Or the Japanese reading of a character may be taken, but in a

signification different from its true meaning, thus 庭 _niha_, a court

or yard, for the particles _ni ha_, 玉 _tama_, jewel or pearl, for

_tamashii_, soul, or even 湯龜 _yu-game_ = water-tortoise for _yukame_ =

will go, or the combination 石二 = stone-two, which puzzled Shitagau so

sorely, and finally turned out to mean _made_ = until, to which may be

added the commonest of all 鴨 = _kamo_, a wild duck, used for _ka mo_,

an expression of mingled entreaty and doubt.

The above devices were no doubt resorted to partly to supply the place

of a syllabary, partly for purposes of abbreviation, the full writing

of long Japanese words with a Chinese character for each syllable being

found too laborious.

But characters are often also used in a punning or humorous way. Thus

二二 = 2 × 2 are employed to represent the syllable _shi_ (which means

4 in Japano-Chinese), but here is used phonetically to represent the

emphatic particle _shi_ or the syllable _shi_ merely. So 山上復有山 =

mountain 山 upon mountain to represent 出 _idzuru_, go forth, out, &c.,

三伏一向衣 = three-prostrations-one-regard-night, i.e. a moonlight night

(when one salutes the moon), 八十一 (81) as equivalent to _ku ku_, nine

times nine, part of the word _kukumeru_ (= _fukumeru_, hold in mouth,

imply), and so forth. Characters used otherwise than to express their

true meaning are called _kariji_, borrow-characters, i.e. characters

borrowed to signify some other meaning than their own. Characters used

in the orthodox manner are called _manaji_--true characters.

There are also _guji_, 具字 double characters used, where one would

suffice, thus 何物 for 何 _nani_. This is probably a mere embellishment.

Contracted script is not uncommon; thus we find 山下 for 山下出風 = _arashi_,

a violent wind (rushing down from the mountains).

Lastly, there are abbreviated characters--a full list of which is given

in the Kogi, together with a few characters peculiar to the Anthology

and contracted expressions such as _amori_ for _ame ori_, _Yamato naru_

for _Y. ni aru_, _haru sareba_ for _haru shi areba_, _chifu_ for _to

ifu_ (modern _tefu_ = _chō_ of Kyôto), and so forth.

The above system of scripts is known as Manyôgaki and is sometimes

imitated in modern productions as in a recently published play now

before me.

Texts preserved in such scripts could not fail to be corrupt or obscure

in parts. Not only from the difficulty of reading the ideographs when

these came to be translated into _kana_, but from the fact that the

manuscripts were often in _cursive_ character, easily misread and

miswritten by the copyists. The text of the Manyôshiu I have used is

throughout that of the Kogi, but I have not omitted in the notes to

the translations to give some attention to the various readings cited

in that work. By far the best discussion of these seems to be that

of Keichiu which with the Kogi is much superior in my opinion to the

commentary of either Mabuchi or Motowori[6]--the latter especially

appears to be lacking in critical acumen.

The following additional remarks on the script are important. According

to Amano Nobukage (died 1734), in the Manyô script the Chinese

characters are read _japonicé_ in four ways:--

1. _mana_, as 心 _kokoro_ (heart, mind, &c.), where single characters

are read as true Japanese words.

2. Where combined characters are read true, as 春霞 _harukasumi_

(spring-mist); 秋風 _aki-kaze_ (autumn-wind).

3. Where combined characters are read in full, but the meaning of

the whole is not the sum of the meanings of the parts, as 垣津{旗}

_kakitsubata_ (Iris laevigata)--the characters separately mean--_kaki_

(fence), _tsu_ (place), _hata_ (flag).

4. Where combined characters are read together as a whole, as 春鳥

_uguhisu_ (Cettia cantans), lit. spring-bird; 三五夜 _mochidzuki_

(full-moon), lit. three-five-night = fifteenth night of a lunar month,

when the moon is full.

To these categories must be added that of humorous combinations, thus

十六 (sixteen) = _shi shi_ (4 × 4), and is used for _shishi_ (flesh);

靑頭鷄 _kamo_ (wild-duck), lit. green-head-fowl.

In the Kogi text the characters are used in the following modes, all of

which are fully illustrated by examples in a section of the _sōron_ or

General Introduction to the Edition.

