC stand-PROG-ATTR (7) zelkova-GEN tree-GEN (8) here-here-GEN branch-GEN (9) spring-GEN leaf-GEN (10) grow.thick-ATTR-POSS be.like-CONV (11) thinkPROG-CONV-PAST.ATTR (12) wife DV-CONV TOP exist-EV-CONC (13) rely-PROGCONV-PAST.ATTR (14) girl-DIM DV-CONV TOP exist-EV-CONC (15) world-GEN inside-ACC (16) turn.one’s.back.on-NML EP get-NEG-EV-CON (17) shimmer. of.hot.air-GEN (18) burn-ATTR wild field-LOC (19) white cloth.made.from. mulberry. tree.bark-COMP (20) Heaven-magic.scarf-GEN-hide-CONV (21) bird like (22) morning-LOC-rise-CONV-HON-CONV-SUB (23) set-NML sun-COMP (24) hide-CONV-PERF-CONV-PAST.EV-CON (25) I-POSS-beloved-DIM-POSS (26) keepsake DV-CONV leave-PROG-ATTR (27) green baby-GEN (28) askCONV cry-ATTR every.time DV-CONV (29) take-CONV give-ATTR (30) thing EP not.exist-EV-CON (31) man like (32) side-LOC-put.between-CONV holdFIN (33) I-POSS-beloved-DIM-COM (34) two-CL we-POSS sleep(CONV)-PAST. ATTR (35) headrest-GEN-stand.side.by.side-ATTR (36) spouse-bedroom-GEN inside-LOC (37) day.time TOP EP (38) heart grieve(CONV) live.through.the dayCONV (39) night.time TOP EP (40) sigh-CONV stay.through.the.night-CONV (41) lament-EV-CONC (42) do-TENT-ATTR way know-NEG-CONV (43) long. for-EV-CONC (44) meet-ATTR chance-ABS not.exist-GER (45) big bird-GEN (46) cross.wings-CONV / Paŋgapî-GEN mountain-LOC (47) I-POSS long.forATTR (48) beloved TOP exist(HON)-FIN DV (49) person-GEN say-EV-CON (50) rock root push.through-CONV-SUB (51) stumble-CONV come(CONV)PAST.ATTR (52) be.good-ATTR.NML FP FP not.exist-ATTR (53) ephemeral cicada DV (54) think-CONV-PAST.ATTR beloved-POSS (55) pearl dragonfly (56) dim DV-CONV RP FP (57) see-PASS-NEG-NML think-EV-CON Translation (2) When [I] thought [about] [you] (1) as a person of this world, (14) although [you] were [my] dear girl (13) on whom [I] relied, (12) although [you] were [my] wife (11) about whom [I] thought (10) [as passionately] as growing thickly (9) spring leaves (8) on many branches (7) of a zelkova tree (6) standing at the dam (5) [near] the low-lying mountains, (4) that two of us were looking at (3) holding hands, (16) because [one] cannot turn [his] back (15) on this

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world, (19/20) the smoke from [your] funerary pyre, which was like white cloth made from the bark of a mulberry tree, disappeared (18) in a wild field burning (17) with a shimmer of hot air. (24) When [you] have disappeared (21) like a bird, (23) [or] like the setting sun (22) rising in the morning, (28) every time when (27) [our] baby, (25) whom [you] my dear beloved (26) left as a keepsake [for me], (28) cries and asks for [milk], (30) because there is nothing (29) [for me] to give [him], (31) like a man, (32) I hold [him] under my armpit. (37/38) Although [I] grieve [in my] heart throughout the day, (41) and lament, (39/40) and sigh throughout the night (36) in our spousal bedroom (35) where [our] headrests stand side by side, and (34) where I slept together (33) with [you] my dear beloved. (43) Although [I] long for [you], (42) [I] do not know what to do, (44) and as there is no chance to meet, (49) because people say that (47/48) [my] beloved for whom I long lives (45/46) at Paŋgapî mountain, where big birds cross [their] wings, (51) [I] went [there] stumbling (50) and pushing through rock roots, (52) [but] it was no good. (57) Because [I] think that [I] could not see (56) even dimly (55) [like a] pearl[-shining] dragonfly (54) [my] beloved whom [I] hoped to be a person of this world … Commentary On OJ utu semî ‘ephemeral cicada’ see the commentary to 15.3617 and 14.3456. WOJ sömî ‘cicada’9 is a phonetic (dialectal?) variant of OJ semî ‘id.’ OJ utu semî ‘ephemeral cicada’ can be used metaphorically in reference to the people of this world. There is a problem with the interpretation of the variant うつそ₂み₁と₂おも₂ ひ₁し mentioned after the second line. If it was meant as a variant for both lines one and two, the second line becomes hypometric. If, however, it was supposed to include only a part of line two up to the word tökî ‘time’, then the only variation concerns the word semî ~ sömî ‘cicada’ in line one, but then it is unclear why just line one was not included as a variant. WOJ pasirinde is usually explained as the ‘place near the gate of one’s house’ (Omodaka 1977.2: 444; Inaoka 1985: 403–404), but on the basis on the context in 13.3331, the meaning of ‘low-lying mountains’ might seem to be more correct (Omodaka et al. 1967: 578–579). However, judging by indetati ‘place near the gate of one’s house’ used instead of pasirinde in 2.213 (a very close textual variant of 2.210), it is the ‘place near the gate of one’s house’ and not the ‘low-lying mountains’. Possibly we deal with two homophones here in the case of pasirinde: ‘place near the gate of one’s house’ and ‘low-lying mountains’. 9  Not listed in Omodaka et al. (1967).

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WOJ ŋgötö ‘like’ is probably a combination of the reduced form -ŋ of the genitive case marker -nö and the word kötö ‘like’, borrowed from otherwise unattested OK predecessor of MK kʌt- ‘be like’. On WOJ tukï ‘zelkova tree’ see the commentary to the preface to the poems 2.4302–4303. On sirô tapë-nö ‘like the white cloth of the mulberry tree bark’, see the commentary to 15.3607. There is a difference of opinions on what is ama-pîre ‘heaven magic scarf’: white clouds (Omodaka 1977.2: 446–447), smoke from the funerary pyre (Takeda 1956.2: 589), funerary flags (Tachibana 1796 [1929.1]: 166), or heavenly maidens feather garment (Inaoka 1985: 406). I follow Takeda’s interpretation in my translation, as it seems to be the only one that fits the context. On WOJ katamî ‘keepsake’ see the commentary to the poem 15.3596. Line twenty-nine is hypermetric ( ji amari, 字余り). In line thirty-one WOJ wotökô ‘man’ is misspelled as wotökö due to the usage of the character 徳 as a kungana for tökö. In the Kanazawa-bon we have 鳥穗 ‘bird’s ear of rice’, but it makes no sense, and 鳥穗 does not occur anywhere else in OJ. Consequently, to admit here a scribal mistake of 鳥穗 for 烏徳 as all commentators do, seems to be the only feasible solution. I also disagree with Hashimoto Shirō (cited according to Omodaka (1977.2: 448)) and Omodaka that nzi in nzimönö here is a negative, therefore wotökô nzimönö means ‘unlike a man’ (Omodaka 1977.2: 448). Hashimoto and Omodaka’s idea that men do not carry babies is imaginative, but also incorrect for two reasons: first, to the best of my knowledge, there are no other examples when nzimönö means ‘to be unlike’ and not ‘to be like’, and, second, negative -nzi is very different from OJ nzi ~ nzimönö ‘to be like’ because it is: a) an adjectival predicative form and not a postposition, b) it cannot be followed by mönö. For something like ‘not being like a man’ we could expect wotökô nzi-mî, but certainly not wotökô nzimönö. Finally, a man’s clumsiness in handling babies is well described here by the reference to the fact that the author carries the baby under his armpit, and not at his chest, as a woman would do. All commentators read the character 持 on line thirty-two as a converb form möt-i ‘[I] hold and’. The logic behind this interpretation escapes me, since we clearly have a full stop here and from line thirty-three we have a description of a different situation. Consequently, I interpret 持 as a final form möt-u ‘[I] hold’. Line thirty-seven is hypometric ( ji tarazu, 字足らず). Line thirty-nine is hypometric ( ji tarazu, 字足らず). OJ opo tori-nö ‘big bird-GEN’ is considered to be a permanent epithet (makura-kotoba, 枕詞) to Mt. Paŋgapî.

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Mt. Paŋgapî (585 m) is modern Ryūōzan (龍王山), located in Ta town (Ta chō, 田町) of Tenri city (Tenri shi, 天理市) in present-day Nara prefecture (Nakanishi 1985: 475). Line forty-nine is hypermetric ( ji amari, 字余り). Line fifty-seven is hypermetric ( ji amari, 字余り).

Preface to the Poems 2.211–212

本文・Original Text 短歌二首 Translation Two tanka [envoys]. Commentary These envoys are to the preceding chōka 2.210.

2.211

本文・Original Text (1) 去年見而之 (2) 秋乃月夜者 (3) 雖照 (4) 相見之妹者 (5) 弥年放 仮名の書き下し・Kana Transliteration (1) こ₂ぞ₂み₁てし (2) あき₁の₂つくよ₁は (3) てらせど₂も₂ (4) あひ₁み₁しいも₁ は (5) いやと₂しさかる Romanization (1) KÖnZÖ MÎ-te-si (2) AKÎ-nö TUKU-YÔ pa (3) TERAS-E-nDÖMÖ (4) APÎ-MÎ-si IMÔ pa (5) IYA TÖSI SAKAR-U Glossing with Morphemic Analysis (1) last.year see(CONV)-PERF(CONV)-PAST.ATTR (2) autumn-GEN moonlight TOP (3) shine-EV-CONC (4) REC-look(CONV)-PAST.ATTR beloved TOP (5) more.and.more year be.separated-FIN

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Translation (2) The autumn moon light (1) that [I] saw last year (3) [still] shines, but (4) [my] beloved with whom we looked at [it] together, (5) goes farther and farther away [from me every] year. Commentary WOJ tuku-yô may mean both ‘moon-lit night’ and ‘moon light’. Here we deal with the second case (Inaoka 1985: 412).

