Man’yōshū (Book 19): A New English Translation Containing the Original Text, Kana Transliteration, Romanization, Glossing and Commentary 9789004370104

Table of contents :
MAN’YŌSHŪ: BOOK 19
CONTENTS
List of charts
Acknowledgments
Abbreviations
Names of eras in Asuka and Nara Periods
Preface
Introduction
Man’yōshū – Book 19
Bibliography

Citation preview

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MAN’YŌSHŪ BOOK 19

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© koninklijke brill nv, leiden, 2016 | doi 10.1163/9789004315600_001

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MAN’YŌSHŪ  BOOK 19

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

Alexander Vovin EHESS/CRLAO

LEIDEN | BOSTON - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

iv MAN’YŌSHŪ: BOOK 19 Translated by Alexander Vovin Printed on acid-free paper by CPI Antony Rowe, Chippenham, Wilts Library of Congress Cataloging- in-Publication Data Man’yoshu : a new English translation containing the original text, kana transliteration, romanization, glossing and commentary / by Alexander Vovin. volumes cm Began with book 15 (2009)--Publisher’s website. English and Japanese. Description based on book 14, ?2012. Includes bibliographical references. ISBN 978-1-906876-20-3 (book 5) — ISBN 978-90-04-23359-1 (book 14) — ISBN 978-1906876-03-6 (book 15) — ISBN 978-90-04-28496-8 (book 17) — ISBN 978-90-04-26198-3 (book 20) 1. Japanese poetry—To 794—Translations into English. 2. Japanese poetry—To 794. I. Vovin, Alexander, translator, writer of added commentary. II. Man’yoshu. III. Man’yoshu. English. PL758.15.A3 2009 895.6’11—dc23 2012017145

© 2018 Alexander Vovin ISBN 978-90-04-31559-4 (hardback) ISBN 978-90-04-37010-4 (e-book) Published by Koninklijke Brill NV, Leiden, e Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense and Hotei Publishing. 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 e Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. is book is printed on acid-free paper and produced in a sustainable manner.

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To Irène Tamba

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CONTENTS

List of charts Acknowledgments Abbreviations Names of eras in Asuka and Nara Periods Preface Introduction Man’yōshū – Book 19 Bibliography

ix xi xiii xvii xix 1 28 234

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LIST OF CHARTS

Chart 1: Poetic sequences in book nineteen 2-4 Chart 2: Court Ranks introduced in the 11th year of Suiko (603 AD) 11 Chart 3: Court Ranks introduced in the 3rd year of Taika (647 AD) 11-12 Chart 4: Court Ranks introduced in the 5th year of Taika (649 AD) 12-13 Chart 5: Court Ranks introduced in the 3rd year of Tenji (664 AD) 13-14 Chart 6: Princely Ranks introduced in the 14th year of Tenmu (685 AD) 15 Chart 7: Ranks of officials introduced in the 14th year of Tenmu (685 AD) 15-17 Chart 8: Words with stable phonographic spellings 18 19-26 Chart 9: Man’yōgana phonographic signs used in the Man’yōshū

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ACKNOWLEDGMENTS

nlike the translation of most other books of the Man’yōshū that U appeared up to date book nineteen proved to be a swift process, and it probably took the shortest time to complete, mainly because of the fact that

book nineteen is not very long and does not present outstanding difficulties like other books that have already been published. There are relatively very few new biographies to comment on and comparatively few new realia that require extensive commentaries. First, and foremost I hasten to express my gratitude to the members of my family: my wife Sambi, and our two children, Yasha and Masha, who helped in various ways. I am extremely grateful to my former publisher at Global Oriental (now part of Brill), Paul Norbury, who initiated this project back in 2009 and frequently went out of his way to support it and improve my translation. Paul is now happily retired, and I am also grateful to my new editor in Brill, Patricia Radder for all her help. My gratitude also goes to my French colleagues without whose help my move to France would be impossible: Irène Tamba, Redouane Djamouri, Étienne de la Vaissière, Alain Peyraube, Jean-Noël Robert, Michel de Fornel, Jean Claude Anscombre, Laurent Sagart, Guillaume Jacques, and Anton Antonov. As always, I am grateful to my many colleagues and friends around the globe: Ross Bender, John Whitman, Bjarke Frellesvig, Osada Toshiki (長田俊樹), Kawasaki Tamotsu (川崎保), Michael Pye, Ross King, David McCraw, Robert Blust, Lyle Campbell, Ken Rehg, Murasaki Kyōko (村崎恭子), Evelyn Nakanishi, Mehmet Ölmez, Volker Rybatzki, 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), Vladimir Bokarius, Ty Borders, Greg Brown, Anna Bugaeva, Alexei Egorov, Stefan Georg, Hayata Teruhiro (早田輝洋), Kageyama Tarō (影山太郎), and Kibe Noriko (木部暢子). No lesser gratitude goes to many French people who helped us in many ways to settle down in France: Patrick Charles-Messance, Vida Chikezie, Hervé Autran, Sami and Stéphanie Saleh, Jean and Marguerite Chaise, Christiane Babiak, and Augustin de Benoist, as well as many others too numerous to mention here. I am grateful to all the generations of students at the University of Hawai’i at Mānoa who took my seminars on Western Old Japanese, Eastern Old Japanese, and the Man’yōshū over the years: James Baskind, John Bentley, James Canegata, Tom Dougherty, Blaine Erickson, Hamada Masumi, Timothy Harris, Hino Sukenari, David Iannucci, Steven Ikier, John Kupchik, Lin Chihkai, William Matsuda, Marc Miyake, Matthew McNicoll, Matthias Nyitrai, Shimabukuro Moriyo, Adam Schuetzler, and Lina Terrell. It was this experience in the classroom that finally led me to the decision to organize the translation in the order in which it is presented in these volumes. As always, my special gratitude goes to Sven Osterkamp (Bochum University) for sharing with me his wonderful MYSearcher, a web-based search engine for the Man’yōshū. Having it on my hard drive greatly - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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facilitated my work. The translation of book nineteen is dedicated to my French friend and colleague Irène Tamba. I owe Irène an everlasting debt of gratitude for all her help and guidance in my new life in France.