A. According to the _on_ or Chinese sound (Japano-Chinese).

1. Full, as 阿 _a_, 伊 _i_; so in Chinese.

2. Contracted, as 安 _a_, 印 _i_; in Chinese _an_, _in_.

B. According to the _kun_ (_yomi_) or Japanese reading.

1. 天 _ame_ (heaven), 地 _tsuchi_ (earth), 大地 _ohotokoro_ (great

place). Each character is here read with one of its ordinary

Japanese pronunciations and meanings.

2. Combined characters of similar meaning read as one word

(Japanese)--明淸 _akirakeku_ (bright).

3. Combined characters of different meaning read as one

word--海士 _ama_ (fisherman), 蜻蛉 _akitsu_ [or _seirei_]

(dragon-fly).

4. The characters are read as = a Chinese translation of the

Japanese word--行知所 _shiroshimeshi_ (govern).

5. The character or combination is read according to an ancient

meaning--不知 _isa_ (no, not so), 服 _hada_ (naked skin).

6. The character is read specially--縵 _kadzura_ (chaplet), 棟

_kura_ (saddle).

7. The character is abbreviated--建 for 健, 已 for 起.

In addition the Kogi gives the following categories:--

_gikun_, combinations not literally translated into Japanese--玄{黄}

_ametsuchi_ (heaven and earth), lit. dark-blue (of sky) and

yellow-brown (of earth), 親親 _chichi-haha_ (parents, father and mother),

lit. love-love. A great many of these are given; many would scarcely

suggest the meaning of the combination; sometimes, as when 蓋 _futa_

(lid), is used to express 二 _futa_ (two), a word-play is involved.

_kariji_ or borrowed characters which have been already

exemplified. But one curious expression may be added, {喚}犬{追}馬鏡

_masokagami_ (true-pure-mirror), the characters mean call (or

bark?)-dog-follow-horse (_ma_) mirror; call-dog-follow is a humorous

(?) description of _ma_, meaning horse, but here used for the homophon

_ma_, true, εὐ, part of _ma so_, which has the same meaning.

Subjoined is the script of the text of Lay 118 which well exemplifies

the peculiarities of Manyôgaki. The columnar transliteration represents

the similar transliteration into syllabic _kana_ in the usual editions

inclusive of the Kogi.

FOOTNOTES

[1] For a more complete account the grammars of Aston and Chamberlain

must be consulted.

[2] For the purposes of Old Japanese the grammatical nomenclature of

Aryan grammar seems to me misleading and I use it therefore as little

as possible.

[3] See _miru_ below.

[4] _tsu_ is usually taken as = complete, finished, but it may be =

_nu_ (be). Like _nu_ (_no_) it is used as a genitive postposition or

particle. See _infra_.

[5] So in _Sasagani no (koromo ni kakari, ware wo) tanomuru_

(Aston) the sentence is read, _S. ha waga koromo ni kakarite ware wo

tanomu_.

[6] In the volume of translations the texts of the Manyôshiu and

Taketori are further considered and some account given of the various

editions of them published by the principal commentators.

[Illustration:

Roman = Chinese phonetic.

Italic = Japanese phonetic.

=Clarendon= = _Kariji_ or rebus characters.

Small capitals = Japanese translation of characters.]

[Illustration: THE WORLD as known to the JAPANESE OF THE MYTHICAL ERA

(i.e. previous to the end of the 4th century after Christ. CHINA was

heard of towards the end of the mythical era under the name of GO.)]

[Illustration: kikedo akanu

shizen onkyô

VOX VERA NATURAE]

MANYÔSHIU TEXT

TRANSLITERATED

MAKI I KAMI

Kusagusa no uta. Hatsuse no Asakura no miya ni amenoshita

shiroshimeshishi Sumeramikoto no mi-yo.

1

Ko mo yo 1

mi ko mochi

fukushi mo yo

fukushi mochi

kono woka ni 5

na tsumasu ko

ihe norase

na norasane

soramitsu

Yamato no kuni ha 10

oshinabete

are koso wore

shikinabete

are koso mase

a wo koso 15

se to ha norame

ihe wo mo na wo mo!

1 _mo yo_, interjectional phrase of mingled admiration and entreaty.

6 _na_, herbs. _ko_, girl, _ko_ in 1, 2 = basket or satchel.

7 _norase_, honour-causative imperative.