2.212

本文・Original Text (1) 衾道乎 (2) 引手乃山尓 (3) 妹乎置而 (4) 山俓徃者 (5) 生跡毛無 仮名の書き下し・Kana Transliteration (1) ふすまぢを (2) ひ₁き₁での₂やまに (3) いも₁をおき₁て (4) やまぢをゆけ₂ ば (5) いけ₁りと₂も₁なし Romanization (1) Pusuma-n-DI-wo (2) Pîkînde-nö YAMA-ni (3) IMÔ-wo OK-Î-TE (4) YAMA-n-DI-WO YUK-Ë-mba (5) IK-ÊR-I tömô NA-SI Glossing with Morphemic Analysis (1) Pusuma-GEN-road-ACC (2) Pîkînde-GEN mountain-LOC (3) beloved-ACC leave-CONV-SUB (4) mountain-GEN-road-ACC go-EV-CON (5) live-PROG-FIN CONJ not.exist-FIN Translation (1/4) When [I] go by Pusuma mountain road, (3) having left [my] beloved (2) on Pîkînde mountain, (5) [I] feel as if [I] am not alive. Commentary Pusuma-ndi (衾道) ‘Pusuma road’ was located in the vicinity of Nakayama town (Nakayama chō, 中山町) of Tenri city (Tenri shi, 天理市) in present-day Nara prefecture (Nakanishi 1985: 480). Mt. Pîkînde (引手乃山) is the same mountain as Mt. Paŋgapî (modern Ryūōzan (龍王山)) (Nakanishi 1985: 477) that appeared in 2.210 above. See the commentary to 2.210 for details. WOJ ik-êr-i tömô na-si literally means ‘even if [I] am living, [I] do not exist’.

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Preface to the Poem 2.213

本文・Original Text 或本歌曰 Translation A poem in a certain book says: Commentary We do not know what this book is. The poem 2.213 is almost identical to the poem 2.210, with very minor differences, mostly concerning the original script and some word usage. The poem 2.213 is two lines shorter than the poem 2.210, and overall its script is much more logographic than the one used in 2.210. The poem 2.213 also has a strong tendency not to spell overtly certain case markers and particles.

2.213

本文・Original Text (1) 宇都曽臣等 (2) 念之時 (3) 携手 (4) 吾二見之 (5) 出立 (6) 百足槻木 (7) 虚知期知尓 (8) 枝刺有如 (9) 春葉 (10) 茂如 (11) 念有之 (12) 妹庭雖有 (13) 恃有之 (14) 妹庭雖有 (15) 世中 (16) 背不得者 (17) 香切火之 (18) 燎 流荒野尓 (19) 白栲 (20) 天領巾隱 (21) 鳥自物 (22) 朝立伊行而 (23) 入日 成 (24) 隱西加婆 (25) 吾妹子之 (26) 形見尓置有 (27) 緑兒之 (28) 乞哭 別 (29) 取委 (30) 物之無者 (31) 男自物 (32) 腋挾持 (33) 吾妹子與 (34) 二 吾宿之 (35) 枕附 (36) 嬬屋内尓 (37) 日者 (38) 浦不怜晩之 (39) 夜者 (40) 氣衝明之 (41) 雖嘆 (42) 爲便不知 (43) 雖眷 (44) 相縁無 (45) 大鳥 (46) 羽易山尓 (47) 汝戀 (48) 妹座等 (49) 人云者 (50) 石根割見而 (51) 奈 積來之 (52) 好雲叙無 (53) 宇都曽臣 (54) 念之妹我 (55) 灰而座者 仮名の書き下し・Kana Transliteration (1) うつそ₂み₁と₂ (2) おも₂ひ₁しと₂き₁に (3) たづさはり (4) わがふたりみ₁し (5) いでたちの₂ (6) も₁も₁え₂つき₂の₂き₂ (7) こ₂ちご₂ちに (8) え₂ださせるご₂ と₂ (9) はるの₂はの₂ (10) しげ₂き₁がご₂と₂く (11) おも₂へ₁りし (12) いも₁には あれど₂ (13) たの₂め₁りし (14) いも₁にはあれど₂ (15) よ₂の₂なかを (16) そ₂ むき₁しえねば (17) かぎ₁ろ₁ひ₂の₂ (18) も₁ゆるあらの₁に (19) しろ₁たへ₂の₂ (20) あまひ₁れがくり (21) と₂りじも₂の₂ (22) あさだちいゆき₁て (23) いりひ₁ なす (24) かくりにしかば (25) わぎ₁も₁こ₁が (26) かたみ₁におけ₁る (27) み₁ ど₂りこ₁の₂ (28) こ₂ひ₁なくご₂と₂に (29) と₂りまかす (30) も₂の₂しなけ₁れば

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(31) をと₂こ₁じも₂の₂ (32) わき₁ばさみ₁も₂つ (33) わぎ₁も₁こ₁と₂ (34) ふたりわ がねし (35) まくらづく (36) つまやの₂うちに (37) ひ₁るは (38) うらさび₂く らし (39) よ₁るは (40) いき₁づき₁あかし (41) なげ₂け₂ど₂も₂ (42) せむすべ₁ しらに (43) こ₁ふれど₂も₂ (44) あふよ₂しをなみ₁ (45) おほと₂りの₂ (46) はが ひ₁の₂やまに (47) ながこ₁ふる (48) いも₁はいますと₂ (49) ひ₁と₂の₂いへ₂ば (50) いはねさくみ₁て (51) なづみ₁こ₂し (52) よ₂け₁くも₁ぞ₂なき₁ (53) うつそ₂ み₁と₂ (54) おも₂ひ₁しいも₁が (55) はひ₁にていませば Romanization (1) utu sömî tö (2) OMÖP-Î-si TÖKÎ-NI (3) TAnDUSAPAR-I (4) WA-ŋGA PUTA-RI MÎ-si (5) InDE-TAT-I-NÖ (6) MÔMÔ YE TUKÏ-NÖ KÏ (7) köti-ŋgöti-ni (8) YEnDA SAS-ER-U ŋGÖTÖ (9) PARU-NÖ PA-NÖ (10) SI ŋGË-KÎ-ŋGA ŋGÖTÖ-KU (11) OMÖP-ÊR-I-si (12) IMÔ n-i pa AR-E-nDÖ (13) TANÖM-ÊR-I-si (14) IMÔ n-i pa AR-E-nDÖ (15) YÖ-NÖ NAKA-WO (16) SÖMUK-Î SI E-N-E-mba (17) kaŋgîrôpï-NÖ (18) MÔY-Uru ARA NÔ-ni (19) SIRÔ TAPË-NÖ (20) AMA-PÎRE-ŋ-GAKUR-I (21) TÖRI nzimönö (22) ASA-n-DAT-I i-YUK-ÎTE (23) IR-I PÎ-nasu (24) KAKUR-I-n-i-sika-mba (25) WA-ŋG-ÎMÔ-KÔ-ŋGA (26) KATAMÎ n-i OK-ÊR-U (27) MÎnDÖRI KÔ-nö (28) KÖP-Î NAK-U ŋGÖTÖ N-I (29) TÖR-I MAKAS-U (30) MÖNÖ si NA-KÊRE-mba (31) WOTÖKÔ nzimönö (32) WAKÎ-m-BASAM-Î MÖT-U (33) WA-ŋG-ÎMÔ-KÔ-TÖ (34) PUTA-RI WA-ŋGA NE-si (35) MAKURA-n-DUK-U (36) TUMA-YA-NÖ UTI-ni (37) PÎRU pa (38) ura SAMBÏ KURAs-i (39) YÔRU pa (40) IKÎnDUK-Î AKAs-i (41) NA ŋGËK-Ë-nDÖMÖ (42) SE-M-U SUmBÊ SIR-AN-I (43) KÔP-URE-nDÖMÖ (44) AP-U YÖSI-WO NA-MÎ (45) OPO TÖRI-NÖ (46) Paŋgap[-]î-NÖ YAMA-ni (47) NA-ŋGA KÔP-URU (48) IMÔ PA IMAS-U tö (49) PÎTÖ-NÖ IP-Ë-mba (50) IPA NE SAKUm-î-TE (51) nandum-î KÖ-si (52) YÖ-KÊku mô nzö NA-KÎ (53) utu sömî TÖ (54) OMÖP-Î-si IMÔ-ŋga (55) PAPÎ N-I-TE IMAS-E-mba Glossing with Morphemic Analysis (1) ephemeral cicada DV (2) think-CONV-PAST.ATTR time-LOC (3) hold.handsCONV (4) we-POSS two-CL look(CONV)-PAST.ATTR (5) go.out(CONV)-departNML-GEN (6) hundred branch zelkova-GEN tree (7) here-here-loc (8) branch stretch-PROG-ATTR every (9) spring-GEN leaf-GEN (10) grow.thick-ATTRPOSS be.like-CONV (11) think-PROG-CONV-PAST.ATTR (12) wife DV-CONV TOP exist-EV-CONC (13) rely-PROG-CONV-PAST.ATTR (14) wife DV-CONV TOP exist-EV-CONC (15) world-GEN inside-ACC (16) turn.one’s.back.on-NML EP get-NEG-EV-CON (17) shimmer.of.hot.air-GEN (18) burn-ATTR wild field-LOC (19) white cloth.made.from.mulberry.tree.bark-COMP (20) Heaven-magic. scarf-GEN-hide-CONV (21) bird like (22) morning-LOC-rise-CONV DLF-go-CONV-SUB (23) set-NML sun-COMP (24) hide-CONV-PERF-CONV-PAST.

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EV-CON (25) I-POSS-beloved-DIM-POSS (26) keepsake DV-CONV leave-PROGATTR (27) green baby-GEN (28) ask-CONV cry-ATTR every.time DV-CONV (29) take-CONV give-ATTR (30) thing EP not.exist-EV-CON (31) man like (32) side-LOC-put.between-CONV hold-FIN (33) I-POSS-beloved-DIM-COM (34) two-CL we-POSS sleep(CONV)-PAST.ATTR (35) headrest-GEN-stand. side.by.side-ATTR (36) spouse-bedroom-GEN inside-LOC (37) day.time TOP EP (38) heart grieve(CONV) live.through.the day-CONV (39) night.time TOP EP (40) sigh-CONV stay.through.the.night-CONV (41) lament-EV-CONC (42) do-TENT-ATTR way know-NEG-CONV (43) long.for-EV-CONC (44) meetATTR chance-ABS not.exist-GER (45) big bird-GEN (46) cross.wings-CONV / Paŋgapî-GEN mountain-LOC (47) you-POSS long.for-ATTR (48) beloved TOP exist(HON)-FIN DV (49) person-GEN say-EV-CON (50) rock root push.throughCONV-SUB (51) stumble-CONV come(CONV)-PAST.ATTR (52) be.good-ATTR. NML FP FP not.exist-ATTR (53) ephemeral cicada DV (54) think-CONV-PAST. ATTR beloved-POSS (55) ash DV-CONV-SUB exist(HON)-EV-CON Translation (2) When [I] thought [about] [you] (1) as a person of this world, (14) although [you] were [my] wife (13) on whom [I] relied, (12) although [you] were [my] wife (11) about whom [I] thought (9/10) [as passionately] as growing thickly (9) spring leaves (8) at every stretching branch (6) of a hundred of zelkova trees (7) here and there (5) [near our] house entrance, (4) that two of us were looking at (3) holding hands, (16) because [one] cannot turn [his] back (15) on this world, (19/20) the smoke from [your] funerary pyre, which was like white cloth made from the bark of a mulberry tree, disappeared (18) in a wild field burning (17) with a shimmer of hot air. (24) When [you] have disappeared (21) like a bird, (23) [or] like the setting sun (22) rising and going away in the morning (28) every time when (27) [our] baby, (25) whom [you] my dear beloved (26) left as a keepsake [for me], (28) cries and asks for [milk], (30) because there is nothing (29) [for me] to give [him], (31) like a man, (32) I hold [him] under my armpit. (37/38) Although [I] grieve [in my] heart throughout the day, (41) and lament, (39/40) and sigh throughout the night (36) in our spousal bedroom, (35) where [our] headrests stand side by side, and (34) where I slept together (33) with [you] my dear beloved. (43) Although [I] long for [you], (42) [I] do not know what to do, (44) and as there is no chance to meet, (49) because people say: (47/48) “[Your] beloved for whom you long lives (45/46) at Paŋgapî mountain, where big birds cross [their] wings”, (51) [I] went [there] stumbling (50) and pushing through rock roots, (52) [but] it was no good. (55) Because