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ABBREVIATIONS

LANGUAGES Chin. EMC EOJ LHC LMC MdJ MC MJ MK OJ OK PAN PJ PJN PMP 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-Malayo-Polynesian proto-Ryūkyūan Sanskrit Western Old Japanese

TEXTS AND SOURCES BS FK GK GM HB HIB HM IM KGU KJK KJKD KK KKS KYS MYS NHB NK NSK NKBT NR NT

Bussoku seki no uta, 753 AD Fudoki kayō, ca. 737 AD Genryaku kōhon, mid-Heian period to 1184 AD Genji monogatari, ca. 1008 AD Hirose-bon, 18th century Heian ibun, 8th – 12th centuries Hamamatsu chūnagon monogatari, ca. 1056 AD Ise monogatari, late 9th or early 10th century Kagura uta, 9th – 10th centuries Kojiki, 712 AD Kojiki den, 1798 AD Kojiki kayō, 712 AD Kokin wakashū, 921 AD Kin’yō wakashū, 1124 AD Man’yōshū, ca. 771-785 AD Nishi Honganji-bon, late Kamakura period. Nihonshoki kayō, 720 AD Nihonshoki, 720 AD Nihon koten bungaku taikei Nihon ryōiki, early 9th century Norito, 7-9th centuries - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

xiv OGJ OS RK RMS SKSK SM SNK SSI SSJ TM UHM USM WMS

MAN’YŌSHŪ

Okinawa go jiten Omoro sōshi, 16-17th centuries Ruijū koshū, end of Heian period Ruijū myōgi shō, 1081 AD Samkwuk saki, 1145 AD Senmyō, 7-8th centuries Shoku Nihongi kayō Shōsōin documents, 7-8th centuries Shinsen jikyō, 898-901 AD Taketori monogatari, late (?) 9th century AD Utsuho monogatari, early to mid-10th century AD Uji shūi monogatari, 1213-21 AD Wamyōshō, 931-38 AD

GRAMMATICAL TERMS ABS ADJ ASSER ATTR BEN CAUS CL COM COMP CON CONC COND CONJ CONJC COOP COOR COP DAT DEB DER DES DIR DLF DP DV EMPH EP EV EXCL FIN FP GEN GER HON HUM INF

Absolutive Adjectivizer Assertive Attributive Benefactive Causative Classifier Comitative Comparative Conjunctive gerund Concessive gerund Conditional gerund Conjunction Conjectural Cooperative Coordinative gerund Copula Dative Debitive Derivational formant Desiderative Directive Directive-locative focus Desiderative particle Defective verb Emphatic Emphatic particle Evidential Exclamation Final verbal form Focus particle Genitive Gerund Honorific Humble Infinitive - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

MAN’YŌSHŪ

INTER IP LOC NEG NML OBJ OSM PAST PEJ PERF PLUR POL POSS POT PREF PREV PROG PT RA REC RP RETR SING SUB SUBJ SUP TENT TERM TOP VB

xv

Interjection Interrogative particle Locative Negative Nominalizer Object marker Oblique stem marker Past tense Pejorative Perfective Plural Polite Possessive Potential Prefix Preverb Progressive Particle Reported action Reciprocal Restrictive particle Retrospective Singular Subordinative gerund Subjunctive Suppositional Tentative Terminative Topic Verbalizer

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NAMES OF ERAS DURING ASUKA AND NARA PERIODS The following chart is supposed to be a guide to the character spelling of eras during Asuka and Nara periods. I also provide the starting year according to the Western calendar. Romanization Suiko Jomei Kōgyoku Taika Hakuchi Saimei Tenji Kōbun Tenmu Shuchō (Akamî töri) Jitō Monmu Taihō Keiun Wadō Reiki Yōrō Jinki Tenpyō Tenpyō Kanpō Tenpyō Shōhō Tenpyō Hōji Tenpyō Jingo Tenpyō Keiun Hōki Ten’ō Enryaku

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

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

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PREFACE

ith this volume (book nineteen) I continue the new English translation of the Man’yōshū ( 萬 葉 集 ), the earliest and largest Japanese poetic W anthology (ca. between 759 and 785 AD) with detailed commentaries. The 1

first seven volumes of this translation were books fifteen, five, fourteen, twenty, seventeen, eighteen, and one of the Man’yōshū, and have already appeared (Vovin 2009c, 2011a, 2012, 2013, 2016a, 2016c, 2017a). 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 nineteen will be 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 nineteen of the Man’yōshū is important for both the history of the Japanese language, and the history of Japanese literature. Its main value is twofold: first, it contains many poems written in the mixed phonographic-logographic script. Second, it represents the second of the last four books of the Man’yōshū collectively known as Opotömö-nö Yakamöti’s poetic diary. In my translation I have kept notes on grammar to a minimum, as detailed explanations would simply repeat my A Descriptive and Comparative Grammar of Western Old Japanese, which also has sections on Eastern Old Japanese (Vovin 2005a, 2009a). Since this is the most detailed grammar of 1Inclusion of Munzasi province among Tōkaidō and not Tōsandō provinces may further narrow this gap to 771-785 AD, because before 771 AD Munzasi province was a part of Tōsandō region.

