Man'yōshū, Book 20: A New English Translation Containing the Original Text, Kana Transliteration, Romanization, Glossing and Commentary 9004261982, 9789004261983

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MAN’YōSHū 

BOOK 20

MAN’YŌSHŪ 

BOOK 20 

A NEW ENGLISH TRANSLATION CONTAINING THE ORIGINAL TEXT, KANA TRANSLITERATION, ROMANIZATION, GLOSSING AND COMMENTARY by

Alexander Vovin UNIVERSITY OF HAWAI’I AT MANOA

GLOBAL ORIENTAL

MAN’YŌSHŪ: BOOK 20 Translated by Alexander Vovin Printed on acid-free paper by CPI Antony Rowe, Chippenham, Wilts Library of Congress Cataloging-in-Publication Data Man’yoshu. English & Japanese. Selections. Man’yoshu, book 20 : a New English Translation Containing the Original Text, Kana Transliteration, Romanization, Glossing and Commentary / by Alexander Vovin, University of Hawai’i at Manoa. pages cm Includes bibliographical references (p. ). English and Japanese. ISBN 978-90-04-26198-3 (hardback : alk. paper) 1. Man’yoshu—Criticism and interpretation. 2. Japanese poetry—To 794—Translations into English. I. Vovin, Alexander. II. Title. PL758.15.A6 2013 895.6’11—dc23 2013032762

© 2014 Alexander Vovin ISBN: 978-90-04-26198-3 E-ISBN: 978-90-04-26199-0 Published 2014 by Koninklijke Brill NV, Leiden, The Netherlands Koninklijke Brill NV comprises the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change

To Ross King without whose help almost a quarter of a century ago this book, as well as most other works of mine would never materialize

CONTENTS

List of charts Acknowledgements Abbreviations Preface Introduction Man’yo¯shu¯ – Book 20 Bibliography

ix xi xiii xvii 1 23 310

LIST OF CHARTS

Chart 1: Chart 2: Chart 3: Chart 4: Chart 5:

Sakîmôri poems by provinces with numbers and dates 2 Poetic sequences in book twenty 3–5 Distribution of EOJ verbal attributive suffix -ô 9 WOJ vs. EOJ differences in Eastern poems 17 Man’yōgana phonographic signs used in the 18–21 Man’yōshū

ACKNOWLEDGMENTS

L

ike the translation of book fourteen of the Man’yōshū book twenty proved to be a slow and arduous process. This was mostly due to various additional professional commitments that I had in 2012 and 2013, including rather more frequent travel to professional meetings than anticipated. But another reason is the nature of the text itself: in contrast to books five and fifteen, and similar to book fourteen, many poems in book fourteen are written not in Western Old Japanese, but in Eastern Old Japanese, although Eastern Old Japanese of book twenty for the most part is less cumbersome than Eastern Old Japanese of book fourteen. However, the main factor for the relatively slow progress was the fact that many authors of poems written in Western Old Japanese in book twenty are well known historical and political figures of the eighth century. Digging into their biographies took some time. First, and foremost, however, I hasten to express my gratitude to the members of my family: my mother Svetlana, my wife Sambi, and our two children, Yasha and Masha, who helped in various ways. I am extremely grateful to my publisher at Global Oriental (now part of Brill), Paul Norbury, who frequently went out of his way to support this project and improve my translation. This time, Paul has my extreme gratitude, because he agreed to take on the financial burden of editing the text, since the Japanese Studies Endowment Committee of the Center for Japanese Studies at the University of Hawai‘i at Mānoa this time decided not to support the project, placing it therefore into serious jeopardy. I am afraid that this represents a rather recent but quite dangerous trend in the USA to forsake premodern East Asian Studies in favor of modern if not postmodernist studies. My gratitude also goes to many people at the National Institute for Japanese Language and Linguistics (国立国語研究所), where I have spent three months in 2012 that were very fruitful to my research: especially to Kageyama Tarō (影山太郎), its Director, and John Whitman, the head of the Linguistic Typology section, who made this stay possible, and to Kibe Noriko (木 部 暢 子 ), Bjarke Frellesvig, Ōnishi Takuichirō (大西拓一郎), Hirai Michiko (平井美智子), and Osanai Yūko (小山内優子), who helped me with my research and/or made my stay especially enjoyable. I am also very grateful to a number of people all over the world, who helped in various ways during the period when I was translating book fourteen – not all of them necessarily directly connected with my Man’yōshū research, but who made my life much easier and more enjoyable than it might have been otherwise: Anton Antonov, Ty Borders, Greg Brown, Anna Bugaeva, Redouane Djamouri, Karl Friday, Stefan Georg, Hayata Teruhiro (早田輝洋), Guillaume Jacques, Kawasaki Tamotsu (川崎保), Ross King, David McCraw, Murasaki Kyōko (村崎恭子), Evelyn Nakanishi, Mehmet

MAN’YŌSHŪ

xii

Ölmez, Thomas Pellard, Volker Rybatzki, Laurent Sagart, 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), Irène Tamba, and John Whitman. 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 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. I want to thank especially Tom Dougherty and John Kupchik for their valuable comments on the drafts of the manuscript that contributed considerably to its improvement. Needless to say, I alone am responsible for all mistakes and shortcomings. 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 twenty is dedicated to Ross King, a personal friend and one of my closest colleagues in the field of Koreo-Japonic linguistics and philology whom I have known from 1985. If not for his heroic efforts to get me out of the former Soviet Union in 1989–1990, my whole life as a scholar might have been wasted.

ABBREVIATIONS LANGUAGES

Chin. EMC EOJ LHC LMC MdJ MC MJ MK OJ OK PAN PJ PJN PR Sk. WOJ

Chinese Early Middle Chinese Eastern Old Japanese Later Han Chinese Late Middle Chinese Modern Japanese Middle Chinese Middle Japanese Middle Korean Old Japanese Old Korean proto-Austronesian proto-Japonic proto-Japanese proto-Ryūkyūan Sanskrit Western Old Japanese

BS FK GM IM KGU KK KKS KYS MYS NHB NK NKBT NR NT RGJ RK RMS SKSK

Bussoku seki no uta, 753 AD Fudoki kayō, ca. 737 AD Genji monogatari, ca. 1008 AD Ise monogatari, late 9th or early 10th century Kagura uta, 9th – 10th centuries Kojiki kayō, 712 AD Kokin wakashū, 921 AD Kin’yō wakashō, 1124 AD Man’yōshū, ca. 771–785 AD Nishi Honganji-bon, late Kamakura period. Nihonshoki kayō, 720 AD Nihon koten bungaku taikei Nihon ryōiki, early 9th century Norito, 7–9th centuries Okinawa go jiten Ruijū koshū, end of Heian period Ruijū myōgi shō, 1081 AD Samkwuk saki, 1145 AD

TEXTS AND SOURCES

xiv

MAN’YŌSHŪ

SM SNK SSI SSJ USM WMS

Senmyō, 7–8th centuries Shoku Nihongi kayō Shōsōin documents, 7–8th centuries Shinsen jikyō, 898–901 AD Uji shūi monogatari, 1213–21 AD Wamyōshō, 931–38 AD

ABS ADJ ASSER ATTR BEN CAUS CL COM COMP CON CONC COND CONJ CONJC COOP COOR COP DAT DEB DES DIR DLF DV EMPH EV EXCL FIN GEN GER HON HUM INF INTER LOC NEG NML OBJ OSM PAST PEJ

Absolutive Adjectivizer Assertive Attributive Benefactive Causative Classifier Comitative Comparative Conjunctive gerund Concessive gerund Conditional gerund Conjunction Conjectural Cooperative Coordinative gerund Copula Dative Debitive Desiderative Directive Directive-locative focus Defective verb Emphatic Evidential Exclamation Final verbal form Genitive Gerund Honorific Humble Infinitive Interjection Locative Negative Nominalizer Object marker Oblique stem marker Past tense Pejorative

GRAMMATICAL TERMS

PERF PLUR POL POSS POT PREF PREV PROG PT RA REC RETR SUB SUBJ SUP TENT TERM TOP

MAN’YŌSHŪ

Perfective Plural Polite Possessive Potential Prefix Preverb Progressive Particle Reported action Reciprocal Retrospective Subordinative gerund Subjunctive Suppositional Tentative Terminative Topic

xv

PREFACE

W

ith this volume (book twenty) 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 three volumes of this translation were books fifteen, five and fourteen of the Man’yōshū, and have already appeared (Vovin 2009c, 2011a, 2012). 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 twenty will be: book seventeen, book eighteen, book nineteen, book one, book nine, and starting from book two in numerical order. 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 twenty 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 Eastern Old Japanese, a cover term for a dialect continuum that extended in ancient times from roughly the southern part of modern Chūbu to Southern Tōhoku. Second, 1 Inclusion of MuNsasi province among Tōkaidō and not Tōsandō provinces may further narrow this gap to 771–785 AD, because before 771 AD MuNsasi province was a part of Tōsandō region.

xviii

PREFACE

it provides an interesting literary background to political struggles that were taking place in the mid eighth century at Nara court. 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 2005, 2009a). 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. However, since many poems in book twenty are in Eastern Old Japanese, I have provided a sketch of Eastern Old Japanese grammar in the introduction, and also taken the liberty of including lengthier commentaries on it. 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 my romanization I have also tried to reflect the actual phonology 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 stops /b/, /d/, /g/ were prenasalized stops /mb/, /nd/, /ŋg/, transliterated as /Np/, /Nt/, and /Nk/. 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 and otsu vowels, already known for roughly one hundred years, to find its way into the romanizations of Old Japanese in Western Japanological literature. Alexander Vovin Tokyo – Honolulu May 2012 – May 2013

INTRODUCTION he general introduction to the translation of the Man’yōshū (萬葉集) T ‘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 twenty.

General information on book twenty Book twenty (20.4293-4516) comprises 224 poems (218 tanka, six chōka) with unspecified genres. From the social point of view this book is the most varied one, as it includes poems from both the highest and potentially one of the lowest social classes. Namely, the variation in authors’ social status extends from Empresses, Princes (one of them being future Emperor Junnin) down to the lowest border guard soldiers. Needless to say, the various strata of the nobility are also richly represented in this book. The structure of book twenty is very different from that of any other book in the Man’yōshū, although in certain respects it has similarities to book five, as there are many short minisequences, to book fifteen, as there are two (or rather three) major sections (linguistically defined: two sequences in WOJ at the beginning and the end of the book, and the sequence in EOJ in the middle, although it also has intervening poems in WOJ), and to book fourteen, because poems within the Eastern Japanese section are organized in geographical order, although this order is not very consistent. However, the main underlying principle of arranging its poems is chronological, and most of the poems in book twenty can be dated with a precision to a particular day. First, the poems can be divided into two (or three) major sections: poems composed either by border-guards (OJ sakîmôri) themselves, or as poems about border-guards’ feelings or imitating border-guards’ poems (4321-4436) and poems on different topics (4293-4320 and 4437-4516). The peculiarity of the sakîmôri section is that the poems composed by sakîmôri themselves (4321-4330, 4337-4359, 4363-4394, 4401-4407, 4413-4432, 4436) are intermingled with poems about sakîmôri and their feelings composed by non-sakîmôri authors, mostly by Opotömö-nö Yakamöti (4331-4336, 4360-4362, 4395-4400, 4408-4412, 4433-4435). Furthermore, the poems composed by sakîmôri themselves include eighty-four poems collected by Opotömö-nö Yakamöti between the sixth day and the twenty-ninth day of the second lunar month of the seventh year of Tenpyō Shōhō (March 23 to April 15, 755 AD) that all have an identified author and an identified province or even district of origin (4321-4330, 4337-4359, 4363-4394, 4401-4407, 4413-4424) and nine old poems by sakîmôri or their wives that are all anonymous and are from unidentified provinces (4425-4432, 4436). The poems 4425-4432 were collected by Ipare-nö imîkî Mörökîmî, and poem 4436 by Opopara-nö mapîtö Imakï. Most of the poems composed by sakîmôri themselves are in Eastern Old Japanese, although four poems are in Western Old Japanese: two (4326 and 4357) among the poems collected by Opotömö-nö Yakamöti, and two among old sakîmôri poems (4425 and 4436). Poems collected by Opotömö-nö

2

MAN’YŌSHŪ

Yakamöti are further subdivided by Azuma provinces, although the principle that we have seen in book fourteen with the provinces of the Tōkaidō region (東海道) placed first, and provinces from the Tōsandō region (東山道) next, and within each region the provinces closest to the capital placed first, with the provinces farthest from the capital being the last is not consistent in book twenty. Thus (see the list below), poems from Simôtukënô province that was one of Tōsandō provinces are found between the poems from Pîtati province and Simôtupusa province from Tōkaidō region. Also, Simôtupusa province is closer to the capital than Pîtati province, and SuruNka is closer than SaNkamu. Apparently, this geographical principle of arrangement was sacrificed for the chronological order in which poems were collected. Not every Tōkaidō or Tōsandō province is present in book twenty. Thus, there are no poems from INka (伊賀), Ise (伊勢), Opari (尾張), Mîkapa (三 河), Kapï (甲斐), and Apa (安房) provinces among Tōkaidō region provinces and no poems from Apumî (近江), Mînô (美濃), Mîtinöku (陸奥) and PïNta (飛騨) among Tōsandō region provinces present in the collection. 2 This probably can be explained by the possibility that there were no sakîmôri sent as replacements from these provinces in this particular year. It is conspicuous, however, that the absent Tōkaidō provinces are the same provinces that are absent from book fourteen, and the Tōsandō provinces are also the same with the exception of Mîtinöku. In contrast to book fourteen, MuNsasi province appears in book twenty as a part of the Tōsandō, and not Tōkaidō region. This is not surprising given the fact that in 755 AD MuNsasi province was still a part of Tōsandō. In Chart 1 below I present the sakîmôri poems recorded in book twenty accompanied by their poem numbers and date of collection or receipt by Opotömö-nö Yakamöti: Chart 1: Sakîmôri poems by provinces with numbers and dates Region Tōkaidō (東海道)

Province Töpotuapumî ( 遠 江) Tōkaidō (東海道) SaNkamu (相模) Tōkaidō (東海道) SuruNka (駿河) Tōkaidō (東海道) Kamîtupusa (上総) Tōkaidō (東海道) Pîtati (常陸) Tōsandō ( 東 山 Simôtukënô (下野) 道) Tōkaidō (東海道) Simôtupusa (下総) Tōsandō ( 東 山 Sinanu (信濃) 道) Tōsandō ( 東 山 Kamîtukënô (上野) 道) Tōsandō ( 東 山 MuNsasi (武蔵) 道) unidentified unidentified unidentified unidentified

2

Poems 4321-4327

Date March 23, 755 AD

4328-4330 4337-4346 4347-4359 4363-4372 4373-4383

March 24, 755 AD March 26, 755 AD March 26, 755 AD March 31, 755 AD March 31, 755 AD

4384-4394 4401-4403

April 2, 755 AD April 8, 755 AD

4404-4407

April 9, 755 AD

4413-4424

April 15, 755 AD

4425-4432 4436

April 18, 755 AD unknown

Certainly, only Kapï, Apa, and Mîtinöku provinces are proper ANtuma provinces.

3

BOOK TWENTY

Besides the sakîmôri section, the structure of the rest of book twenty seems to be predominantly based on a chronological principle and is otherwise very vague, if it exists at all. This is hardly surprising, since book twenty is believed to represent a part of Opotömö-nö Yakamöti poetic diary (books seventeen to twenty of the Man’yōshū). I provide below a list of poetic sequences in book twenty: Chart 2: Poetic sequences in book twenty Poems Date 4293-4294 between 715 and 735 AD 4295-4297 09.13.753 4298-4300 01.31.754 4301

02.03.754

4302-4303 04.16.754 4304

04.22.754

Authors Empress Genshō, Prince Töneri Opotömö-nö Ikënusi, Nakatömî-nö Kîyômarö, Opotömö-nö Yakamöti Opotömö-nö Timurô, Opotömö-nö Murakamî, Opotömö-nö Ikënusi Prince AsukaNpë Okîsômë-nö Patuse, Opotömö-nö Yakamöti Opotömö-nö Yakamöti

4305

04.27 – Opotömö-nö Yakamöti 05.26.754 4306-4313 07.30.754 Opotömö-nö Yakamöti (?) 4314 08.20.754 Opotömö-nö Yakamöti 4315-4320 autumn of Opotömö-nö Yakamöti 754 (?) 4321-4424 03.23. – multiple authors, 04.15.755 Opotömö-nö Yakamöti

4425-4432 unknown 4433-4435 04.18.755 4436 unknown 4437-4438 before 748

anonymous sakîmôri and their wives ANpë-nö Samîmarö, Opotömö-nö Yakamöti anonymous sakîmôri Empress Genshō, court

Poetic sequence Poetic dialogue between Genshō and Töneri Three poems on Takamatô in the autumn Three poems on celebrating New Year A poem wishing longevity A poetic exchange on yamaNpukî roses. A longevity wishing poem involving yamaNpukî flowers. A poem about cuckoo Eight poems on TanaNpata. A poem on plants in the garden Six poems on autumn, mostly in Takamatô Poems about sakîmôri’s sadness of parting with their home and families, desire for the safe return, loyalty to the Emperor, and obedience to his commands. Same as above Three poems on skylarks and desire to go the capital Sadness of parting Poetic dialogue

4

MAN’YŌSHŪ

lady Sechi Myōkwan 4439

before 737

court lady Isikapa

4440-4441 late April anonymous wives of or early district officials May 755 4442-4445 06.22.755 Opopara-nö Imakï, Opotömö-nö Yakamöti 4446-4448 06.24.755 TaNtipî-nö Kunipîtö, TatiNpana-nö Möröye 4449-4451 07.01.755

4463-4464 04.23.756

Prince Puna, Opotömö-nö Yakamöti Prince AsukaNpë, Opotömö-nö Yakamöti TatiNpana-nö Möröye TatiNpana-nö Möröye, Sechi Myōkwan Opotömö-nö Yakamöti, Uma-nö Kunipîtö, Opotömö-nö Ikënusi Opotömö-nö Yakamöti (?) Opotömö-nö Yakamöti

4465-4467 07.18.756

Opotömö-nö Yakamöti

4468-4470 07.18.756

Opotömö-nö Yakamöti

4452-4453 09.23.755 4454 01.04.756 4455-4456 729 4457-4459 03.29.756 4460-4462 unknown

4471 12.01.756 4472-4473 12.04.756

Opotömö-nö Yakamöti AsukaNpë-nö NaNtömarö, Prince Yamasirö 4474 soon after Opotömö-nö Yakamöti 12.04.756 4475-4476 12.19.756 Opopara-nö Imakï 4477-4480 unknown

4481 4482 3

03.28.757 unknown

Princess Matôkata, Opopara-nö Sakurawi, Consort PuNtipara, anonymous Opotömö-nö Yakamöti PuNtipara-nö Töriyumî

between Genshō and Sechi Myōkwan A poem about falling snow Two poems on the sadness of parting A poetic exchange A poetic exchange on carnations and hydrangea Three poems on carnations Two poems on autumn wind A poem on snow A poetic exchange on parsley3 A poetic exchange at the banquet Three poems on Nanipa canal Two poems on a cuckoo Three poems admonishing relatives Three poems about the impermanence of life and longevity A poem on snow Two poems on going to the capital Envoy to 4472-4473 Two poems composed at the banquet Four poems on shallow feelings and sadness of parting A poem on camellia A poem on the sadness of parting

This poetic exchange, composed in 729 AD was recited by TatiNpana-nö Möröye on January 4, 756 AD.

5

BOOK TWENTY

4483

07.13.757

Opotömö-nö Yakamöti

4484-4485 autumn of Opotömö-nö Yakamöti 757 ? 4486-4487 01.02.758 Crown Prince Opoi, PuNtipara-nö Nakamarö 4488-4490 01.31.758 Prince Mîkata, KamunaNpï-nö IkaNko, Opotömö-nö Yakamöti 4491 unknown Isikapa-nö Iratumê 4492

02.05.758

Opotömö-nö Yakamöti

4493-4494 02.15.758

Opotömö-nö Yakamöti

4495

Opotömö-nö Yakamöti

02.18.758

4496-4510 03.14.75804.11.758

Opopara-nö Imakï, Nakatömî-nö Kîyômarö, Opotömö-nö Yakamöti, Prince Itipara, KamunaNpï-nö IkaNko 4511-4513 same as Prince Mîkata, above ? Opotömö-nö Yakamöti, KamunaNpï-nö IkaNko 4514 03.28.758 Opotömö-nö Yakamöti 4515

08.13.758

Opotömö-nö Yakamöti

4516

02.02.759

Opotömö-nö Yakamöti

A poem expressing longing for old times Two poems on autumn Two court ceremonial poems Three poems on the transition from winter to spring A poem on shallow feelings and sadness of parting Three poems on the transition from winter to spring Two poems on longevity A poem on a bush warbler in the spring Fifteen miscellaneous poems on plum blossoms, palace in Takamatô, etc. Three poems on andromeda flowers. A poem offering good wishes for a safe return A poem on parting with friends A poem with good wishes for a New Year

Poems in Eastern Old Japanese and in Western Old Japanese Book twenty, like book fourteen, is linguistically split between poems in Eastern Old Japanese (EOJ) and poems in Western Old Japanese (WOJ), but is unlike any other book in the Man’yōshū, where all poems are in WOJ. Japanese. Man’yōshū scholars rarely if at all take into consideration these linguistic differences, especially where book fourteen is concerned, although there is an implicit tendency to draw the line between WOJ and EOJ poems in the linguistically-oriented research (Fukuda 1965), (Hōjō 1966), (Mizushima 1984b). Much more explicit differentiation between WOJ and EOJ poems is done in the recent study by Hino (2003). Although some poems can be clearly classified as either EOJ or WOJ, there are also many cases when it is difficult to decide whether a given poem is really a WOJ or an EOJ one. Consequently, as yet, there is no complete agreement in the current Western scholarship regarding the EOJ or WOJ nature of poems. I present below, therefore, my own classification of poems in book twenty as either EOJ or WOJ that does

6

MAN’YŌSHŪ

not necessarily coincide with Russell’s (2006) or Kupchik’s (2011) divisions. Since this classification deals here only with poems in book twenty, the prefix 20. is omitted below.4 Poems in Eastern Old Japanese 4321-4325, 4327-4330, 4337-4356, 4358-4359, 4363-4394, 4401-4407, 4413-4424, 4426-4432 Total: 89 poems. Poems in Western Old Japanese: 4293-4320, 4326, 4331-4336, 4357, 4360-4362, 4395-4400, 4408-4412, 4425, 4436-4516 Total: 135 poems. With eighty-nine poems in EOJ vs. 135 poems in WOJ it is apparent that the WOJ poems in book twenty are dominant. The situation is opposite in book fourteen, which contains 154 poems in EOJ vs. 95 poems in WOJ. The obvious advantages of poems in EOJ in book twenty is that the majority of them are dated, record the place of origins of their authors, and are not anonymous, whereas all poems in book fourteen are anonymous, almost none have any dates, and the majority have unidentified place of origins. Also, from a literary view point, book twenty contains the only chōka in EOJ: 20.4372. All other EOJ poems, whether in book fourteen or book twenty, are tanka. There are, however, certain disadvantages of poems in EOJ in book twenty as compared to the same poems in book fourteen that I will discuss below in the section on Opotömö-nö Yakamöti’s principles of selection. A brief sketch of EOJ phonology and morphology Since EOJ represents a dialect continuum, it is difficult to provide an exact description of its phonology and morphology. The matter is further complicated by the fact that the language essentially uses the WOJ system of writing. There are two basic monographs dealing almost entirely with EOJ phonology: Fukuda (1965), and Hōjō (1966), cf. also quite an innovative article by Hino (2003). The most painstaking research that attempts to describe phonologies of individual EOJ dialects separately, and not as phonology of a single language has been done by Kupchik in his recent Ph.D. dissertation (2011). An interested reader should consult this excellent dissertation for details, as here I only offer some general notes. As becomes apparent from the usage of WOJ man’yōgana script in EOJ, there is no EOJ dialect that has the same vocalism that WOJ does, and all EOJ dialects present somewhat reduced vocalic systems in comparison to WOJ. It would probably be unwise to speak about the ‘collapse’ of kō-otsu distinctions in EOJ, and to use the word ‘misspelling’ in reference to the confusion between WOJ kō and otsu vowels in EOJ texts. Although I used ‘misspelling’ several times when paying tribute to the tradition in my commentary, it should be taken with a big pinch of salt. The truth is that WOJ and various EOJ vocalic systems have taken different paths of development from proto-Japanese, and there is simply no one-to-one correspondence system that accounts for all vowel correspondences between WOJ and various EOJ 4

For the divisions between EOJ and WOJ poems in book fourteen see p. 6 in the introduction to book fourteen.

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7

dialects. However, the very fact that all EOJ dialects exhibit less complicated vowel systems than WOJ might be at least partially attributed to the influence of the Ainu substratum, since modern Ainu dialects all have only five-vowel systems, and proto-Ainu probably had no more than six vowels, pace Vovin (1993), where much richer proto-Ainu vocalism was proposed. There are, however, several phonological and morphophonological phenomena that seem to be common to all or most EOJ dialects. They are briefly outlined below, and the examples cited are not necessarily exhaustive. Some examples, in fact, are cited from book twenty since they are not attested in book fourteen. First, there is a mysterious correspondence of EOJ -n- to WOJ -r- in few forms: EOJ diminutive suffix -na (14.3384, 14.3385, 14.3402, 14.3436, 14.3444, 14.3446, 14.3483, 14.3544, 20.4358, 20.4416, 20.4422, 20.4424, 20.4426, 20.4428) vs. WOJ -ra, id., EOJ tentative -unam- (14.3366, 14.3476, 14.3496, 14.3526, 14.3552, 14.3563, 20.4390, 20.4391) vs. WOJ -uram-, id., EOJ yun- ‘to sleep’ (14.3476a) vs. late MJ o-yor- ‘id.’, and EOJ nôNkan-apê‘to flow constantly’ (14.3476, 14.3476a) vs. WOJ naNkar-apë- ‘id.’ Second, palatalization of ti > si, unknown in WOJ. Examples: EOJ tas-i ‘rise and’, ‘depart-NML’ (14.3395, 20.4372, 20.4383, 20.4423) vs. WOJ tat-i ‘id.’, mös-i ‘hold and’ (20.4415, 20.4420) vs. WOJ möt-i ‘id.’, EOJ pêNtas-i ‘separation’ (14.3445) vs. WOJ pêNtat-i ‘id.’, EOJ iNtusi ‘where to’ (14.3474) vs. WOJ iNtuti ‘id.’, EOJ tusi ‘earth’ (20.4392, 20.4426) vs. WOJ tuti ‘id.’, EOJ sisi ‘father’ (20.4376) vs. WOJ titi ‘id.’, EOJ tasi ‘long sword’ (20.4413) vs. WOJ tati ‘id.’, EOJ kasi ‘walking’ (20.4417) vs. WOJ kati ‘id.’ Third, following terminology proposed in Russell (2006), EOJ undergoes the process of contraction vs. the WOJ process of monophtongization. This can be best illustrated by their respective progressive and retrospective forms. While the PJN *i+a contracts to just -a- in EOJ at morphemic boundaries, it results in a new vowel -ê- in WOJ. Examples: EOJ -ar-, progressive (14.3351 (twice), 14.3469, 14.3526, 20.4359, 20.4375, 20.4387, 20.4431) vs. WOJ -êr-, id.; EOJ -kar-, retrospective (20.4388) vs. WOJ -kêr-, id. Fourth, EOJ consistently loses the final consonant *-y both in final position and before the next consonant, while WOJ undergoes the process of monophtongization, treating this final *-y as an element of a falling diphthong. Examples: EOJ tuku ‘moon’ (14.3395, 14.3476, 14.3476a, 14.3565, 20.4378, 20.4413) < PJN *tukuy vs. WOJ tukï ‘id.’, EOJ pu ‘fire’ (20.4419) < PJN *poy vs. WOJ pï ‘id.’, EOJ kaNkö ‘reflection’ (20.4322) < PJ *kankay vs. WOJ kaNkë ‘id.’, EOJ kôyö- ‘to cross’ (20.4403), EOJ sasaNkö- (20.4325) ‘to lift in one’s hands’ < PJ *sasaNkay- vs. WOJ sasaNkë- ‘id.’ Fifth, while WOJ seems to preserve primary PJ vowels *e and *o in the last syllable of a nominal root according to Hayata’s law (Hayata 1998), EOJ seems to behave quite erratically in this respect. On the one hand, it seems to preserve quite well primary PJ vowels *e and *o in EOJ adjectival attributive -kê and verbal attributive -ô, as well as possibly in some non-last syllables, but on the other hand it undergoes clear raising of *o > u and *e >i5 in the final syllables of nominal roots, like EOJ kumu ‘cloud’ (20.4403) vs. WOJ kumô ‘id.’, EOJ imu ‘younger sister, beloved’ (20.4321) vs. WOJ imô ‘id.’ EOJ yu ‘night’ (20.4369) vs. WOJ yô ‘id.’, EOJ kaNtu ‘gate’ (20.4386) vs. WOJ kaNtô ‘id.’, EOJ ipî ‘house’ (20.4343) vs. WOJ ipê ‘id.’, EOJ mî ‘wife’ 5

Including cases of the secondary *e < *ia.

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MAN’YŌSHŪ

(20.4343) vs. WOJ mê ‘id.’, EOJ naNkati ‘length’ (20.4341) vs. WOJ naNkate ‘length’. The brief sketch of EOJ morphology is not comprehensive either, and its sole purpose is to assist the reader who is only familiar with WOJ and/or MJ with the peculiarities of EOJ. A reader who is interested in more details should consult Kupchik (2011), and/or Vovin (2005, 2009a). The references to the latter can be found throughout the commentary. EOJ nouns do not show the alternation between compounding and free forms of nouns unlike WOJ. The attested forms in phonographic writing correspond to WOJ compounding forms, like EOJ tuku ‘moon’ (14.3395, 14.3476, 14.3476a, 14.3565, 20.4413) < PJN *tukuy vs. WOJ tukï ~ tuku- ‘id.’, EOJ pu ‘fire’ (20.4419) < PJN *poy vs. WOJ pï ~ po- ‘id.’, with an EOJ form always corresponding to WOJ compounding form. The explanation for this phenomenon was given above in the discussion on morphophonology. The case system of EOJ includes two case markers: locative -na (14.3408, 14.3447, 14.3461, 14.3487, 20.4407), not attested in WOJ, and comparative -nösu (14.3413, 14.3424, 14.3514, 14.3525, 14.3541, 14.3552, 14.3561, 20.4415), that has only one dubious attestation in WOJ. Both case markers, therefore, should be recognized as EOJ specific. EOJ diminutive suffix -na (14.3384, 14.3385, 14.3402, 14.3436, 14.3444, 14.3446, 14.3483, 14.3544, 20.4358, 20.4416, 20.4422, 20.4424, 20.4426, 20.4428) corresponding to WOJ -ra, id., was discussed above. EOJ diminutive suffix -rö (14.3351, 14.3361, 14.3369, 14.3370, etc., multiple occurrences), seems to be a predominantly EOJ form, because among two WOJ examples of this suffix cited in Vovin (2005: 210), one comes from an EOJ text (FK 3), and another one (NK 3) might invite other explanations. See the commentary to 14.3351 for more details. A peculiar phonetic form of the first person singular pronoun wanu (14.3476, 14.3476a) or wanô (20.4358) corresponding to WOJ wa[-] ~ waNis attested in EOJ. There is also EOJ warö ‘I’ (20.4343) corresponding to WOJ ware ‘id.’ EOJ adjectival attributive suffix -kê (14.3412, 14.3483, 14.3500, 14.3517, 14.3533, 14.3548, 14.3551, 14.3557, 14.3564, 14.3576, 20.4369), also spelled -kë (20.4376, 20.4382, 20.4394, 20.4414) corresponds to the WOJ adjectival attributive suffix -kî. EOJ form preserves PJN primary *e, while WOJ undergoes the process of raising *e > î. EOJ adjectival evidential suffix -ka- 6 (14.3473, 14.3539, 20.4421) corresponds to WOJ -kê-, exhibiting the same vowel correspondence EOJ a : WOJ ê as in EOJ progressive suffix -ar- vs. WOJ -êr- and EOJ retrospective suffix -kar- vs. WOJ -kêr-. Care must be taken not to confuse it with the EOJ -k-, a contracted form of the adjectival attributive suffix -kê-, found exclusively before the conditional gerund suffix -aNpa in the form -k-aNpa (14.3383, 14.3410). EOJ has a peculiar form of a verbal negative suffix, -(a)na- (14.3407, 14.3436, 14.3461, 14.3487, 14.3557), corresponding to WOJ -(a)n-. EOJ has a different order for the combination of iterative and negative suffixes: while in WOJ the iterative precedes the negative (-ap-an-), it is opposite in EOJ, where negative precedes the iterative: -(a)n-ap- (14.3375, 14.3426, 14.3444, 14.3482a, 14.3516, 14.3524, 20.4378). 6

Attested only with the following concessive gerund suffix -Ntö[mö].

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EOJ has a special verbal attributive form in -ô (14.3395, 14.3414, 14.3423, 13.3426, 14.3431, 14.3461, 14.3469 (twice), 14.3472, 14.3473, 14.3476 (twice), 14.3476a (twice), 14.3480, 14.3494, 14.3509, 14.3516, 14.3525, 14.3527 (twice), 14.3541, 14.3546, 14.3561, 14.3563, 20.4329, 20.4341, 20.4344, 20.4352, 20.4355, 20.4356, 20.4359, 20.4383, 20.4385, 20.4389, 20.4401, 20.4403, 20.4406, 20.4421, 20.4422, 20.4423), which sometimes is also spelled as -ö (14.3405, 14.3418, 14.3526, 14.3552, 20.4367, 20.4415, 20.4418). It is traditionally believed that EOJ verbal attributive suffix -ô ~ -ö appears in many cases after consonantal verbs, r-irregular verbs, and progressive -ar- (Saeki 1959: 43). This formulation, however, is not completely accurate. I present below the chart where all the occurrences of the EOJ attributive suffix -ô ~ -ö in books fourteen and twenty are documented on the basis of their appearance after preceding morphemes. Chart 3: Distribution of EOJ attributive verbal suffix -ô in books fourteen and twenty Preceding morphemes Consonantal verb root

Variant -ô

14.3423, 14.3431, 14.3476, 14.3476a, 14.3525, 14.3527, 14.3541, 14.3561 (twice), 20.4352, 20.4385, 20.4389, 20.4421 Tentative -(a)m14.3426, 14.3472, 14.3473, 14.3494, 14.3516, 20.4329, 20.4355, 20.4359, 20.4406, 20.4422, 20.4423 Tentative -unam14.3476, 14.3476a, 14.3563 Negative -an14.3469, 20.4341, 20.4344, 20.4356 r-irregular verb root 14.3509 Progressive -ar14.3469, 14.3546 Vowel verb root 14.3414 araparePerfective -n14.3395, 14.3461, 14.3486, 14.3527, 20.4401, 20.4403

Variant -ö

14.3405, 14.3418, 20.4367, 20.4415, 20.4418 14.3526, 14.3552

The chart above illustrates several important points. First, the only variation between variants -ô and -ö occurs after the consonant /m/. But it is well known that the contrast between kō-rui syllable mô and otsu-rui syllable mö is lost in the Man’yōshū except statistically in book five (Bentley 1997). Given this as well as the fact that EOJ texts are written in WOJ orthography, we can safely conclude that there was no morphophonemic distinction between EOJ -ô and -ö for the attributive form. In all likelihood, this form was just [o], although naturally we have no means of asserting the exact phonetic value. Second, it becomes apparent that the EOJ verbal attributive suffix -ô was much more widespread in its distribution as compared to its narrower distribution outlined in the traditional Japanese approach above. The evidence presented above strongly suggests that once this suffix could be found across the board in verbal paradigms, including vowel verbs. As a matter of fact, the

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MAN’YŌSHŪ

WOJ vowel verb attributive suffix -uru can be an innovation, going back to a stative *-ur- + attributive -u, derived from -ô by progressive assimilation (*-ur-ô > -uru) as proposed in Russell (2006).7 There is also another EOJ attributive in -a that occurs much less frequently (14.3408, 14.3461, 14.3487, 14.3526, 14.3557, 20.4418, 20.4422, 20.4428). The EOJ progressive -ar- and the retrospective -kar- have already been commented upon above in the discussion of EOJ morphophonology. EOJ specific vocabulary in books fourteen and twenty Below, I provide a list of all specific vocabulary items that occur in EOJ poems in books fourteen and twenty with the major exception of Ainu loanwords that are treated separately in the next section. Words that have differences with WOJ only in kō-otsu distinctions and placenames are excluded. WOJ or MJ cognates for EOJ words, if any, are also cited below. a ‘foot, leg’. Cf. WOJ, asi, a- (in compounds only) ‘id.’ Attested in: 3387, 3533. amö ‘mother’. Cf. WOJ omö, amö (attested only once) ‘id.’ Attested in: 4376, 4377, 4378, 4383. aN- ‘what, why’. Cf. WOJ nani ‘id.’ Attested in: 3379, 3397, 3404, 3464, 3556, 3564. aNse ‘why’. Cf. WOJ naNsö ‘id.’ Attested in: 3369, 3434, 3461, 3469, 3472, 3513, 3517, 3576. atöri ‘brambling’. Cf. MJ atori ‘id.’ Attested in: 4339. ikuNtuk- ‘to catch one’s breath, to breathe with difficulty’. Cf. WOJ ikîNtuk- ‘id.’ Attested in: 3458. ikîNtukusi ‘to be regrettable, to be lamentable’. Cf. WOJ ikîNtukasi ‘id.’ Attested in: 4421. imë ‘beloved, wife’. Cf. WOJ imô ‘id.’ Attested in: 4345. See also imu. imu ‘beloved, wife’. Cf. WOJ imô ‘id.’ Attested in: 4321, 4364. See also imë. iNtusi ‘where’. Cf. WOJ iNtuti ‘id.’ Attested in: 3474. ipa ‘house’. Cf. WOJ ipê ‘id.’ Attested in: 4375, 4406, 4416, 4419, 4423, 4427. See also ipî. ipî ‘house’. Cf. WOJ ipê ‘id.’ Attested in: 4343. See also ipa. ituma ‘free time’. Cf. WOJ itôma ‘id.’ Attested in: 4327. kama ‘wild duck’. Cf. WOJ kamô. Attested in: 4339. Cf. also EOJ kama ‘id.’ kamu, emphatic particle. Cf. WOJ kamö, id. Attested in: 4403. kaNkö ‘reflection’. Cf. WOJ kaNkë ‘id.’ Attested in: 4322. kaNtunökï ‘paper mulberry tree’. Cf. WOJ kaNti ‘id.’ Attested in: 3431, 3432. kaNtus- ‘to abduct’ (?). No WOJ cognates. Attested in: 3432. kapîr- ‘to return’. Cf. WOJ kapêr-. Attested in: 4339. kaye ‘generic name for reeds and grasses used to thatch roofs of houses’. Cf. WOJ kaya ‘id.’ Attested in: 4321. kayup- ‘to go back and forth’. Cf. WOJ kayôp- ‘id.’ Attested in 4324. kê- ‘to come’. Cf. WOJ kö- id.’ Attested in 4337. kë ‘tree’. Cf. WOJ kï ‘id.’ Attested in: 4342, 4375. 7

Another, even more attractive idea, recently proposed by Frellesvig and Whitman is that -uru at least in nidan conjugation may reflect the suffixed forms of OJ e- < *ay- ‘to get’.

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këmë ‘mat made from wild rice straw’. Cf. WOJ kömö ‘id.’ Attested in 4338. këri ‘lapwing’. Cf. EMdJ keri ‘id.’ Attested in 4339. këtöNpa ‘word’. Cf. WOJ kötöNpa ‘id.’. Attested in: 4346. kôpusi ‘be longing for, be missing (someone)’. Cf. WOJ kôpôsi ~kôpïsi ‘id.’ Attested in: 3476, 4419. See also kupusi. kôyö- ‘to cross’. Cf. WOJ kôye- ‘id.’ Attested in: 4403. kömô ‘wild duck’. Cf. WOJ kamô ‘id.’ Attested in 4354. Cf. also EOJ kama ‘id.’ köNkötö ‘many’. Cf. WOJ kököNta ‘id.’ Attested in: 3502. körömu ‘garment’. Cf. WOJ körömö ‘id.’ Attested in: 4401. kötu ‘[wooden] debris, trash’. Cf. WOJ kötumî ‘id.’ Attested in: 3548. kumu ‘cloud’. Cf. WOJ kumô ‘id.’ Attested in: 4403 kupê ‘fence’. No WOJ cognates. Attested in: 3537. kupusi ‘be longing for, be missing (someone)’. Cf. WOJ kôpôsi ~ kôpïsi ‘id.’ Attested in: 4345. See also kôpusi. kuye- ‘to cross over’. Cf. WOJ kôye- ‘id.’ Attested in: 4372 (twice). mama ‘cliff’. No WOJ cognates. Cf. Hachijō mama ‘id.’ Attested in: 3349, 3369, 3384, 3385, 3387. më, focus particle. Cf. WOJ mö, id. Attested in: 4345. mët- ‘to hold’. Cf. WOJ möt-. Attested in: 4343. See also mös-. mî ‘wife’. Cf. WOJ mê ‘id.’ Attested in: 4343. mîNtaye- ‘to be in disorder’. Cf. WOJ mîNtare- ‘id.’ Attested in: 3563. mîNtô ‘water’. Cf. WOJ mîNtu ‘id.’ Attested in: 3546. mîta ‘with’. Cf. WOJ muta ‘id.’ Attested in: 4394. mös- ‘to hold’. Cf. WOJ möt- ‘id.’ Attested in: 4415, 4420. See also mët-. muranapë- ‘to perform divination’. Cf. WOJ *uranap(ë)-, MJ uranape- ‘id.’ Attested in: 3418. The correspondence EOJ m- : MJ 0- is irregular; cf. ura ‘miltituide’ for a reverse correspondence. namï-‘to lick, to taste’. Cf. WOJ namë- ‘id.’ Attested in: 3460. naNkati ‘length’. Cf. WOJ naNkate ‘id.’ Attested in: 4341. nayum- ‘to suffer’. Cf. WOJ nayam- ‘id.’ Attested in: 3533. ninô ‘cloth’. Cf. MJ nuno ‘id.’ Attested in: 3351, 3513. nipasi ‘to be sudden’. Cf. WOJ nipaka ‘sudden’. Attested in: 4389. nipu ‘new’. Cf. WOJ nipî ‘id.’ Attested in: 3460. The vowel correspondence in the second syllable is puzzling, but it could potentially point to PJ *mipoy ‘new’ (initial *m- reconstructed on the basis of Ryūkyūan data). nôNkan-apê- ‘to flow constantly’. Cf. WOJ naNkar-apë- ‘to flow constantly, to pass [of time]’. Attested in: 3476, 3476a. nôNsi ‘rainbow’. Cf. WOJ niNsi id.’ Attested in: 3414. nöt- ‘to fill’. No apparent WOJ cognates (cf. WOJ mît- ‘id.’8). Attested in: 3444. Nse, focus particle. Cf. WOJ sö ~ Nsö, id. Attested in: 4346. omë ‘face’. Cf. WOJ omö ‘id.’ Attested in: 4342. omëp- ‘to think’. Cf. WOJ omöp- ‘id.’ Attested in: 4343. opuse- ‘to speak (HON)’. Cf. WOJ opose- ‘id.’ Attested in: 4389. osi ‘rock, rocky shore’. Cf. WOJ isi ‘stone’, isô ‘rock, rocky shore’. Attested in: 3359. osu ‘rock, rocky shore’. Cf. WOJ isô ‘rock, rocky shore’. Attested in: 3385. 8

Although the palatalization m- > n- /_i is possible, the vowel shift î > ö remains unexplained.

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otap- ‘to sing’. Cf. WOJ utap- ‘id.’ Attested in: 3409, 3518. panar- ‘to be separated’. Cf. WOJ panare-. Attested in: 4414. panar-isô ‘rocks in the sea not connected to the shore’. Cf. WOJ panare-sô ‘id.’ Attested in: 4338. paru ‘needle’. Cf. WOJ pari ‘id.’ Attested in: 4420. pê ‘leaf’. Cf. WOJ pa ‘id.’ Attested in: 3456. pêNtas- ‘to be separated’. Cf. WOJ pêNtat- ‘id.’ Attested in: 3445. pîröp- ‘to pick up’. Cf. WOJ pîrip-. Attested in: 3400. pîta ‘one’. Cf. WOJ pîtö ‘id.’ Attested in: 3435. pu ‘fire’. Cf. WOJ pï ~ pô- ‘id.’. Attested in: 4419. pususa ‘many’. No WOJ cognates. Attested in: 3484. sakê-ku ‘safely’ Cf. WOJ sakî-ku. Attested in: 4372. Cf. also EOJ sa-ku, sakë-ku. sakë-ku ‘safely’. Cf. WOJ sakî-ku. Attested in: 4368. Cf. also EOJ sa-ku, sakê-ku. sakîmuri ‘borderguard’. Cf. WOJ *sakîmôri (misspelled as sakîmöri). Attested in: 4364. sa-ku ‘safely’. Cf. WOJ sakî-ku ‘id.’ Attested in: 4346. Cf. also EOJ sakë-ku, sakê-ku. sasaNkö- ‘to lift up high in one’s hands’. Cf. WOJ sasaNkë- ‘id.’ Attested in: 4325. sawe-sawe ‘’hustle and bustle’. Cf. WOJ sawi-sawi ‘id.’ Attested in: 3481. se ‘clear’. Cf. WOJ si ‘id.’ Attested in: 3546. ser- ‘to bend’. Cf. MJ sor- ‘id.’ Attested in: 3437. si- ‘to do’. Cf. WOJ se- ‘id.’ Attested in: 3556. sisi ‘father’. Cf. WOJ titi ‘id.’ Attested in: 4376, 4378. See also töti. siru ‘behind’. Cf. WOJ siri ‘id.’ Attested in: 4385. siru ‘white’. Cf. WOJ sirô ‘id.’ Attested in: 4324. söwapê, meaning unknown. No WOJ cognates. Attested in: 3566. suNkôs- ‘to pass’. Cf. WOJ suNkus- ‘id.’ Attested in: 3564. tas- ‘to rise’, ‘to depart’, ‘to stand’. Cf. WOJ tat- ‘id.’ Attested in: 3395, 4372, 4383, 4423. tasi ‘long sword’. Cf. WOJ tati ‘id.’ Attested in: 4413. tayôr- ~ tayur- ‘to cease’. Cf. WOJ taye- ‘to break, to stop, to cease’. Attested in: 3368, 3392. te, defective verb ‘to say, to think. Cf. WOJ tö, id. Attested in: 4344, 4346. tôr- ‘to shine’. Cf. WOJ ter- ‘id.’ Attested in: 3561. tö, focus particle. Cf. WOJ sö ‘id.’. Attested in: 3409, 3425, 3561, 4385, 4430. tönöNpîk- ‘to trail’. Cf. WOJ tanaNpîk- ‘id.’ Attested in: 4403. töti ‘father’. Cf. WOJ titi ‘id.’ Attested in: 4340. See also sisi. töwerap- ‘to surge, to swell (of waves)’. Cf. WOJ töworap- ‘to rock (of boats on the top of waves.’ Attested in: 4385. tuNkî- ‘to report’. Cf. WOJ tuNkë- ‘id.’ Attested in 4365. tuku ‘moon’. Cf. WOJ tukï ‘id.’ Attested in: 3395, 3476, 3476a, 3565, 4378, 4413. tusi ‘earth’. Cf. WOJ tuti ‘id.’ Attested in: 4392, 4426. ukêra ‘ukêra flower’. Cf. MJ wokera ‘id.’ Attested in: 3376, 3376a, 3379, 3503. unöpara ‘sea plain’. Cf. WOJ unapara ‘id.’ Attested in: 4328.

BOOK TWENTY

13

ura ‘multitude’. Cf. WOJ mura ‘id.’, but the correspondence EOJ 0- : WOJ m- is irregular; cf. muranapë- ‘to perform divination’ for a reverse correspondence. Attested in: 3352. yaNte ‘branch’. Cf. WOJ ye, yeNta ‘id.’ Attested in: 3493. ye, emphatic particle. Cf. WOJ yö, id. Attested in: 4340. ye- to be good’. Cf. WOJ yö- ‘id.’. Attested in: 3509, 3530. yese- ‘to approach’. Cf. WOJ yöse- ‘id.’ Attested in: 4346. yökî ‘snow’. Cf. WOJ yukî ‘id.’ Attested in: 3523. yösar- ‘to be attracted, to give one’s heart’. Cf. WOJ yösör- ‘id.’ Attested in: 3478. yuru ‘lily’. Cf. WOJ yuri ‘id.’ Attested in: 4369. yun- ‘to sleep’. Cf. late MJ o-yor- ‘id.’. Attested in: 3473, 3476a. wanu ‘I’. Cf. WOJ wa[-] ~ waN- ‘id.’ Attested in: 3476, 3476a. wanô ‘I’. Cf. WOJ wa[-] ~ waN- ‘id.’ Attested in: 4358. warö ‘I’. Cf. WOJ ware ‘I, we’. Attested in: 4343. wosaNkî ‘hare’. Cf. WOJ usaNkî ‘id.’ Attested in: 3529. Ainu loans in EOJ of book fourteen and twenty Here I present all Ainu loans that can be found in books fourteen and twenty, both in placenames and as independent words or suffixes. All cases of placenames of Ainu origin are indicated below as (p.n.). The absence of such a reference indicates that a loan is attested as an independent word or suffix, and not as a placename. The reader should be aware that due to the fact that Ainu is a polysynthetic language, many EOJ loanwords from Ainu are in fact compounds or complex morphological derivations in Ainu. Also, the reader is advised to look at the more detailed explanation of etymologies in the commentary to the first poem where a given Ainu loanword is attested. Akîna (p.n.) < Ainu ay-kina ‘arrow grass’. Attested in: 3431. aNsu ‘crumbling cliff’ < ? Ainu *-as- ‘to split’ + so ‘rocky shore’, ‘hidden rocks in the sea’. Attested in: 3539, 3541. ANtikama (p.n.) < Ainu: anci ‘obsidian’ + kama ‘flat rock, rock’. Attested in: 3551, 3553. AsikaNka (p.n.) < Ainu askan(-ne) ‘(be) beautiful’ + kat ‘view, appearance’. Attested in: 4379.9 AsiNkara ~ AsiNkari (p.n.) < Ainu askar-i ‘clear place’. Attested in: 3361, 3363, 3364, 3364a, 3367, 3368, 3369, 3370, 3371, 3431, 3432. atu- ‘sea’ < Ainu atuy ‘id.’ Attested in: 3503. i-, nominal prefix ‘thing-’ < Ainu i- ‘id.’ Attested in: 4428. i-, indirect object prefix < Ainu e- ‘id.’ Attested in: 4430. ka ‘top’ < Ainu ka ‘id.’ Attested in: 3409, 3503, 3518. ka ‘voice’ < Ainu háw ‘id.’ Attested in: 4430. kariNpa ‘sakura’ < Ainu karinpa ‘sakura [bark]’. Attested in: 3399. Inasa (p.n.) < Ainu inaw-san ‘the place where inaw [are offered]’. Attested in: 3429. ka, focus particle < Ainu ka, id. Attested in: 336110, 4386. Kakê (p.n.) < Ainu ka-kes ‘upper end’. Attested in: 3553.

9

It would be ironic if the family name of the Ashikaga shoguns might be also of Ainu provenance. 10 Disregard the commentary to 14.3361 and refer to the commentary to 20.4430.

14

MAN’YŌSHŪ

Kanipa (p.n.) < Ainu ka-ne-pa ‘upper bank’ (lit. ‘top-COP-bank’). Attested in 4456. This place name occurs in a WOJ poem. KaNtusika (p.n.) < Ainu ka-n-toska < *ka-ne-toska top-COP-low.cliffs ‘low cliffs that are above’. Attested in: 3349, 3350, 3353, 3384, 3385, 3386, 3387. KîNpë (p.n.) < Ainu kimpe ‘bear’ (< kim-pe ‘mountain thing’). Attested in: 3353, 3354. köNtök- ‘to bless with words’ < Ainu ko-itak ‘to speak to, to address words to’ (normally contracted to koytak). Attested in: 3506. KuNsi (p.n.) < Ainu kus ‘to overflow’. Attested in: 4368. mak-î ‘back-POSS’ < Ainu mak ‘back’ + 3rd person possessive suffix -i. Attested in: 4413. ma ‘wife’ < Ainu mat ‘woman, wife’. Attested in: 3502. matô ‘girl’ < Ainu mat-po ‘girl’ (< mat ‘woman, wife’, po ‘child’). Attested in: 3407. MuNsa (p.n.) < Ainu mun ‘unedible grass’ + sa ‘shore, plain’. Attested in: 4355. See also MuNsasi. MuNsasi (p.n.) < Ainu mun ‘unedible grass’11 + sa ‘shore, plain’ + -hi third person singular possessive. i.e. ‘grass plain’ or ‘grass shore’. Attested in: 3362a, 3374, 3375, 3376, 3376a, 3377, 3379. See also MuNsa. na ‘river’ < Ainu nay ‘id.’ Attested in: 3401. Nipë (p.n.) < Ainu nipet ‘wood river’ (ni ‘tree, wood’ + pet ‘river’). Attested in 4324. Nipu (p.n.) < Ainu placename Nipu ‘storage in the forest on the river bank for storing frozen salmon’ (< ni ‘tree’ + pu ‘storage’). Attested in: 3560. o-, locative prefix < Ainu o-, id. Attested in 3473. or-ö ‘its place’ < Ainu or-o ‘place-POSS’. Attested in: 4363. pa ‘year’ < Ainu pa ‘id.’ Attested in: 4378. pa ‘to find’ < Ainu pa ‘id.’ Attested in: 3499. paka ‘rumor, gossip’ < Ainu páhaw ‘id.’ Attested in: 3385. pîrö ‘oak’ < Ainu pero or pero-ni ‘id.’ Attested in: 3538. pîNsi ‘sandbank’ < Ainu pis ‘shore’, pis-i ‘its shore’. Attested in: 3448. Pîta (p.n.) < Ainu pitar ‘stone field’ < pit-tar ‘pebbles-continue one after another’. Attested in: 3563. PuNsi (p.n.) < Ainu pun- ‘to raise’ + sir ‘ground, place, mountain’. Attested in: 3355, 3356, 3357, 3358, 3358b.12 Sinanu (p.n.) < Ainu sinam (< sir-nam) ‘to be cold’ + nup ‘mountain field’. Attested in: 3352, 3399, 3400. siNta ‘time, when’ < Ainu hi ‘time, occasion’ + ta, locative case marker. Attested in: 3363, 3461, 3478, 3515, 3520, 3533, 4367, 4407. Sirupa (p.n.) < Ainu sirpa ‘cape’ (sir ‘land’ + pa ‘head’). Attested in: 4324. sömö ‘not’ < Ainu somo ‘id.’. Attested in: 3382. su ‘again’ < Ainu suy ‘id.’ Attested in: 3363, 3487, 3564. suNku ‘to grow old’ < Ainu sukup ‘id.’ Attested in: 4378. ta ‘here’ < Ainu ta ‘this, here’. Attested in: 4386. 11

Ainu strictly differentiates between two types of grass: kina ‘edible grass’ and mun ‘unedible grass’. 12 This etymology for Mt. Fuji (OJ puNsi) was provided in the introduction to book fourteen (Vovin 2012: 12). However, now I think that there is a better EOJ etymology: EOJ pu ‘fire’ (20.4419) + -Nsi < -nusi ‘master’, i.e. ‘master of the fire’. The details of argumentation will be published in Vovin (2014b).

BOOK TWENTY

15

Tayupî (p.n.) < Ainu tay-yúpe ‘dead shark’ (tay 13 ‘die’ + yúpe ‘shark’). Attested in: 3549. teNkô ‘maiden, beloved’ < Ainu tek ‘hand, arm’ + o ‘take in, embrace’. Attested in: 3384, 3385, 3398, 3442, 3477, 3485, 3540. tôra ‘together’ < Ainu tura ‘id.’ Attested in: 3409, 3561. Töya (p.n.) < Ainu to-ya ‘lake shore’ (to ‘lake’ + ya ‘shore, dry land’). Attested in: 3529. Tukupa (p.n.) < Ainu tuk ‘small mountain’ + pa ‘head, top’. Attested in: 3350, 3351, 3388, 3389, 3390, 3391, 3392, 3393, 3394, 3395, 3396, 4367, 4369, 4371. Tumu (p.n.) < Ainu tum ‘middle (of water, land, or grassy area’). Attested in: 3438. -y-, indefinite direct object prefix < Ainu i-, id. Attested in: 3526, 4427. ya ‘shore’ < Ainu ya ‘shore, dry land’. Attested in: 3562. Yupuma (p.n.) < Ainu *yup(u) ‘strong’ + maw ‘wind’, i.e., ‘[the mountain of] strong winds’. Attested in: 3475. Compiler of book twenty The compiler of book twenty is undoubtedly Opotömö-nö Yakamöti. Book twenty is, in fact, the last of four books (seventeen, eighteen, nineteen, and twenty) that are traditionally believed to be his poetic diary. Although book twenty has a smaller percentage of poems composed by Opotömö-nö Yakamöti himself than any of the previous three books, his poetry still dominates this book, and his organizational and editorial roles are quite apparent from the information found in multiple prefaces and postscripts to poems throughout this book. There is, however, a great puzzle that remains to be solved. Opotömö-nö Yakamöti was clearly a prolific poet, and the one most represented in the Man’yōshū, which should not come as any surprise, given the fact that he was the main compiler, and most importantly also that the Man’yōshū was never intended to be an imperially-commissioned anthology, unlike any of the following Hachidaishū (八代集) from Heian and early Kamakura periods. Consequently, in all likelihood it was just his private collection, never intended for publication. The very fact that by 759 AD book twenty includes poems or mentions the names of people who were either known personae-non-grata like Opotömö-nö Ikënusi, or enemies of the state like TatiNpana-nö Naramarö speaks in favor of the idea that Opotömö-nö Yakamöti had never intended to publish the Man’yōshū. And one should keep in mind that the Nara period was by no means tranquil. Capital punishment was not unheard of, and many high officials, including even Emperor Junnin, ended their lives violently. Given all this, the Man’yōshū was bound to stay in a private collection of the Opotömö clan. The above-mentioned puzzle refers to the fact that the last poem of the Man’yōshū, 20.4516, was composed by Opotömö-nö Yakamöti on February 2, 759 AD. But this seems to be the last poem written by him, in spite of the fact that he only passed away in 785 AD. There are none of Opotömö-nö Yakamöti poems after February 2, 759 AD found in any later anthologies, and this gives more than a quarter of a century gap in his poetic activities. We will probably never know, but two solutions seem to be possible. First, as happened with many other poets and authors all over the globe, Opotömö-nö Yakamöti might 13

tay is a Sakhalin Ainu form corresponding to ray in Hokkaidō Ainu. Both reflect PA *δay.

16

MAN’YŌSHŪ

have just run out of steam and stopped writing. This is, however, counterintuitive to the history of poetry composition in Japan, where it was required for ritual purposes on occasions similar to the occasion on which 20.4516 was composed. Opotömö-nö Yakamöti still had a long career ahead of him after 759 AD, and it is inconceivable that he did not compose at least ritual poetry on important occasions. Much more likely is the second possible scenario: since shortly after his death Opotömö-nö Yakamöti was found to be implicated in anti-government activity (likely with little evidence) during Emperor Kanmu’s reign and was posthumously stripped of all his titles. Therefore, we can expect that all his poetry that had not been recorded in his private Man’yōshū collection was destroyed on Kanmu’s orders. Biography of Opotömö-nö Yakamöti I have provided an abbreviated version of Opotömö-nö Yakamöti’s biography in the Introduction to book fifteen, p. 9. Below, I provide his longer biography with the major highlights of his career to the extent it can be reconstructed. We actually know quite a number of facts of Opotömö-nö Yakamöti’s biography due to the information available in both the Shoku Nihongi and the Man’yōshū. Opotömö-nö Yakamöti was probably born in the second year of Yōrō (718 AD). His father was Opotömö-no TaNpîtö, another famous Man’yōshū poet.14 Opotömö-nö Yakamöti is the author of 487 poems in the Man’yōshū – more than 10% of the whole anthology. This fact alone is important evidence for Opotömö-nö Yakamöti’s role as the final compiler of this anthology.15 In the tenth year of Tenpyō (738 AD) he was already an Internal Official (utitöneri, 内舎人) in the Ministry of Central Affairs. In the first lunar month of the seventeenth year of Tenpyō (February 745 AD) Opotömö-nö Yakamöti was promoted from Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade, and in the third lunar month of the eighteenth year of Tenpyō (April 746 AD) he was appointed Junior Assistant Minister (Shōyū, 少輔) in the Ministry of the Emperor’s Household (Kunaishō, 宮内省). In the sixth lunar month of the same year Opotömö-nö Yakamöti was appointed the governor of Etchū province (越中國). He spent five years at this post until 751 AD. In the seventh lunar month of the third year of Tenpyō Shōhō Opotömö-nö Yakamöti was made Junior Councilor (Shōnagon, 少納言), and on the fifth day of the fourth lunar month of the sixth year of Tenpyō Shōhō (May 1, 754 AD) he was appointed Junior Assistant Minister (Shōyū, 少輔) in the Ministry of War (Hyōbu[shō], 兵部[省]). In the sixth lunar month of the first year of Tenpyō Hōji (June-July 757 AD) Opotömö-nö Yakamöti became Senior Assistant Minister (Tayū, 大輔) in the Ministry of War, and by the first lunar month of the second year of Tenpyō Hōji he was a Middle Controller of the Right (Uchūben, 右中辨). On the sixteenth day of the sixth lunar month of the second year of Tenpyō Hōji (July 25, 758 AD) Opotömö-nö Yakamöti, who by this time had Junior Fifth Rank, Upper Grade, was appointed governor of InaNpa province ( 因 幡 國 ). After this he went through successive appointments as a Governor (môri, 守) of Satuma province (薩摩國), Junior Assistant Governor-General of Dazaifu (Dazai shōni, 大宰少貳), Middle Controller of the Left (Sachūben, 左中辨) and Senior Assistant Minister (Tayū, 大輔) in the Ministry of Central Affairs (Naka tukasa shō, Naka 14 15

On Opotömö-no TaNpîtö’s biography, see the commentary to the preface to 5.793. Consider the cultural trend: the next known poetic anthology, the Kokin wakashū is also clearly dominated by the poetry of the team that compiled it.

17

BOOK TWENTY

matsurigoto no tukasa, 中務省), a Governor of SaNkamu province (相模國), Master of the Left Capital Ward (Sakyō daibu, 左京大夫), and a Governor of Ise province (伊勢國). In the second lunar month of the eleventh year of Hōki (March 780 AD) he was appointed Imperial Adviser (Sangi, 参議). In the fourth lunar month of the first year of Ten’ō (May 781 AD) he was given the parallel responsibilities as the Master of Crown Prince’s affairs (Shungū daibu, 春宮大夫), and promoted to the Junior Third rank in the eleventh month of the same year (November-December 781 AD). In the seventh lunar month of the second year of Enryaku (July 783 AD) Opotömö-nö Yakamöti was made Middle Councilor (Chūnagon, 中納言). He passed away on the twenty-eighth day of the eighth lunar month of the fourth year of Enryaku (October 5, 785 AD). Opotömö-nö Yakamöti criteria for not including certain sakîmôri poems It is quite apparent that in his collection of sakîmôri poems from different provinces, Opotömö-nö Yakamöti was very selective in including poems in the Man’yōshū. Sometimes he left out more than 50% of poems from a given province, with quite a ubiquitous phrase noting: 但拙劣歌者不取載之 “However, [I] did not include [here] the poems of inferior [quality]”. One can only wonder as to what he meant by ‘inferior [quality]’. Differences between the EOJ poems in books fourteen and twenty can be summarized in the following chart: Chart 4: WOJ vs. EOJ differences in Eastern poems.

MYS 14 MYS 20

Comprehension level with WOJ +/+

EOJ

Ainu loans

many average

many very few

In short, in contrast to book fourteen, there are no poems in book twenty that are only partially comprehensible or poems with heavy dialect features. Consequently, it appears that Opotömö-nö Yakamöti might have excluded all the poems that have strong EOJ features, or those poems that may not be comprehensible even to him. Thus, the poems from book twenty are likely to represent a more ‘polished’ form of EOJ that was more palatable to the speakers of WOJ, but far less authentic than the poems from book fourteen. Man’yōgana script Man’yōgana script was discussed in detail in the introduction to the translation of book fifteen; however, in the process of work on book twenty a couple of phonograms that did not make it into the list in Omodaka et al. (1967: 891-903) and also to my own lists of the man’yōgana phonograms in the Man’yōshū (Vovin 2009c: 22-25; 2011: 2-5, 2012: 16-20) have come to light. Therefore, below I place the revised chart with new additions that are given in both bold and underlined typescript.

18

MAN’YŌSHŪ

Chart 5: Man’yōgana phonographic signs used in the Man’yōshū Transcription a あ i

い

u

う

e

え１

o

お

ka

か

kî

き１

kï

き２

ku

く

kê

け１

kë

け２

kô

こ１

kö

こ２

Nka が Nkî ぎ１ Nkï ぎ２ Nku ぐ Nkê げ１ Nkë げ２ Nkô ご１ Nkö ご２ sa さ

Man’yōgana signs ongana: 阿 安 kungana: 足 吾 鳴呼 disyllabic: 英[aNka] ongana: 伊 夷 以 怡 異 移 因 印 壱 kungana: 射 五十 馬声 disyllabic: 因[ina] 印[ina] 壱[iti] ongana: 于 汙 宇 有 羽 烏 雲 kungana: 鵜 菟 卯 得 disyllabic: 雲[una] 鬱[utu] ongana: 衣 愛 依 kungana: 得 榎 荏 ongana: 意 於 応 乙 憶 飫 disyllabic: 乙[otu] 邑[opî, opu, opo] ongana: 加 迦 可 賀 珂 箇 架 嘉 甲 甘 敢 kungana: 鹿 香 蚊 芳 歟 所 disyllabic: 甘[kamu] 敢 [kamu] 漢[kani] 干[kani] 葛 [katu] 甲[kapî] 香[kaNku] 各[kaku] ongana: 支 伎 吉 岐 棄 枳 企 kungana: 寸 杵 来 ongana: 紀 幾 貴 奇 騎 綺 寄 記 kungana: 城 木 樹 ongana: 久 玖 口 群 苦 丘 九 鳩 君 kungana: 来 disyllabic: 君[kuni] ongana: 祁 家 計 鶏 介 奚 谿 価 係 結 kungana: 異 disyllabic: 兼[kêmu] 監[kêmu] 険[kêmu] ongana: 気 既 kungana: 毛 食 飼 消 ongana: 古 故 庫 祜 原 姑 孤 枯 kungana: 子 児 籠 小 粉 ongana: 己 許 巨 居 去 虚 忌 興 kungana: 木 disyllabic: 金[kömu] 今 [kömu] 近[könö] 乞[köti] 興 [köNkö] ongana: 何 我 賀 河 蛾 ongana: 芸 祇 岐 伎 ongana: 疑 宜 義 ongana: 具 遇 求 隅 群 disyllabic: 群[Nkuni/Nkuri] ongana: 牙 雅 夏 ongana: 義 宜 濁 ongana: 胡 呉 候 後 虞 吾 ongana: 其 期 碁 凝 ongana: 佐 沙 作 左 者 柴 紗 草 匝 讃 散 尺 積 kungana: 狭 猨 羅 disyllabic: 三[samu] 雜[sapa/sapî] 匝[sapî] 颯[sapu] 讃 [sanu] 散 [sani] 薩 [sati, satu] 相 [saNka/saNku] 尺

BOOK TWENTY

si し

su

す

se

せ

sô

そ１

sö

そ２

Nsa ざ Nsi じ Nsu ず Nse ぜ Nsô ぞ１ Nsö ぞ２ ta た ti ち tu つ te

て

tô と１ tö と２ Nta

だ

Nti ぢ Ntu づ 16

19

[saka] 作[saka/saku] 積[saka] 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 kungana: 爲 磯 disyllabic: 信[sina] 鍾 [siNku] 色[sikî/sikö] 餝 [sika] 式[sikî] 拭[sikî] 叔[siku] ongana: 須 周 酒 洲 珠 数 kungana: 酢 簀 栖 渚 爲 disyllabic: 駿[suru] 宿[suka, suku] ongana: 勢 世 西 斉 kungana: 瀬 湍 背 脊 迫 disyllabic: 瞻[semî] ongana: 蘇 宗 祖 素 kungana: 十 麻 ongana: 曾 所 僧 増 則 kungana: 衣 背 其 苑 ongana: 射 蔵 邪 社 謝 座 ongana: 自 士 慈 尽 時 寺 仕 ongana: 受 授 聚 殊 ongana: 是 ongana: 俗 ongana: 叙 序 賊16 ongana: 多 太 他 丹 kungana: 田 手 disyllabic: 丹[tani] 塔[tapu] 但[tani, taNti] 当[taNkî] ongana: 知 智 恥 陳 珍 遲 kungana: 道 千 乳 路 血 茅 disyllabic:珍[tinu] ongana: 都 豆 通 追 川 kungana: 津 齋 disyllabic: 筑[tukî, tuku] 對[tusi] ongana: 弖 氐 提 天 帝 底 堤 代 kungana: 手 価 直 disyllabic: 点[temu] ongana: 刀 斗 都 土 度 kungana: 戸 門 利 礪 速 ongana: 止 等 登 騰 得 kungana: 鳥 十 跡 迹 常 disyllabic:徳[tökö] 得[tökö] ongana: 陁 太 大 disyllabic: 弾[Ntani] ongana: 遲 治 地 ongana: 豆 頭 都

The phonogram 賊 as a sign for /Nsö/ 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 kîNsö (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.

20

MAN’YŌSHŪ

Nte で Ntô ど１ Ntö ど２ na な ni

に

nu

ぬ

ne

ね

nô

の１

nö

の２

pa

は

pî

ひ１

pï

ひ２

pu

ふ

pê

へ１

pë

へ２

po

ほ

Npa Npî Npï Npu Npê Npë Npo ma

ば び１ び２ ぶ べ１ べ２ ぼ ま

mî

み１

disyllabic: 曇 [Ntumî] ongana: 提 凰 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: 南[namî, namu] 難[nani] ongana: 爾 迩 仁 日 二 而 尼 耳 人 柔 kungana: 丹 荷 似 煮 柔[nikî] ongana: 奴 怒 努 濃 農 kungana: 沼 宿 寝 渟 ongana: 尼 禰 泥 埿 年 kungana: 根 宿 disyllabic: 念[nemu] ongana: 努 怒 弩 奴(?) kungana: 野 ongana: 乃 能 kungana: 荷 笶 箆 ongana: 波 播 幡 芳 婆 破 方 防 八 房 半 熏 薄 伴 泊 叵 kungana: 羽 葉 歯 者 ongana: 比 卑 必 臂 嬪 冀 kungana: 日 檜 氷 ongana: 非 斐 悲 飛 kungana: 火 干 乾 ongana: 布 不 敷 府 賦 否 負 福 kungana: 経 歴 disyllabic: 粉[puni] 福[puku] ongana: 平 弊 霸 幣 敝 陛 遍 返 反 弁 kungana: 部 辺 重 隔 disyllabic: 伯[pêkî] ongana: 閇 倍 拝 kungana: 戸 躪 綜 経 ongana: 保 富 宝 朋 倍 抱 方 凡 品 kungana: 帆 穂 disyllabic: 凡[pomu] 品[pomu] ongana: 婆 伐 ongana: 毘 鼻 妣 婢 ongana: 備 肥 ongana: 夫 父 部 扶 ongana: 辨 便 別 ongana: 倍 ongana: 煩 ongana: 麻 磨 万 萬 馬 末 満 摩 kungana: 真 間 目 信 鬼 disyllabic: 望[maNka, maNku] 莫[maku] 幕[maku] ongana: 弥 美 民 kungana: 三 御 見 水 参 視 disyllabic: 敏[mînu]

BOOK TWENTY

mï

み２

mu む mê

め１

më

め２

mô も１ mö も２ mo も ya

や

yu

ゆ

ye

え２

yô

よ１

yö

よ

ra

ら

ri り ru る re れ rô ろ１ rö ろ２ wa わ wi

ゐ

we

ゑ

wo

を

21

ongana: 微 未 味 尾 kungana: 身 実 箕 ongana: 牟 武 无 模 務 無 謀 鵡 蒐 kungana: 六 disyllabic: 目[muku] ongana: 賣 怡 馬 面 kungana: 女 婦 ongana: 米 梅 迷 昧 晩 kungana: 目 眼 ongana: 毛 ongana: 母 ongana: 毛 母 茂 文 聞 忘 蒙 畝 問 門 勿 木 物 kungana: 裳 藻 哭 喪 裙 disyllabic: 物[moti] ongana: 夜 移 陽 耶 益 野 楊 也 kungana: 屋 八 矢 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 与 予 餘 誉 kungana: 世 吉 四 代 ongana: 羅 良 浪 楽 disyllabic: 藍[ramu] 濫 [ramu] 覧[ramu] 臘[rapu] 楽 [raku] 落[raku] ongana: 理 利 里 隣 ongana: 留 流 類 ongana: 禮 礼 例 列 烈 連 disyllabic: 廉[remu] ongana: 漏 路 ongana: 呂 侶 里 ongana: 和 丸 kungana: 輪 disyllabic: 丸[wani] 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 kungana: 小 尾 少 麻 男 雄 緒 綬 疂 disyllabic: 越[woti]

Textual history of book twenty The textual transmission of book twenty is much better than that of books five, fifteen, and even somewhat better than that of book fourteen. Most of the poems from book twenty are found in the Genryaku kōhon (元暦校本), where neither book five, nor book fifteen have any representation, and book fourteen has many poems missing. The first manuscript where all of the poems of book fourteen occur is the Ruijū koshū (類聚古集) from the end of the Heian period,

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MAN’YŌSHŪ

while the first manuscript where books five and fifteen occur in their entirety is only the Nishi Honganji-bon (西本願寺本), which dates from the late Kamakura period. The Ruijū koshū also includes all poems from book twenty with four exceptions: poems 4465, 4479, 4480, and 4491 are missing. It is also interesting to note that unlike all other books of the Man’yōshū that have their poems scattered among different books of the Ruijū koshū, most sakîmôri poems from book twenty are placed into book sixteen of the Ruijū koshū, although certainly not in the traditional order. The Genryaku kōhon is slightly earlier than the Ruijū koshū. The poems from book twenty not attested in the Genryaku kōhon are: 4294, 4295, 4296, 4297, 4502, 4503, 4504, 4505, 4506, 4507 and 4514. Also, poems 4293 and 4501 are incomplete: the poem 4293 includes only man’yōgana script and the first line of kana transliteration, and the poem 4501 has only the first line of man’yōgana script. The reason for these strange lacunae has already been discussed in Vovin (2012: 23-24).

MAN’YŌSHŪ BOOK TWENTY Preface to the poems 20.4293-4294 本文・Original text 幸行於山村之時歌二首

Translation Two poems composed at the time when [Empress Genshō] deigned to go to Yamamura. Commentary On Empress Genshō see the commentary to the preface to the poem 20.4293 below. Yamamura (山村) is a placename that refers to a mountainous area near Nara (Kinoshita 1988: 13), (Nakanishi 1983: 281). It is identified as modern Yamamura quarter (山村町) of Nara city (奈良市) (Nakanishi 1985: 495), which is located to the east of Obitoke station (帯解駅) on JR Sakurai line (桜 井線), with Enshōji temple (円照寺) in Yamamura (Kinoshita 1988: 14). During the rule of Emperor Kinmei (欽明, r. 539-571 AD17), immigrants from Paekche (百済) were settled in this area (NS XIX: 51).

Preface to the poem 20.4293

本文・Original text 先太上天皇詔陪従王臣曰夫諸王卿等宜賦和歌而奏即御口号曰 Translation The Previous Retired Empress gave a command to the Princes and high nobles who went together [with her]: “Oh, Princes, high nobles and other [nobles], compose a poem that would be a response [to mine]”, and she herself deigned to recite: Commentary There is a controversy among the Man’yōshū scholars regarding the authorship of this poem. The majority of modern scholars believe that the title Previous Retired Empress (先太上天皇) refers to Empress Genshō18 (元正, 680-748 AD, r. 715-724 AD) (Takagi et al. 1962: 400), (Kojima et al. 1975: 371), (Nakanishi 1983: 281), (Kinoshita 1988: 15), (Satake et al. 2003: 375) following the lead of Keichū, who proposed this theory for the first time in his Daishōki (1690.20: 3b). Empress Genshō was the eldest daughter of Prince Kusakabe (草壁, 662-689 AD) and Empress Genmei19 (元明, 661-721 AD, r. 707-715), and elder sister of Emperor Monmu 20 (文武, 683-707 AD, r. 697-707 AD). Her given name is PîNtaka (氷高) and her native Japanese title 17 18 19 20

According to the traditional chronology. Forty-fourth sovereign by the traditional count of emperors. Forty-third sovereign by the traditional count of emperors. Forty-second sovereign by the traditional count of emperors.

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MAN’YŌSHŪ

as an Empress is Yamatö nekô taka mîNsu pî kîyô tarasi pîmê (日本根子高瑞 日清足姫) or in an abbreviated form Kîyô tarasi pîmê (清足姫). Both Genshō and Monmu are in some sense unique rulers during the Nara period, because they represent both Emperor Tenmu’s21 (天武, ?-686 AD, r. 673-686 AD) line on their paternal side, and Emperor Tenchi’s22 (天智, 626-671 AD, r. 668-671 AD) line on their maternal side, since Prince Kusakabe was Emperor Tenmu’s son, and Empress Genmei was Emperor Tenchi’s daughter. After Empress Genmei abdicated, Empress Genshō ruled for nine years in place of her nephew Prince ONpîtö (首), future Emperor Shōmu (聖武, 701-756 AD, r. 724-749 AD), before he became of age and could become an actual Emperor himself. Empress Genshō passed away at the age of sixty-nine, and was never married. The main evidence of the proponents of the Genshō version is that Prince Töneri (the author of 20.4294 responding to 20.4293) was very close in age to Genshō, but not to Genmei. Thus, he would be much more likely to assume the role of the next senior person to respond with his own poem being in the entourage of Genshō rather than in that of Genmei (Kojima et al. 1975: 371), (Kinoshita 1988: 15). On the other hand, Omodaka has provided in his commentary textual evidence based on old documents (古文書) from Tōdaiji (東大寺) and Kōfukuji (興福寺) temples that the title Previous Retired Empress (先太上天皇) does not refer to Empress Genshō but to Empress Genmei. 23 As a matter of fact, Empress Genshō was referred in these documents to as Middle Retired Empress (中太上天皇) and Emperor Shōmu as Following Retired Emperor ( 後 太 上 天 皇 ) (Omodaka 1984.20: 11). However, leaving the textual evidence from the Tōdaiji and Kōfukuji documents aside, the Previous Retired Empress (先太上天皇) appears also as the author of the poem 20.4437, with the Japanese title Yamatö nekô taka mîNsu pî kîyô tarasi pîmê (日本根子高瑞日清足姫) also provided in the preface. This title clearly refers to Empress Genshō, as we have just seen above, and even Omodaka agrees that the author of 20.4437 is Empress Genshō (1984.20: 175). Meanwhile, Empress Genmei’s given name is Apê (阿 閇), and her native Japanese title as an Empress is Yamatö nekô ama-tu mî-yö töyö kuni nari pîmê (日本根子天津御代豊国成姫). It would be bizarre indeed if the title Previous Retired Empress (先太上天皇) was used as a reference to two different persons within the same book twenty. Therefore, I reject Omodaka’s proposal, and follow the majority of Japanese scholars in assuming that the author of 20.4393 is Empress Genshō. Kyau (卿) ‘High Noble’ normally indicates high nobles from the Third Rank up. Kinoshita suggests that here it might be used as an amicable reference that includes nobles of the Fourth and Fifth Ranks as well (1988: 15). I do not see any textual evidence that supports the ‘amicable usage’ of kyau (卿) in this preface; on the contrary the fact that kyau (卿) is followed by the character ‘and others’, indicates that kyau (卿) is used in its usual meaning ‘high nobles’. Consequently, 卿等 should be understood as ‘high nobles and other [nobles]’, so the nobles of the Fourth and Fifth ranks are indeed included, but this is not due to any ‘amicable usage’, but becomes apparent from the grammar. 21 22 23

Fortieth sovereign by the traditional count of emperors. Thirty-eighth sovereign by the traditional count of emperors. The two most famous deeds of empress Genmei were the establishment of permanent capital in Nara in 710 AD and the imperial order to Opo-nö Yasumarö (太安萬侶) to compile the Kojiki (古事記, 712 AD).

BOOK TWENTY

25

Kinoshita also raises the question whether this poem was composed by the Empress herself or whether she was citing someone else’s poem on the grounds that there is no customary expression 御製歌 ‘poem composed by an Emperor/Empress’ in the preface (1988: 15-16). Unlike many other poems in book twenty, this poem is undated, but given the fact that that Empress Genshō was on the throne in 715-724 AD, and died in 748 AD, but Prince Töneri (the author of 20.4394) died in 735 AD, both poems 20.4293 and 20.4294 as well as the preface must have been composed between 715 and 735 AD. The usage of the title Previous Retired Empress (先 太上天皇) may also indicate that these were composed after Genshō’s abdication in 724 AD and prior to Prince Töneri’s death in 735 AD.

20.4293 (W)

本文・Original text (1) 安之比奇能 (2) 山行之可婆 (3) 山人乃 (4) 和礼尓依志米之 (5) 夜 麻都刀曽許礼 仮名の書き下し・Kana transliteration (1) あしひ 1 き 2 の 2 (2) やまゆき 1 しかば (3) やまび 1 と 2 の 2 (4) われ にえ 1 しめ 2 し(5) やまつと 1 そ 2 こ 2 れ Romanization (1) asi pîkï n-ö (2) YAMA YUK-Î-sika-Npa (3) YAMA-N-PÎTÖ-nö (4) ware-ni e-simë-si (5) yama tutô sö köre Glossing with morphemic analysis (1) foot low DV-ATTR (2) mountain go-INF-PAST/EV-CON (3) mountain-GEN-person-GEN (4) I-DAT receive-CAUS(INF)-PAST/ATTR (5) mountain present PT this Translation (2) When [I] went to the mountains (1) with low foot, (5) this [is] a mountain present (3) that a mountain hermit (4) gave me (lit.: made me receive). Commentary On asi pîkï n-ö ‘with low foot’, see the commentary to 15.3655. Yama-N-pîtö (山人), lit. ‘mountain person’, is certainly not an ordinary local resident, but a hermit who lives in the mountains. Kinoshita further suggests that this may be a reference not to an ordinary hermit, but to an immortal, since Empress Genshō is involved (1988: 13). Some Japanese scholars believe that it is not clear what the present might have been (Kojima et al. 1975: 371), (Kinoshita 1988: 14). Satake et al. mention that there are theories suggesting that the present might be a flower or a branch with red maple leaves (2003: 376). There are folk stories in all regions of Japan about a present received from a mountain witch that makes one’s house to prosper (Kinoshita 1988: 16). There are two examples of yama-N-pîtö (山人) ‘mountain person’ giving a staff attested in the Kagura uta (神楽歌): (1) 安不佐加遠 (2) 計佐古衣久礼波 (3) 山人乃 (4) 王礼仁久礼 多留 (5) 也万津惠曾古礼 (6) 山杖曾古礼

26

MAN’YŌSHŪ

(1) あふさかを (2) け 1 さこ 1 え 1 くれば (3) やまび 1 と 2 の 2 (4) われにくれたる (5) やまつゑそ 2 こ 2 れ (6) やまつゑそ 2 こ 2 れ (1) Apusaka-wo (2) kêsa kôe24-k-ure-Npa (3) YAMA-N-PÎTÖ-nö (4) ware-ni kure-tar-u (5) yama tuwe sö köre (6) YAMA TUWE sö köre (1) Apusaka-ACC (2) this.morning cross(INF)-come-EV-CON (3) mountain-GEN-person-GEN (4) I-DAT give(INF)-PERF/PROGATTR (5) mountain cane PT this (6) mountain cane PT this (6) This is a mountain staff, (5) this is a mountain staff (3) that a mountain hermit (4) gave to me (2) when [I] crossed this morning (1) the ‘Slope of meetings’ (KGU 9) (1) 寸戸加美乃 (2) 至美也末乃津惠止 (3) 也末比登乃 (4) 知止 勢乎以乃里 (5) 支礼留美津惠曾 (1) すべ 2 がみ 1 の 2 (2) み 1 やまの 2 つゑと 2 (3) やまび 1 と 2 の 2 (4) ちと 2 せをいの 2 り (5) き 1 れるみ 1 つゑそ 2 (1) SuNpey-N-kamî25-nö (2) mî yama-nö tuwe tö (3) yama-N-pîtö-nö (4) ti-töse-wo inör-i (5) kîr-er-u mî-tuwe sö (1) rule-DV(ATTR)-deity-GEN (2) deep mountain-GEN staff DV (3) mountain-GEN-person-GEN (4) thousand-CL-ACC pay-INF (5) cut-PROG-ATTR HON-staff PT (3/5) The staff that a mountain hermit cut [for me] (4) praying for a thousand years [long life], (2) and saying that [this is] the staff from the deep mountains (1) of the [local] ruling deity (KGU 11) Kinoshita notes that yama-N-pîtö in KGU 9 might just indicate a mountain dweller, but in KGU 11 it points to a mountain deity (1988: 16). Konishi disagrees with this interpretation, saying that yama-N-pîtö in KGU 11 may just refer to a woodcutter (Konishi 1957: 300). I believe that both poems refer to magical staves, because two other poems about staves in Kagura uta, mention a staff from a palace of a Princess who lives in heaven (KGU 8), and a staff that is cut out of the branch of a sakaki (榊) tree (KGU 10), which is a sacred tree in Shintō. Note that these two poems precede KGU 9 and KGU 10 cited above, and they altogether constitute a poetic cycle about staves. Thus, if we look at poems KGU 9 and KGU 11 in context, it becomes clear that they deal not just with ordinary walking canes, but with magical staves, that potentially have a ritual meaning. The ritual and its meaning is lost, but I believe that it is not unreasonable to suggest that the present that Empress Genshō received from a mountain hermit, or from an immortal, was indeed a magical staff. Nakanishi comes to almost the same conclusion, suggesting that the present might be a staff or a branch, although he does not provide any discussion why it must be so (1983: 281). Lines three to five represent a syntactic inversion due to an afterthought. In a normal syntax, the word köre ‘this’ should be the first in the sentence, not the last.

24

古衣 kôe is clearly a scribal mistake for kôye- ‘to cross’ which is naturally to be expected in the Heian period when the syllables /e/ and /ye/ merged as /ye/. 25 加美 kamî is a misspelling for WOJ kamï ‘deity’ due to the merger of /mî/ and /mï/ syllables as /mî/ = /mi/.

BOOK TWENTY

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Preface to the poem 20.4294 本文・Original text 舎人親王應詔奉和歌一首

Translation A poem that Prince Töneri presented in response [to Empress Genshō’s] command. Commentary Prince Töneri (舎人親王, 676-735 AD) was the third (according to another theory ninth) child of Emperor Tenmu (天武天皇) (Kinoshita 1988: 18). His mother was Princess NipîtaNpë (新田部王), a daughter of Emperor Tenchi (天 智天皇). Prince Töneri is best known for his role as a chief compiler of the Nihonshoki (日本書紀) ‘Annals of Japan’ (720 AD). He was promoted to Imperial Prince of the First Cap Rank ( 親 王 一 品 ) in 718 AD, and posthumously to Great Minister (Daijōdaijin, 太政大臣). In 759 AD he was also given the posthumous title of Emperor Sūdōjinkei (崇道盡敬天皇).

20.4294 (W)

本文・Original text (1) 阿之比奇能 (2) 山尓由伎家牟 (3) 夜麻妣等能 (4) 情母之良受 (5) 山人夜多礼 仮名の書き下し・Kana transliteration (1) あしひ 1 き 2 の 2 (2) やまにゆき 1 け 1 む (3) やまび 1 と 2 の 2 (4) こ 2 こ 2 ろ 2 も 2 しらず (5) やまび 1 と 2 やたれ Romanization (1) asi pîkï n-ö (2) YAMA-ni yuk-î-kêm-u (3) yama-N-pîtö-nö (4) KÖKÖRÖ mö sir-aNs-u (5) YAMA-N-PÎTÖ ya tare Glossing with morphemic analysis (1) foot low DV-ATTR (2) mountain-LOC go-INF-PAST/TENT-ATTR (3) mountain-GEN-person-GEN (4) feelings PT know-NEG-FIN (5) mountain-GEN-person PT who Translation (4) [I] do not know even the feelings of (3) of a mountain hermit, (2) who as [they] say, went to the mountains (1) with low foot. (5) Who [is this] mountain hermit? Commentary On asi pîkï n-ö ‘with low foot’, see the commentary to 15.3655. On yama-N-pîtö ‘mountain hermit’ see the commentary to 20.4293. Kinoshita thinks that Prince Töneri, who was the chief compiler of the Nihonshoki might have introduced here an allusion to the episode from this text, when Emperor Yūryaku (雄略) met a mountain deity (1988: 18). This episode is found in NS (XIV: 365).26 26

All the references to the Nihonshoki prose text are to Kokushi taikei edition.

28

MAN’YŌSHŪ

Postscript to the poems 20.4293-4294

本文・Original text 右天平勝寳五年五月在於大納言藤原朝臣之家時依奏事而請問之間少主 鈴山田史土麻呂語少納言大伴宿祢家持曰昔聞此言即誦此歌也 Translation As for the [poems] above, when [Junior Councilor Opotömö-nö sukune Yakamöti] was at the house of Senior Councilor PuNtipara-nö asömî [Nakamarö] in the fifth lunar month of the fifth year of Tenpyō Shōhō, inquiring about what should be presented to [the Empress Kōken], YamaNta-nö puNpîtö Tutimarö, Junior Master of Bells, told Junior Councilor Opotömö-nö sukune Yakamöti that [he] heard in old times this story, and then he recited these poems. Commentary The fifth lunar month of the fifth year of Tenpyō Shōhō ( 天平勝寶 ) corresponds to June 6, 753 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, puNpîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. According to the Ritsuryō code (Ritsuryō sei, 律令制),27 Junior Councilor (Shōnagon, 少納言) is a secretarial position in the Great Council of State (Daijōkan, 太政官) corresponding to Junior Fifth Rank, Lower Grade. According to the Ritsuryō code, Senior Councilor (Dainagon, 大納言) is a court position immediately following in seniority the Minister of the Right (右 大臣). Dainagon’s position corresponded to Senior Third Rank (正三位). There were only four Dainagon in the Nara period imperial court, and together with Great Minister (Daijōdaijin, 太政大臣), Minister of the Left (Sadaijin, 左大臣), Minister of the Right (Udaijin, 右大臣), and Governor-General of Dazaifu they constituted Kyau (卿) or Kugyau (公卿) ‘High Nobility’, who all had no less than the Junior Third Rank.28 PuNtipara-nö Nakamarö (藤原仲麻呂) is the second son of PuNtipara-nö Mutimarö (藤原武智麻呂) from the Southern branch of the PuNtipara family (藤原南家), and an arch-enemy of the TatiNpana clan. He is one of the central political figures of the Nara period, so his biography is known quite well. Therefore, I provide only major highlights below. PuNtipara-nö Nakamarö is an author of two poems in the Man’yōshū: 19.4242 and 20.4487. PuNtipara-nö Nakamarö was promoted from the Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade on the seventeenth day of the first lunar month of the sixth year of Tenpyō (February 24, 734 AD), with successful promotions to Junior Fifth Rank, Upper Grade on the thirteenth day of the first lunar month of the eleventh year of Tenpyō (February 25, 739 AD), to Senior Fifth Rank, Lower Grade on the thirteenth day of the first lunar month of the twelfth year of Tenpyō (February 14, 740 AD), to Senior Fifth Rank, Upper Grade on the twenty-first day of the eleventh lunar month of the same year (December 14, 27 28

Promulgated in 701 AD. The exact distribution of ranks was as the following: Great Minister had Senior First Rank (this was rarely bestowed in practice except posthumously) or Junior First Rank, Ministers of the Left and Right had Senior or Junior Second Rank, Dainagons had Senior Third Rank, and the Governor-General of Dazaifu had Junior Third Rank. All of these except the Governor-General of Dazaifu belonged to the Great Council of State (Daijōkan, 太政官).

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740 AD), and to Junior Fourth Rank, Lower Grade on the fifth day of the third intercalary lunar month of the thirteenth year of Tenpyō (April 24, 741 AD), with following promotions to Junior Fourth Rank, Upper Grade with a simultaneous appointment as Imperial Adviser (Sangi, 参議) on the fifth day of the fifth lunar month of the fifteenth year of Tenpyō (June 1, 743 AD), and to Senior Fourth Rank, Upper Grade on the seventh day of the first lunar month of the seventeenth year of Tenpyō (February 12, 745 AD). He was further appointed the Minister of the Ministry of Ceremonial Affairs (Shikibushō, 式部省) on the fifth day of the third lunar month of the eighteenth year of Tenpyō (March 31, 746 AD) and promoted to Junior Third Rank on the twenty-third day of the fourth lunar month of the same year (May 17, 746 AD), with a subsequent promotion to Senior Third Rank on the twentieth day of the third lunar month of the twentieth year of Tenpyō (April 22, 748 AD). PuNtipara-nö Nakamarö was made Great Councilor (Dainagon, 大納言) on the second day of the seventh lunar month of the first year of Tenpyō Shōhō (August 19, 749 AD), Head of the Office of Empress Dowager’s Household Affairs (Shibi chūdai, 紫微中台) on the tenth day of the eighth lunar month of the same year (September 25, 749 AD), and promoted to Junior Second Rank on the sixteenth day of the first lunar month of the second year of Tenpyō Shōhō (February 26, 750 AD). He secured the appointment of Prince Opoi as a crown Prince in 757 AD and thwarted the attempt by TatiNpana-nö Naramarö to remove him from the political arena the same year. PuNtipara-nö Nakamarö was promoted to Junior First Rank and appointed Prime Minister (Daijōdaijin, 太政大臣) on the fourth day of the first lunar month of the fourth year of Tenpyō Hōji (January 26, 760 AD). On the second day of the second lunar month of the sixth year of Tenpyō Hōji (March 1, 762 AD) he was promoted to Senior First Rank, the highest possible rank that very few people have ever achieved before or after him while being alive, and not as posthumous honor. PuNtipara-nö Nakamarö had been growing envious of the relationship that Retired Empress Kōken was having with the priest Dōkyō (道鏡), and subsequently attempted an armed rebellion in Echizen province, which was governed by one of his sons, on the eleventh day of the ninth month of the eighth year of Tenpyō Hōji (October 10, 764 AD), but was defeated. After a failed attempt to escape on a boat at Lake Biwa, he was caught and beheaded with his wife and sons on the eighteenth day of the same month (October 17, 764 AD) at Katunô (勝野) in Takasima district (高島郡) of Apumî province (近江國). He was fifty-nine years old. Nothing is known about the biography of YamaNta-nö puNpîtö Tutimarö. Junior Master of Bells (少主鈴,shō shurei) is a position at the Ministry of Central Affairs (Naka tukasa shō, Naka matsurigoto no tukasa, 中務省)29 corresponding to Senior Eighth Rank, Upper Grade.

Preface to the poems 20.4295-4297

本文・Original text 天平勝寶五年八月十二日二三大夫等各提壺酒登高圓野聊述所心作歌三 首

29

It was possibly the most important among eight ministries, since its functions included assistance to an emperor, promulgation of imperial edicts, and bestowing titles, etc.

30

MAN’YŌSHŪ

Translation Three poems composed on the twelfth day of the eighth lunar month of the fifth year of Tenpyō Shōhō by two or three Great Nobles slightly expressing their mood when they went up to Takamatô field each carrying a kettle of sake. Commentary The first six characters 天平勝寶五年 ‘fifth year of the Tenpyō Shōhō [era]’ are absent in the Hosoi-bon and printed xylographs, but they are present in the Nishi Honganji-bon, Kishū-bon, and other manuscripts. I follow Omodaka’s lead (1984.20: 14) in preserving these characters in the text, rather than omitting them. Twelfth day of the eighth lunar month of the fifth year of Tenpyō Shōhō corresponds to September 13, 753 AD. Actually we have three different authors here, so the phrase 二三大夫 ‘two or three Great Nobles’ may seem puzzling. Modern Japanese scholars do not comment directly on this oddity, but Kinoshita notes that at this time Opotömö-nö sukune Ikënusi (大伴宿祢池主), the author of the first poem had only Seventh Rank, Upper Grade, so he could not be possibly be properly called a ‘Great Noble’, because this designation referred to nobility from the Fifth Rank up (or in more narrow sense to those who had Fifth and Fourth Ranks) (Kinoshita 1988: 23). Therefore, it is possible that ‘two or three’ is an indirect reference to this fact, indicating that Opotömö-nö sukune Ikënusi is not quite a Great Noble, but at the same time not excluding him from the group. The order of the poems in this mini-cycle is interesting, as it is quite different to the order we have seen in the book five in the cycle on the plum blossoms, and in the following mini-cycle of poems 20.4298-4300, where the poems are arranged in the descending order of the seniority of authors. Meanwhile, here the first poem belongs to the most junior member of the drinking company, Opotömö-nö sukune Ikënusi, followed by the most senior member, Nakatömî-nö Kîyômarö asömî, and concluded by Opotömö-nö sukune Yakamöti, who was in the middle position by seniority. The last position for Opotömö-nö sukune Yakamöti can be explained by the fact that he placed himself last out of modesty as a compiler, but the reverse order of Opotömö-nö sukune Ikënusi and Nakatömî-nö Kîyômarö asömî is puzzling. A possible explanation why Opotömö-nö sukune Ikënusi precedes Opotömö-nö sukune Yakamöti is that Opotömö-nö sukune Ikënusi was part of Opotömö-nö sukune Yakamöti’s extended family, as becomes apparent from the following mini-cycle 20.4298-4300, but it still does not explain why Nakatömî-nö Kîyômarö asömî is placed after Opotömö-nö sukune Ikënusi in this particular cycle. Takamatô field (高圓野) corresponds to present-day Byakugōji-chō (白毫 寺町) and Rokuyaon-chō (鹿野園町) as well as to adjacent areas to the south of Kasuga (春日) in Nara city (Nakanishi 1985: 458). Kinoshita defines Takamatô field in a narrower sense, namely as Takamatô mountain (高圓山, 432 m). He is quite possibly right, because the text of the preface clearly states: 登高圓野 ‘climbed (or went up to) Takamatô field’, but Takeda believes that the character 登 ‘to climb’ is used because of the high elevation (1950.15.20: 18). Kinoshita further points out that a detached palace (離宮) of Emperor Shōmu was not far from the summit of Takamatô mountain, and that there is a cycle of poems in book twenty (20.4506-4510), where Yakamöti and

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other Man’yōshū poets lament the desolation of this detached palace after the time has passed following the demise of Emperor Shōmu who used this palace (1988: 21).