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(54) [my] beloved whom [I] hoped (53) to be a person of this world (55) turned into ashes … Commentary The texts of the poems 2.210 and 2.213 are extremely close, so with the exception of a few lines in the beginning and at the end, they represent essentially the same text. Consequently, I see two possibilities to explain this fact: 1) the poem 2.213 represents the original text that was used by Kakînömötö-nö Pîtömarö to compose 2.210 using a honkadori (本歌取り) ‘allusive variation’ technique; 2) both poems are variants of the same text created by Kakînömötö-nö Pîtömarö himself. Although there is no mention anywhere that the poem 2.213 was written by him, which could be potentially used as the evidence for (1), the style and words used in 2.213 look very much like Kakînömötö-nö Pîtömarö. Therefore, I am strongly inclined towards the second solution, although, of course, it is a toss of a coin, because we do not have any definitive evidence in favor of one or another. Japanese scholars normally consider the poem 2.213 to be a draft version of the poem 2.210 (Omodaka 1977.2: 464; Inaoka 1985: 424– 425), but Takeda mentions only a different version or a different transmission (1956.2: 595, 598). On Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to the poems 17.3969–3972. On the rest see the commentary to the poem 2.210.

Preface to the Poems 2.214–216

本文・Original Text 短歌三首 Translation Three tanka [envoys]. Commentary These envoys are to the preceding chōka 2.213. The poems 2.214 and 2.215 are very close textual variants of 2.211 and 2.212, respectively. In other words, their relation to these poems is the same as of the poem 2.213 to the poem 2.210.

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2.214

本文・Original Text (1) 去年見而之 (2) 秋乃月夜者 (3) 雖度 (4) 相見之妹者 (5) 益年離 仮名の書き下し・Kana Transliteration (1) こ₂ぞ₂み₁てし (2) あき₁の₂つくよ₁は (3) わたれど₂も₂ (4) あひ₁み₁しいも₁ は (5) いやと₂しさかる Romanization (1) KÖnZÖ MÎ-te-si (2) AKÎ-nö TUKU-YÔ pa (3) WATAR-E-nDÖMÖ (4) APÎ-MÎ-si IMÔ pa (5) IYA TÖSI SAKAR-U Glossing with Morphemic Analysis (1) last.year see(CONV)-PERF(CONV)-PAST.ATTR (2) autumn-GEN moon-light TOP (3) cross-EV-CONC (4) REC-look(CONV)-PAST.ATTR beloved TOP (5) more. and.more year be.separated-FIN Translation (2) The autumn moon light (1) that [I] saw last year (3) [still] goes across [the sky], but (4) [my] beloved with whom we looked at [it] together, (5) goes farther and farther away [from me every] year. Commentary The major difference between the poem 2.211 and the poem 2.214 is in line three: while the poem 2.211 has terasendömö ‘although [the moon light] shines’, the poem 2.214 exhibits watarendömö ‘although [the moon light] goes across [the sky]’. The second difference is in the original script in line five: the adverb iya ‘more and more’ is written as 弥 in the poem 2.211, but as 益 in the poem 2.214, and the verb sakaru ‘to be separated’ as 放 in 2.211, but as 離 in 2.214. On the rest see the commentary to the poem 2.211.

2.215

本文・Original Text (1) 衾路 (2) 引出山 (3) 妹置 (4) 山路念迩 (5) 生刀毛無

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仮名の書き下し・Kana Transliteration (1) ふすまぢを (2) ひ₁き₁での₂やまに (3) いも₁をおき₁て (4) やまぢおも₂ふ に (5) いけ₁ると₁も₁なし Romanization (1) Pusuma-n-DI-WO (2) Pîkînde-NÖ YAMA-NI (3) IMÔ-WO OK-Î-TE (4) YAMA-n-DI OMÖP-U-ni (5) IK-ÊR-U tô mô NA-SI Glossing with Morphemic Analysis (1) Pusuma-GEN-road-ACC (2) Pîkînde-GEN mountain-LOC (3) beloved-ACC leave-CONV-SUB (4) mountain-GEN-road think-ATTR-LOC (5) live-PROG-ATTR place FP not.exist-FIN Translation (1/4) When [I] think about Pusuma mountain road, (3) having left [my] beloved (2) on Pîkînde mountain, (5) there is no place [for me] to live. Commentary Pusuma-ndi (衾路) ‘Pusuma road’ is the same as Pusuma-ndi (衾道) ‘Pusuma road’ in the poem 2.212. Lines four and five are different from the same lines in the poem 2.212, although line five superficially looks very close, but as a matter of fact it is not (see below). WOJ ik-êr-u tô mô na-si ‘there is no place to live’ is different from WOJ ikêr-i tömô na-si ‘even if [I] am living, [I] do not exist’ in the poem 2.212. WOJ tô ‘place’ is also present in the word tökörö ‘id.’, where it underwent a regressive vowel assimilation ô > ö under of the influence of two following /ö/. The word itself might be a loan from Korean tʌ ‘place’, cf. MK tʌ ~ tʌy ‘id.’ On the rest see the commentary to the poem 2.212.

2.216

本文・Original Text (1) 家來而 (2) 吾屋乎見者 (3) 玉床之 (4) 外向來 (5) 妹木枕 仮名の書き下し・Kana Transliteration (1) いへ₁にき₁て (2) わがやをみ₁れば (3) たまど₂こ₂の₂ (4) ほかにむき₁け₁ り (5) いも₁がこ₂まくら

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Romanization (1) IPÊ-NI K-Î-TE (2) WA-ŋGA YA-wo MÎ-RE-mba (3) TAMA-n-DÖKÖ-NÖ (4) POKA-NI MUK-Î-kêr-i (5) IMÔ-ŋGA KÖ-MAKURA Glossing with Morphemic Analysis (1) home-LOC come-CONV-SUB (2) we-POSS room-ACC look-EV-CON (3) jadeCOMP-bed-GEN (4) outside-LOC turn.toward-CONV-RETR-FIN (5) wife-POSS wood-headrest Translation (2) When [I] looked at our [bed]room (1) after [I] came home, (3/4/5) it turned out that [my] wife’s wooden headrest on [our] jade-like bed was facing outside. Commentary Unlike the poems 2.214 and 2.215, the poem 2.216 does not have any preceding similar counterpart. The fact that the wife’s headrest is turned toward outside symbolizes the situation when she is no longer present in the spousal bedroom due to her passing away.

Preface to the Poems 2.217–219

本文・Original Text 吉備津釆女死時柿本朝臣人麻呂作歌一首并短歌 Translation A poem composed by Kakînömötö-nö asömî Pîtömarö when the unemê from Tu in Kîmbï has passed away with [two] tanka envoys. Commentary Kîmbï area included mBïnzen (MdJ Bizen, 備前), mBïtyuŋ (MdJ Bitchū, 備中), and mBïŋgo (MdJ Bigo, 備後) provinces. It corresponds to present-day Okayama prefecture and Eastern part of Hiroshima prefecture (Nakanishi 1985: 442). Tu (津) district corresponds to present-day Tsukubo county (Tsukubo gun, 都窪郡) in Okayama prefecture (Nakanishi 1985: 442). Nothing is known about the biography of unemê from Tu district of Kîmbï, except that she was from that place (Nakanishi 1985: 228). On WOJ unemê see the commentary to 1.51.

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On Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to the poems 17.3969–3972.

2.217

本文・Original Text (1) 秋山 (2) 下部留妹 (3) 奈用竹乃 (4) 騰遠依子等者 (5) 何方尓 (6) 念 居可 (7) 栲紲之 (8) 長命乎 (9) 露己曽婆 (10) 朝尓置而 (11) 夕者 (12) 消 等言 (13) 霧己曽婆 (14) 夕立而 (15) 明者 (16) 失等言 (17) 梓弓 (18) 音聞 吾母 (19) 髣髴見之 (20) 事悔敷乎 (21) 布栲乃 (22) 手枕纒而 (23) 劔刀 (24) 身二副寐價牟 (25) 若草 (26) 其嬬子者 (27) 不怜弥可 (28) 念而寐良 武 (29) 悔弥可 (30) 念戀良武 (31) 時不在 (32) 過去子等我 (33) 朝露乃 如也 (34) 夕霧乃如也 仮名の書き下し・Kana Transliteration (1) あき₁やまの₂ (2) したへ₂るいも₁ (3) なよ₁たけ₂の₂ (4) と₂をよ₂るこ₁らは (5) いかさまに (6) おも₂ひ₁をれか (7) たくなはの₂ (8) ながき₁いの₂ちを (9) つゆこ₂そ₂ば (10) あしたにおき₁て (11) ゆふへ₁には (12) き₂ゆと₂いへ₂ (13) き₂りこ₂そ₂ば (14) ゆふへ₁にたちて (15) あしたには (16) うすと₂いへ₂ (17) あづさゆみ₁ (18) おと₂き₁くあれも₂ (19) おほにみ₁し (20) こ₂と₂くやしき₁ を (21) しき₁たへ₂の₂ (22) たまくらまき₁て (23) つるぎ₁たち (24) み₂にそ₁へ₂ ねけ₁む (25) わかくさの₂ (26) そ₂の₂つまの₂こ₁は (27) さぶしみ₁か (28) お も₂ひ₁てぬらむ (29) くやしみ₁か (30) おも₂ひ₁こ₁ふらむ (31) と₂き₁ならず (32) すぎ₂にしこ₁らが (33) あさつゆの₂ご₂と₂ (34) ゆふき₂りの₂ご₂と₂ Romanization (1) AKÎ YAMA-NÖ (2) sitap-êr-u IMÔ (3) nayô TAKË-nö (4) töwoyör-u KÔ-ra pa (5) IKA SAMA n-i (6) OMÖP-Î wor-e ka (7) TAKU NAPA-NÖ (8) NA ŋGA-KÎ INÖTI-wo (9) TUYU kösö mba (10) ASITA-ni OK-Î-TE (11) YUPU PÊ-NI pa (12) KÏY-U tö IP-Ë (13) KÏRI kösö mba (14) YUPU PÊ-NI TAT-I-TE (15) ASITA-NI pa (16) US-U tö IP-Ë (17) AnDUSA YUMÎ (18) OTÖ KÎK-U ARE mö (19) OPO N-I MÎ-si (20) KÖTÖ KUYAsi-kî-wo (21) SIK-Î TAPË-nö (22) TA-MAKURA MAK-Î-TE (23) TURUKÎ TATI (24) MÏ-ni SÔPË NE-kêm-u (25) WAKA KUSA-NÖ (26) SÖNÖ TUMA KÔ pa (27) SABUSI-mî ka (28) OMÖP-Î-TE N-Uram-u (29) KUYASI-mî ka (30) OMÖP-Î KÔP-Uram-u (31) TÖKÎ NAR-AnZ-U (32) SU ŋGÏ-n-i-SI KÔ-ra-ŋga (33) ASA TUYU-nö ŋGÖTÖ (34) YUPU KÏRI-nö ŋGÖTÖ