8 _norasane_, hortative form of honour-causative with particle _ne_; it

implies some degree of respect.

9 A _makura kotoba_ (m. k.) applied to _yama_ (Yamato).

12 _are_ = _ware_; _koso wore_, emphatic declarative of _woru_, be, be

in, at, &c.

13 Almost equivalent to 11 _oshinabete_ = _oshi nabikasete_, causing

all to acknowledge my power and protection.

16 _se_ = brother, husband, lover.

17 _na_ here and in 8 = name.

vv. 1-6 lead up to _ko_ the first climax; 7-14 to the second climax;

15-17 to the final climax. 1-6 furnish a good instance of the reversed

order of words in the Japanese sentence.

For _soramitsu_ see List m. k.

Takechi no Woka no miya ni amenoshita shiroshimeshishi Sumera mikoto no

mi yo.

2

Sumera mikoto no Kagu yama ni noborimashite kunimi shitamaheru toki mi

yomimaseru ohomi uta.

Yamato ni ha 1

mura yama aredo

tori-yorofu

Ame-no-kagu-yama

nobori-tachi 5

kuni-mi wo sureba

kuni hara ha

keburi tachi-tatsu

unabara ha

kamome tachi-tatsu 10

umashi kuni so

Akitsushima

Yamato no kuni ha!

6 The logical subject is, I the Mikado.

11 _so_ is, perhaps, oftener written _zo_.

For _Akitsushima_ see List m. k.

3

Sumeramikoto no Uchi no nu mi kari shitamaheru toki Nakachi Himemiko no

Hashihito no Muraji Oyu wo shite tatematsurase tamafu uta.

Yasumishishi 1

waga ohokimi no

ashita ni ha

tori-nade-tamahi

yufube ni ha 5

i-yori-tatashishi

mi torashi no

adzusa no yumi no

nari hazu no

oto su nari 10

asa-kari ni

ima tatasurashi

yufu-kari ni

ima tatasurashi

mi torashi no 15

adzusa no yumi no

nari hazu no

oto su nari!

Tamakiharu 1

Uchi no ohonu ni

uma namete

asa fumasuramu

sono fukakusa nu. 5

6 _i_, a prefix of which the value is lost.

9 _nari_ here means sound, twang.

12 _tatasurashi_ = _tatsuramu_.

2 _Uchi_ may = _utsutsu_, or possibly _ude_, arm.

For _yasumishishi_, _mi torashi no_, _adzusa no yumi_ and _tamakiharu_

see List of m. k. The m. k. it must be remembered are epithets, or

expressions in the nature of epithets, only. Thus 7, 8 and 15, 16 are

simply double m. k. of _nari_, indeed _nari hazu no_ is almost another

m. k. of _oto_.

4 _fumasuramu_ = _fumamu_.

4

Sanuki no kuni Aya no kohori ni idemaseru toki Ikusa no Ohokimi no yama

wo mite yomitamaheru uta.

Kasumitatsu 1

nagaki haru hi no

kure ni keru

wadzuki mo shirazu

murakimono 5

kokoro wo itami

nuye no tori

uranage woreba

tamatasuki

kake no yoroshiku 10

tohotsu kami

waga ohokimi no

idemashi no

yama koshi no kaze no

hitori woru 15

waga koromode ni

asa yohi ni

kaherahinureba

masurawo to

omoheru are mo 20

kusamakura

tabi nishi areba

omohi-yaru

tadzuki wo shirani

Tsunu no ura no 25

ama wotomera ga

yakushiho no

omohi so yakuru

aga shita-gokoro.

Yama koshi ni 1

kaze wo tokizhi ni

nuru yo ochizu

ihe naru imo wo

kakete shinubitsu. 5

In the _dai_ the _no_ after _Ohokimi_ is read with _yomi … uta_. In 3

and 22 _ni_ is rather a verbal form (_nu_) than a postposition.

8 _uranage_ = _uchi ni nageki_, inwardly, profoundly, lamenting.

10 _kake_ (_kakuru_) a verb of wide connotation, fundamentally, hang on

or over, suspend, put to, forth or on, _[kotoba wo] kake_, utter, as

here.

18 _kaherahinureba_ = _kaherinureba_.

19 _masurawo_ is said to be _ma-ara shi-wo_, right-bold-man, or better

(more grammatically) _masa_ (or _masu_)_-ara-wo_, which has the same

meaning.