20.4295 (W)

本文・Original text (1) 多可麻刀能 (2) 乎婆奈布伎故須 (3) 秋風尓 (4) 比毛等伎安氣奈 (5) 多太奈良受等母 仮名の書き下し・Kana transliteration (1) たかまと 1 の 2 (2) をばなふき 1 こ 1 す (3) あき 1 かぜに (4) ひ 1 も 1 と 2 き 1 あけ 2 な (5) ただならずと 2 も 2 Romanization (1) Takamatô-nö (2) woNpana puk-î-kôs-u (3) AKÎ KANSE-ni (4) pîmô tök-î-akë-na (5) taNta nar-aNs-u tömö Glossing with morphemic analysis (1) Takamatô-GEN (2) susuki.ear blow-INF-cross.over-ATTR (3) autumn wind-LOC (4) cord untie-INF-open-DES (5) direct be-NEG-FIN CONJ Translation (4) [I] wish that (3) the autumn wind (2) that blows over the susuki ears (1) in Takamatô (4) would untie the cords, (5) even if [my meeting with my beloved] is not directly. Commentary On Takamatô see the commentary to the preface to 20.4295-4297. WOJ woNpana (lit. wo-N-pana ‘tail flowers’) refers to the ears of susukî grass. On susukî see the commentary to 15.3681. WOJ kôs- ‘to make cross over, to move’ is basically a transitive verb, but with natural phenomena like wind or waves it has an intransitive usage like in this poem (Omodaka et al. 1967: 293). On the custom of tying and untying the cords of one’s garment, see the commentary to 15.3585. Line five is considered to be obscure by some modern commentators (Takeda 1950.15.20: 19), (Takagi et al. 1962: 401), but in my translation I follow the earlier proposal by Kamochi, who very persuasively demonstrated that it refers to the meeting with one’s beloved (1912.7: 295). Omodaka also accepted Mabuchi’s proposal (1984.20: 15).

Postscript to the poem 20.4295 本文・Original text 右一首左京少進大伴宿祢池主

Translation The poem above is by Opotömö-nö sukune Ikënusi, Junior Overseer of the Left Capital Ward.

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Commentary Opotömö-nö sukune Ikënusi is an author of twenty-nine poems in the Man’yōshū, four chōka and twenty-five tanka: 8.1590, 17.3944-17.3946, 17.3949, 17.3967-17.3968, 17.3973-17.3975, 17.3993-17.3994, 17.400317.4005, 17.4008-17.4010, 18.4073-4075, 18.4128-18.4133, 20.4295, and 20.4300. Therefore, it is not surprising that a number of facts are known about his biography. In 738 AD (tenth year of Tenpyō) he had Junior Seventh Rank and served as a Junior Auxiliary Official (Shōzoku, 少属) in the Office of the Crown Prince Affairs (Tōgūbō, 東宮坊), and was dispatched to SuruNka province to search for pearls. One can see a discrepancy in his rank and position, as the position of Junior Auxiliary Official required only Junior Eighth Rank, Lower Grade. In the tenth lunar month of the same year (November 16 – December 16, 738 AD) he was present at the banquet given by TatiNpana-nö Naramarö at the old mansion of TatiNpana-nö Möröye. As an Assistant Official (En, 掾) in Etchū province (越中國) in the eighth lunar month of the eighteenth year of Tenpyō (August 21 – September 19, 746 AD), he became close with Yakamöti. He was sent to the capital as an Accountant Messenger (Daikeichōshi, 大計帳使), and came back to his post in Etchū in the eleventh lunar month of the same year (December 17, 746 – January 15, 747 AD). In twentieth year of Tenpyō (February 4, 748 – January 22, 749) he was an Assistant Official (En, 掾) in Echizen province (越前國). In 753 AD, as it follows from the preface to the poems 20.4295-4297 above, he had Senior Seventh Rank and served as Junior Overseer of the Left Capital Ward (Sakyō shōshin, 左京少進,). In the third lunar month of the eighth year of Tenpyō (April 16 – May 14, 736 AD) he accompanied Emperor Shōmu on his journey to Kaputi province (河内國), and at that time he was Junior Secretary (Shōjō, 少丞) in the Ministry of Ceremonial Affairs (Shikibushō, 式部省), the position that should be correlated with Junior Sixth Rank, Upper Grade. It is quite apparent that the official career of Opotömö-nö sukune Ikënusi was very slow, as he barely rose through the ranks. Therefore, he must have been by origin from the very low tiers of the nobility. In the sixth lunar month of the first year of Tenpyō Hōji (June 21 – July 20, 757 AD) he was thrown into prison for his participation in TatiNpana-nö Naramarö’s rebellion. We do not know whether he managed to survive this ordeal, or when he passed away. Junior Overseer of the Left Capital Ward (Sakyō shōshin, 左京少進) is a position corresponding to Senior Seventh Rank, Upper Grade.

20.4296 (W)

本文・Original text (1) 安麻久母尓 (2) 可里曽奈久奈流 (3) 多加麻刀能 (4) 波疑乃之多婆 波 (5) 毛美知安倍牟可聞 仮名の書き下し・Kana transliteration (1) あまくも 2 に (2) かりそ 2 なくなる (3) たかまと 1 の 2 (4) はぎ 2 の 2 したばは (5) も 1 み 1 ちあへ 2 むかも Romanization (1) ama-kumö-ni (2) kari sö nak-u-nar-u (3) Takamatô-nö (4) paNkï-nö sita-N-pa pa (5) mômît-i-apë-m-u kamo

BOOK TWENTY

Glossing with morphemic analysis (1) heaven-cloud-LOC (2) wild.goose PT cry-FIN-RA-ATTR Takamatô-GEN (4) bush.clover-GEN bottom-GEN-leaf TOP leaves.turn.red/yellow-INF-hold.on-TENT-ATTR PT

33

(3) (5)

Translation (5) I wonder whether (4) the lower leaves of bush clovers (3) at Takamatô (2) where [I] hear wild geese crying (1) in the heavenly clouds (5) will hold on turning yellow [together with the upper leaves]? Commentary On WOJ kari ‘wild goose’ see the commentary to 15.3665. On Takamatô see the commentary to the preface to 20.4295-4297. On WOJ paNkï ‘bush clover’ see the commentary to 15.3656. In autumn bush clover leaves turn yellow and the process starts from the leaves on upper branches. On WOJ mômît- ‘to turn red and/or yellow (of autumn leaves)’ see the commentary to 15.3693. Some commentators take the first two lines as a separate sentence, and not as an attributive clause modifying Takamatô (Takagi et al. 1962: 402), (Omodaka 1984.20: 16). Although due to the presence of the focus particle sö in line two such analysis is possible, nothing prevents us from viewing the first two lines as an attributive clause modifying Takamatô. Poetically and contextually this analysis is preferable, because it helps to preserve the better flow of text, and also because we know that the author was actually at Takamatô when he was composing this poem. Line five looks hypermetric (jiamari, 字余り), but this is probably a graphic illusion, since the infinitive marker -î could be expected to be dropped before the auxiliary verb apë- ‘to hold on’ like it does before the iterative suffix -ap- ~ -apë-, which certainly has the same etymological origin. For details and examples on the iterative see Vovin (2009a: 820-828). Therefore, mômît-i-apë-m-u was probably actually pronounced [mômîtapëmu].

Postscript to the poem 20.4296 本文・Original text 右一首左中辨中臣清麻呂朝臣

Translation The poem above is by Nakatömî-nö Kîyômarö asömî, the Middle Controller of the Left. Commentary The biography of Nakatömî-nö Kîyômarö asömî30 aka Nakatömî-nö asömî Kîyômarö is well known. He is the author of six poems in the Man’yōshū: 19.4258,31 20.4296, 20.4497, 20.4499, 20.4504, and 20.4508. He was the son of Nakatömî-nö Omîmarö (中臣意美麿). In the fifth lunar month of the fifteenth year of Tenpyō (May 28 – June 25, 743 AD) he had Junior Five Rank, 30

Placing kabane rank after the given name rather than after the family name indicated a higher degree of respect. 31 Based on the tradition of transmission (denshō, 伝誦) according to the postscript to this poem.

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MAN’YŌSHŪ

Lower Grade and in the sixth lunar month of the same year (June 26 – July 25, 743 AD) served as a Senior Assistant Head (Daifuku, 大副) in the Ministry of Shintō Rites (Jingikan, 神祇官). In the fifth lunar month of the nineteenth year of Tenpyō (June 13 – July 11, 747 AD) he was the governor (Môri, 守) of Opari province (尾張國). In the sixth lunar month of the third year of Tenpyō Hōji (June 21 – July 28, 759 AD) Nakatömî-nö Kîyômarö was promoted to Senior Fifth Rank, Upper Grade, and in the first lunar month of the sixth year of Tenpyō Hōji (January 29 – February 27, 762 AD) to Junior Fourth Rank, Lower Grade, and served as a Senior Assistant Minister (Tayū, 大輔) in the Ministry of Ceremonies (Monbushō, 文部省).32 From the twelfth lunar month of the same year (January 19 – February 16, 763 AD) Nakatömî-nö Kîyômarö was appointed an Imperial Adviser (Sangi, 参議), and in the seventh year of Tenpyō Hōji (February 17, 763 AD – February 6, 764 AD) he had the position of the Middle Controller of the Left (Sachūben, 左中辨). In the first lunar month of the eighth year of Tenpyō Hōji (February 7 – March 6, 764 AD) Nakatömî-nö Kîyômarö was promoted to Junior Fourth Rank, Upper Grade, and in the ninth lunar month of the same year (September 30 – October 28, 764 AD) to Senior Fourth Grade, Lower Grade. In the eleventh lunar month of the first year of Tenpyō Jingo (天平神護) (December 17, 765 – January 14, 765 AD) he was promoted to the Junior Third Rank and was appointed the Minister (Haku, 伯) of the Ministry of Shintō Rites (Jingikan, 神祇官). In the second lunar month of the second year of Jingo Keiun (神護景雲) (February 23 – March 22, 768 AD) Nakatömî-nö Kîyômarö was made a Middle Councilor (Chūnagon, 中納言), and in the third lunar month of the third year of Jingo Keiun (April 11 – May 9, 769 AD) he was granted the family name Oponakatömî (大中臣) with the kabane title asömî (朝臣). In the tenth lunar month of the first year of Hōki (寶龜) (October 23 – November 21, 770 AD) Nakatömî-nö Kîyômarö was promoted to Senior Third Rank, and in the first lunar month of the second year of Hōki (January 21 – February 18, 771 AD) he was made Senior Councilor (Dainagon, 大納言) and the Reporter to the Crown Prince (Kōtaishi densō, 皇太子傳奏). In the third lunar month of the same year (March 21 – April 19, 771 AD) Nakatömî-nö Kîyômarö was promoted to Junior Second Rank and appointed the Minister of the Right (Udaijin, 右大臣). In the second lunar month of the third year of Hōki (March 9 – April 7, 772 AD) he was promoted to Senior Second Rank. In the twelfth lunar month of the fifth year of Hōki (January 6 – February 5, 775 AD) he petitioned Emperor Kōnin (光仁) for permission to retire, but it was not granted. In the fourth lunar month of the ninth year of Hōki (May 1 – 30, 778 AD) Emperor Kōnin paid a visit to Nakatömî-nö Kîyômarö’s private residence. Nakatömî-nö Kîyômarö finally retired as the Minster of the Right with Senior Second Rank in the sixth lunar month of the first year of Ten’ō (天應) (June 26 – July 25, 781 AD). He passed away at the ripe age of eighty-seven in the seventh lunar month of the seventh year of Enryaku (延暦) (August 6 – September 4, 788 AD), outliving Opotömö-nö Yakamöti and presumably Opotömö-nö sukune Ikënusi as well. Among the three drinking companions who went to Takamatô, Nakatömî-nö Kîyômarö certainly had the most straightforward and successful career. In spite of that, 32

文部省 (Monbushō) ‘Minister of Ceremonial Affairs’ was a temporary equivalent of 式部省 (Shikibushō) adopted during the middle of the Nara period and particularly during the rule of emperor Junnin (淳仁天皇, 758-764 AD).

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the fame of Opotömö-nö Yakamöti turned out to last much longer – who knows today about Nakatömî-nö Kîyômarö? The position of the Middle Controller of the Left (Sachūben, 左中辨) in the Great Council of State (Daijōkan, 太政官) corresponds to Senior Fifth Rank, Upper Grade.

20.4297 (W)

本文・Original text (1) 乎美奈弊之 (2) 安伎波疑之努藝 (3) 左乎之可能 (4) 都由和氣奈加 牟 (5) 多加麻刀能野曽 仮名の書き下し・Kana transliteration (1) をみ 1 なへ 1 し (2) あき 1 はぎ 2 しの 1 ぎ 1 (3) さをしかの 2 (4) つゆ わけ 2 なかむ (5) たかまと 1 の 2 の 1 そ 2 Romanization (1) womînapêsi (2) akî paNkï sinôNk-î (3) sa-wo-sika-nö (4) tuyu wakë nak-am-u (5) Takamatô-nö nô so Glossing with morphemic analysis (1) patrinia (2) autumn bush.clover push.through (3) PREF-male-deer-GEN (4) dew brush.aside(INF) cry-TENT-ATTR (5) Takamatô-GEN field PT Translation (5) Oh, the field of Takamatô, (3/4) where a male deer will cry brushing aside the dew (2) and pushing through autumn bush clovers and (1) patrinias! Commentary WOJ womînapêsi ‘patrinia’ (女郎花, Lat. Patrinia scabiosaefolia), is a perennial grass growing in the wild in mountain and fields. Its stalk is relatively long, with a peduncle that has an upside down triangular shape, on which small yellow flowers bloom in the fall. Womînapêsi is one of the Autumn’s Seven Plants in Japanese poetry (Nakanishi 1985: 333). It has five-petal pink flowers. Patrinia has also been artificially planted in gardens. On WOJ paNkï ‘bush clover’ see the commentary to 15.3656. In autumn bush clover leaves turn yellow and the process starts from the leaves on upper branches. On OJ sika ‘deer’ see the commentary to 15.3674 and to 14.3430.

Postscript to the poem 20.4297 本文・Original text 右一首少納言大伴宿祢家持

Translation The poem above is by Opotömö-nö sukune Yakamöti, Junior Councilor. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū.

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On Junior Councilor (Shōnagon, 少納言) see the commentary to the postscript to 20.4293-4294.

Preface to the poems 20.4298-4300

本文・Original text 六年正月四日氏族人等賀集于少納言大伴宿祢家持之宅宴飲歌三首 Translation Three poems [composed] on the fourth day of the first lunar month of the sixth year [of Tenpyō Shōhō], when the members of [Opotömö-nö Yakamöti’s] family gathered at Junior Councilor Opotömö-nö sukune Yakamöti’s house drinking banquet for a [New Year] celebration. Commentary Fourth day of the first lunar month of the sixth year of Tenpyō Shōhō corresponds to January 31, 754 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. Since Opotömö-nö Yakamöti was at that time the head of the family, the New Year celebration was held at his house.

20.4298 (W)

本文・Original text (1) 霜上尓 (2) 安良礼多婆之里 (3) 伊夜麻之尓 (4) 安礼波麻爲許牟 (5) 年緒奈我久 古今未詳 仮名の書き下し・Kana transliteration (1) しも 1 の 2 うへ 2 に (2) あられたばしり (3) いやましに (4) あれは まゐこ 2 む (5) と 2 しの 2 をながく Romanization (1) SIMÔ-NÖ UPË-ni (2) arare taN-pasir-i (3) iya mas-i n-i (4) are pa mawi-kö-m-u (5) TÖSI-NÖ WO naNka-ku Glossing with morphemic analysis (1) frost-GEN top-LOC (2) hail PREF-run-INF (3) more increase-NML DV-INF (4) I TOP come(HUM)(INF)-come-TENT-FIN (5) year-GEN cord long-INF Translation (2) [Like] hail falls (1) on the frost (4) [I] would like to come (3) even more often (5) for many years to come. It is not clear whether it is an old or a new [composition]. Commentary The expression arare taNpasir- ‘hail falls (lit. runs)’ also appears in 10.2312. Note the reverse order of the main verb kö- ‘to come’ and the auxiliary humble verb mawi- ‘to come (humbly)’. In an SOV language we would expect *k-î-mawi-m-u, with an auxiliary following the main verb. Another piece of evidence for Japonic being originally a SVO language?

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The string of uninterrupted consecutive years is compared to the string of years. Kinoshita points out that Opotömö-nö sukune Timurô implies in his poem that he is enjoying himself so much at this banquet that he would like to continue coming for many more years (1988: 26). I also think that this poem implies a wish for the longevity of the host.

Postscript to the poem 20.4298 本文・Original text 右一首左兵衛督大伴宿祢千室

Translation The poem above is by Opotömö-nö sukune Timurô, Commander of the Left Guard. Commentary Instead of 千室 in the oldest manuscripts containing poems from book twenty, in newer manuscripts such the Hosoi-bon and xylographs we have 千 里 (Omodaka 1984.20: 18). Following Omodaka and Kinoshita’s (1988: 26) lead, I keep it as 千室 in accordance with the oldest attestations. Nothing is known about the biography of Opotömö-nö sukune Timurô, except that he was present at this New Year’s banquet. In addition to this poem he is the author of poem 4.693 in the Man’yōshū. Under the Ritsuryō code the position of the Commander of the Left Guard (Sahyōetoku, 左兵衛 督) in the Office of Guards (Hyōefu, 兵衛府) corresponds to Senior Fifth Rank, Upper Grade. Thus, strangely enough, Opotömö-nö sukune Timurô must have outranked Opotömö-nö sukune Yakamöti, who was the head of the family, but was only Junior Councilor, the position corresponding to Junior Fifth Rank, Lower Grade. Apparently, many hidden currents went against the old kabane system during the Nara period, and we still poorly understand these mechanics. Kamochi Masazumi speculates that Opotömö-nö sukune Timurô may be the same person as Opotömö-nö Kômurô (大伴小室), who is mentioned in the records of the third lunar month and the tenth lunar month of the fifth year of Tenpyō (March 20 – April 18 and October 13 – November 10, 733 AD) in the Shoku Nihongi (1912.7: 297), but this, of course, remains a speculation. The meaning of the commentary in kanbun (漢文) after the poem 古今未詳 It is not clear whether it is an old or a new [composition] is not really clear to me, and also it is not also commented upon by Japanese scholars. I presume that they too have no other ideas except Omodaka who says in his commentary exactly the same thing: こ の 作 が 古 歌 か 新 し い 作 か 明 ら か で な い 、 の 意 (Omodaka 1984.20: 18).

20.4299 (W)

本文・Original text (1) 年月波 (2) 安良多々々々尓 (3) 安比美礼騰 (4) 安我毛布伎美波 (5) 安伎太良奴可母 古今未詳 仮名の書き下し・Kana transliteration (1) と 2 しつき 2 は (2) あらたあらたに (3) あひ 1 み 1 れど 2 (4) あがも 1 ふき 1 み 1 は (5) あき 1 だらぬかも 2

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Romanization (1) TÖSI TUKÏ pa (2) arata arata n-i (3) apî-mî-re-Ntö (4) a-Nka [o]môp-u kîmî pa (5) ak-î-Ntar-an-u kamö Glossing with morphemic analysis (1) year month TOP (2) new new DV-INF (3) REC-see-EV-CONC (4) I-POSS think-ATTR lord TOP (5) be.satiated-INF-get.enough-NEG-ATTR PT Translation (3) Although [we] see each other (1/2) in years and months coming one after another, (5) [I could have] never [seen] enough of my lord for whom I long! It is not clear whether it is an old or a new [composition].

Commentary In the later manuscripts such as the Hosoi-bon and in the xylographs 安良多 arata ‘new’ appears as 安多良 atara (Omodaka 1984.20: 18), presumably under the influence of the Early Modern Japanese that has a metathesis in this word. The prenasalization voicing in ak-î-Ntar-an-u instead of expected *ak-î-tar-an-u is irregular. Kinoshita makes an interesting observation that in this poem lines two to five all start with /a/ (1988: 28), but does not discuss it any further. Someone should undertake a further study of this phenomenon, but if it can be found in other Old Japanese poems, it could mean that Old Japanese had initial rhyming system like Mongolian, where first syllables on lines rhyme instead the last ones. On “It is not clear whether it is an old or a new [composition]” see the commentary to 20.4298.

Postscript to the poem 20.4299 本文・Original text 右一首民部少丞大伴宿祢村上

Translation The poem above is by Opotömö-nö sukune Murakamî, Junior Assistant of the Ministry of Popular Affairs. Commentary Under the Ritsuryō code the Ministry of Popular Affairs (Minbushō, 民部省) dealt with population registration, taxation, tributes, levied labor, etc. The position of the Junior Secretary (Shōjō, 少丞) (there were two for each Ministry) corresponded to the Junior Sixth Rank, Upper Grade. Opotömö-nö sukune Murakamî is the author of four poems in the Man’yōshū: 8.1436, 8.1437, 8.1493, and 20.4299. Besides the fact that he was present at the New Year celebration banquet on the fourth day of the first lunar month of the sixth year [of Tenpyō Shōhō] (January 31, 754 AD), the only facts known about his biography are that in fourth lunar month of the second year of Hōki (April 20 – May 18, 771 AD) he had Junior Fifth Rank, Lower Grade, and that in the eleventh lunar month of the same year (December 11,

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771 AD – January 9, 772 AD) he was an Assistant Governor (Sukë, 介) of the Higo province (肥後國), and in the fourth lunar month of the third year of Hōki he was a governor (Môri, 守) of Apa province (阿波國).

20.4300 (W)

本文・Original text (1) 可須美多都 (2) 春初乎 (3) 家布能其等 (4) 見牟登於毛倍婆 (5) 多 努之等曽毛布 仮名の書き下し・Kana transliteration (1) かすみ 1 たつ (2) はるの 2 はじめ 2 を (3) け 1 ふの 2 ご 2 と 2 (4) み 1 むと 2 おも 1 へ 2 ば (5) たの 1 しと 2 そ 2 も 1 ふ Romanization (1) kasumî tat-u (2) PARU-NÖ PANSIMË-wo (3) kêpu-nö Nkötö (4) MÎ-m-u tö omôp-ë-Npa (5) tanôsi tö sö [o]môp-u Glossing with morphemic analysis (1) mist rise-ATTR (2) spring-GEN beginning-ACC (3) today-GEN like (4) see-TENT-FIN DV think-EV-CON (5) be.delightful(FIN) DV PT think-ATTR Translation (4) When [I] think that [I] would see [again] (3) like today (2) the beginning of the spring (1) when the mist rises, (5) [I] think it is so delightful. Commentary Omodaka notes that kasumî tatu ‘mist rises’ is a permanent epithet (枕詞, makura-kotoba) for paru ‘spring’ (1984.20: 19), but since it is a transparent one, I opt for translating it here. Kinoshita points out (with the reference to Satake Akihiro’s publication that is not available to me now) that WOJ tanôsi ‘to be delightful, to be pleasant’ in the Man’yōshū exclusively occurs in the poems composed at drinking banquets (1988: 29-30).

Postscript to the poem 20.4300 本文・Original text 右一首左京少進大伴宿祢池主

Translation The poem above is by Opotömö-nö sukune Ikënusi, Junior Overseer of the Left Capital Ward. Commentary On the biography of Opotömö-nö sukune Ikënusi see the commentary to the postscript to 20.4295. On Junior Overseer of the Left Capital Ward (Sakyō shōshin, 左京少進) see the commentary to the postscript to 20.4295.

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Preface to the poem 20.4301

本文・Original text 七日天皇太上天皇皇大后在於東常宮南大殿肆宴歌一首 Translation A poem [composed] on the seventh day [of the first lunar month of the sixth year of Tenpyō Shōhō] at the formal banquet held as usual in the grand southern pavilion of the Eastern Palace in the presence of the Empress, the Retired Emperor, and the Empress Dowager [Kōmyō]. Commentary The seventh day of the first lunar month of the sixth year of Tenpyō Shōhō corresponds to February 3, 754 AD. On Empress Kōken, Retired Emperor Shōmu, and Empress Dowager Kōmyō see the commentaries to the preface to poem 20.4293 and to the postscript to 20.4293-4294. The real power-holder in the family was Empress Dowager Kōmyō, largely responsible for Emperor Shōmu’s abdication in favor of Kōken, who was, therefore, just a figure-head Empress until the death of Kōmyō (Kinoshita 1988: 32). Kinoshita notes that the official way of order of listing Emperor and Retired Emperor adopted in the Shoku Nihongi (續日本紀) and Ritsuryō code (律令) was 天皇・太上天皇 ‘Emperor – Retired Emperor’, reflecting the importance of their official statuses, but in the Man’yōshū with the exception of this poem the usual order is 太上天皇・天皇 ‘Retired Emperor – Emperor’, reflecting the importance of their respective statuses within the imperial family. Kinoshita further speculates that this official order, unusual in the Man’yōshū is due either to the fact that the banquet had a highly official nature, or to the fact that the it was taking place at Kōken’s residence (1988: 33). The Eastern Palace (東宮 or 東院) was customarily the residence of the crown Prince, but Kōken even after her enthronement kept it as the place where she occasionally conducted ceremonies and banquets (Kinoshita 1988: 33).

20.4301 (W)

本文・Original text (1) 伊奈美野乃 (2) 安可良我之波々 (3) 等伎波安礼騰 (4) 伎美乎安我 毛布 (5) 登伎波佐祢奈之 仮名の書き下し・Kana transliteration (1) いなみ 1 の 1 の 2 (2) あからがしはは (3) と 2 き 1 はあれど 2 (4) き 1 み 1 をあがも 1 ふ (5) と 2 き 1 はさねなし Romanization (1) Inamî nô-nö (2) aka-ra-N-kasipa pa (3) tökî pa ar-e-Ntö (4) kîmî-wo a-Nka [o]môp-u (5) tökî pa sane na-si Glossing with morphemic analysis (1) Inamî field-GEN (2) red-?-DV(ATTR)-oak TOP (3) time TOP exist-EV-CONC (4) lord-ACC I-POSS think-ATTR (5) time TOP at.all no-FIN

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Translation (3) Although there is a time [schedule] (2) for the red oaks (1) at the Inamî plain, (5) there is no time [schedule] (4) for me to long for my sovereign. Commentary Inamî plain (印南野) is the plain that is located in the Kako county (加古郡) and between Kakogawa city ( 加 古 川 市 ) and Akasi city ( 明 石 市 ) in present-day Hyōgo prefecture. Inamî district (印南郡) was the destination of the imperial travel twenty-eight years prior (726 AD) to the time of the composition of this poem (presumably, please see the commentary to the postscript below). The governor’s office of Parima province (播磨國) was located in present-day Himeji (姫路), so Prince AsukaNpë (安宿) used to go through Inamî plain on his way to or from the capital (Kinoshita 1988: 30). Aka-ra-N-kasipa ‘red oak’ is a variety of kasipa ‘oak’, although it is difficult to pinpoint the exact variety. Kasipa ‘oak’ is a deciduous tree that grows in the wild. It has a straight trunk and thick branches, and can grow taller than fifteen m. Its leaves that can be as long as twenty-five cm (Kinoshita 1988: 30) were often used for wrapping food (Nakanishi 1985: 309), and this fact is particularly significant for the red oak, because its leaves were used to wrap mochi ‘rice cakes’ in the fifth lunar month (Omodaka 1984.20: 20). This custom is apparently the reference point for the time [schedule] that is mentioned in the poem. Kinoshita also notes that the color reference ‘red’ comes from the fact that dried leaves of this particular variety of oak turned red (1988: 30). This is apparently a poem wishing longevity.

Postscript to the poem 20.4301 本文・Original text 右一首播磨國守安宿王奏

古今未詳

Translation The poem above was humbly composed by Prince AsukaNpë, Governor of Parima province. It is not clear whether it is an old or a new [composition] Commentary Prince AsukaNpë (安宿) is an author of two poems in the Man’yōshū: 20.4301 and 20.4452. He is the son of Prince NaNkaya (長屋). His mother was the daughter of PuNdipara-nö PuNpîtö ( 藤 原 不 比 等 ). Due to this blood connection on his mother’s side that made him second cousin of Emperor Shōmu and nephew of the Empress Kōmyō, he escaped death together with his two younger brothers from the same mother, Prince Kïpumî (黄文王) and Prince Yamasirö (山背王), when Prince NaNkaya was ordered to commit suicide in the first year of Tenpyō (729 AD). In the ninth year of Tenpyō (737 AD) Prince AsukaNpë had Junior Fifth Rank, Lower Grade. He went through the positions of Head (Genbantō, 玄蕃頭) of the Office of Monks and Foreigners Affairs (Genbanryō, Hōsi marabito no tukasa, 玄蕃寮,) in the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部省),33 the Senior Assistant Minister (Tayū, 大輔) of the Ministry of Central Affairs 33

This position corresponds to Junior Fifth Rank, Lower Grade.

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(Naka tukasa shō, Naka matsurigoto no tukasa, 中務省),34 and the Minister (Kyō, 卿) of the Ministry of Civil Administration.35 He was promoted to Senior Fourth Rank, Lower Grade in the third year of Tenpyō Shōhō (751 AD), and in the fifth year of Tenpyō Shōhō (753 AD) became a governor of Parima province (播磨國). This appointment looks like a demotion to me, because a governor of a Great Province (see below on Parima province status) was supposed to have only Junior Fifth Rank, Upper Grade. Then in the eighth year of Tenpyō Shōhō he was transferred as a governor of Sanukî province, which was only an Upper Province, and a governor of an Upper Province was supposed to have only Junior Fifth Rank, Lower Grade. Being implicated in TatiNpana-nö Naramarö’s plot in the first year of Tenpyō Hōji (天平寶字, 757 AD), Prince AsukaNpë was exiled to Sado (佐渡) island, but it looks like he was pardoned later, as in the fourth year of Hōki (寶龜, 773 AD) he was granted the family name and kabane rank of Takasina-nö mapîtö (高階眞人). The name AsukaNpë (安宿) may have connection with AsukaNpë district (安 宿郡) in Kaputi province (河内國), or possibly with the posthumous name of Empress Dowager Kōmyō that was also AsukaNpë (安宿) (Kinoshita 1988: 33). Parima province ( 播 磨 國 ) corresponds to the south-western part of present-day Hyōgo prefecture. It was one of the Great Provinces (Taikoku, 大 國) under the Ritsuryō code. On the Ritsuryō code classification of Yamatö provinces, see the commentary to 5.818. On “It is not clear whether it is an old or a new [composition]” see the commentary to 20.4298.

Preface to the poems 20.4302-4303

本文・Original text 三月十九日家持之庄門槻樹下宴飲歌二首 Translation Two poems composed on the nineteenth day of the third lunar month during the drinking banquet under a zelkova tree at the gate of the rural mansion of Yakamöti. Commentary The nineteenth day of the third lunar month of the sixth year of Tenpyō Shōhō corresponds to April 16, 754 AD. The location of the rural mansion of Opotömö-nö Yakamöti is unknown. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. WOJ tukï ‘zelkova tree’ (old name of MdJ keyaki (欅)) is a tall (it can reach over thirty m) deciduous tree that grows in the wild in the mountains. It has a straight trunk and luxuriant branch leaves. In the spring it puts forward new leaves and yellow-greenish flowers at the same time. It was considered a sacred tree, therefore banquets were sometimes held under it. Its wood was used for building and making bows (Nakanishi 1985: 320).

34 35

This position corresponds to Senior Fifth Rank, Upper Grade. This position corresponds to Senior Fourth Rank, Lower Grade.

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20.4302 (W)

本文・Original text (1) 夜麻夫伎波 (2) 奈埿都々於保佐牟 (3) 安里都々母 (4) 伎美伎麻之 都々 (5) 可射之多里家利 仮名の書き下し・Kana transliteration (1) やまぶき 1 は (2) なでつつおほさむ (3) ありつつも 2 (4) き 1 み 1 き 1 ましつつ (5) かざしたりけ 1 り Romanization (1) yamaNpukî pa (2) naNte-tutu op-os-am-u (3) ar-i-tutu mö (4) kîmî k-î-mas-i-tutu (5) kaNsas-i-tar-i-kêr-i Glossing with morphemic analysis (1) rose TOP (2) caress(INF)-COOR grow-CAUS-TENT-FIN (3) existINF-COOR PT (4) lord come-INF-HON-INF-COOR (5) decorate-INF-PERF/ PROG-INF-RETR-FIN Translation (1/2) Let us make yamaNpukî roses grow while gently stroking them. (4) While you came [to my home], (3) as usual (5) [you] have decorated [yourself with yamaNpukî roses]. Commentary WOJ yamaNpukî (山吹) ‘kerria’ is a deciduous bush and is a member of the rose family. It grows in the wild in mountain and fields. Its stalk is straight and green in color. In the spring yamaNpukî puts forward yellow flowers that have five-petals. There are many poems where yamaNpukî are used to symbolize lovers (Nakanishi 1985: 331), but this is probably not the case here. The time indicated in the preface coincides with the peak of yamaNpukî blooming (Kinoshita 1988: 34). Line two is hypermetric (jiamari, 字余り). WOJ op-os- is a causative form of WOJ opï- ‘to grow (intr.)’, that includes a causative suffix variant -os- instead of -as-, due to progressive vowel assimilation a > o. Decorating with yamaNpukî flowers certainly means that Yakamöti put them into his hair. On the custom of decorating one’s hair with flowers, leaves, or branches see the commentaries to 5.817 and 15.3707.

Postscript to the poem 20.4302 本文・Original text 右一首置始連長谷

Translation The poem above is by Okîsömë-nö muraNsi Patuse. Commentary Nothing is known about the biography of Okîsömë-nö muraNsi Patuse (置始 連長谷), except this meeting with Yakamöti, and the fact that he was one of the singers performing Tang songs, Koryǒ songs and other music at the reading of Vimalakīrti sutra organized by Empress Kōmyō in the tenth lunar

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month of the eleventh year Tenpyō (November 6 – December 4, 739 AD), as mentioned to the postscript to 8.1594.

20.4303 (W)

本文・Original text (1) 和我勢故我 (2) 夜度乃也麻夫伎 (3) 佐吉弖安良婆 (4) 也麻受可欲 波牟 (5) 伊夜登之能波尓 仮名の書き下し・Kana transliteration (1) わがせこ 1 が (2) やど 1 の 2 やまぶき 1 (3) さき 1 てあらば (4) やま ずかよ 1 はむ (5) いやと 2 しの 2 はに Romanization (1) wa-Nka se-kô-Nka (2) yaNtô-nö yamaNpukî (3) sak-î-te ar-aNpa (4) yam-aNs-u kayôp-am-u (5) iya tösi-nö pa n-i Glossing with morphemic analysis (1) I-POSS elder.brother-POSS (2) home-GEN rose (3) bloom-INF-SUB exist-COND (4) stop-NEG-INF go.back.and.forth-TENT-FIN (5) more. and.more year-GEN every DV-INF Translation (1/2/3) If the yamaNpukî roses were blooming at the home of my friend, (4/5) [I] would come [there] more and more constantly every year. Commentary Here the expression wa-Nka sekô, lit. ‘my elder brother’, usually indicating an address to male beloved from female beloved, is used by a junior friend to address his senior friend. On WOJ yamaNpukî ‘kerria’ see the commentary to 20.4302. Line three is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because sak-î-te ar-aNpa was most likely pronounced as [sakîtaraNpa]. For details on postposition pa ‘every’ see Vovin (2009a: 1298-99).

Postscript to the poem 20.4303

本文・Original text 右一首長谷攀花提壺到来因是大伴宿祢家持作此歌和之 Translation The poem above was composed by Opotömö-nö Sukune Yakamöti in response to when Patuse came with flowers [of yamaNpukî] twisted around his head and a kettle of sake. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. Patuse is Okîsömë-nö muraNsi Patuse (置始連長谷), on whom see the commentary to the postscript to 20.4302. On WOJ yamaNpukî ‘kerria’ see the commentary to 20.4302.

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On the custom of decorating one’s hair with flowers, leaves, or branches see the commentaries to 5.817 and 15.3707.

Preface to the poem 20.4304

本文・Original text 同月廿五日左大臣橘卿宴于山田御母之宅歌一首 Translation A poem composed on the twenty-fifth day of the same month, when Minister of the Left TatiNpana[-nö Möröye], the High Noble was at the banquet held at the mansion of the imperial wet nurse YamaNta[-nö puNpîtö Pîmêsima]. Commentary The twenty-fifth day of the third lunar month of the sixth year of Tenpyō Shōhō corresponds to April 22, 754 AD. Minister of the Left TatiNpana-nö Möröye (橘諸兄) was at this time seventy-one years old. He was a child of Prince Mînô ( 美 努 王 ), a great-great-grandson of the Emperor Bidatsu ( 敏 達 天 皇 ) and ANkatainukapî-nö sukune Mîtiyö (縣犬養宿禰三千代). His mother Mîtiyö later remarried PuNtipara-nö PuNpîtö and gave birth to the future Empress Kōmyō. In the third year of Wadō (和銅, 710 AD) TatiNpana-nö Möröye had Junior Fifth Rank, Lower Grade, but in the first year of Tenpyō (729 AD) he was already Left Senior Overseer (Sadaiben, 左大辨), and in the fourth year of Tenpyō (732 AD) he was promoted to Junior Third Rank. In the eighth year of Tenpyō (736 AD) TatiNpana-nö Möröye was demoted from princely rank, and he presented a petition for taking a family name on his mother’s side, which was granted, and received the name and the kabane title of TatiNpana-nö sukune Möröye. In the next year TatiNpana-nö Möröye rapidly went through the positions of: first, Great Councilor (Dainagon, 大納言) and Minister of the Right (Udaijin, 右大臣), and became Minister of the Left (Sadaijin, 左大臣). He was promoted to the highest possible Senior First Rank in the first year of Tenpyō Shōhō (749 AD), and in the next year was given the kabane rank of asömî. He retired (or was rather forced to retire) in the second lunar month of the eighth year of Tenpyō Shōhō (March 6 – April 3, 756 AD) and passed away in the first lunar month of the first year of Tenpyō-Hōji next year (January 25 – February 22, 757 AD) at the age of seventy-four. It is believed that the peak of his power was around the eighteenth year of Tenpyō (746 AD), and after that the actual power was gradually absorbed by PuNtipara, and especially in his later years by PuNtipara-nö Nakamarö (Kinoshita 1988: 37-38). On 卿 (Kyau, Mapêtukîmî) ‘High Noble’ see the commentary to 5.815. YamaNta-nö puNpîtö Pîmêsima (山田史比女島, alternative spelling of her given name is 比賣島) was a wet nurse of Empress Kōken (b. 718 AD). She was granted Junior Fifth Rank, Lower Grade on the accession of Kōken in the first year of Tenpyō Shōhō (749 AD). In the seventh year of Tenpyō Shōhō (755 AD) YamaNta-nö puNpîtö Pîmêsima was granted the family name and the kabane rank YamaNta-Mîwi-nö sukune (山田御井宿禰). It looks like she retired very soon after that, and although there was an edict to grant a special status to all members of her family because of her extremely favorable service as an imperial nurse, due to the fact that it was discovered that she had sympathies towards TatiNpana-nö Naramarö who rose in rebellion after

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TatiNpana-nö Möröye’s death, this edict was never promulgated, and YamaNta-nö puNpîtö Pîmêsima was also severely reprimanded by depriving her of the title ‘imperial nurse’ (御母), and kabane title sukune (宿禰). On the basis of these facts it is likely that YamaNta-nö puNpîtö Pîmêsima had deep ties with the TatiNpana family (Kinoshita 1988: 38).

20.4304 (W)

本文・Original text (1) 夜麻夫伎乃 (2) 花能左香利尓 (3) 可久乃其等 (4) 伎美乎見麻久波 (5) 知登世尓母我母 仮名の書き下し・Kana transliteration (1) やまぶき 1 の 2 (2) はなの 2 さかりに (3) かくの 2 ご 2 と み 1 をみ 1 まくは (5) ちと 2 せにも 2 がも 2

2

(4) き

1

Romanization (1) yamaNpukî-nö (2) PANA-nö sakar-i-wo (3) ka-ku-nö Nkötö (4) kîmî-wo MÎ-m-aku pa (5) ti töse n-i möNkamö Glossing with morphemic analysis (1) rose-GEN (2) flower-GEN bloom-NML-ACC (3) be.thus-INF-GEN like (4) lord-ACC see-TENT-NML TOP (5) thousand year DV-INF PT Translation (4/5) [I] want to have a thousand years when [I] would see [my] lord (3) like this (1/2) peak of blossoming of yamaNpukî roses. Commentary The word kîmî ‘lord’ certainly refers to TatiNpana-nö Möröye.

Postscript to the poem 20.4304

本文・Original text 右一首少納言大伴宿祢家持矚時花作但未出之間大臣罷宴而不擧誦耳 Translation The poem above was composed by Shōnagon Opotömö-nö sukune Yakamöti while he was looking at flowers [of yamaNpukî roses]. However, before he could recite it, the Minister left the banquet, so [Yakamöti] could not present [his poem], and that was the end of it. Commentary The flowers referred to are yamaNpukî roses. On Opotömö-nö Yakamöti’s biography, see the Introduction to the Man’yōshū book twenty. Minister (Daijin, 大臣) refers to TatiNpana-nö Möröye. Classical Chinese clause-final particle 耳 ‘only, that is it’ serves here as a discourse marker to indicate Yakamöti’s disappointment.

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Preface to the poem 20.4305 本文・Original text 詠霍公鳥歌一首

Translation One poem about a cuckoo. Commentary On WOJ potötöNkîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754.

20.4305 (W)

本文・Original text (1) 許乃久礼能 (2) 之氣伎乎乃倍乎 (3) 保等登藝須 (4) 奈伎弖故由奈 理 (5) 伊麻之久良之母 仮名の書き下し・Kana transliteration (1) こ 2 の 2 くれの 2 (2) しげ 2 き 1 をの 2 へ 2 を (3) ほと 2 と 2 ぎ 1 す (4) な き 1 てこ 1 ゆなり (5) いましくらしも 2 Romanization (1) kö-nö kure-nö (2) siNkë-kî wo-nö [u]pë-wo (3) potötöNkîsu (4) nak-î-te kôy-u-nar-i (5) ima si k-urasi-mö Glossing with morphemic analysis (1) tree-GEN shade-GEN (2) grow.densely-ATTR hill-GEN top-ACC (3) cuckoo (4) cry-INF-SUB cross-FIN-RA-FIN (5) now PT come-SUP-EXCL Translation (3/4) [I] am told that the cuckoo cries and crosses over (2) the top of the hill with dense (1) shade of trees. (5) It looks like it comes [here] now! Commentary OJ wo may mean ‘hill’ or ‘ridge’ – it is difficult to decide exactly what is meant here. On WOJ potötöNkîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. WOJ nar- is an auxiliary of reported action. For details see Vovin (2009a: 1050-55). On -umö ~ -mö as a special Old Japanese exclamative form, see the commentary to 15.3595.

Postscript to the poem 20.4305 本文・Original text 右一首四月大伴宿祢家持作

Translation The poem above was composed by Opotömö-nö sukune Yakamöti in the fourth lunar month [of the sixth year of Tenpyō Shōhō].

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Commentary The fourth lunar month of the sixth year of Tenpyō Shōhō corresponds to April 27 – May 26, 754 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to the Man’yōshū book twenty.

Preface to the poems 20.4306-4313 本文・Original text 七夕歌八首

Translation Eight poems on TanaNpata. Commentary On TanaNpata, see the commentary to the preface to 15.3611.

20.4306 (W)

本文・Original text (1) 波都秋風 (2) 須受之伎由布弊 (3) 等香武等曽 (4) 比毛波牟須妣之 (5) 伊母尓安波牟多米 仮名の書き下し・Kana transliteration (1) はつあき 1 かぜ (2) すずしき 1 ゆふへ 1 (3) と 2 かむと 2 そ 2 (4) ひ 1 も 1 はむすび 1 し (5) いも 2 にあはむため 2 Romanization (1) patu AKÎ KANSE (2) suNsusi-kî yupu-pê (3) tök-am-u tö sö (4) pîmô pa musuNp-î-si (5) imö-ni ap-am-u tamë Glossing with morphemic analysis (1) first autumn wind (2) be.cool-ATTR evening-side (3) untie-TENT-ATTR DV PT (4) tie-INF-PAST/ATTR (5) beloved-DAT meet-TENT-ATTR for Translation (1/2) In the evening, when the first autumn wind is cool, (3/4) [I] thought of untying the cords (5) in order to meet [my] beloved (4) who tied them. Commentary Line one and line five are hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because patu akî kaNse and imö-ni apamu tamë were most likely pronounced as [pat-akî kaNse] and [imö-n-apamu tamë]. The first line patu AKÎ KANSE is unique to the Man’yōshū, as it occurs nowhere else in the anthology except in this poem. It is probably Yakamöti’s poetic creation (Kinoshita 1988: 41). Kōnosu perceives this usage as a sign that poetry became more modern (1939: 3269). On the custom of tying and untying the cords of one’s garment, see the commentary to 15.3585. Among early manuscripts of the Man’yōshū, only the Genryaku kōhon Man’yōshū exhibits 比 /pî/ with voiceless initial for /Npî/ in musuNpîsi ‘tied’. All other early manuscripts have 妣 /Npî/ with prenasalized voiced initial.

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Given the fact that the verb musuNp- clearly has a prenasalized /Np/, Genryaku kōhon either has a mistake here, or uses an ambiguous writing. OJ imô (misspelled here as imö) indicates the Weaver Star (Vega), not a beloved of Yakamöti. Thus, Yakamöti composed this poem assuming the voice of the Cow-herder Star (Altair). On Vega and Altair see the commentary to 15.3611.

20.4307 (W)

本文・Original text (1) 秋等伊閇婆 (2) 許己呂曽伊多伎 (3) 宇多弖家尓 (4) 花仁奈蘇倍弖 (5) 見麻久保里香聞 仮名の書き下し・Kana transliteration (1) あき 1 と 2 いへ 2 ば (2) こ 2 こ 2 ろ 2 そ 2 いたき 1 (3) うたてけ 1 に (4) はなになそ 1 へ 2 て (5) み 1 まくほりかも Romanization (1) AKÎ tö ip-ë-Npa (2) kökörö sö ita-kî (3) utate kê n-i (4) pana-ni nasôpë-te (5) MÎ-m-aku por-i kamo Glossing with morphemic analysis (1) autumn DV say-EV-CON (2) heart PT be.painful-ATTR (3) unusual strange DV-INF (4) flower-LOC liken(INF)-SUB (5) see-TENT-NML want-FIN PT Translation (1) When [they] speak about autumn, (2/3) [my] heart is unusually and strangely painful. (5) Oh, [I] want to see [my beloved], (4) likening [her] to a flower! Commentary Line one is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because the sequence tö ipëNpa was most likely pronounced as [tipëNpa] or [töpëNpa]. The major problem in interpretation of this poem is with determining whether line three utate kê n-i ‘unusually and strangely’ modifies itakî ‘is painful’ in line two or nasôpëte ‘likening’ in line four. Omodaka points out that given utate kê n-i kökörö iNpusesi ‘[my] heart is unusually and strangely gloomy’ in 12.2949, the first interpretation is preferable, but the second interpretation that would change the translation into (1) When [they] speak about autumn, (2/3) [my] heart is painful. (5) Oh, [I] want to see [my beloved], (4) unusually and strangely likening [her] to a flower! is better due to the fact that in the Man’yōshū poems’ lines do not invert (1984.20: 25-26). However, there are examples in the Man’yōshū that exhibit afterthought, and are consequently syntactic inversions, see, e.g. the very first poem in the book twenty: 20.4294, or 20.4320. In addition, there is nothing unusual or strange in comparing women to flowers in the Man’yōshū, cf., for example, the next poem 20.4308. Therefore, I adopt the first interpretation here. I have shown elsewhere that the WOJ verb por- ‘to want’ is actually not a consonantal verb, as it is usually believed (Omodaka et al. 1967: 662), but a r-irregular verb (Vovin 2009a: 508, 771-74). In this poem its final form pori

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MAN’YŌSHŪ

‘want’ appears unexpectedly before the emphatic particle kamö that normally changes the preceding final form into attributive, so we would expect otherwise unattested *por-u kamö instead of por-i kamö. In this poem, like in previous 20.4306, Opotömö-nö Yakamöti again assumes the voice of the Cow-herder Star (Altair). The beloved whom he compares to a flower is certainly Weaver Star (TanaNpata). On Vega and Altair see the commentary to 15.3611.

20.4308 (W)

本文・Original text (1) 波都乎婆奈 (2) 波名尓見牟登之 (3) 安麻乃可波 (4) 弊奈里尓家良 之 (5) 年緒奈我久 仮名の書き下し・Kana transliteration (1) はつをばな (2) はなにみ 1 むと 2 し (3) あまの 2 かは (4) へ 1 なりに け 1 らし (5) と 2 しの 2 をながく Romanization (1) patu woNpana (2) pana n-i MÎ-m-u tö si (3) Ama-nö kapa (4) pênar-i-n-i-kêr-asi (5) tösi-nö wo naNka-ku Glossing with morphemic analysis (1) first susuki.ear (2) flower DV-INF see-TENT-FIN DV PT (3) heaven-GEN river (4) be.apart-INF-PERF-INF-RETR-SUP (5) year-GEN cord be.long-INF Translation (1/2) [I] think that [I] will look at [her] as at the first flowers of susuki. (3/4) It seems that [we] were kept apart [by] the Heavenly river (5) for a long string of years. Commentary In line two the Genryaku kōhon has 々々 for pana ‘flower’, the Ruijū koshū has 八名, but all other early manuscripts have 波名. Since 婆 in the preceding line clearly stands for the syllable /Npa/ with a voiced prenasalized /Np-/, the repetition sign 々 is not a perfect substitution for the syllable /pa/ with voiceless /p-/, it is safer to assume that the Genryaku kōhon has a mistake here. WOJ woNpana (lit. wo-N-pana ‘tail flowers’) refers to the ears of susukî grass. On susukî see the commentary to 15.3681. On ama-nö [N]kapa ‘Heavenly River’ see the commentary to the preface to 15.3611. WOJ has conflicting phonographic spellings: ama-nö kapa with /k-/ (20.4308), ama-nö Nkapa with /Nk-/ (15.3658, 18.4126), and inconclusive ama-nö KApa (20.4310), which is likely to be semantographic. On WOJ pênar- ‘to be separated by placing something in between’ see the commentary to 15.3755. Omodaka points out that pênarinikêrasi ‘seem to have been kept apart’ indicates the third party observer (1984.20: 27). The basis for his conclusion is unclear to me, as there are cases in WOJ, when suppositional -[ur]asi is used by the first person as well, see Vovin (2009a: 679-84). The use of suppositional here is well justified by the context, since it appears to the Cow-herder Star that he and the Weaver Star did not meet for many years,

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although as a matter of fact they did not meet for only a year. Thus, here Opotömö-nö Yakamöti again assumes the voice of the Cow-herder Star (Altair), as in the previous two poems. On the long string of years see the commentary to 20.4298.

20.4309 (W)

本文・Original text (1) 秋風尓 (2) 奈妣久可波備能 (3) 尓故具左能 (4) 尓古餘可尓之母 (5) 於毛保由流香母 仮名の書き下し・Kana transliteration (1) あき 1 かぜに (2) なび 1 くかはび 2 の 2 (3) にこ 1 ぐさの 2 (4) にこ 1 よ 2 かにしも 2 (5) おも 1 ほゆるかも 2 Romanization (1) AKÎ KANSE-ni (2) naNpîk-u kapa-N-pï-nö (3) nikô-N-kusa-nö (4) nikôyöka n-i si mö (5) omôp-oy-uru kamö Glossing with morphemic analysis (1) autumn wind-LOC (2) bend-ATTR river-GEN-side-GEN (3) soft/gentle-DV(ATTR)-grass-COMP (4) gentle/smile-provoking DV-INF PT PT (5) think-PASS-ATTR PT Translation (3) Like a soft grass (2) at the river-side that bends (1) at the autumn wind (4) is gentle, (5) [I] suddenly thought [of her] (4) with a smile [on my face]. Commentary This poem presents a play on words (kakekotoba, 掛詞) involving OJ nikô ‘soft, gentle’ and WOJ nikôyöka ‘gentle, heartwarming, smile-provoking’ (also nikôyaka, although this latter form does not appear in the Man’yōshū). On OJ nikô-N-kusa ‘soft grass’ see the commentary to 14.3370. Here Opotömö-nö Yakamöti again assumes the voice of the Cow-herder Star (Altair), as in the previous three poems. This poem may represent an allusive variation (honkadori, 本歌取り) of the poem 11.2762, which has nikô-N-kusa-ni nikôyöka n-i ‘gently like a soft grass’. On OJ -pï ‘side’ see the commentary to 5.838.

20.4310 (W)

本文・Original text (1) 安吉佐礼婆 (2) 奇里多知和多流 (3) 安麻能河波 (4) 伊之奈弥於可 婆 (5) 都藝弖見牟可母 仮名の書き下し・Kana transliteration (1) あき 1 されば (2) き 2 りたちわたる (3) あまの 2 かは (4) いしなみ 1 おかば (5) つぎ 1 てみ 1 むかも 2

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Romanization (1) akî sar-e-Npa (2) kïri tat-i-watar-u (3) ama-nö KApa (4) isi-nam-î ok-aNpa (5) tuNk-î-te MÎ-m-u kamö Glossing with morphemic analysis (1) autumn come-EV-CON (2) fog rise-INF-cross-ATTR (3) heaven-GEN river (4) stone-be.placed.side.by.side-NML put-COND (5) continue-INF-SUB see-TENT-ATTR PT Translation (4) If [they] would place stepping stones (3) [into] the Heavenly River (2) where the fog rises (1) when the autumn comes, (5) [I] wonder whether [I] would [be able to] see you continuously? Commentary Although several commentators analyze line four as isi namîokaNpa ‘if [they] would place stones side by side’, taking namîokaba as a verbal form (Kamochi 1912.7: 305), (Kōnosu 1939: 3271), (Takagi et al. 1962: 407), (Tsuchiya 1977: 269), I follow the majority of scholars, who analyze this line as isinamî okaNpa, taking isinamî as a noun meaning ‘stepping stones, that are placed side by side in the shallows of a river to serve as a bridge’ (Keichū 1690.20: 9a), (Inoue 1928: 4000), (Takeda 1957.12: 364), (Kojima et al. 1975: 377), (Kubota 1967.7: 415), (Nakanishi 1983: 288), (Omodaka 1984.20: 28), (Kinoshita 1988: 44-45), (Itō 1999: 413), (Satake et al. 2003: 385). Kinoshita further especially notes that nam- is an intransitive verb meaning ‘to be placed side by side’, and that if ‘placing stones side by side’ were involved, we would expect transitive verb namë- ‘to place side by side’ (1988: 44-45). Thus, the analysis of line four as isinamî okaNpa ‘putting stepping stones’ is inescapable. These quasi-bridges consisting of stepping stones placed in shallows of rivers can be seen frequently even in modern Japan, for example on Kamogawa in Kyōto. Scholars also differ as to whether verb tatiwataru in line two ends in the attributive, modifying the following ama-nö kapa ‘Heavenly River’ (Keichū 1690.20: 9a), (Inoue 1928: 4001), (Tsuchiya 1977: 269), (Kojima et al. 1975: 377), (Omodaka 1984.20: 28), (Kinoshita 1988: 44), (Itō 1999: 413), (Satake et al. 2003: 385), or it is in final form, with the first two lines being just a description of an autumn view (Kamochi 1912.7: 305), (Kōnosu 1939: 3271), (Takagi et al. 1962: 407), (Takeda 1957.12: 364), (Kubota 1967.7: 415), (Nakanishi 1983: 288). Since WOJ watar- ‘to cross’ is a consonantal verb, with no overt morphological distinction between final and attributive forms, both variants of the poem analysis are valid. However, I prefer to follow the first solution, because it has no break in the poem’s flow that leaves two unconnected parts, and makes the text much smoother. In this poem Opotömö-nö Yakamöti again assumes the voice of the Cow-herder Star (Altair), as in the previous four poems.

20.4311 (W)

本文・Original text (1) 秋風尓 (2) 伊麻香伊麻可等 (3) 比母等伎弖 (4) 宇良麻知乎流尓 (5) 月可多夫伎奴

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仮名の書き下し・Kana transliteration (1) あき 1 かぜに (2) いまかいまかと 2 (3) ひ 1 も 2 と 2 き 1 て (4) うらま ちをるに (5) つき 2 かたぶき 1 ぬ Romanization (1) AKÎ KANSE-ni (2) ima ka ima ka tö (3) pîmö tök-î-te (4) ura-mat-i-wor-u-ni (5) TUKIY kataNpuk-î-n-u Glossing with morphemic analysis (1) autumn wind-LOC (2) now PT now PT DV (3) cord untie-INF-SUB (4) heart-wait-INF-exist-ATTR-LOC (5) moon wane-INF-PERF-FIN Translation (5) The moon has waned (4) while [I] eagerly waited for [him] (1) at the [blowing] autumn wind, (3) with [my] cords untied and (2) thinking: “[Is it] now, [is it] now [that he will come]?” Commentary On the custom of tying and untying the cords of one’s garment, see the commentary to 15.3585. On OJ ura ‘heart’ see the commentary to 15.3584. In contrast to the previous five poems, in this poem Opotömö-nö Yakamöti assumes the voice of the Weaver Star (Vega).

20.4312 (W)

本文・Original text (1) 秋草尓 (2) 於久之良都由能 (3) 安可受能未 (4) 安比見流毛乃乎 (5) 月乎之麻多牟 仮名の書き下し・Kana transliteration (1) あき 1 くさに (2) おくしらつゆの 2 (3) あかずの 2 み 2 (4) あひ 1 み 1 るも 1 の 2 を (5) つき 2 をしまたむ Romanization (1) AKÎ KUSA-ni (2) ok-u sira tuyu-nö (3) ak-aNs-u nömï (4) apî-MÎ-ru mônöwo (5) TUKÏ-wo si mat-am-u Glossing with morphemic analysis (1) autumn grass-LOC (2) place-ATTR white dew-COMP (3) satisfy-NEG-INF PT (4) REC-see-ATTR CONJ (5) month-ACC PT wait-TENT-FIN Translation (3/4) Although [we] see each other, [it is] just not enough (2) like a white dew that lies (1) on autumn grass, (5) [I] will wait for the next [seventh] lunar [month]. Commentary The first two lines represent a poetic introduction (jo, 序), introducing a metaphor that looking at each other is not enough like looking at the beautiful dew on the autumn grass (Omodaka 1984.20: 29).

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It is not clear who is the personified author of this poem, as it could be either the Cow-herder Star (Altair), or the Weaver Star (Vega).

20.4313 (W)

本文・Original text (1) 安乎奈美尓 (2) 蘇弖佐閇奴礼弖 (3) 許具布祢乃 (4) 可之布流保刀 尓 (5) 左欲布氣奈武可 仮名の書き下し・Kana transliteration (1) あをなみ 1 に (2) そ 1 でさへ 2 ぬれて (3) こ 2 ぐふねの 2 (4) かしふ るほと 1 に (5) さよ 1 ふけ 2 なむか Romanization (1) awo namî-ni (2) sôNte sapë nure-te (3) köNk-u pune-nö (4) kasi pur-u potô-ni (5) sa-yô pukë-n-am-u ka Glossing with morphemic analysis (1) blue wave-LOC (2) sleeve PT make.wet(INF)-SUB (3) row-ATTR boat-GEN (4) boat.pole anchor-ATTR time-LOC (5) PREF-night deepen(INF)-PERF-TENT-ATTR PT Translation (5) Has the night deepened (4) while [I] was anchoring the boat pole (3) of the boat that [I] was rowing (2) wetting even [my] sleeves (1) in the blue waves? Commentary WOJ kasi is a pole to which boats were anchored. It was frequently made from pine wood (Kinoshita 1988: 47). In this poem Opotömö-nö Yakamöti again assumes the voice of the Cow-herder Star (Altair), as in poems 20.4306-4310.

Postscript to the poems 20.4306-4313 本文・Original text 右大伴宿祢家持獨仰天漢作之

Translation The poems above were composed by Opotömö-nö sukune Yakamöti when he was gazing alone at the Heavenly River. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. These poems have no date, but most likely they were composed on or around the seventh day of the seventh lunar month (when the TanaNpata festival is held) of the sixth year of Tenpyō Shōhō (July 30, 754 AD). On Heavenly River see the commentary to the preface to 15.3611.

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20.4314 (W)

本文・Original text (1) 八千種尓 (2) 久佐奇乎宇惠弖 (3) 等伎其等尓 (4) 佐加牟波奈乎之 (5) 見都追思努波奈 仮名の書き下し・Kana transliteration (1) やちくさに (2) くさき 2 をうゑて (3) と 2 き 1 ご 2 と 2 に (4) さかむ はなをし (5) み 1 つつしの 1 はな Romanization (1) YA TI KUSA n-i (2) kusa kï-wo uwe-te (3) tökî-Nkötö n-i (4) sak-am-u pana-wo si (5) MÎ-tutu sinôp-ana Glossing with morphemic analysis (1) eight thousand variety DV-INF (2) grass tree-ACC plant(INF)-SUB (3) season-every DV-INF (4) bloom-TENT-ATTR flower-ACC PT (5) look(INF)-COOR admire-DES Translation (1/2) Having planted multiple grasses and trees [in my garden], (5) [I] want to look at and admire (4) [their] flowers that will bloom (3) every season. Commentary WOJ sinôp- in this poem has the meaning ‘to admire, to praise, to prize’, not ‘to long for’. OJ tökî in this poem means ‘season’ rather than ‘time’.

Postscript to the poem 20.4314

本文・Original text 右一首同月廿八日大伴宿祢家持作之 Translation The poem above was composed by Opotömö-nö sukune Yakamöti on the twenty-eighth day of the same lunar month. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. The same lunar month is the seventh lunar month when the preceding six poems were composed. The twenty-eighth day of the seventh lunar month of the sixth year of Tenpyō Shōhō corresponds to August 20, 754 AD.

20.4315 (W)

本文・Original text (1) 宮人乃 (2) 蘇泥都氣其呂母 (3) 安伎波疑尓 (4) 仁保比与呂之伎 (5) 多加麻刀能美夜 仮名の書き下し・Kana transliteration (1) み 1 やひ 1 と 2 の 2 (2) そ 1 でつけ 2 ご 2 ろ 2 も 2 (3) あき 1 はぎ 2 に (4) にほひ 1 よ 2 ろ 2 しき 1 (5) たかまと 1 の 2 み 1 や

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MAN’YŌSHŪ

Romanization (1) MÎYA PÎTÖ-nö (2) sôNte tukë-N-körömö (3) akî paNkï-ni (4) nipop-î yörösi-kî (5) Takamatô-nö mîya Glossing with morphemic analysis (1) palace person-GEN (2) sleeve attach(NML)-DV(ATTR)-garment (3) autumn bush.clover-LOC (4) match.in.color-NML good-ATTR (5) Takamatô-GEN palace Translation (5) Oh, the palace of Takamatô (2) where the garments with wide sleeves (1) of people in the palace (4) nicely match in color (3) to autumn bush clover! Commentary WOJ sôNte tukë-N-körömö, lit. ‘garment with attached sleeves’ is a ceremonial court dress with broad sleeves that were actually considerably longer than an arm’s length. It was so called in contrast to WOJ kataNkînu ‘sleeveless garment’. On WOJ paNkï ‘bush clover’ see the commentary to 15.3656. On Takamatô and Takamatô palace see the commentary to the preface to 20.4395-4397. The ceremonial court clothes of the courtiers of the first rank were dark purple, those of second and third ranks were light purple, those of the fourth rank dark vermillion, and those of the fifth rank light vermillion. These colors are identical with the colors of bush clover flowers. Kinoshita speculates that poems 20.4315-4320 were composed either at the end of the eighth lunar month or at the beginning of the ninth lunar month of the sixth year of the Tenpyō Shōhō, since bush clover starts to bloom around September 20 by the solar calendar, and the first day of the ninth lunar month of the sixth year of the Tenpyō Shōhō corresponds to September 21, 754 AD (1988: 49-50).

20.4316 (W)

本文・Original text (1) 多可麻刀能 (2) 宮乃須蘇未乃 (3) 努都可佐尓 (4) 伊麻左家流良武 (5) 乎美奈弊之波母 仮名の書き下し・Kana transliteration (1) たかまと 1 の 2 (2) み 1 やの 2 すそ 1 み 2 の 2 (3) の 1 つかさに (4) い まさけ 1 るらむ (5) をみ 1 なへ 1 しはも 2 Romanization (1) Takamatô-nö (2) MÎYA-nö susô mï-nö (3) nô tukasa-ni (4) ima sak-êr-uram-u (5) womînapêsi pa mö Glossing with morphemic analysis (1) Takamatô-GEN (2) palace-GEN hem go.around(NML)-GEN (3) field hillock-LOC (4) now bloom-PROG-TENT2-FIN (5) patrinia TOP PT

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Translation (5) Oh, patrinias! (4) [They] are probably blooming now (3) at the field hillocks (2) around the palace (1) of Takamatô. Commentary On WOJ womînapêsi ‘patrinia’ see the commentary to 20.4297.

20.4317 (W)

本文・Original text (1) 秋野尓波 (2) 伊麻己曽由可米 (3) 母能乃布能 (4) 乎等古乎美奈能 (5) 波奈尓保比見尓 仮名の書き下し・Kana transliteration (1) あき 1 の 1 には (2) いまこ 2 そ 2 ゆかめ 2 (3) も 2 の 2 の 2 ふの 2 (4) を と 2 こ 1 をみ 1 なの 2 (5) はなにほひ 1 み 1 に Romanization (1) AKÎ NÔ-ni pa (2) ima kösö yuk-am-ë (3) mönönöpu n-ö (4) wotökô womîna-nö (5) pana nipop-î MÎ-ni Glossing with morphemic analysis (1) autumn field-LOC TOP (2) now PT go-TENT-EV (3) people.serving.in. the.palace DV-ATTR (4) man woman-GEN (5) flower be.colored-NML see(NML)-LOC Translation (2) Let [us] go now (1) into the autumn field (5) to see [garments brightly] colored [like] flowers (4) of men and women (3) serving in the palace. Commentary The first line is usually read as akî nô-ni pa. This produces the metrically correct line, because akî-nö nô-ni pa would be hypermetric, but the problem is that there are only four examples of akî nô ‘autumn field’ in the Man’yōshū, all of them semantographic (8.1610, 20.4317, 20.4319, 20.4320), while akî-nö nô ‘autumn-GEN field’ occurs seventeen times, as for example, in poem 20.4318 below. Certainly, since the first line has semantographic spelling 秋 野 ‘autumn field’, it is impossible to tell whether the genitive case marker -nö was ever present there. It is furthermore interesting that out of four examples of akî nô ‘autumn field’ three are found in the poems of Opotömö-nö Yakamöti. WOJ mönönöpu is a term referring to both civilian and military courtiers serving in the palace.

20.4318 (W)

本文・Original text (1) 安伎能野尓 (2) 都由於弊流波疑乎 (3) 多乎良受弖 (4) 安多良佐可 里乎 (5) 須具之弖牟登香

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仮名の書き下し・Kana transliteration (1) あき 1 の 2 の 1 に (2) つゆおへ 1 るはぎ 2 を (3) たをらずて (4) あた らさかりを (5) すぐしてむと 2 か Romanization (1) akî-nö NÔ-ni (2) tuyu op-êr-u paNkï-wo (3) ta-wor-aNs-u-te (4) atara sakari-wo (5) suNkus-i-te-m-u tö ka Glossing with morphemic analysis (1) autumn-GEN field-LOC (2) dew carry-PROG-ATTR bush.clover-ACC (3) hand-break-NEG-INF-SUB (4) regretful prime-ACC (5) let.pass-INF-PERFTENT-FIN DV PT Translation (3) Without breaking by [my] hand (2) bush clover flowers covered by dew (1) in the autumn field, (5) will [I] consider letting [them] pass (4) [their] regretful prime? Commentary On WOJ paNkï ‘bush clover’ see the commentary to 15.3656. The Nishi Honganji-bon has the spelling suNkösitemu 須其之弖牟 with 其 instead of suNkusitemu 須具之弖牟 with 具 ‘will let pass’. This is clearly a mistake, since only suNkus- is attested otherwise in WOJ (suNkôsbeing an EOJ form), and the form suNkös- is anyway impossible, because PJ *ə (> WOJ ö) unlike primary PJ *o does not raise to WOJ u. See also the commentaries to poems 5.804 and 15.3564.

20.4319 (W)

本文・Original text (1) 多可麻刀能 (2) 秋野乃宇倍能 (3) 安佐疑里尓 (4) 都麻欲夫乎之可 (5) 伊泥多都良武可 仮名の書き下し・Kana transliteration (1) たかまと 1 の 2 (2) あき 1 の 1 の 2 うへ 2 の 2 (3) あさぎ 2 りに (4) つ まよ 1 ぶをしか (5) いでたつらむか Romanization (1) Takamatô-nö (2) AKÎ NÔ-nö upë-nö (3) asa-N-kïri-ni (4) tuma yôNp-u wo sika (5) iNte-tat-uram-u ka Glossing with morphemic analysis (1) Takamatô-GEN (2) autumn field-GEN top-GEN (3) morning-GENfog-LOC (4) spouse call-ATTR male deer (5) go.out(INF)-rise-TENT2-ATTR PT Translation (4/5) Would the male deer calling for its spouse appear (3) in the morning fog (2) on the autumn field (1) in Takamatô? Commentary On Takamatô see the commentary to the preface to poems 20.4395-4397.

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On OJ wo sika ‘male deer’ and his call for his spouse see the commentaries to 15.3674 and 14.3530.

20.4320 (W)

本文・Original text (1) 麻須良男乃 (2) 欲妣多天思加婆 (3) 左乎之加能 (4) 牟奈和氣由加 牟 (5) 安伎野波疑波良 仮名の書き下し・Kana transliteration (1) ますらをの 2 (2) よ 1 び 1 たてしかば (3) さをしかの 2 (4) むなわけ 2 ゆかむ (5) あき 1 の 1 はぎ 2 はら Romanization (1) masura wo-nö (2) yôNp-î-tate-sika-Npa (3) sa-wo sika-nö (4) muna-wakë yuk-am-u (5) akî NÔ paNkï para Glossing with morphemic analysis (1) excellent man-GEN (2) call-INF-raise(INF)-PAST/EV-CON (3) PREF-male deer-GEN (4) chest-split(INF) go-TENT-FIN (5) autumn field bush.clover field Translation (1/2) When the noblemen [hunters] raise [a deer] with their calls, (3/4) will the male deer go parting grass with its chest (5) through the autumn fields of bush clovers? Commentary On WOJ masura wo ‘excellent man’ see the commentary to 5.804. On OJ wo sika ‘male deer’ and his call for his spouse see the commentaries to 15.3674 and 14.3530. On WOJ paNkï ‘bush clover’ see the commentary to 15.3656. Omodaka presents a lengthy and persuasive discussion that hunters here are chasing a deer away with their cries rather than attracting it towards them by playing flutes (1984.20: 34). Most other modern scholars support this opinion as well: Takagi et al. (1962: 408), Kojima et al. (1975: 379), Kinoshita (1988: 57), Itō (1999: 424), and Satake et al. (2003: 388). Edo period commentators invariably support the opposite point of view (Keichū 1690.20: 11a), (Tachibana 1796/1929.2: 925), (Kamochi 1912.7: 309-10), among modern commentators only Kōnosu (1939: 3277), Takeda (1957.12: 369-70), and Kubota (1967: 423) support this position.

Postscript to the poems 20.4315-4320

本文・Original text 右歌六首兵部少輔大伴宿祢家持獨憶秋野聊述拙懐作之 Translation The six poems above were composed by Opotömö-nö sukune Yakamöti, Junior Assistant Minister of the Ministry of War, when he was thinking alone about the autumn fields and narrated his imperfect feelings.

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Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. Under the Ritsuryō code, Ministry of War (Hyōbu[shō], 兵部[省]) is one of the four Ministries under the Controlling Board of the Right (Ubenkan, 右 弁官). It dealt with matters related to soldiers, military travel, military horses, fortifications, weapons, etc. Junior Assistant Minister (Shōyū, 少輔) was a position in seven Ministries corresponding to Junior Fifth Rank, Lower Grade, except at the Ministry of Central Affairs (Naka tukasa shō, Naka matsurigoto no tukasa, 中務省,), where it corresponded to Junior Fifth Rank, Upper Grade.

Preface to the poems 20.4321-4424

本文・Original text 天平勝寳七歳乙未二月相替遣筑紫諸國防人等歌 Translation Poems by sakîmôri sent in exchange to different provinces in Tukusi, and others, [composed] in the second lunar month of the seventh year of Tenpyō Shōhō. Commentary The poems in this poetic sequence were composed or collected by Opotömö-nö Yakamöti, between the sixth day and twenty-ninth day of the second lunar month of the seventh year of Tenpyō Shōhō that is between March 23 and April 15, 755 AD. Among 104 poems in this sequence only eighty-four are composed by sakîmôri. These eighty-four poems were collected by Opotömö-nö Yakamöti in Nanipa, where he was on official business at this time. There is also a theory that TatiNpana-nö Naramarö, who was then the Minister of the Ministry of War, made Opotömö-nö Yakamöti collect these poems on orders from his own father, TatiNpana-nö Möröye, then the Minister of the Left (Kinoshita 1988: 59). Tukusi is the old name for the island of Kyūshū. OJ sakîmôri ‘border guards’ is the name for border guards that were sent to protect the Western border of Yamatö in Kyūshū, as well as in Tsushima and Iki islands. This name can also refer to the institution of border guards. The original meaning probably indicates ‘promontory guards’ or ‘front guards’, as the semantographic spellings 埼守 ‘promontory guard’ (MYS 16.3866) and 前守 ‘front guard’ (NR II.3) indicate. The semantographic spelling 防人 indicates an imitation of Chinese border guard system from the Tang period (Kinoshita 1988: 58). The first mention of border guards dates back to the second year of Taika (646 AD), but the real posting of sakîmôri to the Western frontiers did not occur until the third year of Tenchi (664 AD). According to the military code, the term of service for sakîmôri was limited to three years, but it did not include the time required for the travel to and from the destination. The transportation of sakîmôri from their home provinces to Nanipa harbor was administered by their respective local governor offices who sent sakîmôri messengers (KötöriNtukapî, 部領使) to accompany them, but from Nanipa harbor to Dazaifu in Kyūshū sakîmôri were transported by special messengers (Senshi, 專 使 ). After the exchange between freshly

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arrived and departing sakîmôri took place, sakîmôri worked hard both for defense and to procure their own living under the jurisdiction of sakîmôri office (Sakîmôri-nö tukasa, 防人司) of Dazaifu. They had one day off in ten days. The general number of sakîmôri is believed to be 3,000, and the exchange between 1,000 new arrivals and 1,000 departing sakîmôri took place every year in the third lunar month. It is not clear when recruitment of sakîmôri started to be limited exclusively to the Eastern Provinces (東國, ANtuma), but in the tenth year of Tenpyō (738 AD) it is clear that sakîmôri were recruited from the provinces starting from Töpotuapumî and further east in Tōkaidō (東海道) region and from Sinanu and further east in Tōsandō (東 山道) region. This is most likely due to the fact that easterners had the reputation of being fierce and brave warriors at this time (see MYS 20.4331), although Kinoshita is inclined to see the reason more in a special connection between the Yamatö court and ANtuma (1988: 59), without, however, explaining what this special connection might have been.

20.4321 (E)

本文・Original text (1) 可之古伎夜 (2) 美許等加我布理 (3) 阿須由利也 (4) 加曳我牟多祢 牟 (5) 伊牟奈之尓志弖 仮名の書き下し・Kana transliteration (1) かしこ 1 き 1 や (2) み 1 こ 2 と 2 かがふり (3) あすゆりや (4) かえ がむたねむ (5) いむなしにして

2

Romanization (1) kasikô-kî ya (2) mî-kötö kaNkapur-i (3) asu-yuri ya (4) kaye-Nka muta ne-m-u (5) imu na-si n-i s-i-te Glossing with morphemic analysis (1) awesome-ATTR PT (2) HON-word receive(HUM)-INF (3) tomorrow-ABL PT (4) reed-POSS together sleep-TENT-ATTR (5) beloved exist.not-FIN DV-INF do-INF-SUB Translation (1/2) [I] received the awesome order [from the sovereign], and (3) from tomorrow, (4) would [I] sleep together with reeds, (5) since [my] beloved is not [here]? Commentary This poem has two EOJ dialectal features: EOJ kaye ‘reed, grass for thatching roofs’ (cf. WOJ kaya ‘id.’) and EOJ imu ‘beloved’ (cf. WOJ imô ‘id.’). Note, however, that the poem has muta ‘with’ identical with WOJ muta ‘id.’ as compared with EOJ mîta ‘id.’ The first particle ya is an emphatic particle, and the second ya is an interrogative particle.

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Postscript to the poem 20.4321 本文・Original text 右一首國造丁長下郡物部秋持

Translation The poem above [was composed] by MönönöNpë-nö Akîmöti, assistant commander from NaNka-nö simô district. Commentary Nothing is known about the biography of MönönöNpë-nö Akîmöti. Commander (Kuni-nö mîyatukô, Kokuzō, 國造) in pre-Taika ancient Japan was an official endowed with military and judicial powers. After the Taika reforms his role was essentially reduced to ceremonial religious functions. The term yoporo ~ yoNporo (丁), lit. ‘muscle in the back of a leg’ refers normally to a conscript to public works, but it also appears in sakîmôri rank names. I follow Omodaka, who believes that Kuni-nö mîyatukô-nö yoporo (國造丁) is an Assistant Commander (1984.20: 37), although Kinoshita thinks that 國造 and 國造丁 were used synonymously (1988: 60). There was the following hierarchy among the sakîmôri, although there probably were slight individual differences between various provinces: Commander (Kuni-nö mîyatukô, 國造) Assistant Commander (Kuni-nö mîyatukô-nö yoporo, 國造丁) Captain (Sukë-nö yoporo, 助丁) Lieutenant (Shuchō, 主帳) Sergeant (Shuchō-nö yoporo, 主帳丁, or Chō-nö yoporo, 帳丁) Corporal (Kachō, 火長) Private (Kamî-nö yoporo, 上丁) Privates (Kamî-nö yoporo, 上丁) were also sometimes mentioned just as sakîmôri, or given no indication of rank. NaNka-nö simô district is found in Töpotuapumî province, and it corresponds to parts of Hamana county (浜名郡) and Iwata county (磐田郡) along Tenryū river (天竜川) in present-day Shizuoka prefecture (Nakanishi 1985: 469). On Töpotuapumî province see the commentary to the postscript to 14.3353-3354. Poems 20.4321-4327 are from Töpotuapumî province.

20.4322 (E)

本文・Original text (1) 和我都麻波 (2) 伊多久古非良之 (3) 乃牟美豆尓 (4) 加其佐倍美曳 弖 (5) 余尓和須良礼受 仮名の書き下し・Kana transliteration (1) わがつまは (2) いたくこ 1 ひ 2 らし (3) の 2 むみ 1 づに (4) かご 2 さ へ 2 み 1 え 2 て (5) よ 2 にわすられず Romanization (1) wa-Nka tuma pa (2) ita-ku kôpï-rasi (3) nöm-u mîNtu-ni (4) kaNkö sapë mî-ye-te (5) yö-ni wasur-are-Ns-u

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Glossing with morphemic analysis (1) I-POSS spouse TOP (2) extreme-INF long.for(INF)-SUP (3) drink-ATTR water-LOC (4) reflection PT see-PASS(INF)-SUB (5) life-LOC forget-PASS-NEG-FIN Translation (1/2) It seems that my spouse longs for [me] dearly. (5) [I] will not be able to forget [her] in [my] life, (4) even seeing as much as [her] reflection (3) in the water [I] drink. Commentary This poem has two EOJ dialectal features: EOJ kôpï-rasi (the corresponding WOJ form is kôp-urasi ‘love-SUP’ with no infinitive form attested) and EOJ kaNkö ‘reflection’ (cf. WOJ kaNkë), with EOJ ö corresponding to WOJ ë.

Postscript to the poem 20.4322

本文・Original text 右一首主帳丁麁玉郡若倭部身麻呂 Translation The poem above [was composed] by WakayamatöNpë-nö Mïmarö, a sergeant from Aratama district. Commentary Nothing is known about the biography of WakayamatöNpë-nö Mïmarö. On sergeant (Shuchō-nö yoporo, 主帳丁) and other sakîmôri ranks see the commentary to 20.4321. On Aratama district (麁玉郡) see the commentary to 14.3353. Poem 20.4322 is from Töpotuapumî province. On Töpotuapumî province see the commentary to the postscript to 14.3353-3354.

20.4323 (E)

本文・Original text (1) 等伎騰吉乃 (2) 波奈波佐家登母 (3) 奈尓須礼曽 (4) 波々登布波奈 乃 (5) 佐吉泥己受豆牟 仮名の書き下し・Kana transliteration (1) と 2 き 1 ど 2 き 1 の 2 (2) はなはさけ 1 ど 2 も 2 (3) なにすれそ 2 (4) は はと 2 ふはなの 2 (5) さき 1 でこ 2 ずけ 1 む Romanization (1) tökî-Ntökî-nö (2) pana pa sak-ê-Ntömö (3) nani s-ure sö (4) papa tö [i]p-u pana-nö (5) sak-î-[i]Nte-kö-Ns-u-kêm-u Glossing with morphemic analysis (1) time-time-GEN (2) flower TOP bloom-EV-CONC (3) what do-EV PT (4) mother DV say-ATTR flower-GEN (5) bloom-INF-exit(INF)-come-NEGINF-PAST/TENT-ATTR

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Translation (1/2) Although the flowers of all [four] seasons bloom, (3) why (4/5) has the flower called ‘Mother’ not bloomed? Commentary There is a disagreement between Japanese scholars as to how to read 等伎騰 吉: tökî-Ntökî or tökî-tökî. Omodaka reads tökî-Ntökî, but without providing any explanation (1984.20: 39). Kinoshita insists on reading tökî-tökî, because in Rodriguez’s Japanese-Portuguese dictionary toqidoqi is ‘sometimes’, while toqi toqi means ‘various times’ (1988: 63). Mizushima is of the same opinion (2003: 103-104). It is certainly methodologically unsound to define an OJ reading on a usage in the language nine hundred years later. The character 騰 is predominantly used in OJ as a phonogram for the syllable Ntö, with a voiced prenasalized /Nt-/. The exceptions of 騰 standing for the syllable tö with voiceless /t-/ are predominantly confined to book two. Moreover, what is important is that 騰 is always used for the syllable /Ntö/ in EOJ texts. Moreover, Opotömö-nö Yakamöti also uses 騰 for /Ntö/ in his poems with just one exception (20.4516). Given all this, I follow Omodaka, and read 等伎 騰吉 as tökî-Ntökî. This poem has one certain EOJ dialectal feature: EOJ vowel ê corresponds to WOJ vowel ë in EOJ sakêNtömö ‘although bloom’ vs. WOJ sakëNtömö ‘id.’ This indicates that Töpotuapumî dialect unlike WOJ probably had no ê : ë phonemic contrast. Another potential EOJ feature is nani s-ure sö used for ‘why?’. As far as I am aware, this expression does not occur in WOJ texts.

Postscript to the poem 20.4323 本文・Original text 右一首防人山名郡丈部眞麻呂

Translation The poem above [was composed] by sakîmôri PasetukaNpë-nö Mamarö from Yamana district. Commentary Nothing is known about the biography of PasetukaNpë-nö Mamarö. Since he is just called sakîmôri, without a rank, we can assume that he was a private. On private (Kamî-nö yoporo, 上 丁 ) and other sakîmôri ranks see the commentary to the postscript to 20.4321. Yamana district (山名郡) included parts of Fukuroi city (袋井市), Iwata city (磐田市), and Iwata county (磐田郡) in present-day Shizuoka prefecture (Nakanishi 1985: 494). Poem 20.4323 is from Töpotuapumî province. On Töpotuapumî province see the commentary to the postscript to 14.3353-3354.

20.4324 (E)

本文・Original text (1) 等倍多保美 (2) 志留波乃伊宗等 (3) 尓閇乃宇良等 (4) 安比弖之阿 良婆 (5) 己等母加由波牟

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仮名の書き下し・Kana transliteration (1) と 2 へ 2 たほみ 1 (2) しるはの 2 いそ 1 と 2 (3) にへ 2 の 2 うらと 2 (4) あ ひ 1 てしあらば (5) こ 2 と 2 も 2 かゆはむ Romanization (1) Töpëtapomî (2) Sirupa-nö isô-tö (3) Nipë-nö ura-tö (4) ap-î-te si ar-aNpa (5) kötö mö kayup-am-u Glossing with morphemic analysis (1) Töpotuapumî (2) Sirupa-GEN rocky.shore-COM (3) Nipey-GEN bay-COM (4) meet-INF-SUB PT exist-COND (5) word PT go.back.and.forth-TENT-FIN Translation (2/4) If Sirupa rocky shore and (3) Nipë bay (1) [in] Töpotuapumî (4) would have met [together], (5) [we] could also talk together. Commentary Töpëtapomî is the EOJ name of the province corresponding to WOJ Töpotuapumî. On Töpotuapumî province see the commentary to the postscript to 14.3353-3354. The local name Töpëtapomî is important, because in addition to the correspondence of EOJ ë : WOJ o < *ö36 in töpë ‘distant’ part, which is opposite to the correspondence EOJ ö : WOJ ë that we have seen above in 20.4322, the EOJ -apomî ‘fresh water sea’ part corresponding to WOJ -apumî ‘id.’ also reverses the correspondence of EOJ u : WOJ ô, which we have already seen above (EOJ imu ‘beloved’ in 20.4321) and also see in this poem: EOJ siru ‘white’ vs. WOJ sirô ‘id.’ and EOJ kayup- ‘go back and forth’ vs. WOJ kayôp- id.’. This reversal, however, in all probability can be easily explained by the fact that in the placename compound Töpëtapomî the Töpotuapumî dialect of EOJ has preserved -omî, the reflex of PJ *omi ‘sea’ (> WOJ umî). Line three is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because the sequence Nipë-nö ura was most likely pronounced as [nipënura] or [nipënöra]. The exact location of Sirupa rocky shore is not known, although it is believed to be somewhere in either Iwata county (磐田郡) or Hamamatsu city (浜松市) (Nakanishi 1985: 454). There are various other hypotheses, surveyed by Kinoshita (1988: 66-67), Omodaka (1984.20: 40-41), and Mizushima (2003: 117-18). I am inclined to agree with Mizushima that the location on the Omaezaki cape (御前崎) in Omaezaki city (御前崎市) of Haibara county (榛 原郡) in present-day Shizuoka prefecture is the most persuasive, because Omaezaki cape represents a rocky shore, fully agreeing with isô ‘rock, rocky shore’ describing Sirupa in 20.4324. Meanwhile, two other locations most frequently believed to be the location of Sirupa rocky shore, shores in Toyota county (豊田郡) and Fuchi county (敷知郡) are in fact sand beaches. Sirupa is believed to be an EOJ place name, literally meaning ‘white feather’ (白羽), with Töpotuapumî typical raising of ô > u in siru ‘white’ (cf. WOJ sirô ‘id.’). However, Sirupa ‘white feather’ might as well be a later reinterpretation of an 36

Although the earlier WOJ contrast between ô and ö is not preserved in the Man’yōshū after the consonant /p/, WOJ o in Töpotuapumî could be only from an earlier *ö, because WOJ ô and ö cannot coexist within the same morpheme, in this case the word töpo “distant’ < *töpö.

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original Ainu placename. If the geographical identification with modern Omaezaki cape is correct, then Sirupa in all probability reflects Ainu sirpa ‘cape, promontory’.37 There is even more disagreement about the exact location of Nipë bay (Nakanishi 1985: 474), (Omodaka 1984.20: 41-42), (Kinoshita 1988: 67), (Mizushima 2003: 120-23). Unlike Sirupa discussed above, there are no exact land features mentioned that would facilitate the choice – bays can be very different, after all. Therefore, I will follow Omodaka here and remain non-committal to any of the theories. Furthermore, like Omodaka (1984.20: 42), I think that Nipë bay must be sufficiently distant from Sirupa rocky shore, and not adjacent to it, otherwise the poem will make little sense. The placename Nipë is usually explained as WOJ nipë (贄) ‘food offering for deities’. Takeda sees it as a place in present-day Tsu city (津市) of Mie prefecture where fish and fowl were procured for the palace in the capital (1957.12: 377). As in the case of Sirupa, it could be a later reinterpretation of an original Ainu placename, whether it was indeed in Mie or elsewhere. It seems to me that a much simpler explanation for a placename than ‘food offering for deities’ is again possible: Ainu nipet ‘wood river’,38 borrowed as EOJ nipë with the expected loss of the final -t.39 On EOJ dialectal features in this poem see the first paragraph in this commentary.

Postscript to the poem 20.4324 本文・Original text 右一首同郡丈部川相

Translation The poem above [was composed] by PasetukaNpë-nö Kapapî from the same district. Commentary Nothing is known about the biography of PasetukaNpë-nö Kapapî. Since he is mentioned without any rank, we can assume that he was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to 20.4321. The same district is Yamana district ( 山 名 郡 ), on which see the commentary to the postscript to the poem 20.4323.

20.4325 (E)

本文・Original text (1) 知々波々母 (2) 波奈尓母我毛夜 (3) 久佐麻久良 (4) 多妣波由久等 母 (5) 佐々己弖由加牟

37 38 39

Ainu sirpa ‘cape’ < sir ‘land’ + pa ‘head’. Ainu nipet < ni ‘tree, wood’ + pet ‘river’. There is one slight problem with the Ainu etymology. We would expect Ainu nipet being borrowed as OJ niNpë, with a prenasalized voiced -Np-, reflecting Ainu intervocalic [-b-]. However, there is no special sign for Npë in man’yōgana. It seems that the character 閇 is used only for pë in the Man’yōshū, but it is rare, being mostly found in books five and twenty, so a possibility that it could be used for Npë cannot be completely excluded.

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仮名の書き下し・Kana transliteration (1) ちちははも 2 (2) はなにも 2 がも 1 や (3) くさまくら (4) たび 1 はゆ くと 2 も 2 (5) ささご 2 てゆかむ Romanization (1) titi papa mö (2) pana n-i möNkamô ya (3) kusa makura (4) taNpî pa yuk-u tömö (5) sasaNkö-te yuk-am-u Glossing with morphemic analysis (1) father mother PT (2) flower DV-INF PT PT (3) grass pillow (4) journey TOP go-FIN CONJ (5) lift.up.in.hands(INF)-SUB go-TENT-FIN Translation (1/2) [I] wish [my] father and mother were flowers! (4) Although [I] will go on a journey (3) [where I will sleep using] grass [as my] pillow, (5) [I] would go carrying [them] high up in my hands. Commentary This poem has only one EOJ feature: the correspondence of EOJ ö : WOJ ë in EOJ sasaNkö- ‘lift up in one’s hands’ (cf. WOJ sasaNkë- ‘id.’). We have already seen above the same correspondence in 20.4322 above: EOJ kaNkö ‘reflection’ : WOJ kaNkë ‘id.’ On the permanent epithet (makura-kotoba, 枕詞) kusa makura ‘grass pillow,’ see the commentary to 15.3612.

Postscript to the poem 20.4325 本文・Original text 右一首佐野郡丈部黒當

Translation The poem above [was composed] by PasetukaNpë-nö Kurôta from Saya district. Commentary Nothing is known about the biography of PasetukaNpë-nö Kurôta. Since he is mentioned without any rank, we can assume that he was a private. It is not clear whether his given name 黒當 should be read as Kurômasa (Kōnosu 1939: 3284) or Kurôta (Takagi et al. 1962: 411). Because there is a female name Kurôtamê (written as 黒多賣 or 黒太賣), appearing in the population census of the second year of Taihō (大寶, 702 AD), I believe that the reading Kurôta is more likely. Saya district corresponds to the northern part of Ogasa county (小笠郡) in present-day Shizuoka prefecture (Nakanishi 1985: 450).

20.4326 (W/S)

本文・Original text (1) 父母我 (2) 等能々志利弊乃 (3) 母々余具佐 (4) 母々与伊弖麻勢 (5) 和我伎多流麻弖

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仮名の書き下し・Kana transliteration (1) ちちははが (2) と 2 の 2 の 2 しりへ 1 の 2 (3) も (4) も 2 も 2 よ 2 いでませ (5) わがき 1 たるまで

2

も

2

よ

2

ぐさ

Romanization (1) TITI PAPA-Nka (2) tönö-nö siri pê-nö (3) mömö yö-N-kusa (4) mömö yö iNte-mas-e (5) wa-Nka k-î-[i]tar-u-maNte Glossing with morphemic analysis (1) father mother-POSS (2) mansion-GEN back side-GEN (3) hundred petal-GEN-grass (4) hundred year go.out(INF)-HON-IMP (5) I-POSS come-INF-reach-ATTR-TERM Translation (1) Father and mother, (4) bloom for a hundred years, (3) [like] a flower with hundred petals (2) in the back of your mansion, (5) until I come back. Commentary Although this poem is composed by a sakîmôri, it has no EOJ features. The OJ word tönö ‘mansion’ appearing in the poem may only indicate a dwelling of a higher class family, so it comes as no surprise that the poem composed by a representative of the upper class has no EOJ features and is in impeccable WOJ. On the other hand, we can only guess why a scion of an upper class family was serving as a private, and not as an officer. It is not absolutely clear what kind of flower EOJ mömö yö-N-kusa ‘flower with one hundred petals’ is. If the word yö really refers to a petal, most probably it is a chrysanthemum, which is not endemic to Japan and was introduced from the continent (Nakanishi 1985: 330). If yö does not mean ‘petal’, but ‘culm, internode’, it is also possible that EOJ mömö yö-N-kusa ‘flower with one hundred petals’ indicates some kind of a reed grass with multiple culms. It is unlikely, though, that reeds would be planted at the rear of the mansion, namely in the part of the garden facing the mansion’s main pavilion.

Postscript to the poem 20.4326 本文・Original text 右一首同郡生玉部足國

Translation The poem above [was composed] by IkutamaNpë-nö Tarikuni from the same district. Commentary Nothing is known about the biography of IkutamaNpë-nö Tarikuni. Since he is mentioned without any rank, we can assume that he was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to the poem 20.4321. The family name of the author is spelled as 生玉部 in all old manuscripts except the Genryaku kōhon, where it appears as 生王部. In this case I follow the majority of the old manuscripts. The problem remains that the name Ikutama does not seem to be attested anywhere else (Mizushima 2003:

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147-48), but following the text is more methodologically solid than correcting it ad hoc, creating Mi[N]puNpë (壬生部), as is done, for example, by Kinoshita (1988: 72-73). The same district is Saya district (佐野郡), on which see the commentary to the postscript to 20.4325.

20.4327 (E)

本文・Original text (1) 和我都麻母 (2) 畫尓可伎等良無 (3) 伊豆麻母加 (4) 多妣由久阿礼 波 (5) 美都々志努波牟 仮名の書き下し・Kana transliteration (1) わがつまも 2 (2) ゑにかき 1 と 2 らむ (3) いつまも 2 が (4) たび 1 ゆ くあれは (5) み 1 つつしの 1 はむ Romanization (1) wa-Nka tuma mö (2) WE-ni kak-î-tör-am-u (3) ituma möNka (4) taNpî yuk-u are pa (5) mî-tutu sinôp-am-u Glossing with morphemic analysis (1) I-POSS spouse PT (2) picture-LOC paint-INF-take-TENT-ATTR (3) free.time PT (4) journey go-ATTR I TOP (5) look-COOR long.for-TENT-FIN Translation (3) [I] want free time (1/2) to paint my spouse in a picture. (4) I, who will go on a journey, (5) will long for her while looking at [it]. Commentary This poem has just one EOJ feature: raising of *o > u in the word ituma ‘free time’ (cf. WOJ itôma ‘id.’). See also 20.4321 and 20.4324 for other examples of this process. The last character in the Genryaku kōhon is 可, and not 波 as in other old manuscripts. However, even the Genryaku kōhon has also 波イ written on the right of the character 可. Thus, I follow the majority of the manuscripts. On the other hand, I follow the Genryaku kōhon that uniquely uses the spelling 多妣 for the word taNpî ‘journey’, while other old manuscripts use the spelling 多比 tapî. The first spelling is etymological, and the second is not, therefore it is reasonable to believe that the Genryaku kōhon preserves the original text more faithfully in this respect. Omodaka reads the word 伊豆麻 ‘free time’ as iNtuma (1984.20: 45), and not as ituma as all other commentators do. While the character is indeed predominantly used as a phonogram for the syllable Ntu, there are also some cases where it can stand for tu. Given the fact that there is no other independent evidence for the secondary nasalization ituma > iNtuma in Töpotuapumî dialect, I follow the reading ituma.