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Glossing with Morphemic Analysis (1) autumn mountain-GEN (2) red.leaves.shine-ATTR beloved (3) slender bamboo-COMP (4) be.graceful-ATTR girl-DIM TOP (5) what manner DV-CONV (6) think-CONV exist-EV IP (7) mulberry rope-COMP (8) be.long-ATTR life-ABS (9) dew FP TP (10) morning-LOC be.placed-CONV-SUB (11) evening side-LOC TOP (12) disappear-FIN DV say-EV (13) fog FP TOP (14) evening side-LOC riseCONV-SUB (15) morning-LOC TOP (16) be.lost-FIN DV say-EV (17) catalpa bow (18) sound hear-ATTR I FP (19) dim DV-CONV see(CONV)-PAST.ATTR (20) matter be.regretful-ATTR-ACC (21) spread-NML cloth.made.from.mulberry.tree.barkCOMP (22) arm-headrest use.as.a. headrest-CONV-SUB (23) double.edge.sword long.sword (24) body-LOC attach (CONV) sleep(CONV)-PAST.FIN.TENT-ATTR ((25) young grass-COMP (26) his spouse girl TOP (27) be.lonely-GER EP (28) think-CONV-SUB sleep-TENT2-ATTR (29) be.regretful-GER EP (30) thinkCONV long.for-TENT2-ATTR (31) time be-NEG-CONV (32) pass(CONV)-PERFCONV-PAST.ATTR girl-DIM-POSS (33) morning dew-GEN like (34) evening fog-GEN like Translation (4) The girl graceful (3) like a slender bamboo, (2) his beloved who was shining like red leaves (1) in autumn mountains, (5) how (6) [one] would even think that (8) [her] life, long (7) like a rope [made from] mulberry tree [bark], (12) disappear, as [they] say, (11) in the evening (9) as the dew (10) falling in the morning, and (16) be lost, as [they] say, (15) in the morning (13) as the fog (14) rising in the evening. (20) Although [this] matter is regretful (19) [for me], too, who saw [it] dimly, (18) when I heard the sound (17) [of] a catalpa bow, (22) [he who] used her arms as a headrest, (21) [white] like a spread cloth made from the bark of a mulberry tree, (27/28) I wonder [whether he] probably feels lonely sleeping [without] (26) his girl spouse, (25) who was like a young grass, (24) and with whom [he] slept [together] as if attaching to [his] body (23) a long sword and a double edge sword? (30) [He] probably longs for [her] and feels (29) regretful, I wonder. (32) [His] dear girl has passed away (31) untimely (33) like the morning dew, (34) like the evening fog. Commentary This chōka has an unusual number of lines: instead of the expected odd number we actually have even here. There are many elements spelled phonographically in the poem 2.217. Line two is hypometric ( ji tarazu, 字足らず). Line six is hypometric ( ji tarazu, 字足らず).

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WOJ taku ‘mulberry tree’ is an apparent loan from Old Korean, cf. MK ták ‘id.’, with a typical Korean apocope. In Western Old Japanese topic pa often undergoes a sporadic nasalization with voicing pa > mba after a focus particle kösö as in lines nine and thirteen. Line twelve is hypometric ( ji tarazu, 字足らず). Texts themselves give us no clue whether WOJ kiye- ‘to disappear’ in line twelve had a kō-rui vowel /î/ or an otsu-rui vowel /ï/ (Omodaka et al. 1967: 247), but the comparison with WOJ kë- ‘to disappear’ and WOJ kët- ‘to extinguish’ clearly demonstrates that it must have been kïye- with an otsu-rui vowel /ï/, because an otsu-rui vowel /ë/ alternates only with an otsu-rui vowel /ï/ (e.g., WOJ kömë- ~ kömï- ‘to put inside’ and töndömë- ~ töndömï- ‘to stop’), but never with a kō-rui vowel /î/. Line sixteen is hypometric ( ji tarazu, 字足らず). On OJ andusa ‘catalpa tree’ (梓) and andusa yumî ‘catalpa bow’ see the commentaries to 14.3487 and 14.3489. In Ancient Japan the custom for a messenger would normally be the act of pulling a bow-string of his catalpa bow to produce a sound before announcing the news, good or bad. On sik-î tapë-nö ‘of/like the spread mulberry tree bark cloth’ see the commentary to 5.509, and on tapë ‘cloth of the mulberry tree bark’ see the commentary to 15.3607 and 15.3587. On WOJ turukî ‘double edge sword’ and tati ‘long sword’ see the commentary to the poem 5.804. The particle ka in lines twenty-seven and twenty-nine is not an interrogative particle, but a shorter version of the emphatic particle kamö. I translate it as ‘I wonder’ here, which is probably the nearest possible English equivalent. WOJ ŋgötö ‘like’ is probably a combination of the reduced form -ŋ of the genitive case marker -nö and the word kötö ‘like’, borrowed from otherwise unattested OK predecessor of MK kʌt- ‘be like’.

Preface to the Poems 2.218–219

本文・Original Text 短歌二首 Translation Two tanka [envoys]. Commentary These envoys are to the preceding chōka 2.217.

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2.218

本文・Original Text (1) 樂浪之 (2) 志我津子等何一云志我乃津之子我 (3) 罷道之 (4) 川瀬道 (5) 見者不怜毛 仮名の書き下し・Kana Transliteration (1) ささなみ₁の₂ (2) しがつの₂こ₁らが一云しがの₂つの₂こ₁が (3) まかりぢの₂ (4) かはせの₂み₁ちを (5) み₁ればさぶしも₁ Romanization (1) Sasanamî-NÖ (2) Siŋga TU-NÖ KÔ-ra-ŋga A variant: Siŋga-nö TU-NÖ KÔ-ŋga (3) MAKAR-I-n-DI N-Ö (4) KAPA SE-NÖ MÎTI-WO (5) MÎ-RE-mba SAmBUSI-mô Glossing with Morphemic Analysis (1) Sasanamî-GEN (2) Siŋga harbor-GEN girl-DIM-POSS A variant: Siŋga-GEN harborGEN girl-POSS (3) depart-NML-GEN-way DV-ATTR (4) river rapids-GEN road-ACC (5) look-EV-CON be.lonely-EXCL Translation (5) [He] is really lonely when he looks (4) at the road over river rapids, (3) which was the way of departure (2) of [his] dear girl from Siŋga harbor (1) in Sasanamî! Commentary On Sasanamî in Apumî province and its Korean connection see the commentary to the poem 1.29a. On Siŋga ‘Siŋga area’ see the commentary to the poem 1.30. Harbor of Siŋga is Opotu (大津), the site of the Imperial Palace of Emperor Tenji. We have a girl from Kîmbï in the preface to the previous chōka 2.217 and here a girl from Siŋga. Like Omodaka, I think that two popular explanations that 吉備 (Kîmbï) is a mistake for 志我 (Siŋga), or that the former is the family name, and the latter is a place of origin cannot be substantiated. Rather, it is more likely that we deal here with two different persons (Omodaka 1977.2: 479–481).

2.219

本文・Original Text (1) 天數 (2) 凡津子之 (3) 相日 (4) 於保尓見敷者 (5) 今叙悔

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仮名の書き下し・Kana Transliteration (1) そ₁らかぞ₁ふ (2) おほつの₂こ₁が (3) あひ₁しひ₁に (4) おほにみ₁しくは (5) いまぞ₂くやしき₁ Romanization (1) SÔRA KAnZÔP-U (2) Opotu-NÖ KÔ-ŋga (3) AP-Î-SI PÎ-NI (4) opo n-i MÎ-si-ku pa (5) IMA nzö KUYASI-KÎ Glossing with Morphemic Analysis (1) sky count-ATTR (2) Opotu-GEN girl-POSS (3) meet-CONV-PAST.ATTR day-LOC (4) dim DV-CONV see(CONV)-PAST.ATTR-NML TOP (5) now FP be.regretful-ATTR Translation (5) Now [I] regret (3) that on the day [I] met (2) the girl from Opotu, (1) where they count skies, (4) [I] saw [her] only dimly. Commentary Judging from the fact that only a brief meeting is described here, Kakînömötö-nö Pîtömarö must talk about his own feelings in this poem, and not about the feelings of the husband of the girl as in the poems 2.217 and 2.218. Sôra kanzôpu (天數) ‘counting skies’ is a permanent epithet (makurakotoba, 枕詞) to Opotu (凡津, 大津). It is used here due to the association of 數 ‘to count’, ‘number’ with 凡 ‘approximately’ (Omodaka 1977.2: 482–483; Inaoka 1985: 440). On Apumî Opotu palace (近江大津宮) and on the biography of Emperor Tenji (天智天皇) see the commentary to the preface to the poems 1.13–14.

Preface to the Poems 2.220–222

本文・Original Text 讃岐狭岑嶋視石中死人柿本朝臣人麻呂作歌一首并短歌 Translation A poem composed by Kakînömötö-nö asömî Pîtömarö when [he] saw a dead person on the rocks of Samîne island in Sanukî province. With [two] tanka [envoys]. Commentary On Sanukî province (Sanukî-nö kuni, 讃岐國), see the commentary to the preface to the poems 20.4472–4473. - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Samîne island (狭岑嶋) corresponds to modern Shami island (Shamijima, 沙弥島), also known in a slightly different script as Sami island (Samijima, 砂彌島) in Sakaide city (Sakaide shi, 坂出市) in present-day Kagawa prefec-

ture. It is a small island located in 2.5 km to the North-West of Sakaide city harbor with a circumference of a little bit more than 2 km. Nowadays it is joined to both Shikoku and Honshū by the Great Seto bridge (Nakanishi 1985: 450; Omodaka 1977.2: 484) On Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to the poems 17.3969–3972.