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Western Old Japanese in any language, even including Japanese, those who are specifically interested in grammatical issues are advised to consult it while reading through the translation of poems written in Western Old Japanese. For those who are not, I hope that the glossing and morphemic analysis will provide enough guidance. Some readers may find my romanization of Old Japanese difficult to digest, especially if they have no knowledge of the history of the Japanese language. This romanization, which is essentially a mix of a transcription and a transliteration of the Old Japanese original text, serves the dual purpose of conveying both the phonology of Old Japanese and its writing. Thus, even if the text contains unetymological spellings (like the confusion between kō-rui /mô/ and otsu-rui /mö/, since the contrast between /ô/ and /ö/ after /m/ was already lost in all the books of the Man’yōshū except book five, where it is preserved to a certain extent), they are faithfully romanized according to the spelling found in a given text. In the general Introduction to book fifteen the reader will find the detailed explanation for this practice that might seem to be an idiosyncrasy. In my romanization I have also tried to reflect the actual phonetics of the language of the time, which was considerably different from that of modern Japanese. Thus, for example, Modern Japanese fricative /h/ was Old Japanese stop /p/, and Modern Japanese voiced stops /b/, /d/, /g/ were prenasalized stops /mb/, /nd/, /ŋg/, transliterated as /mb/, /nd/, /ŋg/, and /nz/in order to reflect phonetics rather than phonology for the benefit of readers who are not linguists. In Classical philology it has already been known, starting from Erasmus of Rotterdam, that one cannot read Ancient Greek in its Modern Greek pronunciation, but the idea that the same is true for Old Japanese and Modern Japanese seems to come very slowly to the minds of the majority of Western Japanologists engaged in historical and literary studies. In any case, for the benefit of those who do not like to bother with a romanization based on the principles of historical linguistics, I have provided the kana transliteration, since I cannot bring myself to romanize Old Japanese as if it were Modern Japanese. The only minor deviation that I allowed myself with the kana transliteration is to introduce subscripts 1 and 2 which denote kō-rui and otsu-rui syllabic signs respectively. I hope that this deviation at least helps the notion of kō and otsu vowels, already known for roughly one hundred years, to find its way into the romanizations of Old Japanese in Western Japanological literature. Another change that is introduced starting from the book seventeen and also maintained in book nineteen is the subdivision of all particles that were before glossed as PT irrelevant to their function into four classes: interrogative particles (IP), emphatic particles (EP), desiderative particles (DP), and restrictive particles (RP). Please remember that I do not classify case markers, diminutive suffixes, or plural suffixes as particles: these are treated on their own. For the details on case markers, diminutive and plural suffixes please consult the relevant pages of Vovin (2005a). I hope these changes in the middle of the project are for the best, and should the earlier published volumes be ever be reprinted, they will be brought into uniformity with all subsequent volumes starting from book seventeen. Alexander Vovin Poligny June 2017 – January 2018

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INTRODUCTION

he general introduction to the translation of the Man’yōshū (萬葉集) ‘Anthology of Myriad Leaves’ is located at the front of book fifteen (Vovin T 2009c: 1-31). Here, therefore, I provide only essential information as well as

the additions/revisions that concern book nineteen.

General information on book nineteen By traditional count, book nineteen (19.4139-4292) comprises 154 poems with unspecified genres: 131 tanka, and twenty-three chōka, by the traditional count. However, the two variants of 19.4145 and 19.4193 have sufficient discrepancy to consider them different poems that I labeled as 19.4145a, 19.4145b, 19.4193a and 19.4193b in order not to affect the traditional count. Among these 154 poems, 102 were composed by Opotömö-nö Yakamöti, which constitutes almost two-thirds of the total number of poems. The order of the poems is mostly chronological, from April 11, 750 AD to April, 753 AD, although there are some violations, mostly due to the inclusion of poems that were composed earlier, but recited by other people later during the period of time indicated above. Compared to the books one, five, fourteen, fifteen, seventeen and twenty, book nineteen covers the shortest span of time, which is surpassed only by book eighteen that covers only two years as compared to three in book nineteen. Book nineteen can be split into two large sections: first section includes poems 19.4139 -- 19.4251, altogether 113 poems, which were written or composed in Wettiu (MdJ Etchū) province mostly coinciding with Opotömö-nö Yakamöti’s term of appointment there as the Governor, or shortly thereafter, with the time frame of April 11, 750 AD to August 30, 751 AD. The absolute majority of poems in this section belong to Opotömö-nö Yakamöti. There are practically no poetic exchanges here. Another peculiarity of this section is that rather few poems have exact dates. In contrast, the next section that includes remaining forty-one poems has relatively few poems composed by Opotömö-nö Yakamöti himself and mostly consists of poetic exchanges at different banquets. About one half of poems have exact dates here. The poems in the second section were written or composed on the road from Wettiu to the capital, and in Nara after Opotömö-nö Yakamöti returned there to assume his new duties as Junior Counselor. Twenty out of twenty-three chōka in book nineteen are found in the first section of this book: the last chōka is 19.4166, and all poems following it are tanka. This is quite different from situation in books seventeen and eighteen, where almost all chōka are located in the second parts of these books. None of the chōka in book nineteen comes even close by its length to the longest chōka by Opotömö-nö Yakamöti in the Man’yōshū (18.4094), or any other similar giant chōka in books seventeen and eighteen. The script is predominantly mixed phonographic-logographic, with certain poems written mostly logographically, while there are also cases of complete or almost complete phonography. Book nineteen and to a lesser extent book one are transitional from the phonography to the logography in this respect, and after book one we will enter considerably more gray area of reading and - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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interpreting poems. This is not to say that the remaining books of the Man’yōshū are completely devoid of the phonographic writing: it is still present to varying degrees in different books of the anthology, but logographic writing clearly dominates the scene. The following chart presents all poetic sequences found in the two sections mentioned above alongside with their authors and dates. Chart 1: Poetic sequences in book nineteen Poems 4139-4140

Date 04.11.750

4141

night between 04.11.750 and 04.12.750 04.12.750

4142 4143

late spring of 750 4144-4145b late spring of 750 4146-4147 winter of 750-751 4148-4149 spring 750 4150 4151-4153

04.13.750 (?) 04.13.750

4154-4155

04.18.750

4156-4158

summer of 750 (?) 04.18.750 and possibly a few days thereafter between 04.19.750 and 04.30. 750 before

4159-4165

4166-4168

4169-4170 2

Authors Opotömö-nö Yakamöti Opotömö-nö Yakamöti

Poetic sequence Two poems on peach and plum blossoms A poem on a snipe

Opotömö-nö Yakamöti

A poem on longing for the capital and willow branches A poem on a katakaŋgô flower Three poems on returning wild geese2 Two poems on plovers Two poems on a pheasant A poem on boatmen singing a song Three poems composed at a banquet about sakura and camellia blossoms Two poems on a falcon Three poems on diving cormorants Six poems on views (mostly on trees) and on impermanence of this world Three poems on a cuckoo and flowers of four seasons

Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti

Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö

Two poems sent to

19.4145 has two different variants: 19.4145a and 19.4145b.