Postscript to the poem 20.4327 本文・Original text 右一首長下郡物部古麻呂

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Translation The poem above [was composed] by MönönöNpë-nö Kômarö from NaNka-nö simô district. Commentary Nothing is known about the biography of MönönöNpë-nö Kômarö. Since he is mentioned without any rank, we can assume that he was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to 20.4321. It is not inconceivable that MönönöNpë-nö Akîmöti, the author of 20.4321, and MönönöNpë-nö Kômarö are somehow related, but we have no proof of this. On NaNka-nö simô district see the commentary to the postscript to 20.4321.

Postscript to the poems 20.4321-4327

本文・Original text 二月六日防人部領使遠江國史生坂本朝臣人上進歌數十八首但有拙劣歌 十一首不取載之 Translation On the sixth day of the second lunar month [of the seventh year of Tenpyō Shōhō], Sakamötö-nö asömî Pîtökamî, secretary of Töpotuapumî province, and sakîmôri messenger, presented [to me] eighteen poems. However, eleven of them were of inferior [quality], so I did not include them here. Commentary The sixth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to March 23, 755 AD. Besides this postscript, Sakamötö-nö asömî Pîtökamî is mentioned once in a Shōsōin document. Around 749 AD he had no rank and worked for the office of Tōdaiji construction. It is also recorded that he was used as a messenger ten times (Kinoshita 1988: 76), (Omodaka 1984.20: 45). Shishō (史生) is a provincial secretary. On sakîmôri messengers, see the commentary to the preface to poems 20.4321-4424. On Töpotuapumî province see the commentary to the postscript to 14.3353-3354. Pierson in his translation mistook this postscript for the preface to the poem 20.4328, which of course, makes no sense, because the next poem is from SaNkamu province. One can only wonder what was Opotömö-nö Yakamöti’s criteria for inferior quality. See the introduction for a possible solution.

20.4328 (E)

本文・Original text (1) 於保吉美能 (2) 美許等可之古美 (3) 伊蘇尓布理 (4) 宇乃波良和多 流 (5) 知々波々乎於伎弖

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仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) み 1 こ 2 と 2 かしこ 1 み 1 (3) いそ 1 にふり (4) う の 2 はらわたる (5) ちちははをおき 1 て Romanization (1) opo kîmî-nö (2) mî-kötö kasikô-mî (3) isô-ni pur-i (4) unö-para watar-u (5) titi papa-wo ok-î-te Glossing with morphemic analysis (1) Great Lord-GEN (2) HON-word be.awesome-GER (3) rocky.shore-LOC touch-INF (4) sea-plain cross-FIN (5) father mother-ACC leave.behind-INF-SUB Translation (1/2) Because the command of the Great Lord is awesome, (4) [I] will cross the sea plain, going along the rocky shores, (5) having left [my] father and mother behind. Commentary This poem has just one EOJ feature: EOJ unöpara ‘sea plain’ (cf. WOJ unapara). Although Kinoshita believes that the consonantal verb pur- ‘to touch’ might be an EOJ feature (1988: 77), there are rare examples of WOJ pur- as well, e.g. see KK 78. The usual WOJ verb is the vowel verb pure- ‘to touch’. On opo kîmî ‘Great Lord’ which refers to the Emperor see the commentary to 5.794. On mî-kötö ‘honorable word’, ‘imperial order/edict’ see the commentary to 15.3644. Line four is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because titi papa-wo okîte was most likely pronounced as [titipapawokîte].

Postscript to the poem 20.4328 本文・Original text 右一首助丁丈部造人麻呂

Translation The poem above [was composed] by captain PasetukaNpë-nö mîyatukô Pîtömarö. Commentary Nothing is known about the biography of captain PasetukaNpë-nö mîyatukô Pîtömarö except what is apparent from this postscript. Kinoshita notes that in the case of captains their place of origin is usually not recorded (1988: 77). On captain (Sukë-nö yoporo, 助丁) and other sakîmôri ranks see the commentary to the postscript to 20.4321. Mîyatukô is an old kabane title which was converted to muraNsi in the thirteenth year of Emperor Tenmu rule (685 AD). Poems 20.4328-4330 are from SaNkamu province. On SaNkamu province see the commentary to 14.3362.

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20.4329 (E)

本文・Original text (1) 夜蘇久尓波 (2) 那尓波尓都度比 (3) 布奈可射里 (4) 安我世武比呂 乎 (5) 美毛比等母我毛 仮名の書き下し・Kana transliteration (1) やそ 1 くには (2) なにはにつど 1 ひ 1 (3) ふなかざり (4) あがせむ ひ 1 ろ 2 を (5) み 1 も 1 ひ 1 と 2 も 2 がも 1 Romanization (1) yasô kuni pa (2) Nanipa-ni tuNtôp-î (3) puna-kaNsar-i (4) a-Nka se-m-u pî-rö-wo (5) mî-m-ô pîtö möNkamô Glossing with morphemic analysis (1) eighty province TOP (2) Nanipa-LOC gather-INF (3) boat-decorate-NML (4) I-POSS do-TENT-ATTR day-DIM-ACC (5) see-TENT-ATTR person PT Translation (1) Many provinces (2) gather at Nanipa, and (5) [I] wish someone would see (3/4) the day when I decorate [my] boat. Commentary OJ yasô ‘eighty’ is used here metaphorically to indicate ‘many’. It cannot be taken literally, because Yamatö never had as many as eighty provinces. Nanipa refers to the seashore that was situated along the Uemachi daichi ( 上 町 台 地 ) section of present-day Ōsaka city (Nakanishi 1985: 470). Nowadays, the sea line has receded further to the West, and Uemachi daichi is found inland. Decorating a boat indicates preparations for departure. There are two EOJ features in this poem: diminutive suffix -rö (cf. WOJ -ra) and special EOJ attributive form -ô. On the diminutive suffix -rö see the commentary to 14.3351. On the EOJ verbal attributive -ô see the commentary to 14.3395 and brief description of EOJ special grammar in the introductions to book fourteen and this volume.

Postscript to the poem 20.4329 本文・Original text 右一首足下郡上丁丹比部國人

Translation The poem above [was composed] by private TaNtipîNpë-nö Kunipîtö from Lower AsiNkara district. Commentary Nothing is known about the biography of private TaNtipîNpë-nö Kunipîtö except what is apparent from this postscript. Kinoshita suggests that the given name 國人 should be read as Tökîpîtö rather than Kunipîtö (1988: 79), but his argument is based on the name 馬國人 appearing in the preface to 20.4457, which he reads as Uma-nö Tökîpîtö, which has a much later kana gloss Tokipito in a rather late manuscript.

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On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to the poem 20.4321. 足下郡 is an abbreviation for 足柄下郡 ‘Lower AsiNkara district.’ On AsiNkara see the commentary to 14.3361.

20.4330 (E)

本文・Original text (1) 奈尓波都尓 (2) 余曽比余曽比弖 (3) 氣布能比夜 (4) 伊田弖麻可良 武 (5) 美流波々奈之尓 仮名の書き下し・Kana transliteration (1) なにはつに (2) よ 2 そ 2 ひ 1 よ 2 そ 2 ひ 1 て (3) け 2 ふの 2 ひ 1 や (4) い でてまからむ (5) み 1 るははなしに Romanization (1) Nanipa tu-ni (2) yösöp-î yösöp-î-te (3) këpu-nö pî ya (4) iNte-te makar-am-u (5) mî-ru papa na-si-ni Glossing with morphemic analysis (1) Nanipa harbor-LOC (2) decorate-INF adorn-INF-SUB (3) today-GEN day PT (4) go.out(INF)-SUB go.far.away-TENT-ATTR (5) see-ATTR mother exist.not-FIN-LOC Translation (2) Having thoroughly decorated [my boat] (1) in Nanipa harbor, (3) shall [I] go far away today? (5) Because [my] mother, who [could] see [it], is not [here]… Commentary Nanipa tu ‘Nanipa harbor’, the biggest and the most important of all Japanese harbors, was located in a former lagoon, connected to the sea by an artificial canal that lead to the Nanipa seashore, on which see the commentary to 20.4329 above. Incidentally, this represents further evidence against a fantastic theory by Unger that OJ tu originally meant not a ‘harbor’, but a ‘river’, because Japanese harbors were mostly located in estuaries (2009: 111), which also does not stand on many other accounts. Although several rivers used to flow into Nanipa lagoon, the port itself was not connected with any of the estuaries. This poem has only one EOJ feature: the word ‘today’ is spelled as këpu (cf. WOJ kêpu).

Postscript to the poem 20.4330 本文・Original text 右一首鎌倉郡上丁丸子連多麻呂

Translation The poem above [was composed] by private Marökô-nö muraNsi Opomarö from Kamakura district.

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Commentary Nothing is known about the biography of private TaNtipîNpë-nö Kunipîtö except what is apparent from this postscript. MuraNsi is a kabane title. On kabane titles see the footnote 17 on p. 33 in the Man’yōshū, book 15 (Vovin 2009: 33). On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to 20.4321. On Kamakura district see the commentary to 14.3365.

Postscript to the poems 20.4328-4330

本文・Original text 二月七日相模國防人部領使守従五位下藤原朝臣宿奈麻呂進歌數八首但 拙劣歌五首者不取載之 Translation On the seventh day of the second lunar month [of the seventh year of Tenpyō Shōhō], PuNtipara-nö asömî Sukunamarö (Junior Fifth Rank, Lower Grade), governor of SaNkamu province, and sakîmôri messenger, presented [to me] eight poems. However, five of them were of inferior [quality], so I did not include them here. Commentary The seventh day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to March 24, 755 AD. PuNtipara-nö asömî Sukunamarö is the second son of PuNtipara-nö Umakapî (藤原馬養・藤原宇合), and the grandson of PuNtipara-nö PuNpîtö. Due to the rebellion of his elder brother PuNtipara-nö PîrotuNku (藤原広嗣) in the twelfth year of Tenpyō (740 AD), he was exiled to INtu province (伊豆 國), but pardoned and appointed Junior Secretary (Shōhanji, 少判事) of Dazaifu in the fourteenth year of Tenpyō (742 AD). In the eighteenth year of Tenpyō (746 AD) he was promoted to Junior Fifth Rank, Lower Grade. He had an illustrious career, reaching the position of the Great Minister of the Center (Naidaijin, 内大臣) with Junior Second Rank. He died in the eighth year of Hōki (777 AD) and was posthumously promoted to the Junior First Rank. On sakîmôri messengers, see the commentary to the preface to poems 20.4321-4424. On SaNkamu province, see the commentary to 14.3362.

Preface to the poems 20.4331-4336 本文・Original text 追痛防人悲別之心作歌一首并短歌

Translation One chōka, accompanied by [five] tanka [envoys], composed to express the pain and sadness of parting felt by sakîmôri.

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Commentary These six poems were composed by Opotömö-nö Yakamöti imitating sakîmôri poems, as becomes apparent from the postscripts to 20.4331-4333 and 20.4334-4336.

20.4331 (W)

本文・Original text (1) 天皇乃 (2) 等保能朝廷等 (3) 之良奴日 (4) 筑紫國波 (5) 安多麻毛 流 (6) 於佐倍乃城曽等 (7) 聞食 (8) 四方國尓波 (9) 比等佐波尓 (10) 美知弖波安礼杼 (11) 登利我奈久 (12) 安豆麻乎能故波 (13) 伊田牟可 比 (14) 加敝里見世受弖 (15) 伊佐美多流 (16) 多家吉軍卒等 (17) 祢 疑多麻比 (18) 麻氣乃麻尓々々 (19) 多良知祢乃 (20) 波々我目可礼弖 (21) 若草能 (22) 都麻乎母麻可受 (23) 安良多麻能 (24) 月日餘美都々 (25) 安之我知流 (26) 難波能美津尓 (27) 大船尓 (28) 末加伊之自奴伎 (29) 安佐奈藝尓 (30) 可故等登能倍 (31) 由布思保尓 (32) 可知比伎乎 里 (33) 安騰母比弖 (34) 許藝由久伎美波 (35) 奈美乃間乎 (36) 伊由 伎佐具久美 (37) 麻佐吉久母 (38) 波夜久伊多里弖 (39) 大王乃 (40) 美許等能麻尓末 (41) 麻須良男乃 (42) 許己呂乎母知弖 (43) 安里米具 理 (44) 事之乎波良婆 (45) 都々麻波受 (46) 可敝理伎麻勢登 (47) 伊 波比倍乎 (48) 等許敝尓須惠弖 (49) 之路多倍能 (50) 蘇田遠利加敝之 (51) 奴婆多麻乃 (52) 久路加美之伎弖 (53) 奈我伎氣遠 (54) 麻知可母 戀牟 (55) 波之伎都麻良波 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) と 2 ほの 2 み 1 かど 1 と 2 (3) しらぬひ 1 (4) つく しの 2 くには (5) あたまも 1 る (6) おさへ 2 の 2 き 2 そ 2 と 2 (7) き 1 こ 2 しめ 1 す (8) よ 2 も 2 の 2 くにには (9) ひ 1 と 2 さはに (10) み 1 ちては あれど 2 (11) と 2 りがなく (12) あづまをの 2 こ 1 は (13) いでむかひ 1 (14) かへ 1 りみ 1 せずて (15) いさみ 1 たる (16) たけ 1 き 1 いくさと 2 (17) ねぎ 2 たまひ 1 (18) まけ 2 の 2 まにまに (19) たらちねの 2 (20) はは がめ 2 かれて (21) わかくさの 2 (22) つまをも 2 まかず (23) あらたまの 2 (24) つき 2 ひ 1 よ 2 み 1 つつ (25) あしがちる (26) なにはの 2 み 1 つに (27) おほぶねに (28) まかいしじぬき 1 (29) あさなぎ 1 に (30) かこ 1 と 2 と 2 の 2 へ 2 (31) ゆふしほに (32) かぢひ 1 き 1 をり (33) あど 2 も 2 ひ 1 て (34) こぎ 1 ゆくき 1 み 1 は (35) なみ 1 の 2 まを (36) いゆき 1 さ ぐくみ 1 (37) まさき 1 くも 2 (38) はやくいたりて (39) おほき 1 み 1 の 2 (40) み 1 こ 2 と 2 の 2 まにま (41) ますらをの 2 (42) こ 2 こ 2 ろ 2 をも 2 ち て (43) ありめ 2 ぐり (44) こ 2 と 2 しをはらば (45) つつまはず (46) か へ 1 りき 1 ませと 2 (47) いはひ 1 へ 2 を (48) と 2 こ 2 へ 1 にすゑて (49) し ろ 1 たへ 2 の 2 (50) そ 1 でをりかへ 1 し (51) ぬばたまの 2 (52) くろ 1 か み 1 しき 1 て (53) ながき 1 け 2 を (54) まちかも 2 こ 1 ひ 2 む (55) はし き 1 つまらは Romanization (1) OPO KÎMÎ-nö (2) töpo n-ö MÎKANTÔ tö (3) sira nupî (4) Tukusi-NÖ KUNI pa (5) ata mamôr-u (6) osapë-nö KÏ sö tö (7) KÎKÖSIMÊS-U (8) YÖ MO KUNI-ni pa (9) pîtö sapa n-i (10) mît-i-te pa ar-e-Ntö (11) töri-Nka nak-u (12) ANtuma wo n-ö kô pa (13) iNte mukap-î (14) kapêriMÎ se-Ns-u-te (15) isam-î-tar-u (16) takë-kî IKUSA tö (17) neNkï-tamap-î (18) makë-nö manima n-i (19) taratine-nö (20) papa-Nka MË kare-te (21) WAKA KUSA-nö (22) tuma-wo mö mak-aNs-u (23) arata ma-nö (24) TUKÏ PÎ yöm-î-tutu (25)

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asi-Nka tir-u (26) Nanipa-nö mî-TU-ni (27) OPO PUNE-ni (28) ma-kayi siNsi nuk-î (29) asa naNkî-ni (30) kakô tötönöpë (31) yupu sipo-ni (32) kaNti pîk-î-wor-i (33) aNtömöp-î-te (34) köNk-î-yuk-u kîmî pa (35) namî-nö MA-wo (36) i-yuk-î-saNkukum-î (37) ma-sakî-ku mö (38) paya-ku itar-i-te (39) OPO KÎMÎ-nö (40) mî-kötö-nö manima (41) masura wo-nö (42) kökörö-wo möt-i-te (43) ari-mëNkur-i (44) kötö si opar-aNpa (45) tutum-ap-aNs-u (46) kapêr-i-k-î-[i]mas-e tö (47) ipap-î-pë-wo (48) tökö-pê-ni suwe-te (49) sirô tapë-nö (50) sôNte wor-i-kapês-i (51) nuNpa tama-nö (52) kurô kamî sik-î-te (53) naNka-kî kë-wo (54) mat-i kamö kôpï-m-u (55) pasi-kî tuma-ra pa Glossing with morphemic analysis (1) Great Lord-GEN (2) distant DV-ATTR Imperial.Court DV (3) white land-POSS (4) Tukusi-GEN land TOP (5) enemy defend-ATTR (6) deter(NML)-GEN fortress PT DV (7) govern-ATTR (8) four direction province-LOC TOP (9) person many DV-INF (10) be.plenty-INF-SUB TOP exist-EV-CONC (11) bird-POSS sing-ATTR (12) ANtuma man DV-ATTR child TOP (13) go.out(INF) face-INF (14) look.back(NML) do-NEG-INF-SUB (15) high.spirited-INF-PERF/PROG-ATTR (16) brave-ATTR warrior DV (17) appreciate(INF)-HON-INF (18) appointment-GEN according DV-INF (19) (makura-kotoba) (20) mother-POSS eye separate.from (21) young grass-COMP (22) spouse-ACC PT embrace-NEG-INF (23) new interval-GEN (24) month day count-INF-COOR (25) reed-POSS fall-ATTR (26) Nanipa-GEN HON-harbor-LOC (27) big boat-LOC (28) INT-oar constantly pierce-INF (29) morning calm-LOC (30) seaman prepare(INF) (31) evening tide-LOC (32) rudder pull-INF-break-INF (33) lead-INF-SUB (34) row-INF-go-ATTR lord TOP (35) wave-GEN space-ACC (36) DLF-go-INF-push.apart-INF (37) INT-be.safe-INF PT (38) be.quick-INF reach-INF-SUB (39) Great Lord-GEN (40) HON-word according (41) brave man-GEN (42) heart-ACC hold-INF-SUB (43) ITER-go.around-INF (44) matter PT finish-COND (45) impede-ITER-NEG-INF (46) return-INF-come-INF-HON-IMP DV (47) pray-INF-vessel-ACC (48) bed-side-LOC place(INF)-SUB (49) white mulberry.tree.bark.cloth-GEN (50) sleeve break-INF-return-INF (51) pitch-black jade-COMP (52) black hair spread-INF-SUB (53) long-ATTR day-ACC (54) wait-INF PT long.for-TENT-ATTR (55) lovely-ATTR spouse-PLUR TOP Translation (4) The land of Tukusi, (3) the western land, (2) which is called a distant court (1) of the Great Lord, (6) is the deterring fortress (5) that protects from enemies. (10) Although there are plenty (9) and many people (8) in the provinces from [all] four directions (7) that are under [Emperor’s] sway, (17) [the Emperor] values highly (12) lads from ANtuma, (11) where birds sing, (15/16) as brave and high-spirited warriors, (13) who go out and face [the enemy] (14) without looking back. (34) [Oh, our] husband who rows away (33) leading [others], (32) pulling on the rudder to the breaking [point] (31) in the evening tide, and (30) preparing the seamen (29) in the morning calm, (28) constantly piercing [the waves] with great oars (27) in a big boat (26) to Nanipa harbor, (25) where the reed [flowers] fall. (18) Due to [his] appointment, (19/20) [he] is away from the sight of his mother, (22) and does not embrace [his] spouses either, (21) [beautiful] like young grass, (23/24) and

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continues to count newcoming days and months. (55) [Oh, your] lovely spouses who (54) wait and long for [you] (53) for long days, (52) spreading their hair, black (51) like pitch-black jade, (50) folding back their sleeves (49) [made from] white mulberry tree bark cloth, (48) and placing at their bedside (47) the praying vessels. (46) [They] pray: (38) “After you reach [your destination] quickly and (37) safely (35/36) pushing apart the waves as [you] go, (46) come back, (45) with nothing standing in [your] way, (44) if [you] finish [your] service (43) constantly going around [distant lands] (42) with a heart (41) of a brave man (40) according to the command (39) of the Great Lord. Commentary The first four lines are practically identical with the first four lines of poem 5.794, with the minor difference that the word kuni ‘province’ in 5.794 is followed by the locative case marker -ni, while in 20.4331 it is followed by the topic particle pa. We are probably dealing here with the allusive variation (honkadori, 本歌取り) to 5.794 that was composed by Yamanöupë-nö Okura. On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. On töpo n-ö mîkaNtô ‘distant court’, see the commentary to 15.3668. Line three is hypometric (jitarazu, 字足らず). On sira nupî in line three, see the commentary to 5.794. Tukusi is the old name for the island of Kyūshū. On ANtuma, see the commentary to 14.3442. Töri-Nka nak-u ‘birds sing’ is considered to be a permanent epithet (makura-kotoba, 枕詞) to ANtuma, but since it is completely transparent, I chose to translate it. On the opaque permanent epithet taratine-nö, see the commentaries to 15.3688, 5.886 and 5.887. Cf. papa-Nka më kare-te ‘be away from one’s mother’s sight’ with imô-Nka më kare-te ‘be away from one’s beloved sight’ in 15.3731. See also the commentary to 14.3367. WOJ kare- ‘to separate from’ is probably a loan from OK (cf. MK kar- ‘to divide, to separate’), because of its limited distribution in Japonic in contrast to its native doublets OJ panat- ‘to separate’ and panare- ‘to be separated’ that are attested throughout Japonic. Waka kusa-nö ‘[beautiful] like young grass’ is considered to be a permanent epithet (makura-kotoba, 枕詞) to OJ tuma ‘spouse’, but since it is completely transparent, I chose to translate it. On arata ma-nö ‘of the new interval’, see the commentary to 15.3683. Asi-Nka tir-u ‘reed [flowers] fall’ is considered to be a permanent epithet (makura-kotoba, 枕詞) to Nanipa, but since it is completely transparent, I chose to translate it. Line thirty-two is hypometric (jitarazu, 字足らず). Cf. similar lines to ma-kayi siNsi nuk-î ‘constantly piercing [the waves with] great oars’ in 15.3611, 15.3627, and 15.3679. On WOJ kakô ‘seaman’, see the commentary to 15.3627. On WOJ kaNti ‘rudder’, see the commentary to 15.3624. OJ kîmî ‘lord’ in line thirty-four clearly refers to a husband. On mî-kötö ‘honorable word’, ‘imperial order/edict’, see the commentary to 15.3644. On WOJ masura wo ‘excellent man, brave man’, see the commentary to 5.804.

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The verb tutum- ‘to impede, to stand in one’s way, to prevent’ is a unique Western Old Japanese verb, not attested either in Eastern Old Japanese, or in the later forms of Central Japanese. On WOJ tökö ‘bed, sleeping place’, see the commentary to 5.904. Praying vessels were the jugs of sake used as offerings for deities (Omodaka 1984.20: 54). Kinoshita further notes that those jugs have an unstable bottom, so in order to stabilize them in the standing position, their bottom part had to be dug into the ground (Kinoshita 1988: 91). On sirô tapë-nö ‘[made] from the white cloth of the mulberry tree bark’, see the commentary to 15.3607. On tapë ‘cloth made from the mulberry tree bark’ see the commentary to 15.3587. Folding back one’s sleeves was a ritual action based on the belief that by doing so one will be able to meet one’s beloved in a dream (Omodaka 1984.20: 54), (Kinoshita 1988: 91). On nuNpa tama ‘pitch-black jade’, see the commentary to 15.3598. In Nara period women usually slept rolling up their hair and placing them on the edge of a bed-cover, but there are several examples of the Man’yōshū poems, where the spreading of hair is mentioned, see e.g. 17.3962. Presumably this was some kind of a magic action (Kinoshita 1988: 91). However, in contrast to the folding back of the sleeves mentioned above, we do not know its ritual function or meaning. Omodaka believes that -ra in tuma-ra in line fifty-five is not a marker of the plural (1984.20: 54). Kinoshita thinks that it is marker of a representative plurality that indicates not only a wife, but also children (1988: 91). However, the context that involves placing praying vessels at the bedside, sleeping with spread hair, and folding back sleeves is unlikely to refer to children. In addition, the sakîmôri in this poem seems to be from a higher class, since he is leading others (line thirty-three) and prepares seamen (line thirty). So it is more than likely that we have a polygamist here.

20.4332 (W)

本文・Original text (1) 麻須良男能 (2) 由伎等里於比弖 (3) 伊田弖伊氣婆 (4) 和可礼乎乎 之美 (5) 奈氣伎家牟都麻 仮名の書き下し・Kana transliteration (1) ますらをの 2 (2) ゆき 1 と 2 りおひ 1 て (3) いでていけ 2 ば (4) わか れををしみ 1 (5) なげ 2 き 1 け 1 むつま Romanization (1) masura wo-nö (2) yukî tör-i op-î-te (3) iNte-te ik-ë-Npa (4) wakare-wo wosim-î (5) naNkëk-î-kêm-u tuma Glossing with morphemic analysis (1) brave man-GEN (2) quiver take-INF carry.on.the.back-INF-SUB (3) go.out(INF)-SUB go-EV-CON (4) part(NML)-ACC regret-INF (5) lament-INF-PAST/TENT-ATTR spouse

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Translation (1/3) When a brave man went out and departed (2) taking [his] quiver and carrying it on the back, (5) [his] spouse was probably lamenting and (4) regretting the parting. Commentary On WOJ masura wo ‘excellent man, brave man’ see the commentary to 5.804. WOJ yukî is a tube-shaped rectangular quiver that was carried on one’s back. It also had rings on the right and left sides and cords to attach it to the waist and the back. Yukî were mostly woven from tsuzura fuji, a kind of woody vine (Sinomenium acutum, 葛藤), although sometimes they were also made from wood or copper. At the bottom of the front panel there was a round opening for removing arrows. The arrows were completely inserted into yukî, in contrast to another type of quiver, called yanaNkupî, into which only the parts of arrows with arrowheads were inserted. In the Nara period yanaNkupî, which has a continental provenance, and is much more convenient to use, completely displaced yukî, and the word yukî, but not the actual thing, probably survived only in poetry. OJ verb ik- ‘to go’ occurs much more rarely in the texts than OJ yuk- ‘id.’ Line three is hypermetric (jiamari, 字余り), but it may be a graphic illusion, if the sequence iNte-te ik-ë-Npa was actually pronounced as [iNtetekëNpa] or [iNdetikëNpa].

20.4333 (W)

本文・Original text (1) 等里我奈久 (2) 安豆麻乎等故能 (3) 都麻和可礼 (4) 可奈之久安里 家牟 (5) 等之能乎奈我美 仮名の書き下し・Kana transliteration (1) と 2 りがなく (2) あづまをと 2 こ 1 の 2 (3) つまわかれ (4) かなしく ありけ 1 む (5) と 2 しの 2 をながみ 1 Romanization (1) töri-Nka nak-u (2) ANtuma wo n-ö kô-nö (3) tuma wakare (4) kanasi-ku ar-i-kêm-u (5) tösi-nö wo naNka-mî Glossing with morphemic analysis (1) bird-POSS sing-ATTR (2) ANtuma man DV-ATTR child-GEN (3) spouse part(NML) (4) be.sad-INF exist-INF-PAST/TENT-FIN (5) year-GEN cord be.long-GER Translation (3) The parting [with] the spouse (2) of the lad [from] ANtuma, (1) where birds sing, (4) was probably sad, (5) because [this parting will be for] a long string of years. Commentary On töri-Nka nak-u ‘birds sing’ see the commentary to 20.4331. On ANtuma see the commentary to 14.3442. On the long string of years see the commentary to 20.4298.

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Postscript to the poems 20.4331-4333 本文・Original text 右二月八日兵部使少輔大伴宿祢家持

Translation [The poems above were composed] by Opotömö-nö sukune Yakamöti, the Junior Assistant Minister of the Ministry of War, and messenger [from the same Ministry to Nanipa] on the eighth day of the second lunar month [of the seventh year of Tenpyō Shōhō]. Commentary The eighth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to March 25, 755 AD. Among all old manuscripts, the character 使 ‘messenger’ is found only in the Genryaku kōhon, but it makes sense, because Opotömö-nö sukune Yakamöti was sent from Nara to Nanipa on the Ministry of War business. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320.

20.4334 (W)

本文・Original text (1) 海原乎 (2) 等保久和多里弖 (3) 等之布等母 (4) 兒良我牟須敝流 (5) 比毛等久奈由米 仮名の書き下し・Kana transliteration (1) うなはらを (2) と 2 ほくわたりて (3) と 2 しふと 2 も 2 (4) こ 1 らが むすべ 1 る (5) ひ 1 も 1 と 2 くなゆめ 2 Romanization (1) UNA-PARA-wo (2) töpo-ku watar-i-te (3) tösi p-u tömö (4) KÔ-ra-Nka musuNp-êr-u (5) pîmô tök-una yumë Glossing with morphemic analysis (1) sea-plain-ACC (2) be.distant-INF cross-INF-SUB (3) year pass-FIN CONJ (4) girl-DIM-POSS tie-PROG-ATTR (5) cord untie-NEG/IMP at.all Translation (3) Even if the years would pass (2) after [you] crossed far over (1) the sea plain, (5) do not untie at all the cords (4) that [your] girl has tied. Commentary On WOJ una-para ‘plain of the sea’, see the commentary to 15.3592. On the custom of tying and untying the cords of one’s garment, see the commentary to 15.3585.

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20.4335 (W)

本文・Original text (1) 今替 (2) 尓比佐伎母利我 (3) 布奈弖須流 (4) 宇奈波良乃宇倍尓 (5) 奈美那佐伎曽祢 仮名の書き下し・Kana transliteration (1) いまかはる (2) にひ 1 さき 1 も 2 りが (3) ふなでする (4) うなはら の 2 うへ 2 に (5) なみ 1 なさき 1 そ 2 ね Romanization (1) IMA KAPAR-U (2) nipî sakîmöri-Nka (3) puna-[i]Nte s-uru (4) una-para-nö upë-ni (5) namî na-sak-î-sö-n-e Glossing with morphemic analysis (1) now exchange-ATTR (2) new border.guard-POSS (3) boat-exit(NML) do-ATTR (4) sea-plain-GEN top-LOC (5) wave NEG-bloom-INF-do-DESIMP Translation (5) Waves, do not bloom (4) on the sea plain, (2) where new border guards, (1) who now replace [the old ones], (3) will go out in the boats. Commentary The word sakîmôri ‘border-guard’ (< sakî ‘border’ + môr- ‘to guard’ + nominalizer -î) is misspelled as sakîmöri in this poem, which is to be expected due to the loss of ô : ö contrast after /m/ in Late Western Old Japanese. On WOJ una-para ‘plain of the sea’, see the commentary to 15.3592. Line four is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because una-para-nö upë-ni was most likely pronounced as [unaparanöpëni]. The white waves are metaphorically compared to the flowers in this poem.

20.4336 (W)

本文・Original text (1) 佐吉母利能 (2) 保理江己藝豆流 (3) 伊豆手夫祢 (4) 可治登流間奈 久 (5) 戀波思氣家牟 仮名の書き下し・Kana transliteration (1) さき 1 も 2 りの 2 (2) ほりえ 2 こ 2 ぎ 1 づる (3) いづてぶね (4) かぢと 2 るまなく (5) こ 1 ひ 2 はしげ 2 け 1 む Romanization (1) sakîmöri-nö (2) poriYE köNk-î-[i]Nt-uru (3) INtu-te-N-pune (4) kaNti tör-u MA na-ku (5) KÔPÏ pa siNkë-kêm-u Glossing with morphemic analysis (1) border.guard-GEN (2) canal row-INF-go.out-ATTR (3) INtu-type-GEN boat (4) rudder take-ATTR interval exist.not-INF (5) long(NML) TOP be.dense-ATTR/TENT-FIN

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Translation (3) [At] the boat made in INtu [province], (1/2) which border guards row through the [Nanipa] canal, (4) the rudder does not stop, and therefore (5) the homesickness will probably be severe. Commentary The word sakîmôri ‘border-guard’ (< sakî ‘border’ + môr- ‘to guard’ + nominalizer -î) is misspelled as sakîmöri in this poem, which is to be expected due to the loss of ô : ö contrast after /m/ in Late Western Old Japanese. On Nanipa canal, see the commentary on Nanipa harbor to 20.4330. On INtu province, see the commentary to 14.3360. Although all modern scholars agree that INtu-te-N-pune indicates a boat made in INtu province, it is not completely clear what te, written with the character 手 ‘hand’, is. If this character is used semantographically, it might point to master shipbuilders, which INtu province was famous for, or, alternatively, either shape or type of the boat (Sakakura 1955: 387), (Kinoshita 1988: 97). However, the character 手 ‘hand’ can also be used as a phonogram. I believe that in this case there is a possibility that it renders the bound noun -te ‘place’, ‘type’ which is a loan from OK (cf. MK tóy ‘id.’). For details of this etymology, see Vovin (2010: 117-18). See also 20.4460 for INtu-te-nö pune. On WOJ kaNti ‘rudder’, see the commentary to 15.3624. The phrase kaNti tör-u ma na-ku probably should be understood in the sense of ‘there is no time when they hold the rudder still’. WOJ -kêm- in line five represents a fusion of adjectival attributive -kî and tentative -am-. For details see Vovin (2009a: 478-80).

Postscript to the poems 20.4334-4336 本文・Original text 右九日大伴宿祢家持作之

Translation The above poems were composed by Opotömö-nö sukune Yakamöti on the ninth day [of the second lunar month of the seventh year of Tenpyō Shōhō]. Commentary The ninth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to March 26, 755 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū.

20.4337 (E)

本文・Original text (1) 美豆等利乃 (2) 多知能已蘇岐尓 (3) 父母尓 (4) 毛能波須價尓弖 (5) 已麻叙久夜志伎 仮名の書き下し・Kana transliteration (1) み 1 づと 2 りの 2 (2) たちの 2 いそ 1 ぎ 1 に (3) ちちははに (4) も 1 の 2 はずけ 1 にて (5) いまぞ 2 くやしき 1

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Romanization (1) mîNtu töri-nö (2) tat-i-nö isôNk-î n-i (3) TITI PAPA-ni (4) mônö-[i]p-aNs-u kê-n-i-te (5) ima Nsö kuyasi-kî Glossing with morphemic analysis (1) water fowl-COMP (2) rise/depart-NML-GEN hurry-NML DV-INF (3) father mother-DAT (4) thing-say-NEG-INF come(INF)-PERF-INF-SUB (5) now PT be.regretful-ATTR Translation (5) [I] now regret (4) that [I] have come [here] without saying anything (3) to [my] father and mother (2) because of the haste of [my] departure/flying away (1) like a water fowl. Commentary On mîNtu töri ‘water fowl’ and the imagery associated with it, see the commentary to 14.3528. Omodaka believes that EOJ kênite ‘has come and’ in line four is a result of the vowel shift î > ê in SuruNka dialect of EOJ (1984.20: 59). Omodaka apparently thought that EOJ kênite should be analyzed as k-ê-n-i-te ‘come-INF-PERF-INF-SUB’, being a corruption of WOJ k-î-n-i-te As we will see below, while the vowel raising ê > î indeed takes place in SuruNka, the vowel lowering î > ê is an artifact of incorrect analysis and as a matter of fact does not exist. Another problem is that there are no other examples of infinitive form -ê- and not -î- in EOJ corpus. Given all this, it is much simpler to analyze EOJ kênite as a product of a different line of development: while in WOJ the root vowel *ö elided, but the following infinitive was left untouched, thus PJ *kö-i-n-i-te > WOJ k-î-n-i-te, in EOJ the process was opposite: the infinitive suffix -î- was dropped, but the root vowel remained: PJ *kö-i-n-i-te > *kö-n-i-te > EOJ kê-n-i-te. The correspondence of WOJ ö to SuruNka EOJ e is well attested otherwise, see the examples in the following SuruNka poems. Poems 20.4337-4346 are by sakîmôri from SuruNka province.

Postscript to the poem 20.4337 本文・Original text 右一首上丁有度部牛麻呂

Translation The poem above [was composed] by private UNtôNpë-nö Usimarö. Commentary On private (Kamî-nö yoporo, 上 丁 ) and other sakîmôri ranks, see the commentary to the postscript to 20.4321. Nothing is known about the biography of UNtôNpë-nö Usimarö. Takeda notes that there is no mention of his district of origin in SuruNka province, but that there was UNtô district (有度郡) in this province, which corresponds to a part of Abe county (安部郡) in present-day Shizuoka prefecture. Takeda further conjectures that there might have been a connection between his family name and UNtô district (1957: 392).

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20.4338 (E)

本文・Original text (1) 多々美氣米 (2) 牟良自加已蘇乃 (3) 波奈利蘇乃 (4) 波々乎波奈例 弖 (5) 由久我加奈之佐 仮名の書き下し・Kana transliteration (1) たたみ 1 け 2 め 2 (2) むらじがいそ 1 の 2 (3) はなりそ 1 の 2 (4) ははを はなれて (5) ゆくがかなしさ Romanization (1) tatamî këmë (2) MuraNsi-Nka isô-nö (3) panar-isô-nö (4) papa-wo panare-te (5) yuk-u-Nka kanasi-sa Glossing with morphemic analysis (1) rice.straw.mat wild.rice.straw.mat (2) MuraNsi-POSS rocky.shore-GEN (3) be.separated(INF)-rock-COMP (4) mother-ACC be.separated(INF)-SUB (5) go-ATTR-POSS be.sad-NML Translation (5) Sadness of going, (4) being separated from [my] mother, (3) like rocks [in the sea] are separated (2) from MuraNsi rocky shore (1) (makura-kotoba). Commentary Although the permanent epithet (makura-kotoba, 枕詞) tatamî këmë ‘mats made from rice straw and mats made from wild rice straw’ is etymologically transparent, it is not clear how it is connected to the rest of the poem, therefore I left it untranslated. EOJ këmë ‘mat made from wild rice straw’ corresponds etymologically to WOJ kömö ‘id.’ In the SuruNka dialect of EOJ the vowels ë and ê (probably there was no phonemic contrast between the two) may correspond to WOJ ö, especially after velars and labials, see 20.4337 above. We have seen above that the same correspondence is found in the Töpotuapumî dialect of EOJ, see the commentary to 20.4324. The exact location of MuraNsi rocky shore in SuruNka province is not known (Nakanishi 1985: 491). EOJ panar-isô ‘rocks in the sea not connected to the shore’ corresponds to WOJ panare-sô ‘id.’, but the EOJ form cannot be used as evidence for the raising e > î, because although EOJ panar-isô and WOJ panare-sô are both derived from the PJ *panare-isô, they follow two different paths of development, with EOJ losing the first vowel in the vowel cluster e+i, and WOJ losing the second one in the same cluster. Note that in this poem both meanings of the OJ word isô are used: ‘rock’ and ‘rocky shore’. The first three lines represent a poetic introduction (jo, 序) to the rest of the poem.

Postscript to the poem 20.4338 本文・Original text 右一首助丁生部道麻呂

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Translation The poem above [was composed] by captain OpusiNpë-nö Mîtimarö. Commentary Nothing is known about the biography of captain OpusiNpë-nö Mîtimarö. Kinoshita notes that in the case of captains their district of origin is usually not recorded (1988: 77). On captain (Sukë-nö yoporo, 助丁) and other sakîmôri ranks, see the commentary to the postscript to 20.4321.

20.4339 (E)

本文・Original text (1) 久尓米具留 (2) 阿等利加麻氣利 (3) 由伎米具利 (4) 加比利久麻弖 尓 (5) 已波比弖麻多祢 仮名の書き下し・Kana transliteration (1) くにめ 2 ぐる (2) あと 2 りかまけ 2 り (3) ゆき 1 め 2 ぐり (4) かひ りくまでに (5) いはひ 1 てまたね Romanization (1) kuni mëNkur-u (2) atöri kama kapîr-i-k-u-maNte-ni (5) ipap-î-te mat-an-e

këri

(3)

yuk-î-mëNkur-i

1

(4)

Glossing with morphemic analysis (1) land go.around-ATTR (2) brambling wild.duck gray.headed.lapwing (3) go-INF-go.around-INF (4) return-INF-come-ATTR-TERM-LOC (5) pray-INF-SUB wait-DES-IMP Translation (5) Pray and wait [for me] (4) until [I] return (3) [after] going around [the provinces], (2) like bramblings, wild ducks, and lapwings (1) that go around the lands. Commentary EOJ atöri ‘brambling’ (MdJ atori, 獦子鳥, Lat. Fringilla montifringilla) is a small migratory bird the size of a sparrow (it belongs to the order of sparrow) that comes to Japan in late autumn in large flocks and stays through winter. It is colored black and red-brownish, with a light yellow beak and white belly (Nakanishi 1985: 288). EOJ kama ‘wild duck’ corresponds to WOJ kamô ‘id.’ (also attested in EOJ). On OJ kamô ‘wild duck’ see the commentary to 14.3524. EOJ këri ‘gray-headed lapwing’ (MdJ keri, 鳧, Lat. Vanellus cinereus) is a migratory bird from the plover order, that leaves Japan for the winter and migrates to the South. It is the size of a pigeon, but has long legs of yellow color. Its back is a light brown color, its belly is white and its wings are black. It mostly lives in grassy meadows near the water, as it hunts small fish in Central and Northern Japan. Since all three birds are migratory, the word kuni in line one apparently indicates different lands or countries, and not provinces of Japan. EOJ kapîr- ‘to return’ corresponds to WOJ kapêr- ‘id.’, demonstrating the raising ê > î in SuruNka dialect of EOJ.

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The suffix -u in k-u-maNte ‘come-ATTR-TERM’ can be interpreted as final form if we look at it through the prism of WOJ. However, it would be highly unusual to have a case marker after a final, and not an attributive form of a verb. I believe that this -u represents a reflex of the EOJ attributive form in -ô that underwent raising -ô > -u, therefore k-u-maNte should be interpreted as ‘come-ATTR-TERM’. Note that *k-uru-maNte with attributive -uru is not attested in EOJ texts.

Postscript to the poem 20.4339 本文・Original text 右一首刑部虫麻呂

Translation The poem above [was composed] by OsakaNpë-nö Musimarö. Commentary Nothing is known about the biography of OsakaNpë-nö Musimarö. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to 20.4321.

20.4340 (E)

本文・Original text (1) 等知波々江 (2) 已波比弖麻多祢 (3) 豆久志奈流 (4) 美豆久白玉 (5) 等里弖久麻弖尓 仮名の書き下し・Kana transliteration (1) と 2 ちははえ 2 (2) いはひ 1 てまたね (3) つくしなる (4) み 1 づくし らたま (5) と 2 りてくまでに Romanization (1) töti papa ye (2) ipap-î-te mat-an-e (3) Tukusi-n-ar-u (4) mî-N-tuk-u SIRA TAMA (5) tör-i-te k-u-maNte-ni Glossing with morphemic analysis (1) father mother PT (2) pray-INF-SUB wait-DES-IMP Tukusi-LOC-exist-ATTR (4) water-LOC-soak-ATTR white pearl take-INF-SUB come-ATTR-TERM-LOC

(3) (5)

Translation (1) Oh, father and mother! (2) Pray and wait for [me], (5) until [I] come back, bringing [with me] (4) white pearls that soak in water (5) in Tukusi. Commentary SuruNka EOJ töti ‘father’ corresponds to WOJ titi ‘father’, although SuruNka titi ‘id.’ is also attested, see 20.4344 below. The correspondence of SuruNka ö to WOJ i is difficult to explain, especially in light of Simôtukënô EOJ sisi ‘id.’ that clearly shows palatalization t > s /_i.

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EOJ ye is an emphatic particle, corresponding to WOJ yö. Note the correspondence of SuruNka EOJ e : WOJ ö that we have already seen above (see 20.4337, 20.4338 and the commentary to 20.4338). Tukusi is the old name of Kyūshū. The compound mî-N-tuk- ‘to soak in water’ consists of the root mî- of the word mîNtu ‘water’, special compressed locative case marker -N- and verb tuk- ‘to soak’. It is a relatively rare case of using mî- ‘water’ not for fresh water, but for sea water. OJ sira tama, lit. ‘white jewel’ usually refers to pearls. On special reduced form -n- and special compressed form -N- of the locative case marker -ni, see Vovin (2005: 136-37). On attributive -u in k-u-maNte-ni ‘until I come back’ in line five, see the commentary to 20.4339 above.

Postscript to the poem 20.4340 本文・Original text 右一首川原虫麻呂

Translation The poem above [was composed] by Kapara-nö Musimarö. Commentary Nothing is known about the biography of Kapara-nö Musimarö. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上 丁) and other sakîmôri ranks, see the commentary to the postscript to 20.4321.

20.4341 (E)

本文・Original text (1) 多知波奈能 (2) 美袁利乃佐刀尓 (3) 父乎於伎弖 (4) 道乃長道波 (5) 由伎加弖努加毛 仮名の書き下し・Kana transliteration (1) たちばなの 2 (2) み 1 をりの 2 さと 1 に (3) ちちをおき 1 て (4) み ちの 2 ながちは (5) ゆき 1 かての 1 かも 1

1

Romanization (1) TatiNpana-nö (2) Mîwori-nö satô-ni (3) TITI-wo ok-î-te (4) MÎTI-nö NANKAti pa (5) yuk-î-kate-n-ô kamô Glossing with morphemic analysis (1) TatiNpana-GEN (2) Mîwori-GEN village-LOC (3) father-ACC leave-INF-SUB (4) road-GEN length TOP go-INF-POT-NEG-ATTR PT Translation (5) [I] cannot go (4) [all the] length of the road, (3) leaving my father [behind] (2) in Mîwori village (1) of TatiNpana! Commentary The location of Mîwori village of TatiNpana is not known precisely, but it might have been located in TatiNpana (立花) district in the north-eastern part

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of Shimizu city (清水市) in present-day Shizuoka prefecture (Nakanishi 1985: 490), (Kinoshita 1988: 102). Line three is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because titi-wo ok-î-te was most likely pronounced as [titiwokîte]. The word for ‘father’ in line three is written semantographically with the character 父 . In the previous poem 20.4340 we have SuruNka EOJ töti ‘father’, but in the poem 20.4344 SuruNka EOJ titi ‘id.’ is attested. Thus, the real reading of the character 父 here remains unknown: it can be titi, or it can be töti. Most Japanese scholars treat 長道 in 道乃長道 in line four as ‘long road’ (Inoue 1928: 4029), (Kōnosu 1939: 3299), (Takeda 1957: 395), (Tsuchiya 1977: 295), (Kubota 1967: 438), (Kojima et al. 1975: 387), (Omodaka 1984.20: 63), (Kinoshita 1988: 102), (Itō 1999: 468), (Satake et al. 2003: 399), (Mizushima 2003: 228). However, Takagi et al. (1962: 417) and Nakanishi (1983: 297) read 長道 as naNkate ‘length’. There is WOJ naNkate ‘length’ that specifically occurs in the expression mîti-nö naNkate ‘length of the road’, which makes sense, while mîti-nö naNka mîti ‘the long road of the road’ does not. I trust that Takagi et al. and the Nakanishi’s semantic interpretation is correct, but not their phonetic reading. First, the character 道 ‘road, way’ is used in the Man’yōshū as a phonogram for the syllable ti, but not for the syllable te. Second, the word ti ‘road, way’ is attested in OJ only in compounds, that is it is essentially a bound noun, therefore its appearance after the uninflected adjective naNka ‘long’ would be strange, because only free nouns occur in this position. I believe that we are dealing here with EOJ naNkati ‘length’ (with last syllable written phonographically with the character 道 as ti), which corresponds to WOJ naNkate ‘id.’ EOJ form resulted from raising e > i. On WOJ naNkate, see the commentary to 15.3724. On the EOJ verbal attributive -ô, see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to books fourteen and twenty.

Postscript to the poem 20.4341 本文・Original text 右一首丈部足麻呂

Translation The poem above [was composed] by PasetukaNpë-nö Tarimarö. Commentary Nothing is known about the biography of PasetukaNpë-nö Tarimarö. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to the poem 20.4321.

20.4342 (E)

本文・Original text (1) 麻氣婆之良 (2) 寳米弖豆久礼留 (3) 等乃能其等 (4) 已麻勢波々刀 自 (5) 於米加波利勢受

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仮名の書き下し・Kana transliteration (1) まけ 2 ばしら (2) ほめ 2 てつくれる (3) と 2 の 2 の 2 ご 2 と 2 (4) いま せははと 1 じ (5) おめ 2 がはりせず Romanization (1) ma-kë-N-pasira (2) pomë-te tukur-er-u (3) tönö-nö Nkötö (4) imas-e papa tôNsi (5) omë-N-kapar-i se-Ns-u Glossing with morphemic analysis (1) INT-tree-GEN-pillar (2) bless(INF)-SUB make-PROG-ATTR (3) mansion-GEN like (4) exist(HON)-IMP mother mistress.of.the.house (5) face-GEN-change-NML do-NEG-INF Translation (5) Without changing [your] looks, (4) [my] dear mother, live [a long time] (3) like mansion (2) that [they] have built, blessing (1) the pillars [made] of true trees! Commentary EOJ kë ‘tree’ corresponds to WOJ kï ‘id.’ Pillars were made from ‘true trees’ (WOJ ma-kï, EOJ ma-kë) that were either cryptomeria (OJ suNkï) or cypress (OJ pî, pî-nö kï), namely tall straight trees. Contrary to Pierson’s translation of this poem that includes ‘pillars of pine’ (1963: 49), it would be impossible to make pillars from crooked and bent Japanese pines. OJ tôNsi is a ‘mistress of the house’, which was frequently used in reference to older women, although it could also be used as an honorific address for younger women. OJ tôNsi is a contraction of tô ‘gate, door’ and nusi ‘master’. By the extension of the meaning, the word also acquired later the meaning ‘wife’. EOJ omë ‘face’ corresponds to WOJ omö ‘id.’ Note the correspondence of SuruNka EOJ e : WOJ ö that we have already seen above (see 20.4337, 20.4338 and 20.4340). EOJ omëNkapari (WOJ omöNkapari) ‘facial change, change in the looks’ often referred to emaciation or worn-out appearance.

Postscript to the poem 20.4342 本文・Original text 右一首坂田部首麻呂

Translation The poem above [was composed] by SakataNpë-nö ONpîtö Marö. Commentary Nothing is known about the biography of SakataNpë-nö ONpîtö Marö. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. ONpîtö (首) can be either a part of the given name ONpîtömarö (Tsuchiya 1977: 296), or a kabane title oNpîtö (首) (Kōnosu 1939: 3300), in which case the given name is just Marö. There is compelling evidence for both solutions, so it is really difficult to decide (Mizushima 2003: 238). I will tentatively follow the kabane solution here.

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20.4343 (E)

本文・Original text (1) 和呂多比波 (2) 多比等於米保等 (3) 已比尓志弖 (4) 古米知夜須良 牟 (5) 和加美可奈志母 仮名の書き下し・Kana transliteration (1) わろ 2 たび 1 は (2) たび 1 と 2 おめ 2 ほど 2 (3) いひ 1 にして (4) こ 1 め 2 ちやすらむ (5) わがみ 1 かなしも 2 Romanization (1) warö taNpî pa (2) taNpî tö omëp-o-Ntö (3) ipî n-i s-i-te (4) kô mët-i yas-uram-u (5) wa-Nka mî kanasi-mö Glossing with morphemic analysis (1) I journey TOP journey (2) DV think-EV-CONC (3) house DV-INF do-INF-SUB (4) child hold-INF be.emaciated-TENT2-ATTR (5) I-POSS wife be.dear-EXCL Translation (1/2) Although I think that [my] journey is [just an unpleasant] journey, (5) [I] think tenderly of my wife (4) who is probably losing weight taking care of children (3) at home! Commentary EOJ warö ‘I’ corresponds to WOJ ware ‘id.’, although SuruNka EOJ ware ‘I’ is also attested (see 20.4344 below). The correspondence SuruNka EOJ ö : WOJ e is opposite to the correspondence SuruNka EOJ e : WOJ ö that we have seen so far (see 20.4338, 20.4340, and 20.4342). Another example of the same correspondence of SuruNka EOJ ö : WOJ e in this poem is in the third syllable of SuruNka EOJ omëpoNtö ‘although [I] think’ in line three. EOJ ömëpoNtö although [I] think’ corresponds to WOJ omopëNtö ‘id.’ We have already seen in other SuruNka poems the example of the correspondence SuruNka EOJ e : WOJ ö in the second syllable (see 20.4337, 20.4338, 20.4340, and 20.4342). Another example in this poem of the same correspondence is SuruNka EOJ mët- ‘to hold’, cf. its cognate WOJ möt- ‘id.’ Both SuruNka EOJ ipî ‘house’ corresponding to WOJ ipê ‘id.’ and SuruNka EOJ mî ‘wife’ corresponding to WOJ mê exhibit the same raising ê > î in SuruNka, as we have already seen above in 20.4339. On -umö ~ -mö as a special Old Japanese exclamative form, see the commentary to 15.3595.

Postscript to the poem 20.4343 本文・Original text 右一首玉作部廣目

Translation The poem above [was composed] by TamatukuriNpë-nö Pîrömë.

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Commentary Nothing is known about the biography of TamatukuriNpë-nö Pîrömë. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Kinoshita notes that in the SuruNka district (駿河郡) of SuruNka province there was a Tamatukuri satô ( 玉造郷) ‘Jade-carving village’, which is likely to be the place where jade-carvers (tamatukuri) lived (1988: 105).

20.4344 (E)

本文・Original text (1) 和須良牟弖 (2) 努由伎夜麻由伎 (3) 和例久礼等 (4) 和我知々波々 波 (5) 和須例勢努加毛 仮名の書き下し・Kana transliteration (1) わすらむて (2) の 1 ゆき 1 やまゆき 1 (3) われくれど 2 (4) わがちち ははは (5) わすれせの 1 かも 1 Romanization (1) wasur-am-u te (2) nô yuk-î yama yuk-î (3) ware k-ure-Ntö (4) wa-Nka titi papa pa (5) wasure se-n-ô kamô Glossing with morphemic analysis (1) forget-TENT-FIN DV (2) field go-INF mountain go-INF (3) I come-EV-CONC (4) I-POSS father mother TOP (5) forget(NML) do-NEG-ATTR PT Translation (3) Although I came [here] (2) going through fields and mountains (1) intending to forget, (5) [how] can [I] forget (4) my father and mother?! Commentary There is an interesting problem in line one, since none of the old manuscripts has the phonogram 弖 /te/. Instead, we find 豆 /Ntu/ in the Genryaku kōhon, 等 /tö/ in the Ruijū koshū, and 峪 /tô/ in the Nishi Honganji-bon and most other manuscripts. I believe that the line of reasoning in modern Japanese scholarship that views 豆 /Ntu/ in the Genryaku kōhon as a mistake of 弖 /te/ due to the similar forms in sōsho, 等 /tö/ in the Ruijū koshū as an attempt to ‘explain’ unfamiliar EOJ form, and 峪 /tô/ in the Nishi Honganji-bon as an addition of the radical 石 ‘stone’ to the phonogram 弖 /te/ as a correction of the text is correct. The usage of the character 峪 /tô/ ‘whetstone’ with kō-rui vowel ô for the defective verb tö with otsu-rui vowel ö would be highly unlikely in the eighth century, so it must be a late false correction (Omodaka 1984.20: 67), (Kinoshita 1988: 105-06), (Mizushima (2003: 255-56, 259-60). It must be further noted that both the Genryaku kōhon and the Nishi Honganji-bon gloss their respective 豆 /Ntu/ and 峪 /tô/ with hiragana と /to/ and katakana ト /to/. Among all the manuscripts, the Hirose-bon is the only one that preserves 弖 /te/ (X: 60a), and this evidence alone is strong enough to support 弖 /te/ as being original. Finally, historical linguistics also lends us a hand in this matter: we have already seen in other SuruNka poems the example of the correspondence SuruNka EOJ e : WOJ ö (see 20.4337,

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MAN’YŌSHŪ

20.4338, 20.4340, 20.4342, and 20.4343), therefore SuruNka EOJ defective verb te corresponding to WOJ tö should not be a surprising form. There is another example of SuruNka EOJ defective verb te in poem 20.4346 below. There are two verbs for ‘to forget’ in OJ that both appear in this poem: consonantal verb wasur- ‘to forget intentionally’ and vowel verb wasure- ‘to forget unintentionally’. On the EOJ verbal attributive -ô, see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to books fourteen and twenty.

Postscript to the poem 20.4344 本文・Original text 右一首商長首麻呂

Translation The poem above [was composed] by Akînöwosa-nö ONpîtö Marö. Commentary Nothing is known about the biography of Akînöwosa-nö ONpîtö Marö. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. There is a hypothesis connecting this person with Akînöwosa-nö ONpîtö mentioned in the Sinsen shōji roku (新選姓氏録), compiled in 815 AD by the order of Emperor Saga (嵯峨天皇) (Kinoshita 1988: 106), (Mizushima 2003: 257-58). On ONpîtö, see the commentary to the postscript to 20.4342.

20.4345 (E)

本文・Original text (1) 和伎米故等 (2) 不多利和我見之 (3) 宇知江須流 (4) 須流河乃祢良 波 (5) 苦不志久米阿流可 仮名の書き下し・Kana transliteration (1) わぎめ 2 こ 1 と 2 (2) ふたりわがみ 1 し (3) うちえ 2 する (4) するが の 2 ねらは (5) くふしくめ 2 あるか Romanization (1) wa-Nk-îmë-kô-tö (2) puta-ri wa-Nka MÎ-si (3) ut-i-yes-uru (4) SuruNka-nö ne-ra pa (5) kupusi-ku më ar-u ka Glossing with morphemic analysis (1) I-POSS-beloved-DIM-COM (2) two-CL we-POSS see(INF)-PAST/ATTR (3) hit-INF-approach-ATTR (4) SuruNka-GEN peak-PLUR TOP (5) be.longing-INF PT exist-ATTR PT Translation (5) Oh, how [I] long for (4) peaks in SuruNka, (3) washed [by the waves], (1) [the peaks] that my beloved (2) two of us, looked at [together].

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Commentary The correspondence SuruNka EOJ e : WOJ ö is attested in this poem in two examples: SuruNka EOJ yese- ‘to approach’ (cf. WOJ yöse- ‘id.’) and SuruNka EOJ më, focus particle (cf. WOJ mö). See also 20.4337, 20.4338, 20.4340, 20.4342, 20.4343, and 20.4344 for other examples. Interestingly enough, there is another example in this poem, where SuruNka EOJ e corresponds historically not to WOJ ö, but to WOJ ô: SuruNka imë ‘beloved’ ~ WOJ imô ‘id.’ Line three utiyesuru is considered to be a permanent epithet (makura-kotoba, 枕詞) to SuruNka (Omodaka 1984: 20: 68), but since it is quite transparent, I translate it. Kinoshita also suggests that there might be a play on sound with /suru/ of utiyesuru and SuruNka (Kinoshita 1988: 107). Line five is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because kupusiku më aru ka was most likely pronounced as [kupusikumaruka] or [kupusikumëruka]. Omodaka speculates that SuruNka-nö ne-ra ‘SuruNka peaks’ might refer to Mt. Fuji (1984.20: 68). But the plural marker -ra contradicts this hypothesis. I treat this phrase simply as ‘SuruNka peaks’. SuruNka EOJ kupusi ‘to be longing’ corresponds to early WOJ kôpôsi and late WOJ kôpïsi ‘id.’ SuruNka EOJ kupusi ‘to be longing’ is a result of raising of PJ *o > u. Cf. also EOJ kôpusi in 14.3476.

Postscript to the poem 20.4345 本文・Original text 右一首春日部麻呂

Translation The poem above [was composed] by KasuNkaNpë-nö Marö. Commentary Nothing is known about the biography of KasuNkaNpë-nö Marö. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321.

20.4346 (E)

本文・Original text (1) 知々波々我 (2) 可之良加伎奈弖 (3) 佐久安礼天 (4) 伊比之氣等婆 是 (5) 和須礼加祢豆流 仮名の書き下し・Kana transliteration (1) ちちははが (2) かしらかき 1 なで (3) さくあれて (4) いひ 1 しけ と 2 ばぜ (5) わすれかねつる

2

Romanization (1) titi papa-Nka (2) kasira kakî-naNte (3) sa-ku ar-e te (4) ip-î-si këtöNpa Nse (5) wasure-kane-t-uru

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Glossing with morphemic analysis (1) father mother-POSS (2) head PREF-stroke(INF) (3) safe-INF exist-IMP DV (4) say-INF-PAST/ATTR word PT (5) forget(INF)-NEG/POT(INF)PERF-ATTR Translation (4/5) [I] cannot forget the words: (3) “Be safe!” that (1) [my] father and mother (4) said, (2) stroking [my] head. Commentary OJ kasira may refer either to the head itself, or to the head hair. It is quite possible that the author was actually patted on the head hair. In any case, stroking one’s head or head hair indicated strong emotional attachment and/or empathy (Kinoshita 1988: 108). SuruNka EOJ sa-ku ‘safely’ corresponds to WOJ sakî-ku ‘id.’ and Pîtati EOJ sakê-ku ~ sakë-ku ‘id.’ (see 20.4368 and 20.4372). For SuruNka EOJ defective verb te ‘to say, to think’ see the commentary to 20.4344. SuruNka EOJ këtöNpa ‘word’ corresponds to WOJ kötöNpa ‘id.’ SuruNka EOJ focus particle Nse corresponds to WOJ sö ~ Nsö ‘id.’ Thus, this poem provides three additional examples for the correspondence of SuruNka EOJ e : WOJ ö.

Postscript to the poem 20.4346 本文・Original text 右一首丈部稲麻呂

Translation The poem above [was composed] by PasetukaNpë-nö Inamarö. Commentary Nothing is known about the biography of PasetukaNpë-nö Inamarö. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321.

Postscript to the poems 20.4337-4346

本文・Original text 二月七日駿河國防人部領使守従五位下布勢朝臣人主實進九日歌數廿首 但拙劣歌者不取載之 Translation On the seventh day of the second lunar month [of the seventh year of Tenpyō Shōhō], Puse-nö asömî Pîtönusi (Junior Fifth Rank, Lower Grade), governor of SuruNka province, and sakîmôri messenger, [collected sakîmôri poems], but in reality presented [to me] twenty poems on ninth day. However, I did not include [here] the poems of inferior [quality].

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Commentary The seventh and ninth days of the second lunar month of the seventh year of Tenpyō Shōhō correspond to March 24 and 26, 755 AD. Several additional facts are known about Puse-nö asömî Pîtönusi’s biography. In the sixth year of Tenpyō Shōhō (754 AD) he came back to Dazaifu as a member of the embassy to Tang China. At that time he had Senior Sixth Rank, Upper Grade. In the third year of Tenpyō Hōji (759 AD) he was appointed Minor Controller of the Right (Ushōben, 右少辨). In the fourth year of Tenpyō Hōji (760 AD) Puse-nö asömî Pîtönusi served as an Inspector (Junsatushi, 巡察使) of the San’indō region. In the seventh year of Tenpyō Hōji (763 AD) he was promoted to Junior Fifth Rank, Upper Grade and appointed the Officer of the Public Affairs of the Left Capital Ward (Sakyōryō, 左京亮). In the eighth year of Tenpyō Hōji (764 AD) he was appointed the governor of Kamîtupusa province. In the first year of Jingo Keiun (767 AD) he was made Senior Assistant Minister (Tayū, 大輔) of the Ministry of Ceremonial Affairs (Shikibushō, 式部省), and in the third year of Jingo Keiun (769 AD) Puse-nö asömî Pîtönusi was appointed the governor of INtumo province. On SuruNka province, see the commentary to 14.3359. On sakîmôri messengers, see the commentary to the preface to poems 20.4321-4424. Thus, Opotömö-nö sukune Yakamöti included only half of the twenty SuruNka poems that were presented to him by Puse-nö asömî Pîtönusi.

20.4347 (E)

本文・Original text (1) 伊閇尓之弖 (2) 古非都々安良受波 (3) 奈我波氣流 (4) 多知尓奈里 弖母 (5) 伊波非弖之加母 仮名の書き下し・Kana transliteration (1) いへ 2 にして (2) こ 1 ひ 2 つつあらずは (3) ながはけ 2 る (4) たちに なりても 2 (5) いはひ 2 てしかも 2 Romanization (1) ipë n-i s-i-te (2) kôpï-tutu ar-aNs-u pa (3) na-Nka pak-ër-u (4) tati n-i nar-i-te mö (5) ipap-ï-te-si kamö Glossing with morphemic analysis (1) house DV-INF do-INF-SUB (2) long.for(INF)-COOR exist-NEG-INF TOP (3) thou-POSS carry-PROG-ATTR (4) long.sword DV-INF become-INF-SUB PT (5) protect-INF-PERF(INF)-PAST/ATTR PT Translation (4/5) [I] want to become the long sword (3) that you are carrying (5) and protect [you], (2) without longing for [you] (1) at home. Commentary This poem could be a poem in impeccable WOJ, but there are three misspellings impossible in WOJ that betray its EOJ origin: ipë ‘house’ vs. ipê, pakëru ‘are carrying’ vs. pakêru, and ipap-ï-te-si vs. ipap-î-te-si. Since this poem is composed by the father of an upper-class sakîmôri, it is no wonder

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that we find only minor phonetic discrepancies between EOJ and WOJ. These misspellings probably indicate that unlike WOJ in Kamîtupusa EOJ there was no distinction between kō-rui vowels î, ê and otsu-rui vowels ï, ë. Line two is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because kôpï-tutu ar-aNs-u was most likely pronounced as [kôpïtutaraNsu] or [kôpïtuturaNsu]. On OJ tati ‘long sword’ see the commentary to 5.804. Besides the main meaning ‘to pray’, ‘to perform purification/abstinence rituals’, OJ verb ipap- has also the meaning ‘to protect’, ‘to treat with care’ (Mizushima 2003: 277). Poems 20.4347-4359 are from Kamîtupusa province.

Postscript to the poem 20.4347

本文・Original text 右一首國造丁日下部使主三中之父歌 Translation The poem above [was composed] by the father of Assistant Commander KusakaNpë-nö omî Mînaka. Commentary Nothing is known about the biographies of KusakaNpë-nö omî Mînaka or his father. Kinoshita notes that the kabane title omî with the spelling 使主 was frequently encountered among immigrants from the mainland (1988: 110). On Assistant Commander (Kuni-nö mîyatukô-nö yoporo, 國造丁) and other sakîmôri ranks, see the commentary to the postscript to 20.4321. This is the only poem composed by the father of a sakîmôri, although there are five poems composed by sakîmôri wives.

20.4348 (E)

本文・Original text (1) 多良知祢乃 (2) 波々乎和加例弖 (3) 麻許等和例 (4) 多非乃加里保 尓 (5) 夜須久祢牟加母 仮名の書き下し・Kana transliteration (1) たらちねの 2 (2) ははをわかれて (3) まこ 2 と 2 われ (4) たび 2 の 2 かりほに (5) やすくねむかも 2 Romanization (1) taratine-nö (2) papa-wo wakare-te (3) ma-kötö ware (4) taNpï-nö kari-[i]po-ni (5) yasu-ku ne-m-u kamö Glossing with morphemic analysis (1) (makura-kotoba) (2) mother-ACC be.separated(INF)-SUB (3) INT-matter I (4) journey-GEN temporary-hut-LOC (5) easy-INF sleep-TENT-ATTR PT Translation (3/5) I really wonder whether [I] would sleep easily (4) in the temporary hut on [my] journey, (2) being separated from my mother (1) (makura-kotoba).

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Commentary The only EOJ feature of this poem is the misspelling of the word taNpî ‘journey’ as taNpï that could not happen in WOJ. This misspelling indicates that there was no contrast between kō-rui vowel î and otsu-rui vowel ï in Kamîtupusa EOJ. Since this poem is composed by an upper-class sakîmôri, it is no wonder that we find only a minor phonetic discrepancy between EOJ and WOJ. On the opaque permanent epithet taratine-nö see the commentaries to 15.3688, 5.886 and 5.887.

Postscript to the poem 20.4348 本文・Original text 右一首國造丁日下部使主三中

Translation The poem above [was composed] by Assistant Commander KusakaNpë-nö omî Mînaka. Commentary On KusakaNpë-nö omî Mînaka, see the commentary to the postscript to 20.4347. On Assistant Commander (Kuni-nö mîyatukô-nö yoporo, 國造丁) and other sakîmôri ranks, see the commentary to the postscript to 20.4321.

20.4349 (E)

本文・Original text (1) 毛母久麻能 (2) 美知波紀尓志乎 (3) 麻多佐良尓 (4) 夜蘇志麻須義 弖 (5) 和加例加由可牟 仮名の書き下し・Kana transliteration (1) も 1 も 2 くまの 2 (2) み 1 ちはき 2 にしを (3) またさらに (4) やそ しますぎ 2 て (5) わかれかゆかむ

1

Romanization (1) mômö kuma-nö (2) mîti pa k-ï-n-i-si-wo (3) mata sara n-i (4) yasô sima suNkï-te (5) wakare ka yuk-am-u Glossing with morphemic analysis (1) hundred bend-GEN (2) road TOP come-INF-PERF-INF-PAST/ATTRACC (3) again again DV-INF (4) eighty island pass(INF)-SUB (5) part(INF) PT go-TENT-ATTR Translation (2) Although [I] came along the road (1) with one hundred bends, (5) should [I] go farther away [from home] (3/4) passing again and again many islands? Commentary The only EOJ feature in this poem is the misspelling of k-î-n-i-si ‘came’ as k-ï-n-i-si, which would be impossible in WOJ and which probably indicates

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that there was no contrast between kō-rui vowel î and otsu-rui vowel ï in Kamîtupusa EOJ. See also 20.4347 and 20.4348 above. OJ yasô ‘eighty’ is used here metaphorically to indicate ‘many’. See also 20.4329 for the similar usage.

Postscript to the poem 20.4349 本文・Original text 右一首助丁刑部直三野

Translation The poem above [was composed] by Captain OsakaNpë-nö atapî Mînô. Commentary Nothing is known about the biography of OsakaNpë-nö atapî Mînô. Atapî (直) is a kabane title. On captain (Sukë-nö yoporo, 助丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321.

20.4350 (E)

本文・Original text (1) 尓波奈加能 (2) 阿須波乃可美尓 (3) 古志波佐之 (4) 阿例波伊波々 牟 (5) 加倍理久麻泥尓 仮名の書き下し・Kana transliteration (1) にはなかの 2 (2) あすはの 2 かみ 1 に (3) こ 1 しばさし (4) あれはい ははむ (5) かへ 2 りくまでに Romanization (1) nipa naka-nö (2) Asupa n-ö kamî-ni (3) kô-siNpa sas-i (4) are pa ipap-am-u (5) kapër-i-k-u-maNte-ni Glossing with morphemic analysis (1) garden inside-GEN (2) Asupa DIM-small.branch insert-INF (4) I return-INF-come-ATTR-TERM-LOC

DV-ATTR deity-DAT TOP pray-TENT-FIN

(3) (5)

Translation (5) Until [you] come back, (4) I will pray (3) sticking into [the ground] small branches (2) for deity Asupa (1) in the garden. Commentary This poem was probably composed either by a wife or a parent of the sakîmôri named as an author in the postscript to this poem, otherwise the poem would not make any sense. The only EOJ features in this poem are misspellings of kamï ‘deity’ as kamî and of kapêr- ‘to return’ as kapër-, which would be impossible in WOJ and which probably indicates that there was no contrast between kō-rui vowels î, ê and otsu-rui vowels ï, ë in Kamîtupusa EOJ. See also 20.4347, 20.4348, and 20.4349 above. On OJ nipa ‘garden’, see the commentary to 15.3609.

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The deity Asupa (阿須波) is mentioned in the Kojiki as one of the children of deity Opö tösi-nö kamï (大年神) (KJK I.: 38a.8), and is also listed in the Norito (NT 1.388.7). Nothing is really clear about this deity, although there are attempts to define him as a household deity (Kinoshita 1988: 113). The much later character spellings 足羽 /Asipa/ ‘leg feathers’ and 足岩 /Asipa/ ‘foot rock’ demonstrate with certainty only two things: first, that they really do not fit with the name (/u/ vs. / /i/), and second, that the name of this deity in all probability is not Japanese. The context of the poem suggests that it was a deity somehow associated with safe travel and/or return. Sticking small branches in the ground probably indicates constructing the boundaries for the sacred space where the deity Asupa was worshipped. OJ siNpa could refer either to a bush or a small tree, or to small branches. On attributive -u in k-u-maNte-ni ‘until I come back’ in line five see the commentary to 20.4339.

Postscript to the poem 20.4350 本文・Original text 右一首帳丁若麻續部諸人

Translation The poem above [was composed] by sergeant WakawomîNpë-nö Möröpîtö. Commentary Nothing is known about the biography of WakawomîNpë-nö Möröpîtö. The author of this poem is not him, but either his wife or parent, as mentioned above in commentary to 20.4350. Therefore, characters 妻 ‘spouse’, 母 ‘mother’, or 父 ‘father’ probably were lost after his name. On sergeant (Chō-no yoporo, 帳丁) and other sakîmôri ranks see the commentary to the postscript to 20.4321.

20.4351 (E)

本文・Original text (1) 多妣己呂母 (2) 夜倍伎可佐祢弖 (3) 伊努礼等母 (4) 奈保波太佐牟 志 (5) 伊母尓志阿良祢婆 仮名の書き下し・Kana transliteration (1) たび 1 こ 2 ろ 2 も 2 (2) やへ 2 き 1 かさねて (3) いの 1 れど 2 も 2 (4) な ほはださむし (5) いも 2 にしあらねば Romanization (1) taNpî körömö (2) ya-pë kî-kasane-te (3) i n-ôre-Ntömö (4) napo paNta samu-si (5) imö n-i si ar-an-e-Npa Glossing with morphemic analysis (1) travel garment (2) eight-CL wear(INF)-pile.up(INF)-SUB (3) sleep sleep-EV-CONC (4) still skin cold-FIN (5) beloved DV-INF PT exist-NEG-EV-CON

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Translation (3) Although [I] sleep, (2) putting on eight layers (1) [of] travel garments, (4) it is still cold, (5) because [they] are not [my] beloved. Commentary This poem has two EOJ features: misspelling of pê ‘layer’ as pë, which should indicate the absence of distinction between kō-rui vowel ê and otsu-rui vowel ë in Kamîtupusa EOJ; and EOJ-specific evidential suffix -ôre- (cf. WOJ -ure-). Like Omodaka (1984.20: 75), and unlike other Japanese scholars, I think that 伊努礼等母 should be read inôreNtömö, and not inureNtömö, because the character 努 is used to write the syllable /nô/, and not the syllable /nu/ not only in all sakîmôri poems, but specifically also other sakîmôri poems from Kamîtupusa province, see EOJ 和努 wanô ‘I’ in 20.4358. Line five is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because imö n-i si ar-an-e-Npa was most likely pronounced as [imönisaraneNpa].

Postscript to the poem 20.4351 本文・Original text 右一首望噸郡上丁玉作部國忍

Translation The poem above [was composed] by private TamatukuriNpë-nö Kuniosi from UmaNkuta district. Commentary Nothing is known about the biography of TamatukuriNpë-nö Kuniosi. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. On UmaNkuta district, see the commentary to 14.3382.

20.4352 (E)

本文・Original text (1) 美知乃倍乃 (2) 宇万良能宇礼尓 (3) 波保麻米乃 (4) 可良麻流伎美 乎 (5) 波可礼加由加牟 仮名の書き下し・Kana transliteration (1) み 1 ちの 2 へ 2 の 2 (2) うまらの 2 うれに (3) はほまめ 2 の 2 (4) から まるき 1 み 1 を (5) はかれかゆかむ Romanization (1) mîti-nö pë-nö (2) umara-nö ure-ni (3) pap-o mamë-nö (4) karamar-u kîmî-wo (5) pakare ka yuk-am-u Glossing with morphemic analysis (1) road-GEN side-GEN (2) thorny.tree-GEN top-LOC (3) crawl-ATTR bean-COMP (4) entwine-ATTR lord-ACC (5) be.separated(INF) PT go-TENT-ATTR

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Translation (5) Will [I] go away separating [myself] (4) from you, who is entwined [around me] (3) like beans that crawl (2) on the top of a thorny tree (1) at the side of a road? Commentary This poem is easy to understand, but difficult to interpret. It seems to be a love poem composed by a man to a woman, but the pronominal usage of kîmî ‘lord’, which is always used by women toward men, and not vice versa, is difficult to explain. Among premodern Japanese scholars, Sengaku offers a brief commentary on this poem, but his comments deal only with unusual vocabulary or grammar and do not offer any insight to this problem (Satake 1981: 493). Keichū does not comment on the oddity of kîmî used as a second person pronoun in a reference to a woman in this poem (1690.20: 28a-29a), and Kamochi does not comment on it either (1912.7: 341-42). Therefore, it seems that premodern Japanese commentators either did not perceive this strange usage of kîmî as an issue, or were completely oblivious to it. I trust that the first explanation is more likely, because all three premodern commentaries comment on EOJ form pap-o ‘crawl-ATTR’, which was apparently perceived as a grammatical irregularity vis-à-vis WOJ pap-u ‘id.’ This illustrates that premodern scholars were not oblivious to the grammar rules, and consequently it does not explain why the ungrammatical pronominal usage of kîmî escaped their attention. The only possible answer to this puzzle is that this usage apparently did not violate the grammatical rules. Contrary to premodern scholars, modern Japanese scholars seem to be preoccupied with the task of explaining this odd usage of kîmî. Among the earlier modern scholars, Inoue just provides a comment that kîmî is used towards a woman in this poem (1928.7: 4040), which is echoed by others in a more probabilistic tone (Kōnosu 1939: 3309), (Takeda 1957: 406). Takagi et al. agree with this point of view as well, but indicate that the usage of kîmî in reference to a woman is rare, and also speculate further that this might be an EOJ usage (1962: 420). The majority of modern scholars adopt the explanation proposed by Saeki Umetomo (1959: 85) that the woman in question might be the young mistress of the main house to whom the author is especially close (Nakanishi 1983: 301), (Omodaka 1984.20: 77), (Kinoshita 1988: 117), (Itō 1999: 478), (Satake et al. 2003: 404). Kubota plainly states that kîmî is a honorific term designating one’s wife (1967: 445). Others remain non-committal (Tsuchiya 1977: 303), (Kojima et al. 1975: 391). However, I believe that the usage of the verb karamar- ‘to be entwined’ is likely to indicate embrace, and therefore has sexual connotations. Consequently, Saeki Umetomo’s explanation is unlikely. Mizushima in his monumental study of sakîmôri poems takes the position that the pronominal usage of kîmî by a man towards a woman was possible in OJ and provides references to twelve poems in the Man’yōshū (4.495 4.668, 4.697, 6.915, 6.947, 6.953, 8.1428, 8.1641, 11.2579, 11.2586, 12.3136, 14.3365), where such a usage can be observed according to his opinion (2003: 314-16). However, I trust that all these cases can be interpreted either as poems addressed to male friends or male superiors to whom they are close, as poems where males assume the voice of females, or as humorous or playful poems – we normally encounter these kinds of interpretation in the commentaries by other Man’yōshū scholars who do not agree with Mizushima. Therefore, I still feel that something is amiss here that we cannot explain.

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This leads me to another hypothesis, which alone can explain this oddity. The author of this poem is called PasetukaNpë-nö Töri (丈部鳥). Although töri (鳥) ‘bird’ as a component of male names occurs in modern Japan, in the Nara period male name töri seems to be odd: I know of no such examples. On the other hand, in Mînô province census of 702 AD there is a female name Ma-töri-mê (眞鳥賣), lit. ‘true-bird-female’ that belongs to a four year-old girl (SSI 2.24.8.10). A connection between birds in general and females can also be corroborated by the following passage in the Kojiki kayō that represents the speech of a female: 伊麻許曾婆和杼理迩阿良米能知波那杼理爾阿良牟遠 ima kösö pa wa-N-töri n-i ar-am-ë nöti pa na-N-töri n-i ar-am-u-wo now PT TOP I-OSM-bird DV-INF exist-TENT-EV later TOP thou-OSM-bird DV-INF exist-TENT-ATTR-ACC Right now [I] am my bird. But because later [I] will be thy bird… (KK 3) Consequently, I dare to suggest that PasetukaNpë-nö Töri was in fact a faithful wife of a sakîmôri, who went together with her husband to Tukusi40 Thus, the probability that PasetukaNpë-nö Töri was a female, and that, therefore, this poem was composed by a woman is quite high. OJ umara (also uNpara) is a generic name for low thorny trees as well for a thorn itself. This poem has two EOJ features: misspelling of pê ‘side’ as pë, which should indicate the absence of distinction between kō-rui vowel ê and otsu-rui vowel ë in Kamîtupusa EOJ; and special EOJ attributive -ô in pap-o < pap-ô, on which see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume. The initial alternation of p- with w- as in pakare ~ wakare ‘be separated’ is a rare correspondence, but it also occurs in a couple of other words, such as pasir- ~ wasir- ‘to run, to move fast’, patuka n-i ~ waNtuka n-i ‘barely’ (Kinoshita 1988: 117). Given also the fact that the syllable /ka/ in pakare is spelled with the character 可 {ka}, not {Nka}, this explanation is preferable to Omodaka’s attempt to read pakare as *paNkare (1984.20: 77), an otherwise unattested intransitive counterpart of the transitive paNkas- ‘to take off’. The intransitive counterpart would also make no sense syntactically, as kîmî is marked by the accusative case marker -wo.

Postscript to the poem 20.4352 本文・Original text 右一首天羽郡上丁丈部鳥

Translation The poem above [was composed] by private PasetukaNpë-nö Töri from Amapa district. 40

Many thanks to Karl Friday who dissuaded me from my originally crazy idea that this person was a female sakîmôri, and suggested that the author might be a daughter of a sakîmôri, as well as providing me with a wealth of other information on sakîmôri. I still perceive this poem as having, however, at least some sexual overtones, so I am more inclined towards the ‘wife version’. Sakîmôri were allowed to take with them their families, at least in theory, although very few probably actually used this privilege. Still, the problem remains why the wife or the daughter is given the rank of a private?

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Commentary Nothing is known about the biography of PasetukaNpë-nö Töri. See the commentary above on the possible gender of PasetukaNpë-nö Töri. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Amapa district corresponds to an area in the southern part of Futtsu city (富 津市) in present-day Chiba Prefecture (Nakanishi 1985: 420).

20.4353 (E)

本文・Original text (1) 伊倍加是波 (2) 比尓々々布氣等 (3) 和伎母古賀 (4) 伊倍其登母遲 弖 (5) 久流比等母奈之 仮名の書き下し・Kana transliteration (1) いへ 2 かぜは (2) ひ 1 にひ 1 にふけ 2 ど 2 (3) わぎ 1 も 2 こ 1 が (4) い へ 2 ご 2 と 2 も 2 ちて (5) くるひ 1 と 2 も 2 なし Romanization (1) ipë kaNse pa (2) pî-ni pî-ni puk-ë-Ntö (3) wa-Nk-îmö-kô-Nka (4) ipë-N-kötö möt-i-te (5) k-uru pîtö mö na-si Glossing with morphemic analysis (1) home wind TOP (2) day-LOC day-LOC blow-EV-CONC (3) I-POSS-beloved-DIM-POSS (4) home-GEN-word hold-INF-SUB (5) come-ATTR person PT exist.not-FIN Translation (1/2) Although the wind from home blows every day, (4/5) there is nobody who will bring the message about home (3) from my dear beloved. Commentary Wind from home is the wind blowing from the direction where home is, which for sakîmôri was the Eastern wind. This poem has just one EOJ feature: misspelling of ipê ‘home’ as ipë, which should indicate the absence of distinction between kō-rui vowel ê and otsu-rui vowel ë in Kamîtupusa EOJ. The second syllable /ti/ in OJ mötite ‘hold and’ is spelled with the character 遲 that is believed to be used in the man’yōgana for the syllable /Nti/ with a prenasalized initial Nt-. Nakanishi consequently reads möNtite (1983: 301), but Kinoshita speculates that it was misheard as prenasalized voiced (1988: 118). However, as I have demonstrated elsewhere, 遲 could be used for the syllable /ti/ as well (Vovin 2009b: 29-30).

Postscript to the poem 20.4353 本文・Original text 右一首朝夷郡上丁丸子連大歳

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MAN’YŌSHŪ

Translation The poem above [was composed] by private Marôkô-nö muraNsi Opotösi from Asapîna district. Commentary Nothing is known about the biography of Marôkô-nö muraNsi Opotösi. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Asapîna district (朝夷郡) corresponds to an area in Minamibōsō city (南房 総市) in present-day Chiba Prefecture (Nakanishi 1985: 420). Before the integration into big cities in 2006 it was a part of Chikuramachi (千倉町) of Awa county (安房郡) of Chiba prefecture. Historically, Apa province (安房 國), to which Asapîna district belonged, was separated from Kamîtupusa province in the second year of Yōrō (養老) (718 AD), then integrated back into Kamîtupusa province in the thirteenth year of Tenpyō (741 AD), and then made a separate province again in the first year of Tenpyō Hōji (757 AD). In the seventh year of Tenpyō Shōhō (755 AD) it was a part of Kamîtupusa province (Kinoshita 1988: 118).

20.4354 (E)

本文・Original text (1) 多知許毛乃 (2) 多知乃佐和伎尓 (3) 阿比美弖之 (4) 伊母加己々呂 波 (5) 和須礼世奴可母 仮名の書き下し・Kana transliteration (1) たちこ 2 も 1 の 2 (2) たちの 2 さわき 1 に (3) あひ 1 み 1 てし (4) い も 2 がこ 2 こ 2 ろ 2 は (5) わすれせぬかも 2 Romanization (1) tat-i kömô-nö (2) tat-i-nö sawak-î-ni (3) apî-mî-te-si (4) imö-Nka kökörö pa (5) wasure se-n-u kamö Glossing with morphemic analysis (1) rise-INF wild.duck-COMP (2) depart-NML-GEN make.noise-NML-LOC (3) REC-see(INF)-PERF(INF)-PAST/ATTR (4) beloved-POSS heart TOP (5) forget(NML) do-NEG-ATTR PT Translation (5) [I] will not forget (4) the feelings of [my] beloved, (3) with whom [I] met (2) during the noise of [my] departure (1) that was like a wild duck rising. Commentary This poem has just one EOJ feature: Kamîtupusa EOJ kömô ‘wild duck’ corresponding to WOJ kamô ‘id.’ (also attested in EOJ). Cf. also EOJ kama ‘wild duck’ in 20.4339. On OJ kamô ‘wild duck’, see the commentary to 14.3524. Both EOJ kömô and kama are likely to be results of vowel assimilations: regressive in the former case (if the contrast between ô and ö was lost), and progressive in the latter. Japanese scholars believe that tat-i ‘rise-INF’ in tat-i kömô ‘rising wild duck’ is not an infinitive, but an attributive form that corresponds to WOJ tat-u ‘rise-ATTR’ (Kinoshita 1988: 119), but since there are no other

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examples where EOJ imagined attributive *-i would correspond to WOJ attributive -u, this usage can be rather compared to MJ usage of the infinitive form in the attributive function (Vovin 2003: 232). There is certainly a play on words involved on tat- ‘to rise’ in line one and tat- ‘to depart’ in line two. Although there is a tendency to treat the first line as a permanent epithet (makura-kotoba, 枕詞) (Kinoshita 1988: 119), this is highly unlikely, since a flock of wild ducks, or even a single wild duck are likely to produce significant noise when rising into the air. The hypothesis that EOJ kömô means ‘mat made from the straw of wild rice’ (WOJ kömö, EOJ këmë) and not ‘wild duck’ was advanced by Takeda (1957: 408), but Omodaka has demonstrated very persuasively that this hypothesis should be rejected (1984.20: 79).

Postscript to the poem 20.4354 本文・Original text 右一首長狭郡上丁丈部与呂麻呂

Translation The poem above [was composed] by private PasetukaNpë-nö Yörömarö from NaNkasa district. Commentary Nothing is known about the biography of PasetukaNpë-nö Yörömarö. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Like Asapîna district that appears in 20.4353 above, NaNkasa district (長狭 郡) was also originally a district of Apa province (安房國), that was located to the North of Asapîna district mentioned in poem 20.4353 above. It corresponds to an area including Kamogawa city ( 鴨 川 市 ), Amatukominato-chō (天津小湊町), and an area around Kamo river (加茂川) basin in present-day Chiba prefecture (Nakanishi 1985: 468).

20.4355 (E)

本文・Original text (1) 余曽尓能美 (2) 美弖夜和多良毛 (3) 奈尓波我多 (4) 久毛爲尓美由 流 (5) 志麻奈良奈久尓 仮名の書き下し・Kana transliteration (1) よ 2 そ 2 にの 2 み 1 (2) み 1 てやわたらも 1 (3) なにはがた (4) くも 1 ゐにみ 1 ゆる (5) しまならなくに Romanization (1) yösö-ni nömî (2) mî-te ya watar-am-ô (3) Nanipa-N-kata (4) kumôwi-ni mî-y-uru (5) sima nar-an-aku n-i Glossing with morphemic analysis (1) outside-LOC PT (2) see(INF)-SUB PT cross-TENT-ATTR (3) Nanipa-GEN-lagoon (4) distance-LOC see-PASS-ATTR (5) island be-NEG-NML DV-INF

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Translation (3/5) Although Nanipa lagoon is not an island (4) that is seen in the distance, (2) will [I] cross over [to Tukusi] seeing [it] (5) only from afar? Commentary This poem has two EOJ features. The first is the misspelling of nömï ‘only’ as nömî, which should indicate the absence of distinction between kō-rui vowel î and otsu-rui vowel ï in Kamîtupusa EOJ. The second is the special EOJ attributive form -ô, on which see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume. On Nanipa and Nanipa lagoon, see the commentaries to poems 20.4329 and 20.4330.

Postscript to the poem 20.4355 本文・Original text 右一首武射郡上丁丈部山代

Translation The poem above [was composed] by private PasetukaNpë-nö Yamasirö from MuNsa district. Commentary Nothing is known about the biography of PasetukaNpë-nö Yamasirö. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. MuNsa district corresponds to the northern part of present-day Sanbu county in Chiba prefecture (Omodaka 1984.20: 82), (Nakanishi 1985: 491), (Kinoshita 1988: 120). This placename is apparently of Ainu origin: Munsa < *mun-sa (Aini mun ‘unedible grass’ + sa ‘plain’) ‘plain of unedible grass’. Cf. also related placename MuNsasi < *mun-sa-si < Ainu mun sa-hi ‘unedible.grass plain-POSS’. For details on MuNsasi see the list of Ainu words in the introduction to this volume and Vovin (2009b: 2-3).

20.4356 (E)

本文・Original text (1) 和我波々能 (2) 蘇弖母知奈弖氐 (3) 和我可良尓 (4) 奈伎之許己呂 乎 (5) 和須良延努可毛 仮名の書き下し・Kana transliteration (1) わがははの 2 (2) そ 1 でも 2 ちなでて (3) わがからに (4) なき 1 し こ 2 こ 2 ろ 2 を (5) わすらえ 2 の 1 かも Romanization (1) wa-Nka papa-nö (2) sôNte möt-i naNte-te (3) wa-Nka karani (4) nak-î-si kökörö-wo (5) wasur-aye-n-ô kamô

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Glossing with morphemic analysis (1) I-POSS mother-GEN (2) sleeve hold-INF caress(INF)-SUB (3) I-POSS CONJ (4) weep-INF-PAST/ATTR heart-ACC (5) forget-PASS-NEG-ATTR PT Translation (5) [I] cannot forget (1/4) my mother’s feelings when [she] wept (3) because of me (2) caressing me with [her] sleeve! Commentary I follow here Itō’s and Mizushima’s reading of the verb wasur-aye-n-ô in line five and the reconstruction of its script archetype as 和須良延努 with the character 努 (Itō 1999: 472, 474, 485), (Mizushima 2003: 341, 343). I disagree with other Japanese scholars on their reading of the verb, where they unanimously read wasurayenu, notwithstanding whether they reconstruct the script archetype as 和須良延努 with the character 努 (Kōnosu 1939: 3313), (Takagi et al. 1962: 421), (Kubota 1967: 448), (Nakanishi 1983: 302), or as 和須良延奴 with the character 奴 (Takeda 1957: 409), (Kojima et al. 1975: 392), (Tsuchiya 1977: 306), (Omodaka 1984.20: 82), (Kinoshita 1988: 121), (Satake 2003: 406). Among the oldest manuscripts, the character 奴 appears only in the Genryaku kōhon, all other have the character 努. In addition, the Hirose-bon, the only manuscript that comes from the independent lineage of the now lost Teika-bon, also has the character 努. This heavily tips the balance in favor of the character 努. As we can see elsewhere, the character 努 is used to write the syllable nô, not the syllable nu (see 20.4341, 20.4344, 20.4351 above and 20.4358 below). Consequently, this poem turns out to have just one EOJ feature: the special EOJ attributive form -ô, on which see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume. It is not quite clear whose sleeve it is; in other words, is it the author’s sleeve that his mother holds and caresses, or is it his mother’s sleeve that she holds to caress him? In my translation I follow the second interpretation adopted by the majority of modern Japanese scholars.

Postscript to the poem 20.4356 本文・Original text 右一首山邊郡上丁物部乎刀良

Translation The poem above [was composed] by private MönöNpë-nö Wotôra from Yamanöpê district. Commentary Nothing is known about the biography of MönöNpë-nö Wotôra. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Yamanöpê district corresponds to the southern part of Sanbu county (山武 郡) in present-day Chiba prefecture (Omodaka 1984.20: 83), (Nakanishi 1985: 494), (Kinoshita 1988: 121).

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20.4357 (W/S)

本文・Original text (1) 阿之可伎能 (2) 久麻刀尓多知弖 (3) 和藝毛古我 (4) 蘇弖母志保々 尓 (5) 奈伎志曽母波由 仮名の書き下し・Kana transliteration (1) あしかき 1 の 2 (2) くまと 1 にたちて (3) わぎ 1 も 1 こ 1 が (4) そ 1 で も 2 しほほに (5) なき 1 しそ 2 も 2 はゆ Romanization (1) asi kakî-nö (2) kuma tô-ni tat-i-te (3) wa-Nk-îmô-kô-Nka (4) sôNte mö sipopo n-i (5) nak-î-si sö [o]möp-ay-u Glossing with morphemic analysis (1) reed fence-GEN (2) corner place-LOC stand-INF-SUB (3) I-POSS-beloved-POSS (4) sleeve PT wet DV-INF (5) weep-INF-PAST/ATTR PT think-PASS-FIN Translation (3/5) [I] suddenly thought of my beloved who wept (4) wetting [her] sleeves (2) when standing in the corner (1) of the reed fence. Commentary Although this poem is composed by a sakîmôri, it has no EOJ features. Standing in the corner and weeping certainly symbolizes waiting for the author’s return. This poem has an interesting syntactic peculiarity: after the focus particle sö we would expect the attributive form omöp-ay-uru, not the final form omöp-ay-u that we have in this case.

Postscript to the poem 20.4357 本文・Original text 右一首市原郡上丁刑部直千國

Translation The poem above [was composed] by private OsakaNpë-nö atapî Tikuni from Itipara district. Commentary Nothing is known about the biography of OsakaNpë-nö atapî Tikuni. Atapî (直) is a kabane title. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Itipara district corresponds to Ichihara city (市原市) in present-day Chiba prefecture (Nakanishi 1985: 423), (Kinoshita 1988: 121).

20.4358 (E)

本文・Original text (1) 於保伎美乃 (2) 美許等加志古美 (3) 伊弖久礼婆 (4) 和努等里都伎 弖 (5) 伊比之古奈波毛

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仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) み 1 こ 2 と 2 かしこ 1 み 1 (3) いでくれば (4) わ の 1 と 2 りつき 1 て (5) いひ 1 しこ 1 なはも 1 Romanization (1) opo kîmî-nö (2) mî-kötö kasikô-mî (3) iNte-k-ure-Npa (4) wanô tör-i-tuk-î-te (5) ip-î-si kô-na pa mô Glossing with morphemic analysis (1) Great Lord-GEN(2) HON-word be.awesome-GER (3) exit(INF)-come-EVCON (4) I grab-INF-attach-INF-SUB (5) say-INF-PAST/ATTR girl-DIM TOP PT Translation (3) When [I] left [the house], (1/2) because the command of the Great Lord is awesome, (4/5) oh, [that] girl who grabbed me and pleaded [with me not to go]. Commentary There are two EOJ features in this poem: Kamîtupusa EOJ first personal singular pronoun wanô ‘I’ (cf. wanu ‘id.’ in 14.3476 and 14.3476a), and EOJ diminutive suffix -na corresponding to WOJ -ra (for details see Vovin (2005: 208-10, 212-13). On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. On mî-kötö ‘honorable word’, ‘imperial order/edict’, see the commentary to 15.3644.

Postscript to the poem 20.4358 本文・Original text 右一首種沘郡上丁物部龍

Translation The poem above [was composed] by private MönönöNpë-nö Tatu from Supî district. Commentary Nothing is known about the biography of MönönöNpë-nö Tatu. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. All modern scholars correct the name of Supî district (種沘郡) to Suwe district (種淮郡), see, e.g. (Omodaka 1984.20: 85), (Kinoshita 1988: 124), (Mizushima 2003: 356-57). There are two problems with this revision of the text. First, all the oldest manuscripts and the Hirose-bon have Supî district (種 沘郡), and not Suwe district (種淮郡), which appears only in the much later Hosoi-bon and wood-block printed editions. Second, the earliest attestation of this placename spelled as Suwe is found only in the early tenth century

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dictionary Wamyōshō (和名抄).41 But this is too late, as by this time medial -p- and -w- merged as -w-. Also, we must keep in mind that MJ is much more conservative than OJ regarding the raising of original PJ vowels *e and *o to high vowels i and u respectively. The form Supî suggests EOJ origin, since EOJ raises *e and *o to i and u in the last syllable of a disyllabic noun, while WOJ tends to keep them there in most cases (Hayata 1998). The otherwise unattested WOJ form was in all probability *Supê that had its expected development into MJ Suwe. *Supê district corresponds to Kimitsu city (君津 市) and northern part of Futtsu city (富津市) in present-day Chiba prefecture (Nakanishi 1985: 456), (Kinoshita 1988: 124).