2.220

本文・Original Text (1) 玉藻吉 (2) 讃岐國者 (3) 國柄加 (4) 雖見不飽 (5) 神柄加 (6) 幾許貴 寸 (7) 天地 (8) 日月與共 (9) 満將行 (10) 神乃御面跡 (11) 次來 (12) 中乃 水門従 (13) 船浮而 (14) 吾榜來者 (15) 時風 (16) 雲居尓吹尓 (17) 奥見者 (18) 跡位浪立 (19) 邊見者 (20) 白浪散動 (21) 鯨魚取 (22) 海乎恐 (23) 行 船乃 (24) 梶引折而 (25) 彼此之 (26) 嶋者雖多 (27) 名細之 (28) 狭岑之 嶋乃 (29) 荒礒面尓 (30) 廬作而見者 (31) 浪音乃 (32) 茂濱邊乎 (33) 敷 妙乃 (34) 枕尓爲而 (35) 荒床 (36) 自伏君之 (37) 家知者 (38) 徃而毛將 告 (39) 妻知者 (40) 來毛問益乎 (41) 玉桙之 (42) 道大尓不知 (43) 欝悒 久 (44) 待加戀良武 (45) 愛伎妻等者 仮名の書き下し・Kana Transliteration (1) たまもよ₂し (2) さぬき₁の₂くには (3) くにからか (4) み₁れど₂も₂あかぬ (5) かむからか (6) こ₂こ₂だたふと₁き₁ (7) あめ₂つち (8) ひ₁つき₂と₂と₂も₂に (9) たりゆかむ (10) かみ₂の₂み₁おも₂と₂ (11) つぎ₁き₁たる (12) なかの₂み₁な と₁ゆ (13) ふねうけ₂て (14) わがこ₂ぎ₁くれば (15) と₂き₁つかぜ (16) くも₁ゐに ふくに (17) おき₁み₁れば (18) と₂ゐなみ₁たち (19) へ₁をみ₁れば (20) しらな み₁さわく (21) いさなと₂る (22) うみ₁をかしこ₁み₁ (23) ゆくふねの₂ (24) かぢ ひ₁き₁をりて (25) をちこ₂ちの₂ (26) しまはおほけ₁ど₂ (27) なぐはし (28) さ み₁ねの₂しまの₂ (29) ありそ₁も₂に (30) いほりてみ₁れば (31) なみ₁の₂おと₂ の₂ (32) しげ₂き₁はまへ₁を (33) しき₁たへ₂の₂ (34) まくらになして (35) あら と₂こ₂に (36) こ₂ろ₂ふすき₁み₁が (37) いへ₁しらば (38) ゆき₁ても₁つげ₂む (39) つましらば (40) き₁も₁と₁はましを (41) たまほこ₂の₂ (42) み₁ちだにしら ず (43) おほほしく (44) まちかこ₁ふらむ (45) はしき₁つまらは Romanization (1) TAMA MO YÖ-SI (2) Sanukî-NÖ KUNI pa (3) KUNI-KARA ka (4) MÎ-RE-nDÖ AK-AN-U (5) KAMU-KARA ka (6) KÖKÖnDA TAPUTÔ-kî (7) AMË TUTI - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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(8) PÎ TUKÏ-TÖ TÖMÖ N-I (9) TAR-I-YUK-AM-U (10) KAMÏ-nö MÎ-OMÖ tö (11) TU ŋG-Î-K-Î-TAR-U (12) Naka-nö MÎNATÔ-YU (13) PUNE UKË-TE (14) WA-ŋGA KÖ ŋG-Î-K-URE-mba (15) TÖKÎ-TU KAnZE (16) KUMÔWI-ni PUK-U-ni (17) OKÎ MÎ-RE-mba (18) töwi NAMÎ TAT-I (19) PÊ-WO MÎ-RE-mba (20) SIRA NAMÎ SAWAK-U (21) ISANA TÖR-U (22) UMÎ-wo KASIKÔ-MÎ (23) YUK-U PUNE-nö (24) KAnDI PÎK-Î WOR-I-TE (25) WOTI KÖTI-NÖ (26) SIMA pa OPO-KÊ-nDÖ (27) NA ŋGUPAsi (28) Samîne-NÖ SIMA-nö (29) AR-ISÔ-MÖ-ni (30) IPOR-I-TE MÎ-RE-mba (31) NAMÎ-NÖ OTÖ-nö (32) SI ŋGË-KÎ PAMA PÊ-wo (33) SIK-Î TAPË-nö (34) MAKURA n-i S-I-TE (35) ARA TÖKÖ-NI (36) KÖRÖ PUS-U KÎMÎ-ŋGA (37) IPÊ SIR-Amba (38) YUK-Î-TE mô TU ŋGË-M-U (39) TUMA SIR-Amba (40) K-Î mô TÔP-Amasi-wo (41) TAMA POKÖ-NÖ (42) MÎTI ndani SIR-AnZ-U (43) OPOPOSI-ku (44) MAT-I ka KÔP-Uram-u (45) PASI-kî TUMA-ra pa Glossing with Morphemic Analysis (1) pearl seaweed be.good-FIN (2) Sanukî-GEN province TOP (3) land-nature IP (4) look-EV-CONC be.satisfied-NEG-ATTR (5) deity-nature IP (6) so.much be.awesome-ATTR (7) Heaven Earth (8) sun moon-COM together DV-CONV (9) be.full-CONV-go-TENT-ATTR(10) deity-GEN HON-face DV (11) follow-CONVcome-ATTR (12) Naka-GEN harbor-ABL (13) boat make.float (CONV)-SUB (14) I-POSS row-CONV-come-EV-CON (15) time-GEN/LOC wind (16) cloudLOC blow-ATTR-LOC (17) offing look-EV-CON (18) swelling wave rise-CONV (19) shore-ACC look-EV-CON (20) white wave make.noise-FIN (21) whale catchATTR (22) sea-ABS be.frightening-GER (23) go-ATTR boat-GEN (24) rudder pullCONV bend-CONV-SUB (25) there here-GEN (26) island be.many-EV-CONC (27) be.famous(FIN) (28) Samîne-GEN island-GEN (29) rough-shore-face-LOC (30) make.a.temporary.hut-CONV-SUB see-EV-CON (31) wave-GEN soundGEN (32) grow.thick-ATTR shore side-ACC (33) spread-NML cloth.made.from. mulberry.tree.bark-COMP (34) headrest DV-CONV do-CONV-SUB (35) rough bed-LOC (36) self lie.down-ATTR you-POSS (37) home know-COND (38) goCONV-SUB FP report-TENT FIN (39) spouse know-COND (40) come-CONV FP visit-SUBJ-ACC (41) jewel spear-COMP (42) way RP know-NEG-CONV (43) be.gloomy-CONV (44) wait-CONV IP long.for-TENT2-ATTR (45) be.dearATTR spouse-DIM TOP Translation (3) Is it because of the nature of the land (4) that [one] cannot get enough looking (2) at Sanukî province (1) where seaweed is good? (5) Is it because of the nature of [its] deities (6) that [Sanukî province] is so much awesome? (14) When I come, rowing (12) on [my] floating boat (13) out of Naka harbor (11) that came down [to us from the old times] (10) as a face of the deity, (9) which was plentiful and flourishing (8) together with the sun and the moon, (7) [and] - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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the Heaven and Earth. (15) As timely wind (16) blows in the clouds, (17) when [I] look at the offing, (18) swelling waves are rising, and (19) when [I] look at the shore, (20) white waves are making noise. (21/22) Because the sea, where [they] catch whales, is frightening (24) [I] pull and bend the rudder (23) of the sailing boat, and (26) although there are many islands (25) on that side and on this side, (30) [I] built a temporary hut (29) on the rugged shore (27) of the famous (28) Samîne island, (30) and when [I] saw [you], (37) if I knew the home (36) of yourself who is lying down (35) on a rough bed (34) making as [your] headrest (33) [that is] like a spread cloth made from the bark of a mulberry tree (31/32) the shore where the sound of waves is very loud. (38) [I] would go [to your home], and tell [your wife]. (39) If [your] wife knew, (40) [she] would come and visit [you], but (42) without knowing the way (41) [straight] like a jewel spear, (45) [your] dear wife, (44) does [she] long for you, waiting (43) in anxiety? Commentary Unlike Middle (Classical) Japanese, in OJ an adjectival final -si could be used not only in the function of final predication, but also as an attributive and an adjectival attributive -kî not only as an attributive, but also as final predicate. On Sanukî province (Sanukî-nö kuni, 讃岐國), see the commentary to the preface to the poems 20.4472–4473. There are no phonographic attestations of omö ‘face’ in WOJ, but we can deduce that the vowel in the second syllable was otsu-rui /ö/, because there are no sequences of *CôCô, and because the kō-rui vowel /ô/ and the otsu-rui vowel /ö/ cannot combine within the same morpheme. Naka (中, 那珂) harbor was located in Kanakura town (Kanakura chō, 金倉 町) of Marugame city (Marugame shi, 丸亀市) in present-day Kagawa prefecture (Nakanishi 1985: 469). WOJ tökî-tu kanze ‘timely wind’ is a wind that blows in unison with the time of high and low tides (Inaoka 1985: 447). On WOJ isana, isa ‘whale’ and na ‘fish’ see the commentary to the poem 2.131. On Samîne island (狭岑嶋) see the commentary to the preface to the poems 2.220–2.222. Line thirty-one is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since namî-nö otö ‘sound of waves’ was in all probability pronounced as [namînötö]. On sik-î tapë-nö ‘of/like the spread mulberry tree bark cloth’ see the commentary to 5.809, and on tapë ‘cloth of the mulberry tree bark’ see the commentary to 15.3607 and 15.3587.

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WOJ kîmî basically means ‘lord’ and is also used as a term to address to the second person represented by a superior, an equal, or even a close friend. I normally translated it as ‘[my] lord’, but this is hardly applicable in the case of Kakînömötö-nö asömî Pîtömarö addressing a corpse of a stranger, so here I use just the second person pronoun ‘you’. There are no phonographic attestations of körö ‘self’ in WOJ, but we can deduce that the vowel in both syllables was otsu-rui /ö/, because there are no sequences of *CôCô, and because the kō-rui vowel /ô/ and the otsu-rui vowel /ö/ cannot combine within the same morpheme. On tama pokö-nö ‘like a jewel spear’ see the commentary to 5.886.

Preface to the Poems 2.221–222

本文・Original Text 反歌二首 Translation Two envoys. Commentary These tanka envoys are to the chōka 2.220.

