Part 3

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:

1. UTSU SEMI no. 虛蟬乃。 2. YO [NO] HITO NAREBA. 世人有者。 3. OHO KIMI no. 大王之。 4. MI KOTO KASHIKOmi. 御命恐彌。 5. shiki SHIMAno. 礒城島能。 6. YAMATO [NO] KUNI no. 日本國乃。 7. ISO[NO]KAMI. 石上。 8. _Furu_ [NO] SATO ni. 振里爾。 9. HIMO TOKAZU. 紐不解。 10. MARONE WO SUREBA. 丸寐乎爲者。 11. AGA KESERU. 吾衣有。 12. KOROMO HA narenu. 服者奈禮奴。 13. MIRUGOTO [NI]. 毎見。 14. KOHI HA MASAREDO. 戀者雖益。 15. IRO ni =ideba=. 色二山上復有山者。 16. =hito= SHIRINUBEMI. 一可知美。 17. FUYU [_no_] YO (NO). 各夜之。 18. AKE _mo_ KANE_tsutsu_. 明毛不得呼鷄。 19. =i mo= NEZU ni. 五十毋不宿二。 20. ARE _ha_ so KOFUru. 吾齒曾戀流。 21. IMO GA =tadaka= ni. 妹之直香仁。

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.

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Ihami no mi 1 Tsunu no ura-mi wo ura nashi to hito koso mirame katanashi to 5 hito koso mirame yoshiweyashi ura ha naku tomo yoshiweyashi kata ha naku tomo 10 isanatori umi he wo sashite Watadzu no ariso no uhe ni ka-awo naru 15 tamamo okitsu mo asa ha furu kaze koso ki-yose yufu ha furu nami koso ki-yose 20 nami no muta ka yori kaku yoru tamamonasu yori-neshi imo wo tsuyushimono 25 okite shi kureba kono michi no yasokuma goto ni yorodzu tabi kaherimi suredo 30 iya toho ni sato ha sakarinu iya taka ni yama wa koyekinu natsukusano 35 omohishi nayete shinubaramu imo ga kado mimu nabike kono yama.

Ihami no ya 1 Takatsunu yama no ko no ma yori aga furu sode wo imo mitsuramu ka. 5

Sasa ga ha ha 1 mi-yama mo saya ni midaredomo are ha imo omofu wakare kinureba. 5

1 _mi_, _umi_, sea.

2 _mi_, neighbourhood, tract.

5 _kata_, land dry at low tide.

21 with the motion of the waves.

28 _yaso_, lit. 80 = many, all.

35 Read with _nayete_.

39 _nabike_, has imperative meaning.

3 _ko_ is tree.

5 _mitsuramu_ = shall have seen?

2 _mi-yama_ = great hills. _saya ni_, murmurously.

5 Read before 4. The m. k. (35) applies to _nayete_.

For _isanatori_, _tamamonasu_, _tsuyushimono_, _natsukusano_ see List m. k.

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