20.4359 (E)

本文・Original text (1) 都久之閇尓 (2) 敝牟加流布祢乃 (3) 伊都之加毛 (4) 都加敝麻都里 弖 (5) 久尓々閇牟可毛 仮名の書き下し・Kana transliteration (1) つくしへ 2 に (2) へ 1 むかるふねの まつりて (5) くににへ 2 むかも 1

2

(3) いつしかも

1

(4) つかへ

1

Romanization (1) tukusi-pë-ni (2) pê muk-ar-u pune-nö (3) itu si kamô (4) tukapê-matur-i-te (5) kuni-ni pë muk-am-ô Glossing with morphemic analysis (1) Tukusi-side-LOC (2) bow direct-PROG-ATTR boat-GEN (3) when PT PT (4) serve(INF)-HUM-INF-SUB (5) province-LOC bow turn-TENT-ATTR Translation (3) I wonder when (2) the boat which is [now] directing [its] bow (1) towards Tukusi (5) will turn its bow towards [my home] province, (4) after [I finish my] service? Commentary Tukusi is the old name for the island of Kyūshū. It is quite clear that unlike WOJ, Kamîtupusa EOJ did not have a phonemic contrast between ê and ë. OJ pë ‘ship’s bow’ (with etymological ë) is spelled incorrectly as pê in line two, but correctly as pë in line five. In addition, pê ‘side’ is misspelled as pë in line one, and tukapë- ‘to serve’ as tukapê- in line four. EOJ progressive suffix -ar- corresponds to WOJ -êr-. On EOJ special attributive form -ô, see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume.

41

I believe that suwe (末) appearing in preface and text of 9.1738 is not the alternative spelling of this placename, but a reference to ‘edge, end’, in other words, the seashore, where the land ends.

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Postscript to the poem 20.4359 本文・Original text 右一首長柄郡上丁若麻續部羊

Translation The poem above [was composed] by private WakawomîNpë-nö PîtuNsi from NaNkara district. Commentary Nothing is known about the biography of WakawomîNpë-nö PîtuNsi. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. NaNkara district corresponds to the northern part of Chōsei county (長生郡) and Mobara city (茂原市) in present-day Chiba prefecture (Kinoshita 1988: 126).

Postscript to the poems 20.4347-4359

本文・Original text 二月九日上総国防人部領使少目従七位下茨田連沙弥麻呂進歌數十九首 但拙劣歌者不取載之 Translation On the ninth day of the second lunar month [of the seventh year of Tenpyō Shōhō], MamuNta-nö muraNsi Samîmarö (Junior Seventh Rank, Lower Grade), junior clerk and sakîmôri messenger of Kamîtupusa province, presented [to me] nineteen poems. However, I did not include [here] the poems of inferior [quality]. Commentary The ninth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to March 26, 755 AD. Nothing is known about the biography of MamuNta-nö muraNsi Samîmarö. MuraNsi is a kabane title. On Kamîtupusa province, see the commentary to 14.3348. Shō-sakan (少目) ‘junior clerk’ is the junior clerical position in provincial offices of Great Provinces. It corresponded to Junior Eighth Rank, Lower Grade. Thus, MamuNta-nö muraNsi Samîmarö had a rank that exceeded his actual position. On sakîmôri messengers, see the commentary to the preface to poems 20.4321-4424. Although Opotömö-nö Yakamöti received nineteen poems, he included only thirteen.

Preface to the poems 20.4360-4362 本文・Original text 陳私拙懐一首并短歌

Translation One poem, accompanied inadequate feelings.

by [two] tanka [envoys],

composed to express my personal

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Commentary These three poems on Nanipa were composed by Opotömö-nö Yakamöti, as becomes apparent from the postscript to them. Nanipa was the gathering point for sakîmôri from various provinces for their travel to Tukusi that was their final destination.

20.4360 (W)

本文・Original text (1) 天皇乃 (2) 等保伎美与尓毛 (3) 於之弖流 (4) 難波乃久尓々 (5) 阿 米能之多 (6) 之良志賣之伎等 (7) 伊麻能余尓 (8) 多要受伊比都々 (9) 可氣麻久毛 (10) 安夜尓可之古志 (11) 可武奈我良 (12) 和其大王乃 (13) 宇知奈妣久 (14) 春初波 (15) 夜知久佐尓 (16) 波奈佐伎尓保比 (17) 夜麻美礼婆 (18) 見能等母之久 (19) 可波美礼婆 (20) 見乃佐夜氣 久 (21) 母能其等尓 (22) 佐可由流等伎登 (23) 賣之多麻比 (24) 安伎 良米多麻比 (25) 之伎麻世流 (26) 難波宮者 (27) 伎己之乎須 (28) 四 方乃久尓欲里 (29) 多弖麻都流 (30) 美都奇能船者 (31) 保理江欲里 (32) 美乎妣伎之都々 (33) 安佐奈藝尓 (34) 可治比伎能保理 (35) 由布 之保尓 (36) 佐乎佐之久太理 (37) 安治牟良能 (38) 佐和伎々保比弖 (39) 波麻尓伊泥弖 (40) 海原見礼婆 (41) 之良奈美乃 (42) 夜敝乎流我 宇倍尓 (43) 安麻乎夫祢 (44) 波良々尓宇伎弖 (45) 於保美氣尓 (46) 都加倍麻都流等 (47) 乎知許知尓 (48) 伊射里都利家理 (49) 曽伎太久 毛 (50) 於藝呂奈伎可毛 (51) 己伎婆久母 (52) 由多氣伎可母 (53) 許 己見礼婆 (54) 宇倍之神代由 (55) 波自米家良思母 仮名の書き下し・Kana transliteration (1) すめ 1 ろ 2 き 1 の 2 (2) と 2 ほき 1 み 1 よ 2 にも 1 (3) おしてる (4) なに はの 2 くにに (5) あめ 2 の 2 した (6) しらしめ 1 しき 1 と 2 (7) いまの 2 よ 2 に (8) たえ 2 ずいひ 1 つつ (9) かけ 2 まくも 1 (10) あやにかしこ 1 し (11) かむながら (12) わご 2 おほき 1 み 1 の 2 (13) うちなび 1 く (14) はるの 2 はじめ 2 は (15) やちくさに (16) はなさき 1 にほひ 1 (17) やま み 1 れば (18) み 1 の 2 と 2 も 2 しく (19) かはみ 1 れば (20) み 1 の 2 さや け 2 く (21) も 2 の 2 ご 2 と 2 に (22) さかゆると 2 き 1 と 2 (23) め 1 したま ひ 1 (24) あき 1 らめ 2 たまひ 1 (25) しき 1 ませる (26) なにはの 2 み 1 や は (27) き 1 こ 2 しをす (28) よ 2 もの 2 くによ 1 り (29) たてまつる (30) み 1 つき 2 の 2 ふねは (31) ほりえ 2 よ 1 り (32) み 1 をび 1 き 1 しつつ (33) あさなぎ 1 に (34) かぢひ 1 き 1 の 2 ぼり (35) ゆふしほに (36) さをさし くだり (37) あぢむらの 2 (38) さわき 1 き 1 ほひ 1 て (39) はまにいでて (40) うなはらみ 1 れば (41) しらなみ 1 の 2 (42) やへ 1 をるがうへ 2 に (43) あまをぶね (44) はららにうき 1 て (45) おほみ 1 け 2 に (46) つか へ 2 まつると 2 (47) をちこ 2 ちに (48) いざりつりけ 1 り (49) そ 2 き 1 だくも 1 (50) おぎ 1 ろ 2 なき 1 かも 1 (51) こ 2 き 1 ばくも 2 (52) ゆたけ 2 き 1 かも 2 (53) こ 2 こ 2 み 1 れば (54) うべ 2 しかみ 2 よ 2 ゆ (55) はじ め 2 け 1 らしも 2 Romanization (1) SUMÊRÖKÎ-nö (2) töpo-kî mî-yö-ni mô (3) os-i-ter-u (4) Nanipa-nö kuni-ni (5) amë-nö sita (6) sirasimês-i-kî tö (7) ima-nö yö-ni (8) taye-Ns-u ip-î-tutu (9) kakë-m-aku mô (10) aya n-i kasikô-si (11) kamu-na-N-kara (12) wa-Nkö OPO KÎMÎ-nö (13) uti-naNpîk-u (14) PARU-NÖ PANSIMË pa (15) ya ti kusa n-i (16) pana sak-î nipop-î (17) yama mî-re-Npa (18) MÎ-nö

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tömösi-ku (19) kapa mî-re-Npa (20) MÎ-nö sayakë-ku (21) mönö Nkötö n-i (22) sak-ay-uru tökî tö (23) mês-i-tamap-î (24) akîramë-tamap-î (25) sik-î-mas-er-u (26) Nanipa-NÖ MÎYA pa (27) kîkös-i-wos-u (28) YÖ MO-nö kuni-yôri (29) tatematur-u (30) mî-tukï-nö PUNE PA (31) poriYE-yôri (32) mîwo-N-pîk-î s-i-tutu (33) asa naNkî-ni (34) kaNti pîk-î nöNpor-i (35) yupu sipo-ni (36) sawo sas-i kuNtar-i (37) aNti mura-nö (38) sawak-î kîpop-î-te (39) pama-ni iNte-te (40) UNA-PARA MÎ-re-NPA (41) sira namî-nö (42) ya-pê wor-u-Nka upë-ni (43) ama woN-pune (44) parara n-i uk-î-te (45) opo mî-kë n-i (46) tukapë-matur-u tö (47) woti köti-ni (48) iNsar-i tur-i-kêr-i (49) sökîNtaku mô (50) oNkîrö-na-kî kamô (51) kökîNpaku mö (52) yutakë-kî kamö (53) kökö MÎ-re-Npa (54) uNpë-si KAMÏ-YÖ-yu (55) paNsimë-kêrasi-mö Glossing with morphemic analysis (1) imperial.ancestor-GEN (2) distant-ATTR HON-age-LOC PT (3) push-INF-shine-ATTR (4) Nanipa-GEN land-LOC (5) heaven-GEN under (6) rule(HON)-INF-PAST/FIN DV (7) now-GEN age-LOC (8) break-NEG-INF say-INF-COOR (9) say-TENT-NML PT (10) extreme DV-INF awesome-FIN (11) deity-PLUR-GEN-nature (12) I-POSS Great Lord-GEN (13) PREF-bend-ATTR (14) spring-GEN beginning TOP (15) eight thousand variety DV-INF (16) flower bloom-INF be.beautifully.colored-INF (17) mountain see-EV-CON (18) see(NML)-GEN be.attractive-INF (19) river see-EV-CON (20) see(NML)-GEN be.bright-INF (21) thing every DV-INF (22) flourish-PASS-ATTR time DV (23) see(HON)-INF-HON-INF (24) brighten(INF)-HON-INF (25) rule-INF-HON-PROG-ATTR (26) Nanipa-GEN palace TOP (27) govern-INF-HON-ATTR (28) four direction-GEN province-ABL (29) present(HUM)-ATTR (30) HON-tribute-GEN boat TOP (31) canal-ABL (32) current-LOC-pull-NML do-INF-COOR (33) morning calm-LOC (34) rudder pull-INF go.up-INF (35) evening tide-LOC (36) pole pierce-INF go.down-INF (37) teal flock-GEN (38) make.noise-NML compete-INF-SUB (39) seashore-LOC go.out(INF)-SUB (40) sea-plain look-EV-CON (41) white wave-GEN (42) eight-CL break-ATTR-POSS top-LOC (43) fisherman DIM-boat (44) scattered DV-INF float-INF-SUB (45) great HON-food DV-INF (46) offer(INF)-HUM-FIN DV (47) there here-LOC (48) fish-INF angle-INF-RETR-FIN (49) extremely PT (50) huge-ADJ(?)-ATTR (51) extremely PT (52) be.wealthy-ATTR (53) here look-EV-CON (54) be.indeed-FIN deity-age-ABL (55) begin(INF)-RETRSUP-EXCL Translation (7) In the present age (8) [people] are incessantly and constantly speaking (6) about [the fact that Emperors] ruled (1/2) in the distant age of Imperial ancestors as well (5) [the country] under Heaven (4) in the land of Nanipa (3) on which [sun] shines upon (12) where my Great Lord (11) who has a nature of a deity (10) and about whom it is extremely awesome (9) even to speak about, (14) at the beginning of spring, (13) when [grass and trees] bend [gently in the wind], (15) eight thousand varieties of (16) flowers are beautifully blooming in full color, (17) when [one] looks at mountains, (18) [they] are attractive to look at (19) when [one] looks at rivers, (20) [they] are bright to look at, and (23) [when the Emperor] sees (21/22) that it is the time when everything is flourishing, (24) [it] brightens [his heart]. (30) Boats with the tribute (29) presented (28) by provinces at four directions (27) that [the

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Emperor] deigns to govern (32) are plying along the current (31) in the canal (26) [to] Nanipa palace, (25) where [he] is ruling, (34) going up [to the palace] pulling on [their] rudders (33) in the morning calm (36) and going back [away from the palace] piercing [the waves] with poles (35) at the evening tide, (38) [these boats] compete in making noise (37) with teal flocks. (39/40) When [one] goes out to the seashore and looks at the sea plain (43/48) it turns out that small boats [of] fishermen (44) are floating everywhere (41/42) on the top [of the sea] where white waves break in many layers and (48) are fishing and angling (47) here and there (46) in order to offer [fish] (45) as Imperial food. (49/50) [This palace in Nanipa] is so extremely huge (like the sea)! (51/52) [It] so extremely wealthy (like the sea)! (53) When [you] look at this palace [in Nanipa], (54/55) it indeed looks like [they] began [the building of the palaces] from the Age of Deities! Commentary On sumêrökî ‘male Imperial ancestors’, see the commentary to 15.3688. Line three is hypometric (jitarazu, 字足らず). OJ ositeru in line three is considered to be a permanent epithet (makura-kotoba, 枕詞) for Nanipa (Omodaka 1984.20: 89), (Kinoshita 1988: 129). There is, however, WOJ verb ositer- ‘to shine’, where osi- is considered to be a prefix (Omodaka et al. 1967: 148). It seems possible to identify this ‘prefix’ with the infinitive os-i of the verb os- ‘to push’, which is further supported by semantographic spelling of ositeru as 押照, as well as by alternative form os-i-te ter-as-u of ositeru, which clearly demonstrates the verbal nature of os-i in ositer-. I believe that os- ‘to push’ should be taken here in the sense of ‘to bear down’, ‘to apply pressure’; therefore, I interpret ositeras ‘to shine upon’. On Nanipa, see the commentaries to poems 20.4329 and 20.4330. It is believed that all the manuscripts as well as printed editions have 伊麻 能乎尓 as line seven, with the character 乎, and not 伊麻能余尓 with the character 余. Nevertheless, opinions are divided whether to read this line as ima-nö wo-ni ‘in the present life’ (Inoue 1928: 4045, 4048), (Kōnosu 1939: 3317-18), (Takeda 1957: 415-16), (Kubota 1967: 451-52), (Kojima et al. 1975: 393), (Tsuchiya 1977: 310-311), (Nakanishi 1983: 304), (Kinoshita 1988: 128-29), (Itō 1999: 487, 492), (Satake et al. 2003: 408) or ima-nö yö-ni ‘in the present age’ (Takagi et al. 1962: 422), (Omodaka 1984.20: 87, 89-90). Clearly, the majority of scholars prefer to follow the text and opt for ima-nö wo-ni ‘in this life’, where wo literally means ‘string’, ‘cord’, with the similar usage seen in the expression tösi-nö wo ‘string of years’. However, there is a problem, because while the expression ima-nö yö-ni is amply attested, the expression ima-nö wo-ni is not. There is a hypothesis that goes back to the Man’yōshū Ryakuge by Tachibana Chikage, speculating that the character 乎 is a scribal mistake for the character 與 (Tachibana 1796/1929.2: 943-44). Since in Classical Chinese the question particle 與 is the equivalent of 乎, or more exactly of 也乎, such a mistake may not seem impossible, but it is not very likely, because it implies that a scribe was thinking in terms of Classical Chinese grammar, while writing phonographically an Old Japanese text. I believe that there might be a much easier solution. Namely, there is one sōsho form of the man’yōgana signs 乎 and 余, which is practically identical: 息. This is exactly the form that is found in the Ruijū koshū (17.107). Thus, I believe that the character 乎 is a case of mistaken identification of the

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sōsho character 息 [= 余], and I read this line as ima-nö yö-ni ‘in the present age’. On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. The unusual form of the possessive case marker -Nkö instead of -Nka in wa-Nkö opo kîmî ‘my Great Lord’ is due to the progressive assimilation of the vowel in -Nka to the first vowel in opo ‘great’. Although chronologically this poem was composed in the Empress Kōken’s reign, it is unlikely that the ‘Great Lord’ refers to her, as at this time the court was in mourning due to the passing of Retired Emperor Shōmu’s mother half a year earlier, so Kōken would not be visiting Nanipa at the time of writing (Kinoshita 1988: 130), so we are dealing here with an abstract Emperor. WOJ uti-naNpîk- ‘to bend gently in the wind (of grass and trees)’ in line thirteen is considered to be a permanent epithet for the word paru ‘spring’, but since it is absolutely transparent, I translate it here. WOJ mês- ‘to see (HON)’ is historically a contraction of WOJ mî- ‘to see’ + -as-, honorific suffix. On details of its usage see Vovin (2009a: 1023-26). Nanipa palace was located in present-day Hōenzaka-chō (法円坂町) of the eastern district (東区) of Osaka city (Kinoshita 1988: 130). On Nanipa canal, see the commentary on Nanipa harbor to the poem 20.4330. On WOJ kaNti ‘rudder’, see the commentary to 15.3624. Sawo ‘poles’ were used to push the boats through shallow water, where the bottom could be reached. On aNti ‘teal’, see the commentary to 14.3547. Line thirty-seven aNti mura-nö is considered to be a permanent epithet (makura-kotoba, 枕詞) for sawak- ‘to make noise’ (Omodaka 1984.20: 91), but I chose to translate it because it is completely transparent. Line thirty-nine is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because pama-ni iNte-te was most likely pronounced as [pamaniNtete]. On WOJ una-para ‘plain of the sea’, see the commentary to 15.3592. WOJ parara is an onomatopoetic word describing that something is scattered somewhere. Cf. MdJ bara-bara that is probably related. WOJ opo mî-kë (lit. ‘great honorable food’) indicates food designated for consumption by an Emperor. The retrospective auxiliary -kêr- in line forty-eight indicates not the recollection of a past event, but the sudden realization of a fact. SökîNtaku in line forty-nine and kökîNpaku in line fifty-one are adverbs both meaning ‘so much’, ‘extremely’. There are several other similar forms with the same meaning: kököNpa, kököNpaku, kökîNta, kökîNtaku, kököNta, sököNpa, sököNpaku, and sököraku. See Vovin (2009a: 1107-108) for the examples of the usage of the most frequent forms. WOJ oNkîrö ‘huge’ is a rare uninflected adjective. The suffix -na- in the form oNkîrö-na-kî is considered to be an adjectivizing formant (Omodaka 1984.20: 91), (Kinoshita 1988: 132). Although such a formant appears in the later stages of the language, it otherwise does not reveal itself in WOJ. In addition, the majority of later adjectives formed with -na- show semantics opposite to that of the root; thus, this -na- can be clearly etymologically connected with the negative na- ‘not to exist’. This is clearly not the case with oNkîrö and oNkîrö-na-kî both meaning ‘huge’. It is not quite clear whether lines forty-nine to fifty-two refer to the sea, to the Nanipa palace, or to both. I think that they refer to both, since if they

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referred only to the sea, lines fifty-three to fifty-five would just hang in there without any connection to the previous text. On the other hand, the abundance/wealth of the sea is specifically mentioned in 20.4362, which appears as the second envoy to this chōka. On -umö ~ -mö as a special Old Japanese exclamative form, see the commentary to 15.3595.

20.4361 (W)

本文・Original text (1) 櫻花 (2) 伊麻佐可里奈里 (3) 難波乃海 (4) 於之弖流宮尓 (5) 伎許 之賣須奈倍 仮名の書き下し・Kana transliteration (1) さくらばな (2) いまさかりなり (3) なにはの 2 うみ み 1 やに (5) き 1 こ 2 しめ 1 すなへ 2

1

(4) おしてる

Romanization (1) SAKURA-N-PANA (2) ima sakar-i nar-i (3) Nanipa-nö UMÎ (4) os-i-ter-u MÎYA-ni (5) kîkös-i-mês-u napë Glossing with morphemic analysis (1) cherry-GEN-blossom (2) now flourish-NML be-FIN (3) Nanipa-GEN sea (4) push-INF-shine-ATTR palace-LOC (5) govern-INF-HON-ATTR CONJ Translation (5) At the same time as [the Emperor] deigns to govern (4) in the palace on which [sun] shines upon (3) [on] the Nanipa sea, (2) [it] is now the peak (1) [of] cherry blossoms. Commentary On OJ ositeru, see the commentary to 20.4360. On Nanipa, see the commentaries to poems 20.4329 and 20.4330. On the location of Nanipa palace, see the commentary to 20.4360. WOJ kîkös-i-mês- ‘to deign to govern’ in line five has the identical meaning with kîkös-i-wos- in line twenty-seven of 20.4360. WOJ napë is a conjunction with the meaning ‘at the same time as’, ‘just as’. For more details and other examples of usage see Vovin (2009a: 1145-47).

20.4362 (W)

本文・Original text (1) 海原乃 (2) 由多氣伎見都々 (3) 安之我知流 (4) 奈尓波尓等之波 (5) 倍奴倍久於毛保由 仮名の書き下し・Kana transliteration (1) うなはらの 2 (2) ゆたけ 2 き 1 み 1 つつ (3) あしがちる (4) なにはに と 2 しは (5) へ 2 ぬべ 2 くおも 1 ほゆ Romanization (1) UNA-PARA-nö (2) yutakë-kî MÎ-tutu (3) asi-Nka tir-u (4) Nanipa-ni tösi pa (5) pë-n-uNpë-ku omôp-oy-u

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Glossing with morphemic analysis (1) sea-plain-GEN (2) be.abundant-ATTR see(INF)-COOR (3) reed-POSS fall-ATTR (4) Nanipa-LOC year TOP (5) pass(INF)-PERF-DEB-INF think-PASS-FIN Translation (2) While [I] was looking at the abundance (1) of the sea plain, (4/5) [I] suddenly thought that [many] years must have passed in Nanipa, (3) where reed [flowers] fall. Commentary The majority of modern commentators interpret lines four and five in this poem in the sense “I want to spend a year (or years) in Nanipa” (Kōnosu 1939: 3320), (Takagi et al. 1962: 423), (Kubota 1967: 454), (Kojima et al. 1975: 395), (Tsuchiya 1977: 312), (Nakanishi 1983: 305), (Omodaka 1984.20: 92), (Kinoshita 1988: 134), (Itō 1999: 495), (Satake et al. 2003: 410), the interpretation which goes all the way back to Keichū. The only known exception to me is Takeda, who interprets these lines as “I think that the years must have passed in Nanipa”. I support Takeda’s opinion, because the majority’s interpretation is simply ungrammatical. WOJ pë- ‘to pass’ is an intransitive verb used in reference to chunks of time, such as years and months in the syntactic position of an agent, and never an object. In addition, the debitive suffix -uNpë- has functions of debitive, strong probability, and potential, but it never expresses desire or volition. On WOJ una-para ‘plain of the sea’, see the commentary to 15.3592. On asi-Nka tir-u ‘reed [flowers] fall’, see the commentary to 20.4331. On Nanipa, see the commentaries to poems 20.4329 and 20.4330.

Postscript to the poems 20.4360-4362 本文・Original text 右二月十三日兵部少輔大伴宿祢家持

Translation [These poems were composed by] Opotömö-nö sukune Yakamöti, the Junior Assistant Minister of the Ministry of War on the thirteenth day of the second lunar month [of the seventh year of Tenpyō Shōhō]. Commentary Thirteenth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to March 30, 755 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320.

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20.4363 (E)

本文・Original text (1) 奈尓波都尓 (2) 美布祢於呂須惠 (3) 夜蘇加奴伎 (4) 伊麻波許伎奴 等 (5) 伊母尓都氣許曽 仮名の書き下し・Kana transliteration (1) なにはつに (2) み 1 ふねおろ 2 すゑ (3) やそ 1 かぬき こ 2 ぎ 1 ぬと 2 (5) いも 2 につげ 2 こ 2 そ 2

1

(4) いまは

Romanization (1) Nanipa tu-ni (2) mî-pune or-ö suwe (3) yasô ka nuk-î (4) ima pa köNk-î-n-u tö (5) imö-ni tuNkë-kös-ö Glossing with morphemic analysis (1) Nanipa harbor-LOC (2) HON-boat place-POSS place(INF) (3) eighty rudder pierce-INF (4) now TOP row-INF-PERF-FIN DV (5) beloved-DAT report(INF)-BEN-IMP Translation (5) Please tell [my] beloved (4) that [we] have rowed out now (3) piercing [the waves with] many rudders (2) [after] putting [our] beautiful boats in their place (1) in Nanipa harbor. Commentary On Nanipa and Nanipa harbor, see the commentaries to poems 20.4329 and 20.4330. OJ honorific prefix mî- in line two has the beautification function in this poem, although there is also an opinion that it has honorification meaning because the boats that sakîmôri took to Kyūshū were dispatched by imperial order (Kinoshita 1988: 134), (Mizushima 2003: 370). The only problem with the interpretation of this poem lies with 於呂須惠 orösuwe in line two. Omodaka believes that orösuwe is a contraction of orös-i-suwe ‘lower-INF-place(INF)’ and that it describes the situation of lowering beached boats into the sea, and he also cites pune ukë-suwete ‘lowering the boat and letting it float’ from 17.3991 (1984.20: 93). Other Japanese scholars express the same opinion (Takagi et al. 1962: 424), (Kinoshita 1988: 134), (Kojima et al. 1975: 395), (Mizushima 2003: 370), etc. There is, however, a fundamental flaw in this explanation, due to the presumption that orös-i-suwe ‘lower-INF-place(INF)’ contracted into orösuwe: there are no other examples of either EOJ or WOJ phonetic sequence [-sis-] to be contracted just to a single fricative [-s-].42 Similar to the cases we have already observed in book fourteen, I believe that there is a much more solid phonetic interpretation of line two, if we are willing to leave the perennial shores of interpreting everything in EOJ texts as Japanese. Namely, I think that while suwe is indeed EOJ suwe ‘place/put(INF)’, the preceding orö reflects Ainu or-o ‘place-POSS’, or ‘its place’, which refers to pune ‘boats’ in 42

Sven Osterkamp (p.c.) pointed out to me that there might be one exception in WOJ: “a possible case for /sis/ > /ss/ > /s/ would be Osisaka > *Ossaka > Osaka: KK 9 for instance has Osaka 於佐箇, but the name is usually written 忍坂 (thus e.g. in MYS 13.3331), indicating original Osisaka. The latter is probably also what is meant by 意柴沙加 on the Suda Hachimangū mirror inscription.”

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the previous line. Thus, pune or-ö means ‘the place of boats’, which probably refers to the docking place before departure. The presence of an Ainu loanword is the only evidence for this poem to be classified as EOJ, and not WOJ. Yasô ‘eighty’ in line three is used in the metaphoric sense for ‘many’. OJ ka ‘rudder’ is either a contraction of kaNti ‘id.’, or it is its original unsuffixed form. However, in the latter case -Nti becomes an unaccounted segment, since its meaning or function are obscure. On WOJ kaNti ‘rudder’, see the commentary to 15.3624. OJ benefactive auxiliary -köse- has a contracted form -kös- before the imperative suffix -ö and the negative imperative suffix -una. For details see Vovin (2009a: 999-1003).

20.4364 (E)

本文・Original text (1) 佐伎牟理尓 (2) 多々牟佐和伎尓 (3) 伊敝能伊牟何 (4) 奈流弊伎己 等乎 (5) 伊波須伎奴可母 仮名の書き下し・Kana transliteration (1) さき 1 むりに (2) たたむさわき 1 に (3) いへ 1 の 2 いむが (4) なるべ 1 き 1 こ 2 と 2 を (5) いはずき 1 ぬかも 2 Romanization (1) sakîmuri n-i (2) tat-am-u sawak-î n-i (3) ipê-nö imu-Nka (4) nar-uNpê-kî kötö-wo (5) ip-aNs-u k-î-n-u kamö Glossing with morphemic analysis (1) border.guard DV-INF (2) depart-TENT-ATTR clamor-NML DV-INF (3) home-GEN beloved-POSS (4) manage.household.affairs-DEB-ATTR matterACC say-NEG-INF thing-ACC (5) say-NEG-INF come-INF-PERF-ATTR PT Translation (5) [I] have come here without saying (3/4) anything about how [my] beloved at home should manage household affairs (2) due to the clamor at my departure (1) to be a border guard! Commentary This poem has three EOJ features: raising of ô > u in sakîmuri ‘border guard’ and imu ‘beloved’, the perfective attributive -n-u instead of WOJ -n-uru, and the misspelling of -uNpë- as -uNpê-. The latter probably indicates that there was no distinction between /ê/ and /ë/ in Pîtati EOJ. Line three is hypermetric (jiamari, 字余り).

Postscript to the poems 20.4363-4364 本文・Original text 右二首茨城郡若舎人部廣足

Translation Two poems above [were composed] by WakatöneriNpë-nö Pîrötari from UNparakï district.

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Commentary Nothing is known about the biography of WakatöneriNpë-nö Pîrötari. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to poem 20.4321. WakatöneriNpë-nö Pîrötari is one of only three sakîmôri who are authors of two poems each in the Man’yōshū along with the authors of 20.4365-4366 and 20.4369-4370. All three are sakîmôri from Pîtati province. Until recently UNparakï district corresponded to Niihari county (新治郡) and parts of Eastern Ibaraki county (東茨城郡) and Western Ibaraki county (西茨城郡) to the northeast of Niihari county in present-day Ibaraki prefecture (Nakanishi 1985: 430), (Omodaka 1984.20: 94). On March 19, 2006 Western Ibaraki county was dissolved and incorporated into Kasama city (笠間市). On March 27, 2006 Niihari county was dissolved and incorporated into Omitama city (小美玉市).

20.4365 (E)

本文・Original text (1) 於之弖流夜 (2) 奈尓波能都由利 (3) 布奈与曽比 (4) 阿例波許藝奴 等 (5) 伊母尓都岐許曽 仮名の書き下し・Kana transliteration (1) おしてるや (2) なにはの 2 つゆり (3) ふなよ 2 そ 2 ひ こ 2 ぎ 1 ぬと 2 (5) いも 2 につぎ 1 こ 2 そ 2

1

(4) あれは

Romanization (1) os-i-ter-u ya (2) Nanipa-nö tu-yuri (3) puna-yösöp-î (4) are pa köNk-î-n-u tö (5) imö-ni tuNkî-kös-ö Glossing with morphemic analysis (1) push-INF-shine-ATTR PT (2) Nanipa-GEN harbor-ABL (3) boat-equipINF (4) I TOP row-INF-PERF-FIN (5) DV beloved-DAT report(INF)-BENIMP Translation (5) Please tell [my] beloved (3) that having equipped [my] boat, (4) I rowed [out] (2) from the harbor of Nanipa, (1) on which [the sun] shines. Commentary Lines four and five are almost identical to the same lines in 20.4363. On OJ ositeru, see the commentary to 20.4360. OJ ya after ositeru is an emphatic particle ya, not to be confused with the interrogative particle ya. On Nanipa and Nanipa harbor, see the commentaries to poems 20.4329 and 20.4330. This poem has one EOJ feature: Pîtati EOJ tuNkî- ‘to report’, cf. WOJ tuNkë- ‘id.’ Note that in a similar poem 20.4363 above, also from Pîtati, tuNkë-, not tuNkî- is used. This variation probably indicates that Pîtati EOJ had a different vowel from WOJ /ë/, probably /e/ or /ï/. On the contracted form -kös- of the OJ benefactive auxiliary köse-, see the commentary to 20.4363.

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20.4366 (E)

本文・Original text (1) 比多知散思 (2) 由可牟加里母我 (3) 阿我古比乎 (4) 志留志弖都豆 弖 (5) 伊母尓志良世牟 仮名の書き下し・Kana transliteration (1) ひ 1 たちさし (2) ゆかむかりも 2 が (3) あがこ 1 ひ 1 を (4) しるして つけ 1 て (5) いも 2 にしらせむ Romanization (1) Pîtati sas-i (2) yuk-am-u kari möNka (3) a-Nka kôpî-wo (4) sirus-i-te tukê-te (5) imö-ni sir-ase-m-u Glossing with morphemic analysis (1) Pîtati point-INF (2) go-TENT-ATTR wild.goose PT (3) I-POSS long(NML)-ACC (4) describe-INF-SUB attach(INF)-SUB (5) beloved-DAT know-CAUS-TENT-FIN Translation (2) [I] want a wild goose that would go (1) to Pîtati. (5) [I] would inform [my] beloved (4) by attaching to [the goose a letter] describing (3) my longing [for her]. Commentary This poem looks like an allusion to the episode in the biography of Sū W (蘇 武), found in volume fifty-four of the Chinese dynastic history Hànshū (漢書). Sū W was sent as the Hàn ambassador to iong-nu, but Xiong-nu detained him and did not allow him to return. Then, he wrote a letter and attached it to a wild goose’s foot. The Emperor in China was able to receive this letter. Omodaka notes that some scholars voice skepticism as to whether this story was known in Azuma (1984.20: 95), but like Omodaka I see no reason why it should not have reached the Eastern provinces. This poem has three EOJ features: Pîtati EOJ kôpî ‘longing’ (see also the same spelling in 20.4371 below), cf. WOJ kôpï ‘id.’ and Pîtati EOJ tukê- ‘to attach’, cf. WOJ tukë- ‘id.’ The former probably indicates that there was no /î/ : /ï/ contrast in Pîtati; on the latter cf. also the variation between /ë/ and /î/ in EOJ tuNkë- ~ tuNkî- ‘to inform’ (20.4363 and 20.4365) also after a velar, which probably points to a different vowel here (/e/ or /ï/) as compared to WOJ /ë/. The third feature is discussed below. On Pîtati province see the commentary to the postscript to 14.3350-3351. The usage of EOJ sas-i ‘point-INF’ is highly reminiscent of a case marker. Cf. -wo sas-i-te ‘pointing to’ used in the same context and function in 14.3381 and 20.4374. Although -wo sas-i-te is amply attested in WOJ as well, the usage of sas-i seems to be purely EOJ. I wonder whether this sas-i could be a predecessor of the locative/directive case marker -sa widespread in modern Tōhoku dialects. On OJ kari ‘wild goose’ see the commentary to 15.3665.

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Postscript to the poems 20.4365-4366 本文・Original text 右二首信太郡物部道足

Translation Two poems above [were composed] by MönönöNpë-nö Mîtitari from SiNta district. Commentary Nothing is known about the biography of MönönöNpë-nö Mîtitari. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to poem 20.4321. MönönöNpë-nö Mîtitari is one of only three sakîmôri who are authors of two poems each in the Man’yōshū along with the authors of 20.4363-4364 and 20.4369-4370. All three are sakîmôri from Pîtati province. SiNta district corresponds to the southern part of Inashiki county (稲敷郡) in present-day Ibaraki prefecture (Omodaka 1984.20: 95), (Nakanishi 1985: 452).

20.4367 (E)

本文・Original text (1) 阿我母弖能 (2) 和須例母之太波 (3) 都久波尼乎 (4) 布利佐氣美 都々 (5) 伊母波之奴波尼 仮名の書き下し・Kana transliteration (1) あがも 2 ての 2 (2) わすれも 2 しだは (3) つくはねを (4) ふりさけ 2 み 1 つつ (5) いも 2 はしぬはね Romanization (1) a-Nka [o]möte-nö (2) wasure-m-ö siNta pa (3) Tukupa ne-wo (4) purisakë-mî-tutu (5) imö pa sinup-an-e Glossing with morphemic analysis (1) I-POSS face-GEN (2) forget-TENT-ATTR time TOP (3) Tukupa peak-ACC (4) look.up(INF)-look(INF)-COOR (5) beloved TOP yearnDES-IMP Translation (2/5) When [you, my] beloved will be forgetting (1) my face, (5) please yearn [for me], (4) looking up (3) at the Tukupa peak. Commentary Two similar poems are 14.3515 and 14.3520. On EOJ special attributive form -ô, see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume. On EOJ siNta ‘time’ < Ainu hi-ta ‘time, when’, see the commentary to 14.3363. On Mt. Tukupa, see the commentary to 14.3350.

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Postscript to the poem 20.4367

本文・Original text 右一首茨城郡占部小龍 Translation The poem above [was composed] by UraNpë-nö Wotatu from UNparakï district. Commentary Nothing is known about the biography of UraNpë-nö Wotatu. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. On UNparakï district see the commentary to the postscript to 20.4363-4364.

20.4368 (E)

本文・Original text (1) 久自我波々 (2) 佐氣久阿利麻弖 (3) 志富夫祢尓 (4) 麻可知之自奴 伎 (5) 和波可敝里許牟 仮名の書き下し・Kana transliteration (1) くじがはは (2) さけ 2 くありまて (3) しほぶねに (4) まかぢしじ ぬき 1 (5) わはかへ 1 りこ 2 む Romanization (1) KuNsi-N-kapa pa (2) sakë-ku ari-mat-e (3) sipo-N-pune-ni (4) ma-kaNti siNsi nuk-î (5) wa pa kapêr-i-kö-m-u Glossing with morphemic analysis (1) KuNsi-GEN-river TOP (2) safe-INF ITER-wait-IMP (3) tide-GEN-boatLOC (4) INT-rudder constantly pierce-INF (5) I TOP return-INF-comeTENT-FIN Translation (2) Wait for [me] all this time safely (1) at KuNsi river! (5) I will come back (4) constantly piercing [the waves with] a great rudder (3) in the sea boat. Commentary The are two EOJ features in this poem: the usage of the unextended stem wa of the first person pronoun in isolation (Vovin 2005: 220-21, 226), and Pîtati EOJ sakëku ‘safely’ vs. WOJ sakîku ‘id.’ Pîtati EOJ sakëku ‘safely’ reflects the form before the raising e > î. KuNsi river is the same as modern Kuji river (久慈川), which originates in present-day Fukushima prefecture and flows through Kuji county (久慈郡) and Naka county (那珂郡) in present-day Ibaraki prefecture, reaching the sea in the south of Kuji-chō (久慈町) of Hitachi city (日立市) (Omodaka 1984.20: 97), (Nakanishi 1985: 443). Its length without tributaries is 124 km. KuNsi does not seem to be a meaningful Japanese placename. Possibly, it is from Ainu kus ‘to flood’ (Hattori 1964: 217), (Izutsu 2006: 244), with the secondary nasalization, on which see the commentary to 14.3539. On sipo-N-pune ‘sea boat’ (lit. ‘tide-boat’), see the commentary to 14.3450.

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On WOJ kaNti ‘rudder’, see the commentary to 15.3624. Cf. identical or similar lines to ma-kaNti siNsi nuk-î ‘constantly piercing [the waves with] great oars’ in 15.3611, 15.3627, 15.3679, and 20.4331.

Postscript to the poem 20.4368 本文・Original text 右一首久慈郡丸子部佐壮

Translation The poem above [was composed] by MarôkôNpë-nö Sukëwo from KuNsi district. Commentary Nothing is known about the biography of MarôkôNpë-nö Sukëwo. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to the poem 20.4321. KuNsi district corresponds to Kuji county (久慈郡) and Hitatiōta city (常 陸太田市) of present-day Ibaraki prefecture (Kinoshita 1988: 140). Nakanishi also mentions that it corresponds to an area of Hitati city (日立市) in the same prefecture (1985: 443).

20.4369 (E)

本文・Original text (1) 都久波祢乃 (2) 佐由流能波奈能 (3) 由等許尓母 (4) 可奈之家伊母 曽 (5) 比留毛可奈之祁 仮名の書き下し・Kana transliteration (1) つくはねの 2 (2) さゆるの 2 はなの 2 (3) ゆと 2 こ 2 にも 2 (4) かなし け 1 いも 2 そ 2 (5) ひ 1 るもかなしけ 1 Romanization (1) Tukupa ne-nö (2) sa-yuru-nö pana-nö (3) yu tökö-ni mö (4) kanasi-kê imö sö (5) pîru mô kanasi-kê Glossing with morphemic analysis (1) Tukupa peak-GEN (2) PREF-lily-GEN flower-COMP (3) night bed-LOC PT (4) be.dear-ATTR beloved PT (5) day.time PT be.dear-ATTR Translation (4) [My] beloved, who is (2) like a lily flower (1) on the Tukupa peak, (4) is dear [to me] (3) in the bed at night, (5) as well as in day time. Commentary There are three EOJ features in this poem. First, Pîtati EOJ yuru ‘lily’ corresponds to WOJ yuri ‘id.’ (both derived from PJ *yuru-y) with the expected loss of PJ *-y in final or preconsonantal position, on which see the commentary to 14.3564. Second, Pîtati EOJ yu ‘night’ is the result of raising of ô > u, cf. WOJ yô ‘id.’ Third, there is EOJ adjectival attributive -kê corresponding to WOJ -kî.

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On Mt. Tukupa, see the commentary to 14.3350. EOJ yuru, WOJ yuri ‘lily’ is a perennial grass that grows in the wild. There are several varieties of it, and the one that appears in Old Japanese poetry is usually the mountain lily (MdJ yamayuri, Lat. Lilium auratum), which is endemic to the Hokkaidō, Kantō, and Kinki (with the exception of Hokuriku) regions in Japan. It has a long stalk and blooms in summer with large six-petal flowers that have red spots. Its bulb is edible (Nakanishi 1985: 332).

20.4370 (E)

本文・Original text (1) 阿良例布理 (2) 可志麻能可美乎 (3) 伊能利都々 (4) 須米良美久佐 尓 (5) 和例波伎尓之乎 仮名の書き下し・Kana transliteration (1) あられふり (2) かしまの 2 かみ 1 を (3) いの 2 りつつ (4) すめ 2 ら み 1 くさに (5) われはき 1 にしを Romanization (1) arare pur-i (2) Kasima-nö kamî-wo (3) inör-i-tutu (4) sumëra mî-[i]kusa n-i (5) ware pa k-î-n-i-si-wo Glossing with morphemic analysis (1) hail fall-INF (2) Kasima-GEN deity-ACC (3) pray-INF-COOR (4) Emperor HON-warrior DV-INF (5) I TOP come-INF-PERF-INF-PAST/ATTR -ACC Translation (3) Praying (2) to the deity of Kasima (1) [that is rambling like] a falling hail, (5) I have come [here] (4) as an imperial warrior, (5) but [I miss my beloved]… Commentary There are two EOJ features in this poem: Pîtati EOJ kamî ‘deity’ vs. WOJ kamï ‘id.’ and Pîtati EOJ sumëra ‘Emperor’ vs. WOJ sumêra ‘id.’ Both misspellings indicate that Pîtati EOJ in all probability did not have WOJ phonemic contrasts /î/ : /ï/ and /ê/ : /ë/. Arare puri ‘it hails and’ is considered to be a permanent epithet (makura-kotoba, 枕詞) for Kasima, that is based on the play on words because falling hail is noisy (OJ kasimasi, MdJ kashimashii) (Kinoshita 1988: 142). Still, it is transparent, and, therefore, I chose to translate it here. Kasima deity is a tutelary deity of Pîtati province that resides in Kasima shrine (鹿島神宮) in Kasima-chō (鹿島町) in Kasima county (鹿島郡) of present-day Ibaraki prefecture. It is considered to be a deity of thunder, and a patron of military affairs (Omodaka 1984.20: 89). Omodaka believes that -wo in kînisi-wo in line five is an emphatic particle (1984.20: 98-99), but this is incorrect, because there is no emphatic particle wo in EOJ, and WOJ emphatic particle wo does not occur in a sentence-final position (Vovin 2009a: 1273-74). I think that Kinoshita, who believes that this is a case marker -wo that is used as a conjunction with the concessive function (1988: 143) is right here. Thus, kînisi-wo ‘I have come, but…’ makes a point

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of reference to the preceding poem, indicating that although the author is here, he misses his beloved.

Postscript to the poems 20.4369-4370 本文・Original text 右二首那賀郡上丁大舎人部千文

Translation Two poems above [were composed] by private OpotöneriNpë-nö Tipumî from Naka district. Commentary Nothing is known about the biography of OpotöneriNpë-nö Tipumî. He is one of only three sakîmôri who are authors of two poems each in the Man’yōshū along with the authors of 20.4363-4364 and 20.4365-4366. All three are sakîmôri from Pîtati province. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to the poem 20.4321. Naka district corresponds to Naka county (那珂郡), northern part of Eastern Ibaraki county (東茨城郡), and a section of Mito city (水戸市) in present-day Ibaraki prefecture (Nakanishi 1985: 468).

20.4371 (E)

本文・Original text (1) 多知波奈乃 (2) 之多布久可是乃 (3) 可具波志伎 (4) 都久波能夜麻 乎 (5) 古比須安良米可毛 仮名の書き下し・Kana transliteration (1) たちばなの 2 (2) したふくかぜの 2 (3) かぐはしき 1 (4) つくはの 2 や まを (5) こ 1 ひ 1 ずあらめ 2 かも 1 Romanization (1) tatiNpana-nö (2) sita puk-u kaNse-nö (3) kaNkupasi-kî (4) Tukupa-nö yama-wo (5) kôpî-Ns-u ar-am-ë kamô Glossing with morphemic analysis (1) mandarin.orange-GEN (2) below blow-ATTR wind-GEN (3) be.fragrant-ATTR (4) Tukupa-GEN mountain-ACC (5) long.for-NEG-INF exist-TENT-EV PT Translation (5) Will not [I] long (4) for Mt. Tukupa, (3) where the fragrant (2) wind blows under (1) the mandarin oranges [flowers]? [-- Certainly I will!] Commentary There are two EOJ features in this poem. One is the misspelling of WOJ kôpï‘to long for’ as Pîtati EOJ kôpî- ‘id.’, indicating lack of phonemic contrast between /î/ and /ï/ in Pîtati EOJ, see also 20.4366 above, where the same spelling is used. Another is purely morphosyntactic: while in WOJ the irony questions are formed with tentative evidential -(a)m-ë + interrogative particle

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ya, in EOJ they are formed with tentative evidential -(a)m-ë + emphatic particle kamö (Omodaka 1984.20: 99-100). On OJ tatiNpana ‘mandarin orange’, see the commentary to 15.3779.

Postscript to the poem 20.4371 本文・Original text 右一首助丁占部廣方

Translation The poem above [was composed] by captain UraNpë-nö Pîrökata. Commentary Nothing is known about the biography of MarôkôNpë-nö Sukëwo. On captain (Sukë-nö yoporo, 助丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. The districts of origin for captains are usually not recorded (Omodaka 1984.20: 100).

20.4372 (E)

本文・Original text (1) 阿志加良能 (2) 美佐可多麻波理 (3) 可閇理美須 (4) 阿例波久江由 久 (5) 阿良志乎母 (6) 多志夜波婆可流 (7) 不破乃世伎 (8) 久江弖和 波由久 (9) 牟麻能都米 (10) 都久志能佐伎尓 (11) 知麻利爲弖 (12) 阿 例波伊波々牟 (13) 母呂々々波 (14) 佐祁久等麻乎須 (15) 可閇利久麻 弖尓 仮名の書き下し・Kana transliteration (1) あしがらの 2 (2) み 1 さかたまはり (3) かへ 2 りみ 1 ず (4) あれはく え 2 ゆく (5) あらしをも 2 (6) たしやはばかる (7) ふはの 2 せき 1 (8) く え 2 てわはゆく (9) むまの 2 つめ 2 (10) つくしの 2 さき 1 に (11) ちまり ゐて (12) あれはいははむ (13) も 2 ろ 2 も 2 ろ 2 は (14) さけ 1 くと 2 ま をす (15) かへ 2 りくまでに Romanization (1) AsiNkara-nö (2) mî-saka tamapar-i (3) kapër-i-mî-Ns-u (4) are pa kuye-yuk-u (5) ara-si wo mö (6) tas-i ya paNpakar-u (7) Pupa-nö sekî (8) kuye-te wa pa yuk-u (9) muma-nö tumë (10) Tukusi-nö sakî-ni (11) timar-i wi-te (12) are pa ipap-am-u (13) mörö-mörö pa (14) sakê-ku tö mawos-u (15) kapër-i-k-u-maNte-ni Glossing with morphemic analysis (1) AsiNkara-GEN (2) HON-slope receive(HUM)-INF (3) return-INF-lookNEG-INF (4) I TOP cross.over(INF)-go-FIN (5) tough-FIN man PT (6) depart-NML PT hesitate-ATTR (7) Pupa-GEN barrier (8) cross.over(INF)SUB I TOP go-FIN (9) horse-GEN hoof (10) Tukusi-GEN cape-LOC (11) stay-INF dwell(INF)-SUB (12) I TOP pray-TENT-FIN (13) all-all TOP (14) safe-INF DV say(HUM)-FIN (15) return-INF-come-ATTR-TERM-LOC

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Translation (1/2) [I] received [the permission of the deity to cross] the AsiNkara slope, and (4) I will cross over [it] (3) without looking back. (5) Will a tough man (6) hesitate to depart? (7/8) I will go crossing Pupa barrier. (11) [I] will stay and dwell (10) at the cape in Tukusi (9) [that is easy to wear off like] a horse’s hoof, (12) and I will pray (13/14) [and I] will ask [the deities] that everybody [at home would be] safe (15) until [] return. Commentary This is the only chōka written in EOJ in the whole Man’yōshū. There are several EOJ features in this poem that will be described in the commentary below in order of their occurrence. On AsiNkara, see the commentary to 14.3361. AsiNkara-nö mî-saka ‘AsiNkara slope’ refers to the mountain pass (795 m high) that leads from Yagura station (矢倉駅) in Minami Asigara city (南足柄 市) in present-day Kanagawa prefecture to Oyama town (小山町) in Eastern Suruga county (駿河東郡) of present-day Shizuoka prefecture. There was a belief in ancient Japan that mountain and river deities could prevent the passage of travelers, hence the honorific reference to this pass with the honorific prefix mî- (Kinoshita 1988: 145). There are two interpretations of tamapar- in line two. One of them takes it as ta-mapar- ‘to go around’, and another one as tamapar- ‘to be granted, to receive’. The first one hardly makes any sense, because one does not go around a slope or a mountain pass when travelling from one point to another point. Thus, I follow the second interpretation that is also adapted by Omodaka (1984.20: 101), Kinoshita (1988: 146), and Mizushima (2003: 444). Pîtati EOJ kapër- ‘to return’ is a misspelling of WOJ kapêr- ‘id.’, demonstrating lack of the phonemic contrast between /ê/ and /ë/ in Pîtati EOJ. Pîtati EOJ kuye- ‘to cross over’ is a result of ô > u raising. It corresponds to WOJ kôye- ‘id.’ The usage of the unextended stem wa of the first person pronoun in isolation is an EOJ feature (Vovin 2005: 220-21, 226). Following the lead of Hashimoto Shirō (no citation provided), Omodaka interprets line five not as ara-si wo mo ‘tough-FIN man PT’, but as arasi-wo mo ‘storm-ACC PT’ (1984.20: 101-02). This seems to be stretched grammatically, as *arasi-ni mö tas-i ya paNpakar-u ‘will [I] hesitate to depart in the storm?’ and not arasi-wo mö tas-i ya paNpakar-u will be required. In addition, arasi ‘storm’ appears to be completely out of context. In addition, ara-si wo ‘tough-FIN man’ is attested in both WOJ (17.3962) and EOJ (20.4330), but *arasi-wo ‘storm-ACC’ is not found in the Man’yōshū. Therefore, I am going to follow the traditional interpretation of ara-si wo mo ‘tough-FIN man PT’ (Kinoshita 1988: 146), (Mizushima 2003: 446). OJ -si in ara-si wo mo ‘tough-FIN man PT’ is an example of a special OJ usage of the final form -si in the attributive function. For more details and examples see Vovin (2009a: 461-65). EOJ tas-i ‘depart-NML’ corresponding to WOJ tat-i ‘id.’ is an example of EOJ palatalization t > s/_i, on which also see the commentary to 14.3395. Pupa barrier was in Mînô province. Nowadays its remains are located to the west of Sekigahara station ( 関 ヶ 原 駅 ) in present-day Gifu prefecture (Kinoshita 1988: 146). Before the Edo period horses in Japan were not provided with horseshoes, therefore their hoofs were easy to damage or wear off. Muma-nö tumë is a

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permanent epithet (makura-kotoba, 枕詞) that is based on the play on words for Tukusi ‘old name for Kyūshū’ and the verb tukus- ‘to exhaust’. Tukusi is the old name for the island of Kyūshū. Pîtati EOJ timar- ‘to stay’ corresponds to WOJ tömar-. The correspondence of EOJ i to WOJ ö is difficult to explain. Pîtati EOJ sakê-ku ‘safely’ (also spelled as sakë-ku in 20.4368) corresponds to SuruNka EOJ sa-ku ‘id.’ and WOJ sakî-ku ‘id.’ On EOJ attributive -u in k-u-maNte-ni ‘until I come back’, see the commentary to 20.4339.

Postscript to the poem 20.4372 本文・Original text 右一首倭文部可良麻呂

Translation The poem above [was composed] by SitôriNpë-nö Karamarö. Commentary Nothing is known about the biography of SitôriNpë-nö Karamarö. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Although for privates the district of his origin is usually recorded, it is not done here.

Postscript to the poems 20.4363-4372

本文・Original text 二月十四日常陸國部領防人使大目正七位上息長眞人國嶋進歌數廿七首 但拙劣歌者不取載之 Translation On the fourteenth day of the second lunar month [of the seventh year of Tenpyō Shōhō], OkînaNka-nö mapîtö Kunisima (Senior Seventh Rank, Upper Grade), senior clerk and sakîmôri messenger of Pîtati province, presented [to me] twenty-seven poems. However, I did not include [here] the poems of inferior [quality]. Commentary The fourteenth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to March 31, 755 AD. OkînaNka-nö mapîtö Kunisima is mentioned in the Shoku Nihongi as person of the Senior Sixth Rank, Upper Grade, who has been promoted to a Junior Fifth Rank, Lower Grade on the fourth day of the first lunar month of the sixth year of Tenpyō Hōji (February 1, 762 AD). Nothing else is known of his biography. Mapîtö is a kabane title. On Pîtati province, see the commentary to the postscript to poems 14.3350-3351. Dai-sakan (大目) ‘senior clerk’ is the senior clerical position in provincial offices of Great Provinces. It corresponded to Junior Eighth Rank, Upper Grade. Thus, OkînaNka-nö mapîtö Kunisima had a rank that exceeded his actual position.

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On sakîmôri messengers, see the commentary to the preface to poems 20.4321-4424. Only the Genryaku kōhon and the Koyō ryaku ruijū shō mention twenty-seven (廿七) original poems. All other manuscripts indicate only seventeen (十七) original poems (Omodaka 1984.20: 103). However, the Hirose-bon, the only manuscript that comes from the independent lineage of the now lost Teika-bon, also has twenty-seven (10: 69b). This heavily tips the balance in favor of twenty-seven. Thus, although Opotömö-nö Yakamöti received twenty-seven poems, he included only ten.

20.4373 (E)

本文・Original text (1) 祁布与利波 (2) 可敝里見奈久弖 (3) 意富伎美乃 (4) 之許乃美多弖 等 (5) 伊埿多都和例波 仮名の書き下し・Kana transliteration (1) け 1 ふよ 2 りは (2) かへ 1 りみ 1 なくて (3) おほき 1 み 1 の こ 2 の 2 み 1 たてと 2 (5) いでたつわれは

2

(4) し

Romanization (1) kêpu-yöri pa (2) kapêr-i-MÎ na-ku-te (3) opo kîmî-nö (4) sikö n-ö mî-tate tö (5) iNte-tat-u ware pa Glossing with morphemic analysis (1) today-ABL TOP (2) return-INF-look(NML) exist.not-INF-SUB (3) Great Lord-GEN (4) unworthy DV-ATTR HON-shield DV (5) exit(INF)-leaveATTR I TOP Translation (5) I leave (1) today (2) without looking back (4) to be an unworthy shield (3) of the Great Lord. Commentary There is only one EOJ feature in this poem: misspelling of the ablative case marker -yôri as -yöri, which probably indicates that there was no phonemic distinction between /ô/ and /ö/ in Simôtukënô EOJ. Otherwise it looks like a poem written in WOJ. On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. The more literal translation of this poem would be: ‘I, who leave today without looking back to be an unworthy shield of the Great Lord’.

Postscript to the poem 20.4373 本文・Original text 右一首火長今奉部与曽布

Translation The poem above [was composed] by corporal ImamaturiNpë-nö Yösöpu.

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Commentary Nothing is known about the biography of ImamaturiNpë-nö Yösöpu. His district of origin is not recorded. Corporal (Kachō, 火長) had under his command ten men according to the Military Code (Gunbōryō, 軍防令) (Omodaka 1984.20: 104). On corporal (Kachō, 火長) and other sakîmôri ranks see the commentary to 20.4321.

20.4374 (E)

本文・Original text (1) 阿米都知乃 (2) 可美乎伊乃里弖 (3) 佐都夜奴伎 (4) 都久之乃之麻 乎 (5) 佐之弖由久和例波 仮名の書き下し・Kana transliteration (1) あめ 2 つちの 2 (2) かみ 1 をいの 2 りて (3) さつやぬき 1 (4) つくし の 2 しまを (5) さしていくわれは Romanization (1) amë tuti-nö (2) kamî-wo inör-i-te (3) satu-ya nuk-î (4) Tukusi-nö sima-wo (5) sas-i-te yuk-u ware pa Glossing with morphemic analysis (1) heaven earth-GEN (2) deity-ACC pray-INF-SUB (3) luck-arrow insert-INF (4) Tukusi-GEN island-ACC (5) point-INF-SUB go-ATTR I TOP Translation (5) I will go to (4) the island of Tukusi (2) after praying to the deities (1) of Heaven and Earth, (3) and putting lucky arrows inside [my quiver]. Commentary There is only one EOJ feature in this poem: the misspelling of the word kamï ‘deity’ as kamî, which probably indicates that the phonemic contrast between /î/ and /ï/ did not exist in Simotukënô EOJ. There are three hypotheses regarding the meaning of satu-ya in line three: (a) ‘lucky arrow’ (Mizushima 2003: 472-474), (c) ‘war arrow’ (Kinoshita 1988: 149), (c) ‘arrow’ (in general) (Omodaka 1984.20: 104-105). Although the primary meaning of satu-ya is ‘hunting arrow’, it appears that no one has suggested this interpretation.43 Probably it is due to the fact that it might seem strange that a warrior in military service would carry hunting arrows, and not fighting arrows. However, we should not forget that sakîmôri were not fed by the government in Tukusi, and were required to provide their own subsistence. In addition, since there is a special word sö-ya for ‘fighting arrows’, it is difficult to imagine that satu-ya simply meant ‘fighting arrows’. Omodaka mentions that there was a ritual, where a warrior took out arrowheads and presented them as an offering for a deity when praying for a safe passage on a journey (1988: 105). Although Omodaka himself is inclined to follow Motoori Norinaga’s hypothesis that satu-ya is just a general term for arrows, this is unlikely, since then the distinction between ya ‘arrow’ and satu-ya remains unclear. Both the existence of the ritual and clear reference to the prayer to 43

Presumably the difference between hunting arrows and fighting arrows was that while the latter had barbed arrow heads, the former did not.

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deities in the poem itself make me believe that in this given context satu-ya refers to ‘lucky arrows’, presumably those blessed by the deities of Heaven and Earth. Tukusi is the old name for the island of Kyūshū.

Postscript to the poem 20.4374 本文・Original text 右一首火長大田部荒耳

Translation The poem above [was composed] by corporal OpotaNpë-nö Aramîmî. Commentary Nothing is known about the biography of OpotaNpë-nö Aramîmî. His district of origin is not recorded. Corporal (Kachō, 火長) had under his command ten men according to the Military Code (Gunbōryō, 軍防令) (Omodaka 1984.20: 104). On corporal (Kachō, 火長) and other sakîmôri ranks see the commentary to 20.4321.

20.4375 (E)

本文・Original text (1) 麻都能氣乃 (2) 奈美多流美礼婆 (3) 伊波妣等乃 (4) 和例乎美於久 流等 (5) 多々理之母己呂 仮名の書き下し・Kana transliteration (1) まつの 2 け 2 の 2 (2) なみ 1 たるみ 1 れば (3) いはび 1 と 2 の 2 (4) わ れをみ 1 おくると 2 (5) たたりしも 2 こ 2 ろ 2 Romanization (1) matu n-ö kë-nö (2) nam-î-tar-u mî-re-Npa (3) ipa-N-pîtö-nö (4) ware-wo mî-okur-u tö (5) tat-ar-i-si mökörö Glossing with morphemic analysis (1) pine DV-ATTR tree-GEN (2) stand.in.line-INF-PERF/PROG-ATTR seeEV-CON (3) home-GEN-person-GEN (4) I-ACC see(INF)-send-FIN DV (5) stand-PROG-INF-PAST/ATTR like Translation (1/2) When [I] see that the pine trees are standing in line, (3/5) [they are] like [my] home folks [who] were standing [in a row] (4) going to see me off. Commentary Simôtukënô EOJ kë ‘tree’ corresponds to WOJ kï ‘id.’ See also 20.4342 for the same form in SuruNka EOJ. EOJ ipa ‘house’ corresponds to WOJ ipê ‘id.’ The vowel correspondence EOJ a : WOJ ê also appears in EOJ tatarisi ‘were standing’ below. See also 20.4406, 20.4416, 20.4419, 20.4423, and 20.4427. Simôtukënô EOJ tat-ar-i-si ‘were standing’ corresponds to WOJ tat-er-i-si ‘id.’ Note the same vowel correspondence of EOJ a to WOJ ê as above. Line four is hypermetric (jiamari, 字余り).

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Postscript to the poem 20.4375 本文・Original text 右一首火長物部眞嶋

Translation The poem above [was composed] by corporal MönönöNpë-nö Masima. Commentary Nothing is known about the biography of MönönöNpë-nö Masima. His district of origin is not recorded. Corporal (Kachō, 火長) had under his command ten men according to the Military Code (Gunbōryō, 軍防令) (Omodaka 1984.20: 104). On corporal (Kachō, 火長) and other sakîmôri ranks see the commentary to 20.4321.

20.4376 (E)

本文・Original text (1) 多妣由岐尓 (2) 由久等之良受弖 (3) 阿母志々尓 (4) 己等麻乎佐受 弖 (5) 伊麻叙久夜之氣 仮名の書き下し・Kana transliteration (1) たび 1 ゆき 1 に (2) ゆくと 2 しらずて (3) あも 2 ししに (4) こ 2 と まをさずて (5) いまぞ 2 くやしけ 2

2

Romanization (1) taNpî-yuk-î-ni (2) yuk-u tö sir-aNs-u-te (3) amö sisi-ni (4) kötö mawos-aNs-u-te (5) ima Nsö kuyasi-kë Glossing with morphemic analysis (1) journey-go-NML-LOC (2) go-FIN DV know-NEG-INF-SUB (3) mother father-DAT (4) word say(HUM)-NEG-INF-SUB (5) now PT be.regretfulATTR Translation (1/2) Without knowing that [I] will go on a journey, (5) now [I] regret that (4) [I] did not tell (3) [my] mother and father. Commentary This poem is interesting because instead of the more usual OJ titi papa ‘father [and] mother’ it has it in the reverse order: amö sisi ‘mother [and] father’. The usual point of view of modern Japanese scholars is that ‘father and mother’ reflects a patrilineal society, while ‘mother and father’ reflects matrilineal one (Kinoshita 1988: 151-52). I am afraid that this kind of reasoning is pretty much influenced by the European model, where the most important member is mentioned first due to the SVO structure. However, the Japanese language throughout its written history has always been SOV, so we should expect that the most important member is the one that is the closest to the verb, not the farthest from it. Thus, in the context of Japanese, titi papa ‘father [and] mother’ in all probability reflects the matrilineal organization, while amö sisi ‘mother [and] father’ reflects the patrilineal one. The choice of words for ‘mother’ in

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these sequences also may not be coincidental: while WOJ omö titi ‘mother [and] father’ is attested as well, there is no *papa titi ‘mother [and] father’ in OJ texts. We know quite well that the traditional Western Japanese society was essentially matrilineal, and that the vestiges of this organization well survived even into the Heian period. On the other hand, Korean society has always been patrilineal, and the same is applicable to Ainu society. While the Korean influence may not be completely responsible for EOJ word order amö sisi ‘father [and] mother’, in spite of the fact that many immigrants from Korea settled in Kantō region after the fall of Paekche and Koguryǒ in 660s AD, the Ainu influence most certainly is, given the amount of Ainu influence documented in book fourteen of the Man’yōshū. As additional food for thought in the same direction, one can only wonder why the transition from the traditional matrilineal society to the patrilineal society occurred so easily after the Easterners ascended to power at the end of the Heian period. This should not have happened if the Eastern Japanese society was traditionally matrilineal, as Kinoshita (1988: 152), Mizushima (2003: 486) and others have claimed. EOJ amö ‘mother’ probably corresponds to WOJ omö ‘id.’, although the cognacy might be in question, since there is one example of WOJ amö ‘mother’ (NK 82). For details see Vovin (2010: 234-35). Simôtukënô EOJ sisi ‘father’, cognate to OJ titi ‘id.’ represents the palatalization of t > s/_i, see also 20.4372 and introduction to this volume. EOJ adjectival attributive -kë (more frequently spelled as -kê) corresponds to WOJ -kî.

Postscript to the poem 20.4376 本文・Original text 右一首寒川郡上丁川上臣老

Translation The poem above [was composed] by private Kapakamî-nö omî Oyu from Samukapa district. Commentary Nothing is known about the biography of Kapakamî-nö omî Oyu. Omî is a kabane title. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. Samukapa district corresponds to the southern part of Shimotsuga county (下都賀郡), and includes Tochigi city (栃木市) and Oyama city (小山市) of present-day Tochigi prefecture (Kinoshita 1988: 152).

20.4377 (E)

本文・Original text (1) 阿母刀自母 (2) 多麻尓母賀母夜 (3) 伊多太伎弖 (4) 美都良乃奈可 尓 (5) 阿敝麻可麻久母 仮名の書き下し・Kana transliteration (1) あも 2 と 1 じも 2 (2) たまにも 2 がも 2 や (3) いただき 1 て (4) み 1 づ らの 2 なかに (5) あへ 1 まかまくも 2

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Romanization (1) amö tôNsi mö (2) tama n-i möNkamö ya (3) itaNtak-î-te (4) mîNtura-nö naka-ni (5) apê-mak-am-aku mö Glossing with morphemic analysis (1) mother mistress.of.the.house PT (2) jewel DV-INF PT PT (3) put.on.the.top.of.the.head-INF-SUB (4) mîNtura-GEN inside-LOC (5) COOP-roll-TENT-NML PT Translation (1/2) [I] want my dear mother to be a jewel! (3) [I] would put [her] on the top of [my] head, (5) and roll [her] together [with my hair] into my mîNtura. Commentary On EOJ amö ‘mother’ see the commentary to 20.4376. On OJ tôNsi ‘mistress of the house’, see the commentary to 20.4342. OJ mîNtura is a name of a male hairstyle, which was made by dividing hair at the top of the head and letting it drop down at ears to the left and right. These two locks were tied in the middle by a cord (Omodaka et al. 1967: 710). There was a variation of the same hairstyle for boys, where these two locks were made into loops (Mizushima 2003: 493). Simôtukënô EOJ reciprocal-cooperative prefix apê- corresponds to WOJ apî-, id.

Postscript to the poem 20.4377 本文・Original text 右一首津守宿祢小黒栖

Translation The poem above [was composed] by Tumôri-nö sukune Wokurôsu. Commentary Nothing is known about the biography of Tumôri-nö sukune Wokurôsu. Since his rank is not mentioned, he probably was a private. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Sukune is a kabane title. No district of origin is recorded.

20.4378 (E)

本文・Original text (1) 都久比夜波 (2) 須具波由氣等毛 (3) 阿母志々可 (4) 多麻乃須我多 波 (5) 和須例西奈布母 仮名の書き下し・Kana transliteration (1) つくひ 1 やは (2) すぐはゆけ 2 ど 2 も 1 (3) あも 2 ししが (4) たまの 2 すがたは (5) わすれせなふも 2

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Romanization (1) tuku pî ya pa (2) suNku pa yuk-ë-Ntömô (3) amö sisi-Nka (4) tama-nö suNkata pa (5) wasure se-n-ap-umö Glossing with morphemic analysis (1) month day PT PT (2) grow.old year go-EV-CONC (3) mother father-POSS (4) jewel-COMP appearance TOP (5) forget(NML) do-NEG-ITER-EXCL Translation (1/2) Although months and days pass and past years go away, (5) [I] will never forget (4) jewel-like appearance (3) of [my] father and mother! Commentary There is a disagreement on how to read the character 夜 ‘night’ in the first line 都久比夜波. Some scholars considered it to represent phonogram ya (Omodaka 1984.20: 107-108), while others prefer to see it as a semantogram ‘night’ and read it as yô accordingly (Kinoshita 1988: 154). While Kinoshita is right that a combination of emphatic particle ya + topic marker pa is not attested in OJ texts (1988: 154), neither is the expression tuku pî yô in EOJ or tukï pî yô in WOJ. Meanwhile the expression tukï pî is amply attested, so I agree with Omodaka here. On EOJ tuku ‘moon, month’ corresponding to WOJ tukï ‘id.’ see the commentary to 14.3395. The first three characters 須具波 are traditionally explained as EOJ suNku, nominalized form of the verb suNkï- ‘to pass’ + topic marker pa (Kinoshita 1988: 154), (Mizushima 2003: 498). However, there are no other attestations of a nominalized or infinitive form suNku in EOJ, and, as a matter of fact, only infinitive suNkï is attested in EOJ. In addition, the construction ‘passing TOP go away’ seems very strange. I suspect that suNku and pa are really two Ainu loanwords: sukup [suGup] ‘to live [through]’, ‘to grow [old]’ and pa ‘year’. If one adopts this point of view, any clumsiness in the reading of the poem will disappear. Ainu intervocalic voiced were normally borrowed into EOJ as prenasalized voiced (see the commentary to 14.3363), so Ainu -k- [-G-] > EOJ -Nk-, and the loss of the Ainu syllable final -p in EOJ suNku < Ainu sukup is also regular, since OJ does not have any syllable-final consonants. On EOJ amö sisi ‘mother [and] father’, see the commentary to 20.4376. On specific EOJ order of morphemes -(a)n-ap- ‘NEG-ITER’, see the commentary to 14.3375. On -umö ~ -mö as a special Old Japanese exclamative form, see the commentary to 15.3595.

Postscript to the poem 20.4378 本文・Original text 右一首都賀郡上丁中臣部足國

Translation The poem above [was composed] by private NakatömîNpë-nö Tarikuni from TuNka district. Commentary Nothing is known about the biography of NakatömîNpë-nö Tarikuni.

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On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. TuNka district corresponds to Upper Tsuga county (上都賀郡), northern part of Lower Tsuga county (下都賀郡), and to Nikkō city (日光市), Imaichi city (今市市), and Kanuma city (鹿沼市) that are administratively separate in present-day Tochigi prefecture (Kinoshita 1988: 154).

20.4379 (E)

本文・Original text (1) 之良奈美乃 (2) 与曽流波麻倍尓 (3) 和可例奈婆 (4) 伊刀毛須倍奈 美 (5) 夜多妣蘇弖布流 仮名の書き下し・Kana transliteration (1) しらなみ 1 の 2 (2) よ 2 そ 2 るはまへ 2 に (3) わかれなば (4) いと も 1 すべ 2 なみ 1 (5) やたび 1 そ 1 でふる

1

Romanization (1) sira namî-nö (2) yösör-u pama pë-ni (3) wakare-n-aNpa (4) itô mô suNpë na-mî (5) ya taNpî sôNte pur-u Glossing with morphemic analysis (1) white wave-GEN (2) approach-ATTR seashore side-LOC (3) be.separated(INF)-PERF-COND (4) very PT way exist.not-GER (5) eight time sleeve wave-FIN Translation (3) If [I] am separated (1/2) from the seashore, washed by white waves, (4) [I] will wave my sleeves many times, (4) because nothing at all can be done. Commentary The only EOJ feature of this poem is the misspelling of pê ‘side’ and suNpê ‘way [to do]’ as pë and suNpë. This indicates that there was probably no phonemic contrast between /ê/ and /ë/ in Simôtukënô EOJ. OJ ya ‘eight’ is used here metaphorically in the meaning ‘many’. On the sleeve-waving ritual by women, see the commentary to 14.3389. Presumably, the sleeve-waving ritual by men had the same or similar function.

Postscript to the poem 20.4379

本文・Original text 右一首足利郡上丁大舎人部祢麻呂 Translation The poem above [was composed] by private OpotöneriNpë-nö Nemarö from AsikaNka district. Commentary Nothing is known about the biography of OpotöneriNpë-nö Nemarö. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321.

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AsikaNka district corresponds to Sano city (佐野市) and a part of Ashikaga city ( 足 利市 ) in present-day Tochigi prefecture (Kinoshita 1988: 156). AsikaNka in all probability is the Ainu placename: < Ainu askan-44 ‘beautiful’ + kat ‘view, appearance’. Thus, asikan-kat ‘beautiful view’ > EOJ AsikaNka. The first -k- is reflected as EOJ voiceless -k-, and not prenasalized voiced -Nkdue to the fact that it is a part of the cluster -sk- in Ainu, in which voicing of -k- did not occur.

20.4380 (E)

本文・Original text (1) 奈尓波刀乎 (2) 己岐埿弖美例婆 (3) 可美佐夫流 (4) 伊古麻多可祢 尓 (5) 久毛曽多奈妣久 仮名の書き下し・Kana transliteration (1) なにはと 1 を (2) こ 2 ぎ 1 でてみ 1 れば (3) かみ 1 さぶる (4) いこ またかねに (5) くも 1 そ 2 たなび 1 く

1

Romanization (1) Nanipa tô-wo (2) köNk-î-[i]Nte-te mî-re-Npa (3) kamî saNp-uru (4) Ikôma taka ne-ni (5) kumô sö tanaNpîk-u Glossing with morphemic analysis (1) Nanipa harbor-ACC (2) row-INF-exit(INF)-SUB look-EV-CON (3) deity be.like-ATTR (4) Ikôma high peak-LOC (5) cloud PT trail-ATTR Translation (1/2) When [one] rows out of the Nanipa harbor and looks, (5) clouds are trailing over (4) the high peak of Ikôma [mountain] (3) that is like a deity. Commentary The only EOJ feature of this poem is the misspelling of kamï ‘deity’ as kamî. This indicates that there was probably no phonemic contrast between /î/ and /ï/ in Simôtukënô EOJ. See also the same misspelling of the same word in 20.4374 above. On Nanipa and Nanipa harbor, see the commentaries to poems 20.4329 and 20.4330. OJ tô ‘door’ could be used as a synonym of mînatô ‘harbor’. On Mt. Ikôma, see the commentary to 15.3589.

Postscript to the poem 20.4380 本文・Original text 右一首梁田郡上丁大田部三成

Translation The poem above [was composed] by private OpotaNpë-nö Mînari from Yanata district.

44

Attested as asikan-ne in modern Ainu, where -ne is clearly a copula.

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Commentary Nothing is known about the biography of OpotaNpë-nö Mînari. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. Yanata district corresponds to western part of Ashikaga city (足利市) in present-day Tochigi prefecture, but one part of it was incorporated into Kiryū city (桐生市) in present-day Gunma prefecture (Kinoshita 1988: 156).

20.4381 (E)

本文・Original text (1) 久尓具尓乃 (2) 佐岐毛利都度比 (3) 布奈能里弖 (4) 和可流乎美礼 婆 (5) 伊刀母須敝奈之 仮名の書き下し・Kana transliteration (1) くにぐにの 2 (2) さき 1 も 1 りつど 1 ひ 1 (3) ふなの 2 りて (4) わかる をみ 1 れば (5) いと 1 も 2 すべ 1 なし Romanization (1) kuni-N-kuni-nö (2) sakîmôri tuNtôp-î-te (3) puna-nör-i-te (4) wakar-u-wo mî-re-Npa (5) itô mö suNpê na-si Glossing with morphemic analysis (1) province-LOC-province-GEN (2) border.guard gather-INF-SUB (3) boat-embark-INF-SUB (4) part-ATTR-ACC see-EV-CON (5) extremely PT way no-FIN Translation (4) When [I] see that (1/2) border guards from [different] provinces gather and (4) then part, (3) embarking on the boats, (5) [it is sad, but] there is absolutely nothing [that] can be done. Commentary The only EOJ feature of this poem is the fact that the verb wakar- ‘to part’ is consonantal. In WOJ it is a vowel verb wakare- ‘id.’, so in WOJ the attributive form wakar-uru, and not wakar-u would be expected.

Postscript to the poem 20.4381

本文・Original text 右一首河内郡上丁神麻續部嶋麻呂 Translation The poem above [was composed] by private KamuwomîNpë-nö Simamarö from Kaputi district. Commentary Nothing is known about the biography of KamuwomîNpë-nö Simamarö. I follow both Omodaka (1984.20: 110) and Mizushima (2003: 515) in reading 神 麻 續 部 as KamuwomîNpë. Kinoshita reads this family name as MîwawomîNpë (1988: 157).

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On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Kaputi district corresponds to Kawati county (河内郡) and a part of Utsunomiya city (宇都宮市) in present-day Tochigi prefecture (Kinoshita 1988: 156).

20.4382 (E)

本文・Original text (1) 布多富我美 (2) 阿志氣比等奈里 (3) 阿多由麻比 (4) 和我須流等伎 尓 (5) 佐伎母里尓佐須 仮名の書き下し・Kana transliteration (1) ふたほがみ 1 (2) あしけ 2 ひ 1 と 2 なり (3) あたゆまひ 1 (4) わがする と 2 き 1 に (5) さき 1 も 2 りにさす Romanization (1) Puta [o]po-N-kamî (2) asi-kë pîtö nar-i (3) ata yumapî (4) wa-Nka s-uru tökî-ni (5) sakîmöri n-i sas-u Glossing with morphemic analysis (1) Puta great-DV(ATTR)-head (2) be.bad-ATTR person be-FIN (3) sudden sickness (4) I-POSS do-ATTR time-LOC (5) border.guard DV-INF appoint-FIN Translation (1) The governor [in] Puta (2) is a bad person. (3/4) When I suddenly became sick, (5) [he] appointed [me] as a border guard. Commentary There are two basic competing hypotheses regarding 布 多 富 我 美 putapoNkamî in line one. One takes puta as ‘two’ and poNkamî as ‘lower abdomen’, while the other sees Puta as a placename and poNkamî as [o]po-N-kamî ‘great head’, that is the governor of the province. While ‘Two lower abdomens’ could be a person’s name, the second explanation makes much more sense, because Puta is the name of the village in TuNka district where the seat of the provincial government in Simôtukënô province was located (Takeda 1957: 437-38), (Omodaka 1984.20: 111-12), (Kinoshita 1988: 158). EOJ adjectival attributive -kë (more frequently spelled as -kê) corresponds to WOJ -kî. Simôtukënô EOJ ata ‘sudden’ has no WOJ cognate, but there are many cognates in Ryūkyūan and some mainland Japanese dialects (Omodaka 1984.20: 112-13), (Kinoshita 1988: 159). Simotukënô EOJ yumapî ‘sickness’ corresponds to WOJ yamapî ‘id.’ For the same correspondence EOJ u : WOJ a cf. EOJ nayum- ‘to suffer, to be hurt’ in 14.5333 and WOJ nayam- ‘id.’

Postscript to the poem 20.4382 本文・Original text 右一首那須郡上丁大伴部廣成

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Translation The poem above [was composed] by private OpotömöNpë-nö Pîrönari from Nasu district. Commentary Nothing is known about the biography of OpotömöNpë-nö Pîrönari. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. Until recently, Nasu district corresponded to Nasu county (那須郡) and Ōtawara city (大田原市) in present-day Tochigi prefecture (Kinoshita 1988: 159), but on October 1, 2005 Nasu district was incorporated into Ōtawara city.

20.4383 (E)

本文・Original text (1) 都乃久尓乃 (2) 宇美能奈岐佐尓 (3) 布奈餘曽比 (4) 多志埿毛等伎 尓 (5) 阿母我米母我母 仮名の書き下し・Kana transliteration (1) つの 2 くにの 2 (2) うみ 1 の 2 なぎ 1 さに (3) ふなよ 2 そ 2 ひ 1 (4) た しでも 1 と 2 き 1 に (5) あも 2 がめ 2 も 2 がも 2 Romanization (1) Tu-nö kuni-nö (2) umî-nö naNkîsa-ni (3) puna-yösöp-î (4) tas-i-[i]Nte-m-ô tökî-ni (5) amö-Nka më möNkamö Glossing with morphemic analysis (1) Tu-GEN province-GEN (2) sea-GEN shore-LOC (3) boat-equip-INF (4) depart-INF-exit-TENT-ATTR (5) time-LOC mother-POSS eye PT Translation (5) [I] want [my] mother to see [me] (4) when I am going to depart, (3) having equipped [my] boat (2) at the seashore (1) of Tu province. Commentary Tu province (津國, 攝津國) was one of the Upper Provinces (Jōkoku, 上國) according to the Ritsuryō code. It corresponds to a part of Ōsaka prefecture and southeastern part of Hyōgo prefecture (Nakanishi 1985: 463). On the Ritsuryō code classification of Yamatö provinces, see the commentary to 5.818. EOJ tas-i ‘depart-NML’ corresponding to WOJ tat-i ‘id.’ is an example of EOJ palatalization t > s/_i, on which also see the commentary to 14.3395. On EOJ special attributive form -ô, see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume. On EOJ amö ‘mother’, see the commentary to 20.4376. There are different interpretations of line five: ‘I want to see my mother’s face’ (Omodaka 1984.20: 113), ‘I want to meet my mother’ (Takeda 1957: 438), (Kojima et al. 1975: 401), (Kinoshita 1988: 160), ‘I want to meet my mother just for a moment’ (Mizushima 2003: 533), ‘I want my mother to see me’ (Takagi et al. 1962: 430). I think that the Takagi et al. interpretation

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makes the most sense, because the author has equipped and decorated his boat, and apparently expresses the desire for his mother to see this boat and him on this boat.

Postscript to the poem 20.4383 本文・Original text 右一首塩屋郡上丁丈部足人

Translation The poem above [was composed] by private PasetukaNpë-nö Taripîtö from Siponöya district. Commentary Nothing is known about the biography of PasetukaNpë-nö Taripîtö. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Siponöya district corresponds to Shioya county (塩谷郡) and Yaita city (矢 板市) in present-day Tochigi prefecture (Kinoshita 1988: 160).

Postscript to the poems 20.4373-4383

本文・Original text 二月十四日下野國防人部領使正六位上田口朝臣大戸進歌數十八首但拙 劣歌者不取載之 Translation On the fourteenth day of the second lunar month [of the seventh year of Tenpyō Shōhō], Tanökuti-nö asömî Opotô 45 (Senior Sixth Rank, Upper Grade), sakîmôri messenger of Simôtukënô province, presented [to me] eighteen poems. However, I did not include [here] the poems of inferior [quality]. Commentary The fourteenth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to March 31, 755 AD. Tanökuti-nö asömî Opotô is mentioned several times in the Shoku Nihongi. He was promoted to Junior Fifth Rank, Lower Grade on the fourth day of the first lunar month of the sixth year of Tenpyō Hōji (February 1, 762 AD). On the ninth day of the first lunar month of the sixth year of Tenpyō Hōji (February 6, 762 AD) he was appointed as the governor of Pîmuka province. He was further appointed as the Head (tō, 頭) of War Horses Bureau (Heibashi, 兵馬司) on the ninth day of the first lunar month of the seventh year of Tenpyō Hōji (February 25, 763 AD), Assistant Governor of Kamîtukënô province on the twenty-first day of the first lunar month of the eighth year of Tenpyō Hōji (February 27, 764 AD). On the seventh day of the first lunar month of the eighth year of Hōki (February 6, 770 AD) Tanökuti-nö asömî Opotô was promoted to Junior Fifth Rank, Upper Grade. Nothing else is known of his biography. Asömî is a kabane title. On Simôtukënô province, see the commentary to 14.3424. 45

Opotô is alternatively read as Opopë (Omodaka 1984.20: 114), (Kinoshita 1988: 160).

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On sakîmôri messengers, see the commentary to the preface to poems 20.4321-4424. The Genryaku kōhon mentions sixteen (十六) original poems, but all other manuscripts indicate eighteen (十八) original poems (Omodaka 1984.20: 103). Since the Hirose-bon, the only manuscript that comes from the independent lineage of the now lost Teika-bon, also has eighteen poems (10: 73a), the Genryaku kōhon most likely has a mistake. Thus, although Opotömö-nö Yakamöti received eighteen poems, he included only eleven.

20.4384 (E)

本文・Original text (1) 阿加等伎乃 (2) 加波多例等枳尓 (3) 之麻加枳乎 (4) 己枳尓之布祢 乃 (5) 他都枳之良須母 仮名の書き下し・Kana transliteration (1) あかときの (2) かはたれときに (3) しまかぎを (4) こぎにしふね の (5) たづきしらずも 2 Romanization (1) akatökî-nö (2) ka pa tare tökî-ni (3) sima kaNkî-wo (4) köNk-î-n-i-si pune-nö (5) taNtukî sir-aNs-umö Glossing with morphemic analysis (1) dawn-GEN (2) that TOP who time-LOC (3) island shadow-ACC (4) row-INF-PERF-INF-PAST/ATTR boat-GEN (5) clue know-NEG-EXCL Translation (5) [I] have no clue (4) about the boat that rowed (3) under the shadow of the island (2) at the dim time (1) of dawn! Commentary OJ ka pa tare is literally ‘that [is] who?’ It introduces the play on words in this poem: in the dimly-lit time at dawn one cannot clearly see who is who, hence this playful expression to indicate this time (Omodaka 1984.20: 115). Simôtupusa EOJ kaNkî ‘shadow’ corresponds to WOJ kaNkë ‘id.’ This is a case of a raising of a secondary /ë/ to /î/. On EOJ and WOJ taNtukî and WOJ taNtôkî ~ taNtökî ‘clue’, see the commentary to 15.3777. On -umö ~ -mö as a special Old Japanese exclamative form, see the commentary to 15.3595.

Postscript to the poem 20.4384

本文・Original text 右一首助丁海上郡海上國造他田日奉直得大理 Translation The poem above [was composed] by commander WosaNta-nö Pîmaturi-nö atapî Tökötari from Unakamî district.

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Commentary It seems that the text of this postscript is corrupted. After the usual 右一首 ‘the poem above’ we find the sakîmôri rank of Captain (Sukë-nö yoporo, 助 丁), not followed by any name, but by the placename 海上郡 ‘Unakamî district’. This is again followed just by 海上 ‘Unakamî’ with the omission of the character 郡 ‘district’. And only then comes the rank of commander (Kuni-nö mîyatukô, 國造), followed by the name of the author. I presume that the reconstruction of the original text that would make sense and would correspond to the translation offered above should be something like: 右一首海上郡國造他田日奉直得大理 The poem above [was composed] by commander WosaNta-nö Pîmaturi-nö atapî Tökötari from Unakamî district. I have used this reconstruction for the translation above. Nothing is known about the biography of WosaNta-nö Maturipî-nö atapî Tökötari. Atapî is a kabane title. On commander (Kuni-nö mîyatukô, 國造) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Unakamî district corresponds to Kaijō county (海上郡), Chōshi city (銚子 市), and Asahi city (旭市) in present-day Chiba prefecture (Kinoshita 1988: 162).

20.4385 (E)

本文・Original text (1) 由古作枳尓 (2) 奈美奈等惠良比 (3) 志流敝尓波 (4) 古乎等都麻乎 等 (5) 於枳弖等母枳奴 仮名の書き下し・Kana transliteration (1) ゆこ 1 さき 1 に (2) なみ 1 なと 2 ゑらひ (3) しるへ 1 には (4) こ 1 を と 2 つまをと 2 (5) おき 1 てと 2 も 2 き 1 ぬ Romanization (1) yuk-ô sakî-ni (2) namî na töwerap-î (3) siru-pê-ni pa (4) kô-wo-tö tuma-wo-tö (5) ok-î-te tö mö k-î-n-u Glossing with morphemic analysis (1) go-ATTR ahead-LOC (2) wave NEG/IMP surge-INF (3) behind-side-LOC TOP (4) child-ACC-COM spouse-ACC-COM (5) leave.behind-INF-SUB PT PT come-INF-PERF-FIN Translation (2) Waves, do not surge (1) at the destination [I] am going to! (5) [I] have come [here] leaving (4) [my] children and spouse (3) behind me. Commentary On EOJ special attributive form -ô see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume.

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Simôtupusa EOJ töwerap- ‘to surge, to swell (of waves)’ is a hapax legomenon that corresponds to WOJ töworap- ‘to rock (of a boat on waves)’ (MYS 9.1740), also a hapax legomenon (Omodaka 1984.20: 116). Simôtupusa EOJ siru ‘behind’ corresponds to WOJ siri ‘id.’ Both are derivations from PJ *siruy, with a regular loss of final *-y in EOJ. A combination of accusative and comitative case markers -wo-tö repeated twice in the phrase kô-wo-tö tuma-wo-tö ‘children and spouse’ in line four is unusual. It is not attested anywhere else in OJ texts, and the expected construction would be kô-tö tuma-wo or kô-tö tuma-tö-wo ‘children and spouse’. Possibly kô-wo-tö tuma-wo-tö ‘children and spouse’ represents Simôtupusa EOJ usage, but without the second independent piece of evidence it is impossible to prove it. The word tömö in line five is a puzzle. It cannot be an OJ conjunction tömö ‘even though’, because it would make no sense in the given context, and because OJ tömö follows the final form of a verb, not the subordinative gerund -te. It may seem at first glance that it is also unlikely to be a combination of a focus particle mö with a preceding EOJ focus particle tö,46 cognate to WOJ sö, id., as believed by Omodaka (1984.20: 116) and Mizushima (2003: 551) because we then would expect the final verb to be in attributive form k-î-n-uru or k-î-n-ô,47 due to kakari-musubi rules. But the final verb is k-î-n-u, in the final form. In addition, among the four attestations of EOJ focus particle tö, it is attested once in Kamîtukënô EOJ (14.3409), once in Simôtukënô EOJ (14.3425), and twice in poems without geographic identification (14.3561 and 20.4330). None of the attestations is from Simôtupusa, but it is interesting that poem 14.4357, where the violation of the kakari-musubi rule with the verb in final form following EOJ particle sö occurs, is from Itipara district in Kamîtupusa province. Itipara district is adjacent to Simôtupusa province, and although it does not have a common border with KaNtusika district in Simôtupusa province, it is quite close. On the other hand, KaNtusika district shares a common border with Simôtukënô province. Consequently, it would not come as a surprise that its dialect may have common features with both Kamîtupusa and Simôtukënô. Therefore, I do not share Kinoshita’s skepticism about the equation of EOJ tö with WOJ sö in this poem (1988: 164), and follow Omodaka and Mizushima’s proposal.

Postscript to the poem 20.4385 本文・Original text 右一首葛餝郡私部石嶋

Translation The poem above [was composed] by KîsakîNpë-nö Isôsima from KaNtusika district. Commentary Nothing is known about the biography of KîsakîNpë-nö Isôsima. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 46 47

Attested in 14.3409, 14.3425, 14.3561, and 20.4430. Kinoshita provides two examples when the focus particle sö is followed in EOJ not by a verb in the attributive form, but by a verb in the final form: 20.4357 and 20.4401 (1988: 164). While the first example is valid, the second is not, because the script actually indicates EOJ k-î-n-ô ‘come-INF-PERF-ATTR’.

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上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. On KaNtusika district see the commentary to 14.3349.

20.4386 (E)

本文・Original text (1) 和加々都乃 (2) 以都母等夜奈枳 (3) 以都母以都母 (4) 於母加古比 須々 (5) 奈理麻之都之母 仮名の書き下し・Kana transliteration (1) わがかづの 2 (2) いつも 2 と 2 やなぎ 1 (3) いつも 2 いつも 2 (4) おも 2 がこ 1 ひ 1 すす (5) なりましつしも 2 Romanization (1) wa-Nka kaNtu-nö (2) itu-mötö yanaNkî (3) itu mö itu mö (4) omö-Nka kôpî-susu (5) nar-i-[i]mas-i-tusi-mö Glossing with morphemic analysis (1) I-POSS gate-GEN (2) five-CL willow (3) when PT when PT (4) motherPOSS long.for(INF)-COOR (5) do.house.work-INF-HON-COOR-EXCL Translation (2) Five willow trees (1) at my gate… (3/4) [My] mother always, always longs for [me] and (5) is doing [her] house work! Commentary The first two lines are the introduction (jo, 序) to the rest of the poem based on phonetic word play between itu-mötö, lit. ‘five roots’ and itu mö ‘always’. Simôtupusa EOJ kaNtu ‘gate’ corresponds to WOJ and EOJ kaNtô ‘id.’ < kana-tô ‘metal [adorned] gate’, on which see the commentary to 14.3530. This example illustrates that in Simôtupusa EOJ primary PJ *o underwent raising to /u/ in final syllables. EOJ misspellings yanaNkî ‘willow’ for WOJ yanaNkï ‘id.’ and kôpî- for WOJ kôpï- ‘to long for’ indicate that there was no phonemic contrast between /î/ and /ï/ in Simôtupusa. Line three is hypermetric (jiamari, 字余り). This poem includes two different forms of coordinative gerund -susu and -tusi (the second of them in the function of the final predicate) corresponding to WOJ -tutu, id. Both Omodaka (1984.20: 117) and Mizushima (2003: 561) believe that the the OJ verb nar- in this particular poem means ‘to do agricultural work’. Neither of these two scholars provide any argumentation as to why we simply cannot take it here in its usual meanings ‘to do house work’, to ‘manage household affairs’, so I disregard their opinion in my glossing and translation. On -umö ~ -mö as a special Old Japanese exclamative form, see the commentary to 15.3595.

Postscript to the poem 20.4386 本文・Original text 右一首結城郡矢作部眞長

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Translation The poem above [was composed] by YapaNkîNpë-nö ManaNka from Yupukï district. Commentary Nothing is known about the biography of YapaNkîNpë-nö ManaNka. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to the poem 20.4321. Yupukï district corresponds to Yūki county (結城郡) and a part of Yūki city ( 結 城 市 ) in present-day Ibaraki prefecture (Nakanishi 1985: 495), (Kinoshita 1988: 166).

20.4387 (E)

本文・Original text (1) 知波乃奴乃 (2) 古乃弖加之波能 (3) 保々麻例等 (4) 阿夜尓加奈之 美 (5) 於枳弖他加枳奴 仮名の書き下し・Kana transliteration (1) ちばの 2 ぬの 2 (2) こ 1 の 2 てかしはの 2 (3) ほほまれど 2 (4) あやに かなしみ 1 (5) おき 1 てたかき 1 ぬ Romanization (1) TiNpa-nö nu-nö (2) kô-nö te kasipa-nö (3) popom-ar-e-Ntö (4) aya n-i kanasi-mî (5) ok-î-te ta-ka k-î-n-u Glossing with morphemic analysis (1) TiNpa-GEN field-GEN (2) child-GEN hand oak-GEN (3) be.still.in.the.buds-PROG-EV-CONC (4) extreme DV-INF be.dear-GER (5) leave.behind-INF-SUB here-DIR come-INF-PERF-FIN Translation (1/2) Although the oak [with leaves like] child’s hand at the fields of TiNpa (3) has [its leaves] still in the buds, (4) [she] is extremely dear [to me], (5) [I] left [her] behind and have come here. Commentary TiNpa refers to an area around modern Chiba city (Nakanishi 1985: 463). The first three lines are the introduction (jo, 序) to the rest of the poem. The girl that the author has left behind is compared here to the oak with young leaves that are still in the buds. It is unclear what kind of tree is kô-nö te kasipa ‘oak [with leaves like] child’s hand’, although it is certainly some kind of oak (Omodaka 1984.20: 118-19), (Kinoshita 1988: 167-68), (Mizushima 2003: 567). Simôtupusa EOJ popom- is the unraised from of OJ pupum- ‘to hold inside [one’s mouth]’, ‘to be still in buds’, on which see the commentary to 14.3572. On the EOJ progressive suffix -ar- corresponding to WOJ -êr-, see the commentary to 14.3351. The word taka in line five is considered to be of unknown meaning (Omodaka 1984.20: 119). Kinoshita (1988: 169) and Mizushima (2003: 570)

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believe that it is taka ‘high’ used in the sense ‘far’, but this interpretation, although it is based on Sengaku’s authority, hardly makes any sense, because taka ‘high’ is never used in the meaning ‘far’ anywhere else in OJ texts. I think that in fact we are dealing here with two Ainu loanwords: ta < Ainu ta ‘this, here’ and Ainu -ke, directive case particle. The usage of Ainu ta ke ‘here to’ survives in Yakumo and Osamanpe Ainu take’áni ~ takáni ‘here’ (Hattori 1964: 311), (Izutu 2006: 326).