2.221

本文・Original Text (1) 妻毛有者 (2) 採而多宜麻之 (3) 作美乃山 (4) 野上乃宇波疑 (5) 過去 計良受也 仮名の書き下し・Kana Transliteration (1) つまも₁あらば (2) つみ₁てたげ₂まし (3) さみ₁の₂やま (4) の₁の₂へ₂の₂う はぎ₂ (5) すぎ₂にけ₁らずや Romanization (1) TUMA mô AR-Amba (2) TUM-Î-TE taŋgë-masi (3) Samî-nö YAMA (4) NÔ-NÖ [U]PË-nö upaŋgï (5) SU ŋGÏ-n-i-kêr-anz-u ya

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Glossing with Morphemic Analysis (1) spouse FP exist-COND (2) gather-CONV-SUB eat-SUBJ (3) Samî-GEN mountain (4) field-GEN top-GEN starwort (5) pass(CONV)-PERF-CONV-TENT-NEGFIN IP Translation (1) If [you] wife was [around], (2) [she] would gather [them], and [you] would eat [them], (4) [but] starworts on the fields (3) [of] Samî mountain (5) have already passed away, have not [they]? Commentary This poem has some substantial chunks of phonographic writing. Mt. Samî is probably Shinchi hill (28 m) (Shinchi yama, 新地山). Besides it there are three other hills on Samîne island (Nakanishi 1985: 450), however, Omodaka indicates that there are three in total (1977.2: 497). WOJ upaŋgï ‘starwort’ (MdJ yomena, 嫁菜) is a perennial grass that grows in the wild in the fields. Its young sprouts are edible (but have to be boiled), and are collected in the spring. In the autumn it blooms with beautiful purplish flowers (Nakanishi 1985: 308). The MJ form of the word is opagi (HZWS 於波岐), which has an archaism not preserved in WOJ, demonstrating vowel /o/ in the first syllable, thus we can reconstruct PJN *opankə/u/ºy.

2.222

本文・Original Text (1) 奥波 (2) 來依荒礒乎 (3) 色妙乃 (4) 枕等巻而 (5) 奈世流君香聞 仮名の書き下し・Kana Transliteration (1) おき₁つなみ₁ (2) き₁よ₂するありそ₁を (3) しき₁たへ₂の₂ (4) まくらと₂まき₁て (5) なせるき₁み₁かも Romanization (1) OKÎ-TU NAMÎ (2) K-Î-YÖS-URU AR-ISÔ-wo (3) sik-î TAPË-nö (4) MAKURA tö MAK-Î-TE (5) n-as-er-u KÎMÎ kamo Glossing with Morphemic Analysis (1) offing-GEN/LOC wave (2) come-CONV-approach-ATTR rough-rocky.shoreACC (3) spread-NML cloth.made.from.mulberry.tree.bark-COMP (4) headrest DV roll-CONV-SUB (5) sleep-HON-PROG-ATTR you EP

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Translation (5) You, who is sleeping (2) using as [your] headrest, (3) which is like a spread cloth made from the bark of a mulberry tree, (1/2) the rough rocky shore where the waves from the offing come approaching! Commentary On sik-î tapë-nö ‘of/like the spread mulberry tree bark cloth’ see the commentary to 5.509, and on tapë ‘cloth of the mulberry tree bark’ see the commentary to 15.3607 and 15.3587. On the translation of WOJ kîmî as ‘you’ and not ‘lord’ see the commentary to the poem 2.220.

Preface to the Poem 2.223

本文・Original Text 柿本朝臣人麻呂在石見國臨死時自傷作歌一首 Translation A poem composed by Kakînömötö-nö asömî Pîtömarö in Ipamî province in grief [about] himself when [his] death was approaching. Commentary On Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to the poems 17.3969–3972. On Ipamî province see the commentary to the preface to the poems 2.131–133. It is considered that Kakînömötö-nö asömî Pîtömarö at the time of his death had the Sixth Rank or below because of the usage of the character 死 ‘death, to die’, because deaths of persons with the Third Rank and above was referred to as 薨, and those with the Fourth and Fifth Ranks as 卒 (Omodaka 1977.2: 499; Inaoka 1985: 455).

2.223

本文・Original Text (1) 鴨山之 (2) 磐根之巻有 (3) 吾乎鴨 (4) 不知等妹之 (5) 待乍將有 仮名の書き下し・Kana Transliteration (1) かも₁やまの₂ (2) いはねしまけ₁る (3) あれをかも₁ (4) しらにと₂いも₁が (5) まちつつあるらむ - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Romanization (1) Kamô YAMA-NÖ (2) IPA NE si MAK-ÊR-U (3) ARE-wo kamô (4) SIR-AN-I tö IMÔ-ŋGA (5) MAT-I-TUTU AR-URAM-U Glossing with Morphemic Analysis (1) Kamô mountain-GEN (2) rock root EP use.as.a.headrest-PROG-ATTR (3) I-ACC EP (4) know-NEG-NML DV beloved-POSS (5) wait-CONV-COOR exist-TENT2-ATTR Translation (3/4/5) I wonder whether [my] beloved would continue to wait for me not knowing that (2) [I] am using as a headrest rock roots (1) of Kamô mountain? Commentary The exact location of Mt. Kamô (鴨山) is unknown. In total, there are more than ten hypotheses, ranging as far as Yamatö province (Nakanishi 1985: 439; Inaoka 1985: 455–456).

Preface to the Poems 2.224–225

本文・Original Text 柿本朝臣人麻呂死時妻依羅娘子作歌二首 Translation Two poems composed by Yösamî-nö wotömê, the wife of Kakînömötö-nö asömî Pîtömarö when [he] died. Commentary On Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to the poems 17.3969–3972. Yösamî (依羅) may refer either to Yösamî clan or represent a placename (Inaoka 1985: 179).

2.224

本文・Original Text (1) 且今日々々々 (2) 吾待君者 (3) 石水之 (4) 貝尓一云谷尓交而 (5) 有 登不言八方

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仮名の書き下し・Kana Transliteration (1) け₁ふけ₁ふと₂ (2) あがまつき₁み₁は (3) いしかはの₂ (4) かひ₁に一云たに にまじりて (5) ありと₂いはずやも Romanization (1) KÊPU KÊPU TÖ (2) A-ŋGA MAT-U KÎMÎ pa (3) Isikapa-NÖ (4) KAPÎ-ni A variant: TANI-ni MAnZIR-I-TE (5) AR-I tö IP-AnZ-U ya mo Glossing with Morphemic Analysis (1) today today DV (2) I-POSS wait-ATTR lord TOP (3) Isikapa-GEN (4) seashellLOC A variant valley-LOC get.mixed-CONV-SUB (5) exist-FIN DV say-NEG-FIN IP EP Translation (2) [My] lord, for whom [I] waited (1) thinking that [you will come back] today, (4/5) [would] not [one] say that [you] got mixed with seashells A variant: with valleys (3) of Isikapa? Commentary Writing WOJ kapa ‘river’ with the character 水 ‘water’ is not especially frequent, but it does occur in other poems in the Man’yōshū, e.g. 3.315. Location of Isikapa river is as speculative as that of Kamô mountain mentioned in 2.223 above, and largely depends on which hypothesis regarding the location of the latter one prefers. Mixing with seashells and mixing with valleys implies two different versions concerning the localization of Kakînömötö-nö asömî Pîtömarö’s death: near the seashore or inland (Inaoka 1985: 458–459).

2.225

本文・Original Text (1) 直相者 (2) 相不勝 (3) 石川尓 (4) 雲立渡礼 (5) 見乍將偲 仮名の書き下し・Kana Transliteration (1) ただにあはば (2) あひ₁かつましじ (3) いしかはに (4) くも₁たちわたれ (5) み₁つつしの₁はむ

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Romanization (1) TAnDA N-I AP-Amba (2) AP-Î-kat-uMASInZI (3) Isikapa-ni (4) KUMÔ TAT-I WATAr-e (5) MÎ-TUTU SINÔP-AM-U Glossing with Morphemic Analysis (1) direct DV-CONV meet-COND (2) meet-CONV-POT-NEG/POT (3) IsikapaLOC (4) cloud rise-CONV cross-IMP (5) look(CONV) long.for-TENT-FIN Translation (1/2) [We] will not be able to meet directly. (3/4) Clouds, rise at Isikapa river and cross over here (5) Looking at [the clouds, I] will long for [you]. Commentary The combination of WOJ potential kate- and negative potential -umasinzi may seem strange, but it is also attested in the poem 7.1352, and more questionably in the poem 2.94, where kate- seems to be not an auxiliary, but a lexical verb meaning ‘to bear’. On Isikapa river see the commentary to the poem 2.224. In Ancient Japan there was a belief that clouds can represent the soul of a beloved person (Inaoka 1985: 460).

Preface to the Poem 2.226

本文・Original Text 丹比真人名闕擬柿本朝臣人麻呂之意報歌一首 Translation A poem by Tandipî-nö mapîtö ([his given] name is lacking), assuming the role of Kakînömötö-nö asömî Pîtömarö in response to [Yösamî-nö wotömê]. Commentary There are seven people with the family name Tandipî mentioned in the Man’yōshū,10 but it is not clear whether the author of this poem is among them or not (Inaoka 1985: 460). On Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) see the commentary to the preface to the poems 17.3969–3972. 10  Actually, more than seven (Nakanishi 1985: 248–250), but the rest can be disqualified on the basis of chronology.

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2.226

本文・Original Text (1) 荒浪尓 (2) 縁來玉乎 (3) 枕尓置 (4) 吾此間有跡 (5) 誰將告 仮名の書き下し・Kana Transliteration (1) あらなみ₁に (2) よ₂りくるたまを (3) まくらにおき₁ (4) あれこ₂こ₂にありと₂ (5) たれかつげ₂け₁む Romanization (1) ARA NAMÎ-ni (2) YÖR-I-K-URU TAMA-wo (3) MAKURA-ni OK-Î (4) ARE KÖKÖ-NI AR-I tö (5) TARE KA TU ŋGË-KÊM-U Glossing with Morphemic Analysis (1) rough wave-LOC (2) approach-CONV-come-ATTR pearl-ACC (3) headrestLOC put-CONV (4) I here-LOC exist-FIN DV (5) who IP report(CONV)-PAST.FIN. TENT-ATTR Translation (5) Would anyone tell [you] (4) that I am here (3) when [you] put at [the side of your] headrest (2) pearls that are brought (1) by rough waves? Commentary This poem can be seen as a particular response to the poem 2.224. Line three is hypermetric ( ji amari, 字余り). Line four is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since are kökö-ni ar-i ‘I am here’ was in all probability pronounced as [arekökönari].

Preface to the Poem 2.227

本文・Original Text 或本歌曰 Translation A poem from a certain book says: Commentary We do not know what this book is.