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06.01.750

Yakamöti

4171-4172

06.01.750

4173

before 05.13.750 05.07.750

Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti

Opotömö-nö Sakanöupë-nö Iratumê Two poems on a cuckoo A poem addressed to Tandipî clan A poem on plum blossoms Two poems on a cuckoo

Opotömö-nö Yakamöti Opotömö-nö Yakamöti

Three poems on a cuckoo Four poems on a cuckoo

Steward lady of Opotömö mansion in Nara Opotömö-nö Yakamöti Opotömö-nö Yakamöti

A poem on parting and yamambukî flowers Two poems on yamambukî flowers Two poems on the sightseeing at Puse lake Three poems on presenting cormorants to Opotömö-nö Ikënusi Three poems on a cuckoo3 Three poems on grieving that a cuckoo is late

4174 4175-4176

4177-4179 4180-4183

4184 4185-4186

between 05.12.750 and 05.14.750 05.14.750

4187-4188

05.14.75005.15.750 05.15.750

4189-4191

05.18.750

Opotömö-nö Yakamöti

4192-4193b 05.18.750

Opotömö-nö Yakamöti Opotömö-nö Yakamöti

4194-4196

4197-4198

4199-4202

3

between 05.07.750 and 05.12.750 05.12.750

between 05.10.750 and 06.08.750 between 05.10.750 and 06.08.750 05.21.750

Opotömö-nö Yakamöti

Two poem sent to a younger sister in the capital

Opotömö-nö Yakamöti (4199), Kura-nö Napamarö (4200), Kumë-nö Pîrönapa (4201), Kumë-nö Tuŋgîmarö (4202)

Four poems on the sightseeing at Puse lake

19.4193 has two different variants: 19.4193a and 19.4193b.

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4203

4207-4208

between 05.10.750 and 05.31.750 between 05.10.750 and 06.08.750 between 05.10.750 and 06.08.750 05.31.750

4209-4210

06.01.750

4211-4212

07.05.750

4213

06.14.750 (?) 12.02.750

4204-4205

4206

4214-4216 4217

4218

4219 4220-4221

4222-4223

between 06.09.750 and 07.07.750 between 06.09.750 and 07.07.750 07.22.750 between 07.22.750 and 10.07.750 10.07.750

4224

recited on 11.08.750

4225

11.19.750

4226

between 01.02.751 and 01.31.751 recited between

4227-4228

Kumë-nö Pîrönapa

A poem on grieving that a cuckoo does not cry

Monk Wegyau (4204), Opotömö-nö Yakamöti (4205)

Two poems on magnolia leaves

Opotömö-nö Yakamöti

A poem on the moonlight

Opotömö-nö Yakamöti Kumë-nö Pîrönapa

Two poems on a grief for a cuckoo Two poems on a cuckoo Two poems on a grave of a maiden A poem sent to Tandipî mansion Three poems consoling the grief of his son-in-law A poem on the clearing up after a long rain

Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti

A poem on the lights of fishermen’s fires

Opotömö-nö Yakamöti Opotömö-nö Sakanöupë-nö Iratumê

A poem on a bush clover Two poems sent from the capital

Kumë-nö Pîrönapa (4222), Opotömö-nö Yakamöti (4223) Empress Kōmyō Opotömö-nö Yakamöti Opotömö-nö Yakamöti

Two poems on colored autumn leaves A poem on wild geese and bush clover A poem on colored autumn leaves A poem on snow and mandarin oranges

Śrāmaṇera Mîkata

Two poems on snow

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BOOK NINETEEN

4229

01.02.751 and 01.31.751 02.02.751

4230

02.03.751

4231

02.03.751

Opotömö-nö Yakamöti Opotömö-nö Yakamöti Kumë-nö Pîrönapa

4232

02.03.751

Kamapu wotömê

4233

02.03.751

Kura-nö Napamarö

4234

02.03.751

4235

recited on 02.03.751 recited on 02.03.751

Opotömö-nö Yakamöti Lady Aŋgatainukapî

4236-4237

anonymous

4238

03.02.751

Opotömö-nö Yakamöti

4239

05.15.751

4240

around 04.27.752

Opotömö-nö Yakamöti Empress Kōmyō

4241

around 04.27.752 between 01.21.752 and 02.19.752 (?) between 01.21.752 and 02.19.752 (?) between 01.21.752 and 02.19.752 (?) 733

4242

4243

4244

4245-4246

Pundipara-nö Kîyôkapa Pundipara-nö Nakamarö

A poem on snow A poem on snow A poem on an artificial snow rock A poem on artificial carnations made from snow on an artificial snow rock A poem on returning through snow A response to 4233 A poem on Thunder Deity and clouds Two poems on the grief for one’s wife passing away A farewell poem on wearing laurels together A poem on a cuckoo A farewell poem to Pundipara-nö Kîyôkapa A response to 4240 A farewell poem to Pundipara-nö Kîyôkapa

Tandipî-nö mapîtö Panisi

A farewell poem to Pundipara-nö Kîyôkapa

Pundipara-nö Kîyôkapa

A poem on longing for his wife

anonymous

Two farewell poems for Tandipî-nö mapîtö

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4247

733 (?)4

Apë-nö asömî Okîna

4248-4249

08.12.751

4250

08.29.751

4251

08.30.751

Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti

4252

two or three days after 08.30.751

Kumë-nö Pîrönapa

4253

between 09.04.751 and 09.23.751 between 09.04.751 and 09.23.751 751 (?)

Opotömö-nö Yakamöti

4254-4255

4256

4257-4259

4260-4261

4262-4263

4264-4265

4

Opotömö-nö Yakamöti Opotömö-nö Yakamöti

recited or anonymous composed on (4257-4258), 11.14.751 Opotömö-nö Yakamöti (4259) composed Opotömö-nö Mîyukî after 672, (4260), anonymous but heard by (4261) Opotömö-nö Yakamöti on February 2, 752 between Tandipî-nö Takanusi 04.04.752 (4262), recited by and Opotömö-nö 05.17.752 Murakamî, Opotömö-nö Kîyôtuŋgu and others (4263) between Empress Kōken 04.30.752 and 05.15.752

Pîrönari A poem on the sadness of parting Two poems on the sadness of parting A poem on the sadness of parting A farewell poem to officials of Wettiu province A poem on parting and decorating heads with laurels made from bush clover A response to 4252

Two poems composed in advance for an imperial banquet A poem composed in advance to celebrate the longevity of Tatimbana-nö Möröye Three poems from the banquet at the house of Kï-nö Ipîmarö Two poems composed after the pacification of Jishin rebellion

Two poems from the farewell party for Opotömö-nö Kômarö

Two farewell poems for Pundipara-nö Kîyôkapa sent along with a gift of rice

The poem was probably recited in the spring 751 AD.