Postscript to the poem 20.4387 本文・Original text 右一首千葉郡大田部足人

Translation The poem above [was composed] by OpotaNpë-nö Taripîtö from TiNpa district. Commentary Nothing is known about the biography of OpotaNpë-nö Taripîtö. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to poem 20.4321. TiNpa district corresponds to a part of Chiba county (千葉郡), Chiba city (千葉市), and Narashino city (習志野市) in present-day Chiba prefecture (Nakanishi 1985: 495), (Kinoshita 1988: 166).

20.4388 (E)

本文・Original text (1) 多妣等弊等 (2) 麻多妣尓奈理奴 (3) 以弊乃母加 (4) 枳世之己呂母 尓 (5) 阿加都枳尓迦理 仮名の書き下し・Kana transliteration (1) たび 1 と 2 へ 1 ど 2 (2) またび 1 になりぬ (3) いへ 1 の 2 も 2 が (4) き 1 せしこ 2 ろ 2 も 2 に (5) あかつき 1 にかり Romanization (1) taNpî tö [i]p-ê-Ntö (2) ma-taNpî n-i nar-i-n-u (3) ipê-nö [i]mö-Nka (4) kî-se-si körömö-ni (5) aka tuk-î-n-i-kar-i Glossing with morphemic analysis (1) journey DV say-EV-CONC (2) INT-journey DV-INF become-INF-PERFFIN (3) home-GEN beloved-POSS (4) wear-CAUS(INF)-PAST/ATTR garment-LOC (5) dirt attach-INF-PERF-INF-RETR-FIN Translation (1) Although [I] spoke about a journey, (2) [it] has become a really [long] journey. (5) The dirt stuck (3/4) to the garment that my beloved at home made [me] wear.

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Commentary The misspelling of evidential suffix as -ê- instead of WOJ -ë- probably indicates that there was no phonemic contrast between /ê/ and /ë/ in Simôtupusa. Simôtupusa EOJ retrospective auxiliary -kar- corresponds to WOJ -kêr-. id. A similar poem is 15.3667.

Postscript to the poem 20.4388 本文・Original text 右一首占部虫麻呂

Translation The poem above [was composed] by UraNpë-nö Musimarö. Commentary Nothing is known about the biography of UraNpë-nö Musimarö. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. UraNpë-nö Musimarö’s district of origin is not mentioned. Kamochi suggests that it might because he was from the same TiNpa district as the author of the previous poem (1912.7: 379).

20.4389 (E)

本文・Original text (1) 志保不尼乃 (2) 弊古祖志良奈美 (3) 尓波志久母 (4) 於不世他麻保 加 (5) 於母波弊奈久尓 仮名の書き下し・Kana transliteration (1) しほふねの 2 (2) へ 1 こ 1 そ 1 しらなみ 1 (3) にはしくも 2 (4) おふせ たまほか (5) おも 2 はへ 1 なくに Romanization (1) sipo pune-nö (2) pê kôs-ô sira namî (3) nipasi-ku mö (4) opuse-tamap-o ka (5) omöp-apê-n-aku n-i Glossing with morphemic analysis (1) tide boat-GEN (2) bow cross.over-ATTR white wave (3) sudden-INF PT (4) give.order-HON-ATTR PT (5) think-dare-NEG-NML DV-INF Translation (5) Although [I] could not [even] think [about it], (4) did [the Emperor] give [me] an order (3) as sudden as (2) white waves crossing the bow (1) of a sea boat? Commentary The order that is meant here is certainly the order to become a sakîmôri. On sipo pune ‘sea boat’ (lit. ‘tide boat’), see the commentary to 14.3450.

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The misspelling of pë ‘bow’ as pê and of apë- ‘to dare’ as apê- probably indicates that there was no phonemic contrast between /ê/ and /ë/ in Simôtupusa. On EOJ special attributive form -ô, see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume. Simotupusa EOJ nipasi ‘to be sudden’ is a hapax legomenon, but since WOJ nipaka ‘sudden’ is attested (16.3811), the meaning is easily understood. Simôtupusa EOJ opuse- ‘to speak (honorific), to give an order’ corresponds to WOJ opose- ‘id.’ Simôtupusa EOJ omöp-apê- ‘to be able to think’ is contraction of omöp-î-apê-, with the expected EOJ -a- in place of -î+a-.

Postscript to the poem 20.4389 本文・Original text 右一首印波郡丈部直大麻呂

Translation The poem above [was composed] by PasetukaNpë-nö atapî Opomarö from Inipa district. Commentary Nothing is known about the biography of PasetukaNpë-nö atapî Opomarö. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Atapî is a kabane title. Inipa district corresponds to Inba county (印旛郡), Narita city (成田市), and Sakura city (佐倉市) in present-day Chiba prefecture (Kinoshita 1988: 171).

20.4390 (E)

本文・Original text (1) 牟浪他麻乃 (2) 久留尓久枳作之 (3) 加多米等之 (4) 以母加去々里 波 (5) 阿用久奈米加母 仮名の書き下し・Kana transliteration (1) むらたまの 2 (2) くるにくぎ 1 さし (3) かため 2 と 2 し (4) いも 2 が こ 2 こ 2 ろ 2 は (5) あよ 1 くなめ 2 かも 2 Romanization (1) mura tama-nö (2) kuru-ni kuNkî sas-i (3) katamë-tö-si (4) imö-Nka kökörö pa (5) ayôk-unam-ë kamö Glossing with morphemic analysis (1) many jewel-COMP (2) pivot-LOC nail insert-INF (3) make.strong. promise(INF)-PERF(INF)-PAST/ATTR (4) beloved-POSS heart TOP (5) waver-TENT2-EV PT

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Translation (4) The heart of my beloved (3) who has promised strongly (2) [like] a nail is driven [strongly] into a pivot (1) that [rotates] like multiple jewels, (5) will [it] waver? [-- Certainly not!] Commentary Mura tama-nö in line one is considered to be a permanent epithet (makura-kotoba, 枕詞) for kuru ‘pivot’. Although the makura-kotoba itself is transparent, the way of its connection to kuru ‘pivot’ is not quite clear, although several explanations exist. I followed in my translation Keichū’s hypothesis that points out the connection between kuru ‘pivot’ and kur- ‘to rotate, to spin’ (1690.20: 45a). This hypothesis is essentially adopted by almost all modern commentators. Simôtupusa EOJ perfective auxiliary -tö- corresponds to WOJ -te-. There is a problem how to read the word 去々里 ‘heart’: kökörö or kököri. The reading rö (attested in Suiko era inscriptions) for the character 里 is based on Late Han Chinese *liəB, but its more usual reading ri in the eighth century is based on EMC *liB. Since there are other cases in the Man’yōshū when Late Old Chinese readings are used for man’yōgana phonograms, like 支 for kî, at the first glance 里 /rö/ would not seem to be impossible, but the problem is that while 支 /kî/ is widespread in the Man’yōshū, 里 /rö/ is extremely rare. However, within Simôtupusa the usage of 里 as /rö/ is somewhat consistent, see also 20.4391. It is quite possible that the archaic phonographic usage survived on periphery in Azuma. If so, this incidentally provides us a perspective on both literacy in Azuma, and on the fact that the poems were transcribed by sakîmôri themselves, and not by sakîmôri messengers, who presented them to Opotömö-nö Yakamöti, because it is more likely that sakîmôri messengers, being themselves born and bred in Kansai would use a more up-to-date spelling system. On EOJ tentative suffix -unam- see the commentary to 14.3366. The tentative evidential -unam-ë + particle kamö expresses an irony question in EOJ. See the commentary to 20.4371.

Postscript to the poem 20.4390 本文・Original text 右一首愾嶋郡刑部志加麻呂

Translation The poem above [was composed] by OsakaNpë-nö Sikamarö from Sasima district. Commentary Nothing is known about the biography of OsakaNpë-nö Sikamarö. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. Sasima district corresponds to Sashima county (猿島郡) and a part of Koga city (古河市) in present-day Ibaraki prefecture (Kinoshita 1988: 173).

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20.4391 (E)

本文・Original text (1) 久尓具尓乃 (2) 夜之里乃加美尓 (3) 奴佐麻都理 (4) 阿加古比須奈 牟 (5) 伊母賀加奈志作 仮名の書き下し・Kana transliteration (1) くにぐにの 2 (2) やしろ 2 の 2 かみ 1 に (3) ぬさまつり (4) あがこ 1 ひ 1 すなむ (5) いも 2 がかなしさ Romanization (1) kuni-N-kuni-nö (2) yasirö-nö kamî-ni (3) nusa matur-i (4) a-Nka kôpî s-unam-u (5) imö-Nka kanasi-sa Glossing with morphemic analysis (1) province-LOC-province-GEN (2) shrine-GEN deity-DAT (3) nusa present(HUM)-INF (4) I-POSS long.for-NML do-TENT2-ATTR (5) beloved-POSS dear-NML Translation (5) Oh, [the feeling of] endearment for [my] beloved, (4) who probably longs for [me] (3) and presents the nusa offerings (2) to the shrine deities (1) of many provinces. Commentary There are several interpretations of this poem. The main problem is who is longing for whom and who is making offerings -- the author or his beloved? I follow here Kinoshita’s interpretation that maintains that it is the beloved of the author who performs both actions (1988: 174-75). It is easy to demonstrate that longing is indeed done by the woman -- the tentative -unam- will not be used by the author in reference to his own action. Omodaka’s hypothesis that the function of -unam- in this poem is not that of tentative, but of assertion (1984.20: 125) has no foundation, because there are no other examples of the assertive usage of -unam-. It is more difficult to justify that the woman is making offerings: as Kinoshita himself notes, there are both textual examples of a traveler making offerings and a person who stayed at home doing the same (1988: 174). The justification of Kinoshita’s point of view would be easier if we could prove that there was indeed a shrine dedicated to deities of various provinces in the author’s home village or district. On the spelling of syllable /rö/ with the phonogram 里 see the commentary to 20.4390. The misspelling of kamï ‘deity’ as kamî and of kôpï- ‘to long for’ as kôpîprobably indicates that there was no phonemic contrast between /î/ and /ï/ in Simôtupusa. OJ nusa are paper or cloth offerings for deities (Omodaka et al. 1967: 553). On EOJ tentative suffix -unam-, see the commentary to 14.3366.

Postscript to the poem 20.4391 本文・Original text 右一首結城郡忍海部五百麻呂

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Translation The poem above [was composed] by OsinömîNpë-nö Ipomarö from Yupukï district. Commentary Nothing is known about the biography of OsinömîNpë-nö Ipomarö. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to the poem 20.4321. On Yupukï district see the commentary to the postscript to 20.4386.

20.4392 (E)

本文・Original text (1) 阿米都之乃 (2) 以都例乃可美乎 (3) 以乃良波加 (4) 有都久之波々 尓 (5) 麻多己等刀波牟 仮名の書き下し・Kana transliteration (1) あめ 2 つしの 2 (2) いづれの 2 かみ 1 を (3) いの 2 らばか (4) うつく しははに (5) またこ 2 と 2 と 1 はむ Romanization (1) amë tusi-nö (2) iNture n-ö kamî-wo (3) inör-aNpa ka (4) utukusi papa-ni (5) mata kötö tôp-am-u Glossing with morphemic analysis (1) heaven earth-GEN (2) which DV-ATTR deity-ACC (3) pray-COND PT (4) dear mother-DAT (5) again word ask-TENT-ATTR Translation (2) Which deities (1) of Heaven and Earth (3) should [I] pray, (5) [so I] would [be able to] (5) talk to [my] dear mother again? Commentary Simôtupusa EOJ tusi ‘earth’ corresponds to EOJ tuti ‘id.’ The EOJ form exhibits the palatalization t > s/_i. See also 20.4426 for another example of EOJ tusi. Simôtupusa EOJ kamî ‘deity’ corresponds to WOJ kamï ‘id.’ This probably indicates that there was no phonemic distinction between /î/ and /ï/ in Simôtupusa.

Postscript to the poem 20.4392 本文・Original text 右一首埴生郡大伴部麻与佐

Translation The poem above [was composed] by OpotömöNpë-nö Mayösa from Panipu district.

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Commentary Nothing is known about the biography of OpotömöNpë-nö Mayösa. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. Panipu district corresponds to parts of Inba county (印旛郡), Narita city ( 成 田 市 ), and Sakura city ( 佐 倉 市 ) in present-day Chiba prefecture (Kinoshita 1988: 176).

20.4393 (E)

本文・Original text (1) 於保伎美能 (2) 美許等尓作例波 (3) 知々波々乎 (4) 以波比弊等於 枳弖 (5) 麻爲弖枳尓之乎 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) み 1 こ 2 と 2 にされば (3) ちちははを (4) いは ひ 1 へ 1 と 2 おき 1 て (5) まゐでき 1 にしを Romanization (1) opo kîmî-nö (2) mî-kötö n-i s[i]-ar-e-Npa (3) titi papa-wo (4) ipap-î-pê-tö ok-î-te (5) mawi-[i]Nte-k-î-n-i-si-wo Glossing with morphemic analysis (1) great lord-GEN (2) HON-word DV-INF PT-exist-EV-CON (3) father mother-ACC (4) pay-NML-vessel-COM leave-INF-SUB (5) come(HUM) (INF)-go.out(INF)-come-INF-PERF-INF-PAST/ATTR-ACC Translation (2) Because [it] had been the command (1) of the Great Lord, (5) [I] came out here, (3/4) leaving behind [my] father and mother together with a praying vessel. Commentary On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. On mî-kötö ‘honorable word’, ‘imperial order/edict’, see the commentary to 15.3644. Line four is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because ipap-î-pê-tö ok-î-te was most likely pronounced as [ipapîpêtökîte]. Simôtupusa EOJ pê ‘vessel for prayer’ corresponds to WOJ pë ‘id.’ The misspelling of pë as pê probably indicates that there was no phonemic contrast between /ê/ and /ë/ in Simôtupusa. OJ pë ~ pë is a ritual vessel in which sake or food were offered to deities. It was a precious and sacred commodity, hence its mention alongside with one’s parents.

Postscript to the poem 20.4393 本文・Original text 右一首結城郡雀部廣嶋

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Translation The poem above [was composed] by SaNsakîNpë-nö Pîrösima from Yupukï district. Commentary Nothing is known about the biography of SaNsakîNpë-nö Pîrösima. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. On Yupukï district, see the commentary to the postscript to 20.4386.

20.4394 (E)

本文・Original text (1) 於保伎美能 (2) 美己等加之古美 (3) 由美乃美他 (4) 佐尼加和多良 牟 (5) 奈賀氣己乃用乎 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) み 1 こ 2 と 2 かしこ 1 み 1 (3) ゆみ 1 の 2 み 1 た (4) さねかわたらむ (5) ながけ 2 こ 2 の 2 よ 1 を Romanization (1) opo kîmî-nö (2) mî-kötö kasikô-mî (3) yumî-nö mîta (4) sa-ne ka watar-am-u (5) naNka-kë könö yô-wo Glossing with morphemic analysis (1) great lord-GEN (2) HON-word be.awesome-GER (3) bow-GEN together (4) PREF-sleep(INF) PT cross.over-TENT-ATTR (5) be.long-ATTR this night-ACC Translation (1/2) Because the command of the Great Lord is awesome, (4) will [I] sleep through (5) this long night [alone] (4) with [my] bow? Commentary On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. On mî-kötö ‘honorable word’, ‘imperial order/edict’, see the commentary to 15.3644. Simotupusa EOJ mîta ‘together’ corresponds to WOJ muta ‘id.’ The latter form is more innovative due to the progressive assimilation î > u after m. EOJ adjectival attributive -kë (more frequently spelled as -kê) corresponds to WOJ -kî.

Postscript to the poem 20.4394 本文・Original text 右一首相馬郡大伴部子羊

Translation The poem above [was composed] by OpotömöNpë-nö KôpîtuNsi from Sauma district.

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Commentary Nothing is known about the biography of OpotömöNpë-nö KôpîtuNsi. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Sauma district corresponds to Northern Sōma county (北相馬郡) of present-day Ibaraki prefecture and to a part of Eastern Katushika county (東葛 飾郡) of present-day Chiba prefecture (Kinoshita 1988: 179).

Postscript to the poems 20.4384-4394

本文・Original text 二月十六日下総國防人部領使少目従七位下縣犬養宿祢浄人進歌數廿二 首但拙劣歌者不取載之 Translation On the sixteenth day of the second lunar month [of the seventh year of Tenpyō Shōhō], ANkatainukapî-nö sukune Kîyôpîtö (Junior Seventh Rank, Lower Grade), junior clerk and sakîmôri messenger of Simôtupusa province, presented [to me] twenty-two poems. However, I did not include [here] the poems of inferior [quality]. Commentary The sixteenth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to April 2, 755 AD. Nothing is known about the biography of ANkatainukapî-nö sukune Kîyôpîtö. Sukune is a kabane title. On Simôtupusa province, see the commentary to 14.3349. Shō-sakan (少目) ‘junior clerk’ is the junior clerical position in provincial offices of Great Provinces. It corresponded to Junior Eighth Rank, Lower Grade. Thus, ANkatainukapî-nö sukune Kîyôpîtö had a rank that exceeded his actual position. On sakîmôri messengers, see the commentary to the preface to poems 20.4321-4424. Although Opotömö-nö Yakamöti received twenty-two poems, he included only eleven.

Preface to the poem 20.4395 本文・Original text 獨惜龍田山櫻花歌一首

Translation A poem [composed] when [I] was alone and thought with regret about sakura blossoms on Tatuta mountains. Commentary This poem is composed by Opotömö-nö Yakamöti. On Tatuta mountains see the commentary to 15.3722.

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20.4395 (W)

本文・Original text (1) 多都多夜麻 (2) 見都々古要許之 (3) 佐久良波奈 (4) 知利加須疑奈 牟 (5) 和我加敝流刀尓 仮名の書き下し・Kana transliteration (1) たつたやま (2) み 1 つつこ 1 え 2 こ 2 し (3) さくらはな (4) ちりかす ぎ 2 なむ (5) わがかへ 1 ると 1 に Romanization (1) Tatuta yama (2) MÎ-tutu kôye-kö-si (3) sakura pana (4) tir-i ka suNkï-n-am-u (5) wa-Nka kapêr-u tôni Glossing with morphemic analysis (1) Tatuta mountain (2) look.at(INF)-COOR cross.over(INF)-come(INF)PAST/ATTR (3) cherry blossom fall-INF PT pass(INF)-PERF-TENT-ATTR I-POSS return-ATTR CONJ Translation (3) Would the cherry blossoms, (2) which [I] was viewing when crossing (1) Tatuta mountains (4) fall completely (5) before I return? Commentary On Tatuta mountains, see the commentary to 15.3722. On WOJ conjunction tôni ‘before’ or ‘while’, see Vovin (2009a: 1154-55).

Preface to the poem 20.4396

本文・Original text 獨見江水浮漂糞怨恨貝玉不依作歌一首 Translation A poem composed when [I] was alone, and seeing wooden debris floating in the [Nanipa] canal’s water, regretted that it was not shells with pearls. Commentary This poem is composed by Opotömö-nö Yakamöti. It becomes clear from the following poem that 江 水 浮 漂糞 is not ‘excrement floating in river’s water’, but ‘wooden debris floating in canal’s water’.

20.4396 (W)

本文・Original text (1) 保理江欲利 (2) 安佐之保美知尓 (3) 与流許都美 (4) 可比尓安里世 婆 (5) 都刀尓勢麻之乎 仮名の書き下し・Kana transliteration (1) ほりえ 2 よ 1 り (2) あさしほみ 1 ちに (3) よ 2 るこ 2 つみ 1 (4) かひ 1 にありせば (5) つと 1 にせましを

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Romanization (1) poriYE-yôri (2) asa sipo mît-i-ni (3) yör-u kötumî (4) kapî n-i ar-i-s-eNpa (5) tutô n-i se-masi-wo Glossing with morphemic analysis (1) canal-ABL (2) morning tide fill-NML-LOC (3) approach-ATTR debris (4) shellfish DV-INF exist-INF-PAST/ATTR-COND (5) souvenir DV-INF do-SUBJ-ACC Translation (3) If the debris pieces that are brought up (2) by the full morning tide (1) along the [Nanipa] canal (4) were shellfish, (5) [I] would bring [them] as souvenirs, but … Commentary On Nanipa canal see the commentary on Nanipa harbor to poem 20.4330. WOJ kötumî is ‘wooden debris, trash’. Cf. EOJ kötu ‘id.’ (attested in 14. 3548).

Preface to the poem 20.4397 本文・Original text 在舘門見江南美女作歌一首

Translation A poem [I] composed when I was at the gate of the official building and [I] saw a beautiful woman to the south of the [Nanipa] canal. Commentary This poem is composed by Opotömö-nö Yakamöti. Official building must be the building belonging to the Ministry of War, where Opotömö-nö Yakamöti was working. On Nanipa canal, see the commentary on Nanipa harbor to poem 20.4330.

20.4397 (W)

本文・Original text (1) 見和多世婆 (2) 牟加都乎能倍乃 (3) 波奈尓保比 (4) 弖里氐多弖流 波 (5) 波之伎多我都麻 仮名の書き下し・Kana transliteration (1) み 1 わたせば (2) むかつをの 2 へ 2 の 2 (3) はなにほひ 1 (4) てりてた てるは (5) はしき 1 たがつま Romanization (1) MÎ-watas-e-Npa (2) muka-tu wo-nö [u]pë-ni (3) pana nipop-î (4) ter-i-te tat-er-u pa (5) pasi-kî ta-Nka tuma Glossing with morphemic analysis (1) look(INF)-cross.over-EV-CON (2) opposite.side-GEN/LOC hill-GEN top-LOC (3) flower be.fragrant-INF (4) shine-INF-SUB stand-PROG-ATTR TOP (5) be.lovely-ATTR who-POSS spouse

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Translation (1) When [I] looked across, (5) whose lovely spouse (4) [is] the one who is standing, shining and (3) fragrant and [as] a flower (2) on the top of the hill on the opposite side? Commentary Omodaka mentions that according to Kojima Noriyuki there is an apparent influence of Chinese poetry in this poem (1984.20: 131). Unfortunately, Omodaka does not provide any references to Kojima’s work, and does not state what exactly this influence manifests itself in. Kinoshita believes that the location of the hill on which the woman was standing must be around the location of the present Ōsaka castle (1988: 184).

Postscript to the poems 20.4395-4397

本文・Original text 右三首二月十七日兵部少輔大伴家持作之 Translation The three poems above were composed by Opotömö-nö sukune Yakamöti, the Junior Assistant Minister of the Ministry of War on the seventeenth day of the second lunar month [of the seventh year of Tenpyō Shōhō]. Commentary The seventeenth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to April 3, 755 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320.

Preface to the poems 20.4398-4400 本文・Original text 爲防人情陳思作歌一首并短歌

Translation One chōka, accompanied by [two] tanka [envoys] that [I] composed relating [my] thoughts about the feelings of a sakîmôri. Commentary These poems are composed by Opotömö-nö Yakamöti.

20.4398 (W)

本文・Original text (1) 大王乃 (2) 美己等可之古美 (3) 都麻和可礼 (4) 可奈之久波安礼特 (5) 大夫 (6) 情布里於許之 (7) 等里与曽比 (8) 門出乎須礼婆 (9) 多良 知祢乃 (10) 波々加伎奈埿 (11) 若草乃 (12) 都麻等里都吉 (13) 平久 (14) 和礼波伊波々牟 (15) 好去而 (16) 早還来等 (17) 麻蘇埿毛知 (18)

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奈美太乎能其比 (19) 牟世比都々 (20) 言語須礼婆 (21) 群鳥乃 (22) 伊埿多知加弖尓 (23) 等騰己保里 (24) 可弊里美之都々 (25) 伊也等保 尓 (26) 國乎伎波奈例 (27) 伊夜多可尓 (28) 山乎故要須疑 (29) 安之 我知流 (30) 難波尓伎爲弖 (31) 由布之保尓 (32) 船乎宇氣須惠 (33) 安佐奈藝尓 (34) 倍牟氣許我牟等 (35) 佐毛良布等 (36) 和我乎流等伎 尓 (37) 春霞 (38) 之麻未尓多知弖 (39) 多頭我祢乃 (40) 悲鳴婆 (41) 波呂婆呂尓 (42) 伊弊乎於毛比埿 (43) 於比曽箭乃 (44) 曽与等奈流麻 埿 (45) 奈氣吉都流香母 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) み 1 こ 2 と 2 かしこ 1 み 1 (3) つまわかれ (4) か なしくはあれど 2 (5) ますらをの 2 (6) こ 2 こ 2 ろ 2 ふりおこ 2 し (7) と 2 りよ 2 そ 2 ひ 1 (8) かど 1 でをすれば (9) たらちねの 2 (10) ははかき 1 な で (11) わかくさの 2 (12) つまと 2 りつき 1 (13) たひ 1 らけ 1 く (14) わ れはいははむ (15) まさき 1 くて (16) はやかへ 1 りこ 2 と 2 (17) まそ 1 でも 1 ち (18) なみ 1 だをの 2 ご 2 ひ 1 (19) むせひ 1 つつ (20) こ 2 と 2 ど 1 ひ 1 すれば (21) むらと 2 りの 2 (22) いでたちかてに (23) と 2 ど 2 こ 2 ほり (24) かへ 1 りみ 1 しつつ (25) いやと 2 ほに (26) くにをき 1 は なれ (27) いやたかに (28) やまをこ 1 え 2 すぎ 2 (29) あしがちる (30) なにはにき 1 ゐて (31) ゆふしほに (32) ふねをうけ 2 すゑ (33) あさな ぎ 1 に (34) へ 2 むけ 2 こ 2 がむと 2 (35) さも 1 らふと 2 (36) わがをる と 2 き 1 に (37) はるかすみ 1 (38) しまみ 2 にたちて (39) たづがねの 2 (40) かなしくなけ 2 ば (41) はろ 2 ばろ 2 に (42) いへ 1 をおも 1 ひ 1 で (43) おひ 1 そ 2 やの 2 (44) そ 2 よ 2 と 2 なるまで (45) なげき 1 つるかも 2 Romanization (1) OPO KÎMÎ-nö (2) mî-kötö kasikô-mî (3) tuma wakare (4) kanasi-ku pa ar-e-Ntö (5) MASURA WO-NÖ (6) KÖKÖRÖ pur-i-okös-i (7) tör-i-yösöp-î (8) KANTÔ-[I]NTE-wo s-ure-Npa (9) taratine-nö (10) papa kakî-naNte (11) WAKA KUSA-nö (12) tuma tör-i-tuk-î (13) tapîrakê-ku (14) ware pa ipap-am-u (15) MA-SAKÎ-KU-TE (16) PAYA KAPÊR-I-KÖ tö (17) ma-sôNte môt-i (18) namîNta-wo nöNköp-î (19) musep-î-tutu (20) kötöNtöp-î s-ure-Npa (21) mura töri-nö (22) iNte-tat-i-kate-n-i (23) töNtököpor-i (24) kapêr-i-mî s-i-tutu (25) iya töpo n-i (26) KUNI-wo k-î-panare (27) iya taka n-i (28) YAMA-wo kôye-suNkï (29) asi-Nka tir-u (30) Nanipa-ni k-î-wi-te (31) yupu sipo-ni (32) PUNE-wo ukë-suwe (33) asa naNkî-ni (34) pë mukë-köNk-am-u tö (35) samôrap-u tö (36) wa-Nka wor-u tökî-ni (37) PARU KASUMÎ (38) sima mï-ni tat-i-te (39) taNtu-Nka ne-nö (40) kanasi-ku nak-ë-Npa (41) parö-Nparö n-i (42) ipê-wo omôp-î-[i]Nte (43) op-î sö-ya-nö (44) söyö tö nar-u-maNte (45) naNkëk-î-t-uru kamö Glossing with morphemic analysis (1) Great Lord-GEN (2) HON-word awesome-GER (3) spouse part(INF) (4) sad-INF TOP exist-EV-CONC (5) brave man-GEN (6) heart move-INF-raise-INF (7) take-INF-prepare-INF (8) gate-exit(NML)-ACC do-EV-CON (9) (makura-kotoba) (10) mother PREF-caress(INF) (11) young grass-COMP (12) spouse take-INF-attach-INF (13) be.peaceful-INF (14) we TOP pray-TENT-FIN (15) INT-safe-INF-SUB (16) fast return-INF-come(IMP) DV (17) INT-sleeve hold-INF (18) tear-ACC wipe-INF (19) choke-INF-COOR (20) talk-NML do-EV-CON (21) many bird-COMP (22) exit(INF)-depart-INF-POT-NEG-INF (23) be.delayed-INF (24) return-INFlook(NML) do-INF-COOR (25) more.and.more distant DV-INF (26)

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province-ACC come-INF-be.separated(INF) (27) more.and.more high DV-INF (28) mountain-ACC cross(INF)-pass(INF) (29) reed-POSS fall-ATTR (30) Nanipa-LOC come-INF-sit(INF)-SUB (31) evening tide-LOC (32) boat-ACC float(INF)-place(INF) (33) morning calm-LOC (34) bow direct(INF) row-TENT-FIN DV (35) wait-FIN DV (36) we-POSS sit-ATTR time-LOC (37) spring mist (38) territory circumference-LOC rise-INF-SUB (39) crane-POSS sound-GEN (40) be.sad-INF cry-EV-CON (41) distant-distant DV-INF (42) home-ACC think-INF-go.out(INF) (43) carry-INF fighting-arrow-GEN (44) rustling DV sound-ATTR-TERM (45) lament-INF-PERF-ATTR PT Translation (1/2) Because the order of [my] Great Lord is awesome, (3) [I] part with [my] spouse, and (4) although [I] am sad, (6) [I] raise (7) and prepare [my] mood (5) of a brave man. (8) When [I] was leaving, (10) [my] mother caressed [me], and (11/12) [my] wife who is like a young grass held [me] close, and (20) as [they] talked (18/19) while choking and wiping [their] tears and (16) saying: “Come back fast and (15) safely! (14) We will pray [for] you (13) peacefully,” (21/22) [I] was unable to depart like many [migratory] birds, and (23) [I] was delayed, and (24) constantly looking back (26) [I] was separating [myself] from [my home] province (25) that was [growing] more and more distant, and (28) [I] crossed mountains (27) that were [becoming] more and more high, and (30) [I] came to Nanipa, (29) where reed [flowers] fall, and (32) lowering the boat [into the water] and letting [it] float (31) at the evening tide, (36) at the time when we were sitting (35) and waiting (34) to row [out] directing the bow [towards Tukusi] (33) in the morning calm, (37) spring mist (38) rose around the area, and (39/40) because cranes were crying in sad voices, (42) [I] recollected [my] home (41) that is far away, and (45) [I] was crying (43/44) until the fighting arrows that [I] was carrying [on my back] started to rustle! Commentary On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. On mî-kötö ‘honorable word’, ‘imperial order/edict’, see the commentary to 15.3644. On WOJ masura wo ‘excellent man, brave man’, see the commentary to 5.804. On a permanent epithet (makura-kotoba, 枕詞) taratine-nö for OJ papa ‘mother’, see the commentary to 15.3688. Line ten is hypometric (jitarazu, 字足らず). WOJ nöNköp- ‘to wipe’ (MJ nogof-) in line eighteen represents a puzzle in historical phonology of Japanese: it is difficult to explain EMJ and MdJ form nuguw- ‘id.’, since PJ *ə (> WOJ ö) does not raise to u, unlike PJ *o (> WOJ ô). WOJ mura töri-nö ‘like many birds’ is a permanent epithet (makura-kotoba, 枕詞) for iNte-tat-, tat-i-in-, and iNte-in- ‘to depart’. Probably the metaphor here implies multiple migratory birds. In any case, this permanent epithet is transparent, so I chose to translate it. Note the reverse word order in k-î-panare ‘separated [myself] from’ in line twenty-six, where the auxiliary kö- ‘to come’ (indicating the movement towards the location of a speaker and/or progress towards the present point in

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time) precedes the main verb rather than follows it. This unusual word order may be a remnant of the original SVO order. On asi-Nka tir-u ‘reed [flowers] fall’, see the commentary to 20.4331. On Nanipa and Nanipa harbor, see the commentaries to poems 20.4329 and 20.4330. WOJ samôrap- means not only ‘to serve’, but also ‘to wait for a certain time to come’, especially ‘to wait for the wind and waves to calm down’ (Omodaka et al. 1967: 341). The semantic development is quite straightforward: ‘to serve’ > ‘to wait upon’ > ‘to wait’. Because there were no islands in Nanipa harbor, WOJ sima in line thirty-eight probably means not the ‘island’, but the ‘territory, area’, which is another meaning of this word. On WOJ taNtu ‘crane’, see the commentary to 15.3595. WOJ parö-Nparö ‘distant-distant’ in line forty-one is usually spelled parö parö or parô parô without the secondary prenasalization. For more details on this word see the commentary to 15.3588. WOJ sö-ya ‘fighting arrows’ were called so because they were originally carried in the quiver that was on the back (WOJ se ~ sö-) of an archer (WOJ yukî). On different types of quivers see the commentary to 20.4332 and on different types of arrows the commentary to 20.4374. When a person was sobbing, his back was shaking, and, consequently the arrow feathers on his back started to make a rustling sound when rubbing against each other.

20.4399 (W)

本文・Original text (1) 宇奈波良尓 (2) 霞多奈妣伎 (3) 多頭我祢乃 (4) 可奈之伎与比波 (5) 久尓弊之於毛保由 仮名の書き下し・Kana transliteration (1) うなはらに (2) かすみ 1 たなび 1 き 1 (3) たづがねの 2 (4) かなしき 1 よ 2 ひ 1 は (5) くにへ 1 しおも 1 ほゆ Romanization (1) una-para-ni (2) kasumî tanaNpîk-î (3) taNtu-Nka ne-nö (4) kanasi-kî yöpî pa (5) kuni pê omôp-oy-u Glossing with morphemic analysis (1) sea-plain-LOC (2) mist trail-INF (3) crane-POSS sound-GEN (4) be.sad-ATTR night TOP (5) province side think-PASS-FIN Translation (3/4) At night when the cries of cranes are sad, (2) and mist trails over (1) the sea plain, (5) [I] suddenly thought of [my home] province. Commentary On WOJ una-para ‘plain of the sea’, see the commentary to 15.3592. On WOJ taNtu ‘crane’, see the commentary to 15.3595. WOJ yöpî is ‘first part of the night’.

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20.4400 (W)

本文・Original text (1) 伊弊於毛布等 (2) 伊乎祢受乎礼婆 (3) 多頭我奈久 (4) 安之弊毛美 要受 (5) 波流乃加須美尓 仮名の書き下し・Kana transliteration (1) いへ 1 おも 1 ふと 2 (2) いをねずをれば (3) たづがなく (4) あしへ 1 も 1 み 1 え 2 ず (5) はるの 2 かすみ 1 に Romanization (1) ipê omôp-u tö (2) i-wo ne-Ns-u wor-e-Npa (3) taNtu-Nka nak-u (4) asi pê mô mî-ye-Ns-u (5) paru-nö kasumî-ni Glossing with morphemic analysis (1) home think-FIN DV (2) sleep-ACC sleep-NEG-INF exist-EV-CON (3) crane-POSS cry-ATTR (4) reed side PT see-PASS-NEG-FIN (5) spring-GEN mist Translation (2) When [I] continue not to sleep (a sleep) (1) thinking of [my] home (4) [I] cannot see the reeds (3) where cranes are crying (5) in the spring mist. Commentary Line one is hypermetric (jiamari, 字余り). This is the only example of the negative infinitive -Ns-u followed by wor‘to exist’ in OJ texts. It probably indicates continuative aspect in the negative mode (Vovin 2009a: 1064-65). On WOJ taNtu ‘crane’ see the commentary to 15.3595.

Postscript to the poems 20.4398-4400 本文・Original text 右十九日兵部少輔大伴宿祢家持作之

Translation [The three poems] above were composed by Opotömö-nö sukune Yakamöti, the Junior Assistant Minister of the Ministry of War on the seventeenth day of the second lunar month [of the seventh year of Tenpyō Shōhō]. Commentary The nineteenth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to April 5, 755 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320.

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20.4401 (E)

本文・Original text (1) 可良己呂武 (2) 須宗尓等里都伎 (3) 奈苦古良乎 (4) 意伎弖曽伎怒 也 (5) 意母奈之尓志弖 仮名の書き下し・Kana transliteration (1) からこ 2 ろ 2 む (2) すそ 1 にと 2 りつき 1 (3) なくこ 1 らを (4) おき 1 てそ 2 き 1 の 1 や (5) おも 2 なしにして Romanization (1) Kara körömu (2) susô-ni tör-i-tuk-î (3) nak-u kô-ra-wo (4) ok-î-te sö k-î-n-ô ya (5) omö na-si n-i s-i-te Glossing with morphemic analysis (1) Korea garment (2) hem-LOC take-INF-attach-INF (3) cry-ATTR childPLUR-ACC (4) leave.behind-INF-SUB PT come-INF-PERF-ATTR PT (5) mother exist.not-FIN DV-INF do-INF-SUB Translation (4) [I] have come [here] leaving behind (3) [my] crying children (2) who held on to the hem (1) [of my] Korean garment (5) [in spite of the fact that they] have no mother. Commentary Kara ‘Korea’ here refers to United Silla. Since the author of the poem is a commander, he certainly could afford to purchase imported goods. See also the commentary on Kara ‘Korea, Karak’ to 15.3688. Sinanu EOJ körömu48 ‘garment’ represents a strange case of ö > u raising (cf. WOJ körömö ‘id.’). Normally, PJ *ə (> OJ ö) does not raise to u, unlike PJ *o (> WOJ ô). I suppose that this example probably points to the fact that ö and ô merged in Sinanu EOJ as /o/ while the raising of o > u was still an active process in this dialect. See also Sinanu EOJ kamu, emphatic particle vs. WOJ kamö in 20.4403 below. I follow Takeda (1957: 458) and Nakanishi (1983: 319) in reading 伎怒 as k-î-n-ô ‘come-INF-PERF-ATTR’, not as k-î-n-u ‘come-INF-PERF-FIN’, which is done by all other Japanese scholars, both premodern and modern. This reading is supported both by the usage of the character 怒 /nô/ in the spelling, as well as by the fact that we would expect attributive form after the preceding focus particle sö. See also 20.4403 below. The spelling 伎怒 k-î-n-ô is found in the oldest manuscripts the Genryaku kōhon and the Ruijū koshū, while the spelling 伎奴 k-î-n-u is found only in later manuscripts starting from the Nishi Honganji-bon. There is further supporting evidence from the Hirose-bon that has the spelling 伎努 k-î-n-ô (10: 79a)49 as well, where /nô/ is spelled with the character 努. On EOJ perfective attributive -n-ô, see the commentary to 14.3395. 48

Mizushima corrects this 己呂武 /körömu/ to 己呂茂 /körömo/, considering 武 to be the scribal mistake for 茂 (2003: 636), but this is highly speculative at best, because all manuscripts, including the Hirose-bon have 武. 49 The Hirose-bon has the katakana gloss kinuru, which is, of course, unwarranted because the character 努 cannot be read as nuru. It is indicative, however, that the attributive form was really meant here.

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OJ ya in line four is an emphatic particle ya, not to be confused with the interrogative particle ya.

Postscript to the poem 20.4401 本文・Original text 右一首國造小縣郡他田舎人大嶋

Translation The poem above [was composed] by commander WosaNta-nö töneri Oposima from TipîsaNkata district. Commentary Nothing is known about the biography of WosaNta-nö töneri Oposima. Töneri ‘retainer’ is a title of an official, but it is not a kabane title. On commander (Kuni-nö mîyatukô, 國造) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. TipîsaNkata district corresponds to Chiisagata county (小県郡) and Ueda city (上田市) in present-day Sinano prefecture (Kinoshita 1988: 192).

20.4402 (E)

本文・Original text (1) 知波夜布留 (2) 賀美乃美佐賀尓 (3) 奴佐麻都理 (4) 伊波布伊能知 波 (5) 意毛知々我多米 仮名の書き下し・Kana transliteration (1) ちはやぶる (2) かみ 1 の 2 み 1 さかに (3) ぬさまつり (4) いはふい の 2 ちは (5) おも 1 ちちがため 2 Romanization (1) ti-[i]pa yaNpur-u (2) kamî-nö mî-saka-ni (3) nusa matur-i (4) ipap-u inöti pa (5) omô titi-Nka tamë Glossing with morphemic analysis (1) thousand-rock crush-ATTR (2) deity-GEN HON-slope-LOC (3) nusa offer-INF (4) pray-ATTR life TOP (5) mother father-POSS for Translation (2) At the slope of the deity (1) who crushes thousand rocks (3) [I] offered nusa and (4) prayed for the life (5) of my mother and father. Commentary OJ tipayaNpuru is a permanent epithet (makura-kotoba, 枕詞) for kamï ‘deity’. There are two possible interpretations of it: ti-[i]pa yaNpur-u ‘crushing thousand rocks’, adopted here, and ti paya-N-puru strength fast-DV(INF) swing-ATTR ‘swinging with a fast strength’ (Omodaka 1958.2: 59. Out of sixteen examples of tipayaNpuru attested in the Man’yōshū, eight are spelled semantographically as 千磐破 ‘crushing thousand rocks’. Sinanu EOJ word for ‘deity’ is spelled as kamî (cf. WOJ kamï), which probably indicates that there was no phonemic contrast between /î/ and /ï/.

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OJ nusa are paper or cloth offerings for deities (Omodaka et al. 1967: 553). Offering nusa at the slope of a mountain for the mountain deity was a ritual that insured that the deity would offer a safe passage across the mountain. On the order of omö titi ‘mother [and] mother’, see the commentary to 20.4376.

Postscript to the poem 20.4402 本文・Original text 右一首主帳埴科郡神人部子忍男

Translation The poem above [was composed] by lieutenant KamutöNpë-nö Kôosiwo from Panisina district. Commentary Nothing is known about the biography of KamutöNpë-nö Kôosiwo. On lieutenant (Shuchō, 主 帳 ) and other sakîmôri ranks, see the commentary to 20.4321. On Panisina district, see the commentary to 14.3398.

20.4403 (E)

本文・Original text (1) 意保枳美能 (2) 美己等可之古美 (3) 阿乎久牟乃 (4) 等能妣久夜麻 乎 (5) 古与弖伎怒加牟 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) み 1 こ 2 と 2 かしこ 1 み と 2 の 2 び 1 くやまを (5) こ 1 よ 2 てき 1 の 1 かむ

1

(3) あをくむの

2

(4)

Romanization (1) opo kîmî-nö (2) mî-kötö kasikô-mî (3) awo kumu-nö (4) tönöNpîk-u yama-wo (5) kôyö-te k-î-n-ô kamu Glossing with morphemic analysis (1) Great Lord-GEN (2) HON-word awesome-GER (3) blue cloud-GEN (4) trail-ATTR mountain-ACC (5) cross(INF)-SUB come-INF-PERF-ATTR PT Translation (1/2) Because the order of [my] Great Lord is awesome, (5) [I] came [here] crossing (3/4) the mountains where dark clouds trail! Commentary On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. On mî-kötö ‘honorable word’, ‘imperial order/edict’, see the commentary to 15.3644. Sinanu EOJ kumu ‘cloud’ resulted from the raising of PJ *o (> WOJ ô) to u (cf. WOJ kumô ‘id.’). Sinanu EOJ tönöNpîk- ‘to trail’ corresponds to WOJ tanaNpîk- ‘id.’

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Sinanu EOJ kôyö- ‘cross’ (cf. WOJ kôye- ‘id.’) exhibits the same correspondence of EOJ ö : WOJ ë in Töpotuapumî EOJ sasaNkö- ‘lift up in one’s hands’ (cf. WOJ sasaNkë- ‘id.’) in 20.4325 and kaNkö ‘reflection’ (cf. WOJ kaNkë ‘id.’) in 20.4322. I follow Takeda (1957: 460), Itō (1999: 565, 569), and Mizushima (2003: 654) in reading 伎怒 as k-î-n-ô ‘come-INF-PERF-ATTR’, not as k-î-n-u ‘come-INF-PERF-FIN’, which is done by all other Japanese scholars, both premodern and modern. It must be noted that Nakanishi (1983: 319), Itō (1999: 565, 569), and Mizushima (2003: 654) are inconsistent, because they read the same verbal form as k-î-n-u in 20.4401. The inconsistency of both Itō and Mizushima results from their overreliance on the Nishi Honganji-bon, which has 伎奴 k-î-n-u in 20.4401, but 伎怒 k-î-n-ô in 20.4403. I see no tangible explanation for the inconsistency of Nakanishi. The reading of 伎怒 as k-î-n-ô is supported both by the usage of the character 怒 /nô/ in the spelling, as well as by the fact that we would expect attributive form before the following emphatic particle kamu. The spelling 伎怒 k-î-n-ô is found in all manuscripts, including the Hirose-bon. On EOJ perfective attributive -n-ô, see the commentary to 14.3395. Sinanu EOJ kamu, emphatic particle represents a strange case of ö > u raising (cf. WOJ kamö, id.). Normally, PJ *ə (> OJ ö) does not raise to u, unlike PJ *o (> WOJ ô). I suppose that this example probably points to the fact that ö and ô merged in Sinanu EOJ as /o/ while the raising of o > u was still an active process in this dialect. See also Sinanu EOJ körömu ‘garment’ vs. WOJ körömö ‘id.’ in 20.4401 above. On a single attestation of kamu in WOJ, see 5.813 and the commentary to it.

Postscript to the poem 20.4403 本文・Original text 右一首小長谷部笠麻呂

Translation The poem above [was composed] by WopatuseNpë-nö Kasamarö. Commentary Nothing is known about the biography of WopatuseNpë-nö Kasamarö. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. The district of origin is not recorded. It might have been the same Panisina district as in 20.4402 above, but there is no proof (Kinoshita 1988: 194).

Postscript to the poems 20.4401-4403

本文・Original text 二月廿二日信濃國防人部領使上道得病不来進歌數十二首但拙劣歌者不 取載之 Translation On the twenty-second day of the second lunar month [of the seventh year of Tenpyō Shōhō], the sakîmôri messenger of Sinanu province, presented [to me]

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twelve poems, [although he] became sick on his way and did not come. However, I did not include [here] the poems of inferior [quality]. Commentary The twenty-second day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to April 9, 755 AD. The name of the sakîmôri messenger from Sinanu province is not recorded. On Sinanu province see the commentary to 14.3352. On sakîmôri messengers, see the commentary to the preface to poems 20.4321-4424. Although Opotömö-nö Yakamöti received twelve poems, he included only three.

20.4404 (E)

本文・Original text (1) 奈尓波治乎 (2) 由伎弖久麻弖等 (3) 和藝毛古賀 (4) 都氣之非毛我 乎 (5) 多延尓氣流可母 仮名の書き下し・Kana transliteration (1) なにはぢを (2) ゆき 1 てくまでと 2 (3) わぎ 1 も 1 こ 1 が (4) つけ しひ 2 も 1 がを (5) たえ 2 にけ 2 るかも 2

2

Romanization (1) Nanipa-N-ti-wo (2) yuk-î-te k-u-maNte tö (3) wa-Nk-îmô-kô-Nka (4) tukë-si pïmô-Nka wo (5) taye-n-i-kër-u kamö Glossing with morphemic analysis (1) Nanipa-GEN-road-ACC (2) go-INF-SUB come-ATTR-TERM DV (3) I-POSS-beloved-DIM-POSS (4) attach(INF)-PAST/ATTR cord-POSS cord (5) break(INF)-PERF-INF-RETR-ATTR PT Translation (3/4) The cords [of my garment] that my beloved tied, (1/2) saying: “[Keep them tied] until [you] go [all] the way to Nanipa and come back”, (5) broke off! Commentary On the custom of tying and untying the cords of one’s garment, see the commentary to 15.3585. On Nanipa and Nanipa harbor, see the commentaries to poems 20.4329 and 20.4330. On EOJ attributive -u in k-u-maNte ‘until [you] come back’, see the commentary to 20.4339. Kamîtukënô EOJ pïmô ‘cord’ corresponds to WOJ pîmô ‘id.’ This spelling probably indicates that there was no phonemic contrast between /î/ and /ï/ in Kamîtukënô. See also 20.4405 below for the same spelling of the same word. Kamîtukënô EOJ -kër-, retrospective auxiliary corresponds to WOJ -kêr-, id. This spelling probably indicates that there was no phonemic contrast between /ê/ and /ë/ in Kamîtukënô.

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Postscript to the poem 20.4404 本文・Original text 右一首助丁上毛野牛甘

Translation The poem above [was composed] by captain Kamîtukënô-nö Usikapî. Commentary Nothing is known about the biography of Kamîtukënô-nö Usikapî. On captain (Sukë-nö yoporo, 助丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. The districts of origin for captains are usually not recorded (Omodaka 1984.20: 100).

20.4405 (E)

本文・Original text (1) 和我伊母古我 (2) 志濃比尓西餘等 (3) 都氣志非毛 (4) 伊刀尓奈流 等毛 (5) 和波等可自等余 仮名の書き下し・Kana transliteration (1) わがいも 2 こ 1 が (2) しぬひ 1 にせよ 2 と 2 (3) つけ 2 しひ 2 も 1 (4) い と 1 になると 2 も 1 (5) わはと 2 かじと 2 よ 2 Romanization (1) wa-Nka imö-kô-Nka (2) sinup-î n-i se-yö tö (3) tukë-si pïmô (4) itô n-i nar-u tömô (5) wa pa tök-aNsi tö yö Glossing with morphemic analysis (1) I-POSS beloved-DIM-POSS (2) yearn-NML DV-INF do-IMP DV (3) attach(INF)-PAST/ATTR (4) thread DV-INF become-FIN CONJ (5) I TOP untie-NEG/TENT DV PT Translation (5) [I] think that I would not untie (1/3) the cords [of my garment] that [my] beloved tied, (2) telling [me]: “Treat [them] as a reminder [of me]” (4) even if [they] become [thin] threads! Commentary On the custom of tying and untying the cords of one’s garment, see the commentary to 15.3585. Line one is hypermetric (jiamari, 字余り), but it is most certainly a graphic illusion, because wa-Nka imô-kô was most likely pronounced as [waNkîmôkô], as evidenced by 20.4404 above and many other examples in the Man’yōshū. Kamîtukënô EOJ pïmô ‘cord’ corresponds to WOJ pîmô ‘id.’ This spelling probably indicates that there was no phonemic contrast between /î/ and /ï/ in Kamîtukënô. See also 20.4404 above for the same spelling of the same word. The usage of the unextended stem wa of the first person pronoun in isolation is an EOJ feature (Vovin 2005: 220-21, 226).

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Postscript to the poem 20.4405 本文・Original text 右一首朝倉益人

Translation The poem above [was composed] by Asakura-nö Masupîtö. Commentary Nothing is known about the biography of Asakura-nö Masupîtö. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks see the commentary to the postscript to the poem 20.4321. The district of origin is not recorded.

20.4406 (E)

本文・Original text (1) 和我伊波呂尓 (2) 由加毛比等母我 (3) 久佐麻久良 (4) 多妣波久流 之等 (5) 都氣夜良麻久母 仮名の書き下し・Kana transliteration (1) わがいはろ 2 に (2) ゆかも 1 ひ 1 と 2 も 2 が (3) くさまくら (4) た び 1 はくるしと 2 (5) つげ 2 やらまくも 2 Romanization (1) wa-Nka ipa-rö-ni (2) yuk-am-ô pîtö möNka (3) kusa makura (4) taNpî pa kurusi (5) tuNkë-yar-am-aku mö Glossing with morphemic analysis (1) I-POSS house-DIM-LOC (2) go-TENT-ATTR person PT (3) grass pillow (4) journey TOP hard(FIN) (5) inform(INF)-send-TENT-NML PT Translation (2) [I] want someone who would go (1) to my home. (5) [He] would tell [my home folks] that (3/4) [my] travel [where I use] grass [for my] pillow is hard. Commentary Line one is hypermetric (jiamari, 字余り), but it is most certainly a graphic illusion, because wa-Nka ipa-rö-ni was most likely pronounced as [waNkîparöni]. EOJ ipa ‘house’ corresponds to WOJ ipê ‘id.’ See also 20.4375, 20.4416, 20.4419, 20.4423, and 20.4427. On EOJ special attributive form -ô, see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume. On the permanent epithet (makura-kotoba, 枕詞) kusa makura ‘grass pillow’, see the commentary to 15.3612.

Postscript to the poem 20.4406 本文・Original text 右一首大伴部節麻呂

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Translation The poem above [was composed] by OpotömöNpë-nö Pusimarö. Commentary Nothing is known about the biography of OpotömöNpë-nö Pusimarö. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. The district of origin is not recorded.

20.4407 (E)

本文・Original text (1) 比奈久母理 (2) 宇須比乃佐可乎 (3) 古延志太尓 (4) 伊毛賀古比之 久 (5) 和須良延奴加母 仮名の書き下し・Kana transliteration (1) ひ 1 なくも 2 り (2) うすひ 1 の 2 さかを (3) こ 1 え 2 しだに (4) い も 1 がこ 1 ひ 1 しく (5) わすらえ 2 ぬかも 2 Romanization (1) pî-na kumör-i (2) Usupî-nö saka-wo (3) kôye siNta-ni (4) imô-Nka kôpîsi-ku (5) wasur-aye-n-u kamö Glossing with morphemic analysis (1) sun-LOC be.cloudy-INF (2) Usupî-GEN slope-ACC (3) cross(INF)PAST/ATTR time-LOC (4) beloved-POSS be.longing.for-INF (5) forgetPASS-NEG-ATTR PT Translation (3) When [I] crossed the slope of Usupî, (1) where the sun is obscured by clouds, (4) [I] felt longing for [my] beloved, and (5) [I] cannot forget [her]. Commentary Pîna kumöri is considered to be a permanent epithet (makura-kotoba, 枕詞) for the placename Usupî. There is nothing permanent about it, because pîna kumöri occurs only once in the OJ corpus. It is quite transparent, so I chose to translate it. EOJ -na in pî-na is a locative case marker specific for EOJ. For details see Vovin (2005: 151-52). On Usupî mountain pass, see the commentary to 14.3402. On EOJ siNta ‘time’ < Ainu hi-ta ‘time, when’, see the commentary to 14.3363. The spelling of Kamîtukënô EOJ kôpîsi to be longing for’ (cf. WOJ kôpïsi ‘id.’) probably indicates that there was no phonemic contrast between /î/ and /ï/ in Kamîtukënô EOJ.

Postscript to the poem 20.4407 本文・Original text 右一首他田部子磐前

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Translation The poem above [was composed] by WosaNta-nö Kôipasakî. Commentary Nothing is known about the biography of WosaNta-nö Kôipasakî. He probably was a private, since his rank is not mentioned. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. The district of origin is not recorded.

Postscript to the poems 20.4404-4407

本文・Original text 二月廿三日上野國防人部領使大目正六位下上毛野君駿河進歌數十二首 但拙劣歌者不取載之 Translation On the twenty-third day of the second lunar month [of the seventh year of Tenpyō Shōhō], Kamîtukënô-nö kîmî SuruNka (Senior Sixth Rank, Lower Grade), senior clerk and sakîmôri messenger of Kamîtukënô province, presented [to me] twelve poems. However, I did not include [here] the poems of inferior [quality]. Commentary The twenty-third day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to April 9, 755 AD. Kîmî ‘lord’ in Kamîtukënô-nö kîmî SuruNka is probably a pre-684 AD old kabane title. Kamîtukënô-nö kîmî SuruNka is mentioned in the Shoku Nihongi as TanöNpë-nö PuNpîtö, an immigrant by origin who has been granted the family name of Kamîtukënô on the tenth day of the third lunar month of the second year of Tenpyō Shōhō (April 20, 750 AD) (Omodaka 1984.20: 143), (Kinoshita 1988: 199). Nothing else is known of his biography. On Kamîtukënô province, see the commentary to 14.3404. Kinoshita notes that Kamîtukënô province was not officially upgraded to the Great Province until 811 AD, but the presence of Dai-sakan (大目) ‘senior clerk’ among its officials certainly indicates that it was a Great Province de facto (Kinoshita 1988: 199). Dai-sakan (大目) ‘senior clerk’ is the senior clerical position in provincial offices of Great Provinces. It corresponded to Junior Eighth Rank, Upper Grade. Thus, OkînaNka-nö mapîtö Kunisima had a rank that exceeded his actual position. On sakîmôri messengers, see the commentary to the preface to poems 20.4321-4424. Although Opotömö-nö Yakamöti received twelve poems, he included only four.

Preface to the poems 20.4408-4412 本文・Original text 陳防人悲別之情歌一首并短歌

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Translation One chōka, accompanied by [four] tanka [envoys] that [I] composed about the feelings of sakîmôri, who grieve about parting. Commentary These poems are composed by Opotömö-nö Yakamöti.

20.4408 (W)

本文・Original text (1) 大王乃 (2) 麻氣乃麻尓々々 (3) 嶋守尓 (4) 和我多知久礼婆 (5) 波 々蘇婆能 (6) 波々能美許等波 (7) 美母乃須蘇 (8) 都美安氣可伎奈埿 (9) 知々能未乃 (10) 知々能美許等波 (11) 多久頭努能 (12) 之良比氣 乃宇倍由 (13) 奈美太多利 (14) 奈氣伎乃多婆久 (15) 可胡自母乃 (16) 多太比等里之氐 (17) 安佐刀埿乃 (18) 可奈之伎吾子 (19) 安良多麻乃 (20) 等之能乎奈我久 (21) 安比美受波 (22) 古非之久安流倍之 (23) 今 日太尓母 (24) 許等騰比勢武等 (25) 乎之美都々 (26) 可奈之備麻世婆 (27) 若草之 (28) 都麻母古騰母毛 (29) 乎知己知尓 (30) 左波尓可久美 爲 (31) 春鳥乃 (32) 己惠乃佐麻欲比 (33) 之路多倍乃 (34) 蘇埿奈伎 奴良之 (35) 多豆佐波里 (36) 和可礼加弖尓等 (37) 比伎等騰米 (38) 之多比之毛能乎 (39) 天皇乃 (40) 美許等可之古美 (41) 多麻保己乃 (42) 美知尓出立 (43) 乎可乃佐伎 (44) 伊多牟流其等尓 (45) 与呂頭多 妣 (46) 可弊里見之都追 (47) 波呂々々尓 (48) 和可礼之久礼婆 (49) 於毛布蘇良 (50) 夜須久母安良受 (51) 古布流蘇良 (52) 久流之伎毛乃 乎 (53) 宇都世美乃 (54) 与能比等奈礼婆 (55) 多麻伎波流 (56) 伊能 知母之良受 (57) 海原乃 (58) 可之古伎美知乎 (59) 之麻豆多比 (60) 伊己藝和多利弖 (61) 安里米具利 (62) 和我久流麻埿尓 (63) 多比良氣 久 (64) 於夜波伊麻佐祢 (65) 都々美奈久 (66) 都麻波麻多世等 (67) 須美乃延能 (68) 安我須賣可未尓 (69) 奴佐麻都利 (70) 伊能里麻乎之 弖 (71) 奈尓波都尓 (72) 船乎宇氣須惠 (73) 夜蘇加奴伎 (74) 可古等 登能倍弖 (75) 安佐婢良伎 (76) 和波己藝埿奴等 (77) 伊弊尓都氣己曽 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) まけ 2 の 2 まにまに (3) しまも 1 りに (4) わがた ちくれば (5) ははそ 1 ばの 2 (6) ははの 2 み 1 こ 2 と 2 は (7) み 1 も 2 の 2 すそ 1 (8) つみ 1 あげ 2 かき 1 なで (9) ちちの 2 み 2 の 2 (10) ちちの 2 み 1 こ 2 と 2 は (11) たくづの 1 の 2 (12) しらひ 1 げ 2 の 2 うへ 2 ゆ (13) な み 1 だたり (14) なげ 2 き 1 の 2 たばく (15) かこ 1 じも 2 の 2 (16) ただ ひ 1 と 2 りして (17) あさと 1 での 2 (18) かなしき 1 わがこ 1 (19) あらた まの 2 (20) と 2 しの 2 をながく (21) あひ 1 み 1 ずは (22) こ 1 ひ 2 しくあ るべ 2 し (23) け 1 ふだにも 2 (24) こ 2 と 2 ど 2 ひ 1 せむと 2 (25) をしみ 1 つつ (26) かなしび 2 ませば (27) わかくさの 2 (28) つまも 2 こ 1 ど 2 も 2 も 1 (29) をちこ 2 ちに (30) さはにかくみ 1 ゐ (31) はると 2 りの 2 (32) こ 2 ゑの 2 さまよ 1 ひ 1 (33) しろ 1 たへ 2 の 2 (34) そ 1 でなき 1 ぬらし (35) たづさはり (36) わかれかてにと 2 (37) ひ 1 き 1 と 2 ど 2 め 2 (38) した ひ 1 しも 1 の 2 を (39) おほき 1 み 1 の 2 (40) み 1 こ 2 と 2 かしこ 1 み 1 (41) たまほこ 2 の 2 (42) み 1 ちにいでたち (43) をかの 2 さき 1 (44) いたむる ご 2 と 2 に (45) よ 2 ろ 2 づたび 1 (46) かへ 1 りみ 1 しつつ (47) はろ 2 は ろ 2 に (48) わかれしくれば (49) おも 1 ふそ 1 ら (50) やすくも 2 あらず (51) こ 1 ふるそ 1 ら (52) くるしき 1 も 1 の 2 を (53) うつせみ 1 の 2 (54) よ 2 の 2 ひ 1 と 2 なれば (55) たまき 1 はる (56) いの 2 ちも 2 しらず (57) うなはらの 2 (58) かしこ 1 き 1 み 1 ちを (59) しまづたひ 1 (60) いこ 2

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ぎ 1 わたりて (61) ありめ 2 ぐり (62) わがくるまでに (63) たひ 1 らけ 2 く (64) おやはいまさね (65) つつみ 1 なく (66) つまはまたせと 2 (67) すみ 1 の 2 え 2 の 2 (68) あがすめ 1 かみ 2 に (69) ぬさまつり (70) いの 2 りまをして (71) なにはつに (72) ふねをうけ 2 すゑ (73) やそ 1 かぬ き 1 (74) かこ 1 と 2 と 2 の 2 へ 2 て (75) あさび 1 らき 1 (76) わはこ 2 ぎ 1 でぬと 2 (77) いへ 1 につげ 2 こ 2 そ 2 Romanization (1) OPO KÎMÎ-nö (2) makë-nö manima n-i (3) SIMA MÔR-I n-i (4) wa-Nka tat-i-k-ure-Npa (5) papasô-N-pa-nö (6) papa-nö mî-kötö pa (7) mî-mö-nö susô (8) tum-î-aNkë kakî-naNte (9) titi-nö mï-nö (10) titi-nö mî-kötö pa (11) taku-N-tuna-nö (12) sira pîNkë-nö upë-yu (13) namîNta tar-i (14) naNkëk-î nötaNp-aku (15) ka kô Nsimönö (16) taNta pîtö-ri s-i-te (17) asa tô [i]Nte n-ö (18) kanasi-kî WA-NKA KÔ (19) arata ma-nö (20) tösi-nö wo naNka-ku (21) apî-mî-Ns-u pa (22) kôpïsi-ku ar-uNpë-si (23) KÊPU Ntani mö (24) kötöNtöp-î se-m-u tö (25) wosim-î-tutu (26) kanasNp-î-[i]mas-e-Npa (27) WAKA KUSA-NÖ (28) tuma mö kô-Ntömö mô (29) woti köti-ni (30) sapa n-i kakum-î wi (31) paru töri-nö (32) köwe-nö samayôp-î (33) sirô tapë-nö (34) sôNte nak-î-nur-as-i (35) taNtusapar-i (36) wakare-kate-n-i tö (37) pîk-î-töNtömë (38) sitap-î-si mônöwo (39) OPO KÎMÎ-nö (40) mî-kötö kasikô-mî (41) tama pokö-nö (42) mîti-ni INTE-TAT-U (43) woka n-ö sakî (44) i-ta-m-uru Nkötö n-i (45) yöröNtu taNpî (46) kapêr-i-MÎ s-i-tutu (47) parö-parö n-i (48) wakare si k-ure-Npa (49) omôp-u sôra (50) yasu-ku mö ar-aNs-u (51) kôp-uru sôra (52) kurusi-kî mônöwo (53) utu semî-nö (54) yö-nö pîtö nar-e-Npa (55) tamakîparu (56) inöti mö sir-aNs-u (57) UNA-PARA-nö (58) kasikô-kî mîti-wo (59) sima-N-tutap-î (60) i-köNk-î-watar-i-te (61) ari-mëNkur-i (62) wa-Nka k-uru-maNte-ni (63) tapîrakë-ku (64) oya pa imas-an-e (65) tutumî na-ku (66) tuma pa mat-as-e tö (67) Sumînöye-nö (68) a-Nka sumê kamï-ni (69) nusa matur-i (70) inör-i-mawos-i-te (71) Nanipa tu-ni (72) PUNE-wo ukë-suwe (73) yasô ka nuk-î (74) kakô tötönöpë-te (75) asa-N-pîrak-î (76) wa pa köNk-î-[i]Nte-n-u tö (77) ipê-ni tuNkë-kös-ö Glossing with morphemic analysis (1) Great Lord-GEN (2) appointment-GEN according DV-INF (3) island guard-NML DV-INF (4) I-POSS depart-INF-come-EV-CON (5) oak-GEN-leaf-COMP (6) mother-GEN HON-matter TOP (7) HON-skirt-GEN hem (8) pick-INF-raise(INF) PREF-caress(INF) (9) titi-GEN fruit-COMP (10) father-GEN HON-matter TOP (11) mulberry.tree-GEN-rope-COMP (12) white beard-GEN top-ABL (13) tear drop-INF (14) lament-INF say(HON)-NML (15) deer child like (16) only one-CL do-INF-SUB (17) morning gate go.out(NML) DV-ATTR (18) be.dear-ATTR we-POSS child (19) new interval-GEN (20) year-GEN string be.long-INF (21) REC-see-NEG-INF TOP (22) be.longing.for-INF exist-DEB-FIN (23) today just PT (24) talk-NML do-TENT-FIN DV (25) regret-INF-COOR (26) grieve-INF-HONEV-CON (27) young grass-COMP (28) spouse PT child-PLUR PT (29) there here-LOC (30) many DV-INF surround-INF exist(INF) (31) spring bird-COMP (32) voice-GEN moan-INF (33) white mulberry.bark.cloth-GEN (34) sleeve weep-INF-be.wet-CAUS-INF (35) hold-INF (36) part(INF)-POTNEG-INF DV (37) pull-INF-stop(NML) (38) long-INF PAST/ATTR CONJ (39) Great Lord-GEN (40) HON-word be.awesome-GER (41) jewel spear-COMP (42) road-LOC go.out(INF)-depart-FIN (43) hill DV-ATTR

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promontory (44) DLF-PREF-turn.around-ATTR every DV-INF (45) ten. thousand times (46) return-INF-look(NML) do-INF-COOR (47) distantdistant DV-INF (48) be.separated(INF) PT come-EV-CON (49) think-ATTR PT (50) be.easy-INF PT exist-NEG-INF (51) long.for-ATTR PT (52) be.hard-ATTR CONJ (53) ephemeral cicada-COMP (54) world-GEN person be-EV-CON (55) precious (56) life PT know-NEG-FIN (57) sea-plain-GEN (58) be.awesome-ATTR road-ACC (59) island-LOC-pass.along-INF (60) DLF-row-INF-cross-INF-SUB (61) ITER-go.around-INF (62) I-POSS come-ATTR-TERM-LOC (63) safe-INF (64) parent TOP exist(HON)-DESIMP (65) obstacle exist.not-INF (66) spouse TOP wait-HON-IMP DV (67) Sumînöye-GEN (68) we-POSS imperial.ancestors deity-DAT (69) nusa present(HUM)-INF (70) pray-INF-HUM-INF-SUB (71) Nanipa harbor-LOC (72) boat-ACC float(INF)-place(INF) (73) eighty rudder pierce-INF (74) sailor arrange(INF)-SUB (75) morning-GEN-open-INF (76) we TOP row-INF-go.out(INF)-PERF-FIN DV (77) report(INF)-BEN-IMP Translation (4) When I was about to depart (3) as an island [border] guard (2) according to the appointment (1) of the Great Lord, (6) [my] honorable mother, (5) [gentle] like a leaf of an oak (7/8) picked up [her] skirt hems and caressed [me]. (13) Tears were dropping (12) from white beard, (1) which is like a rope [made of the bark] of the mulberry tree, (10) [of my] honorable father, (9) [hard] like a fruit of a titi [tree]. (14) [They] were lamenting and saying: (18) “Our dear child (17) who will go out of the gate in the morning (16) will be all alone (15) like a fawn, (21) and if [we] do not see each other (19/20) for a long string of new years, (22) [we] will surely be longing. (23) Just today (24) [we] are going to talk.” (25) -- so [they] were expressing their regrets and (26) grieved. (27/28) Both [my] spouse, [beautiful] like young grass and children (30) were around [me] in great numbers (29) here and there (32) moaning with [their] voices (31) like spring birds (34) [they] made wet with [their] tears [their] sleeves (33) from white mulberry bark cloth, and (38) although [they] longed (37) to pull [back] and stop [me] (36) saying that [they] cannot part [from me] (35) and holding on [to me], (39/40) because the command of the Great Lord is awesome, (42) [I] departed on the road (41) that is like a jeweled spear. (44) Every time [I] turn around (43) a hilly promontory (46) [I] continue to look back (45) many times. (47/48) Because [I] came so far separating [myself from my family], (49/50) although even to think is not easy, (51/52) and even to long is difficult (53/54) because [I] am a person of the world ephemeral like a cicada, (55/56) I do not even know [the extent of my] life. (60) [I] row across (58) the awesome road (57) of the plain of the sea, (59) passing along islands (61) and constantly going around [them] (62) Until I come back, (64) parents, please live (63) safely! (66) Wife, please wait [for me] (65) without obstacles! (77) Please tell [the folks at my] home that (69) after presenting nusa offerings and (70) praying (68) to the deity of our Emperors’ ancestors (67) at Sumînöye, (72) [we] lowered boats [into the water] and let [it] float (71) in Nanipa harbor, and (74) after arranging [the crew of] sailors (76) we have sailed out (75) at dawn (73) piercing [the waves] with many rudders. Commentary On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794.

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WOJ papasô ‘oak’ probably refers to the same kind of tree as MdJ nara, konara ‘Japanese oak’ (Lat. Quercus serrata). On nara ‘oak’, see the commentary to 14.3424. Papasô-N-pa-nö ‘like a leaf of an oak’ is considered to be a permanent epithet (makura-kotoba, 枕詞) for the word papa ‘mother’. It also appears in one more poem, 19.4164. This permanent epithet certainly implies the phonetic play on words papasô ‘oak’ and papa ‘mother’. It is possible that there is also implied meaning ‘soft, gentle’, because oak leaves are soft to the touch. On the honorific mî-kötö ‘HON-matter/person’, see the commentary to 5.794. Line eight is hypermetric (jiamari, 字余り). WOJ titi is line nine must be a name of some tree or shrub, but it is not identifiable. Titi-nö mï-nö ‘like a fruit of a titi’ is considered to be a permanent epithet (makura-kotoba, 枕詞) for the word titi ‘father’. It also appears in one more poem, 19.4164, the same where papasô-N-pa-nö ‘like a leaf of an oak’ also appears. This permanent epithet certainly implies the phonetic play on words titi ‘a kind of a tree’ and titi ‘father’. I presume that since the dichotomy between mother and father is introduced in this poem, the fruits of titi must have opposite quality to oak leaves, namely to be hard. On WOJ taku ‘mulberry tree’, see the commentary to 15.3587. The etymology of WOJ taku ‘mulberry tree’ is quite transparent: it must have been borrowed from OK predecessor of MK tàk ‘mulberry tree’. Line twelve is hypermetric (jiamari, 字余り), but it is most certainly a graphic illusion, because sira pîNkë-nö upë-yu was most likely pronounced as [sirapîNkënöpëyu]. The contraction of -nö upë ‘-GEN top’ into [nöpë] is amply attested in OJ texts. On arata ma-nö ‘of the new interval’, see the commentary to 15.3683. Waka kusa-nö ‘[beautiful] like young grass’ is considered to be a permanent epithet (makura-kotoba, 枕詞) to OJ tuma ‘spouse’, but since it is completely transparent, I chose to translate it. On sirô tape-nö ‘[made] from the white cloth of the mulberry tree bark’, see the commentary to 15.3607. On tapë ‘cloth made from the mulberry tree bark’, see the commentary to 15.3587. On mî-kötö ‘honorable word’, ‘imperial order/edict’, see the commentary to 15.3644. Tama pokö-nö ‘like a jeweled spear’ is a permanent epithet (makura-kotoba, 枕詞) to the word mîti ‘way, road.’ On WOJ parö-parö ‘distant-distant’, see the commentaries to 15.3588 and 20.4398. On utu semî ‘ephemeral cicada’, see the commentary to 15.3617. Here it is used in the meaning of ‘ephemeral [world]’. On WOJ tamakîparu ‘precious’, see the commentary to 15.3744. On WOJ una-para ‘plain of the sea’, see the commentary to 15.3592. Sumînöye corresponds to the central part of Simiyoshi district (住吉区) of present-day Ōsaka city (Nakanishi 1985: 455). The deity worshipped in the shrine at Sumînöye was not only the imperial deity, but also a protector of travelers going by sea (Omodaka 1984.20: 149). Although in the later periods there was a distinction between the location of the shrine that was called Suminoye, and the deity and/or shrine that was

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called Sumiyosi, there was likely no distinction in the Nara period (Kinoshita 1988: 207). On sumê ‘imperial ancestral’, see the commentary to 15.3688. OJ nusa are paper or cloth offerings for deities (Omodaka et al. 1967: 553). On Nanipa and Nanipa harbor, see the commentaries to poems 20.4329 and 20.4330. OJ ka ‘rudder’ is either a contraction of kaNti ‘id.’, or it is its original unsuffixed form. However, in the latter case -Nti becomes an unaccounted segment, since its meaning or function are obscure. On OJ kaNti ‘rudder’, see the commentary to 15.3624. WOJ wa ‘we’ followed by topic marker pa in line seventy-six is unusual for WOJ texts, and occurs only once in this poem. Possibly, Opotömö-nö Yakamöti was influenced by the usage in EOJ texts. On the contracted form -kös- of the OJ benefactive auxiliary köse-, see the commentary to 20.4363.

20.4409 (W)

本文・Original text (1) 伊弊婢等乃 (2) 伊波倍尓可安良牟 (3) 多比良氣久 (4) 布奈埿波之 奴等 (5) 於夜尓麻乎佐祢 仮名の書き下し・Kana transliteration (1) いへ 1 び 1 と 2 の 2 (2) いはへ 2 にかあらむ (3) たひ 1 らけ 2 く (4) ふ なではしぬと 2 (5) おやにまをさね Romanization (1) ipê-N-pîtö-nö (2) ipapë n-i ka ar-am-u (3) tapîrakë-ku (4) puna-[i]Nte pa s-i-n-u tö (5) oya-ni mawos-an-e Glossing with morphemic analysis (1) home-GEN-person-GEN (2) purify(NML) DV-INF PT exist-TENT-ATTR (3) be.safe-INF (4) boat-go.out(NML) TOP do-INF-PERF-FIN DV (5) parent-DAT say(HUM)-DES-IMP Translation (5) [I] want [you] to tell my parents [for me] (4) that [I] have sailed out (3) safely -- (1/2) was [it] probably because of [my] home folks’ purification rites? Commentary Line two is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because ka aramu was most likely pronounced as [karamu]. WOJ ipapë are purification or abstinence rites that are conducted as a prayer to deities for the safe return of a traveler, or for any other auspicious event to take place. Omodaka et al. list only consonantal verb ipap- ‘to pray’, ‘to conduct abstinence/purification rites’ (1967: 93-94). Ipapë, which is a hapax legomenon, must be a nominalization of the vowel verb ipapë- unattested in texts. At first glance this usage of mawos- in line five may seem to be honorific rather than humble, but the action is performed here by someone else on

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behalf of the speaker, assuming the voice of the latter, so the usage is still humble.

20.4410 (W)

本文・Original text (1) 美蘇良由久 (2) 久母々都可比等 (3) 比等波伊倍等 (4) 伊弊頭刀夜 良武 (5) 多豆伎之良受母 仮名の書き下し・Kana transliteration (1) み 1 そ 1 らゆく (2) くも 2 も 2 つかひ 1 と 2 (3) ひ 1 と 2 はいへ 2 ど 2 (4) いへ 1 づと 1 やらむ (5) たづき 1 しらずも 2 Romanization (1) mî-sôra yuk-u (2) kumö mö tukapî tö (3) pîtö pa ip-ë-Ntö (4) ipê-N-tutô yar-am-u (5) taNtukî sir-aNs-umö Glossing with morphemic analysis (1) HON-sky go-ATTR (2) cloud PT messenger DV (3) person TOP say-EV-CONC (4) home-GEN-souvenir send-TENT-ATTR (5) clue know-NEG-EXCL Translation (3) Although people say (1/2) that clouds that go [through] the sky are also messengers, (5) [I] do not know of a way (4) to send a souvenir to [my] home! Commentary Line three is hypermetric (jiamari, 字余り). The image of clouds as messengers is also found in another poem by Opotömö-nö Yakamöti, 19.4214. On -umö ~ -mö as a special Old Japanese exclamative form, see the commentary to 15.3595.

20.4411 (W)

本文・Original text (1) 伊弊都刀尓 (2) 可比曽比里弊流 (3) 波麻奈美波 (4) 伊也之久々々 二 (5) 多可久与須礼騰 仮名の書き下し・Kana transliteration (1) いへ 1 つと 1 に (2) かひ 1 そ 2 ひ 1 りへ 1 る (3) はまなみ 1 は (4) い やしくしくに (5) たかくよ 2 すれど 2 Romanization (1) ipê tutô n-i (2) kapî sö pîrip-êr-u (3) pama namî pa (4) iya siku-siku n-i (5) taka-ku yös-ure-Ntö Glossing with morphemic analysis (1) home souvenir DV-INF (2) seashell PT pick.up-PROG-ATTR (3) seashore wave TOP (4) more.and.more frequent DV-INF (5) be.high-INF approach-EV-CONC

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Translation (3/5) Although high waves at the sea shore were approaching (4) more and more frequently, (2) [I] have collected seashells (1) as a souvenir [for] home. Commentary See 15.3627 and 15.3709 for similar contexts about collecting seashells as souvenirs.

20.4412 (W)

本文・Original text (1) 之麻可氣尓 (2) 和我布祢波弖氐 (3) 都氣也良牟 (4) 都可比乎奈美 也 (5) 古非都々由加牟 仮名の書き下し・Kana transliteration (1) しまかげ 2 に (2) わがふねはてて (3) つげ 2 やらむ (4) つかひ 1 を なみ 1 や (5) こ 1 ひ 2 つつゆかむ Romanization (1) sima kaNkë-ni (2) wa-Nka pune pate-te (3) tuNkë-yar-am-u (4) tukapî-wo na-mî ya (5) kôpï-tutu yuk-am-u Glossing with morphemic analysis (1) island shadow-LOC (2) I-POSS boat anchor(INF)-SUB (3) report(INF)send-TENT-ATTR (4) messenger-ABS exist.not-GER PT (5) long.for(INF)-COOR go-TENT-FIN Translation (5) [I] will go continuing to long (4) because there is no messenger (3) who would report [to my home folks] (2) after [I] have anchored [my] boat (1) in the shadow of an island. Commentary Opinions are divided among Japanese scholars whether ya in line four is an interrogative particle (Kōnosu 1939: 3372), (Takeda 1957: 471), (Kubota 1967: 494), (Nakanishi 1983: 323), (Omodaka 1984.20: 151), (Kinoshita 1988: 210), (Itō 1999: 585), (Satake et al. 2003: 436), or emphatic particle (Takagi et al. 1962: 442), (Kojima et al. 1975: 413),50 (Tsuchiya 1977: 353). I prefer the second solution, because the first one does not make sense: the sakîmôri, whose voice Opotömö-nö Yakamöti assumes in this poem certainly was going to Kyūshū, so his going could hardly be under a question. The same seems unlikely for his longing − this is unquestionable, too. On WOJ -wo as an absolutive case marker, see the commentary to 15.3599. The emphatic particle ya does not trigger kakari-musubi, so the final verb stays in its final form, which does not change to the attributive (Vovin 2009a: 1262).

50

Kojima et al. in their commentary define the function of this ya as an interrogative exclamation, but in their translation into MdJ they treat the sentence as a narrative, not an interrogative (1975: 413).

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Postscript to the poems 20.4008-4412 本文・Original text 二月廿三日兵部少輔大伴宿祢家持

Translation [The five poems above were composed by] Opotömö-nö sukune Yakamöti, the Junior Assistant Minister of the Ministry of War on the twenty-third day of the second lunar month [of the seventh year of Tenpyō Shōhō]. Commentary Twenty-third day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to April 9, 755 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320.

20.4413 (E)

本文・Original text (1) 麻久良多之 (2) 己志尓等里波伎 (3) 麻可奈之伎 (4) 西呂我馬伎己 無 (5) 都久乃之良奈久 仮名の書き下し・Kana transliteration (1) まくらたし (2) こ 2 しにと 2 りはき 1 (3) まかなしき 1 (4) せろ 2 がま き 1 こ 2 む (5) つくの 2 しらなく Romanization (1) makura tasi (2) kösi-ni tör-i-pak-î (3) ma-kanasi-kî (4) se-rö-Nka mak-î kö-m-u (5) tuku-nö sir-an-aku Glossing with morphemic analysis (1) head.rest long.sword (2) waist-LOC hold-INF-wear-INF (3) INT-be.dearATTR (4) beloved-DIM-POSS back-POSS come-TENT-ATTR (5) month-GEN know-NEG-NML Translation (5) [I] do not know [which] month (3) [my] dear (4) beloved (2) who wears at [his] waist (1) [his] long sword [that he usually keeps] at the headrest, (4) will come back. Commentary MuNsasi EOJ tasi ‘long sword’ corresponds to WOJ tati ‘id.’ The EOJ form exhibits the palatalization t > s/_i. On the predominantly EOJ diminutive suffix -rö, see the commentary to 14.3351. The characters 馬伎 in line four are read as either mêk-î and treated as an unknown EOJ verb mêk- (Omodaka 1984.20: 153), or as mak-î and explained as the root of the OJ verb makar- ‘to go, to depart’ (Kinoshita 1988: 211). Neither of the explanations is satisfactory, the first one for obvious reasons,

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and the second one because only the verbs makar- ‘to go, to depart’ and mak~ makë- to send, to appoint’ are attested (Omodaka et al. 1967: 667, 669). I believe that MuNsasi EOJ mak-î ‘its-back’ < Ainu mak ‘back’ + Ainu 3rd person possessive suffix -i. On EOJ tuku ‘moon, month’ corresponding to WOJ tukï ‘id.’, see the commentary to 14.3395.

Postscript to the poem 20.4413

本文・Original text 右一首上丁那珂郡檜前舎人石前之妻大伴部眞足女 Translation The poem above [was composed] by OpotömöNpë-nö Matarimê, the wife of Pïnökuma-nö töneri Ipasakî, a private from Naka district. Commentary Nothing is known about the biographies of OpotömöNpë-nö Matarimê and Pïnökuma-nö töneri Ipasakî. Note that wife and husband normally had different family (clan) names, as was the custom at this time, like in modern China or Korea. In the censuses of different provinces from Shōsōin, wives and mothers of a master of the house have different family names, while children carry their father’s family name. The fact that a husband and a wife that are authors of 20.4421 and 20.4422 below share the same family name is a rare occasion (Kinoshita 1988: 212). It is interesting that the poem by Pïnökuma-nö töneri Ipasakî is not included. Possibly it was one of these eight poems that were not included by Opotömö-nö Yakamöti due to their inferior quality. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. Töneri ‘retainer’ is a title of an official, but it is not a kabane title. This title in Nara period was very different from toneri in the Heian period, which indicated the closest advisers to the Emperor. A partial, but not quite complete Nara period equivalent to the Heian period toneri would be uti töneri ‘inside retainers’. Naka district corresponds to the south-eastern part of Kodama county (児玉 郡) in present-day Saitama prefecture (Kinoshita 1988: 211).

20.4414 (E)

本文・Original text (1) 於保伎美乃 (2) 美己等可之古美 (3) 宇都久之氣 (4) 麻古我弖波奈 利 (5) 之末豆多比由久 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) み 1 こ 2 と 2 かしこ 1 み 1 (3) うつくしけ 2 (4) ま こ 1 がてはなり (5) しまづたひ 1 ゆく Romanization (1) opo kîmî-nö (2) mî-kötö kasikô-mî (3) utukusi-kë (4) ma-kô-Nka te panar-i (5) sima-N-tutap-î yuk-u

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Glossing with morphemic analysis (1) Great Lord-GEN (2) HON-word be.awesome-GER (3) dear-ATTR (4) INT-girl-POSS hand be.separated-INF (5) island-LOC-pass.along-INF go-FIN Translation (1/2) Because the command of the Great Lord is awesome, (3/4) [I] separated [myself] from the hands of [my] dear girl, and (5) will go [away] passing along the islands. Commentary On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. EOJ adjectival attributive -kë (more frequently spelled as -kê) corresponds to WOJ -kî. MuNsasi EOJ panar- ‘to be separated’ is a consonantal verb, which corresponds to WOJ vowel verb panare- ‘id.’

Postscript to the poem 20.4414 本文・Original text 右一首助丁秩父郡大伴部小歳

Translation The poem above [was composed] by captain OpotömöNpë-nö Wotösi from TitiNpu district. Commentary Nothing is known about the biography of OpotömöNpë-nö Wotösi. It is interesting that a poem by a captain is placed after the poem of a wife of a private. Usually poems of sakîmôri of higher ranks precede those of lower ranks. Another exception of the same kind is 20.4338, also a poem by a captain, which is placed after a poem by a private. On captain (Sukë-nö yoporo, 助丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. TitiNpu district corresponds to Chichibu county (秩父郡) and Chichibu city (秩父市) in present-day Saitama prefecture (Kinoshita 1988: 214).

20.4415 (E)

本文・Original text (1) 志良多麻乎 (2) 弖尓刀里母之弖 (3) 美流乃須母 (4) 伊弊奈流伊母 乎 (5) 麻多美弖毛母也 仮名の書き下し・Kana transliteration (1) しらたまを (2) てにと 1 りも 2 して (3) み 1 るの 2 すも なるいも 2 を (5) またみ 1 ても 1 も 2 や

2

(4) いへ

1

Romanization (1) sira tama-wo (2) te-ni tôr-i-mös-i-te (3) mî-ru-nösu mö (4) ipê-n-ar-u imö-wo (5) mata mî-te-m-ö mö ya

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Glossing with morphemic analysis (1) white pearl-ACC (2) hand-LOC take-INF-hold-INF-SUB (3) see-ATTRCOMP PT (4) home-LOC-exist-ATTR beloved-ACC (5) again see(INF)PERF-TENT-ATTR PT PT Translation (3) Like [one] looks at (1) a white pearl (2) holding [it] in hands (5) [I] would like to see again (4) [my] beloved who is at home! Commentary MuNsasi EOJ mös-i ‘hold and’ corresponds to WOJ möt-i ‘id.’ The EOJ form exhibits the palatalization t > s/_i. See also 20.4420. EOJ -nösu is a comparative case marker corresponding to WOJ -nasu. For details see Vovin (2005: 199-206). On EOJ special attributive form -ô, see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume.

Postscript to the poem 20.4415 本文・Original text 右一首主帳荏原郡物部歳徳

Translation The poem above [was composed] by lieutenant MönönöNpë-nö Tösitökö from ENpara district. Commentary Nothing is known about the biography of MönönöNpë-nö Tösitökö. On lieutenant (Shuchō, 主 帳 ) and other sakîmôri ranks, see the commentary to 20.4321. ENpara district corresponds to Ōta ward (大田区), Sinagawa ward (品川 区), Meguro ward (目黒区), and Setagaya ward (世田谷区) in present-day Tokyo city (Kinoshita 1988: 215).

20.4416 (E)

本文・Original text (1) 久佐麻久良 (2) 多比由苦世奈我 (3) 麻流祢世婆 (4) 伊波奈流和礼 波 (5) 比毛等加受祢牟 仮名の書き下し・Kana transliteration (1) くさまくら (2) たび 1 ゆくせなが (3) まるねせば (4) いはなるわ れは (5) ひ 1 も 1 と 2 かずねむ Romanization (1) kusa makura (2) taNpî yuk-u se-na-Nka (3) maru ne se-Npa (4) ipa-n-ar-u ware pa (5) pîmô tök-aNs-u ne-m-u

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Glossing with morphemic analysis (1) grass pillow (2) journey go-ATTR beloved-DIM-POSS (3) round sleep(NML) do-COND (4) home-LOC-exist-ATTR I TOP (5) cord untie-NEG-INF sleep-TENT-FIN Translation (2) If [my] beloved, who goes on a journey (1) where [he will use] grass [as his] pillow, (3) sleeps in his clothes, (4) I, who am at home, (5) will sleep without untying the cords [of my garment]. Commentary On the permanent epithet (makura-kotoba, 枕詞) kusa makura ‘grass pillow,’ see the commentary to 15.3612. On EOJ diminutive suffix -na, see the commentary to 14.3384. EOJ maru ne (cf. WOJ marô ne), lit. ‘round sleep’ refers to sleeping in one’s clothes without taking them off. EOJ ipa ‘house’ corresponds to WOJ ipê ‘id.’ See also 20.4375, 20.4406, 20.4419, 20.4423, and 20.4427. On the custom of tying and untying the cords of one’s garment, see the commentary to 15.3585. Overall, this is a very interesting poem conveying the psychology that is much more in accord with the twenty-first century than with the eighth: if you do not cheat on me, I will not cheat on you. But maybe human nature in this respect has not really evolved this much in the last thirteen hundred years − this is also a possibility that cannot be denied.

Postscript to the poem 20.4416 本文・Original text 右一首妻椋椅部刀自賣

Translation The poem above [was composed by] KurapasiNpë-nö TôNsimê, the wife [of lieutenant MönönöNpë-nö Tösitökö]. Commentary Nothing is known about the biography of KurapasiNpë-nö TôNsimê, except the fact that she must have been really concerned about her husband’s fidelity while he was performing his sakîmôri duties. Lieutenant MönönöNpë-nö Tösitökö is the author of the previous poem 20.4415. It is interesting enough that his poem refers to his desire to see his wife again, but the imagery employed uses no reference to the usual symbols of fidelity, like the untied cords. Could MönönöNpë-nö Tösitökö be an Eastern Japanese playboy? Unfortunately, there is no evidence to confirm it or to deny it…

20.4417 (E)

本文・Original text (1) 阿加胡麻乎 (2) 夜麻努尓波賀志 (3) 刀里加尓弖 (4) 多麻能余許夜 麻 (5) 加志由加也良牟

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仮名の書き下し・Kana transliteration (1) あかご 1 まを (2) やまの 1 にはがし (3) と 1 りかにて (4) たまの よ 2 こ 2 やま (5) かしゆかやらむ

2

Romanization (1) aka-N-kôma-wo (2) yama nô-ni paNkas-i (3) tôr-i-kani-te (4) Tama-nö yökö yama (5) kasi-yu ka yar-am-u Glossing with morphemic analysis (1) red-DV(ATTR)-stallion-ACC (2) mountain field-LOC turn.out.to.grazeINF (3) take-INF-NEG/POT(INF)-SUB (4) Tama-GEN horizontal mountain (5) walking-ABL PT send-TENT-ATTR Translation (5) Will [I] send [my beloved] walking (4) [across] horizontally stretched mountain in Tama (3) as [I] could not catch (1) [our] chestnut stallion (2) after turning [it] out to graze in mountain fields. Commentary On OJ kôma ‘stallion’, see the commentary to 14.3387. OJ aka-N-kôma lit. ‘red stallion’ is ‘chestnut stallion’ or ‘brown stallion’. MuNsasi EOJ negative potential auxiliary -kani- corresponds to WOJ -kane-, id. MuNsasi EOJ -kani- shows an interesting secondary raising e > i. Tama region is an area along the basin of Tama river (多摩川) in the west of present-day Tokyo prefecture. Tama horizontal mountains refers to the chain of hills in this region (Nakanishi 1985: 461). On OJ expression yökö yama ‘horizontally [stretched] mountains’, see the commentary to 14.3531. MuNsasi EOJ kasi ‘walking’ corresponds to WOJ kati ‘id.’, and ultimately is a loan (via WOJ) from OK form that would be a predecessor of MK kèlí ‘id.’ (< *keti). For details see Vovin (2010: 150). The underlying idea of this poem (fictional, of course) is that the wife pretends to be unable to let her husband go because she cannot provide him with a horse to ride to his destination.

Postscript to the poem 20.4417

本文・Original text 右一首豊嶋郡上丁椋椅部荒虫之妻宇遅部黒女 Translation The poem above [was composed] by UNtiNpë-nö Kurômê, the wife of KurapasiNpë-nö Aramusi, a private from Tösima district. Commentary Nothing is known about the biographies of UNtiNpë-nö Kurômê and KurapasiNpë-nö Aramusi. On husband and wife having different family names see the commentary to the postscript to poem 20.4413. It is interesting that the poem by KurapasiNpë-nö Aramusi is not included. Possibly it was one of these eight poems that were not included by Opotömö-nö Yakamöti due to their inferior quality.

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On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. Tösima district corresponds to Toshima ward (豊島区), Arakawa ward (荒 川区), Northern ward (北区), Itabashi ward (板橋区), and Bunkyō ward (文京 区) of the present-day Tokyo city (Kinoshita 1988: 218).

20.4418 (E)

本文・Original text (1) 和我可度乃 (2) 可多夜麻都婆伎 (3) 麻己等奈礼 (4) 和我弖布礼 奈々 (5) 都知尓於知母加毛 仮名の書き下し・Kana transliteration (1) わがかど 1 の 2 (2) かたやまつばき 1 (3) まこ 2 と 2 なれ (4) わがてふ れなな (5) つちにおちも 2 かも 1 Romanization (1) wa-Nka kaNtô-nö (2) kata yama tuNpakî (3) ma-kötö nare (4) wa-Nka te pure-n-a-na (5) tuti-ni oti-m-ö kamô Glossing with morphemic analysis (1) I-POSS gate-GEN (2) side mountain camellia (3) INT-thing you (4) I-POSS hand touch-NEG-ATTR-LOC (5) ground-LOC fall-TENT-ATTR PT Translation (2) [Oh,] camellia [flowers] at the mountain near (1) my gate, (3/5) I wonder whether you would really fall to the ground, (4) when my hand does not touch [you]? Commentary Camellia flowers in this poem serve as a metaphorical reference to the author’s beloved (Omodaka 1984.20: 157). On OJ kaNtô ‘gate’ < kana-tô ‘metal [adorned] gate’, see the commentary to 14.3530. OJ tuNpakî ‘camellia’ (MdJ yamatsubaki, yabutsubaki,椿; Lat. Camellia japonica) is a tall evergreen tree that grows in warm areas in the wild. It has oval leaves that are glossy and feel thick to the touch. Camellia blooms with red flowers in early spring. It is considered to be an auspicious flower. The tsubaki oil (tsubaki abura, 椿油), which is considered to be good for one’s hair, is made from its seeds (Nakanishi 1985: 321). On EOJ form in V-(a)n-a-na ‘V-NEG-ATTR-LOC’, see the commentary to 14.3408. On EOJ special attributive -a, see the commentary to 14.3526 and the sketch of the EOJ grammar in the introduction to this volume. On EOJ special attributive form -ô (here misspelled as -ö), see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume. Line five is hypermetric (jiamari, 字余り).

Postscript to the poem 20.4418 本文・Original text 右一首荏原郡上丁物部廣足

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Translation The poem above [was composed] by private MönönöNpë-nö Pîrötari from ENpara district. Commentary Nothing is known about the biography of MönönöNpë-nö Pîrötari. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. On ENpara district, see the commentary to the postscript to the poem 20.4415.

20.4419 (E)

本文・Original text (1) 伊波呂尓波 (2) 安之布多氣騰母 (3) 須美与氣乎 (4) 都久之尓伊多 里弖 (5) 古布志氣毛波母 仮名の書き下し・Kana transliteration (1) いはろ 2 には (2) あしふたけ 2 ど 2 も 2 (3) すみ 1 よ 2 け 2 を (4) つく しにいたりて (5) こ 1 ふしけ 2 も 1 はも 2 Romanization (1) ipa-rö-ni pa (2) asi pu tak-ë-Ntömö (3) sum-î yö-kë-wo (4) Tukusi-ni itar-i-te (5) kôpusi-kë-mô pa mö Glossing with morphemic analysis (1) house-DIM-LOC TOP (2) reed fire burn-EV-CONC (3) live-NML good-ATTR-ACC (4) Tukusi-LOC reach-INF-SUB (5) be.longing-ATTREXCL TOP PT Translation (2) Although [we] make a fire out of reeds (1) at [my] house, (3) the living [there] is good, so (5) [I] will be longing for it (4) when I reach Tukusi! Commentary EOJ ipa ‘house’ corresponds to WOJ ipê ‘id.’ See also 20.4375, 20.4406, 20.4416, 20.4423, and 20.4427. Fire made out of reeds certainly symbolizes life in poverty (Omodaka 1984.20: 159). MuNsasi EOJ pu ‘fire’ corresponds to WOJ pï ~ pô- ‘id.’ that indicate PJ form *poy, not *pəy, as is frequently believed. For details see Vovin (2011b). EOJ adjectival attributive -kë (more frequently spelled as -kê) corresponds to WOJ -kî. Line four is hypermetric (jiamari, 字余り), but it is probably a graphic illusion, because Tukusi-ni itar-i-te was most likely pronounced as [Tukusinitarite]. Tukusi is the old name for the island of Kyūshū. On EOJ kôpusi ‘to be longing’, see the commentary to 14.3476.

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Postscript to the poem 20.4419 本文・Original text 右一首橘樹郡上丁物部眞根

Translation The poem above [was composed] by private MönönöNpë-nö Mane from TatiNpana district. Commentary Nothing is known about the biography of MönönöNpë-nö Mane. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to the poem 20.4321. TatiNpana district corresponds to Kawasaki city (川崎市) and most of Yokohama city (横浜市) with the exception of Totuka ward (戸塚区) in present-day Kanagawa prefecture (Kinoshita 1988: 220).