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2.227

本文・Original Text (1) 天離 (2) 夷之荒野尓 (3) 君乎置而 (4) 念乍有者 (5) 生刀毛無 仮名の書き下し・Kana Transliteration (1) あまざかる (2) ひ₁なの₂あらの₁に (3) き₁み₁をおき₁て (4) おも₂ひ₁つつあ れば (5) いけ₁ると₁も₁なし Romanization (1) AMA-n-ZAKAR-U (2) PÎNA-NÖ ARA NÔ-ni (3) KÎMÎ-wo OK-Î-TE (4) OMÖP-Î-TUTU AR-E-mba (5) IK-ÊR-U tô mô NA-SI Glossing with Morphemic Analysis (1) Heaven-LOC-be.distant-ATTR (2) countryside-GEN wild field-LOC (3) lordACC leave-CONV-SUB (4) think-CONV-COOR exist-EV-CON (5) live-PROG-ATTR place FP not.exist-FIN Translation (4) When [I] continue to think [about you], (3) having left [my] lord (2) at the wild field in the countryside (1) that is far from Heaven, (5) there is no place [for me] to live. Commentary This poem, contrary to the previous poem 2.226, demonstrates the connection with the version that Kakînömötö-nö asömî Pîtömarö (柿本朝臣人麻呂) died not near the seashore, but inland. As we learn from the following postscript to the poem 2.227, its placement exactly in this place in the Man’yōshū is not by a mere chance. Line three is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since kîmî-wo ok-î-te ‘leaving [my] lord’ was in all probability pronounced as [kîmîwokîte]. Line four is hypermetric ( ji amari, 字余り). On WOJ ik-êr-u tô mô na-si ‘there is no place to live’ see the commentary to the poem 2.215.

Postscript to the Poem 2.227

本文・Original Text 右一首歌作者未詳但古本以此歌載於此次也 - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Translation The author of the above poem is unknown, but [it] was placed here in old books, so [I] follow [this practice]. Commentary The author of this poem could be either Yösamî, the wife of Kakînömötö-nö asömî Pîtömarö, another wife of his, or a friend (Omodaka 1977.2: 511; Inaoka 1985: 463).

Preface to the Poems 2.228–229

本文・Original Text 寧樂宮 和銅四年歳次辛亥河邊宮人姫嶋松原見嬢子屍悲嘆作歌二首 Translation Nara palace. Two poems composed by courtier Kapambê when [he] was lamenting and grieving [after] seeing a corpse of a maiden at the pine field in Pîmêsima island in the fourth year of Wadō. Commentary A combination of Nara palace with the fourth year of Wadō points to the reign of Empress Genmyō (r. 708–714 AD). Fourth year of Wadō (和銅四年) corresponds to January 23, 711 AD– February 10, 712 AD.11 辛亥 are cyclic signs for the fourth year of Wadō. Nothing is known about the biography of courtier Kapambê. He is an author of two poems in the Man’yōshū: 2.228 and 2.229 (Nakanishi 1985: 225). Pîmêsima island (姫嶋) was located in the estuary of Yöndöŋgapa (MdJ Yodogawa) river (淀川), but its exact location is open to speculations (Nakanishi 1985: 478).

2.228

本文・Original Text (1) 妹之名者 (2) 千代尓將流 (3) 姫嶋之 (4) 子松之末尓 (5) 蘿生萬代尓 11  The reason for the fourth year of Wadō to be longer than the solar year is because it had an intercalary sixth lunar month. - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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仮名の書き下し・Kana Transliteration (1) いも₁がなは (2) ちよ₂にながれむ (3) ひ₁め₁しまの₂ (4) こ₁まつがうれに (5) こ₂け₂むすまでに Romanization (1) IMÔ-ŋGA NA pa (2) TI YÖ-ni NA ŋGARE-M-U (3) Pîmêsima-NÖ (4) kô-MATUNÖ URE-ni (5) KÖKË MUS-U-mande-ni Glossing with Morphemic Analysis (1) you-POSS name TOP (2) thousand age-LOC flow-TENT-FIN (3) PîmêsimaGEN (4) DIM-pine-GEN branch.top-LOC (5) moss grow-ATTR-TERM-LOC Translation (1) Your name (2) will be passed on for thousand ages (5) until the moss will grow (4) at the upper part of branches of small pines (3) on Pîmêsima. Commentary OJ imô is ‘beloved’ or ‘wife’, but it is highly unlikely that the dead maiden was either to courtier Kapambê, therefore I translate this word here as simply a form of address ‘you’. On Pîmêsima see the commentary to the preface to the poems 2.228–229. WOJ ure could refer to the top part of trees or branches. Character 蘿 indicates a kind of lichen-like moss (MJ mandu-no koke, saruwoŋgase, MdJ saruogase) a parasitic plant that attaches to branches of pines and other plants, and can hang down from these branches (Takeda 1956.2: 368).

2.229

本文・Original Text (1) 難波方 (2) 塩干勿有曽祢 (3) 沈之 (4) 妹之光儀乎 (5) 見巻苦流思母 仮名の書き下し・Kana Transliteration (1) なにはがた (2) しほひ₂なありそ₂ね (3) しづみ₁にし (4) いも₁がすがたを (5) み₁まくくるしも₂ Romanization (1) Nanipa-ŋ-gata (2) sipo PÏ NA-AR-I-sö-n-e (3) SInDUM-Î-N-I-si (4) IMÔ-ŋGA SU ŋGATA-wo (5) MÎ-m-aku kurusi-mö

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Glossing with Morphemic Analysis (1) Nanipa-GEN-lagoon (2) tide dry(NML) NEG-exist-CONV-do-DES-IMP (3) submerge-CONV-PERF-CONV-PAST.ATTR (4) you-POSS appearance-ACC (5) look-TENT-NML be.painful-EXCL Translation (2) I wish there would be no drying of the tide (1) in Nanipa lagoon. (5) It would be painful to look at (4) the appearance of you (3) who drowned. Commentary On Nanipa and Nanipa lagoon, see the commentaries to the poems 20.4329 and 20.4330. Line two is hypermetric ( ji amari, 字余り), but this is probably a graphic illusion, since na-ar-i-sö-n-e ‘I wish there would be no’ was in all probability pronounced as [narisöne]. On the translation of OJ imô as ‘you’ see the commentary to the poem 2.228.

Preface to the Poems 2.230–234

本文・Original Text 靈龜元年歳次乙卯秋九月志貴親王薨時作歌一首并短歌 Translation A poem composed when Imperial Prince Sikï passed away in the ninth autumn lunar month of the first year of Reiki. With [four] tanka [envoys]. Commentary The ninth autumn lunar month of the first year of Reiki (靈龜元年) corresponds to November 715 AD. 乙卯 are cyclic signs for the first year of Reiki. On Imperial Prince Sikï (志貴親王) see the commentary to the preface to the poem 1.51. Some sources give a divergent date of his death as the eighth lunar month of the second year of Reiki (靈亀), which corresponds to August 8– September 19, 716 AD.

2.230

本文・Original Text (1) 梓弓 (2) 手取持而 (3) 大夫之 (4) 得物矢手挾 (5) 立向 (6) 高圓山 尓 (7) 春野焼 (8) 野火登見左右 (9) 燎火乎 (10) 何如問者 (11) 玉桙之 - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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(12) 道來人乃 (13) 泣涙 (14) る霂尓落 (15) 白妙之 (16) 衣埿漬而 (17) 立 留 (18) 吾尓語久 (19) 何鴨 (20) 本名唁 (21) 聞者 (22) 泣耳師所哭 (23) 語 者 (24) 心曽痛 (25) 天皇之 (26) 神之御子之 (27) 御駕之 (28) 手火之光 曽 (29) 幾許照而有 仮名の書き下し・Kana Transliteration (1) あづさゆみ₁ (2) てにと₂りも₂ちて (3) ますらをの₂ (4) さつやたばさみ₁ (5) たちむかふ (6) たかまと₁やまに (7) はるの₁やく (8) の₁び₂と₂み₁るまで (9) も₁ゆるひ₂を (10) なにかと₂と₁へ₂ば (11) たまほこ₂の₂ (12) み₁ちくるひ₁と₂ の₂ (13) なくなみ₁た (14) こ₁さめ₂にふり (15) しろ₁たへ₂の₂ (16) こ₂ろ₂も₂ひ₁ づちて (17) たちと₂まり (18) あれにかたらく (19) なにしかも₁ (20) も₂と₂なと₁ ぶらふ (21) き₁け₂ば (22) ねの₂み₂しなかゆ (23) かたれば (24) こ₂こ₂ろ₂そ₂ いたき₁ (25) すめ₁ろ₂き₁の₂ (26) かみ₂の₂み₁こ₁の₂ (27) いでましの₂ (28) た ひ₂の₂ひ₁かりそ₂ (29) そ₂こ₂ばてりたる Romanization (1) AnDUSA YUMÎ (2) TE-NI TÖR-I MÖT-I-TE (3) MASURA WO-NÖ (4) SATU-YA TA-n-BASAM-Î (5) TAT-I-MUKAP-U (6) Takamatô YAMA-ni (7) PARU NÔ YAK-U (8) NÔ-m-BÏ tö MÎ-RU-MAnDE (9) MÔY-URU PÏ-wo (10) NANI KA TÖ TÔP-Ë-mba (11) TAMA POKÖ-NÖ (12) MÎTI K-URU PÎTÖ-nö (13) NAK-U NAMÎTA (14) KÔ-SAMË n-i PUR-I (15) SIRÔ TAPË-NÖ (16) KÖRÖMÖ PÎnDUT-I-TE (17) TAT-I TÖMAR-I (18) ARE-ni KATAR-Aku (19) NANI SI kamô (20) mötöna TÔmBURAP-U (21) KÎK-Ë-mba (22) NE NÖMÏ si NAK-AY-U (23) KATAR-E-mba (24) KÖKÖRÖ sö ITA-KÎ (25) SUMÊRÖKÎ-NÖ (26) KAMÏ-NÖ MÎ-KÔ-NÖ (27) InDE-MAS-I-NÖ (28) TA-PÏ-NÖ PÎKARI sö (29) KÖKÖnDA TER-I-TAR-U Glossing with Morphemic Analysis (1) catalpa bow (2) hand-LOC take-CONV hold-CONV-SUB (3) noble manGEN (4) hunt-arrow hand-LOC-squeeze-CONV (5) stand-CONV-face-ATTR (6) Takamatô mountain-LOC (7) spring field burn-ATTR (8) field-GEN-fire DV see-ATTR-TERM (9) burn-ATTR fire-ACC (10) what IP DV ask-EV-CON (11) jewel spear-COMP (12) road come-ATTR person-GEN (13) cry-ATTR tear (14) DIM-rain DV-CONV fall-CONV (15) white cloth.made.from.mulberry. tree.bark-GEN (16) garment get.wet-CONV-SUB (17) stand-CONV stop-CONV (18) I-DAT talkNML (19) what EP EP (20) in.vain ask-ATTR (21) hear-EV-CON (22) voice RP EP cry-PASS-FIN (23) speak-EV-CON (24) heart FP be.painful-ATTR (25) imperial. ancestor-GEN (26) deity-COMP HON-child-GEN (27) go.out-HON-NML-GEN (28) torch-GEN light FP (29) that.much shine-CONV-PERF/PROG-ATTR