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4266-4267

4268

(?) between 12.10.752 and 12.18.752

Opotömö-nö Yakamöti

4269-4272

autumn or winter of 752 12.17.752

Empress Kōken

4273-4278

01.03.753

4279-4281

01.05.753

4282-4284

02.11.753

4285-4287

02.18.753

4288

02.19.753

4289

03.28.753

4290-4291

04.01.753

Opotömö-nö Yakamöti

4292

04.03.753

Opotömö-nö Yakamöti

Retired Emperor Shōmu (4269), Tatimbana-nö Möröye (4270), Pundipara-nö Yatuka (4271), Opotömö-nö Yakamöti (4272) Köse-nö Nandemarö (4273), Isikapa-nö Tösitari (4274), Pumîya-nö Tinu (4275), Pundipara-nö Yatuka (4276), Pundipara-nö Naŋgate (4277), Opotömö-nö Yakamöti (4278) Prince Puna (4279), Opotömö-nö Kurômarö (4280), Opotömö-nö Yakamöti (4281) Isônökamî-nö Yakatuŋgu (4282), Prince Mamuta (4283), Prince Punando (4284) Opotömö-nö Yakamöti Opotömö-nö Yakamöti Opotömö-nö Yakamöti

wine Two poems composed in advance in anticipation of an Imperial Order to compose a poem A poem on grass changing color Four poems from the official banquet at the mansion of Tatimbana-nö Möröye

Six poems presented in response to Imperial Order at the official banquet for the Festival of the New Harvest

Three poems from a farewell banquet for Tatimbana-nö Naramarö Three poems composed at the banquet in the house of Isônökamî-nö Yakatuŋgu Three poems on snow A poem on a plover A poem on willow branches used for laurels Two poems composed on inspiration A poem on a skylark

Two larger poetic sequences in book nineteen can be established from a number of smaller sequences. The first of them, comprising poems from

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19.4139 to 19.4210 can be tentatively defined as a sequence of poems on birds and flowers. This sequence is not completely streamlined, as it is interrupted here and there by a number of poems dealing with completely different topics, but nevertheless the overall tendency is quite clear. Another, much shorter sequence I would call the sequence on snow. It includes poems 19.4226 -19.4234, and in contrast to the first sequence it is not interrupted by poems on different topics. Ainu elements in book nineteen The territory of Etchū must have been once Ainu-speaking; for details see Vovin (2009b: 5-19). Since we have no texts composed by local people in book nineteen, there is no way to tell, whether some portion of the population was Ainu-speaking or bilingual at the time when Opotömö-nö Yakamöti was the Governor, or it was already a thing of the past. Nevertheless, some Ainu elements can be glimpsed in book nineteen, and what is even more interesting, not only in the poems originating in Etchū. WOJ Sakîta-nö kapa (辟田乃河) ‘Sakîta river’. There is no cogent Japanese etymology for this placename; possibly it is from a hypothetic Ainu sat-ki-ta-an ‘the one in dry miscanthus’, lit. dry-miscanthus-LOC-exist. Attested in 19.4156. On the postposition pa ‘every’ see (Vovin 2009a: 1298-1299). Since this postposition occurs exclusively after tösi ‘year’, I wonder whether pa is historically not ‘every’, but a borrowing from Ainu pa ‘year’. It is unclear to me how this could work syntactically, but the limitation to the usage of pa only to the position after tösi ‘year’ and the lack of any cogent Japonic etymology for pa as ‘every’ cries for an explanation. Attested in 5.833, 6.908, 10.1857, 10.1881, 16.3787, 17.3925, 17.3991, 17.3992, 17.4000, 18.4125, 19.4158, 19.4168, 19.4187, 19.4229, 19.4230, 19.4267, 19.4284, 20.4303, 20.4421, and 20.4516. WOJ titi ‘titi tree’, probably the same as MJ and MdJ toti ‘horse-chestnut tree’. It is possible to conjecture that WOJ form titi is derived from *toti or *təti by regressive vowel assimilation, therefore MJ form is more archaic than the WOJ one, although we cannot tell whether the Japonic archetype was *toti or *təti. As far as I can tell, this word is not attested in Ryukyuan languages. There is certainly a connection with Horobetsu Ainu toci-ni ‘horse-chestnut tree’, toci ‘fruit of a horse chestnut tree’ (Chiri 1976: 92), also recorded by Batchelor as tochi-ni ‘horse-chestnut tree’ with a note that it ‘means sticky or dirty tree’ (1938: 500) < PA *toti. Although it is impossible to tell who borrowed this word from whom because of the limited distribution in both Japanese and Ainu, one consideration can be given in favor of the directionality Ainu > Japanese rather than the opposite. Namely, I know of no other examples of tree names borrowed by Ainu from Japanese, while there is at least one other tree name borrowed by Japanese from Ainu: EOJ karimba (14.3399), WOJ kanimba ‘sakura’< Ainu karinpa ‘sakura, sakura bark’. Attested in 19.4164 and 20.4408. Nipu (p. n.) may be of Japonic pedigree: OJ ni ‘red earth, red pigment’ + pu ‘thicket, spot’ or of the Ainu origin: cf. Ainu ni-pu ‘wooden storehouse’ (ni ‘tree, wood’ + pu ‘storehouse’), variously used either for keeping driftwood or dry salmon. It occurs as a placename in Bihoro (Chiri 1956: 66). Attested in 19.4178. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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9