22 _shi_ is a particle of emphasis.

23 _omohi-yaru_, thought-send-away, get rid of (unpleasing) thoughts;

_omohi_, common throughout the Lays, means think, think affectionately

or regretfully of, &c.

3 _nuru yo ochizu_, without missing a sleeping night.

5 _kakete_ = _kokoro ni kakete_, bearing in mind. _shinubu_ is to love,

yearn for, regret. _omohi_ is the more general term, _shinubu_ more

special, _shitahi_, affection, _kofuru_, _kohi_, &c., love of men and

women. But these connotations are not strictly adhered to.

5

Nakachi no Ohoye no [Afumi no miya ni shiroshimeshishi Sumera mikoto]

Mitsu yama no mi uta.

Takayama ha 1

Unebi wo yeshi to

Miminashi to

ahi-arisohiki

kamiyo yori 5

kaku narurashi

inishihe mo

shika nare koso

utsusemi mo

Tsuma wo 10

arasofurashiki.

Takayama to 1

Miminashi yama to

ahishi toki

tachite mi ni koshi

Inami kuni hara. 5

In the _dai_ _… meshishi_ is the participial past form of _mesu_.

Care must be taken to distinguish between this _shi_ and such a

terminational _shi_ as _narurashi_ (6), _koshi_ (4).

1 Read _Kaguyama ha Unebi wo yeshi to_ (_te_) _Miminashi to ahi

arisohi_.

4 Observe the past form in _ki_.

6 _narurashi_ = _naramu_, nearly.

7 _inishi-he_ = passed away period, i.e. ancient.

10 A three-syllable verse.

11 supply _mono nari_.

1 A mistake in the script, it should be _Kaguyama_.

4 _mi_, see.

Afumi no Ohotsu no miya ni amenoshita shiroshimeshishi Sumera mikoto no

mi yo.

6

Sumera mikoto uchi no ohomahetsu kimi Fujihara no Asomi ni

mikotonori shite haru yama no hana no iro aki yama no momichi no

nihohi wo arasohashimetamafu toki Nukata no Ohokimi no uta mochite

kotowaritamaheru sono uta.

Fuyukomori 1

haru sarikureba

nakazarishi

tori mo ki-nakinu

sakazarishi 5

hana mo sakeredo

yama mo shimi

irite mo [kikazu]

kusa fukami

torite mo mizu 10

aki yama no

ko no ha wo mite ha

momitsu wo ba

torite so shinubu

awoki wo ba 15

okite so nageku

soko shi tanushi

aki yama are ha!

4 _ki-nakinu_, come-sing-finished, the past in _nu_.

6, 7 Read as if _hana mo sake yama mo shigedo_.

10 _toramu to mo mizu_.

12 _ko_ = _ki_, tree.

13 _momitsu_, _momi_, is red.

16 _nageku_, _naga-iki_, sigh, with pleasure or pain.

17 _tanushi_, _tanoshiki_.

18 _are_, _ware_.

For _fuyukomori_ see List m. k.

7

Nukata no Ohokimi no Afumi no kuni ni kudaritamaheru toki yomitamaheru

uta.

Umasake

Miwa no yama

awoniyoshi

Nara no yama no

yama no ma yu 5

i-kakuru made

michi no kuma

i-tsumoru made ni

tsubaraka ni

mitsutsu yukamu wo 10

shibashiba mo

misakamu yama wo

kokoro naku

kumo no

kakusafubeshi ya. 15

6 _kakuru_, to be hidden.

10 _yukamu [mono] wo [omohite]_.

15 _kakusubeshi_.

For _umasake_ and _awoniyoshi_ see List m. k.

MAKI I NAKA

Asuka no Kiyomihara no miya ni amenoshita shiroshimeshishi Sumera

mikoto no mi-yo.

8

Sumera mikoto no mi-yomimaseru ohomi uta.

Mi-Yoshinu no 1

Mikane no take ni

tokinaku so

yuki ha furikeru

ma naku so 5

ame ha furikeru

sono yuki no

tokinaki ga goto

sono ame no

ma naki ga goto 10

kuma mo ochizu

omohitsutsu so kuru

sono yama michi wo.

1 _mi_ = _ma_, true, excellent, almost Greek εὐ-.