20.4420 (E)

本文・Original text (1) 久佐麻久良 (2) 多妣乃麻流祢乃 (3) 比毛多要婆 (4) 安我弖等都氣 呂 (5) 許礼乃波流母志 仮名の書き下し・Kana transliteration (1) くさまくら (2) たび 1 の 2 まるねの 2 (3) ひ 1 も 1 たえ 2 ば (4) あがて と 2 つけ 2 ろ 2 (5) こ 2 れの 2 はるも 2 し Romanization (1) kusa makura (2) taNpî-nö maru ne-nö (3) pîmô taye-Npa (4) a-Nka te tö tukë-rö (5) köre n-ö paru mös-i Glossing with morphemic analysis (1) grass pillow (2) journey-GEN round sleep(NML)-GEN (3) cord tear-COND (4) I-POSS hand DV attach-IMP (5) this DV-ATTR needle hold-INF Translation (3) If the cords [of your garment] break (2) when [you] sleep in your clothes on a journey (1) where [you will use] grass [as your] pillow, (4/5) attach [them] holding this needle, and thinking that [it is] my hand. Commentary On the permanent epithet (makura-kotoba, 枕詞) kusa makura ‘grass pillow,’ see the commentary to 15.3612. EOJ maru ne (cf. WOJ marô ne), lit. ‘round sleep’ refers to sleeping in one’s clothes without taking them off. On the symbolism of tying and untying the cords of one’s garment, as well as on cords getting loose, see the commentary to 15.3585. Since OJ personal pronouns do not have reflexive function typical for MJ pronouns, the interpretation of Omodaka (1984.20: 159-60) and Kinoshita (1988: 221) of 安我弖等都 as a-Nka te tö ‘thinking that it is my hand’ is preferable to the Takagi et al. interpretation as a-Nka te-tö ‘with one’s own hand’ (1962: 445).

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EOJ -rö is imperative suffix, corresponding to WOJ -yö. See also 14.3465. OJ adnominal construction köre n-ö ‘this’ instead of könö ‘id.’ is unusual and very rare. Besides this poem it is also attested in phonographic script in 3.245. MuNsasi EOJ paru ‘needle’ corresponds to WOJ pari ‘id.’ Both reflect PJ *paruy or *paroy, with different paths of development of *uy or *oy in EOJ, where *uy/*oy > *uy > u, and WOJ, where *uy/*oy > *ï > i (after dentals). MuNsasi EOJ mös-i ‘hold and’ corresponds to WOJ möt- ‘id.’ The EOJ form exhibits the palatalization t > s/_i. See also 20.4415.

Postscript to the poem 20.4420 本文・Original text 右一首妻椋椅部弟女

Translation The poem above [was composed by] KurapasiNpë-nö Otömê, the wife [of private MönönöNpë-nö Mane]. Commentary Nothing is known about the biography of KurapasiNpë-nö TôNsimê. Private MönönöNpë-nö Mane is the author of the previous poem 20.4419.

20.4421 (E)

本文・Original text (1) 和我由伎乃 (2) 伊伎都久之可婆 (3) 安之我良乃 (4) 美祢波保久毛 乎 (5) 美等登志努波祢 仮名の書き下し・Kana transliteration (1) わがゆき 1 の 2 (2) いき 1 づくしかば (3) あしがらの 2 (4) み 1 ねはほ くも 1 を (5) み 1 と 2 と 2 しの 1 はね Romanization (1) wa-Nka yuk-î-nö (2) ikîNtukusi-ka-Npa (3) AsiNkara-nö (4) mî-ne pap-o kumô-wo (5) mî-tötö sinôp-an-e Glossing with morphemic analysis (1) I-POSS go-NML-GEN (2) be.regrettable-EV-COND (3) AsiNkara-GEN (4) HON-peak crawl-ATTR cloud-ACC (5) look(INF)-COOR yearn-DES-IMP Translation (2) If [you] regret (1) that I went [away], (5) yearn [for me] while looking (3/4) at the clouds crawling at the AsiNkara peak. Commentary MuNsasi EOJ ikîNtukusi ‘to be regrettable, to be lamentable’ corresponds to WOJ ikîNtukasi ‘id.’ EOJ inflected adjectival evidential marker -ka- corresponds to WOJ -kê-. On AsiNkara, see the commentary to 14.3361.

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On EOJ special attributive form -ô (neutralized to -o after /p/), see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume. MuNsasi EOJ coordinative gerund -tötö corresponds to WOJ -tutu, id. Possibly, -tötö is misspelling for -tôtô, because OJ ö does not raise to u. There is a bedazzling array of different phonetic shapes of EOJ shapes of a coordinative gerund: -tötö (20.4421), -susu (20.4386), -tusi (20.4386), -tutu (20.4314, etc.). If the original form was *-tôtô it is difficult to explain palatalizations in -susu and -tusi.

Postscript to the poem 20.4421 本文・Original text 右一首都筑郡上丁服部於田

Translation The poem above [was composed] by private PatoriNpë-nö UpëNta from Tutukî district. Commentary Nothing is known about the biography of MönönöNpë-nö Mane. There is a disagreement between scholars whether to rely on the Genryaku kōhon and the majority of other manuscripts that have 於田, traditionally glossed as UpëNta, or on the Nishi Honganji-bon, which has it glossed as Oyu. I follow the first opinion (Omodaka 1984.20: 161). On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. Tutukî district corresponds to the northern part of Yokohama city (横浜市) in present-day Kanagawa prefecture (Omodaka 1984.20: 161).

20.4422 (E)

本文・Original text (1) 和我世奈乎 (2) 都久之倍夜里弖 (3) 宇都久之美 (4) 於妣波等可奈 々 (5) 阿也尓加母祢毛 仮名の書き下し・Kana transliteration (1) わがせなを (2) つくしへ 2 やりて (3) うつくしみ 1 (4) おび 1 はと 2 かなな (5) あやにかも 2 ねも 1 Romanization (1) wa-Nka se-na-wo (2) Tukusi-pë yar-i-te (3) utukusi-mî (4) oNpî pa tök-an-a-na (5) aya n-i kamö ne-m-ô Glossing with morphemic analysis (1) I-POSS beloved-DIM-ACC (2) Tukusi-side send-INF-SUB (3) be.longingGER (4) sash TOP untie-NEG-ATTR-LOC (5) unusual DV-INF PT sleepTENT-ATTR Translation (3) Because [I] long for [him], (1/2) after sending my beloved to Tukusi, (5) [I] will sleep in an unusual manner (4) without untying [my] sash!

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Commentary This poem is practically identical to poem 20.4428 below. On EOJ diminutive suffix -na see the commentary to 14.3384. Tukusi is the old name for the island of Kyūshū. MuNsasi EOJ -pë ‘side’ corresponds to WOJ -pê ‘id.’ Here it functions as a directive case marker. The misspelling of -pê as -pë probably indicates that there was no phonemic contrast between /ê/ and /ë/ in MuNsasi EOJ. Cf. -pa in 20.4428 below. On EOJ form in V-(a)n-a-na ‘V-NEG-ATTR-LOC’, see the commentary to 14.3408. On EOJ special attributive -a, see the commentary to 14.3526 and the sketch of the EOJ grammar in the introduction to this volume. On EOJ special attributive form -ô, see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume.

Postscript to the poem 20.4422 本文・Original text 右一首妻服部呰女

Translation The poem above [was composed by] PatoriNpë-nö ANsamê, the wife [of private PatoriNpë-nö UpëNta]. Commentary Nothing is known about the biography of PatoriNpë-nö ANsamê. Private PatoriNpë-nö UpëNta is the author of the previous poem 20.4421. The fact that a husband and a wife that are authors of 20.4421 and 20.4422 share the same family name is a rare occasion (Kinoshita 1988: 212). See also the commentary to the postscript to poem 20.4413.

20.4423 (E)

本文・Original text (1) 安之我良乃 (2) 美佐可尓多志弖 (3) 蘇埿布良婆 (4) 伊波奈流伊毛 波 (5) 佐夜尓美毛可母 仮名の書き下し・Kana transliteration (1) あしがらの 2 (2) み 1 さかにたして (3) そ 1 でふらば (4) いはなるい も 1 は (5) さやにみ 1 も 1 かも 2 Romanization (1) AsiNkara-nö (2) mî-saka-ni tas-i-te (3) sôNte pur-aNpa (4) ipa-n-ar-u imô pa (5) saya n-i mî-m-ô kamö Glossing with morphemic analysis (1) AsiNkara-GEN (2) HON-slope-LOC stand-INF-SUB (3) sleeve waveCOND (4) home-LOC-exist-ATTR beloved TOP (5) clear DV-INF seeTENT-ATTR PT

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Translation (3) If [I] wave [my] sleeve (2) standing on the slope (1) of AsiNkara, (4/5) I wonder whether my beloved who is at home would see [it] clearly. Commentary On AsiNkara see the commentary to 14.3361. On AsiNkara-nö mî-saka ‘AsiNkara slope’, see the commentary to 20.4372. EOJ tas-i ‘stand-NML’ corresponding to WOJ tat-i ‘id.’ is an example of EOJ palatalization t > s/_i, on which also see the commentary to 14.3395. On the sleeve-waving ritual by women, see the commentary to 14.3389. Presumably, the sleeve-waving ritual by men had the same or similar function. EOJ ipa ‘house’ corresponds to WOJ ipê ‘id.’ See also 20.4375, 20.4406, 20.4416, 20.4419, and 20.4427. On EOJ special attributive form -ô, see the commentary to 14.3395 and a brief description of EOJ special grammar in the introductions to book fourteen and this volume.

Postscript to the poem 20.4423

本文・Original text 右一首埼玉郡上丁藤原部等母麻呂 Translation The poem above [was composed] by private PuNtiparaNpë-nö Tömömarö from Sakîtama district. Commentary Nothing is known about the biography of PuNtiparaNpë-nö Tömömarö. On private (Kamî-nö yoporo, 上丁) and other sakîmôri ranks, see the commentary to the postscript to poem 20.4321. Sakîtama district corresponds to Northern Saitama county (北埼玉郡), Southern Saitama county (南埼玉郡), Gyōda city (行田市), Hanyū city (羽生 市), Kazo city (加須市), Kuki city (久喜市), Hasuda city (蓮田市), Kasukabe city (春日部市), Iwatsuki city (岩槻市), Kosigaya city (越谷市), and Yashio city (八潮市) in present-day Saitama prefecture (Kinoshita 1988: 226).

20.4424 (E)

本文・Original text (1) 伊呂夫可久 (2) 世奈我許呂母波 (3) 曽米麻之乎 (4) 美佐可多婆良 婆 (5) 麻佐夜可尓美無 仮名の書き下し・Kana transliteration (1) いろ 2 ぶかく (2) せながこ 2 ろ 2 も 2 は (3) そ 2 め 2 ましを (4) み さかたばらば (5) まさやかにみ 1 む

1

Romanization (1) irö-N-puka-ku (2) se-na-Nka körömö pa (3) sömë-masi-wo (4) mî-saka taNpar-aNpa (5) ma-sayaka n-i mî-m-u

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Glossing with morphemic analysis (1) color-GEN-be.deep-INF (2) beloved-DIM-POSS garment TOP (3) dye-SUBJ-ACC (4) HON-slope receive(HUM)-COND (5) INT-clear DV-INF see-TENT-FIN Translation (3) [I] wish [I] would dye (2) the clothes of my dear beloved (1) [in] deep [bright] color! (4) if [you] were to receive [the permission of the deity to cross] the [AsiNkara] slope, (5) [I] would see [you] clearly. Commentary Kinoshita notes that low-ranked sakîmôri probably wore black clothes dyed with a juice of acorn of kunuNkï (櫟) ‘a kind of oak’ (MdJ kunugi, Lat. Quercus acutissima) (1988: 227). On EOJ diminutive suffix -na, see the commentary to 14.3384. On AsiNkara-nö mî-saka ‘AsiNkara slope’, see the commentary to 20.4372. OJ taNpar- ‘to receive’ is a contraction of OJ tamapar- ‘id.’

Postscript to the poem 20.4424 本文・Original text 右一首妻物部刀自賣

Translation The poem above [was composed by] MönönöNpë-nö TôNsimê, the wife [of private PuNtiparaNpë-nö Tömömarö]. Commentary Nothing is known about the biography of MönönöNpë-nö TôNsimê. Private PuNtiparaNpë-nö Tömömarö is the author of the previous poem 20.4423.

Postscript to the poems 20.4413-4424

本文・Original text 二月廿九日武蔵國部領防人使掾正六位上安曇宿祢三國進歌數廿首但拙 劣歌者不取載之 Translation On the twenty-ninth day of the second lunar month [of the seventh year of Tenpyō Shōhō], ANtumî-nö sukune Mîkuni (Senior Sixth Rank, Upper Grade), Assistant Official and sakîmôri messenger of MuNsasi province, presented [to me] twenty poems. However, I did not include [here] the poems of inferior [quality]. Commentary The sequence of sakîmôri poems from MuNsasi is the most unusual one, because it includes the poems of not only sakîmôri, but also their wives, and also sometimes the poems of sakîmôri wives only, without preceding poems by their husbands. One notable exception in other sequences may be the poem 20.4352 in the sequence of poems from Kamîtupusa, which might have been

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composed by a wife or a daughter of a sakîmôri, accompanying her husband or father. The twenty-ninth day of the second lunar month of the seventh year of Tenpyō Shōhō corresponds to April 15, 755 AD. On MuNsasi province, see the commentary to 14.3374. On sakîmôri messengers, see the commentary to the preface to poems 20.4321-4424. Assistant Official (En, 掾) is the position in provincial offices of Upper and Middle Provinces immediately below Assistant Governor (Sukë, 介) in Upper Provinces and below the Governor in Middle Provinces. It corresponded to Junior Seventh Rank, Upper Grade (for Upper Provinces) and to Junior Eighth Rank, Upper Grade (for Middle Provinces). We have a clear discrepancy in this case, because MuNsasi was a Great Province that was supposed to have the positions of both Senior Assistant Official (Daien, 大掾) and Junior Assistant Official (Shōen, 少掾), but not just Assistant Official like Upper and Middle Provinces. In any case, ANtumî-nö sukune Mîkuni had a rank that exceeded his actual position. ANtumî-nö sukune Mîkuni is mentioned in the Shoku Nihongi as a person who was promoted from the Senior Sixth Rank, Upper Grade to the Junior Fifth Rank, Lower Grade on the seventh day of the tenth lunar month of the eighth year of Tenpyō Hōji (November 4, 764 AD). Nothing else is known about his biography. Although Opotömö-nö Yakamöti received twenty poems, he included only twelve.

20.4425 (W/S)

本文・Original text (1) 佐伎毛利尓 (2) 由久波多我世登 (3) 刀布比登乎 (4) 美流我登毛之 佐 (5) 毛乃母比毛世受 仮名の書き下し・Kana transliteration (1) さき 1 も 1 りに (2) ゆくはたがせと 2 (3) と 1 ふひ 1 と 2 を (4) み 1 る がと 2 も 1 しさ (5) も 1 の 2 も 2 ひ 1 も 1 せず Romanization (1) sakîmôri n-i (2) yuk-u pa ta-Nka se tö (3) tôp-u pîtö-wo (4) mî-ru-Nka tömösi-sa (5) mônö-[o]möp-î mô se-Ns-u Glossing with morphemic analysis (1) border.guard DV-INF (2) go-ATTR TOP who-POSS husband DV (3) ask-ATTR person-ACC (4) see-ATTR-POSS envious-NML (5) matter-think-NML PT do-NEG-INF Translation (4) Oh, the envy of seeing (3) people who ask (5) without care: (2) “Whose husband is going (1) as a border-guard?” Commentary Although this poem is composed by a wife of a sakîmôri, it has no EOJ features.

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This poem is composed by a sakîmôri wife, who indicates her sadness about the departure of her husband in an indirect way, saying that the surrounding people do not care. Poems 20.4425-4432 are poems by sakîmôri and their wives from the past years as becomes clear from the postscript to these poems. None of these eight poems are dated or have any record of a location where their authors come from, and they are all anonymous, unlike all preceding sakîmôri poems in book twenty.

20.4426 (E)

本文・Original text (1) 阿米都之乃 (2) 可未尓奴佐於伎 (3) 伊波比都々 (4) 伊麻世和我世 奈 (5) 阿礼乎之毛波婆 仮名の書き下し・Kana transliteration (1) あめ 2 つしの 2 (2) かみ 2 にぬさおき 1 (3) いはひ 1 つつ (4) いませわ がせな (5) あれをしも 1 はば Romanization (1) amë tusi-nö (2) kamï-ni nusa ok-î (3) ipap-î-tutu (4) imas-e wa-Nka se-na (5) are-wo si [o]môp-aNpa Glossing with morphemic analysis (1) heaven earth-GEN (2) deity-DAT nusa place-INF (3) pray-INF-COOR (4) go(HON)-IMP I-POSS beloved-DIM (5) I-ACC PT love-COND Translation (5) If [you] love me, (4) my beloved, go (2) after making nusa offerings to the deities (1) of heaven and earth, (3) and continue to be [ritually] pure! Commentary This poem is composed by a wife of a sakîmôri. EOJ tusi ‘earth’ corresponds to WOJ tuti ‘id.’ The EOJ form exhibits the palatalization t > s/_i. Since EOJ tusi is attested only in Simôtupusa province (see 20.4392), this poem may be a poem from the same province, but this is not certain, since the palatalization of t > s/_i is also attested in other Azuma provinces: Simôtukënô, Pîtati, and MuNsasi. OJ nusa are paper or cloth offerings for deities (Omodaka et al. 1967: 553). OJ ipap- is usually translated as ‘to pay’. This tag translation works in most cases, but not in all of them, because the primary meaning of OJ ipap- appears ‘to be ritually pure while praying’ or ‘to implore deities while in the ritually pure state’. On EOJ diminutive suffix -na, see the commentary to 14.3384

20.4427 (E)

本文・Original text (1) 伊波乃伊毛呂 (2) 和乎之乃布良之 (3) 麻由須比尓 (4) 由須比之比 毛乃 (5) 登久良久毛倍婆

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仮名の書き下し・Kana transliteration (1) いはの 2 いも 1 ろ 2 (2) わをしの 2 ふらし (3) まゆすひ 1 に (4) ゆす ひ 1 しひ 1 も 1 の 2 (5) と 2 くらくも 1 へ 2 ば Romanization (1) ipa-nö imô-rö (2) wa-wo sinöp-urasi (3) ma-yusup-î-ni (4) yusup-î-si pîmô-nö (5) tök-ur-aku [o]môp-ë-Npa Glossing with morphemic analysis (1) home-GEN beloved-DIM (2) I-ACC yearn-SUP (3) INT-tie-NML-LOC (4) yusup-INF-PAST/ATTR cord-GEN (5) untie-ATTR-NML think-EV-COND Translation (3/4/5) When [I] think that the cords [of my garment] tied in a really [good] knot got untied [by themselves], (1/2) it seems that my dear beloved at home yearns for me. Commentary Line one is hypermetric (jiamari, 字余り). EOJ ipa ‘house’ corresponds to WOJ ipê ‘id.’ See also 20.4375, 20.4406, 20.4416, 20.4419, and 20.4423. On the predominantly EOJ diminutive suffix -rö, see the commentary to 14.3351. OJ sinöp- ‘to yearn’ corresponding to WOJ sinôp- ‘id.’ cannot be taken as an EOJ form, contrary to Omodaka’s suggestion (1984.20: 166), because the same misspelling of the same word also occurs in late WOJ texts, for example in Bussoku seki ka (multiple examples). EOJ yusup- ‘to tie’, which occurs twice in this poem, seems to be related to WOJ musuNp- ‘id.’, but the correspondence of EOJ y- to WOJ m- is unique and hard to explain. As a working hypothesis, I would like to propose that EOJ y- might reflect Ainu third person indefinite direct object prefix i-, which is also attested as -y- in 14.3526. Thus, yusup- < *i-usup- < *i-musup-. The condition for the loss of -m- is not clear. On the symbolism of tying and untying the cords of one’s garment, as well on cords getting loose, see the commentary to 15.3585.

20.4428 (E)

本文・Original text (1) 和我世奈乎 (2) 都久志波夜利弖 (3) 宇都久之美 (4) 叡比波登加 奈々 (5) 阿夜尓可毛祢牟 仮名の書き下し・Kana transliteration (1) わがせなを (2) つくしはやりて (3) うつくしみ 1 (4) え 2 ひ 1 はと 2 かなな (5) あやにかも 1 ねむ Romanization (1) wa-Nka se-na-wo (2) Tukusi-pa yar-i-te (3) utukusi-mî (4) yepî pa tök-an-a-na (5) aya n-i kamô ne-m-u

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Glossing with morphemic analysis (1) I-POSS beloved-DIM-ACC (2) Tukusi-side send-INF-SUB (3) be.longingGER (4) sash TOP untie-NEG-ATTR-LOC (5) unusual DV-INF PT sleepTENT-ATTR Translation (3) Because [I] long for [him], (1/2) after sending my beloved to Tukusi, (5) [I] will sleep in an unusual manner (4) without untying [my] sash. Commentary This poem is composed by a wife of a sakîmôri. It is practically identical to the poem 20.4422 above. On EOJ diminutive suffix -na, see the commentary to 14.3384. Tukusi is the old name for the island of Kyūshū. EOJ -pa ‘side’ corresponds to WOJ -pê ‘id.’ Here it functions as a directive case marker. Cf. -pë in 20.4422 above. EOJ yepî ‘sash’ corresponds to WOJ oNpî ‘id.’ (also found in 20.4422 above). The correspondence of EOJ y- to WOJ 0- is unique and difficult to explain. I believe that EOJ yepî < *i-epî, where *i- is Ainu prefix ‘thing-’, attested, e.g., in Chitose dialect (Nakagawa 1995: 26) and Kushiro dialect (Masuno et al. 2004: 45). The correspondence EOJ e : WOJ ö that we have seen so far (see 20.4338, 20.4340, 20.4342, 20.4343, and 20.4345) is typical for SuruNka EOJ, so this poem may be from SuruNka. On EOJ form in V-(a)n-a-na ‘V-NEG-ATTR-LOC’, see the commentary to 14.3408. On EOJ special attributive -a, see the commentary to 14.3526 and the sketch of the EOJ grammar in the introduction to this volume.

20.4429 (E)

本文・Original text (1) 宇麻夜奈流 (2) 奈波多都古麻乃 (3) 於久流我弁 (4) 伊毛我伊比之 乎 (5) 於岐弖可奈之毛 仮名の書き下し・Kana transliteration (1) うまやなる (2) なはたつこ 1 まの 2 (3) おくるがへ 1 (4) いも 1 がい ひ 1 しを (5) おき 1 てかなしも 1 Romanization (1) umaya-n-ar-u (2) napa tat-u kôma-nö (3) okur-u Nkapê (4) imô-Nka ip-î-si-wo (5) ok-î-te kanasi-mô Glossing with morphemic analysis (1) stables-LOC-exist-ATTR (2) rope break-ATTR stallion-COMP (3) be.left.behind PT (4) beloved-POSS say-INF-PAST/ATTR-ACC (5) leave.behind-INF-SUB be.sad-EXCL Translation (4) Although [my] beloved said: (3) “Will [I] be left behind?”, (5) [I] am sad after [I] left [her] behind (2) like a stallion that would break [his] rope (1) in the stables!

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Commentary The first two lines represent a poetic introduction (jo, 序), introducing a metaphor that a stallion left behind will break his halter in order to join his master. OJ umaya ‘stable’ is a transparent compound: uma ‘horse’ + ya ‘house’. OJ okure- ‘to be left behind’ is an intransitive verb that contrasts with the transitive OJ verb ok- ‘to leave behind’. On EOJ interrogative particle Nkapê, see the commentary to 14.3420 (spelled as Nkapë in 14.3420 and 14.3502). On -umö ~ -mö as a special Old Japanese exclamative form, see the commentary to 15.3595.

20.4430 (E)

本文・Original text (1) 阿良之乎乃 (2) 伊乎佐太波佐美 (3) 牟可比多知 (4) 可奈流麻之都 美 (5) 伊埿弖登阿我久流 仮名の書き下し・Kana transliteration (1) あらしをの 2 (2) いをさたばさみ 1 (3) むかひ 1 たち (4) かなるまし づみ 1 (5) いでてと 2 あがくる Romanization (1) ara-si wo-nö (2) i-wo-sa-ta-N-pasam-î (3) mukap-î-tat-i (4) ka nar-u ma siNtum-î (5) iNde-te tö a-Nka k-uru Glossing with morphemic analysis (1) tough-FIN man-GEN (2) OBJ-DIM-arrow-hand-LOC-hold.between-INF (3) face-INF-stand-INF (4) voice sound-ATTR interval become.quiet-INF (5) go.out(INF)-SUB PT I-POSS come-ATTR Translation (4) At the time when voices became quiet (1) [similarly to the scene when] tough men (3) stand facing [their targets] (2) holding arrows in their hands, (5) [I] went out and came here. Commentary OJ -si in ara-si wo mo ‘tough-FIN man PT’ is an example of a special OJ usage of the final form -si in the attributive function. For more details and examples see Vovin (2009a: 461-65). There is no satisfactory internal Japanese explanation of the prefix i- in line two (Kinoshita 1988: 234). It certainly cannot be directive-locative prefix i-, because i- cannot be separated from a verb by two or even one noun. I believe it is a loan of Ainu e-, indirect object prefix, with the expected raising *e- > iin EOJ. This indirect object prefix is simultaneously playing a function of an incorporation marker, because two nouns, sa ‘arrow’ and ta- ‘hand’ are found between it and the stem of the verb pasam- ‘to hold between’. OJ sa ‘arrow’ is a loanword from Korean (via WOJ), cf. MK sál ‘arrow’. For details see Vovin (2010: 173). Line four also occurs in its entirety as line four in 14.3361, see the commentary to this poem for details. Unlike all other scholars, I read kanaru as unaru (reflecting Ainu hunar ‘to search’) on the basis of the Genryaku

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kōhon script, but there is no such possibility for 20.4430, because all manuscripts, including the Genryaku kōhon, clearly have the phonogram 可 /ka/, not the phonogram 宇 /u/. Given the formulaic nature of Old Japanese poetry, we should expect that the lines would be the same. Consequently, my reading of line four in 14.3361 was probably mistaken, and both lines in 14.3361 and 20.4430 should be read as kanaru ma siNtumî. Nevertheless, I still think that kanaru in this line is difficult to interpret entirely in Japanese, and, therefore it is highly likely that it should partially involve Ainu. Namely, I think that while nar-u ‘sounds’ is Japanese, ka in all probability represents a loanword of Ainu háw ‘voice’. Line five is hypermetric (jiamari, 字余り). On EOJ focus particle tö, corresponding to WOJ sö, see the commentary to 14. 3409. In book twenty it also occurs in 20.4385.

20.4431 (E)

本文・Original text (1) 佐左賀波乃 (2) 佐也久志毛用尓 (3) 奈々弁加流 (4) 去呂毛尓麻世 流 (5) 古侶賀波太波毛 仮名の書き下し・Kana transliteration (1) ささがはの 2 (2) さやぐしも 1 よ 1 に (3) ななへ 1 かる (4) こ 2 ろ も 1 にませる (5) こ 1 ろ 2 がはだはも 1

2

Romanization (1) sasa-Nka pa-nö (2) sayaNk-u simô yô-ni (3) nana pê k-ar-u (4) körömô-ni mas-er-u (5) kô-rö-Nka paNta pa mö Glossing with morphemic analysis (1) bamboo.grass-POSS leaf-GEN (2) rustle.softly-ATTR frost night-LOC (3) seven layer wear-PROG-ATTR (4) garment-LOC be.superior-PROG-ATTR (5) girl-DIM-POSS skin TOP PT Translation (5) The skin of [my beloved] girl (3/4) is superior to the seven-layered garment that [I] am wearing (1/2) on a frosty night, when the leaves of the bamboo grass are rustling softly! Commentary The usage of the possessive case marker -Nka after OJ sasa ‘bamboo grass’ may indicate that this word once belonged to the animate class. Or it might be a result of confusion between the possessive -Nka and the genitive -nö that is already present in OJ. EOJ k-ar-u ‘wear-PROG-ATTR’ corresponds to WOJ k-êr-u ‘id.’ On the EOJ progressive suffix -ar- corresponding to WOJ -êr- see the commentary to 14.3351. It is interesting that both progressive -ar- and -er- co-occur in this poem. On the predominantly EOJ diminutive suffix -rö, see the commentary to 14.3351.

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20.4432 (E)

本文・Original text (1) 佐弁奈弁奴 (2) 美許登尓阿礼婆 (3) 可奈之伊毛我 (4) 多麻久良波 奈礼 (5) 阿夜尓可奈之毛 仮名の書き下し・Kana transliteration (1) さへ 1 なへ 1 ぬ (2) み 1 こ 2 と 2 にあれば (3) かなしいも 1 が (4) た まくらはなれ (5) あやにかなしも 1 Romanization (1) sapê-n-apê-n-u (2) mî-kötö n-i ar-e-Npa (3) kanasi imô-Nka (4) ta-makura panare (5) aya n-i kanasi-mô Glossing with morphemic analysis (1) obstruct(NML)-LOC-dare-NEG-ATTR (2) HON-word DV-INF exist-EVCON (3) dear beloved-POSS (4) arm-pillow be.separated(INF) (5) unusual DV-INF be.sad-EXCL Translation (2) Because [it] is [my sovereign’s] command (1) that [I] cannot refuse, (3/4) [I] separated [myself] from the arms of [my] dear beloved that [I used as] a pillow, (5) and [I] am unusually sad. Commentary This poem is very close textually to 14.3480, which also seems to be a poem written by a sakîmôri. This poem could have been perceived as a poem written in WOJ but for two features. First, WOJ /ë/ is misspelled as /ê/ twice in the first line. Second, as far as I can tell, the construction V(NML)-LOC + apê- ‘to dare’ is not attested in WOJ texts. The third line is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since kanasi imô was in all probability pronounced as [kanasimô]. On -umö ~ -mö as a special Old Japanese exclamative form, see the commentary to 15.3595.

Postscript to the poems 20.4425-4432

本文・Original text 右八首昔年防人歌矣主典刑部少録正七位上磐余伊美吉諸君抄寫贈兵部 少輔大伴宿祢家持 Translation Eight poems above are poems by sakîmôri from the past years. Ipare-nö imîkî Mörökîmî (Senior Seventh Rank, Upper Grade), the official of the fourth class, and Junior Secretary of the Ministry of Justice selected and recorded [these poems], and presented [them] to Opötömö-no sukune Yakamöti, the Junior Assistant Minister of the Ministry of War. Commentary Poems 20.4425-4432 are poems by sakîmôri and their wives from the past years that were collected by Ipare-nö imîkî Mörökîmî as becomes clear from

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this postscript. All eight poems are anonymous. They are also not dated nor have any record of a location where their authors come from. This constitutes a sharp contrast to all preceding sakîmôri poems that were collected by Opotömö-nö Yakamöti. Nothing is known about the biography of Ipare-nö imîkî Mörökîmî. Imîkî is a kabane title. Officials of the fourth class (Sakwan, 主典) were bureaucrats in charge of documents and records in ministries and offices (Kinoshita 1988: 238). Under the Ritsuryō code, Ministry of Justice (Gyōbu[shō], 刑部[省]) is one of the four Ministries under the Controlling Board of the Right (Ubenkan, 右弁官). Junior Secretary (Shōroku, 少録) position corresponds to Senior Eighth Rank, Upper Grade. Thus, the rank of Ipare-nö imîkî Mörökîmî exceeded his actual position. There were two Junior Secretary positions per Ministry. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320.

Preface to the poems 20.4433-4435

本文・Original text 三月三日檢顕防人勅使并兵部使人等同集飲宴作歌三首 Translation Three poems composed on the third day of the third lunar month [of the seventh year of Tenpyō Shōhō], when the Imperial messenger, who was inspecting sakîmôri, the messenger from the Ministry of War, and others, gathered together for a drinking banquet. Commentary These poems were apparently composed in Nanipa, where Opotömö-nö Yakamöti was at the time. The third day of the third lunar month of the seventh year of Tenpyō Shōhō corresponds to April 18, 755 AD. Imperial messenger is ANpë-nö Samîmarö, the author of poem 20.4433. On his biography, see the commentary to 20.4433. Messenger from the Ministry of War is Opotömö-nö Yakamöti, the author of the poems 20.4434-4435. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On Ministry of War (Hyōbu[shō], 兵部[省]), see the commentary to the postscript to 20.4315-4320.

20.4433 (W)

本文・Original text (1) 阿佐奈佐奈 (2) 安我流比婆理尓 (3) 奈里弖之可 (4) 美也古尓由伎 弖 (5) 波夜加弊里許牟

202

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仮名の書き下し・Kana transliteration (1) あさなさな (2) あがるひ 1 ばりに (3) なりてしか (4) み 1 やこ 1 に ゆき 1 て (5) はやかへ 1 りこ 2 む Romanization (1) asa-na [a]sa-na (2) aNkar-u pîNpari n-i (3) nar-i-te-si ka (4) mîyakô-ni yuk-î-te (5) paya kapêr-i-kö-m-u Glossing with morphemic analysis (1) morning-PLUR morning-PLUR (2) rise-ATTR skylark DV-INF (3) become-INF-PERF(INF)-PAST/ATTR PT (4) capital-LOC go-INF-SUB (5) quick return-INF-come-TENT-FIN Translation (3) [I] want to become (2) a skylark that flies up (1) every morning! (4) [I] would go to the capital, and (5) quickly come back. Commentary On the analysis of -na in asa-na [a]sa-na ‘every morning’ as a plural marker see Vovin (2005: 102-07). WOJ pîNpari (MdJ hibari ( 雲 雀 ), Lat. Alauda arvensis japonica) ‘Japanese skylark’ is a non-migratory bird that stays in Japan throughout the year. Its body length is 17 cm, and wing span 32 cm. Its back and wings are brown with black spots, and its belly is white. It makes its nests at river banks or in fields, including cultivated fields. Male skylarks have a habit of chirping while dancing in their flight. Skylarks are especially noticeable in spring.

Postscript to the poem 20.4433

本文・Original text 右一首勅使紫微大弼安倍沙美麻呂朝臣 Translation The poem above [was composed by] ANpë-nö Samîmarö asömî, the Imperial messenger and the Senior Assistant President of the Imperial Constellation Office. Commentary ANpë-nö Samîmarö asömî (安倍沙美麻呂朝臣), also written as ANpë-nö asömî Samîmarö (安倍朝臣沙美麻呂), with his kabane title asömî placed in its more usual location between a family and a given name,51 was promoted from Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade on the twenty-eighth day of the ninth lunar month the ninth year of Tenpyō (October 16, 737 AD) and made Lesser Counselor (Shōnagon, 少納言) on the seventh day of the intercalary seventh lunar month of the tenth year of Tenpyō (August 26, 738 AD). On the twenty-first day of the eleventh lunar month of the twelfth year of Tenpyō (December 14, 740 AD), he was promoted to Junior Fifth Rank, Upper Grade. On the twenty-second day of the eighth lunar month of the fourteenth year of Tenpyō (September 25, 742 AD) ANpë-nö Samîmarö is mentioned as a Middle Controller of the Left (Sachūben, 左中 51

Placing a kabane title after a given name used to convey more respect and/or honorification.

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辨). On the fifth day of the fifth lunar month of the fifteenth year of Tenpyō (June 1, 743 AD) he was promoted to Senior Fifth Rank, Lower Grade, and on the seventh day of the first lunar month of the seventeenth year of Tenpyō (February 12, 745 AD) to the Upper Grade of the same rank. The later promotions of ANpë-nö Samîmarö were: to Junior Fourth Rank, Lower Grade on the twenty-second day of the fourth lunar month of the eighteenth year of Tenpyō (May 16, 746 AD), to Junior Fourth Rank, Upper Grade on the twenty-fifth day of the fourth lunar month of the first year Tenpyō Shōhō (May 15, 749 AD), and to Senior Fourth Rank, Lower Grade on the twentieth day of the fifth lunar month of the first year of Tenpyō Hōji (June 11, 757 AD). ANpë-nö Samîmarö passed away on the twentieth day of the third lunar month of the second year of Tenpyō Hōji (May 1, 758 AD), being a Minister of the Ministry of Central Affairs (Naka tukasa shō, Naka matsurigoto no tukasa, 中 務省) with Senior Fourth Rank, Lower Grade (Omodaka 1984.20: 172). Thus, although his rank is not mentioned in the postscript to 20.4433, we know that he had had Junior Fourth Rank, Upper Grade at the moment when he composed this poem. Senior Assistant President (Daihitsu, 大弼) is the second senior position in important court offices. There were two positions per office of the Senior Assistant President. Shibi (紫微) ‘purple subtlety’ is a contraction of Shibi chūdai (紫微中台) ‘Office of Empress Dowager’s Household Affairs’, lit. ‘Office of Purple Subtlety’, a new institution which was established in 749 AD, a month after Empress Kōken’s ascension to the throne. Shibi (紫微) or Shibi-en (紫微垣) refers to the constellation in Chinese astronomy that is found to the north of the Big Dipper, and is considered to be an imperial location. The establishment of this institution was a political move by PuNtipara-nö Nakamarö to deprive of power his arch-rival TatiNpana-nö Möröye (Kinoshita 1988: 239).

20.4434 (W)

本文・Original text (1) 比婆里安我流 (2) 波流弊等佐夜尓 (3) 奈理奴礼波 (4) 美夜古母美 要受 (5) 可須美多奈妣久 仮名の書き下し・Kana transliteration (1) ひ 1 ばりあがる (2) はるへ 1 と 2 さやに (3) なりぬれば (4) み 1 や こ 1 も 2 みえ 2 ず (5) かすみ 1 たなび 1 く Romanization (1) pîNpari aNkar-u (2) paru pê tö saya n-i (3) nar-i-n-ure-Npa (4) mîyakô mö mî-ye-Ns-u (5) kasumî tanaNpîk-u Glossing with morphemic analysis (1) skylark rise-ATTR (2) spring side DV clear DV-INF (3) become-INFPERF-EV-CON (4) capital PT see-PASS-NEG-INF (5) mist trail-FIN Translation (3) As [it] has become (2) clear that [this] is the spring time (1) when skylarks are flying up, (4) [I] cannot see the capital, (5) [as] the mists are trailing.

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Commentary Line one is hypermetric (jiamari, 字余り). On WOJ pîNpari ‘skylark’ see the commentary to 20.4433. Certainly one cannot see Nara from Nanipa regardless of the presence or absence of a mist. This is certainly a poetic metaphor that represents the response to the first poem that expresses the desire to visit the capital. Essentially, both 20.4434 and 4435 function as envoys to 20.4433. This poem was composed by Opotömö Yakamöti as it becomes clear from the postscript to 20.4434-4435.

20.4435 (W)

本文・Original text (1) 布敷賣里之 (2) 波奈乃波自米尓 (3) 許之和礼夜 (4) 知里奈牟能知 尓 (5) 美夜古敝由可无 仮名の書き下し・Kana transliteration (1) ふふめ 1 りし (2) はなの 2 はじめ 2 に (3) こ 2 しわれや (4) ちりなむ の 2 ちに (5) み 1 やこ 1 へ 1 ゆかむ Romanization (1) pupum-êr-i-si (2) pana-nö paNsimë-ni (3) kö-si ware ya (4) tir-i-n-am-u nöti-ni (5) mîyakô-pê yuk-am-u Glossing with morphemic analysis (1) be.still.in.the.buds-PROG-INF-PAST/ATTR (2) flower-GEN beginningLOC (3) come(INF)-PAST/ATTR I PT (4) fall-INF-PERF-TENT-ATTR after-LOC (5) capital-side go-TENT-ATTR Translation (3) [I] came [here] (2) at the beginning of the [cherry] blossoms (1) that had still been in the buds, (5) [but] would [I] go to the capital (4) after they have fallen? Commentary I follow Omodaka’s lead in reconstructing the last character in the Urtext of this poem as 无, and not as 無 on the basis of the evidence from the Genryaku kōhon (1984.20: 173). I would like to add that this evidence is further corroborated by the Hirose-bon, which also has 无 (10.89a). Although the flowers mentioned in this poem are not identified, based on the time (beginning of the third lunar month), these can only be cherry blossoms. Particle ya in line three is an interrogative particle. The expressed desire to go to the capital connects this poem with the first poem in this mini-sequence, 20.4433. In other words, similarly to 20.4434, 20.4435 functions as an envoy to 20.4433. This poem was composed by Opotömö Yakamöti as it becomes clear from the postscript to 20.4434-4435.

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Postscript to the poems 20.4434-4435 本文・Original text 右二首兵部使少輔大伴宿祢家持

Translation Two poems above [were composed by] Opotömö-nö sukune Yakamöti, Junior Assistant Minister of the Ministry of War, and messenger [from the same Ministry to Nanipa]. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320.

Preface to the poem 20.4436 本文・Original text 昔年相替防人歌一首

Translation A poem [composed by] an exchange sakîmôri. Commentary On exchange sakîmôri, see the commentary to the preface to the poems 20.4321-4424. Like the sakîmôri poems 20.4425-4432 this poem is also anonymous and does not contain any mention about the time it was composed or the place of origin of its author. It is also the last sakîmôri poem in book twenty.

20.4436 (W/S)

本文・Original text (1) 夜未乃欲能 (2) 由久左伎之良受 (3) 由久和礼乎 (4) 伊都伎麻佐牟 等 (5) 登比之古良波母 仮名の書き下し・Kana transliteration (1) やみ 2 の 2 よ 1 の 2 (2) ゆくさき 1 しらず (3) ゆくわれを (4) いつき 1 まさむと 2 (5) と 2 ひ 1 しこ 1 らはも 2 Romanization (1) yamï-nö yô-nö (2) yuk-u sakî sir-aNs-u (3) yuk-u ware-wo (4) itu k-î-[i]mas-am-u tö (5) töp-î-si kô-ra pa mö Glossing with morphemic analysis (1) darkness-GEN night-COMP (2) go-ATTR ahead know-NEG-INF (3) go-ATTR I-ACC (4) when come-INF-HON-TENT-FIN DV (5) ask-INFPAST/ATTR girl-DIM TOP PT

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Translation (5) Oh, my dear girl, who asked (3) me, who would go [away], (2) without knowing [my] destination (1) like the night of darkness: (4) “When will [you] come back?” Commentary This poem has no EOJ features. Only in the Genryaku kōhon the OJ word yô ‘night’ in the first line is spelled semantographically as 夜 , all other manuscripts, including the Hirose-bon have phonographic spelling 欲. Under this scenario, it is most likely that the Genryaku kōhon contains a mistake, possibly influenced by the preceding word yamï ‘darkness’, which also has the character 夜 ‘night’ as a phonogram for the syllable /ya/ (Omodaka 1984.20: 174).

Preface to the poem 20.4437

本文・Original text 先太上天皇御製霍公鳥歌一首日本根子高瑞日清足姫天皇也 Translation One poem about a cuckoo [composed by] the Previous Retired Empress. It is the Empress Yamatö nekô taka mîNsu pî kîyô tarasi pîmê. Commentary Previous Retired Empress (先太上天皇) is Empress Genshō (元正), on whom see the commentary to the preface to the poem 20.4393. Yamatö nekô taka mîNsu pî kîyô tarasi pîmê (日本根子高瑞日清足姫) is the Japanese title of Empress Genshō.

20.4437 (W)

本文・Original text (1) 富等登藝須 (2) 奈保毛奈賀那牟 (3) 母等都比等 (4) 可氣都々母等 奈 (5) 安乎祢之奈久母 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) なほも 1 なかなむ (3) も 2 と 2 つひ 1 と 2 (4) か け 2 つつも 2 と 2 な (5) あをねしなくも 2 Romanization (1) potötöNkîsu (2) napo mô nak-an-am-u (3) mötö-tu pîtö (4) kakë-tutu mötöna (5) a-wo ne si nak-umö Glossing with morphemic analysis (1) cuckoo (2) still PT cry-DES-TENT-FIN (3) base-GEN/LOC person (4) call(INF)-COOR in.vain (5) I-ACC sound PT make.cry-EXCL Translation (1) Cuckoo! (2) [I] wish [you] would cry more. (4) Calling in vain (3) [the name of] the person of the past, (5) [you] make me cry loudly!

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Commentary Kinoshita made two important observations that greatly facilitate the understanding of this poem and really help to see it as a great work of art (1988: 243). First, the subject of the verb marked by the coordinative auxiliary -tutu in combination with the adverb mötöna ‘in vain, for no reason’ does not refer to the speaker himself/herself. Second, the cry of the cuckoo resembles one’s own cry for the name of a deceased. Therefore, the verb kakë- must mean ‘to call’ here, and not ‘to think in one’s heart’, as Omodaka believes (1984.20: 175). On WOJ potötöNkîsu ‘cuckoo’, see the commentary to 15.3754. On -umö ~ -mö as a special Old Japanese exclamative form, see the commentary to 15.3595. The poem has no date (which is confirmed in the postscript to 20.4436-4439 below), but since Empress Genshō passed away in 748 AD, the poem cannot be later than this date.

Preface to the poem 20.4438 本文・Original text 湯 朷妙觀應詔奉和歌一首

Translation A poem that Sechi Myōkwan presented in response to the imperial command. Commentary Character 湯 朷 is found as a side gloss to the character 障 in the Genryaku kōhon, as well as in the Nishi Honganji-bon and the Kishū-bon. The character 湯 朷 appears to be a graphic variation of the character 薛. Sechi Myōkwan (湯 朷妙觀) is a name of a high-ranked court lady belonging to uchi no myōbu (内命婦), lit. ‘inside ladies’.52 Uchi-no myōbu had the Fifth Rank and higher and served in the palace, although they had no official positions. During the Nara period they were included to the class of mîya-bîtö (宮人) ‘courtiers’, but from the Heian period onward mîya-bîtö ‘courtiers’ and uchi-no myōbu ‘court ladies’ were kept as two distinct groups. Sechi Myōkwan appears in the Shoku Nihongi three times. First, she is mentioned as being promoted to Junior Fifth Rank, Upper Grade on the tenth day of the first lunar month of the seventh year of Yōrō (養老) (February 19, 723 AD). She consequently was granted the family name Kapakamî (河上) and kabane title imîkî (忌寸) on the thirteenth day of the fifth lunar month of the first year of Jinki (神龜) (June 8, 724 AD). Finally she is mentioned on the fourteenth day of the second lunar month of the ninth year of Tenpyō (March 19, 737 AD) as being promoted to Senior Fifth Rank, Lower Grade (Omodaka 1984.20: 177). In the record of this last promotion her name appears as Kapakamî-nö imîkî Myōkwan (河上忌寸妙觀). This is interesting, because we can deduce that Myōkwan (妙觀) is her given name, and that her previous family name was Sechi (湯 朷). Needless to say, this combination of a family name Sechi (湯 朷) with a given name Myōkwan (妙觀) strongly suggests that she was either an immigrant from the mainland, or a descendent of immigrants. Now, the character 薛, of which the character 湯 朷 is a graphic variant, represents a 52

Called so in contrast to ge-no myōbu (外命婦) ‘outside ladies’, who were wives of the officials with Fifth Rank and higher.

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well-known Korean family name 薛 (MK and MdK Sel). MK Sel certainly reflects earlier *Set. Thus, in all likelihood Sechi Myōkwan (湯 朷妙觀) was either an immigrant from Korea, or a descendant of Korean immigrants.

20.4438 (W)

本文・Original text (1) 保等登藝須 (2) 許々尓知可久乎 (3) 伎奈伎弖余 (4) 須疑奈无能知 尓 (5) 之流志安良米夜母 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) こ 2 こ 2 にちかくを (3) き 1 なき 1 てよ 2 (4) す ぎ 2 なむの 2 ちに (5) しるしあらめ 2 やも 2 Romanization (1) potötöNkîsu (2) kökö-ni tika-ku-wo (3) k-î nak-î-te-yö (4) suNkï-n-am-u nöti-ni (5) sirusi ar-am-ë ya mö Glossing with morphemic analysis (1) cuckoo (2) here-LOC be close-INF-ACC (3) come-INF cry-INF-PERF-IMP (4) pass(INF)-PERF-TENT-ATTR after-LOC (5) usefulness exist-TENT-EV PT PT Translation (1) Cuckoo! (2/3) Come close to here, and cry! (4) After [this time] passes, (5) will be there any use [for your song]? [-- Certainly not!] Commentary WOJ suNkïnamu ‘will pass’ refers to the passing of time while the Empress Genshō is still here. After she goes away, there will be no use for the cuckoo’s cry. On WOJ potötöNkîsu ‘cuckoo’, see the commentary to 15.3754. Japanese scholars treat -wo in line two as an emphatic particle wo (Takagi et al. 1972: 449), (Omodaka 1984.20: 177), but this is unlikely, because there are no other reliable examples of the emphatic particle wo found after infinitive -ku, as this particle occurs in WOJ only after the locative case marker -ni (Vovin 2009a: 1273-74). I believe that it is the accusative case marker -wo, used with the verb of motion kö- ‘to come’. The cases of the nominalization of the adjective infinitive in -ku in are rare in WOJ, but they do occur. Line five is hypermetric (jiamari, 字余り). The poem has no date (which is confirmed in the postscript to 20.4436-4439 below), but since Empress Genshō passed away in 748 AD, the poem cannot be later than this date.

Preface to the poem 20.4439

本文・Original text 冬日幸于靫負御井之時内命婦石川朝臣應詔賦雪歌一首諱曰邑婆

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Translation A poem about the snow composed by court lady Isikapa-nö asömî in response to the imperial command on a winter day when [Empress Genshō] went to Yukëpî well. Her real name is OpoNpa ‘Grandmother’. Commentary On Empress Genshō (元正), see the commentary to the preface to poem 20.4393. Yukëpî (靫負) < yukë op-î (lit. ‘quiver bearers’) is the old name for the Headquarters of the Gate Guards (emonfu, 衛門府). Yukëpî well is a well that was in the vicinity of this office. Isikapa-nö asömî is the wife of Opotömö-nö Yasumarö (大伴安麻呂) and mother of Sakanöupë-nö iratumê (坂上郎女). She is also mentioned in the preface to 4.518 and in the postscript to 4.667. On high-ranked court ladies (uchi no myōbu, 内命婦), see the commentary to the preface to 20.4438. The character 諱 means either ‘real name’ or ‘posthumous name’. The character 邑 opo is a rare disyllabic phonogram. It also occurs in the mysterious line five in MYS 4.655.

20.4439 (W)

本文・Original text (1) 麻都我延乃 (2) 都知尓都久麻埿 (3) 布流由伎乎 (4) 美受弖也伊毛 我 (5) 許母里乎流良牟 仮名の書き下し・Kana transliteration (1) まつがえ 2 の 2 (2) つちにつくまで (3) ふるゆき 1 を (4) み 1 ずてや いも 1 が (5) こ 2 も 2 りをるらむ Romanization (1) matu-Nka ye-nö (2) tuti-ni tuk-u-maNte (3) pur-u yukî-wo (4) mî-Ns-u-te ya imô-Nka (5) kömör-i wor-uram-u Glossing with morphemic analysis (1) pine-POSS branch-GEN (2) ground-LOC touch-ATTR-TERM (3) fall-ATTR snow-ACC (4) see-NEG-INF-SUB PT younger.sister-POSS (5) be.secluded-INF exist-TENT2-ATTR Translation (4/5) Will [my] younger sister continue to be secluded without looking at (3) the falling snow (1/2) until the pine branches will bend to the ground? Commentary Isikapa-nö asömî assumes the voice of Genshō in this poem, as the usage of OJ imô in its primary meaning ‘younger sister’ indicates. OJ imô refers to the Princess Mînusi, on whom see the commentary to the postscript to 20.4439 below. The pine branches will bend to the ground under the heavy weight of snow. The particle ya in line four is an interrogative particle. The poem has no date (which is confirmed in the postscript to 20.4436-4439 below), but since Princess Mînusi passed away on the

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twenty-fourth day of the eighth lunar month of Tenpyō (September 22, 737 AD), this date can be taken as non-post quem.

Postscript to the poem 20.4439

本文・Original text 于時水主内親王寝膳不安累日不参因以此日太上天皇勅侍嬬等曰爲遣水 主内親王賦雪作歌奉獻者於是諸命婦等不堪作歌而此石川命婦獨作此歌 奏之 Translation At [this] time Princess Mînusi did not sleep or eat well, and on many days she did not come [for the service]. Therefore, on this day the [Previous] Retired Empress issued an imperial command to [her] attendant ladies: “Compose poems about the snow and present [them] in order to send [them] to Princess Mînusi”. At this point court ladies could not compose [their] poems, and [only] this lady Isikapa alone [could] compose her poem and presented it [to the Empress]. Commentary Princess Mînusi is a daughter of Emperor Tenchi and Kurômê-nö iratumê (黒 媛娘), who was a daughter of Kurukuma-nö oNpîtö Tökömarö (栗隈首徳萬). Princess Mînusi is mentioned in the Shoku Nihongi as an Imperial Princess of the Fourth Cap Rank (shinnō shihon, 親王四品) on the eleventh day of the first lunar month of the first year of Reiki (靈龜) (February 19, 715 AD). She was promoted to Imperial Princess of the Third Cap Rank (shinnō sambon, 親 王三品) on the fourteenth day of the second lunar month of the ninth year of Tenpyō (March 19, 737 AD), and passed away on the twenty-fourth day of the eighth lunar month of the same year (September 22, 737 AD). The Retired Empress is Empress Genshō ( 元正 ), on whom see the commentary to the preface to poem 20.4393.

Postscript to the poems 20.4436-4439

本文・Original text 右件四首上総國大掾正六位上大原眞人今城傳誦云尓年月未詳 Translation The four poems above were passed [to me] by Opopara-nö mapîtö Imakï (Senior Sixth Rank, Upper Grade), Senior Assistant Official in Kamîtupusa province. Dates [of the poems] are unknown. Commentary Opopara-nö mapîtö Imakï is mentioned several times in the Shoku Nihongi. He was promoted from Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade on the twenty-first day of the fifth lunar month of the first year of Tenpyō Hōji (June 6, 757 AD) and made a Junior Assistant Minister (Shōyū, 少輔) at the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部 省) on the sixteenth day of the sixth lunar month of the same year (July 6, 757 AD). On the ninth day of the first lunar month of the seventh year of Tenpyō Hōji (February 25, 763 AD) Opopara-nö mapîtö Imakï was appointed Minor Controller of the Left (Sashōben, 左少辨), and on the fourteenth day of the

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fourth lunar month of the same year (May 31, 763 AD) he was made a governor of Kamîtukënô province. He was further promoted to the Fifth Junior Rank, Upper Grade on the seventh day of the first lunar month of the eighth year of Tenpyō Hōji (February 13, 764 AD). Opopara-nö mapîtö Imakï was restored from the person with no rank (Mui, 無位) to his original Lower Fifth Rank, Upper Grade53 on the twenty-eighth day of the third intercalary lunar month of the second year of Hōki (May 17, 771 AD) and made Assistant Junior Minister (Shōyū, 少輔) at the Ministry of War (Hyōbu[shō], 兵部[省]). On the twenty-third day of the ninth lunar month of the third year of Hōki (October 23, 772 AD) he was appointed governor of SuruNka province (Omodaka 1974.8: 250). On Senior Assistant Official (Daien, 大掾) see the commentary to the postscript to 20.4413-4424. On Kamîtupusa province, see the commentary to 14.3348. The characters 云尓 ‘so it is said’ indicate that the texts are received as a hearsay (Kinoshita 1988: 250), namely that Yakamöti himself was not present at the moment of their composition.

Preface to the poems 20.4440-4441

本文・Original text 上総國朝集使大掾大原眞人今城向京之時郡司妻女等餞之歌二首 Translation Two poems composed by wives of district officials at the farewell banquet for Senior Assistant Official Opopara-nö mapîtö Imakï, when he was heading for the court in the capital as a provincial messenger of Kamîtupusa province. Commentary On Kamîtupusa province, see the commentary to 14.3348. Provincial messenger for the court (Chōshūshi, 朝集使) is a messenger who was delivering a yearly report on affairs in a given province to the central government in the capital. On Senior Assistant Official (Daien, 大掾), see the commentary to the postscript to 20.4413-4424. On the biography of Opopara-nö mapîtö Imakï see the commentary to the postscript to 20.4436-4439. District officials (Gunshi, 郡司) are those who handle district affairs. They included four positions: Senior Officer (Tairyō, 大領), Junior Officer (Shōryō, 少領), Secretary (Shusei, 主政), and Clerk (Shuchō, 主帳). These two poems have no dates, but given the fact that the next poetic sequence 20.4442-4445, representing the poetic exchange between Opoparanö mapîtö Imakï and Opotömö-nö sukune Yakamöti that took place during the drinking banquet given on the occasion of Opopara-nö mapîtö Imakï’s departure to his post in Kamîtupusa province at Yakamöti’s mansion in the capital, is dated by the ninth day of the fifth lunar month of the seventh year of Tenpyō Shōhō (June 22, 755 AD), and taking into the consideration that the travel from Kamîtupusa province to the capital took thirty days (Nakanishi

53

This fact probably indicates that Opopara-nö mapîtö Imakï was implicated in some plot or rebellion and at some point was stripped of his rank.

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1985: 180), they probably can be dated no later than late April or early May 755 AD.

20.4440 (W)

本文・Original text (1) 安之我良乃 (2) 夜敝也麻故要弖 (3) 伊麻之奈婆 (4) 多礼乎可伎美 等 (5) 弥都々志努波牟 仮名の書き下し・Kana transliteration (1) あしがらの 2 (2) やへ 1 やまこ 1 え 2 て (3) いましなば (4) たれをか き 1 み 1 と 2 (5) み 1 つつしの 1 はむ Romanization (1) AsiNkara-nö (2) ya-pê yama kôye-te (3) imas-i-n-aNpa (4) tare-wo ka kîmî tö (5) mî-tutu sinôp-am-u Glossing with morphemic analysis (1) AsiNkara-GEN (2) eight-fold mountain cross(INF)-SUB (3) go(HON)INF-PERF-COND (4) who-ACC PT lord DV (5) see(INF)-COOR long.forTENT-ATTR Translation (3) If [you] go away (2) crossing eight-fold mountains (1) of AsiNkara, (4/5) whom shall [I] long for, looking at [him] as [at you, my] lord? Commentary On AsiNkara, see the commentary to 14.3361. The expression ‘eight-fold mountains’ indicates multiple mountains. OJ imas- is used as an honorific verb not only for ‘to exist’, but also for ‘to go away’.

20.4441 (W)

本文・Original text (1) 多知之奈布 (2) 伎美我須我多乎 (3) 和須礼受波 (4) 与能可藝里尓 夜 (5) 故非和多里奈無 仮名の書き下し・Kana transliteration (1) たちしなふ (2) き 1 み 1 がすがたを (3) わすれずは (4) よ 2 の 2 か ぎ 1 りにや (5) こ 1 ひ 2 わたりなむ Romanization (1) tat-i sinap-u (2) kîmî-Nka suNkata-wo (3) wasure-Ns-u pa (4) yö-nö kaNkîri-ni ya (5) kôpï-watar-i-n-am-u Glossing with morphemic analysis (1) stand-INF bend.down.gently-ATTR (2) lord-POSS appearance-ACC (3) forget-NEG-INF TOP (4) life-POSS limit-LOC PT (5) long.for(INF)-crossINF-PERF-TENT-ATTR

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Translation (3) If [I] do not forget (2) the image of [my] lord (3) who stood up and bent down gently, (5) will [I] continue to long for [him] (4) until the end of [my] life? Commentary WOJ tatisinap- is usually analyzed as sinap- ‘to be graceful’ preceded by the meaningless prefix tati- (Takeda 1957: 499), which is alternatively assigned a function of ‘light addition’ (Omodaka 1984.20: 180). However, ‘prefix’ tatireally does not occur elsewhere, and ‘light addition’ makes even less sense. On the other hand, Kinoshita has convincingly demonstrated that sinapactually means ‘to bend down (intr.) gently’ (1988: 251-52). Thus, tat-i sinapshould be understood as ‘to stand up and bend down gently’. This expression may refer either to Opopara-nö mapîtö Imakï’s standing up and bowing, or, alternatively, to his dance performance at the banquet. Modern Japanese scholars are equally divided whether the construction -(a)Ns-u pa introduces in this poem a negative condition ‘if I do not forget’ (Inoue 1928: 4138), (Kojima et al. 1975: 422), (Tsuchiya 1977: 374), (Kinoshita 1988: 251-53), (Itō 1999: 638), (Satake et al. 2003: 449), or a simple topicalization (Kōnosu 1939: 3399), (Takeda 1957: 499), (Takagi et al. 1962: 450), (Kubota 1967: 513), (Nakanishi 1983: 333), (Omodaka 1984.20: 180). Most premodern commentators do not comment on this construction, but Kamochi apparently takes it as a conditional (1912.7: 427). The problem with the second school of thought is that the Man’yōshū poem that is usually cited as the example of the simple topicalization (2.86) (Omodaka 1984:20: 180) can be perfectly understood as containing the conditional construction. There are practically no exceptions to the fact that -(a)Ns-u pa NEG-INF TOP construction54 always introduces negative condition in the Man’yōshū.55 It is also significant that -(a)Ns-u pa NEG-INF TOP construction is normally followed by a main verb in various tentative and debitive moods as well as in subjunctive.

Preface to the poems 20.4442-4445

本文・Original text 五月九日兵部少輔大伴宿祢家持之宅集飲歌四首 Translation Four poems composed at the drinking banquet at the house of Opotömö-nö sukune Yakamöti, the Junior Assistant Minister at the Ministry of War on the ninth day of the fifth lunar month [of the seventh year of Tenpyō Shōhō]. Commentary The ninth day of the fifth lunar month of the seventh year of Tenpyō Shōhō corresponds to (June 22, 755 AD). On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320. 54

Naturally, when -(a)Ns-u pa construction reflects NEG-NML TOP, this is pure topicalization. 55 One possible exception is found in 13.3250.

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On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. This poetic mini-sequence represents the poetic exchange between Opopara-nö mapîtö Imakï and Opotömö-nö sukune Yakamöti.

20.4442 (W)

本文・Original text (1) 和我勢故我 (2) 夜度乃奈弖之故 (3) 比奈良倍弖 (4) 安米波布礼杼 母 (5) 伊呂毛可波良受 仮名の書き下し・Kana transliteration (1) わがせこ 1 が (2) やど 1 の 2 なでしこ 1 (3) ひ 1 ならべ 2 て (4) あめ 2 はふれど 2 も 2 (5) いろ 2 も 1 かはらず Romanization (1) wa-Nka se-kô-Nka (2) yaNtô-nö naNtesikô (3) pî naraNpë-te (4) amë pa pur-e-Ntömö (5) irô mô kapar-aNs-u Glossing with morphemic analysis (1) I-POSS elder.brother-DIM-POSS (2) garden-GEN carnation (3) sun stand.side.by.side (4) rain TOP fall-EV-CONC (5) color PT change-NEG-FIN Translation (2) Carnations in the garden (1) of my dear elder brother (5) do not change [their] color, (4) although it rains (3) day after day. Commentary OJ se ‘elder brother’ as used in this poem as well as in poems 20.4443-4444 is a slightly honorific term of address between two friends, one of whom might be senior (in this case Opotömö-nö sukune Yakamöti was more senior than Opopara-nö mapîtö Imakï). Note that Opopara-nö mapîtö Imakï uses se-kô ‘dear elder brother’ with a diminutive suffix -kô which indicates endearment here, while Opotömö-nö sukune Yakamöti uses just plain se ‘elder brother’. WOJ naNtesikô ‘carnation’ (撫子), which corresponds to MdJ kawara nadesiko ‘riverbank carnation’ (カワラナデシコ, Lat. Dianthus superbus L. var. longicalycinus) is a perennial grass growing in the wild in mountain meadows and riverbanks. It has also been artificially planted in gardens. It has five-petal pink flowers. Although it was generally considered to be an autumn flower in poetry that symbolizes the advent of the autumn, it started to bloom in the summer (Nakanishi 1985: 322), (Omodaka 1984.20: 181). Yakamöti was apparently very fond of carnations, as there are several poems about them composed by him in the Man’yōshū (Kinoshita 1988: 254). It must be also noted, that among the Man’yōshū carnation poems many were composed and presented to Yakamöti by the people who were close to him.

Postscript to the poem 20.4442 本文・Original text 右一首大原眞人今城

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Translation The poem above [was composed by] Opopara-nö mapîtö Imakï. Commentary On the biography of Opopara-nö mapîtö Imakï see the commentary to the postscript to 20.4436-4439.

20.4443 (W)

本文・Original text (1) 比佐可多能 (2) 安米波布里之久 (3) 奈弖之故我 (4) 伊夜波都波奈 尓 (5) 故非之伎和我勢 仮名の書き下し・Kana transliteration (1) ひ 1 さかたの 2 (2) あめ 2 はふりしく (3) なでしこ 1 が (4) いやはつ はなに (5) こ 1 ひ 2 しき 1 わがせ Romanization (1) pîsa kata n-ö (2) amë pa pur-i-sik-u (3) naNtesikô-Nka (4) iya patu pana-ni (5) kôpïsi-kî wa-Nka se Glossing with morphemic analysis (1) eternal hard DV-ATTR (2) rain TOP fall-INF-do.continuously-ATTR (3) carnation-POSS (4) perfectly first flower-COMP (5) be.longing-ATTR I-POSS elder.brother Translation (5) [Oh, my] elder brother for whom [I] am longing, (3/4) [you are] perfectly [fresh] like a first carnation flower (2) on which rain continuously falls (1) from the eternal and strong [heaven]. Commentary On pîsa kata ‘eternal and hard’ see the commentary to 15.3650. WOJ sik- is a polysemic verb: ‘to approach constantly’, ‘to grow dense’, ‘to bloom’, etc. As an auxiliary it is used in the meaning ‘to do something constantly’. On OJ naNtesikô ‘carnation’, see the commentary to 20.4442. WOJ -ni is a rare variant of WOJ comparative case marker -nö (Hendriks 1994: 248), (Vovin 2005: 202). Opotömö-nö Yakamöti implies in this poem that although Opopara-nö mapîtö Imakï is middle-aged now, he still looks young.

Postscript to the poem 20.4443 本文・Original text 右一首大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti.

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Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū.

20.4444 (W)

本文・Original text (1) 和我世故我 (2) 夜度奈流波疑乃 (3) 波奈佐可牟 (4) 安伎能由布敝 波 (5) 和礼乎之努波世 仮名の書き下し・Kana transliteration (1) わがせこ 1 が (2) やど 1 なるはぎ 2 の 2 (3) はなさかむ (4) あき 1 の 2 ゆふへ 1 は (5) われをしの 1 はせ Romanization (1) wa-Nka se-kô-Nka (2) yaNtô-n-ar-u paNkï-nö (3) pana sak-am-u (4) akî-nö yupu-pê pa (5) ware-wo sinôp-as-e Glossing with morphemic analysis (1) I-POSS elder.brother-DIN-POSS (2) garden-LOC-exist-ATTR bush.clover-GEN (3) flower bloom-TENT-ATTR (4) autumn-GEN evening-side TOP (5) I-ACC yearn-HON-IMP Translation (4) On the autumn evening when (1/2/3) the flowers of bush clover in the garden of my dear elder brother will bloom, (5) please yearn for me. Commentary On WOJ paNkï ‘bush clover’ see the commentary to 15.3656.

Postscript to the poem 20.4444 本文・Original text 右一首大原眞人今城

Translation The poem above [was composed by] Opopara-nö mapîtö Imakï. Commentary On the biography of Opopara-nö mapîtö Imakï, see the commentary to the postscript to 20.4436-4439.

Preface to the poem 20.4445 本文・Original text 即聞鸎哢作歌一首

Translation A poem that [I composed] when [I] heard bush warbler singing. Commentary The character 哢 refers to birds’ chirping or singing.

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20.4445 (W)

本文・Original text (1) 宇具比須乃 (2) 許惠波須疑奴等 (3) 於毛倍杼母 (4) 之美尓之許己 呂 (5) 奈保古非尓家里 仮名の書き下し・Kana transliteration (1) うぐひ 1 すの 2 (2) こ 2 ゑはすぎ 2 ぬと 2 (3) おも 1 へ 2 ど 2 も 2 (4) し み 1 にしこ 2 こ 2 ろ 2 (5) なほこ 1 ひ 2 にけ 1 り Romanization (1) uNkupîsu-nö (2) köwe pa suNkï-n-u tö (3) omôp-ë-Ntömö (4) sim-î-n-i-si kökörö (5) napo kôpï-n-i-kêr-i Glossing with morphemic analysis (1) bush.warbler-GEN (2) voice TOP pass(INF)-PERF-FIN DV (3) thinkEV-CONC (4) sink-INF-PERF-INF-PAST/ATTR heart (5) still long.for(INF)PERF-INF-RETR-FIN Translation (3) Although [I] thought that (1/2) [the season for] the voice of the bush warbler has passed away, (4/5) it has turned out that [my] heart where [its voice] sank into, still longs for [it]. Commentary On WOJ uNkupîsu ‘bush warbler’, see the commentary to 5.824. Opotömö-nö Yakamöti implies in this poem that he would miss the time when Opopara-nö mapîtö Imakï is staying in the capital.

Postscript to the poem 20.4445 本文・Original text 右一首大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū.

Preface to the poems 20.4446-4448

本文・Original text 同月十一日左大臣橘卿宴右大辨丹比國人眞人之宅歌三首 Translation Three poems composed on the eleventh day of the same month at the banquet given by TatiNpana-nö [Möröye], High Noble [and] the Minister of the Left in the house of TaNtipî-nö Kunipîtö mapîtö, the Major Controller of the Right.

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Commentary The eleventh day of the fifth lunar month of the seventh year of Tenpyō Shōhō corresponds to June 24, 755 AD. On TatiNpana-nö Möröye see the commentary to the preface to 20.4304. TaNtipî-nö Kunipîtö mapîtö56 is an author of three other poems in the Man’yōshū (3.382, 3.383, 8.1557). He is mentioned several times in the Shoku Nihongi. TaNtipî-nö Kunipîtö mapîtö was promoted from Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade in the first lunar month of the eighth year of Tenpyō (February-March 736 AD), and appointed Junior Assistant Minister (Shōyū, 少 輔 ) of the Ministry of Popular Affairs (Minbushō, 民部省) in the seventh intercalary month of the tenth year of Tenpyō (August-September 738 AD). TaNtipî-nö Kunipîtö mapîtö was promoted to Junior Fourth Rank, Lower Grade in the first lunar month of the third year of Tenpyō Shōhō (February 751 AD). He was the Master (Daibu, 大夫) of Tu (Settsu) province (津國, 攝津國) in the sixth lunar month of the first year of Tenpyō Hōji (June-July 757 AD), but in the seventh lunar month of the same year (July-August 757 AD) while having an appointment of the governor of Töpotuapumî province (遠江國), TaNtipî-nö Kunipîtö mapîtö was implicated in TatiNpana-nö Naramarö’s rebellion and exiled to the INtu province (伊豆國). In the eight lunar month of the same year he was branded as ‘disloyal subject’ (zokushin, 賊臣) in an imperial decree (Omodaka 1977.3: 409), (Nakanishi 1985: 249). Major Controller of the Right (Udaiben, 右大辨) is the senior official of the Controlling Board of the Right (Ubenkan, 右弁官), a supervising board for four Ministries: Ministry of War (Hyōbu[shō], 兵部[省]), Ministry of Justice (Gyōbu[shō], 刑部[省]), Ministry of the Treasury (Ōkura[shō], 大蔵 [省]), and Ministry of Emperor’s Household (Kunaishō, 宮内省).

20.4446 (W)

本文・Original text (1) 和我夜度尓 (2) 佐家流奈弖之故 (3) 麻比波勢牟 (4) 由米波奈知流 奈 (5) 伊也乎知尓左家 仮名の書き下し・Kana transliteration (1) わがやど 1 に (2) さけ 1 るなでしこ 1 (3) まひ 1 はせむ (4) ゆめ 2 は なちるな (5) いやをちにさけ 1 Romanization (1) wa-Nka yaNtô-ni (2) sak-êr-u naNtesikô (3) mapî pa se-m-u (4) yumë pana tir-una (5) iya wot-i n-i sak-ê Glossing with morphemic analysis (1) I-POSS garden-LOC (2) bloom-PROG-ATTR carnation (3) gift TOP do-TENT-FIN (4) at.all flower fall-NEG/IMP (5) plentifully restore.youthNML DV-INF bloom-IMP

56

Placing kabane rank after the given name rather than after the family name indicated a higher degree of respect.

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Translation (2) Carnations blooming (1) in my garden! (3) [I] will give [you] a present. (4) Let not [your] flowers fall at all, (5) [but] restore your youth completely and bloom! Commentary This is apparently a poem, where TaNtipî-nö Kunipîtö mapîtö offers his good wishes for the longevity of TatiNpana-nö Möröye. On OJ naNtesikô ‘carnation’, see the commentary to 20.4442. On WOJ mapî ‘offering, gift, present’, see the commentary to 5.905. WOJ wot- is a rare verb meaning ‘to restore youth’, ‘to become young again’. For details on OJ adverbs iya ‘plentifully, perfectly, more and more’ and yumë ‘at all’ (in combination with the negative imperative) see Vovin (2009a: 1116-19, 1121-23).

Postscript to the poem 20.4446 本文・Original text 右一首丹比國人眞人壽左大臣歌

Translation The poem above [was composed by] TaNtipî-nö Kunipîtö mapîtö. Commentary On TaNtipî-nö Kunipîtö mapîtö, see the commentary to the preface to poems 20.4446-4448.

20.4447 (W)

本文・Original text (1) 麻比之都々 (2) 伎美我於保世流 (3) 奈弖之故我 (4) 波奈乃未等波 無 (5) 伎美奈良奈久尓 仮名の書き下し・Kana transliteration (1) まひ 1 しつつ (2) き 1 み 1 がおほせる (3) なでしこ 1 が (4) はなの 2 み 2 と 2 はむ (5) き 1 み 1 ならなくに Romanization (1) mapî s-i-tutu (2) kîmî-Nka opos-er-u (3) naNtesikô-Nka (4) pana nömï töp-am-u (5) kîmî nar-an-aku n-i Glossing with morphemic analysis (1) present do-INF-COOR (2) lord-POSS grow-PROG-ATTR (3) carnationPOSS (4) flower PT visit-TENT-ATTR (5) lord be-NEG-NML DV-INF Translation (5) [It] is not you, (3/4) who would visit just the carnation flowers (2) that you have been growing (1) while offering gifts.

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Commentary This poem has controversial interpretations, since some Japanese scholars insist that kîmî ‘lord, you’ in line five is a mistake for ware ~ are ‘I’, because otherwise in their opinion it makes little sense (Takagi et al. 1962: 452-53), (Omodaka 1984.20: 185-86). However, like Kojima et al. (1975: 424-25), Nakanishi (1983: 335-36), and Kinoshita (1988: 258-60), I see no compelling reasons for such a radical rewriting of the existing text. I think that this poem of TatiNpana-nö Möröye composed in response to the preceding well-wishing poem of TaNtipî-nö Kunipîtö mapîtö praises the latter’s loyalty. In other words, the meaning conveyed in these lines is something to this effect: ‘I know that your loyalty to me is beyond just formal visits involving gift-offerings’. On OJ naNtesikô ‘carnation’, see the commentary to 20.4442. On WOJ mapî ‘offering, present’, see the commentary to 5.905.

Postscript to the poem 20.4447 本文・Original text 右一首左大臣和歌

Translation The poem above [is] a response poem by the Minister of the Left. Commentary The Minister of the Left is TatiNpana-nö Möröye, on whose biography, see the commentary to the preface to 20.4304.

20.4448 (W)

本文・Original text (1) 安治佐爲能 (2) 夜敝佐久其等久 (3) 夜都与尓乎 (4) 伊麻世和我勢 故 (5) 美都々思努波牟 仮名の書き下し・Kana transliteration (1) あぢさゐの 2 (2) やへ 1 さくご 2 と 2 く (3) やつよ 2 にを (4) いませ わがせこ 1 (5) み 1 つつしの 1 はむ Romanization (1) aNtisawi-nö (2) ya pê sak-u Nkötö-ku (3) ya-tu yö-ni wo (4) imas-e wa-Nka se-kô (5) mî-tutu sinôp-am-u Glossing with morphemic analysis (1) hydrangea-GEN (2) eight layer bloom-ATTR be.like-INF (3) eight-CL generation-LOC PT (4) exist(HON)-IMP I-POSS elder.brother-DIM (5) look(INF)-COOR yearn.for-TENT-FIN Translation (1/2) Like hydrangea flowers that bloom in eight layers (4) my dear elder brother, (3) live for eight generations! (5) [I] will yearn for you, while looking [at you].

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Commentary WOJ aNtisawi ‘hydrangea’ (MdJ ajisai (紫陽花), Lat. hydrangea) is a low deciduous bush that blooms during the monsoon season with small flowers frequently arranged in half-globe-like clusters. Flower petals are arranged in eight layers, and flowers have different shades of violet (Nakanishi 1985: 305). WOJ aNtisawi appears also in poem 4.773 in the Man’yōshū, where it is spelled in kungana spelling as 味狭藍, the same spelling as found in the postscript to this poem. Kinoshita believes that yö ‘generation’ rather means ‘imperial reign’ (1988: 261). One way or another, it is clearly a poem wishing longevity. It might seem strange that TatiNpana-nö Möröye addresses TaNtipî-nö Kunipîtö mapîtö, who was much more junior in both age and rank as se ‘elder brother’ and also uses honorific verb imas-. Possibly it was just a poetic expression. It is interesting that this minisequence (20.4446-4448) does not contain a poem by Opotömö-nö sukune Yakamöti. Possibly, Kinoshita is right in conjecturing that Yakamöti was not given an opportunity to recite his own poem at this banquet (1988: 261), but certainly there is no proof for his point of view. WOJ emphatic particle wo in line three is very rare and it is found only after the locative case marker -ni. For details see Vovin (2009a: 1273-74).

Postscript to the poem 20.4448 本文・Original text 右一首左大臣寄味狭藍花詠也

Translation The poem above was composed by the Minster of the Left when [he] approached aNtisawi flowers. Commentary The Minister of the Left is TatiNpana-nö Möröye, on whose biography, see the commentary to the preface to 20.4304. On WOJ aNtisawi ‘hydrangea’ and its spelling, see the commentary to poem 20.4448 above.

Preface to the poems 20.4449-4451

本文・Original text 十八日左大臣宴於兵部卿橘奈良麻呂朝臣之宅歌三首 Translation Three poems [composed] on the eighteenth day at the banquet given by the Minister of the Left at the house of [his son] TatiNpana-nö Naramarö, the Minister of the Ministry of War. Commentary The eighteenth day of the fifth lunar month of the seventh year of Tenpyō Shōhō corresponds to July 1, 755 AD. The Minister of the Left is TatiNpana-nö Möröye, on whose biography, see the commentary to the preface to 20.4304.

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TatiNpana-nö Naramarö is a son of TatiNpana-nö Möröye. He is the author of three poems in the Man’yōshū: 6.1010, 8.1581, and 8.1582. TatiNpana-nö Naramarö is frequently mentioned in the Shoku Nihongi. Initially, he had a sky-rocketing career, most likely due to the influence of his father, TatiNpana-nö Möröye. On the tenth day of the fifth lunar month of the twelfth year of Tenpyō (June 8, 740 AD) TatiNpana-nö Naramarö was promoted from a person with no rank (Mui, 無位) immediately to Junior Fifth Rank, Lower Grade, and on the twenty-first day of the eleventh month of the same year (December 14, 740 AD) to Junior Fifth Rank, Upper Grade. On the third day of the seventh lunar month of the thirteenth year of Tenpyō (August 18, 741 AD) he was appointed the Head of the University (Daigakutō, 大學頭), and on the fifth day of the fifth lunar month of the fifteenth year of Tenpyō (June 1, 743 AD) promoted to Senior Fifth Rank, Upper Grade. On the fifth day of the ninth lunar month of the seventeenth year of Tenpyō (October 4, 745 AD) TatiNpana-nö Naramarö was appointed the Master (Daibu, 大夫) of Tu province, and on the tenth day of the third lunar month of the eighteenth year of Tenpyō (April 5, 746 AD) the Senior Assistant Minister (Tayū, 大輔) of the Ministry of Popular Affairs (Minbushō, 民部省). He was promoted to Junior Fourth Rank, Lower Grade on the twentieth day of the first lunar month of the nineteenth year of Tenpyō (March 5, 747 AD) and consequently to Junior Fourth Rank, Upper Grade on the second day of the fourth lunar month of the twenty-first year of Tenpyō (April 22, 749 AD). On the second day of the seventh lunar month of the first year of Tenpyō Shōhō (August 19, 749 AD) TatiNpana-nö Naramarö was appointed an Imperial Advisor (Sangi, 参 議) and promoted to Senior Fourth Rank, Lower Grade on the sixteenth day of the first lunar month of the sixth year of Tenpyō Shōhō (February 12, 754 AD). He became Major Controller of the Left (Sadaiben, 左大辨) on the sixteenth day of the sixth lunar month of the first year of Tenpyō Hōji (July 6, 757 AD). It is quite apparent that the frequency of his promotions becomes much slower under Kōken’s rule than it was under Shōmu’s. On the twenty-eighth day of the same month (July 18, 757 AD) it was secretly reported that TatiNpana-nö Naramarö had a stockpile of weapons, and he was arrested on charges as a ring-leader of a rebellious conspiracy, which allegedly involved also Opotömö-nö Kômarö and others in the seventh lunar month of the same year. The whole charge of rebellion could have been actually spun out of thin air by power-hungry PuNtipara-nö Nakamarö, who wanted to completely remove the TatiNpana clan from the political scene. It is not really clear what happened to TatiNpana-nö Naramarö: although Kōken commuted the death sentence for conspirators to the exile, it is frequently surmised that he might have died under torture. It took almost a century for a complete rehabilitation of TatiNpana-nö Naramarö, who was posthumously promoted to Junior Third Rank in 843 AD and then to Senior First Rank with an appointment as Prime Minister in 847 AD during the reign of Emperor Ninmyō (仁明天皇, r. 833-50 AD), whose mother was the granddaughter of TatiNpana-nö Naramarö. Minister (Kyō, 卿) is the head of one of the eight ministries, not to be confused with 卿 (Kyau, Mapêtukîmî) ‘High Noble’. On Ministry of War (Hyōbu[shō], 兵部[省]) see the commentary to the postscript to 20.4315-4320.

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20.4449 (W)

本文・Original text (1) 奈弖之故我 (2) 波奈等里母知弖 (3) 宇都良宇都良 (4) 美麻久能富 之伎 (5) 吉美尓母安流加母 仮名の書き下し・Kana transliteration (1) なでしこ 1 が (2) はなと 2 りも 2 ちて (3) うつらうつら (4) み 1 まく の 2 ほしき 1 (5) き 1 み 1 にも 2 あるかも 2 Romanization (1) naNtesikô-Nka (2) pana tör-i möt-i-te (3) utura-utura (4) mî-m-aku-nö posi-kî (5) kîmî n-i mö ar-u kamö Glossing with morphemic analysis (1) carnation-POSS (2) flower take-INF hold-INF-SUB (3) clearly-clearly (4) see-TENT-NML-GEN desire-ATTR (5) lord DV-INF PT exist-ATTR PT Translation (5) [It] is indeed [my] lord (4) whom [I] want to see (3) [as] clearly [as] (1) the carnation (2) flowers that [I] took and hold [in my hand]! Commentary Lines three and five are hypermetric (jiamari, 字余り), but in the case of line five this is probably just a graphic illusion, since mô ar-u was in all probability pronounced as [maru]. On OJ naNtesikô ‘carnation’, see the commentary to 20.4442. The first three lines represent a poetic introduction (jo, 序) to the rest of the poem (Kinoshita 1988: 262). The Genryaku kōhon manuscript has a number of spelling discrepancies with all other manuscripts, which can be safely ignored as they appear to be unique and in any case do not influence the analysis and understanding of the text. The poem is addressed to TatiNpana-nö Naramarö. At the time of writing Prince Puna, the author of the poem had slightly lower rank than TatiNpana-nö Naramarö, but he was older and belonged to immediate imperial family, so the usage of kîmî ‘lord’ rather than se ‘elder brother seems to be appropriate in this social situation.

Postscript to the poem 20.4449 本文・Original text 右一首治部卿船王

Translation The poem above [was composed by] Prince Puna, the Minister of the Ministry of Civil Administration. Commentary Prince Puna is a son of Prince Töneri and an elder brother of Emperor Junnin (淳仁天皇). Besides this poem, he is also the author of two other poems in the Man’yōshū: 6.998 and 19.4279. When Empress Kōken was deciding the problem of imperial ascension in the fourth lunar month of the first year of

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Tenpyō Hōji (April-May, 757 AD), the candidacy of Prince Puna was rejected due the lack of order in his marital affairs, and therefore he was bypassed in favor of Junnin, who became the next Emperor. Prince Puna is mentioned several times in the Shoku Nihongi. On the twenty-seventh day of the first lunar month of the fourth year of Jinki (神龜) (February 22, 727 AD) he was promoted from a person with no rank (Mui, 無位) immediately to Junior Fourth Rank, Lower Grade, but to Junior Fourth Rank, Upper Grade only on the fifth day of the fifth lunar month of the fifteenth year of Tenpyō (June 1, 743 AD). The next promotion to Senior Fourth Rank, Lower Grade came only on the twenty-first day of the fifth lunar month of the first year of Tenpyō Hōji (June 12, 757 AD). These slow promotions after the initial head-start probably indicate that Prince Puna was not a favorite of either Emperor Shōmu or Empress Kōken. However, his fortune started to change rapidly shortly before and especially after the ascension of Emperor Junnin. On the fourth day of the seventh month of the same year (July 24, 757 AD) Prince Puna was appointed Governor-General of Dazaifu, and on the fourth day of the eighth month of the same year (August 23, 757) promoted to Senior Fourth Rank, Upper Grade. After that he was rapidly promoted to Junior Third Rank on the fourth day of the eighth lunar month of the second year of Tenpyō Hōji (September 10, 758 AD) and then to Imperial Prince of the Third Cap Rank (shinnō sanbon, 親王 三品) on the sixteenth day of the sixth lunar month of the third year of Tenpyō Hōji (July 14, 759 AD). He was consequently appointed the Minister of the Ministry of Central Affairs (Naka tukasa shō, Naka matsurigoto no tukasa, 中 務省) and promoted to Imperial Prince of the Second Cap Rank (shinnō nihon, 親王二品) on the fourth day of the first lunar month of the sixth year of Tenpyō Hōji (February 2, 762 AD). But the good fortune of Prince Puna did not last long: following the deposal of Emperor Junnin and his subsequent exile to Awaji island in the tenth lunar month of the eighth year of Tenpyō Hōji (October-November 764 AD), he was demoted from High Prince (shinnō, 親王) to Prince (ō, opokîmî, 王) and exiled to Okî province (modern Oki islands). On Minister (Kyō, 卿), see the commentary to the preface to the poems 20.4449-4451. Under the Ritsuryō code, Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部省) is one of the four Ministries under the Controlling Board of the Left (Sabenkan, 左弁官). It dealt with matters related to names and clans of the nobility, marriages, inheritance, bestowing of ranks, foreign diplomacy, court music, Buddhism, immigrants, imperial mausoleums and burials, etc.

20.4450 (W)

本文・Original text (1) 和我勢故我 (2) 夜度能奈弖之故 (3) 知良米也母 (4) 伊夜波都波奈 尓 (5) 佐伎波麻須等母 仮名の書き下し・Kana transliteration (1) わがせこ 1 が (2) やど 1 の 2 なでしこ 1 (3) ちらめ 2 やも 2 (4) いやは つはなに (5) さき 1 はますと 2 も 2

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Romanization (1) wa-Nka se-kô-Nka (2) yaNtô-nö naNtesikô (3) tir-am-ë ya mö (4) iya patu pana n-i (5) sak-î pa mas-u tömö Glossing with morphemic analysis (1) I-POSS elder.brother-DIM-POSS (2) garden-GEN carnation (3) fallTENT-EV PT PT (4) completely first flower-COMP (5) bloom-NML TOP increase-FIN CONJ Translation (2/5) Even if the carnations in the garden (1) of my dear elder brother (5) will bloom more, (4) completely like first flowers, (3) will [they] fall? [--Certainly not!] Commentary The poem is addressed to TatiNpana-nö Naramarö. At the time of writing, Opotömö-nö Yakamöti was older than TatiNpana-nö Naramarö, but the latter was much more senior in rank, and, in addition, was the former’s boss in the Ministry of War, since Naramarö was the Minister there, and Yakamöti only Junior Assistant Minister. In all likelihood this poem represents a longevity wish for Naramarö, comparing him to carnations. On OJ naNtesikô ‘carnation’, see the commentary to 20.4442. Line four is identical to line four in 20.4443 above.

20.4451 (W)

本文・Original text (1) 宇流波之美 (2) 安我毛布伎美波 (3) 奈弖之故我 (4) 波奈尓奈蘇倍 弖 (5) 美礼杼安可奴香母 仮名の書き下し・Kana transliteration (1) うるはしみ 1 (2) あがも 1 ふき 1 み 1 は (3) なでしこ 1 が (4) はなに なそ 1 へ 2 て (5) み 1 れど 2 あかぬかも 2 Romanization (1) urupasi-mî (2) a-Nka [o]môp-u kîmî pa (3) naNtesikô-Nka (4) pana-ni nasôpë-te (5) mî-re-Ntö ak-an-u kamö Glossing with morphemic analysis (1) be.handsome-GER (2) I-POSS love-ATTR lord TOP (3) carnation-POSS (4) flower-LOC compare(INF)-SUB (5) look-EV-CONC be.satisfied-NEGATTR PT Translation (1) Because [you] are handsome, (2) [my] lord whom I love, (3/4) [I] compare [you] to a carnation flower, and (5) although [I] look at [you, I] cannot get enough! Commentary The poem is also addressed to TatiNpana-nö Naramarö. Note that unlike the previous poem, where Yakamöti refers to Naramarö as se ‘elder brother’, in

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this poem he uses kîmî ‘lord’. This suggests that se and kîmî might have been interchangeable as terms of address in certain social situations. On OJ naNtesikô ‘carnation’, see the commentary to 20.4442.

Postscript to the poems 20.4450-4451 本文・Original text 右二首兵部少輔大伴宿祢家持追作

Translation Two poems were composed by Opotömö-nö sukune Yakamöti, the Junior Assistant Minister of the Ministry of War following [the poem by Prince Puna]. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320. Kinoshita believes that the expression 追作 found at the end of the postscript is equivalent to 未奏 ‘not yet presented, has not been presented’ in the postscript to poem 20.4453, and, therefore, may mean that Opotömö-nö Yakamöti actually did not present his poem at the banquet (1988: 264). However, the character 追 ‘to follow’ has nothing to do with negation. Therefore, I think that Opotömö-nö Yakamöti actually did present these two poems, but did it after Prince Puna, which makes sense given the fact that the latter was more senior than the former.

Preface to the poems 20.4452-4453 本文・Original text 八月十三日在内南安殿肆宴歌二首

Translation Two poems [composed] on the thirteenth day of the eighth lunar month at the formal banquet in the Southern Pavilion of Tranquility at the imperial palace. Commentary The thirteenth day of the eighth lunar month of the seventh year of Tenpyō Shōhō corresponds to September 23, 755 AD. Southern Pavilion of Tranquility (Nan’anden, 南安殿) is a pavilion on the southern side of the Pavilion of Supreme Perfection (Daigokuden, 大極殿).

20.4452 (W)

本文・Original text (1) 乎等賣良我 (2) 多麻毛須蘇婢久 (3) 許能尓波尓 (4) 安伎可是不吉 弖 (5) 波奈波知里都々

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仮名の書き下し・Kana transliteration (1) をと 2 め 1 らが (2) たまも 1 すそ 1 び 1 く (3) こ 2 の 2 にはに (4) あ き 1 かぜふき 1 て (5) はなはちりつつ Romanization (1) wotömê-ra-Nka (2) tama mô susôNpîk-u (3) könö nipa-ni (4) akî kaNse pik-î-te (5) pana pa tir-i-tutu Glossing with morphemic analysis (1) maiden-PLUR-POSS (2) jewel skirt hem.pull-ATTR (3) this garden-LOC (4) autumn wind blow-INF-SUB (5) flower TOP fall-INF-COOR Translation (4) The autumn wind has been blowing, and (5) flowers continue to fall (3) in this garden (1/2) where maidens trail [their] jewel[-like] skirts. Commentary WOJ susôNpîk- ‘to trail the hem’ is a compound that in all probability goes back to susô-N-pîk- hem-LOC-pull ‘to pull at the hem’, otherwise it is difficult to explain the nasalization of /p/: 婢 is certainly Npî, not pî, given the fact that pîk- is a transitive verb, so susô could not be a subject of pîk- ‘to pull’ marked by the genitive -nö. So, susô-ni pîk- probably originally meant ‘to trail at the hem [level]’.

Postscript to the poem 20.4452

本文・Original text 右一首内匠頭兼播磨守正四位下安宿王奏之 Translation Prince AsukaNpë (Senior Fourth Rank, Lower Grade), the Head of the Palace Carpentry Office and the Governor of Parima [province] presented the poem above. Commentary On the biography of Prince AsukaNpë, see the commentary to the postscript to poem 20.4301. On Parima province (播磨國), see the commentary to the postscript to poem 20.4301.

20.4453 (W)

本文・Original text (1) 安吉加是能 (2) 布伎古吉之家流 (3) 波奈能尓波 (4) 伎欲伎都久欲 仁 (5) 美礼杼安賀奴香母 仮名の書き下し・Kana transliteration (1) あき 1 かぜの 2 (2) ふき 1 こ 1 き 1 しけ 1 る (3) はなの 2 には (4) き 1 よ 1 き 1 つくよ 1 に (5) み 1 れど 2 あかぬかも 2

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Romanization (1) akî kaNse-nö (2) puk-î kôk-î sik-êr-u (3) pana-nö nipa (4) kîyô-kî tuku-yô-ni (5) mî-re-Ntö ak-an-u kamö Glossing with morphemic analysis (1) autumn wind-GEN (2) blow-INF thrash-INF spread-PROG-ATTR (3) flower-GEN garden (4) be.clear-ATTR moon-night-LOC (5) look-EV-CONC be.satisfied-NEG-ATTR PT Translation (5) Although [I] look (4) on the bright moon-lit night (3) at the garden, where (1) autumn wind (2) has blown [down] and spread across (3) flowers, (5) [I] cannot get enough! Commentary WOJ kôk- is a rare verb meaning ‘to draw (holding in the hand)’, ‘to rub’, or ‘to thrash’. Here it is used metaphorically, implying that the blowing autumn wind thrashes flowers making them fall and then covers the ground with them.

Postscript to the poem 20.4453

本文・Original text 右一首兵部少輔従五位上大伴宿祢家持未奏 Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti (Junior Fifth Rank, Upper Grade), the Junior Assistant Minister of the Ministry of War. [It] was not presented. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320. The phrase 未 奏 ‘was not presented’ in small script indicates that although Opotömö-nö Yakamöti composed this poem at the banquet, he did not recite it there. The reason for this probably is because there were many more senior people present at the imperial banquet reciting their poems, and consequently there was no time left for junior people to present their poems. The fact that Yakamöti included only the poem by Prince AsukaNpë and his own may be one of the pieces of evidence to account for the fact that he never intended to have the Man’yōshū officially published – doing so without inclusion of poems of other senior people certainly would constitute a political affront in an official anthology.

Preface to the poems 20.4454-4456

本文・Original text 十一月廿八日左大臣集於兵部卿橘奈良麻呂朝臣宅宴歌三首

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Translation Three poems [recited] on the twenty-eighth day of the eleventh lunar month [of the seventh year of Tenpyō Shōhō] at the banquet, which the Minister of the Left organized at the house of [his son] TatiNpana-nö Naramarö, the Minister of the Ministry of War. Commentary The twenty-eighth day of the eleventh lunar month of the seventh year of Tenpyō Shōhō corresponds to January 4, 756 AD. The Minister of the Left is TatiNpana-nö Möröye, on whose biography, see the commentary to the preface to 20.4304. On the biography of TatiNpana-nö Naramarö, see the commentary to the preface to poems 20.4449-4451. Minister (Kyō, 卿) is the head of one of the eight ministries, not to be confused with 卿 (Kyau, Mapêtukîmî) ‘High Noble’. On Ministry of War (Hyōbu[shō], 兵部[省]), see the commentary to the postscript to 20.4315-4320. There is a discrepancy between manuscripts: the Genryaku kōhon (20.1885), the Ruijū Koshū (4.58), and the Hirose-bon (10.94a) have 三首 ‘three poems’, while the Nishi Honganji-bon and other manuscripts representing the Sengaku line have 一 首 ‘one poem’. Given that the Genryaku kōhon, the Ruijū Koshū, and the Hirose-bon all represent different lines of manuscripts, as well as the fact that TatiNpana-nö Möröye recited the poems 20.4455 and 20.4456, as becomes clear from the postscript to these two poems, I have decided to include 三首 ‘three poems’ into my edition. The fact that TatiNpana-nö Möröye indulged in drinking on the twenty-eighth day of the eleventh lunar month of the seventh year of Tenpyō Shōhō while the Retired Emperor Shōmu was seriously ill, was perceived as lèse-majesté, and he was subsequently forced to retire in the second lunar month of the eighth year of Tenpyō Shōhō (Kinoshita 1988: 267-68).