The name of Sikura in Sikura river (叔羅河) is meaningless in Japonic. Possibly it has an Ainu etymology: *sik-korar ‘plentifully giving’. The OJ -k- in early Ainu loanwords should reflect Ainu -kk-, because Ainu -k[-g-] is reflected as OJ -ŋg-. The loan must also precede the raising of *o > u in OJ. The loss of final -r in OJ is expected. For the imagery of a river as a provider of provisions see 1.38. Attested in 19.4189 and 19.4190. It is highly unlikely that Takô bay on Puse lake was ‘Octopus bay’, ‘Callus bay’, or ‘Kite bay’. But with these three choices the search for the Japonic origin of the name Takô seems to be pretty much exhausted. It is much more likely that we dealing here with another placename of the Ainu pedigree: Ainu takkop ‘field/plain where the reeds or grass grows’ looks like a perfect candidate, both for the phonetic reasons (Ainu takkop > OJ takô is a perfect match, because we expect Ainu -kk- to be reflected as -k- in OJ, and the final -p should be lost without any trace in OJ), and for the fact that that takkop is actually attested as a placename in Ainu (Chiri 1956: 127). Attested in 17.4011, 18.4051, 19.4199 (preface), 19.4200 and 19.4201. Tinu (血沼, 知努) is the old name of Indumî province that corresponds to the coastal part of present-day Ōsaka prefecture stretching from Sakai city (Sakai-shi, 堺市) to Kishiwada city (Kishiwada-shi, 岸和田市) (Nakanishi 1985: 462-463). The spelling 血沼 seems to be phonographic kungana, as it is unlikely that ‘bloody swamp’ was really meant here. If this is the case, then the likely origin is Ainu cin < *tin ‘cliff bottom, cliff foot’ (Chiri 1956: 18). The final vowel -u is either an echo vowel, or a dialect variation of a possessive form in -i that this word has in Hokkaidō Ainu (Chiri 1956: 18). Attested in 6.999, 9.1809, 9.1811 and 19.4211. Unapî (宇奈比) is a district in Tu (MdJ Settsu) province corresponding to the coastal area below the Mt. Rokkō (Rokkō-san, 六甲山) in present day eastern ward of Kōbe city and Ashiya city (Ashiya-shi, 芦屋市) (Nakanishi 1985: 429-430). There is no apparent Japanese etymology for this place name. Ainu úna ‘volcanic ash’ + pi ‘pebble’ (Chiri 1956: 94, 136) might be tempting, but the fly in the ointment is that Mt. Rokkō is not a volcano. Attested in 9.1801, 9.1802, 9.1809, 9.1810 and 19.4211. WOJ porö ‘big, great’ < Ainu poro ‘big, great’. Attested in 19.4235. WOJ pumî ‘to lift, to raise’ < PA *pum-i ‘id., SING’ > Ainu pun-i ‘id., SING’. Attested in 19.4235. WOJ at-as-i ‘go.out-CAUS-INF’ < Ainu at ‘to go out’. Attested in 19.4235. Anô (安努) does not look like a family name of the Japonic origin. Possibly Ainu anun ‘stranger, guest’ underlies it. Note that in the modern Ainu languages the sequence /no/ occurs only at the morphemic boundaries, i.e., it is always /n-o/. Attested in the preface to the poem 19.4251. WOJ katakaŋgô (堅香子, MdJ katakuri 片栗) ‘dogtooth violet’ ? < Ainu hantakor ‘black lily’. Attested in 19.4143. Nötö (p.n.): Ainu not ‘cape, promontory’. Nötö peninsula is attested in the preface to 17.4026-4027 and in 17.4026. A different placename Nötö for a river is attested in 19.4279. WOJ sikï sima-nö is used as a permanent epithet (makura-kotoba, 枕詞) for Yamatö. There is no unconstroversial Japonic etymology for sikï. Possibly Ainu siki ‘to be full’. Attested in 19.4280. There is also a very important cultural and semantic parallel between Old - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Japanese and Ainu. While OJ ipê ‘house’ indicates spiritual aspect of a dwelling, yandô ‘house’ points to an actual physical structure (Aoki 1997: 79). This is highly reminiscent of a very similar dichotomy found in the Ainu language, where uni indicates a ‘house as a place of habitat’, while cise is a ‘house as an actual building’ (Nakagawa & Nakamoto 1997: 110). Loans from Korean in book nineteen Not surprisingly, several new Korean loans are also found in book nineteen. I do not include into the following list those elements that were already listed under the section Loans from Korean in the introduction to book one (Vovin 20017a: 5-7). OJ kînu ‘silk, garment’ < the otherwise unattested OK predecessor of MK kính ‘string, cord’ 5 < EMC kjiwänC or LHC kyenC ‘silk’, which is certainly its ultimate source. Attested in 17.4022, 19.4204, etc. WOJ kasa ‘broad hat, shade, umbrella’6 < the otherwise unattested OK predecessor of MK kás ‘broad hat, shade’. Attested in 19.4204, etc. WOJ mî-mörö ‘abode or shrine of a deity’. It consists of mî-, honorific prefix, and mörö, a word with obscure etymology. Probably from the otherwise unattested OK predecessor of MK mʌrʌm LH ‘chamber, detached house’. Attested in 7.1377, 9.1770, 12.2981, 19.4241, etc. WOJ tumbamë ‘swallow’. Possibly from an otherwise unattested OK predecessor of MK cyepi RH ‘swallow’, although there are phonetic difficulties, see the commentary to the poem 19.4244 for details. Attested in 19.4144. OJ kîŋgîsi ‘pheasant’. Possibly from an otherwise unattested OK predecessor of MK skwèng ‘pheasant’ < *su-kweŋk(V) and MdK am-khweng ‘female pheasant’ < *ámh-kwèng < *amh-kweŋk(V). Attested in 3.388, 8.1446, 10.1866, 12.3210, 13.3310, 14.3375, 19.4148, and 19.4149. Tandipî (spelled as 丹比 or 多治比), name of one of Yamatö clans. It has no meaning in Japonic. Possibly from an otherwise unattested OK predecessor of MK tàtʌ́m- < *tantʌm- ‘to refine, to embellish’. It is not completely unproblematic phonetically: both the vocalic correspondences in the second syllable and -m- : -p- have to be explained. If true, then Tandipî may mean ‘the refined one’. Attested in the preface to the poem 19.4173, postscript to the poem 19.4213, preface to the poem 19.4243, etc. Compiler of book nineteen The compiler of book nineteen is undoubtedly Opotömö-nö Yakamöti. Book nineteen is the third of four books (seventeen, eighteen, nineteen, and twenty) that are traditionally believed to be his poetic diary. Book nineteen is clearly dominated by poems composed by Opotömö-nö Yakamöti himself (102 out of 5

Assuming that the semantic shift ‘silk’ > ‘cord’ took place in MK. Note that the Korean word must be an old loanword from Chinese because MK -h apparently reflects OC -s > Early Han Chinese -h, which became tone C (departing tone) by EMC times. 6 No phonographic attestations in OJ, MJ kasa LH. OJ kasa had no handle for an individual to carry it by himself, as it was either a hat worn on one’s head or a shade carried by others behind a high-positioned individual.