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Translation (10) When [I] asked: “What is it?” (9) about the burning fires, (8) which [I] mistook for field fires (7) burning in the spring fields (6) on Takamatô mountain (3/5) where noble men stand facing each other (2) holding in [their] hands (1) catalpa bows, and (4) squeezing in [their] hands hunting arrows, (12) a person who came along the road (11) [straight] like a jewel spear (13) shedding tears (14) that fell like a drizzling rain, (15/16) from which [his] garment from the white cloth made from the bark of a mulberry tree got wet, (17) stopped and stood, and (21) when [I] heard [him] (18) talking to me: (19) “Why, I wonder (20) [you] ask in vain?” (22) [I] only cried loudly. (23) When [he] spoke, (24) [my] heart was in pain. (28) As it was the light of torches (27) [lit] for passing away (25/26) of the child of imperial ancestors who is like a deity (29) that were shining that much. Commentary On OJ andusa ‘catalpa tree’ (梓) and andusa yumî ‘catalpa bow’ see the commentaries to 14.3487 and 14.3489. On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ see the commentary to 5.804. There is no etymology for masura. It possibly could be a Japanese-Korean hybrid: OJ ma-, intensive prefix with the meaning ‘true, real’ + MK súh ‘male’12 + OJ -ra, suffix of endearment. On OJ sati ~ satu- ‘hunting’, ‘bounty’ see the commentary to the poem 1.61. OJ satu-ya is a ‘hunting arrow’, its military counterpart was called sö-ya ‘fighting arrow’. Presumably, the main difference between the two was that hunting arrows did not have barbed arrow-heads, while fighting arrows did in order to make it difficult for an injured enemy to get it out of the wound. On Takamatô see the commentary to the preface to the poems 20.4295–4297. On tama pokö-nö ‘like a jewel spear’ see the commentary to 5.886. In line fourteen both the Kanazawa-bon and the Ruijū Koshū have 落, while almost all later manuscripts exhibit 落者. However, the evidence from the Kanazawa-bon and the Ruijū Koshū is also corroborated by the Hirose-bon, so 落 should be taken as the archetype in spite of the fact that this line then becomes hypometric ( ji tarazu, 字足らず). On sirô tapë-nö ‘of/like the white cloth of the mulberry tree bark’, see the commentary to 15.3607. There are no reliable phonographic examples of WOJ tômburap- ‘to ask’, but keeping in mind that it must be somehow related to tôp- ‘to ask’ (although its 12  In Modern Korean su ‘male’ is used only for animals, but it appears that in earlier stages of the language it was also applicable to humans.

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morphological composition is not quite clear), I think we can safely surmise that the first syllable was kō-rui vowel /ô/. Line twenty-one is hypometric ( ji tarazu, 字足らず). Line twenty-three is hypometric ( ji tarazu, 字足らず).

Preface to the Poems 2.231–232

本文・Original Text 短歌二首 Translation Two tanka [envoys]. Commentary These envoys are to the chōka 2.230.

2.231

本文・Original Text (1) 高圓之 (2) 野邊秋芽子 (3) 徒 (4) 開香將散 (5) 見人無尓 仮名の書き下し・Kana Transliteration (1) たかまと₁の₂ (2) の₁へ₁の₂あき₁はぎ₂ (3) いたづらに (4) さき₁かちるらむ (5) み₁るひ₁と₂なしに Romanization (1) Takamatô-NÖ (2) NÔ PÊ-NÖ AKÎ PA ŋGÏ (3) ITAnDURA N-I (4) SAK-Î ka TIR-URAM-U (5) MÎ-RU PÎTÖ NA-si-ni Glossing with Morphemic Analysis (1) Takamatô-GEN (2) field side-GEN autumn bush.clover (3) in.vain DV-CONV (4) bloom-CONV IP fall-TENTS2-ATTR (5) look-ATTR person not.exist-FIN-LOC Translation (2) Autumn bush clover at the field side (1) in Takamatô (4) would [you] bloom and fall (3) in vain, (5) because there is no one to look [at you]?

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Commentary On Takamatô see the commentary to the preface to the poems 20.4295–4297. On WOJ paŋgï ‘bush clover’ see the commentaries to 15.3656 and 20.4297. Note that with OJ na- ‘not to exist’, ‘there is/are no’, dative-locative case marker -ni uniquely follows the final, and not the attributive form.

2.232

本文・Original Text (1) 御笠山 (2) 野邊徃道者 (3) 己伎太雲 (4) 繁荒有可 (5) 久尓有勿國 仮名の書き下し・Kana Transliteration (1) み₁かさやま (2) の₁へ₁ゆくみ₁ちは (3) こ₂き₁だくも₁ (4) しげ₂くあれたるか (5) ひ₁さにあらなくに Romanization (1) Mîkasa YAMA (2) NÔ PÊ YUK-U MÎTI pa (3) kökîndaku mô (4) SI ŋGË-KU ARE-TAR-U ka (5) PÎSA n-i AR-AN-Aku n-i Glossing with Morphemic Analysis (1) Mîkasa mountain (2) field side go-ATTR road TOP (3) that.much FP (4) be.overgrown-CONV be.wild(CONV)-PERF/PROG-ATTR IP (5) longtime DV-CONV exist-NEG-NML DV-CONV Translation (2) The road going [through] the side of fields (1) at Mîkasa mountain, (4) did [it] become wild and overgrown (3) so much? (5) Not much time passed, but … Commentary Mt. Mîkasa (御笠山, more frequently spelled as 三笠山) is a mountain (283 m) located in the back of Kasuga shrine (Kasuga taisha, 春日大社) in the Nara park (Nara kōen, 奈良公園) of the present-day Nara city (Nakanishi 1985: 486).

Postscript to the Poems 2.230–232

本文・Original Text 右歌笠朝臣金村歌集出

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Translation [Three] poems above appear in the poetic collection of Kasa-nö asömî Kanamura. Commentary Nothing is known about the biography of Kasa-nö asömî Kanamura, except that his poems are dated mostly during the time from the seventh year of Yōrō (724 AD) to early Tenpyō (started in 729 AD), consequently these three poems are the oldest. The poetic collection of Kasa-nö asömî Kanamura is predominantly found in books six and nine of the Man’yōshū, with some isolated poems in books four and six (Omodaka 1977.2: 527).

Preface to the Poems 2.233–234

本文・Original Text 或本歌曰 Translation [Two] poems from a certain book say: Commentary The poems 2.233–234 are either variants of the poems 2.231–232, or one of this poetic sequences represents an allusive variation (honkadori, 本歌取り) on the other two poems. We do not know what this book is.

2.233

本文・Original Text (1) 高圓之 (2) 野邊乃秋芽子 (3) 勿散祢 (4) 君之形見尓 (5) 見管思 奴播武 仮名の書き下し・Kana Transliteration (1) たかまと₁の₂ (2) の₁へ₁の₂あき₁はぎ₂ (3) なちりそ₂ね (4) き₁み₁がかたみ₁ に (5) み₁つつしの₁はむ Romanization (1) Takamatô-NÖ (2) NÔ PÊ-nö AKÎ PA ŋGÏ (3) NA-TIR-I-SÖ-n-e (4) KÎMÎ-ŋGA KATAMÎ n-i (5) MÎ-tutu sinôp-am-u - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Glossing with Morphemic Analysis (1) Takamatô-GEN (2) field side-GEN autumn bush.clover (3) NEG-fallCONV-do-DES-IMP (4) lord-POSS keepsake DV-CONV (5) look(CONV)-COOR long.for-TENT-FIN Translation (2) Autumn bush clover at the field side (1) in Takamatô, (3) I wish [you] would not fall. (4/5) Looking at [you] as a keepsake of [my] lord, [I] will long for [him]. Commentary Lines one and two of the poem 2.233 are identical to the poem 2.231, although the script in line two is slightly different: in 2.233 the genitive case marker -nö is spelled out phonographically as 乃, but in 2.231 it is not spelled at all. Lines three, four, and five are completely different. On Takamatô see the commentary to the preface to the poems 20.4295–4297. On WOJ paŋgï ‘bush clover’ see the commentaries to 15.3656 and 20.4297. On WOJ katamî ‘keepsake’ see the commentary to the poem 15.3596. Japanese scholars read 思奴播武 as sinupamu (Takeda 1956.2: 637; Omodaka 1977.2: 527; Inaoka 1985: 474) on the basis of their mistaken belief that the character 奴 can stand only for nu, but not for nô. As a matter of fact, it is used as a phonogram for both nu and nô, see the man’yōgana chart in the introduction.

2.234

本文・Original Text (1) 三笠山 (2) 野邊従遊久道 (3) 己伎太久母 (4) 荒尓計類鴨 (5) 久尓有 名國 仮名の書き下し・Kana Transliteration (1) み₁かさやま (2) の₁へ₁ゆゆくみ₁ち (3) こ₂き₁だくも₂ (4) しげ₂くあれたるか (5) ひ₁さにあらなくに Romanization (1) Mîkasa YAMA (2) NÔ PÊ-YU yuk-u MÎTI (3) kökîndaku mö (4) ARE-n-i-kêr-u kamô (5) PÎSA n-i AR-An-aku n-i Glossing with Morphemic Analysis (1) Mîkasa mountain (2) field side-ABL go-ATTR road (3) that.much FP (4) be.wild(CONV)-PERF-RETR-ATTR EP (5) longtime DV-CONV exist-NEGNML DV-CONV - 978-90-04-43333-5 Downloaded from Brill.com11/15/2020 01:34:06AM via University of Cambridge

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Translation (2) The road going along the side of fields (1) at Mîkasa mountain, (4) did [it] become wild (3) so much? (5) Not much time passed, but … Commentary Lines one, three, and five are identical to the same lines in the poem 2.232 with the exception of some discrepancies in the original script. Line two is slightly different, as it includes an ablative case marker -yu in its prolative function, but does not have a topic marker pa present in the poem 2.232. In addition, the verb yuk-u ‘go-ATTR’ is spelled completely logographically in the poem 2.232 as 徃, but phonographically as 遊久 in 2.234. Lines four are almost completely different in these two poems. On Mt. Mîkasa (三笠山, less frequently spelled as 御笠山) see the commentary to the poem 2.232. End of Book Two

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