13 Read _michi wo_ with _kuru_.

Fujihara no miya ni amenoshita shiroshimeshishi Sumera mikoto no mi-yo.

9

Afumi no aretaru miyako wo yuku Kakinomoto no Asomi Hitomaro ga yomeru

uta.

Tamatasuki 1

Unebi no yama no

kashihara no

hizhiri no mi-yo yo

aremashishi 5

kami no kotogoto

tsuganokino

iya tsugitsugi ni

amenoshita

shiroshimeshishi wo 10

soramitsu

Yamato wo okite

awoniyoshi

Nara yama koyete

ikasama ni 15

omohoshikeme ka

amazakaru

hina ni ha aranedo

ihabashiru

Afumi no kuni no 20

sasanami no

ohotsu no miya ni

amenoshita

shiroshimeshikemu

Sumerogi no 25

kami no mikoto no

ohomiya ha

koko to kikedomo

ohotono ha

kaku to ihedomo 30

kasumitatsu

haru hi ka kireru

natsu kusa ka

shigeru narinuru

momoshiki no 35

ohomiya tokoro

mireba kanashi mo.

Sasanami no 1

Shiga no Karasaki

sakiku aredo

ohomiya hito no

fune machikanetsu. 5

Sasanami no 1

Shiga no Ohowada

yodomu tomo

mukashi no hito ni

mata mo ahame ya mo. 5

See vol. of translations.

The m. k. apply to the words following them, but (1) to _Une[bi]_, (19)

to _aha_ of _Afumi_.

For _tamatasuki_, _tsuganokino_, _soramitsu_, _awoniyoshi_,

_amazakaru_, _ihabashiru_, _sasanami_, _kasumitatsu_, _momoshiki_ see

List m. k.

2 Note the jingle _Karasaki_ | _sakiku_.

10

Yoshinu no miya ni idemaseru toki Hitomaro ga yomeru uta (futatsu)

kaheshi uta (hitotsu).

Yasumishishi 1

waga ohokimi no

kikoshiwosu

amenoshita ni

kuni ha shimo 5

saha ni aredomo

yama kaha no

kiyoki Kafuchi to

mikokorowo

Yoshinu no kuni no 10

hana chirafu

Akidzu no nu he ni

miya hashira

futoshikimaseba

momoshikino 15

ohomiya hito ha

fune namete

asa kaha watari

fune kihohi

yufu kaha watari 20

kono kaha no

tayuru koto naku

kono yama no

iya takakarashi

ochi-tagitsu 25

taki no miyako ha

miredo akanu ka mo.

miredo akanu 1

Yoshinu no kaha no

toko name no

tayurukoto naku

mata kaherimimu. 5

3 _kikoshiwosu_; _wosu_ is to eat; _kikoshi_, honour-causative

intensitive of _kiku_, hear, have sensation of, taste, judge, &c.; the

whole = _kikoshimesu_, to be supreme over, govern. The idea, perhaps,

was that of the chief having complete control of all the wealth of the

tribe originally for the subsistence of himself and his _gesyth_.

5 _shi mo_, a pair of emphatic particles. _Shi_ perhaps was originally

this or that, or this or that self (or it may be root of _suru_, to do,

act); _mo_ is merely, also, too. _Shi mo_ almost = _naho_.

6 _saha_, abundant. The homonym _saha_ also means a marshy

valley-bottom, in Japano-Chinese _taku_. Hence by a rebus-wise use of

the Chinese character _taku_ continued with _san_ mountain (_yama_)

came to be _takusan_, a common word for much, many.

11 For _hana-chiru_.

19 _kihohi_ = _kisohi_ (_gihohi_).

26 _taki_ or _tagi_ = cascade, rapids, descriptive of neighbourhood of

the _miyako_.

27 _ka mo_, an elliptical expression, _omofu_ being understood, almost

= _mo gana_.

For _yasumishishi_, _mikokorowo_, _momoshikino_ see List m. k.

11

Yasumishishi 1

Waga ohokimi

kamu nagara

kamusabisesu to

Yoshinu-gaha 5

tagitsu Kafuchi ni

takatono wo

takashirimashite

nobori-tachi

kunimi wo sureba 10

tatanadzuku

awokaki yama

yamatsumi no

matsuru mitsugi to

haru he ha 15

hana kazashi mochi

aki tateba

momichi-ba kazashi

Yufu-gaha no

kami mo 20

ohomike ni

tsukahematsuru to

kamitsu se ni

u-kaha wo tate

shimotsu se ni 25

sade sashiwatashi

yama kaha mo

yorite tsukafuru

kami no mi-yo ka mo.