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154 poems), with only seven poems by his close friend Kumë-nö Pîrönapa coming next. All other authors in book nineteen are essentially limited to one or two poems. Pre-Taihōryō (大寶令) systems of ranks There were five different systems of Court Ranks preceding the Taihōryō -Yōrōryō system, introduced respectively in the eleventh year of Suiko (603 AD), in the third year of Taika (647 AD), in the fifth year of Taika (649 AD), in the third year of Tenji (664 AD), and in the fourteenth year of Tenmu (685 AD). The first four systems did not differentiate between the Ranks for Princes and for officials, unlike Tenmu and Taihōryō systems. The Suiko system was the simplest. It included only twelve ranks, and it also must be kept in mind that the highest of them corresponded only to the Senior Fourth Rank, Upper Grade in the Taihōryō system, while the lowest corresponded to Junior Eighth Rank, Lower Grade. Thus, there were no equivalents to First, Second, Third, and Initial Ranks. The names of the Ranks were formed with prefixes 大 tai ‘great’ and 小 shō ‘lesser’, and the ranks themselves have the following labels: 徳 toku ‘virtue’, 仁 nin ‘benevolence’, 禮 rei ‘ritual’, 信 shin ‘trust’, 義 gi ‘justice’, and 智 chi ‘wisdom’. The list of these Ranks with correspondences to their Taihōryō equivalents is presented in the following Chart: Chart 2: Court Ranks introduced in the eleventh year of Suiko (603 AD) ## 01 02 03 04 05 06 07 08 09

Name Great Virtue Lesser Virtue Great Benevolence Lesser Benevolence Great Ritual Lesser Ritual Great Trust Lesser Trust Great Justice

Script & transcription 大徳 Taitoku 小徳 Shōtoku 大仁 Tainin

Taihōryō equivalent Senior Fourth Rank Junior Fourth Rank Senior Fifth Rank

小仁 Shōnin

Junior Fifth Rank

大禮 小禮 大信 小信 大義

Tairei Shōrei Taishin Shōshin Taigi

10 Lesser Justice

小義 Shōgi

11

大智 Taichi

Great Wisdom

12 Lesser Wisdom

小智 Shōchi

Senior Sixth Rank Junior Sixth Rank Senior Seventh Rank Junior Seventh Rank Senior Eighth Rank, Upper Grade Senior Eighth Rank, Lower Grade Junior Eighth Rank, Upper Grade Junior Eighth Rank, Lower Grade

Under the first reform of Ranks made in the third year of Taika (647 AD), some rather drastic changes were made: first the equivalents of the future First to Third Ranks were introduced, second the divisions into 大 tai ‘great’ and 小 shō ‘lesser’ within Suiko’s system of 徳 toku ‘virtue’, 仁 nin ‘benevolence’, 禮 rei ‘ritual’, 信 shin ‘trust’, 義 gi ‘justice’, and 智 chi ‘wisdom’ were abandoned (albeit re-used for different system of Rank designations) and new labels were introduced, and, finally, Initial Rank was

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initiated. The total number of Court Ranks was thirteen. The list of these Ranks with correspondences to their Taihōryō equivalents is presented in the following Chart: Chart 3: Court Ranks introduced in the third year of Taika (647 AD) ## 01 02 03 04 05 06 07 08 09 10 11 12 13

Name Great Weaving Lesser Weaving Great Embroidery Lesser Embroidery Great Purple Lesser Purple Great Brocade Lesser Brocade Great Blue Lesser Blue Great Black Lesser Black Military Builder

Script & transcription 大織 Taishoku 小織 Shōshoku 大繡 Taishū 小繡 Shōshū 大紫 Taishi 小紫 Shōshi 大錦 Taikin 小錦 Shōkin 大青 Taisei 小青 Shōsei 大黒 Taikoku 小黒 Shōkoku 建武 Kenmu

Taihōryō equivalent Senior First Rank Junior First Rank Senior Second Rank Junior Second Rank Senior Third Rank Junior Third Rank Fourth Rank Fifth Rank Sixth Rank Seventh Rank Senior Eighth Rank Junior Eighth Rank Initial Rank

Under the second reform of Ranks made in the fifth year of Taika (649 AD), another series of rather drastic changes were made: the labels 錦 kin ‘brocade’, 青 sei ‘blue’, and 黒 koku ‘black’ were replaced by 花 ka ‘flower’, 山 san ‘mountain’, and 乙 otsu ‘second’ respectively and these three were each split into Upper (Jō, 上) and Lower (Ge, 下) Grades for the first time. The total number of Court Ranks became nineteen. The list of these Ranks with correspondences to their Taihōryō equivalents is presented in the following Chart: Chart 4: Court Ranks introduced in the fifth year of Taika (649 AD) ## 01 02 03 04 05 06 07 08 09 10 11 12

Name Great Weaving Lesser Weaving Great Embroidery Lesser Embroidery Great Purple Lesser Purple Great Flower, Upper Grade Great Flower, Lower Grade Lesser Flower, Upper Grade Lesser Flower, Lower Grade Great Mountain, Upper Grade Great Mountain,

Script & transcription 大織 Taishoku 小織 Shōshoku 大繡 Taishū 小繡 Shōshū 大紫 Taishi 小紫 Shōshi 大花上 Taika Jō

Taihōryō equivalent Senior First Rank Junior First Rank Senior Second Rank Junior Second Rank Senior Third Rank Junior Third Rank Senior Fourth Rank

大花下 Taika Ge

Junior Fourth Rank

小花上 Shōka Jō

Senior Fifth Rank

小花下 Shōka Ge

Junior Fifth Rank

大山上 Taisan Jō

Senior Sixth Rank

大山下 Taisan Ge

Junior Sixth Rank

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Lower Grade 13 Lesser Mountain, Upper Grade 14 Lesser Mountain, Lower Grade 15 Great Second, Upper Grade 16 Great Second, Lower Grade 17 Lesser Second, Upper Grade 18 Lesser Second, Lower Grade 19 Advancement in the World