20.4454 (W)

本文・Original text (1) 高山乃 (2) 伊波保尓於布流 (3) 須我乃根能 (4) 祢母許呂其呂尓 (5) 布里於久白雪 仮名の書き下し・Kana transliteration (1) たかやまの 2 (2) いはほにおふる (3) すがの 2 ねの ろ 2 ご 2 ろ 2 に (5) ふりおくしらゆき 1

2

(4) ねも 2 こ

2

Romanization (1) TAKA YAMA-nö (2) ipapo-ni op-uru (3) suNka-nö NE-nö (4) nemököröNkörö n-i (5) pur-i ok-u SIRA YUKÎ Glossing with morphemic analysis (1) high mountain-GEN (2) rock-LOC grow-ATTR (3) sedge-GEN rootCOMP (4) gentle DV-INF (5) fall-INF lie-ATTR white snow Translation (5) [Oh,] the white snow, that falls and piles (4) gently (3) like the roots of sedges (2) that grow on the rocks (1) of high mountains!

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Commentary Line five is hypermetric (jiamari, 字余り). OJ suNka- is the compounding form of OJ suNkë ‘sedge’, on which see the commentary to 14.3369. WOJ nemökörö-Nkörö is the partial reduplication of OJ nemökörö ‘gently’, ‘with care’, and it is supposed to have the same meaning (Omodaka et al. 1967: 561).

Postscript to the poem 20.4454 本文・Original text 右一首左大臣作

Translation The poem above is composed by the Minister of the Left. Commentary The Minister of the Left is TatiNpana-nö Möröye, on whose biography, see the commentary to the preface to 20.4304.

Preface to the poem 20.4455

本文・Original text 天平元年班田之時使葛城王従山背國贈湯 朷妙觀命婦等所歌一首副芹子膓 Translation A poem that Prince KaNturakï sent to the place of the court lady Sechi Myōkwan at the time when he was assigning paddy lots in Yamasirö province as an [imperial] messenger in the first year of Tenpyō. Parsley in the straw wrap was attached. Commentary The first year of Tenpyō corresponds to February 3, 729 – January 22, 730 AD. Prince KaNturakï was the previous name of TatiNpana-nö Möröye before he was demoted from princely ranks to high nobility in the eighth year of Tenpyō (February 16, 736 – February 3, 737 AD) and bestowed with the family name of TatiNpana. On his biography, see the commentary to the preface to 20.4304. Yamasirö province (山背國 or 山城國) was one of the Upper Provinces (Jōkoku, 上國) under the Ritsuryō code. On the Ritsuryō code classification of Yamatö provinces, see the commentary to 5.818. On the biography of Sechi Myōkwan (湯 朷妙觀), see the commentary to the preface to 20.4438. On high-ranked court ladies (uchi no myōbu, 内命婦), see the commentary to the preface to 20.4438. WOJ seri ‘Japanese parsley’ (MdJ seri (芹), Lat. Oenanthe javanica) is an edible perennial grass that grows in the wild in damp places. It has strong odor, and blooms in the summer with small white flowers. It is one of Seven Grasses of Spring (春の七草) (Nakanishi 1985: 317). The symbolic meaning of WOJ seri is unknown.

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The character 膓 indicates ‘straw wrap’ (Omodaka 1984.20: 192).

20.4455 (W)

本文・Original text (1) 安可祢左須 (2) 比流波多々婢弖 (3) 奴婆多麻乃 (4) 欲流乃伊刀末 仁 (5) 都賣流芹子許礼 仮名の書き下し・Kana transliteration (1) あかねさす (2) ひ 1 るはたたび 1 て (3) ぬばたまの 2 (4) よ 1 るのい と 1 まに (5) つめ 1 るせりこ 2 れ Romanization (1) aka ne sas-u (2) pîru pa ta taNp-î-te (3) nuNpa tama-nö (4) yôru-nö itôma-ni (5) tum-êr-u SERI köre Glossing with morphemic analysis (1) bright sun shine -ATTR (2) day.time TOP paddy grant-INF-SUB (3) pitch-black jade-COMP (4) night.time-GEN free.time-LOC (5) pickPROG-ATTR parsley this Translation (2) [I] am assigning paddy [lots] in the day (1) when the bright sun shines, and (5) this [is] the parsley that [I] am picking (4) at [my] free time at night (3) [dark] as pitch-black jade. Commentary I previously wrote in the commentary to 15.3732 that WOJ akanesasu is one of the permanent epithets (makura-kotoba, 枕詞) with a rather obscure meaning, where only aka ‘bright’ can be identified with certainty, but the remaining part is enigmatic (Vovin 2009c: 175). Now I would like to revise this judgment. WOJ akanesasu as a permanent epithet applies to words pîru ‘day time’, pî ‘day’, kîmî ‘lord’, and murasakî ‘purple’. Out of eleven attestations found in the Man’yōshū, it occurs: five times with pîru ‘day time’ (13.3270, 13.3297, 15.3732, 19.4166, 20.4455), four times with pî ‘day (2.169, 2.199, 6.916, 12.2901), once with kîmî ‘lord’ (16.3857), and once with murasakî ‘purple’ (1.20). Thus, the predominant usage of akanesasu is to modify pîru ‘day time’ or pî ‘day’. Furthermore, it appears that in addition to aka ‘bright’, we can also segment sas-u ‘shine-ATTR’ from akanesasu, leading to the analysis of this permanent epithet as aka ne sas-u ‘bright shine-ATTR’. Combining this analysis with the fact that aka ne sas-u almost exclusively applies to pîru ‘day time’ and pî ‘day’, the conclusion that the unknown word ne means ‘sun’ is almost inevitable. The problem is, of course, that the word ne ‘sun’ seems to be otherwise unattested in Japonic. However, there is likely to be another attestation, also in WOJ. In the Senmyō, Japanese Emperors and Empresses are referred to as Yamatö ne-kô, with Yamatö variously spelled semantographically as 倭, 大倭, 和, and phonographically as 養徳, but ne-kô always written 根子 ‘root-child’ with the character 根 ne ‘root’ standing for ne (Kitagawa 1982: 214). It is very strange to have the expression ‘root-child of Yamatö’ designating an Emperor or an Empress, so I suspect that the character 根 ne ‘root’ in ne-kô is used as kungana for syllable ne. Zachert translates Yamatö ne-kô as ‘das Liebe Kind von Yamato’ (1950:

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48ff), but it is completely unclear why he interprets this ne as ‘dear’: certainly there is no WOJ or even Japonic word ne meaning ‘dear’. We should keep in mind that in the Kojiki and the Nihonshoki the word for the ‘sun-child’ is pî-kô, which is often used in reference to an Emperor, as, e.g., in KK 22 or NK 18. Thus, I suspect that ne-kô and pî-kô are synonyms both meaning ‘sun-child’. This agrees quite well with the lineage of Japanese Emperors traced back to the sun deity Amaterasu. Finally, cf. aka ne sas-u with another permanent epithet, uti pî sas-u, where pî sas-u is ‘sun shine-ATTR’.57 One last question remains to be answered here, because, as mentioned above ne ‘sun’ is not otherwise attested in the Japonic languages, and what is more, the real meaning of this word probably became obscure even in the Nara period, since it survived only in the permanent epithet aka ne sas-u and the title Yamatö ne-kô. I would like to propose a bold etymology here, that potentially links WOJ *ne ‘sun’ as a loanword to either Kadai *ŋwanA1/A2 ‘sun, day’ or Tibeto-Burman *ne ~ *ńi ‘sun’. Fantastic as it may seem, I am going to present soon a substantial body of evidence demonstrating that the motherland of the Japonic language family was in Southern and/or Central China (Vovin 2014). On nuNpa tama ‘pitch-black jade’, see the commentary to 15.3598. On seri ‘parsley’, see the commentary to the preface to 20.4455.

Preface to the poem 20.4456 本文・Original text 湯 朷妙觀命婦報贈歌一首

Translation A poem that the court lady Sechi Myōkwan presented in response. Commentary On the biography of Sechi Myōkwan (湯 朷妙觀), see the commentary to the preface to 20.4438. On high-ranked court ladies (uchi no myōbu, 内命婦), see the commentary to the preface to 20.4438.

20.4456 (W)

本文・Original text (1) 麻須良乎等 (2) 於毛敝流母能乎 (3) 多知波吉氐 (4) 可尓波乃多爲 尓 (5) 世理曽都美家流 仮名の書き下し・Kana transliteration (1) ますらをと 2 (2) おも 1 へ 1 るも 2 の 2 を (3) たちはき 1 て (4) かには の 2 たゐに (5) せりそ 2 つみ 1 け 1 る Romanization (1) masura wo tö (2) omôp-êr-u mönöwo (3) tati pak-î-te (4) Kanipa-nö tawi-ni (5) seri sö tum-î-kêr-u

57

On uti pî sas-u see the commentary to 5.886.

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Glossing with morphemic analysis (1) brave man DV (2) think-PROG-ATTR CONJ (3) long.sword girdle-INFSUB (4) Kanipa-GEN paddy-LOC (5) parsley PT pick-INF-RETR-ATTR Translation (2) Although [I] thought [of you] (1) as a brave warrior, (5) it turned out that [you] are picking parsley (4) at the paddies of Kanipa (3) [with your] long sword hanging from [your] belt. Commentary This poem by Sechi Myōkwan is apparently a playful teasing poem that is making fun of the previous poem sent to her by Prince KaNturakï (aka. TatiNpana-nö Möröye) with a straw-wrapped gift of parsley. We would probably never know what was the exact nature of the relationship between these two people: they were certainly not married, but were they lovers or just friends? Or was Prince KaNturakï trying to make a pass at Sechi Myōkwan that was refuted in a teasing manner? On WOJ masura wo ‘excellent man, brave man’, see the commentary to 5.804. Kanipa is a small plain found at the foothills of the eastern bank of Kizugawa river (木津川) in Kizugawa city (木津川市) in present-day Kyōto prefecture. Modern spelling of this placename as 蟹 幡 ‘crab flag’ is apparently meaningless and in all probability represents the case of ateji. As a matter of fact, this placename may represent one of the rare cases of Ainu placenames in Kansai, as WOJ kanipa can easily be the result of the *e > i raising in borrowed Ainu ka-ne-pa ‘top-COP-bank’, that is the ‘upper bank’. Given the fact that Kanipa is located in the foothills, this should not be a surprising placename. WOJ tawi is normally interpreted as ‘paddy’, but etymologically it is, of course, ta-wi ‘the seat/place of a paddy’. On seri ‘parsley’, see the commentary to the preface to 20.4455.

Postscript to the poems 20.4455-4456

本文・Original text 右二首左大臣讀之云尓左大臣是葛城王後賜橘姓也 Translation [I] was told that the two poems above were recited by the Minister of the Left. The Minister of the Left was this Prince KaNturakï who later was bestowed with the family name TatiNpana.

Commentary The Minister of the Left is TatiNpana-nö Möröye, on whose biography, see the commentary to the preface to 20.4304. On the characters 云尓 ‘so it is said’, see the commentary to the postscript to 20.4436-4439. This means that in all likelihood Opotömö-nö Yakamöti was not present at the banquet on the twenty-eighth day of the eleventh lunar month of the seventh year of Tenpyō Shōhō. On the transformation of Prince KaNturakï into TatiNpana-nö Möröye, see the commentary to the preface to 20.4455.

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Preface to the poems 20.4457-4459

本文・Original text 天平勝寳八歳丙申二月朔乙酉廿四日戊申太上天皇天皇大后幸行於河内 離宮經信以壬子傳幸於難波宮也三月七日於河内國伎人郷馬國人之家宴 歌三首 Translation On the twenty-fourth day of the second lunar month of the eighth year of Tenpyō Shōhō, Retired Emperor, Empress, and Empress Dowager went to the detached palace in Kaputi province, and spending two nights there, on the twenty-eighth day moved to the Nanipa palace. Three poems [composed] on the seventh day of the third lunar month at the banquet at the house of Uma-nö Kunipîtö in Kure village of Kaputi province. Commentary The twenty-fourth day of the second lunar month of the eighth year of Tenpyō Shōhō corresponds to March 29, 756 AD, the twenty-eighth day to April 2, 756 AD, and the seventh day of the third lunar month to April 10, 756 AD. Retired Emperor is Shōmu (聖武天皇, 701-756 AD, r. 724-749 AD). Empress is Kōken (孝謙天皇, 718-770 AD, r. 749-758 and 764-770 AD as Shōtoku (称徳天皇)), daughter of Shōmu and Kōmyō. Empress dowager is Kōmyō (光明皇后, 701-760 AD), wife of Shōmu. Kaputi province (河内國) was one of the Great Provinces (Taikoku, 大國) under the Ritsuryō code. On the Ritsuryō code classification of Yamatö provinces, see the commentary to 5.818. The character 信 means ‘lodging for two nights’, as becomes clear from the following passage from the poem ‘Having a guest’ (有客) in Zhou hymns (周頌) in Shijing (詩經): 有客宿宿、有客信信 ‘having a guest for one night, having a guest for two nights’ and Mao (毛持盈)’s commentary to it: 一宿曰 宿、再宿曰信 ‘lodging for one night is called 宿, lodging again is called 信’. Kure village (伎人郷) was located in the Kire area (喜連の地) of Hirano district (平野区) of present-day Ōsaka city (Nakanishi 1985: 444). Uma-nö puNpîtö Kunipîtö is an author of only one poem in the Man’yōshū: 20.4458. Little is known about his biography. Uma-nö puNpîtö Kunipîtö was probably a descendant of immigrants from the mainland. He is mentioned in Shōsōin document 24 as having Lesser Initial Rank, Lower Grade in the tenth year of Tenpyō (738 AD). At the time of this banquet he was a person with a rank but no office (San’i ryō san’i, 散位寮散位), as becomes apparent from the postscript to 20.4458. On the twenty-sixth day of the tenth lunar month of the eighth year of Tenpyō Hōji (November 23, 764 AD) he was promoted from Junior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade.

20.4457 (W)

本文・Original text (1) 須美乃江能 (2) 波麻末都我根乃 (3) 之多波倍弖 (4) 和我見流乎努 能 (5) 久佐奈加利曽祢 仮名の書き下し・Kana transliteration (1) すみ 1 の 2 え 2 の 2 (2) はままつがねの み 1 るをの 1 の 2 (5) くさなかりそ 2 ね

2

(3) したはへ 2 て (4) わが

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Romanization (1) SumînöYE-nö (2) pama matu-Nka ne-nö (3) sita papë-te (4) wa-Nka MÎ-ru wo-nô-nö (5) kusa na-kar-i-sö-n-e Glossing with morphemic analysis (1) Sumînöye-GEN (2) shore pine-POSS root-GEN (3) below/inside.of. the.heart creep(INF)-SUB (4) I-POSS look-ATTR DIM-field-GEN (5) grass NEG-cut-INF-do-DES-IMP Translation (5) [I] wish [you] would not cut the grass (4) on the small field, at which I look (3) thinking deeply in my heart, (2) like the roots of shore pines (1) in Sumînöye (3) creep deeply below [the ground]. Commentary On Sumînöye, see the commentary to 20.4408. The third line sita papëte represents a play on words, as it can be understood as both ‘crawling deeply below’ and ‘thinking deeply in one’s heart’. In the first meaning it constitutes together with lines one and two a poetic introduction (jo, 序) to the poem. In the second meaning it combines with lines four and five.

Postscript to the poem 20.4457 本文・Original text 右一首兵部少輔大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Junior Assistant Minister of the Ministry of War. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320.

20.4458 (W)

本文・Original text (1) 尓保杼里乃 (2) 於吉奈我河波半 (3) 多延奴等母 (4) 伎美尓可多良 武 (5) 己等都奇米也母 古新未詳 仮名の書き下し・Kana transliteration (1) にほど 2 りの 2 (2) おき 1 ながかはは (3) たえ 2 ぬと 2 も み 1 にかたらむ (5) こ 2 と 2 つき 2 め 2 やも 2

2

(4) き

1

Romanization (1) nipo-N-töri-nö (2) OkînaNka KApa pa (3) taye-n-u tömö (4) kîmî-ni katar-am-u (5) kötö tukï-m-ë ya mö

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Glossing with morphemic analysis (1) grebe-DV(ATTR)-bird-COMP (2) OkînaNka river TOP (3) cease(INF)PERF-FIN CONJ (4) lord-DAT tell-TENT-ATTR (5) word run.out-TENTEV PT PT Translation (1) (makura-kotoba) (2/3) Even if OkînaNka river dries up (5) will [I] run out of words (4) to tell to [my] lord? [– Certainly not!] It is not clear whether it is an old or a new [composition].

Commentary On nipo-N-töri ‘grebe’, see the commentary to 5.794. It is used here as a permanent epithet (makura-kotoba, 枕詞) for OkînaNka (lit. okî ‘breath’ + naNka ‘long’) river, because grebes as water fowl can dive and hold their breath for a long time under water. OkînaNka river (於吉奈我河波) is present-day Tennogawa (天野川) river, which originates at Ibukiyama (伊吹山) mountain in Maibara city (米原市) in Shiga prefecture and flows into the Biwa lake in the same city. The poem is followed by the commentary in small script 古新未詳 ‘it is not clear whether it is old or new [composition]’. Since this poem refers to a river found in the Apumî province (近江國), and not in Kaputi province, it is possible that Uma-nö puNpîtö Kunipîtö is not the author, and he simply recited this poem, which looks like a love poem, as a welcome to Opotömö-nö Yakamöti and his other guests (Omodaka 1984.20: 196-97), (Kinoshita 1988: 277). Opinions differ, however, whether this commentary belongs to Opotömö-nö Yakamöti himself (Kinoshita 1988: 277), or to a later copyist (Omodaka 1984: 197).

Postscript to the poem 20.4458 本文・Original text 右一首主人散位寮散位馬史國人

Translation The poem above [was composed/recited by] the host, Uma-nö puNpîtö Kunipîtö, a person with a rank but no office. Commentary On the biography of Uma-nö puNpîtö Kunipîtö, see the commentary to the preface to poems 20.4457-4459. On the doubts about the authorship of this poem, see the commentary to 20.4458 above. The term San’i ryō san’i (散位寮散位) ‘a person with a rank but no office’ designates a person who had an official rank, but had no appointment to any offices in court or provincial bureaucracies.

20.4459 (W)

本文・Original text (1) 蘆苅尓 (2) 保里江許具奈流 (3) 可治能於等波 (4) 於保美也比等能 (5) 未奈伎久麻埿尓

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仮名の書き下し・Kana transliteration (1) あしかりに (2) ほりえ 2 こ 2 ぐなる (3) かぢの 2 おと 2 は (4) おほ み 1 やひ 1 と 2 の 2 (5) み 2 なき 1 くまでに Romanization (1) ASI KAR-I-ni (2) poriYE köNk-u-nar-u (3) kaNti-nö otö pa (4) opo mîya-N-pîtö-nö (5) mïna kîk-u-maNte-ni Glossing with morphemic analysis (1) reed cut-NML-LOC (2) canal row-FIN-RA-ATTR (3) rudder-GEN sound TOP (4) great palace-GEN-person-GEN (5) all hear-ATTR-TERM-LOC Translation (4/5) Until all people in the Great Palace will hear (3) the sound of rudders [of boats] (2) that are heard rowing in the [Nanipa] canal (1) to cut the reeds. Commentary On Nanipa canal, see the commentary on Nanipa harbor to poem 20.4330. Line three is hypermetric (jiamari, 字余り), this is probably just a graphic illusion, since kaNti-nö otö was in all probability pronounced as [kaNtinötö]. The cutting of reeds was normally done in winter, so here it is probably just used metaphorically (Kinoshita 1988: 278). On WOJ kaNti ‘rudder’, see the commentary to 15.3624. Kinoshita suggests that this poem implies that Nanipa palace was not so isolated from the life of common people as was the palace in Nara (1988: 278). Omodaka believes that this poem takes an elliptical form, with a word like pîNpîk- ‘to resound’ omitted at the end (1984.20: 198).

Postscript to the poem 20.4459

本文・Original text 右一首式部少丞大伴宿祢池主讀之即云兵部大丞大原眞人今城先日他所 讀歌者也 Translation The poem above was recited by Opotömö-nö sukune Ikënusi, the Junior Secretary of the Ministry of Ceremonial Affairs. However, [some] say that [it] is the poem that was recited the other day by Opopara-nö mapîtö Imakï, the Senior Secretary of the Ministry of War at a different place. Commentary The character 讀 ‘to read’ is used in the Man’yōshū not for composition, which is normally 作 ‘to make’, therefore the author of this poem remains unknown (Omodaka 1984.20: 198), (Kinoshita 1988: 279). On the biography of Opotömö-nö sukune Ikënusi, see the commentary to the postscript to poem 20.4295. On the Junior Secretary (Shōjō, 少 丞 ), see the commentary to the postscript to poem 20.4299. Under the Ritsuryō code, the Ministry of Ceremonial Affairs (Shikibu[shō], 式部[省]) was one of the four Ministries under the Controlling Board of the Left (Sabenkan, 左弁官). It dealt with matters related to bestowing of ranks,

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appointments of officials, registers of performance evaluation, court ceremonies, education, examinations for officials, granting allowances, etc. On the biography of Opopara-nö mapîtö Imakï, see the commentary to the postscript to 20.4436-4439. The position of the Senior Secretary (Daijō, 大丞) (there was only one for each Ministry, except the Ministry of Ceremonial Affairs and the Ministry of Justice that had two each) corresponded to the Senior Sixth Rank, Lower Grade. On the Ministry of War (Hyōbu[shō], 兵部[省]), see the commentary to the postscript to 20.4315-4320.

20.4460 (W)

本文・Original text (1) 保利江己具 (2) 伊豆手乃船乃 (3) 可治都久米 (4) 於等之婆多知奴 (5) 美乎波也美加母 仮名の書き下し・Kana transliteration (1) ほりえ 2 こ 2 ぐ (2) いづての 2 ふねの 2 (3) かぢつくめ 2 (4) おと 2 し ばたちぬ (5) み 1 をはやみ 1 かも 2 Romanization (1) poriYE köNk-u (2) INtu-te-nö PUNE-nö (3) kaNti tukumë (4) otö siNpa tat-i-n-u (5) mîwo paya-mî kamö Glossing with morphemic analysis (1) canal row-ATTR (2) INtu-type-GEN boat-GEN (3) rudder rowlock (4) sound often rise-INF-PERF-FIN (5) current be.fast-GER PT Translation (2/3/4) The sounds of rudder rowlocks of boats made in INtu (1) that row in [Nanipa] canal (4) are often heard. (5) I wonder whether it is because the current is fast. Commentary On Nanipa canal, see the commentary on Nanipa harbor to poem 20.4330. On WOJ kaNti ‘rudder’, see the commentary to 15.3624. On INtu province, see the commentary to 14.3360. On INtu-te-nö pune ‘boat made in INtu’, see the commentary to 20.4336. There are several opinions regarding the meaning of WOJ tukumë. I follow here both Omodaka (1984.20: 199) and Kinoshita (1988: 280) in assuming that it is a noun tukumë ‘rowlock’ (< tuk-u ‘attach-ATTR’ + më ‘joint, point’) rather than the verb tukumë- ‘to grasp’ (Takagi et al. 1962: 458), because just grasping a rudder is not going to produce a sound, but its moving in a rowlock certainly does.

20.4461 (W)

本文・Original text (1) 保里江欲利 (2) 美乎佐香能保流 (3) 梶音乃 (4) 麻奈久曽奈良波 (5) 古非之可利家留

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仮名の書き下し・Kana transliteration (1) ほりえ 2 よ 1 り (2) み 1 をさかの 2 ぼる (3) かぢの 2 おと 2 の 2 (4) ま なくそ 2 ならは (5) こ 1 ひ 2 しかりけ 1 る Romanization (1) poriYE-yôri (2) mîwo sakanöNpor-u (3) kaNti-nö otö-nö (4) ma na-ku sö Nara pa (5) kôpïsi-k-ar-i-kêr-u Glossing with morphemic analysis (1) canal-ABL (2) current go.against-ATTR (3) rudder-GEN sound-COMP (4) interval no-INF PT Nara TOP (5) longing-INF-exist-INF-RETR-ATTR Translation (5) [My] longing for (4) [the capital of] Nara never stops (3) like the sounds of rudders [on the boats] (2) that go against the current (1) along [Nanipa] canal. Commentary On Nanipa canal, see the commentary on Nanipa harbor to poem 20.4330. OJ ablative case marker -yôri here has prolative meaning (‘along’). On WOJ kaNti ‘rudder’, see the commentary to 15.3624. Line three is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since kaNti-nö otö was in all probability pronounced as [kaNtinötö].

20.4462 (W)

本文・Original text (1) 布奈藝保布 (2) 保利江乃可波乃 (3) 美奈伎波尓 (4) 伎爲都々奈久 波 (5) 美夜故杼里香蒙 仮名の書き下し・Kana transliteration (1) ふなぎ 1 ほふ (2) ほりえ 2 の 2 かはの 2 (3) み 1 なき 1 はに (4) き 1 ゐ つつなくは (5) み 1 やこ 1 ど 2 りかも Romanization (1) puna-N-kîpop-u (2) poriYE-nö kapa-nö (3) mîna kîpa-ni (4) k-î-wi-tutu nak-u pa (5) mîyakô-N-töri kamo Glossing with morphemic analysis (1) boat-GEN-compete-ATTR (2) canal-GEN river-GEN (3) water edge-LOC (4) come-INF-sit(INF)-COOR sing-ATTR TOP (5) capital-GEN-bird PT Translation (5) I wonder whether [these are] the birds of the capital, (4) those [birds] that come, perch and sing (3) at the water front (2) of the canal-river (1) where boats compete. Commentary On Nanipa canal, see the commentary on Nanipa harbor to poem 20.4330. On OJ mîna ‘water’, see the commentary to 5.902. There is a difference of opinion among the Japanese scholars whether mîyakô-N-töri ‘bird of the capital’ corresponds to ‘black-headed gull’ (MdJ

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yurikamome (ユリカモメ・百合鴎), Lat. Larus ridibundus) (Kinoshita 1988: 281-83) or to ‘oyster catcher’ (MdJ miyakodori (ミヤコドリ・都鳥), Lat. Haematopus ostralegus) (Omodaka 1984.20: 200-02). The famous description of this bird in the ninth dan of the Ise monogotari: しろきとりのはしとあし とあかきしぎのおほきさなるみづのうへにあそびつついををくふ京に 見えぬとりなればみな人見しらず ‘... a white bird, with red beak and legs, of the size of a snipe, was playing on the water and eating fish. Because it was a bird unseen in the capital, nobody recognized it’ fits both, although while the body of yurikamome ‘black-headed gull’ is white, miyakodori ‘oyster catcher’ has white belly and sides, and black back. However, a comparison with a snipe better fits the size of a miyakodori, since yurikamome is smaller. I am inclined toward the second explanation, because in the Ise monogatari it is clearly stated that it was a bird unseen in the capital. Meanwhile, yurikamome ‘black-headed gull’ is very well known in the capital, while miyakodori ‘oyster catcher’ is not. Thus, the identification with ‘oyster catcher’ is probably correct.

Postscript to the poem 20.4460-4462 本文・Original text 右三首江邊作之

Translation The three poems above were composed near the [Nanipa] canal. Commentary On Nanipa canal, see the commentary on Nanipa harbor to poem 20.4330. These three poems have no dates and no author, but probably they were composed by Opotömö-nö Yakamöti around the first day of the third lunar month of the eighth year of Tenpyō Shōhō (April 4, 756 AD) (Kinoshita 1988: 285).

20.4463 (W)

本文・Original text (1) 保等登藝須 (2) 麻豆奈久安佐氣 (3) 伊可尓世婆 (4) 和我加度須疑 自 (5) 可多利都具麻埿 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) まづなくあさけ ど 1 すぎ 2 じ (5) かたりつぐまで

2

(3) いかにせば (4) わがか

Romanization (1) potötöNkîsu (2) maNtu nak-u asakë (3) ika n-i se-Npa (4) wa-Nka kaNtô suNkï-Nsi (5) katar-i-tuNk-u-maNte Glossing with morphemic analysis (1) cuckoo (2) first.time cry-ATTR dawn (3) how DV-INF do-COND (4) I-POSS gate pass-NEG/TENT/FIN (5) talk-INF-follow-ATTR-TERM

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Translation (1/2) At dawn when a cuckoo cries for the first time, (3) what [should I] do (4) so [it] would not pass by my gate (5) until [I] will tell about [it] from generation to generation. Commentary On WOJ potötöNkîsu ‘cuckoo’, see the commentary to 15.3754. WOJ asakë ‘dawn’ is a contraction of asa ‘morning’ + akë ‘brightness’. This poem as a whole is difficult to understand, because it is not clear what line five exactly means and how it fits together with the previous four lines. WOJ katarituNk- seems to mean ‘to tell a story from generation to generation’, as becomes clear from 17.3914: potötöNkîsu ima si K-Î-NAK-ANPA yöröNtu yö-ni katar-i-tuNk-uNpë-ku OMÖP-OY-URU kamö ‘If cuckoo would come and cry now, I think I should tell [about it] for many generations!’ Unlike 17.3914, it is not clear who does the action of storytelling: the author, other people, or the cuckoo itself, and different scholars have taken different points of view. My interpretation and translation basically follows the meaning and the functional usage found in 17.3914, assigning the role of agent to the author.

20.4464 (W)

本文・Original text (1) 保等登藝須 (2) 可氣都々伎美我 (3) 麻都可氣尓 (4) 比毛等伎佐久 流 (5) 都奇知可都伎奴 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) かけ 2 つつき 1 み 1 が (3) まつかげ 2 に (4) ひ 1 も 1 と 2 き 1 さくる (5) つき 2 ちかづき 1 ぬ Romanization (1) potötöNkîsu (2) kakë-tutu kîmî-Nka (3) mat-u/matu kaNkë-ni (4) pîmô tök-î-sak-uru (5) tukï tikaNtuk-î-n-u Glossing with morphemic analysis (1) cuckoo (2) be.concerned(INF)-COOR lord-POSS (3) wait-ATTR/pine shadow-LOC (4) cord untie-INF-release-ATTR (5) month approach-INFPERF-FIN Translation (5) The month when (2) [my] lord (4) will untie the cords of [his garment] (3) in the shade of pines waiting (2) eagerly (1) for a cuckoo (5) has drawn near. Commentary On WOJ potötöNkîsu ‘cuckoo’, see the commentary to 15.3754. Line three has a play on words (kakekotoba, 掛詞) between mat-u ‘waits’ and matu ‘pine’. I believe that this poem has no sexual underpinnings, in spite of mentioning the untying of garment cords, on which see the commentary to 15.3585. As Kinoshita pointed out, in this poem it just conveys the idea of relaxation (1988: 285).

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There is a certain discrepancy between the fourth and especially fifth lunar months when cuckoos cry, and seeking the shelter from the heat in the later summer, but given the joking tone of the poem, the discrepancy is probably not that important. WOJ tikaNtuk- ‘to approach’, ‘to draw near’ is etymologically a contraction of tika ‘near’ + -ni, locative case marker + tuk- ‘to be attached’.

Postscript to the poem 20.4463-4464 本文・Original text 右二首廿日大伴宿祢家持依興作之

Translation Two poems above were composed by Opotömö-nö sukune Yakamöti for pleasure on the twentieth day [of the third lunar month of the eighth year of Tenpyō Shōhō]. Commentary The twentieth day of the third lunar month of the eighth year of Tenpyō Shōhō corresponds to April 23, 756 AD. Kinoshita argued that it should be the fourth lunar month, because the cuckoo cries in the fourth and especially the fifth lunar months, but not in the third (1988: 285), but the omission of the month after the last mentioned date of the seventh day of the third lunar month in the preface to the poems 20.4457-4459 normally conveys the idea that the poem was still composed in the same month. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. There is a discrepancy between the Genryaku kōhon that has 五首 ‘five poems’ and all other manuscripts that have 二 首 ‘two poems’ in this postscript. The usual argument of the supporters of ‘two poems’ is that poems 20.4460-4462 and 20.4463-4464 could not be composed on the same day, because they believe that while the former three poems were composed in Nanipa, the latter two were composed in Nara. This might well be the case, but the justification for Nara as the place of composition of the poems 20.4463-4464 solely rests on the phrase wa-Nka kaNtô ‘my gate’ in 20.4463. This is a very weak argument, because Opotömö-nö Yakamöti could refer in this manner to the gate of his temporary residence in Nanipa as well. Much more significant is the fact that poems 20.4463-4464 are indeed composed for pleasure or amusement, while the poems 20.4460-4462 are unlikely to be so. Consequently, the 二首 ‘two poems’ interpretation of this postscript is likely to be correct.

Preface to the poems 20.4465-4467 本文・Original text 喩族歌一首并短歌

Translation One chōka admonishing [my] relatives, accompanied by [four] tanka [envoys]. Commentary The reason for this admonition is given in the postscript to these poems.

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本文・Original text (1) 比左加多能 (2) 安麻能刀比良伎 (3) 多可知保乃 (4) 多氣尓阿毛理 之 (5) 須賣呂伎能 (6) 可未能御代欲利 (7) 波自由美乎 (8) 多尓藝利 母多之 (9) 麻可胡也乎 (10) 多婆左美蘇倍弖 (11) 於保久米能 (12) 麻 須良多祁乎々 (13) 佐吉尓多弖 (14) 由伎登利於保世 (15) 山河乎 (16) 伊波祢左久美弖 (17) 布美等保利 (18) 久尓麻藝之都々 (19) 知波夜夫 流 (20) 神乎許等牟氣 (21) 麻都呂倍奴 (22) 比等乎母夜波之 (23) 波 吉伎欲米 (24) 都可倍麻都里弖 (25) 安吉豆之萬 (26) 夜萬登能久尓乃 (27) 加之波良能 (28) 宇祢備乃宮尓 (29) 美也婆之良 (30) 布刀之利多 弖氐 (31) 安米能之多 (32) 之良志賣之祁流 (33) 須賣呂伎能 (34) 安 麻能日継等 (35) 都藝弖久流 (36) 伎美能御代々々 (37) 加久左波奴 (38) 安加吉許己呂乎 (39) 須賣良弊尓 (40) 伎波米都久之弖 (41) 都加 倍久流 (42) 於夜能都可佐等 (43) 許等太弖氐 (44) 佐豆氣多麻敝流 (45) 宇美乃古能 (46) 伊也都藝都岐尓 (47) 美流比等乃 (48) 可多里都 藝弖氐 (49) 伎久比等能 (50) 可我見尓世武乎 (51) 安多良之伎 (52) 吉用伎曽乃名曽 (53) 於煩呂加尓 (54) 己許呂於母比弖 (55) 牟奈許等 母 (56) 於夜乃名多都奈 (57) 大伴乃 (58) 宇治等名尓於敝流 (59) 麻 須良乎能等母 仮名の書き下し・Kana transliteration (1) ひ 1 さかたの 2 (2) あまの 2 と 1 ひ 1 らき 1 (3) たかちほの 2 (4) たけ 2 にあも 1 りし (5) すめ 1 ろ 2 き 1 の 2 (6) かみ 2 の 2 み 1 よ 2 よ 1 り (7) は じゆみ 1 を (8) たにぎ 1 りも 2 たし (9) まかご 1 やを (10) たばさみ 1 そ 1 へ 2 て (11) おほくめ 2 の 2 (12) ますらたけ 1 をを (13) さき 1 にたて (14) ゆき 1 と 2 りおほせ (15) やまかはを (16) いはねさくみ 1 て (17) ふみ 1 と 2 ほり (18) くにまぎ 1 しつつ (19) ちはやぶる (20) かみ 2 を こ 2 と 2 むけ 2 (21) まつ 2 ろはぬ (22) ひ 1 と 2 をも 2 やはし (23) はき 1 き 1 よ 1 め 2 (24) つかへ 2 まつりて (25) あき 1 づしま (26) やまと 2 の 2 くにの 2 (27) かしはらの 2 (28) うねび 2 の 2 み 1 やに (29) み 1 やばしら (30) ふと 1 しりたてて (31) あめ 2 の 2 した (32) しらしめ 1 しけ 1 る (33) すめ 1 ろ 2 き 1 の 2 (34) あまの 2 ひ 1 つぎ 1 と 2 (35) つぎ 1 てくる (36) き 1 み 1 の 2 み 1 よ 2 み 1 よ 2 (37) かくさはぬ (38) あかき 1 こ 2 こ 2 ろ 2 を (39) すめ 1 らへ 1 に (40) き 1 はめ 2 つくして (41) つかへ 2 くる (42) おやの 2 つかさと 2 (43) こ 2 と 2 だてて (44) さづけ 2 たまへ 1 る (45) う み 1 の 2 こ 1 の 2 (46) いやつぎ 1 つぎ 1 に (47) み 1 るひ 1 と 2 の 2 (48) か たりつぎ 1 てて (49) き 1 くひ 1 と 2 の 2 (50) かがみ 1 にせむを (51) あた らしき 1 (52) き 1 よ 1 き 1 そ 2 の 2 なそ 2 (53) おぼろ 2 かに (54) こ 2 こ 2 ろ 2 おも 2 ひ 1 て (55) むなこ 2 と 2 も 2 (56) おやの 2 なたつな (57) おほ と 2 も 2 の 2 (58) うぢと 2 なにおへ 1 る (59) ますらをの 2 と 2 も 2 Romanization (1) pîsa kata n-ö (2) ama-nö tô pîrak-î (3) Takatipo-nö (4) takë-ni am-ôri-si (5) sumêrökî n-ö (6) kamï-nö MÎ-YÖ-yôri (7) paNsi yumî-wo (8) ta-niNkîr-i-möt-as-i (9) makaNkôya-wo (10) ta-N-pasam-î sôpë-te (11) opo Kumë-nö (12) masura takê wo-wo (13) sakî-ni tate (14) yukî tör-i-op-ose (15) yama kapa-wo (16) ipa ne sakum-î-te (17) pum-î-töpor-i (18) kuni maNk-î s-i-tutu (19) ti-[i]pa yaNpur-u (20) kamï-wo kötömukë (21) matur-öp-an-u (22) pîtö-wo mö yapas-i (23) pak-î-kîyômë (24) tukapë-matur-i-te (25) akîNtu sima (26) Yamatö-nö kuni-nö (27) Kasipara-nö (28) UneNpï-nö MÎYA-ni (29)

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mîya-N-pasira (30) putô sir-i-tate-te (31) amë-nö sita (32) sirasimês-i-kêr-u (33) sumêrökî-nö (34) ama-nö PÎ-tuNk-î tö (35) tuNk-î-k-uru (36) kîmî-nö MÎ-YÖ MÎ-YÖ (37) kakus-ap-an-u (38) aka-kî kökörö-wo (39) sumêra-pê-ni (40) kipamë-tukus-i-te (41) tukapë-k-uru (42) oya-nö tukasa tö (43) kötöNtate-te (44) saNtukë-tamap-êr-u (45) um-î-nö kô-nö (46) iya tuNk-î-tuNk-î n-i (47) mî-ru pîtö-nö (48) katar-i-tuNk-î-te-te (49) kîk-u pîtö-no (50) kaNkamî n-i se-m-u-wo (51) atarasi-kî (52) kîyô-kî sönö na sö (53) oNporöka n-i (54) kökörö omöp-î-te (55) muna kötö mö (56) oya-nö NA tat-una (57) OPOTÖMÖ-nö (58) uNti tö NA-ni op-êr-u (59) masura wo n-ö tömö Glossing with morphemic analysis (1) eternal hard DV-ATTR (2) heaven-GEN door open-INF (3) Takatipo-GEN (4) peak-LOC heaven-descend(INF)-PAST/ATTR (5) imperial.ancestor DV-ATTR (6) deity-GEN HON-age-ABL (7) lacquer.tree bow-ACC (8) hand-grasp-INF-hold-HON-INF (9) deer.arrow-ACC (10) hand-LOCput.between-INF follow(INF)-SUB (11) great Kumë-GEN (12) brave fierce man-ACC (13) front-LOC place(INF) (14) quiver take-INF-carry-CAUS(INF) (15) mountain river-ACC (16) rock root push.through-INF-SUB (17) step-INF-pass-INF (18) land seek-NML do-INF-COOR (19) thousand-rock crush-ATTR (20) deity-ACC subdue.by.magic.incantation(INF) (21) obeyITER-NEG-ATTR (22) person-ACC PT pacify-INF (23) sweep-INFclean(INF) (24) serve(INF)-HUM-INF-SUB (25) dragonfly land (26) YamatöGEN land (27) Kasipara-GEN (28) UneNpï-GEN palace-LOC (29) palaceGEN-pillar (30) majestically build-INF-place(INF)-SUB (31) heaven-GEN below (32) rule(HON)-INF-RETR-ATTR (33) imperial.ancestor-GEN (34) heaven-GEN sun-succeed-NML DV (35) follow-INF-come-ATTR (36) lordGEN HON-reign HON-reign (37) hide-ITER-NEG-ATTR (38) bright-ATTR heart-ACC (39) Emperor-side-LOC (40) take.to.the.extreme(INF)-exhaustINF-SUB (41) serve(INF)-come-ATTR (42) ancestor-GEN office DV (43) swear(INF)-SUB (44) bestowed(INF)-HON-PROG-ATTR (45) bear-NMLGEN child (46) more.and.more succeed-INF-succeed-NML DV-INF (47) see-ATTR person-GEN (48) talk-INF-continue-INF-PERF(INF)-SUB (49) hear-ATTR person-GEN (50) mirror DV-INF do-TENT-ATTR-ACC (51) precious-ATTR (52) clean-ATTR that name PT (53) negligent DV-INF (54) heart think-INF-SUB (55) empty word PT (56) ancestor-GEN name break-NEG/IMP (57) Opotömö-nö (58) clan DV name-LOC bear-PROGATTR (59) magnificent man DV-ATTR relative Translation (6) From the age of the deity (5) the imperial ancestor, (4) who descended from Heaven to the peak (3) of Takatipo (1/2) opening the doors of eternal and strong heaven, (7/8) [deity Amë-no osipî-nö mîkötö] grasped in [his] hand a bow [made of] a lacquer tree, and (10) squeezed between [the fingers of] his [other] hand (9) deer [slaying] arrows. (11/12/13) [Deity Mîti-nö omî-nö mîkötö] placed fierce and brave men from great Kumë in front and (14) made [them] take and carry quivers. (17) [He] passed through (15) mountains and across rivers (16) [by] pushing through rocks and roots, and (18) while seeking out [new] lands (20) [he] subdued by magic incantations deities (19) who crush thousand rocks, and (22) pacified also the people (21) who were not obeying [the Emperor]. (24) [Deity Mîti-nö omî-nö mîkötö] served by (23) sweeping clean [the approach for Emperor Jinmu], and (30) [he] build

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majestic (29) palace pillars (28) in UneNpï palace (27) in Kasipara (26) in the land of Yamatö, (25) the land of a dragonfly. (36) In many reigns of Emperors (35) who followed (34) as heavenly Sun-successors (33) of the imperial ancestors (32) who ruled (31) the [land] under Heaven, (45) the descendants [of Opotömö clan], (43/44) were sworn in and bestowed (42) with offices of [their] ancestors (41) who served (39) at the side of the Emperors (40) dedicating completely (38) [their] bright hearts (37) which [they] never hid. (46) More and more [they] continued and continued, so (47) the people who saw [them], (48) have continued to talk [about them], and (49) people who heard [them] (50) would make a model [of them], (51/52) because [they had] clean and precious name. (59) [My] magnificent relatives, (57/58) who bear the name of Opotömö clan, (56) do not destroy the name of [your] ancestors (55) [with] empty words and (53) negligent (54) thoughts in [your] hearts. Commentary First six lines represent the reference to NiniNkî, a grandson of Amaterasu, and the ancestor of the imperial clan. The myth of NiniNkî’s descent to Earth from Heaven is found in the Kojiki (I.49a) and the Nihonshoki (II.59ff). On pîsa kata ‘eternal and hard’, see the commentary to 15.3650. According to the myth, NiniNkî descended to the Kusipuru peak of Takatipo mountain. There are two hypotheses concerning the location of Takatipo mountain: (a) Takachiho peak (高千穂峰) of Kirishima mountain (霧島山) in Nishimorokata county (西諸県郡) of present-day Miyazaki prefecture, and (b) a mountain in Takachiho town (高千穂町) in Nishiusuki county (西臼杵郡) in the same prefecture (Nakanishi 1985: 457). WOJ am-ôri- ‘to descend from heaven’ is a contraction of amë ‘heaven’ and ori- ‘to descend’. On sumêrökî ‘male Imperial ancestors’ see the commentary to 15.3688. From line seven and up to line eleven, the reference switches to deity Amë-no osipî-nö mîkötö, one of the companions of NiniNkî, and a legendary ancestor of Opotömö clan. WOJ paNsi ‘mountain lacquer tree’ (MdJ. yamahaze, Lat. Toxicodendron sylvestre) is a small deciduous tree that blooms in early summer with small yellow-greenish flowers. Its red leaves in the autumn are very beautiful. It was used as a material for bows and also for dyeing (Nakanishi 1985: 325). WOJ makaNkôya ‘deer-slaying arrow’ is a compound consisting of ma-, intensive prefix, ka-N-kô ‘fawn’ (lit. ‘deer-GEN-child’, also attested as WOJ ka-kô ‘deer-child’, see 9.1790 and 20.4408), and ya ‘arrow’. The Kumë clan was an important component in the armed forces of Yamatö before the Taika coup d’état in 645 AD. There are two hypotheses on the relationship between the Kumë and Opotömö clans. According to the first, they were equals, but according to the second, Opotömö were the overlords of Kumë (Kinoshita 1988: 291). Opotömö-nö Yakamöti apparently believed in the overlordship of Opotömö over Kumë, as becomes apparent from this poem and also from 18.4094. From line eleven to line thirty, the reference again switches, this time to the deity Mîti-nö omî-nö mîkötö, also one of the ancestors of Opotömö, who accompanied Emperor Jinmu (神武天皇) on his Eastern campaign (東征), and saved the latter from the trap prepared by Ye-ukasi. The Eastern campaign was riddled by many difficulties, especially its passage through Kumano, hence ‘pushing through the rocks and roots’ as a metaphor of a difficult and perilous journey.

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On WOJ masura wo ‘excellent man, brave man’, see the commentary to 5.804. On WOJ yukî ‘quiver’, see the commentary to 20.4332. On OJ permanent epithet (makura-kotoba, 枕詞) tipayaNpuru, see the commentary to 20.4402. Omodaka reads 麻都呂倍奴 matur-öpë-n-u ‘who do not obey’ in line twenty-one as matur-öp-an-u, noting that there are cases when the phonogram 倍 pë stands for pa (1984.20: 208). However, both his WOJ examples involve verb omöp-aye- ‘to think suddenly’ (17.4016, 17.4027), where 倍 pë more likely reflects po rather than pa: cf. a variant omöp-oye- ‘to think suddenly’. On details on allomorphy of the iterative suffix -ap- ~ -öp- see Vovin (2009a: 820-21). There are two legends explaining why one of the names of Ancient Japan was AkîNtu sima ‘land of a dragonfly’. One is recorded in book three in the Nihonshoki, indicating that when Emperor Jinmu climbed Popoma hill in order to perform kunimî (lit. ‘looking at the land’) ritual, the shape of the land looked like a dragonfly, and it was named accordingly. Another legend connects it with the reign of Emperor Yūryaku, who gratefully named the land as AkîNtusima in recognition of the fact that a dragonfly ate a gadfly that sat on his arm (KK 97, NK 75). Kasipara corresponds to Unebi town (畝傍町) in modern Kasihara city (橿 原市) in present-day Nara prefecture (Nakanishi 1985: 434). UneNpï palace, the residence of Emperor Jinmu, was located to the south-east of Unebi mountain (畝傍山). From line thirty-one we again have a switch in reference, this time to members of Opotömö clan, not identified individually. Both Omodaka (1984.20: 208) and Kinoshita (1988: 294) believe that ama-nö PÎ-tuNk-î ‘heavenly successor of the Sun’ in line thirty-four refers to Emperor Jinmu. However, this is difficult to accept from the point of view of grammar, because the wider context ama-nö PÎ-tuNk-î tö tuNk-î-k-uru ‘follow as heavenly successors of the Sun’ clearly includes defective verb tö ‘as’, ‘in the capacity of’. ‘Follow the heavenly successor of the Sun’ would require a dative-locative case marker -ni: ama-nö PÎ-tuNk-î-ni tuNk-î-k-uru. In his modern Japanese translation Omodaka, however, presents the grammatically correct interpretation (1984.20: 206) The phrase um-î-nö kô-nö, lit. ‘born children’ in line forty-five is usually understood as ‘descendants’ (Omodaka 1988: 209). WOJ expression kaNkamî n-i se- means ‘to make a model of’ (lit. ‘to do as a mirror’). Line fifty-eight is hypermetric (jiamari, 字余り).

20.4466 (W)

本文・Original text (1) 之奇志麻乃 (2) 夜末等能久尓尓 (3) 安伎良氣伎 (4) 名尓於布等毛 能乎 (5) 己許呂都刀米与 仮名の書き下し・Kana transliteration (1) しき 2 しまの 2 (2) やまと 2 の 2 くにに (3) あき 1 らけ 2 き 1 (4) なに おふと 2 も 1 の 2 を (5) こ 2 こ 2 ろ 2 つと 1 め 2 よ 2

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Romanization (1) Sikï-sima n-ö (2) Yamatö-nö kuni-ni (3) akîrakë-kî (4) NA-ni op-u tômö n-ö wo (5) kökörö tutômë-yö Glossing with morphemic analysis (1) (makura-kotoba) (2) Yamatö-GEN land-LOC (3) brilliant-ATTR (4) name-LOC bear-ATTR relative DV-ATTR male (5) heart strive-IMP Translation (3/4) [My] relatives, who bear the brilliant name [of Opotömö], (2) in the land of Yamatö, (5) strive [with your] hearts! Commentary Sikï-sima is considered to be a permanent epithet (makura-kotoba, 枕詞) for Yamatö. Sima in Sikï-sima is apparently ‘land, island, territory’, but the sikï ‘part’ is opaque. It is sometimes explained as si-kï ‘stone-fortress’ (磯城 or 石城), but the loss of the initial syllable /i/ in isi ‘stone’ is unwarranted. Line four is hypermetric (jiamari, 字余り).

20.4467 (W)

本文・Original text (1) 都流藝多知 (2) 伊与餘刀具倍之 (3) 伊尓之敝由 (4) 佐夜氣久於比 弖 (5) 伎尓之曽乃名曽 仮名の書き下し・Kana transliteration (1) つるぎ 1 たち (2) いよ 2 よ 2 と 1 ぐべ 2 し (3) いにしへ 1 ゆ (4) さや け 2 くおひ 1 て (5) き 1 にしそ 2 の 2 なそ 2 Romanization (1) turuNkî tati (2) iyöyö tôNk-uNpë-si (3) inisipê-yu (4) sayakë-ku op-î-te (5) k-î-n-i-si sönö NA sö Glossing with morphemic analysis (1) straight.sword long.sword (2) more.and.more sharpen-DEB-FIN (3) ancient.time-ABL (4) bright.and.clear-INF bear-INF-SUB (5) come-INFPERF-INF-PAST/ATTR that name PT Translation (1/2) [We] must sharpen [our] double-edged long swords more and more. (4/5) [It is] that name [of Opotömö] that have been bearing (3) from the ancient times. Commentary On turuNkî ~ turukî ‘[double-edged] straight sword’ and tati ‘long sword’, see the commentary to 5.804. WOJ inisipê ‘ancient time, past’ etymologically is a compound that goes back to in- ‘to go away’, -i-, infinitive, -si, past attributive, and -pê ‘side’; thus literally ‘the side that went away’. The Opotömö clan excelled in military service in Yamatö. Hence the necessity to metaphorically sharpen their swords in order to preserve their good name.

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Postscript to the poem 20.4465-4467

本文・Original text 右縁淡海眞人三船讒言出雲守大伴古慈斐宿祢解任是以家持作此歌也 Translation Yakamöti composed these poems above due to the fact that Opotömö-nö KôNsipï sukune was relieved from his post of the Governor of INtumô province because of the slander by Apumî-nö mapîtö Mîpune. Commentary The information in this postscript contradicts the information from the Shoku Nihongi, according to which both Opotömö-nö KôNsipï sukune 58 and Apumî-nö mapîtö Mîpune were punished for the crime of lack of proper respect for the court due to their slanderous remark about it by confinement to the Headquarters of Palace Guards (Ejifu, 衛士府), Left (Saejifu, 左衛士府) and Right division (Uejifu, 右衛士府) respectively, but were released three days later, probably due to the fact that Opotömö-nö KôNsipï sukune’s wife was a daughter of PuNtipara-nö PuNpîtö, as well as possibly due to Empress Dowager Kōmyō interceding on his/their behalf. As noted for the first time already by Keichū, this discrepancy is difficult to explain (1690.20: 82b). This episode occurred on the tenth day of the fifth lunar month of the eighth year of Tenpyō Shōhō (June 11, 756 AD), which alone can give us the non-ante quem dating of these poems. However, on the basis of the postscript to poems 20.4465-20.4470, we know that they were all composed on the seventeenth day of the sixth lunar month of the eighth year of Tenpyō Shōhō (July 18, 756 AD). On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. Opotömö-nö sukune KôNsipï had Junior Fifth Rank, Lower Grade in the eleventh year of Tenpyō (739 AD), when he was forty-four years old, and in the fourteenth year of Tenpyō (742-743 AD) he was the Governor of Kaputi province. In the first year of Tenpyō Shōhō (749 AD) Opotömö-nö sukune KôNsipï was promoted to Junior Fourth Rank, Upper Grade. He was appointed the Governor of Tosa province (土佐國) next year after his release from confinement at the Headquarters of Palace Guards (see above), but being implicated in TatiNpana-nö Naramarö’s plot in the first year of Tenpyō Hōji (757 AD), he was relieved of his duty, stripped of his rank, and exiled to Tosa. It is not known when Opotömö-nö sukune KôNsipï was pardoned and allowed to return to the capital, but his fortune apparently did not take a turn for the better before Empress Shōtoku had passed away and Emperor Kōnin ascended the throne in the first year of Hōki (770 AD), when he was finally restored to his original Junior Fourth Rank, Upper Grade from the person with no rank. He passed away at the ripe age of eighty-three as a Governor of Yamatö province with Junior Third Rank in the eighth year of Hōki (777 AD) (Kinoshita 1988: 299). INtumô province (出雲國) corresponds to the eastern part of present-day Shimane prefecture. It was one of the Upper Provinces (Jōkoku, 上國) under 58

Placing kabane rank after the given name rather than after the family name indicated a higher degree of respect.

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the Ritsuryō code. On the Ritsuryō code classification of Yamatö provinces, see the commentary to 5.818. Apumî-nö mapîtö Mîpune is a son of Prince IkëNpê (池邊王) and a grand-grandson of Prince Opotömö (大友皇子). His monastic name is Genkai ( 元開). He was originally called Prince Mîpune ( 三船王), but on the twenty-seventh day of the first lunar month of the third year of Tenpyō Shōhō (February 27, 751 AD) he was bestowed with the last name Apumî and the kabane rank of mapîtö. He is further mentioned as being the Assistant Governor (Sukë, 介) of Opari province with Senior Sixth Rank, Upper Grade on the twenty-first day of the first lunar month of the fourth year of Tenpyō Hōji (February 12, 760 AD), with a subsequent promotion to Fifth Rank, Lower Grade on the second day of the first lunar month of the fifth year of Tenpyō Hōji (February 11, 761 AD). Apumî-nö mapîtö Mîpune was further appointed Junior Assistant Minister (Shōyū, 少 輔 ) of the Ministry of Ceremonial Affairs (Shikibushō, 式部省) on the ninth day of the first lunar month of the sixth year of Tenpyō Hōji (February 6, 762 AD), and promoted to Fifth Rank, Upper Grade on the twelfth day of the ninth lunar month of the same year (October 3, 762 AD). On the twentieth day of the third lunar month of the first year of Jingo Keiun (神護景雲) (April 24, 767 AD) he was appointed Senior Assistant Minister (Tayū, 大輔) of the Ministry of War (Hyōbu[shō], 兵部[省]). On the twenty-ninth day of the eighth lunar month of the same year (September 26, 767 AD) he was appointed together with Opotömö-nö Yakamöti as one of two Junior Assistant Governor-Generals (shōni, 少貳) of Dazaifu. On the twenty-seventh day of the second lunar month of the eleventh year of Hōki (April 6, 780 AD) Apumî-nö mapîtö Mîpune was promoted to Fourth Junior Rank, Lower Grade, and on the fourth day of the tenth lunar month of the first year of Ten’o (天應) (October 25, 781 AD) appointed the Head of the University (Daigakutō, 大學頭). On the twenty-fifth day of the eighth lunar month of the first year of Enryaku (延曆) (October 6, 782 AD) he was appointed the governor of InaNpa province (因幡 國). On the second day of the fourth lunar month of the third year of Enryaku (April 24, 784 AD) Apumî-nö mapîtö Mîpune was also appointed the Minister (Kyō, 卿) of the Ministry of Justice (Gyōbushō, 刑部省), while still keeping his earlier appointments of the Head of the University and the Governor of InaNpa province. He passed away on the seventeenth day of the seventh lunar month fourth year of Enryaku (August 26, 785 AD) at the age of sixty-four. Apumî-nö mapîtö Mîpune is probably best known for his important role in the suppression of PuNtipara-nö Nakamarö’s rebellion in the eighth year of Tenpyō Hōji (764 AD), when he burnt Seta bridge (Setabashi, 瀬田橋) preventing PuNtipara-nö Nakamarö’s escape from UNti (宇治) to Apumî (近 江).

Preface to the poems 20.4468-4469 本文・Original text 臥病悲無常欲脩道作歌二首

Translation Two poems composed when [I] was bedridden with an illness and grieving over the Impermanence of Life, wanted to mend my Way.

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Commentary It becomes clear from the postscript to poems 20.4465-4470 that these two poems were composed by Opotömö-nö Yakamöti on the seventeenth day of the sixth lunar month of the eighth year of Tenpyō Shōhō (July 18, 756 AD). Two clearly Buddhist terms in this preface, mujō (無常) ‘impermanence of life’ and shūdō (脩道) ‘mending one’s Way’ probably indicate that Yakamöti was contemplating taking monastic vows.

20.4468 (W)

本文・Original text (1) 宇都世美波 (2) 加受奈吉身奈利 (3) 夜麻加波乃 (4) 佐夜氣吉見都 都 (5) 美知乎多豆祢奈 仮名の書き下し・Kana transliteration (1) うつせみ 1 は (2) かずなき 1 み 2 なり (3) やまかはの 2 (4) さやけ 2 き 1 み 1 つつ (5) み 1 ちをたづねな Romanization (1) utu semî pa (2) kaNsu na-kî MÏ nar-i (3) yama kapa-nö (4) sayakë-kî MÎ-tutu (5) mîti-wo taNtune-na Glossing with morphemic analysis (1) ephemeral cicada TOP (2) number exist.not-ATTR body be-FIN (3) mountain river-GEN (4) bright.and.pure-ATTR look(INF)-COOR (5) wayACC seek-DES Translation (1/2) A [human] body is ephemeral [like] a cicada. (4) Looking at brightness and pureness (3) of mountains and rivers (5) [I] want to see the Way. Commentary On utu semî ‘ephemeral cicada’, see the commentary to 15.3617. There is a dichotomy between the eternity of nature and ephemeral nature of a human body expressed in this poem. The Way mentioned here is certainly the Buddhist Way or the Buddhist Enlightenment. Apparently, Opotömö-nö Yakamöti contemplates leaving his career (the ephemeral way of men) and becoming a Buddhist hermit who is following the Way while gazing on nature.

20.4469 (W)

本文・Original text (1) 和多流日能 (2) 加氣尓伎保比弖 (3) 多豆祢弖奈 (4) 伎欲吉曽能美 知 (5) 末多母安波無多米 仮名の書き下し・Kana transliteration (1) わたるひ 1 の 2 (2) かげ 2 にき 1 ほひ 1 て (3) たづねてな (4) き 1 よ 1 き 1 そ 2 の 2 み 1 ち (5) またも 2 あはむため 2

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Romanization (1) watar-u PÎ-nö (2) kaNkë-ni kîpop-î-te (3) taNtune-te-na (4) kîyô-kî sönö mîti (5) mata mö ap-am-u tamë Glossing with morphemic analysis (1) cross-ATTR sun-GEN (2) light-LOC compete-INF-SUB (3) seek(INF)PERF-DES (4) pure-ATTR that Way (5) again PT meet-TENT-ATTR in.order.to Translation (3) [I] want to seek (4) that pure Way (2) that rivals the light (1) of the sun that passes [through the sky], (5) in order to meet with [that Way] again. Commentary Pure Way refers to the Buddhist Way or Buddhist Enlightenment. The word mata ‘again’ in line five probably implies that Yakamöti has already met with Buddhist Enlightenment in his previous live(s). Line five is hypermetric (jiamari, 字余り).

Preface to the poem 20.4470 本文・Original text 願壽作歌一首

Translation A poem that [I] composed praying for longevity. Commentary It becomes clear from the postscript to 20.4465-4470 that this poem is also by Opotömö-nö Yakamöti that was composed on the seventeenth day of the sixth lunar month of the eighth year of Tenpyō Shōhō (July 18, 756 AD).

20.4470 (W)

本文・Original text (1) 美都煩奈須 (2) 可礼流身曽等波 (3) 之礼々杼母 (4) 奈保之祢我比 都 (5) 知等世能伊乃知乎 仮名の書き下し・Kana transliteration (1) み 1 つぼなす (2) かれるみ 2 そ 2 と 2 は (3) しれれど 2 も 2 (4) なほし ねがひ 1 つ (5) ちと 2 せの 2 いの 2 ちを Romanization (1) mîtuNpo-nasu (2) kar-er-u MÏ sö tö pa (3) sir-er-e-Ntömö (4) napo si neNk-ap-î-t-u (5) ti-töse-nö inöti-wo Glossing with morphemic analysis (1) water.foam-COMP (2) borrow-PROG-ATTR body PT DV TOP (3) know-PROG-EV-CONC (4) still PT pray-ITER-INF-PERF-FIN (5) thousand-CL-GEN life-ACC

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Translation (3) Although [I] know that (2) [this] body is borrowed (1) and [is impermanent] like water foam, (4) [I] have still been praying for (5) a thousand-year life. Commentary WOJ mîtuNpo ‘water foam’ is a hapax legomenon that historically represents a compound consisting of mî ‘water’ + tuNpo (MdJ tsubu) ‘granule’. WOJ form as compared with MdJ one indicates pre-OJ *tunpô, with a subsequent o > u raising in post-OJ. On OJ comparative case marker -nasu, see Vovin (2005: 199-207). OJ verb kar- ‘to borrow’ was consonantal in contrast to MdJ kari- ‘id.’ Line five is hypermetric (jiamari, 字余り).

Postscript to the poems 20.4465-4470 本文・Original text 以前歌六首六月十七日大伴宿祢家持作

Translation Opotömö-nö sukune Yakamöti composed six poems above on the seventeenth day of the sixth lunar month [of the eighth year of Tenpyō Shōhō]. Commentary The seventeenth day of the sixth lunar month of the eighth year of Tenpyō Shōhō corresponds to July 18, 756 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū.

Preface to the poem 20.4471

本文・Original text 冬十一月五日夜小雷起鳴雪落覆庭忽懐感憐聊作短歌一首 Translation On the fifth day of the eleventh lunar month in winter [of the eighth year of Tenpyō Shōhō], there was a little thunder and snow fell and covered the garden. Suddenly, [I] felt emotion in [my] heart and talking [to myself], [I] composed a tanka. Commentary The fifth day of the eleventh lunar month of the eighth year of Tenpyō Shōhō corresponds to December 1, 756 AD. Japanese scholars interpret the character 聊 as isasaka ‘slightly’ (Omodaka 1984.20: 214), (Kinoshita 1988: 303). It surely has this meaning in kanbun (漢文), but I fail to understand how this meaning can fit here: ‘composing slightly’ or ‘composing a little bit’? However, starting from Late Han Chinese, or at least Early Middle Chinese vernacular, the character 聊 also has the meaning ‘to chat’, ‘to talk’. ‘Talking to myself’ makes much more sense in the given context, indicating that Yakamöti was probably mumbling to himself orally before putting this poem into writing.

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20.4471 (W)

本文・Original text (1) 氣能己里能 (2) 由伎尓安倍弖流 (3) 安之比奇乃 (4) 夜麻多知婆奈 乎 (5) 都刀尓通弥許奈 仮名の書き下し・Kana transliteration (1) け 2 の 2 こ 2 りの 2 (2) ゆき 1 にあへ 2 てる (3) あしひ 1 き 2 の 2 (4) や またちばなを (5) つと 1 につみ 1 こ 2 な Romanization (1) kë-nökör-i n-ö (2) yukî-ni apë-ter-u (3) asi pîkï n-ö (4) yama tatiNpana-wo (5) tutô n-i tum-î-kö-na Glossing with morphemic analysis (1) melt(INF)-remain-NML DV-ATTR (2) snow-LOC join(INF)-shine-ATTR (3) foot low DV-ATTR (4) mountain mandarin.orange-ACC (5) souvenir DV-INF pick-INF-come-DES Translation (5) [I] want to pick up as a souvenir (4) mandarin oranges from the mountains (3) with low foot, (2) which shine together with the snow (1) that has not yet melted. Commentary The English translation may seem ambiguous, but lines one and two ‘which shine together with the snow that has not yet melted’ refer to mandarin oranges, and not to mountains. This is probably the only example in WOJ, when a morpheme that can be suspected to be a reciprocal-cooperative prefix apî- appears as apë-. For this reason it was glossed as ‘join(INF)’ rather than a prefix. More likely it is just a case of verbal serialization: yukî-ni apë-ter-u lit. ‘shine joining the snow’. On asi pîkï n-ö ‘with low foot’, see the commentary to 15.3655. On OJ tatiNpana ‘mandarin orange’, see the commentary to 15.3779.

Postscript to the poem 20.4471 本文・Original text 右一首兵部少輔大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Junior Assistant Minister of the Ministry of War. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320.

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Preface to the poems 20.4472-4473

本文・Original text 八日讃岐守安宿王等集於出雲掾安宿奈杼麻呂之家宴歌二首 Translation Two poems [presented] on the eighth day [of the eleventh lunar month of the eighth year of Tenpyō Shōhō], when Prince AsukaNpë, governor of Sanukî [province] and others, gathered for a banquet at the house of AsukaNpë-nö NaNtömarö, Assistant Official of INtumô [province]. Commentary The eighth day of the eleventh lunar month of the eighth year of Tenpyō Shōhō corresponds to December 4, 756 AD. On the biography of Prince AsukaNpë see the commentary to the postscript to the poem 20.4301. Sanukî province corresponds to present-day Kagawa prefecture on Shikoku island. It was one of the Upper Provinces (Jōkoku, 上國) under the Ritsuryō code. On the Ritsuryō code classification of Yamatö provinces, see the commentary to 5.818. Little is known on biography of AsukaNpë-nö NaNtömarö. He is the author of one poem in the Man’yōshū: 20.4472. He is a descendant of immigrants from Paekche (Kinoshita 1988: 305). AsukaNpë-nö NaNtömarö is mentioned in the Shoku Nihongi as being promoted from the Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade on the seventh day of the first lunar month of the first year of Tenpyō Jingo (February 1, 765 AD). On INtumô province, see the commentary to the postscript to 20.4465-4467. On Assistant Official (En, 掾), see the commentary to the postscript to 20.4413-4424.

20.4472 (W)

本文・Original text (1) 於保吉美乃 (2) 美許登加之古美 (3) 於保乃宇良乎 (4) 曽我比尓美 都々 (5) 美也古敝能保流 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) み 1 こ 2 と 2 かしこ 1 み 1 (3) おほの 2 うらを (4) そ 2 がひ 1 にみ 1 つつ (5) み 1 やこ 1 へ 1 の 2 ぼる Romanization (1) opo kîmî-nö (2) mî-kötö kasikô-mî (3) Opo n-ö ura-wo (4) söNkap-î-ni mî-tutu (5) mîyakô-pê nöNpor-u Glossing with morphemic analysis (1) Great Lord-GEN (2) HON-word be.awesome-GER (3) big DV-ATTR bay-ACC (4) facing.the.back-NML-LOC look(INF)-COOR (5) capital-DIR go.up-FIN Translation (1/2) Because the command of the Great Lord is awesome, (5) [I] am going to the capital, (4) looking back (3) at the Big bay.

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Commentary Line three is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since opo n-ö ura was in all probability pronounced as [oponöra] or [oponura]. The location of Opo n-ö ura, probably ‘Big bay’, is unknown, although there is a speculation that it may refer to Ou salt-water lake (Ou-nö umî, 飫宇 の海) corresponding to Shinjiko salt-water lake (宍道湖) in present-day Shimane prefecture (Tachibana 1796/1929.2: 1001), (Takeda 1957.12: 531), (Nakanishi 1985: 432). Unlike Omodaka (1984.20: 216), I think that this might be likely not because of Takeda’s phonetic speculations (Takeda 1957.12: 531) that are unrealistic from the point of view of Nara period phonology, but because Shinjiko is a large salt-water lake, which although not connected directly to the sea, might be easily either perceived as a huge bay, or called so metaphorically. On WOJ söNkap-î ‘facing the back’, ‘in the back’ see the commentary to 14.3391.

Postscript to the poem 20.4472 本文・Original text 右掾安宿奈杼麻呂

Translation The [poem] above [was composed by] AsukaNpë-nö NaNtömarö, Assistant Official. Commentary On the biography of AsukaNpë-nö NaNtömarök, see the commentary to the preface to poems 20.4472-4473. On Assistant Official (En, 掾), see the commentary to the postscript to 20.4413-4424.

20.4473 (W)

本文・Original text (1) 宇知比左須 (2) 美也古乃比等尓 (3) 都氣麻久波 (4) 美之比乃其等 久 (5) 安里等都氣己曽 仮名の書き下し・Kana transliteration (1) うちひ 1 さす (2) み 1 やこ 1 の 2 ひ 1 と 2 に (3) つげ 2 まくは (4) み 1 しひ 1 の 2 ご 2 と 2 く (5) ありと 2 つげ 2 こ 2 そ 2 Romanization (1) uti pî sas-u (2) mîyakô-nö pîtö-ni (3) tuNkë-m-aku pa (4) mî-si pî-nö Nkötö-ku (5) ar-i tö tuNkë-kös-ö Glossing with morphemic analysis (1) ? sun shine-ATTR (2) capital-GEN person-DAT (3) report-TENT-NML TOP (4) see(INF)-PAST/ATTR day-GEN be.like-INF (5) exist-FIN DV report(INF)-BEN-IMP

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Translation (3) [When you] tell [about me] (2) people from the capital (1) upon which the sun shines, (5) please tell [them] for me that [I] am [still the same] (4) as on the day when [they] saw [me last]. Commentary On the permanent epithet (makura-kotoba, 枕 詞 ) uti pî sas-u, see the commentary to 5.886. On the contracted form -kös- of the OJ benefactive auxiliary köse-, see the commentary to 20.4363.

Postscript to the poem 20.4473

本文・Original text 右一首守山背王歌也主人安宿奈杼麻呂語云奈杼麻呂被差朝集使擬入京 師因此餞之日各作歌聊陳所心也 Translation The poem above was [composed by] Prince Yamasirö, the governor [of INtumô province]. The host, AsukaNpë-nö NaNtömarö told [his guests]: “Because I was planning to go to the capital, being appointed the messenger to the court, on the day of [the farewell] banquet, everyone composed poems expressing their feelings”. Commentary AsukaNpë-nö NaNtömarö apparently recited this poem by Prince Yamasirö at the banquet on the eighth day of the eleventh lunar month of the eighth year of Tenpyō Shōhō (December 4, 756 AD) mentioned in the preface to poems 20.4472-4473. Prince Yamasirö is a son of Prince NaNkaya and a brother of Prince AsukaNpë, who like the latter, escaped death in 729 AD, when Prince NaNkaya was ordered to commit suicide due to his connections on his mother’s side. For the details on this episode see the commentary to the postscript to 20.4301. He is an author of one poem in the Man’yōshū: 20.4473. Prince Yamasirö is mentioned several times in the Shoku Nihongi. On the twenty-first day of the eleventh lunar month of the twelfth year of Tenpyō (December 14, 740 AD) he was promoted from a person with no rank to Junior Fourth Rank, Lower Grade. On the nineteenth day of the ninth lunar month of the eighteenth year of Tenpyō (October 8, 746 AD) Prince Yamasirö was appointed the Master of the Bureau of Royal Attendants of the Right (Migi no ōtoneri ryō no tō, 右大舎人頭) in the Ministry of Central Affairs (Naka tukasa shō, Naka matsurigoto no tukasa, 中務省). On the thirtieth day of the twelfth lunar month of the eighth year of Tenpyō Shōhō (January 24, 757 AD) he is mentioned as a governor of INtumô province. On the twenty-first day of the fifth lunar month of the first year of Tenpyō Hōji (June 12, 757 AD) Prince Yamasirö was promoted to Junior Fourth Rank, Upper Grade, and on the sixteenth day of the sixth lunar month of the same year (July 6, 757 AD) appointed the governor of TaNpa province, with a subsequent promotion to Junior Third Rank on the fifth day of the seventh lunar month of the same year (July 25, 757 AD). He was appointed the Imperial Adviser (Sangi, 参議) on the fifth day of the sixth lunar month of the sixth year of Tenpyō Hōji (June 30, 762 AD), and passed away on the seventeenth day of

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the tenth lunar month of the seventh year of Tenpyō Hōji (November 26, 763 AD). On the biography of AsukaNpë-nö NaNtömarö, see the commentary to the preface to poems 20.4472-4473. On provincial messengers for the court (Chōshūshi, 朝集使), see the commentary to the preface to poems 20.4440-4441.

20.4474 (W)

本文・Original text (1) 武良等里乃 (2) 安佐太知伊尓之 (3) 伎美我宇倍波 (4) 左夜加尓伎 吉都 (5) 於毛比之其等久一云於毛比之母乃乎 仮名の書き下し・Kana transliteration (1) むらと 2 りの 2 (2) あさだちいにし (3) き 1 み 1 がうへ 2 は (4) さや かにき 1 き 1 つ (5) おも 1 ひ 1 しご 2 と 2 く一云おも 1 ひ 1 しも 2 の 2 を Romanization (1) mura töri-nö (2) asa-N-tat-i-in-i-si (3) kîmî-Nka upë pa (4) sayaka n-i kîk-î-t-u (5) omôp-î-si Nkötö-ku [a variant says: omôp-î-si mönöwo] Glossing with morphemic analysis (1) many bird-COMP (2) morning-LOC-depart-INF-go-INF-PAST/ATTR (3) lord-POSS top TOP (4) clear DV-INF hear-INF-PERF-FIN (5) think-INF-PAST/ATTR be.like-INF [a variant says: think-INF-PAST/ATTR CONJ] Translation (5) Just like [I] thought [a variant says: although [I] was worried] (4) [I] clearly heard (3) the [good] news about [my] lord (2) who departed in the morning (1) like a flock of [migratory] birds. Commentary On the permanent epithet (makura-kotoba, 枕詞) mura töri-nö, see the commentary to 20.4398. Line three is hypermetric (jiamari, 字余り). The word upë ‘top’ refers here to the rumors or news about someone (Kinoshita 1988: 308). The presence of a variant line in this poem is probably indicative of a later transmission: it is unlikely that Opotömö-nö Yakamöti would be providing a variant line to his own poem.

Postscript to the poem 20.4474

本文・Original text 右一首兵部少輔大伴宿祢家持後日追和出雲守山背王歌作之 Translation The poem above was composed on a later day by Opotömö-nö sukune Yakamöti, the Junior Assistant Minister at the Ministry of War as an envoy to the poem by Prince Yamasirö, the governor of INtumô province.

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Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320. On the biography of Prince Yamasirö, see the commentary to the postscript to 20.4473. On INtumô province, see the commentary to the postscript to 20.4465-4467.

Preface to the poems 20.4475-4476

本文・Original text 廿三日集於式部少丞大伴宿祢池主之宅飲宴歌二首 Translation Two poems [composed] on the twenty-third day [of the eleventh lunar month of the eighth year of Tenpyō Shōhō] when [we] gathered for a drinking banquet at the house of Opotömö-nö sukune Ikënusi, Junior Secretary of the Ministry of Ceremonial Affairs. Commentary The twenty-third day of the eleventh lunar month of the eighth year of Tenpyō Shōhō corresponds to December 19, 756 AD. On the biography of Opotömö-nö sukune Ikënusi, see the commentary to the postscript to poem 20.4295. On the Junior Secretary (Shōjō, 少 丞 ), see the commentary to the postscript to poem 20.4299. On the Ministry of Ceremonial Affairs (Shikibu[shō], 式部[省]), see the commentary to the postscript to 20.4459.

20.4475 (W)

本文・Original text (1) 波都由伎波 (2) 知敝尓布里之家 (3) 故非之久能 (4) 於保加流和礼 波 (5) 美都々之努波牟 仮名の書き下し・Kana transliteration (1) はつゆき 1 は (2) ちへ 1 にふりしけ 1 (3) こ 1 ひ 2 しくの 2 (4) おほか るわれは (5) み 1 つつしの 1 はむ Romanization (1) patu yukî pa (2) ti-pê n-i pur-i-sik-ê (3) kôpïsi-ku-nö (4) opo-k-ar-u ware pa (5) mî-tutu sinôp-am-u Glossing with morphemic analysis (1) first snow TOP (2) thousand-CL DV-INF fall-INF-do.constantly-IMP (3) be.longing-INF-GEN (4) big-INF-exist-ATTR I TOP (5) see(INF)-COOR yearn-TENT-FIN

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Translation (1) First snow, (2) fall constantly in a thousand layers! (3/4) I, [who] has great longing, (5) will be looking at [it] and yearning [for you]. Commentary On WOJ sik- ‘to do constantly’, see the commentary to 20.4443. Omodaka analyzes kôpïsi-ku ‘longing’ in line three as kôpï-si-ku ‘long.for(INF)-PAST/ATTR-NML’ (1984.20: 218). Morphologically it makes sense, but the reference to longing in the past tense does not make much sense in this context: ‘I, who had the great longing in the past’.

20.4476 (W)

本文・Original text (1) 於久夜麻能 (2) 之伎美我波奈能 (3) 奈能其等也 (4) 之久之久伎美 尓 (5) 故非和多利奈無 仮名の書き下し・Kana transliteration (1) おくやまの 2 (2) しき 1 み 1 がはなの 2 (3) なの 2 ご 2 と 2 や (4) しく しくき 1 み 1 に (5) こ 1 ひ 2 わたりなむ Romanization (1) oku yama-nö (2) sikîmî-Nka pana-nö (3) na-nö Nkötö ya (4) siku-siku kîmî-ni (5) kôpï-watar-i-n-am-u Glossing with morphemic analysis (1) inner mountain-GEN (2) anise.tree-POSS flower-GEN (3) name-GEN like PT (4) repeatedly lord-DAT (5) long.for-cross-INF-PERF-TENT-ATTR Translation (4/5) Will [I] continue to long constantly for [my] lord, (3) like for the name (2) of the anise tree flowers (1) in the deep mountains? Commentary WOJ sikîmî ‘Japanese star anise’ (MdJ shikimi (樒、櫁、梻), Lat. Illicium anisatum) is a tall evergreen tree that grows in the wild in mountains. It has long oval or egg-shaped leaves that have both luster and fragrance. It blooms in the spring with small white or light yellow flowers. It produces many fruits, but these are poisonous. The bark of shikimi is used for dyeing, and leaves for making incense powder. Due to its fragrance, shikimi even today is planted in the precincts of Buddhist temples, and its branches are used as offerings. In the Nara period the branches of shikimi were also used as offerings for Shintō deities. The first three lines represent a poetic introduction (jo, 序) to the rest of the poem.

Postscript to the poems 20.4475-4476 本文・Original text 右二首兵部大丞大原眞人今城

260

MAN’YŌSHŪ

Translation Two poems above [were composed by] Opopara-nö mapîtö Imakï, the Senior Secretary at the Ministry of War. Commentary On the biography of Opopara-nö mapîtö Imakï, see the commentary to the postscript to 20.4436-4439. On the Senior Secretary (Daijō, 大 丞 ), see the commentary to the postscript to 20.4459. On the Ministry of War (Hyōbu[shō], 兵部[省]), see the commentary to the postscript to 20.4315-4320.

Preface to the poem 20.4477

本文・Original text 智努女王卒後圓方女王悲傷作歌一首 Translation A poem that Princess Matôkata composed being stricken by grief after Princess Tinô passed away. Commentary The date of death and genealogy of Princess Tinô are unknown, and there are only two records in the Shoku Nihongi about her biography. On the tenth day of the first lunar month of the seventh year of Yōrō (February 19, 723 AD) she was promoted to the Junior Fourth Rank, Lower Grade, and on the sixth day of the second lunar month of the first year of Jinki (March 5, 724 AD) to Junior Third Rank. There is a strange discrepancy between the last of these two records and the character 卒 ‘to pass away’, that was used for the persons with Fourth and Fifth Ranks. Meanwhile, the death of persons from the Third Rank up was referred to as 薨 ‘to pass away’. There is probably a mistake either in the Shoku Nihongi or in the Man’yōshū, or, alternatively, there might have been two different Princesses Tinô mentioned in these two texts (Omodaka 1984.20: 219), (Kinoshita 1988: 311). Princess Matôkata is a daughter of Prince NaNkaya and a sister of Prince AsukaNpë and Prince Yamasirö. Like her brothers, she had also escaped death in 729 AD, when Prince NaNkaya was ordered to commit suicide, although it is not known who her mother was. For the details on this episode see the commentary to the postscript to 20.4301. Princess Matôkata is an author of two poems in the Man’yōshū: 19.4283 and 20.4477. There are several records concerning her biography in the Shoku Nihongi. Princess Matôkata was promoted from the Junior Fifth Rank, Lower Grade to Junior Fourth Rank, Lower Grade on the twentieth day of the tenth lunar month of the ninth year of Tenpyō (November 16, 737 AD). and from the Junior Fourth Rank, Upper Grade to Senior Fourth Rank, Upper Grade on the ninth day of the first lunar month of the seventh year of Tenpyō Hōji (February 25, 763 AD). She was further promoted to Junior Third Rank on the seventh day of the tenth lunar month of the eighth year of Tenpyō Hōji (November 4, 764 AD), and to the Senior Third Rank on the seventh day of the first lunar month of the second year of Jingo Keiun (January 30, 768). Princess Matôkata passed away on the twenty-third day of the twelfth lunar month of the fifth year of Hōki (January 28, 775 AD) still with the Senior Third Rank.

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20.4477 (W)

本文・Original text (1) 由布義理尓 (2) 知杼里乃奈吉志 (3) 佐保治乎婆 (4) 安良之也之弖 牟 (5) 美流与之乎奈美 仮名の書き下し・Kana transliteration (1) ゆふぎ 2 りに (2) ちど 2 りの 2 なき 1 し (3) さほぢをば (4) あらしや してむ (5) み 1 るよ 2 しをなみ 1 Romanization (1) yupu-N-kïri-ni (2) tiNtöri-nö nak-î-si (3) Sapo-N-ti-woNpa (4) aras-i ya s-i-te-m-u (5) mî-ru yösi-wo na-mî Glossing with morphemic analysis (1) evening-GEN-fog-LOC (2) plover-GEN cry-INF-PAST/ATTR (3) Sapo-GEN-road-ACC.EMPH (4) make.wild-NML PT do-INF-PERF-TENTATTR (5) see-ATTR chance-ABS exist.not-GER Translation (4) Did [they] let (3) the road to Sapo, (2) where plovers cried (1) in the evening fog, (4) grow wild, (5) because there is no chance to see [you]? Commentary This poem has no date of composition. WOJ tiNtöri ‘plover’ (MdJ chidori (チドリ、千鳥), Lat. Charadriidae) is a general name for a subfamily of about forty species of birds. Plovers have blackish backs and white bellies, with black belt-like spots on their chests and heads. They have long legs and short beaks, and they nest in groups on seashores and banks of rivers and shores of lakes, and marshes. Many of them are migratory birds. They cry at night, and their cries symbolize love and longing. Sapo district was a suburb to the north-east of the imperial palace in Nara, that was located to the north of Sapo river (佐保川), where nobility had their mansions, including Prince NaNkaya. It corresponds to the area of Sahoda quarter ( 佐 保 田 町 ) and Hokkeji quarter ( 法 華 寺 町 ) in the north of present-day Nara city (Nakanishi 1985: 449-50). Princess Tinô probably lived in Sapo district. WOJ aras- ‘to make wild’ refers here to letting the road to fell into disuse due to the lack of repairs and be overgrown with vegetation. On WOJ -wo as an absolutive case marker, see the commentary to 15.3599.

Preface to the poem 20.4478

本文・Original text 大原櫻井眞人行佐保川邊之時作歌一首 Translation A poem composed by Opopara-nö Sakurawi mapîtö, when [he] went to the vicinity of Sapo river.

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Commentary Opopara-nö Sakurawi mapîtö59 was originally called Prince Sakurawi (櫻井 王). He is an author of two poems in the Man’yōshū: 8.1614 and 20.4478. Prince Sakurawi is a great-grandson of Emperor Tenmu (天武天皇), grandson of Prince NaNkaya (長親王), and son of Prince Kaputi (川内王). There are several historical records about him in both the Shoku Nihongi and the Man’yōshū. Prince Sakurawi was promoted from a person with no rank to the Junior Fifth Rank, Lower Grade on the fifth day of the first lunar month of the seventh year of Wadō (January 25, 714 AD) and to the Junior Fifth Rank, Upper Grade on the fifth day of the first lunar month of the fifth year of Yōrō (February 5, 721 AD). He was subsequently promoted to the Senior Fifth Rank, Lower Grade on the twenty-second day of the second lunar month of the first year of Jinki (March 21, 724 AD), to the Senior Fifth Rank, Upper Grade on the fourth day of the third lunar month of the first year of Tenpyō (April 6, 729 AD), and to the Junior Fourth Rank, Lower Grade on the twenty-seventh day of the first lunar month of the third year of Tenpyō (March 9, 731 AD). Since his brother, Prince Takayasu (高安王) was demoted from a Prince to a regular nobility status and given the family name Opopara and kabane title mapîtö on the third day of the fourth lunar month of the eleventh year of Tenpyō (May 14, 739 AD), it is believed that Prince Sakurawi also became Opopara-nö Sakurawi mapîtö around this time. He is further mentioned as the Minister of the Ministry of the Treasury (Ōkurashō, 大蔵省) with the same rank on the second day of the second lunar month of the sixteenth year of Tenpyō (March 20, 744 AD). Opopara-nö Sakurawi mapîtö is also mentioned as a governor of Töpotuapumî province, but the dates of his appointment there are not known, and it probably was prior to 744 AD (Omodaka 1974.8: 261). Sapo river starts at Mt. Kasuga (春日山) in the east of present-day Nara city, goes around the foothills of northern mountains, joins with Yoshikigawa river (吉城川) in the northern suburbs, and flows west to Hokkeji temple (法 華寺), where it turns south, and after being joined by Ikigawa (率川) and Notogawa (能登川) rivers, it passes through the hills of Yamato county (山門 郡), and joining with Hatsusegawa river (初瀬川) at Daijihanda (大字吐田) in Kawanishi town (川西町) of Shiki county (磯城郡), it flows into Yamatogawa river (大和川) (Nakanishi 1985: 450).

20.4478 (W)

本文・Original text (1) 佐保河波尓 (2) 許保里和多礼流 (3) 宇須良婢乃 (4) 宇須伎許己呂 乎 (5) 和我於毛波奈久尓 仮名の書き下し・Kana transliteration (1) さほがはに (2) こ 2 ほりわたれる (3) うすらび 1 の こ 2 こ 2 ろ 2 を (5) わがおも 1 はなくに

2

(4) うすき

1

Romanization (1) Sapo-N-KApa-ni (2) köpor-i-watar-er-u (3) usu-ra-N-pî-nö (4) usu-kî kökörö-wo (5) wa-Nka omôp-an-aku n-i 59

Placing kabane rank after the given name rather than after the family name indicated a higher degree of respect.

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Glossing with morphemic analysis (1) Sapo-GEN-river-LOC (2) freeze-INF-cross-PROF-ATTR (3) thin-?-DVATTR-ice-COMP (4) be.thin-ATTR heart-ACC (5) I-POSS think-NEG-NML DV-INF Translation (5) I do not love [you] (4) with a fragile heart, (3) [which is] like a fragile ice (2) that is covering (1) Sapo river. Commentary This poem has no date of composition. On Sapo river, see the commentary to the preface to 20.4478. The first three lines represent a poetic introduction (jo, 序) to the rest of the poem, which introduces a comparison of a fragile, but more exactly, fickle heart, to a thin fragile ice covering Sapo river. The function of WOJ adjectival suffix -ra in usu-ra ‘thin’ is not clear. For more details and examples see Vovin (2009a: 436-38). On OJ construction -aku, nominalizer + n-i ‘DV-INF’, see Vovin (2009a: 768-71, 775-76).

Preface to the poem 20.4479

本文・Original text 藤原夫人歌一首浄御原宮御宇天皇之夫人也字曰氷上大刀自也 Translation A poem by consort PuNtipara.

[She] is a consort of the Emperor who ruled from Kîyômîpara palace. [Her] adult name was Great Mistress PîNkamî.

Commentary Consort PuNtipara, as becomes clear from the commentary in the small script after the preface, is PuNtipara-nö PîNkamî, the daughter of PuNtipara-nö Kamatari (藤原鎌足), and a consort of Emperor Tenmu. She gave birth to Princess TaNpa (但馬皇女). Consort PuNtipara passed away on the eighteenth day of the first lunar month of the eleventh year of Emperor Tenmu (February 19, 682 AD). She is an author of one poem in the Man’yōshū: 20.4479. In the Asuka period Empresses (kōgō, 皇后) and imperial consorts (kisaki, 妃) could come only from the imperial family. Consort (fujin, 夫人) was the highest possible title for an imperial concubine that came from nobility. ‘The Emperor who ruled from Kîyômîpara palace’ is Emperor Tenmu (? 686 AD, r. 673-686 AD). Kîyômîpara palace was located in Asuka, possibly in the vicinity of Asuka elementary school in present-day Asuka village (Nakanishi 1985: 416). The character 字 is ambiguous, because it can refer to an adult name, nickname, or penname. I believe that it indicates either the adult name or the nickname of PuNtipara-nö PîNkamî.

264

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20.4479 (W)

本文・Original text (1) 安佐欲比尓 (2) 祢能未之奈氣婆 (3) 夜伎多知能 (4) 刀其己呂毛安 礼波 (5) 於母比加祢都毛 仮名の書き下し・Kana transliteration (1) あさよ 1 ひ 1 に (2) ねの 2 み 2 しなけ 2 ば (3) やき 1 たちの 2 (4) と 2 ご 2 こ 2 ろ 2 も 1 あれは (5) おも 2 ひ 1 かねつも 1 Romanization (1) asa yôpî-ni (2) ne nömï si nak-ë-Npa (3) yak-î tati-nö (4) tô-N-kökörö mô are pa (5) omöp-î-kane-t-umö Glossing with morphemic analysis (1) morning evening-LOC (2) sound PT PT cry-EV-CON (3) temper-INF long.sword-COMP (4) sharp-DV(ATTR)-heart PT (5) think-INF-NEG/POT (INF)-PERF-EXCL Translation (2) Because [I] just sob loudly (1) in the morning and in the evening, (4/5) I cannot think [about you] with a mind that is sharp (3) like a tempered long sword! Commentary This poem has no date of composition, but given the fact that consort PuNtipara-nö PîNkamî passed away in 682 AD, it gives us non post quem date. OJ yöpî ‘late evening’, ‘first part of the night’ indicates the period of time from the sunset to the middle of the night (Omodaka et al. 1967: 801). It is interesting that it is spelled yôpî, and not yöpî in this poem, which probably is a misspelling due to the fact that in late WOJ the contrast between /ô/ and /ö/ started to be lost. All cases of misspelling of yöpî as yôpî are found only in books fifteen, seventeen, eighteen, and twenty. Line four is hypermetric (jiamari, 字余り). WOJ tô ‘sharp’ is an uninflected adjective. On uninflected adjectives see Vovin (2009a: 429-40). On WOJ tati ‘long sword’, see the commentary to 5.804.

20.4480 (W)

本文・Original text (1) 可之故伎也 (2) 安米乃美加度乎 (3) 可氣都礼婆 (4) 祢能未之奈加 由 (5) 安左欲比尓之弖作者未詳 仮名の書き下し・Kana transliteration (1) かしこ 1 き 1 や (2) あめ 2 の 2 み 1 かど 1 を (3) かけ 2 つれば (4) ね の 2 み 2 しなかゆ (5) あさよ 1 ひ 1 にして Romanization (1) kasikô-kî ya (2) amë-nö mîkaNtô-wo (3) kakë-t-ure-Npa (4) ne nömï si nak-ay-u (5) asa yôpî n-i s-i-te

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Glossing with morphemic analysis (1) awesome-ATTR PT (2) heaven-GEN Emperor-ACC (3) think.in.the. heart(INF)-EV-CON (4) sound PT PT cry-PASS-FIN (5) morning evening DV-INF do-INF-SUB Translation (3) Because [I] think in my heart (5) in the morning and in the evening (1/2) about [my] awesome heavenly Emperor, (4) [I] only sob loudly. The author is unknown. Commentary This anonymous poem has no date of compilation. Keichū believed that this poem refers either to the death of Emperor Tenchi or to still living Emperor Shōmu (1696.20: 90a). As Kinoshita correctly notes, the fact whether it refers to an Emperor who passed away, or who still lives, will greatly change the overall tone of the poem. He speculates himself that the poem may refer to the death of Emperor Tenmu (Kinoshita 1988: 314). In the light of the absence of any kind of reliable textual evidence, all these can be treated just as hypotheses. In the given poetic sequence of four poems recited by Opopara-nö Imakï 20.4477-4480, only 20.4477 clearly refers to death. On the other hand, 20.4479 clearly does not, as consort PuNtipara-nö PîNkamî passed away before Emperor Tenmu. Particle ya in line one is an emphatic particle ya, not an interrogative particle ya. WOJ mîkaNtô < mî-kantô ‘HON-gate’ may refer to both the imperial palace, and the Emperor himself.

Postscript to the poems 20.4477-4480 本文・Original text 右件四首傳讀兵部大丞大原今城

Translation Four poems above were recited by Opopara-nö Imakï, the Senior Secretary at the Ministry of War. Commentary Four poems recited by Opopara-nö Imakï include a poem by Princess Matôkata (20.4477), a poem by Opopara-nö Sakurawi mapîtö (20.4478), a poem by consort PuNtipara-nö PîNkamî (20.4479), and an anonymous poem (20.4480). All of them appear to be old poems, well preceding Tenpyō Shōhō era: in the case of the first three it is clear because of their authors, and while it is not known in the case of the fourth one, it is clear that it was included in this poetic sequence not just by chance, and the very fact that the author was unknown already at the time of recitation, also speaks in favor of its antiquity. These poems were recited on the twenty-third day of the eleventh lunar month of the eighth year of Tenpyō Shōhō (December 19, 756 AD), as becomes apparent from the preface to 20.4475-4476. On the biography of Opopara-nö mapîtö Imakï, see the commentary to the postscript to 20.4436-4439. On the Senior Secretary (Daijō, 大 丞 ), see the commentary to the postscript to 20.4459.

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On the Ministry of War (Hyōbu[shō], 兵部[省]), see the commentary to the postscript to 20.4315-4320.

Preface to the poem 20.4481

本文・Original text 三月四日於兵部大丞大原眞人今城之宅宴歌一首 Translation A poem [composed] at the banquet at the house of Opopara-nö mapîtö Imakï, the Senior Secretary at the Ministry of War on the fourth day of the third lunar month [of the ninth year of Tenpyō Shōhō]. Commentary The fourth day of the third lunar month of the ninth year of Tenpyō Shōhō corresponds to March 28, 757 AD. The ‘ninth year of Tenpyō Shōhō’ is not mentioned, but it is apparent, because the composed (but not recited) poems go in chronological order. The preface to 20.4481 is found after the preface to 20.4475-4476, which refers to the eleventh lunar month of the eighth year of Tenpyō Shōhō, and preface to 20.4483, which refers to the sixth lunar month of the ninth year of Tenpyō Shōhō. On the biography of Opopara-nö mapîtö Imakï, see the commentary to the postscript to 20.4436-4439. On the Senior Secretary (Daijō, 大 丞 ), see the commentary to the postscript to 20.4459. On the Ministry of War (Hyōbu[shō], 兵部[省]), see the commentary to the postscript to 20.4315-4320.

20.4481 (W)

本文・Original text (1) 安之比奇能 (2) 夜都乎乃都婆吉 (3) 都良々々尓 (4) 美等母安可米 也 (5) 宇惠弖家流伎美 仮名の書き下し・Kana transliteration (1) あしひ 1 き 2 の 2 (2) やつをの 2 つばき 1 (3) つらつらに (4) み 1 と 2 も 2 あかめ 2 や (5) うゑてけ 1 るき 1 み 1 Romanization (1) asi pîkï n-ö (2) ya-tu wo-nö tuNpakî (3) tura-tura n-i (4) mî tömö ak-am-ë ya (5) uwe-te-kêr-u kîmî Glossing with morphemic analysis (1) foot low DV-ATTR (2) eight-CL hill-GEN camellia (3) intent DV-INF (4) look(FIN) CONJ get.enough-TENT-EV PT (5) plant(INF)-PERF(INF)-RETRATTR lord Translation (3/4) Even if [I] look intently, could [I] get enough of (2) the camellia from eight hills (1) with low foot, (5) [or my] lord who has planted [them]? [– Certainly, I could not!]

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Commentary On asi pîkï n-ö ‘with low foot’, see the commentary to 15.3655. Omodaka interprets ya-tu wo as ‘eight-layered mountain’ (1984.20: 223), but Kinoshita’s interpretation as ‘several ridges’ might be closer (1988: 315). I tentatively translate it literally as ‘eight hills’, but we should keep in mind that it also might have been a placename. On OJ tuNpakî ‘camellia’, see the commentary to 20.4418. A combination of the tentative evidential -(a)m-ë + interrogative particle ya forms irony questions in WOJ.