Yama kaha mo 1

yorite tsukafuru

kamu nagara

tagitsu Kafuchi ni

funade sesu ka mo! 5

3 _kamu_ = _kami_.

4 _kamu sabi sesu_, _sabi_ is viewed in the Kogi as contraction of

_shika-buri_. More likely _sabi_ is connected with _sabu_ (_shiki_) and

_samushi_.

8 _takashiri …_, to exercise high rule.

13 _yamatsumi_, compare _watatsumi_ (_yama-wata-tsu [ka] mi_), mountain

gods. I prefer this to Dr. Florenz’s etymology (F. I. 39).

16 _kazashi_ = _kami-sashi_, stick in, or wear on, the hair.

24 to set up a cormorant-stream, i.e. provide cormorants and their

keepers.

5 _desesu_ = _idasu_, i.e. _funade wo seshimu_.

The m. k. (11) applies rather to _yama_.

For _yasumishishi_ and _tatanadzuku_ see List m. k.

12

Karu no miko no Aki no nu ni yadorimaseru toki Hitomaro ga yomeru uta.

Yasumishishi 1

waga ohokimi

takahikaru

hi no miko

kamu nagara 5

kamusabisesu to

futoshikasu

miyako wo okite

komorikuno

Hatsuse no yama ha 10

makitatsu

arayama michi wo

iha ga ne no

shimoto oshinabe

sakatorino 15

asa koyemashite

kagirohino

yufu sarikureba

mi-yaki furu

Aki no ohonu ni 20

hatasusuki

shinu ni oshinabe

kusamakura

tabi-yadorisesu

inishihe ’mohoshite. 25

1, 2, 3 are introductory to _hi no miko_.

12 Supply _yukuni_ after _wo_.

14 _shimoto_, brushwood, bushes.

14, 22 _oshinabe_ = _oshinabikasu_, push-bend-down. _shinu_ =

_shinaheru_, intensifies the meaning; _shinu_, _shinubu_, _shinaheru_,

_shinahi_, _shinadaru_ are all etymologically and logically connected.

19 _mi_ = _utsukushii_.

21 A tall full-spiked grass, probably an Arundo or Miscanthus.

22 _shita ni oshi-fuse-nabikasu sama_, _shinu_ connected with

_shinahe_, _shinubu._

25 _omohoshite._

The m. k. (9) applies to _Hatsuse no yama_.

For _yasumishishi_, _takahikaru_, _komorikuno_, _makitatsu_,

_sakatorino_, _kagirohino_, _kusamakura_ see List m. k.

MAKI I SHIMO

13

Fujihara no miya tsukuri ni tateru tami no yomeru uta.

Yasumishishi 1

waga ohokimi

takahikaru

hi no miko

arataheno 5

Fujihara ga uhe ni

wosu kuni wo

meshitamahamu to

ohomiya ha

takashirasamu to 10

kamu nagara

omohosu nabe ni

ame tsuchi mo

yorite are koso

ihabashiru 15

Afumi no kuni no

koromodeno

Tanakami yama

makisaku

hi no tsumade wo 20

mononofuno

yaso Uji-kaha ni

tamamonasu

ukabe nagasere

so wo toru to 25

sawaku mi-tami mo

ihe wasure

mi wo tanashirani

kamo zhi mono

midzu ni uki-wite 30

aga tsukuru

hi no mikado ni

shiranu kuni

yori Kose-ji yori

waga kuni ha 35

tokoyo ni naramu

fumi oheru

ayashiki kame mo

arata yo to

Idzumi no kaha ha 40

mochi koseru

maki no tsumade wo

momotarazu

ikada ni tsukuri

nobosuramu 45

isohaku mireba

kamu nagara narashi.

8 _meshi_, _mishi_ (_miru_).

8, 10 Supply _omote_ after _to_.

10 Equivalent to _shiroshimesu_ = here, to give high command for.

12 _omohosu nabe_; _nabe_ has force of _tsurete_ (together with).

12, 13, 14 to be read together.