Postscript to the poem 20.4481 本文・Original text 右兵部少輔大伴家持属植椿作

Translation Opotömö-nö Yakamöti, the Junior Assistant Minister at the Ministry of War composed [the poem] above while gazing at the planted camellia. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Junior Assistant Minister (Shōyū, 少輔) and the Ministry of War (Hyōbu[shō], 兵 部 [ 省 ]), see the commentary to the postscript to 20.4315-4320. Kamochi proposed that the character 属 should be understood as 矚 ‘to gaze’ (1912.7: 464). This makes sense in the context of this poem, and, in addition, there are other cases when characters might lose their radicals in Old Japanese usage, e.g. 度 used for 渡 ‘to cross’.

20.4482 (W)

本文・Original text (1) 保里延故要 (2) 等保伎佐刀麻弖 (3) 於久利家流 (4) 伎美我許己呂 波 (5) 和須良由麻之自 仮名の書き下し・Kana transliteration (1) ほりえ 2 こ 1 え 2 (2) と 2 ほき 1 さと 1 まで (3) おくりけ 1 る (4) き 1 み 1 がこ 2 こ 2 ろ 2 は (5) わすらゆましじ Romanization (1) poriye kôye (2) töpo-kî satô-maNte (3) okur-i-k-êr-u (4) kîmî-Nka kökörö pa (5) wasur-ay-umasiNsi Glossing with morphemic analysis (1) canal cross(INF) (2) distant-ATTR village-TERM (3) see.off-INF-comePROG-ATTR (4) lord-POSS heart TOP (5) forget-PASS-NEG/POT Translation (5) [I] cannot forget (4) the kindness of [my] lord (3) who saw [me] off (2) up to a distant village, (1) having crossed the canal.

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Commentary This poem has no date, but probably not long before 757 AD: see the commentary to the postscript of 20.4482 for details. There was a custom to see off one’s friends to distant spots outside the capital when they departed to their posts in the provinces. Here poriye ‘canal’ refers to Nanipa canal. On Nanipa canal, see the commentary on Nanipa harbor to poem 20.4330. WOK k-êr- in line three is not a retrospective -kêr-, but a progressive form -k-êr- of the verb kö- ‘to come’. Retrospective will not make any sense in this context.

Postscript to the poem 20.4482

本文・Original text 右一首播磨介藤原朝臣執弓赴任悲別也主人大原今城傳讀云尓 Translation In the poem above PuNtipara-nö asömî Töriyumî, Assistant Governor of Parima province, [expressed] the sadness of parting when he was heading to his post. The host, Opopara-nö Imakï recited [his poem]. Commentary PuNtipara-nö asömî Töriyumî is a son of PuNtipara-nö Nakamarö. He is an author of one poem in the Man’yōshū: 20.4482. On the twenty-first day of the fifth lunar month of the first year of Tenpyō Hōji (June 12, 757 AD) PuNtipara-nö asömî Töriyumî was promoted from the Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade. Judging by these two ranks, his appointment as an Assistant Governor (Sukë, 介) of Parima province could not be long before this time (Kōnosu 1939: 3443), because the position of the Assistant Governor of Parima province, which was one of the Great Provinces, corresponds either to Senior Sixth Rank, Lower Grade (Nakanishi 1985: 150-51) or Junior Sixth Rank, Upper Grade (Kinoshita 1988: 317). He was consequently promoted to Junior Fifth Rank, Upper Grade in the eighth lunar month of the second year of Tenpyō Hōji (September 758 AD), to Junior Fourth Rank, Lower Grade in the sixth lunar month of the third year of Tenpyō Hōji (July 759 AD), and to Junior Fourth Rank, Upper Grade in the first lunar month of the fifth year of Tenpyō Hōji (February 761 AD), with a simultaneous appointment on the same date as a Governor of Yamatö province. In the first lunar month of the sixth year of Tenpyō Hōji (January – February 762 AD) he was made the Imperial Adviser (Sangi, 参議). In the twelfth lunar month of the same year (December 762 AD – January 763 AD) PuNtipara-nö asömî Töriyumî was promoted to Senior Fourth Rank, Upper Grade and appointed Governor-General of Dazaifu. He was killed in the ninth lunar month of the eighth year of Tenpyō Hōji (October 764 AD) as a participant in PuNtipara-nö Nakamarö’s rebellion. Assistant Governor (Sukë, 介) is a position corresponding to Senior Sixth Rank, Upper Grade in Great Provinces and to Junior Sixth Rank, Lower Grade in Upper provinces. There was no position of an Assistant Governor in the Middle and Lower Provinces. On Parima province (播磨國), see the commentary to the postscript to 20.4301.

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On the characters 云尓 ‘so it is said’, see the commentary to the postscript to 20.4436-4439.

Preface to the poem 20.4483

本文・Original text 勝寳九歳六月廿三日於大監物三形王之宅宴歌一首 Translation A poem composed on the twenty-third day of the sixth lunar month of the ninth year of [Tenpyō] Shōhō at the banquet at the house of Prince Mîkata, the Senior Keeper of the Storage Keys. Commentary The twenty-third day of the sixth lunar month of the ninth year of Tenpyō Shōhō corresponds to July 13, 757 AD. Prince Mîkata (spelled as 三形王 or alternatively as 御方王) is an author of two poems in the Man’yōshū: 20.4488 and 20.4511. His genealogy is unknown. According to the Shoku Nihongi, he was promoted from a person with no rank to Junior Fifth Rank, Lower Grade on the fourteenth day of the fourth lunar month of the first year of Tenpyō Shōhō (May 4, 749 AD), with a subsequent promotion to Junior Fourth Rank, Lower Grade and simultaneous appointment to the Master of the Bureau of Carpentry (Mokuryō tō, 木工頭) in the Ministry of Emperor’s Household (Kunaishō, 宮内省) on the sixteenth day of the sixth lunar month of the third year of Tenpyō Hōji (July 14, 759 AD). The information on his appointment as a Senior Keeper of Storage Keys in the second lunar month of the second year of Tenpyō Hōji (April – March 758 AD) comes from the preface to 20.4511, but does not appear in the Shoku Nihongi. He is not to be confused with a different Prince Mîkata, spelled as 三 方王 (Omodaka 1984.20: 224-25). There were two Senior Keepers of Storage Keys (Daikenmotsu, 大監物) at the Ministry of Central Affairs. This position corresponds to Junior Fifth Rank, Lower Grade.

20.4483 (W)

本文・Original text (1) 宇都里由久 (2) 時見其登尓 (3) 許己呂伊多久 (4) 牟可之能比等之 (5) 於毛保由流加母 仮名の書き下し・Kana transliteration (1) うつりゆく (2) と 2 き 1 み 1 るご 2 と 2 に (3) こ 2 こ 2 ろ 2 いたく (4) む かしの 2 ひ 1 と 2 し (5) おも 1 ほゆるかも 2 Romanization (1) utur-i-yuk-u (2) TÖKÎ MÎ-RU Nkötö n-i (3) kökörö ita-ku (4) mukasi-nö pîtö si (5) omôp-oy-uru kamö Glossing with morphemic analysis (1) change-INF-go-ATTR (2) time see-ATTR every DV-INF (3) heart painful-INF (4) old.times-GEN person PT (5) think-PASS-ATTR PT

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Translation (2) Every time [I] see times (1) that are changing (3) [my] heart aches, and (5) [I] suddenly think about (4) the people of old times! Commentary Kinoshita is probably right with his suggestion that ‘people of old times’ refers to Retired Emperor Shōmu and TatiNpana-nö Möröye who have recently passed away, and that ‘times that are changing’ indicates the drastic shift in power structure pointing to the unprecedented power increase of PuNtipara-nö Nakamarö (1988: 318-19).

Postscript to the poem 20.4483 本文・Original text 右兵部大輔大伴宿祢家持作

Translation [The poem] above was composed by Opotömö-nö sukune Yakamöti, the Senior Assistant Minister of the Ministry of War. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. Senior Assistant Minister (Tayū, 大輔) was a position in seven Ministries corresponding to Senior Fifth Rank, Lower Grade, except at the Ministry of Central Affairs (Naka tukasa shō, Naka matsurigoto no tukasa, 中務省), where it corresponded to Senior Fifth Rank, Upper Grade. According to the Shoku Nihongi, Opotömö-nö Yakamöti was promoted to the Senior Assistant Minister (Tayū, 大輔) on the sixteenth day of the sixth lunar month of the first year of Tenpyō Hōji (July 6, 757 AD). On the Ministry of War (Hyōbu[shō], 兵部[省]) see the commentary to the postscript to 20.4315-4320. This poem has no date, but given the date of Opotömö-nö Yakamöti’s promotion to the Senior Assistant Minister on July 6, 757 AD, it must have been composed after this date.

20.4484 (W)

本文・Original text (1) 佐久波奈波 (2) 宇都呂布等伎安里 (3) 安之比奇乃 (4) 夜麻須我乃 祢之 (2) 奈我久波安利家里 仮名の書き下し・Kana transliteration (1) さくはなは (2) うつろ 2 ふと 2 き 1 あり (3) あしひ 1 き 2 の 2 (4) やま すがの 2 ねし (5) ながくはありけ 1 り Romanization (1) sak-u pana pa (2) utur-öp-u tökî ar-i (3) asi pîkï n-ö (4) yama suNka-nö ne si (5) naNka-ku pa ar-i-kêr-i

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Glossing with morphemic analysis (1) bloom-ATTR flower TOP (2) wither-ITER-ATTR time exist-FIN (3) foot low DV-ATTR (4) mountain sedge-GEN root PT (5) long-INF exist-INFRETR-FIN Translation (1/2) There is a time when blooming flowers will be withering. (4) [However,] roots of the sedge from a mountain (3) with low foot (5) turned out [to last for a] long [time]. Commentary Lines two and five are hypermetric (jiamari, 字余り), but in the case of line five this is probably just a graphic illusion, since naNkaku pa arikêri was in all probability pronounced as [naNkakuparikêri]. On asi pîkï n-ö ‘with low foot’, see the commentary to 15.3655. OJ suNka- is the compounding form of OJ suNkë ‘sedge’, on which see the commentary to 14.3369.

Postscript to the poem 20.4484

本文・Original text 右一首大伴宿祢家持悲怜物色變化作之也 Translation Opotömö-nö sukune Yakamöti composed the poem above lamenting the change of colors in nature. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. This poem has no date, but given the fact it is found before poem 20.4486 dated by the eighteenth day of the eleventh lunar month of the first year of Tenpyō Hōji (January 2, 758 AD), and that the poems in book twenty are more or less in the chronological order, it is possible to suggest that this poem was composed in the autumn or early winter of 757 AD.

20.4485 (W)

本文・Original text (1) 時花 (2) 伊夜米豆良之母 (3) 加久之許曽 (4) 賣之安伎良米晩 (5) 阿伎多都其等尓 仮名の書き下し・Kana transliteration (1) と 2 き 1 の 2 はな (2) いやめ 2 づらしも 2 (3) かくしこ 2 そ 2 (4) め 1 しあき 1 らめ 2 め 2 (5) あき 1 たつご 2 と 2 に Romanization (1) TÖKÎ-NÖ PANA (2) iya mëNturasi-mö (3) ka-ku si kösö (4) mês-i akîramë-m-ë (5) akî tat-u Nkötö n-i

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Glossing with morphemic analysis (1) season-GEN flower (2) more.and.more be.adorable-EXCL (3) be.thus-INF PT PT (4) look.HON-INF mood.brighten-TENT-EV (5) autumn rise-ATTR every DV-INF Translation (1) Flowers of [all] seasons (2) are more and more adorable! (3) Therefore [my lord] (4) deigns to look [at them] and [his] mood brightens (5) every time when autumn arrives. Commentary Kōnosu pointed out that it looks like this poem is addressed to an Emperor or a member of high nobility, but it is not clear which one (Kōnosu 1939: 3447). Omodaka (1984.20: 226) and Kinoshita (1988: 321) are both inclined towards the interpretation involving an Emperor or an Empress. WOJ mês- is a honorific form of the verb mî- ‘to see, to look’, which is a fused form of mî- ‘to look’ and honorific suffix -as-: *mi- + -as- > *mias- > mês-. The character 晩 in akîramëmë in line four is used only once as a phonographic ongana in the whole Man’yōshū – in this poem. Due to the fact that it is used to write tentative -m- + evidential -ë we know that it must render syllable /më/ with otsu-rui /ë/. It is interesting that ongana 晩 më is not even included in Omodaka et al.’s list of the man’yōgana signs (1967: 891-903).

Postscript to the poem 20.4485 本文・Original text 右大伴宿祢家持作之

Translation Opotömö-nö sukune Yakamöti composed [the poem] above. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. Like the previous poem, this poem has no date, but given its contents and the fact it is found before poem 20.4486 dated by the eighteenth day of the eleventh lunar month of the first year of Tenpyō Hōji (January 2, 758 AD), and that the poems in book twenty are more or less in the chronological order, it is possible to suggest that this poem was composed in the autumn of 757 AD.

Preface to the poems 20.4486-4487

本文・Original text 天平寳字元年十一月十八日於内裏肆宴歌二首 Translation Two poems [composed] on the eighteenth day of the eleventh lunar month of the first year of Tenpyō Hōji at the formal banquet at the imperial palace.

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Commentary The eighteenth day of the eleventh lunar month of the first year of Tenpyō Hōji corresponds to January 2, 758 AD.

20.4486 (W)

本文・Original text (1) 天地乎 (2) 弖良須日月乃 (3) 極奈久 (4) 阿流倍伎母能乎 (5) 奈尓 乎加於毛波牟 仮名の書き下し・Kana transliteration (1) あめ 2 つちを (2) てらすひ 1 つき 2 の 2 (3) き 1 はみ 1 なく (4) ある べ 2 き 1 も 2 の 2 を (5) なにをかおも 1 はむ Romanization (1) AMË TUTI-wo (2) ter-as-u PÎ TUKÏ-nö (3) KÎPAM-Î na-ku (4) ar-uNpë-ku mönöwo (5) nani-wo ka omôp-am-u Glossing with morphemic analysis (1) heaven earth-ACC (2) shine.upon-HON-ATTR sun moon-COMP (3) go.to.the.end-NML exist.not-INF (4) exist-DEB-INF CONJ (5) what-ACC PT think-TENT-ATTR Translation (3/4) Although there should be no limit [to the Empress’s rule] (2) like [there is no limit] to the sun and the moon that shine upon (1) heaven and earth, (5) what are you concerned about, [my Empress]? Commentary Line five is hypermetric (jiamari, 字余り).

Postscript to the poem 20.4486 本文・Original text 右一首皇太子御歌

Translation The poem above is by the Crown Prince. Commentary The Crown Prince is Prince Opoi (大炊王) and future Emperor Junnin (淳仁 天皇, 732-765 AD, r. 758-764 AD). He is author of one poem in the Man’yōshū: 20.4486. Prince Opoi was the seventh son of Prince Töneri and a grandson of Emperor Tenmu. He was made crown Prince in the fourth lunar month of the first year of Tenpyō Hōji (April – May 757 AD) with the strong support of PuNtipara-nö Nakamarö, and he ascended the throne as Emperor Junnin in the eighth lunar month of the second year of Tenpyō Hōji (September – October 758 AD). Emperor Junnin stayed very loyal to PuNtipara-nö Nakamarö, calling the latter and his wife his father and mother in SM 25 promulgated in the sixth lunar month of the third year of Tenpyō Hōji (July 759 AD). But around the sixth year of Tenpyō Hōji (762 AD), his relationship with Retired Empress Kōken took a turn for the worse, because he

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was trying to admonish her regarding her relationship with priest Dōkyō (道 鏡). This eventually led to Retired Empress Kōken stripping Emperor Junnin of all executive powers, and following PuNtipara-nö Nakamarö’s rebellion in the eighth year of Tenpyō Hōji (764 AD), Emperor Junnin was deposed and exiled to ApaNti island (淡路島). He attempted to escape from ApaNti island in the tenth lunar month of the first year of Tenpyō Jingo (October – November 765), but was arrested, and passed away (most likely assassinated) on the next day. He was only thirty-three years old at this time.

20.4487 (W)

本文・Original text (1) 伊射子等毛 (2) 多波和射奈世曽 (3) 天地能 (4) 加多米之久尓曽 (5) 夜麻登之麻祢波 仮名の書き下し・Kana transliteration (1) いざこ 1 ど 2 も 1 (2) たはわざなせそ 2 (3) あめ 2 つちの 2 (4) かため 2 しくにそ 2 (5) やまと 2 しまねは Romanization (1) iNsa KÔ-Ntömô (2) tapa waNsa na-se-sö (3) AMË TUTI-nö (4) katamë-si-ku n-i sö (5) Yamatö sima ne pa Glossing with morphemic analysis (1) hey child-PLUR (2) crazy deed NEG/IMP-do-do (3) Heaven Earth-GEN (4) strengthen(INF)-PAST/ATTR-NML DV-INF PT (5) Yamatö land root TOP Translation (1) Hey, youngsters, (2) do not do crazy deeds (5) [in] the midst of the land of Yamatö (3) that [deities of] Heaven and Earth made strong. Commentary OJ kô-Ntömö ‘children’ refers not to the children per se, but to the junior and/or younger people. On the usage of OJ ne ‘root’, see the commentary to 15.3590. Here it is probably used figuratively in the meaning ‘center, middle’.

Postscript to the poem 20.4487 本文・Original text 右一首内相藤原朝臣奏之

Translation The poem above was presented by Minister of Internal Affairs, PuNtipara-nö asömî [Nakamarö]. Commentary On the biography of PuNtipara-nö asömî Nakamarö, see the commentary to the postscript to 20.4293-4294.

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Minister of Internal Affairs (Naishō, 内相) is the head of Shibi chūdai (紫 微中台) ‘Office of Empress Dowager’s Household Affairs’, on which see the commentary to the postscript to 20.4433.

Preface to the poems 20.4488-4490

本文・Original text 十二月十八日於大監物三形王之宅宴歌三首 Translation Three poems [composed] on the eighteenth day of the twelfth lunar month [of the first year of Tenpyō Hōji] at the banquet at the house of Prince Mîkata, the Senior Keeper of the Storage Keys. Commentary The eighteenth day of the twelfth lunar month of the first year of Tenpyō Hōji corresponds to January 31, 758 AD. On the biography of Prince Mîkata and the Senior Keeper of Storage Keys, see the commentary to the preface to 20.4483.

20.4488 (W)

本文・Original text (1) 三雪布流 (2) 布由波祁布能未 (2) 鸎乃 (3) 奈加牟春敝波 (4) 安須 尓之安流良之 仮名の書き下し・Kana transliteration (1) み 1 ゆき 1 ふる (2) ふゆはけ 1 ふの 2 み 2 (3) うぐひ 1 すの 2 (4) なか むはるへ 1 は (5) あすにしあるらし Romanization (1) mî-YUKÎ pur-u (2) puyu pa kêpu nömï (3) UNKUPÎSU-nö (4) nak-am-u PARU pê pa (5) asu-ni si ar-urasi Glossing with morphemic analysis (1) HON-snow fall-ATTR (2) winter TOP today only (3) bush.warbler-GEN (4) sing-TENT-ATTR spring side TOP (5) tomorrow-LOC PT exist-SUP Translation (1/2) Winter, when the beautiful snow falls, is just for today. (3/4) Spring, when the bush warbler will sing, (5) will be [here] tomorrow. Commentary Keichū believed that the coming of spring (risshun, 立春) could be the next day, on the nineteenth day (1696.20: 94a), but Kinoshita argues that it must be inaccurate, because the coming of spring is usually five days later (1988: 326). Honorific prefix mî- in mî-yukî in line one apparently expresses not the honorification, but beautification. On WOJ uNkupîsu ‘bush warbler’, see the commentary to 5.824. WOJ ar-urasi ‘exist-SUP’ is a much more rare form than WOJ ar-asi ‘id.’ For the details on usage and possible origins of the suppositional form -urasi ~ -rasi in OJ see Vovin (2009a: 679-85).

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Line five is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since si arurasi was in all probability pronounced as [sarurasi].

Postscript to the poem 20.4488 本文・Original text 右一首主人三形王

Translation The poem above [was composed by] the host, Prince Mîkata. Commentary On the biography of Prince Mîkata, see the commentary to the preface to 20.4483.

20.4489 (W)

本文・Original text (1) 宇知奈婢久 (2) 波流乎知可美加 (3) 奴婆玉乃 (4) 己与比能都久欲 (5) 可須美多流良牟 仮名の書き下し・Kana transliteration (1) うちなび 1 く (2) はるをちかみ 1 か (3) ぬばたまの 2 (4) こ 2 よ 2 ひ 1 の 2 つくよ 1 (5) かすみ 1 たるらむ Romanization (1) uti-naNpîk-u (2) paru-wo tika-mî ka (3) nuNpa tama-nö (4) kö yöpî-nö tuku-yô (5) kasum-î-tar-uram-u Glossing with morphemic analysis (1) PREF-bend-ATTR (2) spring-ABS be.close-GER PT (3) pitch-black jade-COMP (4) this night moon-night (5) be.misty-INF-PERF/PROG-ATTR Translation (1/2) Is it because the spring when [grass and trees] bend [gently in the wind] is close, (4) the moon-lit night tonight, (3) [dark] as pitch-black jade, (5) is misty? Commentary On WOJ uti-naNpîk- ‘to bend gently in the wind (of grass and trees)’, see the commentary to 20.4360. On WOJ -wo as an absolutive case marker, see the commentary to 15.3599. On nuNpa tama ‘pitch-black jade’, see the commentary to 15.3598.

Postscript to the poem 20.4489 本文・Original text 右一首大蔵大輔甘南備伊香眞人

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Translation The poem above [was composed by] KamunaNpï-nö IkaNko mapîtö, Senior Assistant Minister of the Ministry of the Treasury. Commentary KamunaNpï-nö IkaNko mapîtö60 was originally called Prince IkaNko (伊香 王). He is an author of four poems in the Man’yōshū: 20.4489, 20.4502, 20.4510, and 20.4513. Several facts about his biography are known from the Shoku Nihongi. He is probably a descendant of Emperor Bidatsu (敏達天皇). Prince IkaNko was promoted from a person with no rank to Junior Fifth Rank, Lower Grade on twenty-second day of the fourth lunar month of the eighteenth year of Tenpyō (May 16, 746 AD), and made the Head of the Bureau of Music (Gagaku ryō no tō, 雅樂寮の頭) on the eighth day of the eighth lunar month of the same year (August 28, 746 AD). He was further promoted to Junior Fifth Rank, Upper Grade on the second day of the seventh lunar month of the first year of Tenpyō Shōhō (September 17, 749 AD) and on the seventh day of the tenth lunar month of the third year of Tenpyō Shōhō (October 30, 751 AD) Prince IkaNko was demoted to nobility and given the family name KamunaNpï and the kabane rank mapîtö. On the seventh day of the tenth lunar month of the fifth year of Tenpyō Hōji (November 8, 761 AD) he was appointed Assistant Governor (Sukë, 介) in Mînasaka Province (美作 國), on the ninth day of the first lunar month of the seventh year of Tenpyō Hōji (February 25, 763 AD) the Governor of Bizen province (備前國), and on the twenty-first day of the first lunar month of the eighth year of Tenpyō Hōji (February 26, 764 AD) the Head of the Bureau of Taxation (Shuzei ryō no tō, 主税寮の頭). KamunaNpï-nö mapîtö IkaNko was made Governor of Etchū province (越中國) on the third day of the sixth intercalary lunar month of the second year of Jingo Keiun (July 21, 768 AD), and promoted to Senior Fifth Rank, Lower Grade on the third day of the first lunar month of the third year of Hōki (February 2, 772 AD), and then to Senior Fifth Rank, Upper Grade on the seventh day of the first lunar month of the eighth year of Hōki (February 19, 777 AD). On Senior Assistant Minister (Tayū, 大輔), see the commentary to the postscript to 20.4483. Under the Ritsuryō code, the Ministry of the Treasury (Ōkura[shō], 大蔵 [省]) was one of the four Ministries under the Controlling Board of the Right (Ubenkan, 右 弁 官 ). Besides finances and treasury, it also dealt with housekeeping affairs, lacquer, metal, weaving works, etc.

20.4490 (W)

本文・Original text (1) 安良多末能 (2) 等之由伎我敝理 (3) 波流多々婆 (4) 末豆和我夜度 尓 (5) 宇具比須波奈家 仮名の書き下し・Kana transliteration (1) あらたまの 2 (2) と 2 しゆき 1 がへ 1 り (3) はるたたば (4) まづわが やど 1 に (5) うぐひ 1 すはなけ 1 60

Placing kabane rank after the given name rather than after the family name indicated a higher degree of respect.

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Romanization (1) arata ma-nö (2) tösi yuk-î Nkapêr-i (3) paru tat-aNpa (4) maNtu wa-Nka yaNtô-ni (5) uNkupîsu pa nak-ê Glossing with morphemic analysis (1) new interval-GEN (2) year go-INF return-INF (3) spring rise-COND (4) first.of.all I-POSS garden-LOC (5) bush.warbler TOP sing-IMP Translation (1) New (2) years go and return… (3) If the spring would come, (5) bush warbler, sing (4) first of all in my garden! Commentary On arata ma-nö ‘of the new interval’, see the commentary to 15.3683. Nkapêr-i ‘return and’ in line two has an unexplained prenasalization. On WOJ uNkupîsu ‘bush warbler’, see the commentary to 5.824.

Postscript to the poem 20.4490 本文・Original text 右一首右中辨大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Middle Controller of the Right. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. The position of the Middle Controller of the Right (Uchūben, 右中辨) in the Great Council of State (Daijōkan, 太政官) corresponds to Senior Fifth Rank, Upper Grade. This was one of the busiest bureaucratic positions in the Nara period bureaucracy (Kinoshita 1988: 332). See also the commentary to the postscript to 20.4493.

20.4491 (W)

本文・Original text (1) 於保吉宇美能 (2) 美奈曽己布可久 (3) 於毛比都々 (4) 毛婢伎奈良 之思 (5) 須我波良能佐刀 仮名の書き下し・Kana transliteration (1) おほき 1 うみ 1 の 2 (2) み 1 なそ 2 こ 2 ふかく (3) おも 1 ひ 1 つつ (4) も 1 び 1 き 1 ならしし (5) すがはらの 2 さと 1 Romanization (1) opo-kî umî-nö (2) mîna sökö puka-ku (3) omôp-î-tutu (4) mô-N-pîk-înaras-i-si (5) SuNkapara-nö satô

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Glossing with morphemic analysis (1) be.big-ATTR sea-GEN (2) water bottom be.deep-INF think-INF-COOR (4) skirt-GEN-drag-INF-flatten-INF-PAST/ATTR SuNkapara-GEN village

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(3) (5)

Translation (5) [Oh,] the village of SuNkapara (4) where [I] flattened [the ground walking repeatedly and] dragging [my] skirt (3) while being in thought (2) as deep as the water bottom (1) of the great sea. Commentary Line one is hypermetric (jiamari, 字余り). On WOJ mîna ‘water’, see the commentary to 5.902. On WOJ mô ‘skirt’, see the commentaries to 15.3610 and 5.804. SuNkapara village corresponds to Sugawara quarter ( 菅 原 町 ) of present-day Nara city to the south of Saidaiji temple (西大寺) (Omodaka 1984.20: 233).

Postscript to the poem 20.4491

本文・Original text 右一首藤原宿奈麻呂朝臣之妻石川女郎薄愛離別悲恨作歌也年月未詳 Translation The poem above was composed by Isikapa-nö Iratumê, wife of PuNtipara-nö asömî Sukunamarö, when [she] lamented the shallow feelings and sadness of parting. The date is unknown. Commentary On the biography of PuNtipara-nö asömî Sukunamarö, see the commentary to the postscript to 20.4328-4330. Nothing is known about the biography of Isikapa-nö Iratumê. Note again that married women in the Nara period did not change their maiden family names as they do in modern Japan. See also the commentary to the postscript to 20.4413. Kinoshita believes that although this poem has no date, it might have been recited by someone at the banquet at the house of Prince Mîkata (1988: 329). This, however, contradicts the preface to the poems 20.4488-4490, that clearly states that only these three poems in the Man’yōshū were performed there. I think it will be more or less safe to date this poem to the 750s AD, but certainly prior to the last poem from 759 AD.

Preface to the poem 20.4492

本文・Original text 廿三日於治部少輔大原今城眞人之宅宴歌一首 Translation A poem [composed] on the twenty-third day [of the twelfth lunar month of the first year of Tenpyō Hōji] at the banquet at the house of Opopara-nö mapîtö Imakï, Junior Assistant Minister at the Ministry of Civil Administration.

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Commentary The twenty-third day of the twelfth lunar month of the first year of Tenpyō Hōji corresponds to February 5, 758 AD. On the biography of Opopara-nö Imakï mapîtö,61 see the commentary to the postscript to 20.4436-4439. On the Junior Assistant Minister (Shōyū, 少輔), see the commentary to the postscript to 20.4315-4320. On the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部 省), see the commentary to the postscript to 20.4449.

20.4492 (W)

本文・Original text (1) 都奇餘米婆 (2) 伊麻太冬奈里 (3) 之可須我尓 (4) 霞多奈婢久 (5) 波流多知奴等可 仮名の書き下し・Kana transliteration (1) つき 2 よ 2 め 2 ば (2) いまだふゆなり (3) しかすがに (4) かすみ たなび 1 く (5) はるたちぬと 2 か

1

Romanization (1) tukï yöm-ë-Npa imaNta PUYU nar-i (3) sika s-u Nkani (4) KASUMÎ tanaNpîk-u (5) paru tat-i-n-u tö ka Glossing with morphemic analysis (1) month count-EV-CON (2) still winter be-FIN (3) thus do-FIN CONJ (4) mist trail-FIN (5) spring rise-INF-PERF-FIN DV PT Translation (1) When [I] count the months, (2) [it] is still winter. (3) However, (4) mists are trailing. (5) Does [it] mean that the spring has come? Commentary The original meaning of OJ yöm- ‘to read’, ‘to recite’ is ‘to count’, which is found in this poem. OJ conjunction Nkani normally means ‘like’, ‘as if’, ‘so that’ (Vovin 2009a: 1149-50), but in this poem quite uniquely it indicates concessive ‘however’.

Postscript to the poem 20.4492 本文・Original text 右一首右中辨大伴宿祢家持作

Translation The poem above was composed by Opotömö-nö sukune Yakamöti, the Middle Controller of the Right.

61

Placing kabane rank after the given name rather than after the family name indicated a higher degree of respect.

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Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490.

Preface to the poem 20.4493

本文・Original text 二年春正月三日召侍從竪子王臣等令侍於内裏之東屋垣下即賜玉帚肆宴 于時内相藤原朝臣奉勅宣諸王卿等随堪任意作歌并賦詩仍應詔旨各陳心 緒作歌賦詩未得諸人之賦詩并作歌也 Translation On the third day of the first lunar month in the spring of the second year [of Tenpyō Hōji, Empress Kōken] summoned imperial attendants, imperial bodyguards, Princes, ministers and others to attend upon her at the wall of Azuma pavilion in the imperial palace and bestowed on them brooms [decorated] with jade at the official banquet. At this time, PuNtipara-nö asömî [Nakamarö], the Minister of Internal Affairs, announced the imperial command saying: “Princes, nobles, and others, compose Japanese poems and Chinese poems according to your abilities and following your feelings”. Therefore, responding to imperial command, everyone expressed their feelings in Japanese and Chinese poems. [I] have not yet obtained everyone’s Chinese and Japanese poems. Commentary The third day of the first lunar month of the second year of Tenpyō Hōji corresponds to February 15, 758 AD. Imperial attendants (Jijū, 侍從) are officials with Junior Fifth Rank, Lower Grade, whose number was fixed to eight. They were essentially close attendants to an Emperor, whose main function was to help with advice or warn the Emperor of any mistakes or faux pas. Imperial bodyguards (Jushi, Tipîsa warapa, 竪子), who were also called Naiju (内竪), were extra-code officials. As their WOJ name, tipîsa warapa ‘small boys’, indicates they were mostly adolescent youths attending on various needs of an Emperor, although some grown-ups were also employed in this capacity. The original function, however, seems to be that of bodyguards. It is mentioned in the Wamyō ruijū shō that there were 300 of them (Kinoshita 1988: 332), but this seems to be an exaggeration. The banquet held near the wall indicates that seats were prepared not only for officially invited guests, but also for attendants who accompanied them (Kinoshita 1988: 332). Kinoshita interprets 東屋 as the Eastern pavilion in the imperial palace (1988: 332), but it could also refer to an Azuma pavilion (ANtuma ya, 東屋), which is a pavilion built in the architectural style of Eastern (Azuma) provinces. It served for viewing nature and for banquets. A broom decorated with jade is a tool for sweeping the shelves on which the silkworms are bred. Since jade symbolizes longevity, the Empress bestowing brooms decorated with jade on her subjects implies best wishes for their longevity (Omodaka 1984.20: 235).

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The Genryaku kōhon, the Ruijū koshū, and the Hirose-bon have the simplified character 帚 ‘broom’ instead of its full form 箒, found in the Nishi Honganji-bon. In my edition I follow the combined evidence from the oldest manuscripts and the Hirose-bon, and therefore keep the simplified form 帚. On PuNtipara-nö asömî Nakamarö’s biography, see the commentary to the postscript to 20.4487. On Minister of Internal Affairs (Naishō, 内相), see the commentary to the postscript to 20.4487. As it becomes apparent from the postscript to 20.4493 below, Opotömö-nö Yakamöti was not present at this banquet due to his duties at the Ministry of Treasury; hence the note that he could not obtain everyone’s poems.

20.4493 (W)

本文・Original text (1) 始春乃 (2) 波都祢乃家布能 (3) 多麻婆波伎 (4) 手尓等流可良尓 (5) 由良久多麻能乎 仮名の書き下し・Kana transliteration (1) はつはるの 2 (2) はつねの 2 け 1 ふの 2 (3) たまばはき 1 (4) てにと 2 るからに (5) ゆらくたまの 2 を Romanization (1) PATU PARU-nö (2) patu ne n-ö kêpu-nö (3) tama-N-papakî (4) TE-ni tör-u karani (5) yurak-u tama-nö wo Glossing with morphemic analysis (1) first spring-GEN (2) first day.of.the.rat DV-ATTR today-GEN (3) jewelGEN-broom (4) hand-LOC take-ATTR CONJ (5) tremble.and.sound-ATTR jewel-GEN cord Translation (2) Today, on the first day of the rat (1) of early spring, (4) as soon as [I] took into [my] hands (3) a broom [decorated] with jewels, (5) the string of jewels trembled and resounded. Commentary The third day of the first lunar month of the second year of Tenpyō Hōji is the first day that has cyclic signs 丙子, with the last sign 子 being the Earthly Branch sign ‘rat’. On WOJ tama-N-papakî ‘broom decorated with jewels’, see the commentary to the preface to 20.4493. On OJ conjunction karani ‘as soon as’, ‘just because’, see Vovin (2009a: 1151-53). WOJ yurak- ‘to tremble’, ‘to shake’ also implies that the sound is produced during the movement (Omodaka 1984.20: 236), (Kinoshita 1988: 331).

Postscript to the poem 20.4493

本文・Original text 右一首右中辨大伴宿祢家持作但依大蔵政不堪奏之

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Translation Opotömö-nö sukune Yakamöti, the Middle Controller of the Right, composed the poem above, but due to [his] dealing with the Ministry of the Treasury, he could not present it [to the Empress at the banquet]. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490. As mentioned before, it was one of the busiest positions in the Nara period bureaucracy, such as that Opotömö-nö Yakamöti was called on duty even on the third day of a new year. On the Ministry of the Treasury (Ōkura[shō], 大 蔵 [ 省 ]), see the commentary to the postscript to 20.4489.

20.4494 (W)

本文・Original text (1) 水鳥乃 (2) 可毛羽能伊呂乃 (3) 青馬乎 (4) 家布美流比等波 (5) 可 藝利奈之等伊布 仮名の書き下し・Kana transliteration (1) み 1 づと 2 りの 2 (2) かも 1 はの 2 いろ 2 の 2 (3) あをうまを (4) け 1 ふみ 1 るひ 1 と 2 は (5) かぎ 1 りなしと 2 いふ Romanization (1) MÎNTU TÖRI n-ö (2) kamô PA-nö irö-nö (3) AWO UMA-wo (4) kêpu mî-ru pîtö pa (5) kaNkîri na-si tö ip-u Glossing with morphemic analysis (1) water bird DV-ATTR (2) wild.duck-GEN wing color-COMP (3) gray horse-ACC (4) today look-ATTR person TOP (5) limit exist.not-FIN DV say-FIN Translation (5) [I] say that there will be no limit [of the longevity] (4) of the people who look today (3) at the horses gray (2) as the color of wings of a wild duck (1) that is a water fowl. Commentary OJ mîNtu töri ‘water fowl’ is supposed to be a permanent epithet (makura-kotoba, 枕詞) to OJ kamô ‘wild duck’, but it is not used exclusively as such, and in addition it is absolutely transparent, so I translate it here. The first two lines represent a poetic introduction (jo, 序) to the rest of the poem. The second line appears as 可毛羽能伊呂乃 kamô PA-nö irö-nö in all early manuscripts: the Genryaku kōhon, the Ruijū koshū, the Nishi Honganji-bon, and the Kishū-bon. Among the later manuscripts, the Hosoi-bon agrees with the above, but the Ōya-bon, the Onkodō-bon, the Kyōto daigaku-bon, and the Katsuji fukun-bon have instead 可 毛 能 羽 伊 呂 乃 kamô-nö PA irö-nö. Omodaka collated both versions as 可毛能羽能伊呂乃 kamô-nö PA-nö irö-nö (1984.20: 237), in spite of the fact that it makes this

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line hypermetric. Kinoshita followed the early manuscripts (1988: 333). I believe that Kinoshita is right, because there is a complete agreement between all early manuscripts, and because in the Hirose-bon the character 能 appears only as an insertion on the left of the line done in a different handwriting after the character 毛. On OJ kamô ‘wild duck’, see the commentary to 14.3524. There is some confusion as to what kind of a horse color awo in awo uma ‘blue/green horse’ refers to. Both Omodaka (1984.20: 237) and Kinoshita (1988: 333-34) maintain that most likely it was a mixture of a dark gray color with white, although Kinoshita also points out that it might have been just gray. Given the comparison with wings of a wild duck, which are mostly gray, with a touch of white at the end, may be this is what is meant here. Note, however, that from the Heian period onward the specific horses mentioned here were referred to as sira uma (白馬) ‘white horses’. It is possible that this confusion is due to the mixture of two different colors, or to the fact that blue and gray are not too far apart. The ceremony of viewing these gray [and white?] horses was conducted on the seventh day of the first lunar month with the Emperor in attendance. Twenty-one horses were led from imperial stables to various courtyards in the imperial palace. An official banquet was given afterwards (see the postscript to 20.4494 below). Since the horse is a yang (陽) animal, blue/green (青) is the color of the spring, and odd numbers are also yang, this ceremony was based on a popular belief that it purged all evil for the whole year. Line five is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since tö ipu was in all probability pronounced as [töpu] or [tipu].

Postscript to the poem 20.4494

本文・Original text 右一首爲七日侍宴右中辨大伴宿祢家持預作此歌但依仁王會事却以六日 於内裏召諸王卿等賜酒肆宴給禄因斯不奏也 Translation Opotömö-nö sukune Yakamöti, the Middle Controller of the Right, composed the above poem in advance for the banquet on the seventh day [of the first lunar month of the second year of Tenpyō Hōji]. However, due to the sermon meeting on Deva king [sutra, Empress Kōken] summoned Princes, nobles, and others to the palace on the sixth day and organized the official drinking banquet as well as gave [them] allowances. Due to this, [I] did not present my poem. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490. The sixth and seventh days of the first lunar month of the second year of Tenpyō Hōji correspond to February 18 and 19, 758 AD. This poem must have been composed on or before the sixth day of the first lunar month. Sermon ceremony (hōe, 法會) is a religious gathering where explanations of Buddhist teachings are given with many monks and laymen in attendance.

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An official banquet was given afterwards. Here it refers to The Benevolent Kings ceremony (Ninnōe, 仁王會), the ceremony based on The Benevolent Kings Sutra (Ninnō kyō, 仁王經) (see below). This particular ceremony was believed to be effective in stopping calamities and disasters which were befalling the state (Inagaki 1989: 231). This ceremony was performed in the Japanese imperial court for the first time in 660 AD by the order from Empress Saimei (齊明天皇, 594-661 AD, r. 655-661 AD). Empress Jitō (持統 天皇, 645-702 AD, r. 690-697 AD) made this ceremony an annual one. Benevolent Kings (Niō, 仁王) are a pair of Diamond deities (kongōjin, 金 剛神) who protect Buddhism (Inagaki 1989: 232). They are usually found on both sides of a gate to a Buddhist temple. One of them is usually depicted with an open mouth, and another one with a closed mouth. Both are half-naked. The Benevolent Kings Sutra (Ninnō kyō 仁王經) is the abbreviated name of the Deva king sutra on the perfection of wisdom (Niō hannya haramitsu kyō,62 仁王般若波羅蜜經)63 or the Deva king, protector of the land sutra on the perfection of wisdom (Niō gokoku hannya haramitta kyō, 仁王護國般若 波羅蜜多經)64 and is a Mahāyāna sutra preached by Buddha to the kings of the sixteen kingdoms. It is stated in it that there will be no calamities and disasters in the state if the sutra is chanted and expounded (Inagaki 1989: 231-32).

Preface to the poem 20.4495

本文・Original text 六日内庭假植樹木以作林帷而爲肆宴歌一首 Translation A poem composed on the sixth day [of the first lunar month of the second year of Tenpyō Hōji, when they] temporarily planted the trees to make a tree curtain, and organized an official banquet in the garden of the imperial palace. Commentary The sixth day of the first lunar month of the second year of Tenpyō Hōji corresponds to February 18, 758 AD. The official banquet on this day is the banquet given after the sermon ceremony on The Benevolent Kings Sutra (Ninnō kyō 仁王經), on which see the commentary to the postscript to 20.4494. Tree curtain (rinwi, 林帷) is a curtain artificially made from planted trees. It surrounded ceremonial or meeting places. From the Heian period on these curtains were called kakisiro ~ kaisiro (垣代), lit. ‘fence substitute’.

20.4495 (W)

本文・Original text (1) 打奈婢久 (2) 波流等毛之流久 (3) 宇具比須波 (4) 宇惠木之樹間乎 (5) 奈枳和多良奈牟 62

Hannya haramita kyō represents a partial transcription and partial translation of Sanskrit Prajñāpāramitā sūtra. The transcribed part Prajñāpāramitā is a compound consisting of two words: prajñā ‘wisdom’ and pāramitā ‘perfection’. 63 This version was translated into Chinese by Kumārajīva (344-413 AD). 64 This version was translated into Chinese by Amoghavajra (705-774 AD).

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仮名の書き下し・Kana transliteration (1) うちなび 1 く (2) はると 2 も 1 しるく (3) うぐひ 1 すは (4) うゑき 2 の 2 こ 2 まを (5) なき 1 わたらなむ Romanization (1) uti-naNpîk-u (2) paru tö mô siru-ku (3) uNkupîsu pa (4) uwe KÏ-NÖ KÖ-MA-wo (5) nak-î-watar-an-am-u Glossing with morphemic analysis (1) PREF-bend-ATTR (2) spring DV PT be.clear-INF (3) bush.warbler TOP (4) plant(INF) tree-GEN tree-interval-ACC (5) sing-INF-cross-DES-TENTFIN Translation (1/2) As [I] clearly [realized] that the spring when [grass and trees] bend [gently in the wind has come], (3/5) [I] wish that the bush warbler will sing for a long time (4) between the planted trees. Commentary The character 打 ‘to hit’ is used as kungana for uti in line one. On WOJ uti-naNpîk- ‘to bend gently in the wind (of grass and trees)’ see the commentary to 20.4360. On WOJ uNkupîsu ‘bush warbler’ see the commentary to 5.824. I agree with Pierson (1963: 202) that OJ watar- ‘to cross’ is not a lexical verb as Japanese scholars believe (Omodaka 1984.20: 239), (Kinoshita 1988: 335), but an auxiliary here. For the details on OJ watar- as a durative auxiliary see Vovin (2009a: 1087-90).

Postscript to the poem 20.4495 本文・Original text 右一首右中辨大伴宿祢家持不奏

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Middle Controller of the Right. [He/I?] did not present it. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490. It is not clear whether Opotömö-nö Yakamöti refers to himself in the first or the third person in the small script commentary.

Preface to the poems 20.4496-4510

本文・Original text 二月於式部大輔中臣清麻呂朝臣之宅宴歌十五首

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Translation Fifteen poems composed in the second lunar month [of the second year of Tenpyō Hōji], at the banquet at the house of Nakatömî-nö Kîyômarö asömî, Senior Assistant Minister at the Ministry of Civil Administration. Commentary The second lunar month of the second year of Tenpyō Hōji corresponds to March 14 – April 11, 758 AD. On the biography of Nakatömî-nö Kîyômarö asömî, see the commentary to the postscript to 20.4296. On Senior Assistant Minister (Tayū, 大輔), see the commentary to the postscript to 20.4483. On the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部 省), see the commentary to the postscript to 20.4449.

20.4496 (W)

本文・Original text (1) 宇良賣之久 (2) 伎美波母安流加 (3) 夜度乃烏梅能 (4) 知利須具流 麻埿 (5) 美之米受安利家流 仮名の書き下し・Kana transliteration (1) うらめ 1 しく (2) き 1 み 1 はも 2 あるか (3) やど 1 の 2 うめ 2 の 2 (4) ち りすぐるまで (5) み 1 しめ 2 ずありけ 1 る Romanization (1) uramêsi-ku (2) kîmî pa mö ar-u ka (3) yaNtô-nö uMË-nö (4) tir-i-suNk-uru-maNte (5) mî-simë-Ns-u ar-i-kêr-u Glossing with morphemic analysis (1) be.resentful-INF (2) lord TOP PT exist-ATTR PT (3) garden-GEN plum-GEN (4) fall-INF-pass-ATTR-TERM (5) see-CAUS-NEG-INF exist-INF-RETR-ATTR Translation (1/2) Should [I not] resent [you, my] lord? (5) [It] turned out that [you] did not let [me] see (3/4) plum [blossoms] in [your] garden until they had completely fallen. Commentary On OJ uramêsi ‘to be regretful’, ‘to be resentful’ and its origin, see the commentary to 5.794. OJ yaNtô can refer to both a ‘house’ and to a space in front of a house, i.e., ‘garden’. Lines three and five are hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since yaNtô-nö umë-nö and mîsimëNsu arikêru were in all probability pronounced as [yaNtônömënö] and [mîsimëNsarikêru].

Postscript to the poem 20.4496 本文・Original text 右一首治部少輔大原今城眞人

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Translation The poem above [was composed by] Opopara-nö Imakï mapîtö, Junior Assistant Minister at the Ministry of Civil Administration. Commentary On the biography of Opopara-nö Imakï mapîtö,65 see the commentary to the postscript to 20.4436-4439. On the Junior Assistant Minister (Shōyū, 少輔), see the commentary to the postscript to 20.4315-4320. On the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部 省), see the commentary to the postscript to 20.4449.

20.4497 (W)

本文・Original text (1) 美牟等伊波婆 (2) 伊奈等伊波米也 (3) 宇梅乃波奈 (4) 知利須具流 麻弖 (5) 伎美我伎麻左奴 仮名の書き下し・Kana transliteration (1) み 1 むと 2 いはば (2) いなと 2 いはめ 2 や (3) うめ 2 の 2 はな (4) ち りすぐるまで (5) き 1 み 1 がき 1 まさぬ Romanization (1) mî-m-u tö ip-aNpa (2) ina tö ip-am-ë ya (3) uMË-nö pana (4) tir-i-suNk-uru-maNte (5) kîmî-Nka k-î-[i]mas-an-u Glossing with morphemic analysis (1) see-TENT-FIN DV say-COND (2) no DV say-TENT-EV PT (3) plum-GEN blossom (4) fall-INF-pass-ATTR-TERM (5) lord-POSS comeINF-HON-NEG-ATTR Translation (1) If [you] would say: “[I] want to see [them”, (2) would [I] say: “No” [ – Certainly not!] (5) [You] did not come, [my] lord, (3/4) until plum blossoms had completely fallen. Commentary This poem is clearly a response to the preceding 20.4496. Line one is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since tö ipaNpa was in all probability pronounced as [töpaNpa] or [tipaNpa]. Compare, however, line two, where tö ipamë does not produce a hypermetric line. Omodaka believed that the attributive form k-î-[i]mas-an-u comeINF-HON-NEG-ATTR is due to the preceding -Nka (1984.20: 241). If one adopts his analysis, then k-î-[i]mas-an-u should be treated as a nominalized form, and -Nka as a possessive case marker rather than subject marker. Thus, kîmî-Nka k-î-[i]mas-an-u must be understood as ‘lord’s non-coming’ under this analysis. This seems rather unlikely in the given context. Another possible 65

Placing kabane rank after the given name rather than after the family name indicated a higher degree of respect.

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explanation is that attributive form is triggered by the interrogative particle ya in the preceding sentence, therefore we have here a case of kakari-musubi that occurs across sentence lines.

Postscript to the poem 20.4497 本文・Original text 右一首主人中臣清麻呂朝臣

Translation The poem above [was composed by] Nakatömî-nö Kîyômarö asömî, the host. Commentary On the biography of Nakatömî-nö Kîyômarö asömî, see the commentary to the postscript to 20.4296.

20.4498 (W)

本文・Original text (1) 波之伎余之 (2) 家布能安路自波 (3) 伊蘇麻都能 (4) 都祢尓伊麻佐 祢 (5) 伊麻母美流其等 仮名の書き下し・Kana transliteration (1) はしき 1 よ 2 し (2) け 1 ふの 2 あろ 1 じは (3) いそ 1 まつの 2 (4) つね にいまさね (5) いまも 2 み 1 るご 2 と 2 Romanization (1) pasi-kî yö-si (2) kêpu-nö arôNsi pa (3) isô matu-nö (4) tune n-i imas-an-e (5) ima mö mî-ru Nkötö Glossing with morphemic analysis (1) be.lovely-ATTR be.good-FIN (2) today-GEN host TOP (3) rock pine-COMP (4) always DV-INF exist(HON)-DES-IMP (5) now PT see-ATTR like Translation (1) [Our] lovely and good (2) host of today, (4) [I] wish you will be eternally (3) like a pine [on the] rock, (5) as [we] see [you] now. Commentary The final form yö-si of the adjective yö- ‘to be good’ is used here in the attributive function. See the commentary to 15.3602 on the lack of strict differentiation between final and attributive forms of inflected adjectives in Old Japanese. WOJ arôNsi ‘host’, ‘master of the house’ in phonographic spelling is a hapax legomenon, but an extremely important one, as all later phonetic attestations come only from the Heian period as aruzi. Thus, we can clearly see that the vowel u in aruzi is a result of raising ô > u, and ô is preserved in OJ arôNsi. But the etymology of WOJ arôNsi and MJ aruzi is transparent: it is from *ar-ô nusi ‘exist-ATTR master’. Thus, WOJ arôNsi is a relic form, which due to the fact it had become a compound, preserved the unraised

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attributive form -ô that otherwise became -u in WOJ, and as -ô is found only in EOJ and Hachijō dialects.

Postscript to the poem 20.4498 本文・Original text 右一首右中辨大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Middle Controller of the Right. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490.

20.4499 (W)

本文・Original text (1) 和我勢故之 (2) 可久志伎許散婆 (3) 安米都知乃 (4) 可未乎許比能 美 (5) 奈我久等曽於毛布 仮名の書き下し・Kana transliteration (1) わがせこ 1 し (2) かくしき 1 こ 2 さば (3) あめ 2 つちの をこ 2 ひ 1 の 2 み 1 (5) ながくと 2 そ 2 おも 1 ふ

2

(4) かみ

2

Romanization (1) wa-Nka se-kô si (2) ka-ku si kîkös-aNpa (3) amë tuti-nö (4) kamï-wo köp-î nöm-î (5) naNka-ku tö sö omôp-u Glossing with morphemic analysis (1) I-POSS elder.brother-DIM PT (2) thus-INF PT say(HON)-COND (3) heaven earth-GEN (4) deity-ACC pray-INF pray-INF (5) be.long-INF DV PT think-ATTR Translation (1/2) If my dear elder brother says so, (5) [I] think [I will live] long, (4) praying to the deities (3) of heaven and earth. Commentary This poem is clearly a response to the preceding 20.4498. OJ köp- and nöm- have practically the identical meaning ‘to pray’, although it is possible that nöm- indicates a prayer accompanied by lowering one’s head (Omodaka et al. 1967: 568). Line five is hypermetric (jiamari, 字余り), but this is probably a graphic illusion, because sö omôpu was likely pronounced as [sömôpu]. See also 20.4500 below. There is also one example of an actual contraction sömôpu < sö omôpu in 20.4300.

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Postscript to the poem 20.4499 本文・Original text 右一首主人中臣清麻呂朝臣

Translation The poem above [was composed by] Nakatömî-nö Kîyômarö asömî, the host. Commentary On the biography of Nakatömî-nö Kîyômarö asömî, see the commentary to the postscript to 20.4296.

20.4500 (W)

本文・Original text (1) 宇梅能波奈 (2) 香乎加具波之美 (3) 等保家杼母 (4) 己許呂母之努 尓 (5) 伎美乎之曽於毛布 仮名の書き下し・Kana transliteration (1) うめ 2 の 2 はな (2) かをかぐはしみ 1 (3) と 2 ほけ 1 ど 2 も 2 (4) こ 2 こ 2 ろ 2 も 2 しの 1 に (5) き 1 み 1 をしそ 2 おも 1 ふ Romanization (1) uMË-nö pana (2) ka-wo kaNkupasi-mî (3) töpo-kê-Ntömö (4) kökörö mö sinô n-i (5) kîmî-wo si sö omôp-u Glossing with morphemic analysis (1) plum-GEN blossom (2) fragrance-ABS be.fragrant-GER (3) be.far-EV-CONC (4) heart PT withered DV-INF (5) lord-ACC PT PT think-ATTR Translation (1/2) Because the perfume of plum blossoms is fragrant, (3) although [I] am far away, (5) [I] think about [my] lord [to such extent] (4) that even [my] heart withered. Commentary On WOJ -wo as an absolutive case marker, see the commentary to 15.3599. WOJ sinô n-i ‘being withered’ (Omodaka 1984.4: 105), (Omodaka et al. 1967: 362) is mistakenly interpreted by Kinoshita as ‘fully’ (1988: 342). Line five is hypermetric (jiamari, 字余り), but this is probably a graphic illusion, because sö omôpu was likely pronounced as [sömôpu]. See also 20.4999 above. There is also one example of an actual contraction sömôpu < sö omôpu in 20.4300.

Postscript to the poem 20.4500 本文・Original text 右一首治部大輔市原王

Translation The poem above [was composed by] Prince Itipara, the Senior Assistant Minister at the Ministry of Civil Administration.

292

MAN’YŌSHŪ

Commentary Prince Itipara is an author of eight poems in the Man’yōshū: 3.412, 4.662, 6.988, 6.1007, 6.1042, 8.1546, 8.1551, and 20.4500. Few facts are known about his biography. He is the great-grandson of Prince Sikï (志貴親王), grandson of Prince KasuNka (春日王), and son of Prince Akï (安貴王). Prince Itipara was promoted to Junior Fifth Rank, Lower Grade from a person with no rank in the fifteenth year of Tenpyō (743 AD) and served as a governor of Bitchū province (備中國). He was further promoted to Junior Fifth Rank Upper Grade in the first year of Tenpyō Shōhō (749 AD), and further to Senior Fifth Rank Lower Grade in the twelfth lunar month of the second year of Tenpyō Shōhō (February 751 AD). Prince Itipara is last mentioned in the Shoku Nihongi in the seventh year of Tenpyō Hōji (763 AD) as a senior official in charge of building Tōdaiji (東大寺). It is not known when he passed away. On Senior Assistant Minister (Tayū, 大輔), see the commentary to the postscript to 20.4483. On the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部 省), see the commentary to the postscript to 20.4449.

20.4501 (W)

本文・Original text (1) 夜知久佐能 (2) 波奈波宇都呂布 (3) 等伎波奈流 (4) 麻都能左要太 乎 (5) 和礼波牟須婆奈 仮名の書き下し・Kana transliteration (1) やちくさの 2 (2) はなはうつろ 2 ふ (3) と 2 き 1 はなる (4) まつの 2 さえ 2 だを (5) われはむすばな Romanization (1) ya ti kusa-nö (2) pana pa utur-öp-u (3) tök-îpa nar-u (4) matu-nö sa-yeNta-wo (5) ware pa musuNp-ana Glossing with morphemic analysis (1) eight thousand varieties (2) flower TOP fade-ITER-FIN (3) eternal-rock be-ATTR (4) pine-GEN PREF-branch-ACC (5) I TOP tie-DES Translation (1/2) The flowers of eight thousand varieties will constantly fade. (5) I want to tie (4) the branches of a pine (3) that is [like] an eternal rock. Commentary Eight thousand varieties most likely implies just multiple varieties, but it is difficult to pass judgment. WOJ tök-îpa ‘eternal rock’ is a contraction of tökö ‘eternal’ and ipa ‘rock’. Tying pine branches represented a ritual act in Ancient Japan, the purpose of which was to pray for happiness and safety. Here the permanent green of a pine is contrasted with impermanence of flowers. Kinoshita believes that OJ ware in line five indicates plural ‘we’ rather than singular ‘I’ (1988: 343), but the basis for this proposal remains unclear.

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Postscript to the poem 20.4501 本文・Original text 右一首右中辨大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Middle Controller of the Right. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490.

20.4502 (W)

本文・Original text (1) 烏梅能波奈 (2) 左伎知流波流能 (3) 奈我伎比乎 (4) 美礼杼母安加 奴 (5) 伊蘇尓母安流香母 仮名の書き下し・Kana transliteration (1) うめ 2 の 2 はな (2) さき 1 ちるはるの 2 (3) ながき 1 ひ 1 を (4) み 1 れ ど 2 も 2 あかぬ (5) いそ 1 にも 2 あるかも 2 Romanization (1) uMË-nö pana (2) sak-î tir-u paru-nö (3) naNka-kî pî-wo (4) mî-re-Ntömö ak-an-u (5) isô n-i mö ar-u kamö Glossing with morphemic analysis (1) plum-GEN blossom (2) bloom-INF fall-ATTR spring-GEN (3) long-ATTR day-ACC (4) look-EV-CONC be.satisfied-NEG-ATTR (5) rock DV-INF PT exist-ATTR PT Translation (5) Oh, the rocks [in the pond], (4) [from] which [I] look at but cannot get enough of (3) long days (1/2) of the spring, when plum blossoms bloom and fall! Commentary WOJ isô here is not a ‘rocky shore’, but rocks in the pond of the garden of the host, Nakatömî-nö Kîyômarö asömî, as becomes completely clear from the next poem.

Postscript to the poem 20.4502 本文・Original text 右一首大蔵大輔甘南備伊香眞人

Translation The poem above [was composed by] KamunaNpï-nö IkaNko mapîtö, Senior Assistant Minister of the Ministry of the Treasury.

294

MAN’YŌSHŪ

Commentary On the biography of KamunaNpï-nö IkaNko mapîtö, see the commentary to the postscript to 20.4489. On Senior Assistant Minister (Tayū, 大輔), see the commentary to the postscript to 20.4483. On the Ministry of the Treasury (Ōkura[shō], 大 蔵 [ 省 ]), see the commentary to the postscript to 20.4489.

20.4503 (W)

本文・Original text (1) 伎美我伊敝能 (2) 伊氣乃之良奈美 (3) 伊蘇尓与世 (4) 之婆之婆美 等母 (5) 安加無伎弥加毛 仮名の書き下し・Kana transliteration (1) き 1 み 1 がいへ 1 の 2 (2) いけ 2 の 2 しらなみ 1 (3) いそ 1 によ 2 せ (4) し ばしばみ 1 と 2 も 2 (5) あかむき 1 み 1 かも 1 Romanization (1) kîmî-Nka ipê-nö (2) ikë-nö sira namî (3) isô-ni yöse (4) siNpa-siNpa mî tömö (5) ak-am-u kîmî kamô Glossing with morphemic analysis (1) lord-POSS house-GEN (2) pond-GEN white wave (3) rock-LOC dash.against(NML) (4) often look(FIN) CONJ (5) get.enough-TENT-ATTR lord PT Translation (4) Even if [I] look [at you as] often, (2/3) as white waves dash against the rocks in the pond (1) of [my] lord’s house, (5) would [I] get enough of [my] lord, I wonder? Commentary This poem looks like an envoy to the previous 20.4502. The first three lines represent a poetic introduction (jo, 序) to the rest of the poem. Line one is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since kîmî-Nka ipê was in all probability pronounced as [kîmîNkipê] or, less likely, [kîmîNkapê].

Postscript to the poem 20.4503 本文・Original text 右一首右中辨大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Middle Controller of the Right. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū.

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On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490.

20.4504 (W)

本文・Original text (1) 宇流波之等 (2) 阿我毛布伎美波 (3) 伊也比家尓 (4) 伎末勢和我世 古 (5) 多由流日奈之尓 仮名の書き下し・Kana transliteration (1) うるはしと 2 (2) あがも 1 ふき 1 み 1 は (3) いやひ 1 け 1 に (4) き 1 ま せわがせこ 1 (5) たゆるひ 1 なしに Romanization (1) urupasi tö (2) a-Nka [o]môp-u kîmî pa (3) iya pî kê n-i (4) k-î-[i]mas-e wa-Nka se-kô (5) tay-uru PÎ na-si-ni Glossing with morphemic analysis (1) handsome DV (2) I-POSS think-ATTR lord TOP (3) more.and.more day all.the.more DV-INF (4) come-INF-HON-IMP (5) break-ATTR day exist.not-FIN-LOC Translation (1/2) [My] lord, who I think is handsome, (3/4) come [here] every day, my dear elder brother, (5) without missing a day. Commentary This poem seems to be an envoy to 20.4503. WOJ kê in kê n-i ‘especially, above all, all the more’ should not be confused with WOJ kë ‘day’. ‘Lord’ in line one and ‘elder brother’ in line four are certainly one and the same person: probably Opotömö-nö Yakamöti, to whom this poem is addressed. Quite similarly, line three means essentially the same as line one. This poem strikes me as an extremely clumsy and tautological composition, and it was probably included by Opotömö-nö Yakamöti in order to preserve the poetic sequence. On locative case marker -ni following adjectival final -si, and not adjectival attributive -kî after na- ‘not to exist’, see Vovin (2009a: 464-65).

Postscript to the poem 20.4504 本文・Original text 右一首主人中臣清麻呂朝臣

Translation The poem above [was composed by] Nakatömî-nö Kîyômarö asömî, the host. Commentary On the biography of Nakatömî-nö Kîyômarö asömî, see the commentary to the postscript to 20.4296.

296

MAN’YŌSHŪ

20.4505 (W)

本文・Original text (1) 伊蘇能宇良尓 (2) 都祢欲比伎須牟 (3) 乎之杼里能 (4) 乎之伎安我 未波 (5) 伎美我末仁麻尓 仮名の書き下し・Kana transliteration (1) いそ 1 の 2 うらに (2) つねよ 1 ひ 1 き 1 すむ (3) をしど 2 りの 2 (4) を しき 1 あがみ 2 は (5) き 1 み 1 がまにまに Romanization (1) isô-nö ura-ni (2) tune yô pî k-î sum-u (3) wosiNtöri-nö (4) wosi-kî a-Nka mï pa (5) kîmî-Nka manima n-i Glossing with morphemic analysis (1) rock-GEN behind-LOC (2) always night day come-INF live-ATTR (3) mandarin.duck-DV(ATTR)-bird-COMP (4) be.pitiful-ATTR I-POSS body TOP (5) lord-POSS according DV-INF Translation (5) [I] entrust to [my] lord (4) myself, pitiful (3) like mandarin ducks (2) that always come and live (1) behind rocks [in your pond]. Commentary Kinoshita believes that this group that gathered at the house of Nakatömî-nö Kîyômarö asömî, was anti-Nakamarö, albeit it did not plan any rebellion. They were all approximately on the same level, as all had Fifth Rank, but Nakatömî-nö Kîyômarö was senior by age, and they viewed him as a leader, hence the ‘entrusting self’ (Kinoshita 1988: 347). WOJ wosi ~ wosi-N-töri ‘mandarin duck’ (MdJ オシドリ、鴛鴦, Lat. Aix galericulata) is a herbivorous water fowl that breeds at lakes and marshes in the remote mountain areas in spring and summer. Mandarin ducks make nests in the hollows of big trees. In winter they migrate to lakes and marshes in the warmer areas in low lands. In the summer males and females have practically the same feather color, but in the winter, the feather color of males is especially beautiful. They live in couples (Nakanishi 1985: 303), hence both Chin. yuānyāng (鴛鴦) and WOJ wosiNtöri ‘mandarin ducks’ represent the symbol for faithful and loving couples. In WOJ poetry this symbolic usage is attested in 11.2491, but not in this poem. In addition, WOJ nipo-N-töri ‘grebes’ are also used in the same symbolic meaning, see the commentary to 5.794. The first three lines represent a poetic introduction (jo, 序) to the rest of the poem, introducing also a word-play on WOJ wosi ~ wosi-N-töri ‘mandarin duck’ and wosi ‘to be pitiful’.

Postscript to the poem 20.4505 本文・Original text 右一首治部少輔大原今城眞人

Translation The poem above [was composed by] Opopara-nö Imakï mapîtö, Junior Assistant Minister at the Ministry of Civil Administration.

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Commentary On the biography of Opopara-nö Imakï mapîtö,66 see the commentary to the postscript to 20.4436-4439. On the Junior Assistant Minister (Shōyū, 少輔), see the commentary to the postscript to 20.4315-4320. On the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部 省), see the commentary to the postscript to 20.4449.

Preface to the poems 20.4506-4510 本文・Original text 依興各思高圓離宮處作歌五首

Translation Five poems composed by every [person] according to [his] taste and expressing [his] thoughts about the place of the detached palace in Takamatô. Commentary These five poems are a part of a larger poetic cycle of 20.4496-20.4510, and they were composed at the same banquet at the house of Nakatömî-nö Kîyômarö, as the preceding ten poems. On Takamatô and its detached palace, see the commentary to the preface to 20.4295-4297.

20.4506 (W)

本文・Original text (1) 多加麻刀能 (2) 努乃宇倍能美也波 (3) 安礼尓家里 (4) 多々志々伎 美能 (5) 美与等保曽氣婆 仮名の書き下し・Kana transliteration (1) たかまと 1 の 2 (2) の 1 の 2 うへ 2 の 2 み 1 やは (3) あれにけ 1 り (4) た たししき 1 み 1 の 2 (5) み 1 よ 2 と 2 ほそ 2 け 2 ば Romanization (1) Takamatô-nö (2) nô-nö upë-nö mîya pa (3) are-n-i-kêr-i (4) tat-as-i-si kîmî-nö (5) mî-yö töposök-ë-Npa Glossing with morphemic analysis (1) Takamatô-GEN (2) field-GEN top-GEN palace TOP (3) lie.in.ruins(INF)PERF-INF-RETR-FIN (4) build-HON-INF-PAST/ATTR lord-GEN (5) HON-age become.far-EV-CON Translation (1/2) The palace on the top of Takamatô field (3) lies in ruins, (4/5) because the age of [our] lord who built [it there] is far away in the past.

66

Placing kabane rank after the given name rather than after the family name indicated a higher degree of respect.

298

MAN’YŌSHŪ

Commentary On Takamatô and its detached palace, see the commentary to the preface to 20.4295-4297. Line two is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since nô-nö upë was in all probability pronounced as [nônöpë]. WOJ tat-as-i-si ‘build-HON-INF-PAST/ATTR’ is usually understood by Japanese scholars as a form build on intransitive tat- ‘to rise’ (Omodaka 1984.20: 247), or tat- ‘to depart’, ‘to stand still’67 (Kinoshita 1988: 347-48) rather than on transitive tate- ‘to raise’ = ‘to build’. However, the vowel verbs lose their last vowel of the root before honorific suffix -as-; thus, there is no difference in surface forms tat-as- < *tat-as- ‘rise/depart + HON’ and tat-as- < *tate-as- ‘raise/build + HON’. Since Emperor Shōmu actually built the detached palace in Takamatô, I prefer my own explanation involving the transitive verb tate- ‘to raise, to make stand, to build’. The lord mentioned in this poem is Emperor Shōmu (聖武, 701-756 AD, r. 724-749 AD).

Postscript to the poem 20.4506 本文・Original text 右一首右中辨大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Middle Controller of the Right. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490.

20.4507 (W)

本文・Original text (1) 多加麻刀能 (2) 乎能宇倍乃美也波 (3) 安礼奴等母 (4) 多々志々伎 美能 (5) 美奈和須礼米也 仮名の書き下し・Kana transliteration (1) たかまと 1 の 2 (2) をの 2 うへ 2 の 2 み 1 やは (3) あれぬと 2 も 2 (4) た たししき 1 み 1 の 2 (5) み 1 なわすれめ 2 や Romanization (1) Takamatô-nö (2) wo-nö upë-nö mîya pa (3) are-n-u tömö (4) tat-as-i-si kîmî-nö (5) mî-na wasure-m-ë ya

67

Kinoshita MdJ translation implies ‘to depart’ (1988: 347) and his commentary suggests ‘to stand still’ (1988: 348).

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Glossing with morphemic analysis (1) Takamatô-GEN (2) hill-GEN top-GEN palace TOP (3) lie.in.ruins(INF)PERF-FIN CONJ (4) build-HON-INF-PAST/ATTR lord-GEN (5) HON-name forget-TENT-EV PT Translation (1/2/3) Even though the palace on the top of Takamatô hill lies in ruins, (5) will [I] forget the name (4) of [our] lord, who built [it there]? [– Certainly, I will not!] Commentary On Takamatô and its detached palace, see the commentary to the preface to 20.4295-4297. Line two is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since wo-nö upë was in all probability pronounced as [wonöpë]. On WOJ tat-as-i-si ‘build-HON-INF-PAST/ATTR’ in this context, see the commentary to 20.4506. The lord mentioned in this poem is Emperor Shōmu (聖武, 701-756 AD, r. 724-749 AD).

Postscript to the poem 20.4507 本文・Original text 右一首治部少輔大原今城眞人

Translation The poem above [was composed by] Opopara-nö Imakï mapîtö, Junior Assistant Minister at the Ministry of Civil Administration. Commentary On the biography of Opopara-nö Imakï mapîtö,68 see the commentary to the postscript to 20.4436-4439. On the Junior Assistant Minister (Shōyū, 少輔), see the commentary to the postscript to 20.4315-4320. On the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部 省), see the commentary to the postscript to 20.4449.

20.4508 (W)

本文・Original text (1) 多可麻刀能 (2) 努敝波布久受乃 (3) 須惠都比尓 (4) 知与尓和須礼 牟 (5) 和我於保伎美加母 仮名の書き下し・Kana transliteration (1) たかまと 1 の 2 (2) の 1 へ 1 はふくずの 2 (3) すゑつひ 1 に (4) ちよ 2 にわすれむ (5) わがおほき 1 み 1 かも 2

68

Placing kabane rank after the given name rather than after the family name indicated a higher degree of respect.

300

MAN’YŌSHŪ

Romanization (1) Takamatô-nö (2) nô-pê pap-u kuNsu-nö (3) suwe tupî n-i (4) ti yö-ni wasure-m-u (5) wa-Nka opo kîmî kamö Glossing with morphemic analysis (1) Takamatô-nö (2) field-side creep-ATTR kudzu-COMP (3) end end DV-INF (4) thousand age-LOC forget-TENT-FIN (5) I-POSS Great Lord PT Translation (4/5) Will [I] forget my Great Lord in a thousand ages (3) until the very end, (2) [which is long] as kudzu vine that creeps along the field (1) of Takamatô? [– Certainly, I will not!] Commentary On Takamatô, see the commentary to the preface to 20.4295-4297. On OJ kuNsu ‘kudzu vine’, see the commentary to 14.3364a. Line five is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since wa-Nka opo kîmî was in all probability pronounced as [waNköpokîmî]. The Great Lord mentioned in this poem is Emperor Shōmu (聖武, 701-756 AD, r. 724-749 AD).

Postscript to the poem 20.4508 本文・Original text 右一首主人中臣清麻呂朝臣

Translation The poem above [was composed by] Nakatömî-nö Kîyômarö asömî, the host. Commentary On the biography of Nakatömî-nö Kîyômarö asömî, see the commentary to the postscript to 20.4296.

20.4509 (W)

本文・Original text (1) 波布久受能 (2) 多要受之努波牟 (3) 於保吉美乃 (4) 賣之思野邊尓 波 (5) 之米由布倍之母 仮名の書き下し・Kana transliteration (1) はふくずの 2 (2) たえ 2 ずしの 1 はむ (3) おほき 1 み 1 の 2 (4) め 1 し しの 1 へ 1 には (5) しめ 2 ゆふべ 2 しも 2 Romanization (1) pap-u kuNsu-nö (2) taye-Ns-u sinôp-am-u (3) opo kîmî-nö (4) mês-i-si NÔ-PÊ-ni pa (5) simë yup-uNpë-si-mö Glossing with morphemic analysis (1) creep-ATTR kudzu-COMP (2) break-NEG-INF yearn-TENT-ATTR (3) Great Lord-GEN (4) see.HON-INF-PAST/ATTR field-side-LOC TOP (5) sacred.rope tie-DEB-FIN-EXCL

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Translation (5) [I] should tie the sacred rope (3/4) at the field that [our] Great Lord saw (2) for whom [I] long endlessly (1) like creeping kudzu vine [is endless]! Commentary On OJ kuNsu ‘kudzu vine’, see the commentary to 14.3364a. The field is Takamatô field on which see the commentary to the preface to 20.4295-4297. The Great Lord mentioned in this poem is Emperor Shōmu (聖武, 701-756 AD, r. 724-749 AD). WOJ simë ‘sacred rope’ is the same thing as MdJ simenawa ‘id.’, the rope that is used to mark the sacred places, usually placed on torii or entrances to Shintō temples.

Postscript to the poem 20.4509 本文・Original text 右一首右中辨大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Middle Controller of the Right. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490.

20.4510 (W)

本文・Original text (1) 於保吉美乃 (2) 都藝弖賣須良之 (3) 多加麻刀能 (4) 努敝美流其等 尓 (5) 祢能未之奈加由 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 の 2 (2) つぎ 1 てめ 1 すらし (3) たかまと 1 の 2 (4) の 1 へ 1 み 1 るご 2 と 2 に (5) ねの 2 み 2 しなかゆ Romanization (1) opo kîmî-nö (2) tuNk-î-te mês-urasi (3) Takamatô-nö (4) nô-pê mî-ru Nkötö n-i (5) ne nömï si nak-ay-u Glossing with morphemic analysis (1) Great Lord-GEN (2) follow-INF-SUB look.HON-SUP (3) Takamatô-GEN (4) field-side look-ATTR every.time DV-INF (5) sound PT PT cry-PASS-FIN Translation (4) Every time [I] look at the fields (3) of Takamatô (1/2) that [my] Great Lord seemed to look continuously at (5) [I] only sob loudly.

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Commentary On Takamatô, see the commentary to the preface to 20.4295-4297. The Great Lord mentioned in this poem is Emperor Shōmu (聖武, 701-756 AD, r. 724-749 AD).

Postscript to the poem 20.4510 本文・Original text 右一首大蔵大輔甘南備伊香眞人

Translation The poem above [was composed by] KamunaNpï-nö IkaNko mapîtö, Senior Assistant Minister of the Ministry of the Treasury. Commentary On the biography of KamunaNpï-nö IkaNko mapîtö, see the commentary to the postscript to 20.4489. On Senior Assistant Minister (Tayū, 大輔), see the commentary to the postscript to 20.4483. On the Ministry of the Treasury (Ōkura[shō], 大 蔵 [ 省 ]), see the commentary to the postscript to 20.4489.

Preface to the poems 20.4511-4513 本文・Original text 属目山齋作歌三首

Translation Three poems composed while [we] were gazing at the garden. Commentary These three poems have no date, but it is believed that they were also composed at the house of Nakatömî-nö Kîyômarö like the preceding fifteen poems (Omodaka 1984.20: 250), and at the same time (Kinoshita 1988: 352). On the character 属 standing for 矚 ‘to gaze’, see the commentary to the postscript to the poem 20.4481. 山齋 is an artificial mountain in a garden or an artificial island in a garden pond. It can also mean garden itself, as in the poem 20.4511 below.

20.4511 (W)

本文・Original text (1) 乎之能須牟 (2) 伎美我許乃之麻 (3) 家布美礼婆 (4) 安之婢乃波奈 毛 (5) 左伎尓家流可母 仮名の書き下し・Kana transliteration (1) をしの 2 すむ (2) き 1 み 1 がこ 2 の 2 しま (3) け 1 ふみ 1 れば (4) あ しび 1 の 2 はなも 1 (5) さき 1 にけ 1 るかも 2 Romanization (1) wosi-nö sum-u (2) kîmî-Nka könö sima (3) kêpu mî-re-Npa (4) asiNpî-nö pana mô (5) sak-î-n-i-kêr-u kamö

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Glossing with morphemic analysis (1) mandarin.duck-GEN live-ATTR (2) lord-POSS this garden (3) today look-EV-CON (4) andromeda-GEN flower PT (5) bloom-INF-PERF-INFRETR-ATTR PT Translation (3) When [I] looked today at (2) this garden of my lord, (1) where mandarin ducks live, (4/5) it turned out that andromeda flowers have bloomed! Commentary On WOJ wosi ‘mandarin duck’, see the commentary to 20.4505. The lord is probably Nakatömî-nö Kîyômarö, the owner of the garden, and the host of the banquet, although there is no exact textual evidence for this. The basic meanings of OJ sima are either ‘island’ or ‘territory’. Here it clearly refers to the garden, which was written as 山齋 in the preface to poems 20.4511-4513 above. OJ sima apparently is a kun-yomi of 山齋. In any case, the garden of a person with the Fifth Rank, like Nakatömî-nö Kîyômarö, was quite an estate with an area of 16,000 square meters (Tanabe 1997: 124)! Thus, there is no wonder that such a garden could be called sima ‘territory’! WOJ asiNpî ‘andromeda’ (MdJ asebi 69 (アセビ, 馬酔木), Lat. Pieris japonica or Andromeda japonica) is a low evergreen tree that grows in the wild in the mountains. It is also cultivated in gardens. It blooms in early spring with small jar-like shaped flowers that are clustered in cones. Its leaves and stalks are poisonous. If horses or cows happen to eat it, they behave as if they were drunk (Nakanishi 1985: 305).

Postscript to the poem 20.4511 本文・Original text 右一首大監物御方王

Translation The poem above [was composed by] Prince Mîkata, the Senior Keeper of Storage Keys. Commentary On the biography of Prince Mîkata and the Senior Keeper of Storage Keys, see the commentary to the preface to 20.4483.

20.4512 (W)

本文・Original text (1) 伊氣美豆尓 (2) 可氣左倍見要氐 (3) 佐伎尓保布 (4) 安之婢乃波奈 乎 (5) 蘇弖尓古伎礼奈 仮名の書き下し・Kana transliteration (1) いけ 2 み 1 づに (2) かげ 2 さへ 2 み 1 え 2 て (3) さき 1 にほふ (4) あ しび 1 の 2 はなを (5) そ 1 でにこ 1 き 1 れな

69

Also MdJ asemi, asibi, and asebo.

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Romanization (1) ikë mîNtu-ni (2) kaNkë sapë MÎ-ye-te (3) sak-î-nipop-u (4) asiNpî-nö pana-wo (5) sôNte-ni kôk-î-[i]re-na Glossing with morphemic analysis (1) pond water-LOC (2) reflection PT see-PASS(INF)-SUB (3) bloom-INFlook.beautiful-ATTR (4) andromeda-GEN flower-ACC (5) sleeve-LOC rub.through-INF-insert-DES Translation (4/5) [I] want to rub into [my] sleeves andromeda flowers (3) that are beautifully blooming (2) with even [their] reflection seen (1) in the pond water. Commentary On WOJ asiNpî ‘andromeda’, see the commentary to 20.4511. WOJ kôk- is a rare verb meaning ‘to draw (holding in the hand)’, ‘to rub’, or ‘to thrash’.

Postscript to the poem 20.4512 本文・Original text 右一首右中辨大伴宿祢家持

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Middle Controller of the Right. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490.

20.4513 (W)

本文・Original text (1) 伊蘇可氣乃 (2) 美由流伊氣美豆 (3) 氐流麻埿尓 (4) 左家流安之婢 乃 (5) 知良麻久乎思母 仮名の書き下し・Kana transliteration (1) いそ 1 かげ 2 の 2 (2) み 1 ゆるいけ 2 み 1 づ (3) てるまでに (4) さけ 1 るあしび 1 の 2 (5) ちらまくをしも 2 Romanization (1) isô kaNkë-nö (2) mî-y-uru ikë mîNtu (3) ter-u-maNte-ni (4) sak-êr-u asiNpî-nö (5) tir-am-aku wosi-mö Glossing with morphemic analysis (1) rock reflection-GEN (2) see-PASS-ATTR pond water (3) shine-ATTRTERM-LOC (4) bloom-PROG-ATTR andromeda-GEN (5) fall-TENT-NML be.regretful-EXCL

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Translation (5) [I] regret the upcoming falling (4) of andromeda that is blooming (3) to such extent that (1/2) the pond water where the reflection of rocks is seen (3) is shining! Commentary On WOJ asiNpî ‘andromeda’, see the commentary to 20.4511. The ‘upcoming falling’ or ‘future falling’ seem to be the best English equivalents of OJ tir-am-aku ‘fall-TENT-NML’ in the given syntactic structure of the poem.

Postscript to the poem 20.4513 本文・Original text 右一首大蔵大輔甘南備伊香眞人

Translation The poem above [was composed by] KamunaNpï-nö IkaNko mapîtö, Senior Assistant Minister of the Ministry of the Treasury. Commentary On the biography of KamunaNpï-nö IkaNko mapîtö, see the commentary to the postscript to 20.4489. On Senior Assistant Minister (Tayū, 大輔), see the commentary to the postscript to 20.4483. On the Ministry of the Treasury (Ōkura[shō], 大 蔵 [ 省 ]), see the commentary to the postscript to 20.4489.

Preface to the poem 20.4514

本文・Original text 二月十日於内相宅餞渤海大使小野田守朝臣等宴歌一首 Translation A poem composed on the tenth day of the second lunar month [of the second year of Tenpyō Hōji] at the banquet at the house of the Minister of Internal Affairs, when [we] were seeing off Wonô-nö Tamôri asömî, the ambassador to Parhae. Commentary The tenth day of the second lunar month of the second year of Tenpyō Hōji corresponds to March 23, 758 AD. On Minister of Internal Affairs (Naishō, 内相), see the commentary to the postscript to 20.4487. The Minister of Internal Affairs is PuNtipara-nö asömî Nakamarö. On the biography of Wonô-nö Tamôri asömî, see the commentary to 5.846. Parhae (渤海, MdJ Bokkai, Chin. Bohai) is the state that occupied the north-western corner of the Korean peninsula, most of southern and eastern Manchuria, and Russian Maritime province. It was established in 698 AD as a successor state to Koguryǒ, and destroyed by Khitans in 926 AD.

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20.4514 (W)

本文・Original text (1) 阿乎宇奈波良 (2) 加是奈美奈妣伎 (3) 由久左久佐 (4) 都々牟許等 奈久 (5) 布祢波々夜家無 仮名の書き下し・Kana transliteration (1) あをうなはら (2) かぜなみ 1 なび 1 き 1 (3) ゆくさくさ (4) つつむ こ 2 と 2 なく (5) ふねははやけ 1 む Romanization (1) awo una-para (2) kaNse namî naNpîk-î (3) yuk-usa k-usa (4) tutum-u kötö na-ku (5) pune pa paya-kêm-u Glossing with morphemic analysis (1) blue sea-plain (2) wind wave bend.down-INF (3) go-NML come-NML (4) be.hindered-ATTR matter no-INF (5) boat TOP be.fast-ATTR.TENT-FIN Translation (2) With wind bending down the waves (1) on the blue sea plain (5) [your] boat should be fast (3) when [it] goes away [and] when [it] comes back (4) without any hindrance. Commentary On WOJ una-para ‘plain of the sea’, see the commentary to 15.3592. WOJ naNpîk- ‘to bend down gently’, usually used about trees and grass, is used here metaphorically in the sense ‘to bend down’ > ‘to calm down’. For the details on WOJ nominalizer -usa that in most cases means ‘when, time when’, see Vovin (2009a: 776-79). WOJ -kêm- in paya-kêm-u ‘should be fast’ in line five is a special adjectival tentative form that represents the contraction of adjectival attributive -kî and tentative -am-. For the details see Vovin (2009a: 478-80).

Postscript to the poem 20.4514 本文・Original text 右一首右中辨大伴宿祢家持未誦之

Translation The poem above [was composed by] Opotömö-nö sukune Yakamöti, the Middle Controller of the Right. [He/I?] have not recited it. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the Middle Controller of the Right (Uchūben, 右 中 辨), see the commentary to the postscript to 20.4490. The commentary in small script probably means that Opotömö-nö Yakamöti was not given the chance to recite his poem.

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Preface to the poem 20.4515

本文・Original text 七月五日於治部少輔大原今城眞人宅餞因幡守大伴宿祢家持宴歌一首 Translation A poem composed on the fifth day of the seventh lunar month [of the second year of Tenpyō Hōji] at the banquet at the house of Opopara-nö Imakï asömî, the Junior Assistant Minister in the Ministry of Civil Administration, when [he and others] were seeing off Opotömö-nö sukune Yakamöti, a governor of InaNpa province. Commentary The fifth day of the seventh lunar month of the second year of Tenpyō Hōji corresponds to August 13, 758 AD. On the biography of Opopara-nö Imakï mapîtö,70 see the commentary to the postscript to 20.4436-4439. On the Junior Assistant Minister (Shōyū, 少輔), see the commentary to the postscript to 20.4315-4320. On the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部 省), see the commentary to the postscript to 20.4449. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. InaNpa province corresponds to the eastern part of present-day Tottori prefecture on the Sea of Japan coast. It was one of the Upper Provinces (Jōkoku, 上國) under the Ritsuryō code. On the Ritsuryō code classification of Yamatö provinces, see the commentary to 5.818.

20.4515 (W)

本文・Original text (1) 秋風乃 (2) 須惠布伎奈婢久 (3) 波疑能花 (4) 登毛尓加射左受 (5) 安比加和可礼牟 仮名の書き下し・Kana transliteration (1) あき 1 かぜの 2 (2) すゑふき 1 なび 1 く (3) はぎ 2 の 2 はな (4) と 2 も 1 にかざさず (5) あひ 1 かわかれむ Romanization (1) AKÎ KANSE-nö (2) suwe puk-î naNpîk-u (3) paNkï-nö PANA (4) tömô n-i kaNsas-aNs-u (5) apî-ka-wakare-m-u Glossing with morphemic analysis (1) autumn wind-GEN (2) end blow-INF bend.down-ATTR (3) bush.cloverGEN flower (4) together DV-INF decorate-NEG-INF (5) REC-PT-partTENT-ATTR

70

Placing kabane rank after the given name rather than after the family name indicated a higher degree of respect.

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Translation (5) Will [we] part with each other (4) without decorating [our hair] together (3) [with] flowers of bush clover (1) that the autumn wind (2) blows over and bends down? Commentary On WOJ paNkï ‘bush clover’, see the commentary to 15.3656. OJ suwe ‘end’ here refers to the top branches of a bush clover. Previously I have defined OJ apî- as a prefix of the reciprocal-cooperative voice (Vovin 2009a: 589-93). But apî-ka-wakare-m-u ‘will [we] part with each other’ with interrogative particle ka sandwiched between apî- and wakare- in line five of this poem strongly suggests that apî- is not a prefix, but a preverb. There was a custom of decorating one’s hair with flowers, leaves, or branches, sometimes making a kind of wig from them during celebrations, such as banquets or drinking parties. See also 5.817 (and many following poems ending with 5.846) and 15.3707.

Postscript to the poem 20.4515 本文・Original text 右一首大伴宿祢家持作之

Translation Opotömö-nö sukune Yakamöti composed the poem above. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū.

Preface to the poem 20.4516

本文・Original text 三年春正月一日於因幡國廳賜饗國郡司等之宴歌一首 Translation A poem composed on the first day of the first lunar month in the spring of the third year [of Tenpyō Hōji] at the banquet organized at the InaNpa province governor’s office for provincial and district officials. Commentary The first day of the first lunar month of the third year of Tenpyō Hōji corresponds to February 2, 759 AD. On InaNpa province, see the commentary to the preface to 20.4515.

20.4516 (W)

本文・Original text (1) 新 (2) 年乃始乃 (3) 波都波流能 (4) 家布敷流由伎能 (5) 伊夜之家 餘其騰

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仮名の書き下し・Kana transliteration (1) あらたしき 1 (2) と 2 しの 2 はじめ 2 の 2 (3) はつはるの 2 (4) け 1 ふふ るゆき 1 の 2 (5) いやしけ 1 よ 2 ご 2 と 2 Romanization (1) ARATASI-KÎ (2) TÖSI-nö PANSIMË-nö (3) patu paru-nö (4) kêpu pur-u yukî-nö (5) iya sik-ê yö-N-kötö Glossing with morphemic analysis (1) be.new-ATTR (2) year-GEN beginning-GEN (3) first spring-GEN (4) today fall-ATTR snow-GEN (5) more.and.more pile.up-IMP goodDV(ATTR)-matter Translation (4) Snow that falls today (3) in the early spring (1/2) at the beginning of the new year, (5) pile up more and more as a good omen! Commentary Snow on the first day of the year is considered to be a good omen both in Ancient and Modern Japan. But since this is the last poem in the anthology, Kinoshita might be right in his speculation that it is placed last not by chance: maybe the poem has the second meaning as Opotömö-nö Yakamöti’s prayer for the future of the Man’yōshū (1988: 359). If it is indeed so, this prayer was heard, as both the anthology and its compiler achieved the undying fame that survived them both for more than one thousand years.

Postscript to the poem 20.4516 本文・Original text 右一首守大伴宿祢家持作之

Translation Opotömö-nö sukune Yakamöti, the governor [of the InaNpa] province composed the poem above. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On InaNpa province, see the commentary to the preface to 20.4515. END OF BOOK TWENTY

BIBLIOGRAPHY Akimoto, Kichirō (ed.) 1958. Fudoki [Gazetteers]. Nihon Koten Bungaku Taikei [Series of the Japanese Classical Literature], vol. 2. Tokyo: Iwanami shoten. Aso, Mizue (ed.) 2007. Man’yōshū zenka kōgi. Kan daigo ~ kan dairoku [A commentary on all Man’yōshū poems. Books five and six]. Tokyo: Kasama shoin. Aso, Mizue (ed.) 2011. Man’yōshū zenka kōgi. Kan daijūsan ~ kan daijūyon [A commentary on all Man’yōshū poems. Books thirteen and fourteen]. Tokyo: Kasama shoin. Bentley, John R. 1997. MO and PO in Old Japanese. Unpublished MA thesis. University of Hawai’i at Mānoa. —— 1999. ‘The Verb TORU in Old Japanese.’ Journal of East Asian Linguistics 8: 131-46. —— 2001a. ‘The Origin of the Man’yōgana.’ Bulletin of the School of Oriental and African Studies 64.1: 59-73. —— 2001b. A Descriptive Grammar of Early Old Japanese Prose. Leiden: Brill. —— 2002. ‘The spelling of /MO/ in Old Japanese.’ Journal of East Asian Linguistics 11.4: 349-74. Chiri, Mashiho 1956. Chimei Ainu go shō jiten [A Mini-dictionary of Ainu placenames]. Sapporo: Hokkaidō shuppan kiga sentā. —— 1975. Bunrui Ainu go jiten. Ningen hen [Classified dictionary of the Ainu language. Humans]. Tokyo: Heibonsha. —— 1976. Bunrui Ainu go jiten. Shokubutsu hen. Dōbutsu hen [Classified dictionary of the Ainu language. Plants. Animals]. Tokyo: Heibonsha. Endō, Yoshimoto, and Kasuga Kazuo (eds.) 1967. Nihon ryōiki [Japanese Tales of Wonders]. Nihon koten bungaku taikei, vol. 70. Tokyo: Iwanami. Frellesvig, Bjarke & John B. Whitman 2012. ‘On the origin of shimo nidan conjugation’. Lecture at the conference on Japanese linguistics, NINJAL, Summer 2012. Fukuda, Yoshisuke 1965. Nara jidai Azuma hōgen no kenkyū [A Study of the Eastern Japanese Dialects in the Nara Period]. Tokyo: Kazama shoin. Gluskina, Anna E. 1971-73. Man”yosiu. t. 1-3. Moscow: Nauka [reprinted: Moscow: Izdatel’stvo ACT, 2001]. —— 1979. ‘O prefikse sa- v pesniakh Man”yoshu [About the prefix sa- in the Man’yōshū songs]. In: Gluskina A. Zametki o iaponskoi literature i teatre [Notes on the Japanese literature and theater], pp. 99-110. Moscow: Nauka, Glavnaia redakciia vostochnoi literatury. Hashimoto, Shinkichi 1917. ‘Kokugo kanazukai kenkyū shi jō no ichi hakken – Ishizuka Tatsumaro no Kanazukai oku no yama michi ni tsuite’ [A Discovery in the Field of Japanese Kana Usage Research Concerning Ishizuka Tatsumaro’s The Mountain Road into the Secrets of Kana Usage]. Teikoku bungaku 23.5 [reprinted in Hashimoto (1949: 123-63). —— 1931. ‘Jōdai no bunken ni sonsuru tokushu no kanazukai to tōji no gohō’ [The Special Kana Usage of Old Japanese Texts and the Grammar of the Period]. Kokugo to kokubungaku 8.9 [reprinted in Hashimoto 1949: 164-91]. —— 1938. ‘Kokugo on’in no hensen [Changes in Japanese Phonology].’ Kokugo to kokubungaku 10: 3-40.

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—— 1949. Moji oyobi kanazukai no kenkyū [Studies on Characters and Kana Usage]. Tokyo: Iwanami shoten. Hattori, Shirō (ed.) 1964. Ainu go hōgen jiten [An Ainu dialect dictionary]. Tokyo: Iwanami shoten. Hayashi, Tsutomu 1990. ‘Man’yōshū no shohon [The manuscripts of the Man’yōshū].’ In: Inaoka, Kōji 1990. Man’yōshū hikkei [A Handbook of the Man’yōshū]. Tokyo: Gakutōsha. pp. 9-19. —— 1994. ‘Man’yōshū no shohon [The manuscripts of the Man’yōshū].’ In: Inaoka, Kōji 1994. Man’yōshū jiten [An Encyclopedia on the Man’yōshū]. Tokyo: Gakutōsha. pp. 403-14. Hayata, Teruhiro. 1998. ‘Jōdai Nihongo no onsetsu kōzō to o-retsu kō-otsu no betsu [The structure of Old Japanese syllables and the kō-otsu distinction in the o-line].’ Onsei kenkyū 2.1: 25-33. Hendriks, Peter 1994. ‘Adverbial Modification in Old Japanese’. Japanese/Korean Linguistics, vol. 4, ed. by Noriko Akatsuka. Stanford University: Center for the Study of Language and Information, pp. 120-36. Higashi, Mitsuharu 1942. Man’yō dōbutsu [Man’yōshū animals]. Tokyo: Sanseidō. Hino, Sukenari 2003. ‘Nihon sogo no boin taikei – Jōdai Azuma hōgen shiryō ni yoru saikō [A Reconstruction of the Proto-Japanese Vowel System on the Basis of the Data from Eastern Old Japanese]’. In: Osada, Toshiki and Alexander Vovin (eds.) 2003. Nihongo keitōron no genzai/ Perspectives on the Origins of the Japanese Language. Kyoto: Kokusai Nihon bunka kenkyū sentā, pp. 187-206. Hirayama, Teruo 1966. Ryūkyū hōgen no sōgōteki kenkyū [A Comprehensive Study of the Ryūkyūan dialects]. Tokyo: Meiji shoin. Hirose, Sutezō, Satake Akihiro, Kinoshita Masatosi, Kanbori Shinobu, Kudō Rikio 1994. Kōtei Man’yōshū. Bessatu 3 (The Revised Man’yōshū. Additional volume 3). Tokyo: Iwanami. Hōjō, Tadao 1966. Jōdai Azuma hōgen no kenkyū [A Study of the Eastern Japanese Dialects]. Tokyo: Nihon gakujutsu shinkōkai. Hokama, Shuzen et al. (eds.) 1995. Okinawa kogo daijiten (A Big Dictionary of the Old Okinawan Language). Tokyo: Kadokawa shoten. Honda, Heihachirō 1967. The Man’yōshū: A New and Complete Translation. Tokyo: The Hokuseido Press. Hoshino, Yukihiko (ed.) 1976. Sakimori uta ko kun chūshaku shūsei [A collection of Old Readings and Commentaries on Border Guards Poems]. Tokyo: Kyōiku shuppan sentā. Imura, Tetsuo 1983. Man’yōshū zenchū. Kan dai 5. [The Man’yōshū completely annotated, vol. 5]. Tokyo: Yūhikaku. Inagaki, Hisao 1989. A Dictionary of Japanese Buddhist Terms. Union City: Heian International. Inaoka, Kōji (ed.) 1990. Man’yōshū hikkei [A Handbook on the Man’yōshū]. Tokyo: Gakutōsha. —— 1994. Man’yōshū jiten [The Man’yōshū Encyclopedia]. Tokyo: Gakutōsha. Inoue, Michiyasu (ed.) 1928. Man’yōshū shinkō [A New commentary on the Man’yōshū]. Tokyo: Kokumin tosho kabushiki kaisha. Itabashi, Yoshizō 1989. ‘The Origin of the Old Japanese Prosecutive Case Suffix yuri.’ Central Asiatic Journal, vol. 33: 47-66. Itō, Haku 1995-2000. Man’yōshū shakuchū [The Annotated Man’yōshū]. Tokyo: Shūeisha.

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