14 _are_ = _areba_.

25 _so_ = _sore_ (_tsumade_).

26 Or _sawagu_.

31 _aga_ = _tami_.

34 The meaning is made clear by passing to v. 40, and reading the

intervening verses as a parenthesis.

47 _narashi_, I take = _naramu_, nearly.

The m. k. (5) applies to _Fuji[hara]_, (17) to _Ta[nakami]_, (43) to

_i[kada]_; _i_ = 50.

For _yasumishishi_, _takahikaru,_ _arataheno_, _ihabashiru_,

_koromodeno_, _makisaku_, _mononofuno_, _tamamonasu_, _momotarazu_ see

List m. k.

14

Fujihara no miya no mi-wi no uta.

Yasumishishi 1

waga ohokimi

takahikaru

hi no miko

arataheno 5

Fujiwi ga hara ni

ohomikado

hazhimetamahite

Haniyasu no

tsutsumi no uhe ni 10

aritatashi

meshitamaheba

Yamato no

awokagu yama ha

hi no tate no 15

ohomikado ni

awoyama to

shimi sabitateni

Unebi no

kono midzu yama ha 20

hi no yoko no

ohomikado ni

midzu yama to

yama sabi-imasu

Miminashi no 25

awosuga yama ha

sotomo no

ohomikado ni

yoroshi nabe

kamusabitateru 30

naguhashi

Yoshinu no yama ha

kagetomo ni

ohomikado yo

kumowi ni so 35

tohoku arikeru

takashiru ya

ame no mi kage

ameshiruya

hi no mi kage no 40

midzu koso ha

tokiha ni arame

mi-wi no mashi midzu.

Fujihara no 1

ohomiya tsukahe

aretsugu ya

wotome ga tomo ha

tomoshiki ro ka mo. 5

4 _hi no miko_ is the Queen-Regnant Jito, the subject of all the verbs

down to _tamaheba_ (v. 12).

15 _hi no tate_ must here mean the East, and _hi no yoko_ (21), lit.

the noon-sun direction, must mean the West.

27 _sotomo_, hinder, shady, or north face.

33 _kagetomo_, light or south face. The exact distribution, however,

of the meaning of these terms is not quite clear; _hinotate_, _hi no

yoke_, _sotomo_, _kagetomo_.

37, 39 I take the _ya_ as interjectional.

39 _ame-shiru_, heaven-rule.

40 I take the _no_ as connecting 37-40 with _midzu_ in 41. The text

is not easy, and the Kogi seems to me rather to shirk the main

difficulties.

3 _are-tsugu_ = _arahare-tsugu_, be manifest, i.e. follow in succession.

For _yasumishishi_, _takahikaru_, _arataheno_, _ameshiruya_ see List m.

k.

[Nara no miya ni amenoshita shiroshimeshishi Sumera mikoto no mi-yo.]

15

[Aru hon] Fujihara no miyako yori Nara no miya ni utsurimaseru toki no

uta.

Ohokimi no 1

mikoto kashikomi

nikibinishi

ihe wo oki

komorikuno 5

Hatsuse no kaha ni

fune ukete

aga yuku kaha no

kaha kuma no

yaso kuma ochizu 10

yorodzu tabi

kaherimishitsutsu

tamahokono

michi yuki-kurashi

awoniyoshi 15

Nara no miyako no

Saho-gaha ni

i-yuki itarite

aga netaru

koromo no uhe yo 20

asadzuku yo

sayaka ni mireba

tahe no ho ni

yoru no shimo furi

ihatoko to 25

kaha no hikohori

sayuru yo wo

yasumu koto naku

kayohitsutsu

tsukureru ihe ni 30

chi yo made ni

imasamu kimi to

are mo kayohamu.

Awoniyoshi 1

Nara no ihe ni ha

yorodzu yo ni

are mo kayohamu

wasuru to ’mofu na. 5

32 _kimi_ is the friend who has removed to the new capital.

5 _omofu_.

For _komorikuno_, _tamahokono_, _awoniyoshi_ see List m. k.

MAKI II KAMI

Shitashimi uta. Asuka no Kiyomihara no miya ni amenoshita

shiroshimeshishi Sumera mikoto no mi-yo.

16, 17

Hitomaro ga Ihami no kuni yori me ni wakarete mawinoboru toki uta

futatsu.

16