小山上 Shōsan Jō

Senior Seventh Rank

小山下 Shōsan Ge

Junior Seventh Rank

大乙上 Taiotsu Jō

Senior Eighth Rank, Upper Grade Senior Eighth Rank, Lower Grade Junior Eight Rank, Upper Grade Junior Eighth Rank, Lower Grade Initial Rank

大乙下 Taiotsu Ge 小乙上 Shōotsu Jō 小乙下 Shōotsu Ge 立身 Risshin

Under the third reform of Ranks made in the third year of Tenji (664 AD), three other change were introduced that made the picture even more complicated: first, the label 花 ka ‘flower’ was renamed back to 錦 kin ‘brocade’, and the labels 錦 kin ‘brocade’, 山 san ‘mountain’, and 乙 otsu ‘second’ were split not into two Grades, Upper (Jō, 上) and Lower (Ge, 下), as before, but into three: Upper (Jō, 上), Middle (Chū, 中) and Lower (Ge, 下). Consequently, the system of correspondence of these three Grades to the two Grades in the earlier system of the fifth year of Taika and in the later Taihōryō system became quite complex. Namely, while Upper (Jō, 上) and Lower (Ge, 下) Grades in all three systems roughly correspond to each other, the Middle (Chū, 中) Grade can correspond either to Upper (Jō, 上) Grade or to Lower (Ge, 下) Grade in the cases of 山 san ‘mountain’, and 乙 otsu ‘second’ labels. In the case of 錦 kin ‘brocade’ label the system is even more complicated, as the Middle (Chū, 中) Grade can correspond to both Lower Grade of the Senior Fourth and Fifth Ranks, and to the Upper Grade of the Junior Fourth and Fifth Ranks. In addition, the Initial Rank was split into two Grades. The total number of Ranks now reached twenty-six. As always and everywhere, bureaucracy generates more and more bureaucracy. The list of these Ranks introduced in the third year of Tenji (664 AD) with correspondences to their Taihōryō equivalents is presented in the following Chart: Chart 5: Court Ranks introduced in the third year of Tenji (664 AD) ## 01 02 03 04 05 06 07

Name Great Weaving Lesser Weaving Great Embroidery Lesser Embroidery Great Purple Lesser Purple Great Brocade, Upper Grade 08 Great Brocade, Middle Grade

Script & transcription 大織 Taishoku 小織 Shōshoku 大繡 Taishū 小繡 Shōshū 大紫 Taishi 小紫 Shōshi 大錦上 Taikin Jō 大錦中 Taikin Chū

Taihōryō equivalent Senior First Rank Junior First Rank Senior Second Rank Junior Second Rank Senior Third Rank Junior Third Rank Senior Fourth Rank, Upper Grade Senior Fourth Rank, Lower Grade & - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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09 Great Brocade, Lower Grade 10 Lesser Brocade, Upper Grade 11 Lesser Brocade, Middle Grade

大錦下 Taikin Ge

12 Lesser Brocade, Lower Grade 13 Great Mountain, Upper Grade 14 Great Mountain, Middle Grade

小錦下 Shōkin Ge

15 Great Mountain, Lower Grade 16 Lesser Mountain, Upper Grade 17 Lesser Mountain, Middle Grade

大山下 Taisan Ge

18 Lesser Mountain, Lower Grade 19 Great Second, Upper Grade 20 Great Second, Middle Grade

小山下 Shōsan Ge

21 Great Second, Lower Grade 22 Lesser Second, Upper Grade 23 Lesser Second, Middle Grade

大乙下 Taiotsu Ge

24 Lesser Second, Lower Grade 25 Great Building 26 Lesser Building

小乙下 Shōotsu Ge

小錦上 Shōkin Jō 小錦中 Shōkin Chū

大山上 Taisan Jō 大山中 Taisan Chū

小山上 Shōsan Jō 小山中 Shōsan Chū

大乙上 Taiotsu Jō 大乙中 Taiotsu Chū

小乙上 Shōotsu Jō 大乙中 Taiotsu Chū

大建 Taiken 小建 Shōken

Junior Fourth Rank, Upper Grade Junior Fourth Rank, Lower Grade Senior Fifth Rank, Upper Grade Senior Fifth Rank, Lower Grade & Junior Fifth Rank, Upper Grade Junior Fifth Rank, Lower Grade Senior Sixth Rank, Upper Grade Senior Sixth Rank, Lower Grade & Junior Sixth Rank, Upper Grade Junior Sixth Rank, Lower Grade Senior Seventh Rank, Upper Grade Senior Seventh Rank, Lower Grade & Junior Seventh Rank, Upper Grade Junior Seventh Rank, Lower Grade Senior Eighth Rank, Upper Grade Senior Eighth Rank, Upper Grade & Senior Eighth Rank, Lower Grade Senior Eighth Rank, Lower Grade Junior Eight Rank, Upper Grade Junior Eighth Rank, Upper Grade & Junior Eighth Rank, Lower Grade Junior Eighth Rank, Lower Grade Senior Initial Rank Junior Initial Rank

The system of Ranks introduced in the fourteenth year of Tenmu is the most complex of all Court Rank systems. First, for the first time it introduced separate Rank systems for Imperial Princes and Princes on the one hand and for officials on the other. The correspondences to the later Taihōryō system are - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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extremely complex, which is due not only to the huge number of ranks existing in Tenmu system, but also to the lack of straightforward correspondences between the two of them. Under this system, Imperial Princes and Princes had twelve ranks. The first four were classified as 明 myō ‘bright’ and the last eight as 浄 jō ‘clear’. The second level of classification was into 大 dai ‘great’ and 廣 kō ‘broad’, and the third had numerical designation with only ‘big characters’ (daiji, 大 字) for numbers used: 壱 ichi ‘first’, 弐 ni ‘second’, 参 san ‘third’ and 肆 si ‘fourth’. It is important to keep in mind that while the Tenmu system of Princely Ranks included both Imperial Princes and Princes, the Taihōryō system was reserved solely for Imperial Princes, and Princes were assigned the same Ranks as officials. The list of these Ranks introduced in the fourteenth year of Tenmu (685 AD) with correspondences to their Taihōryō equivalents is presented in the following Chart: Chart 6: Princely Ranks introduced in the fourteenth year of Tenmu (685 AD) Numbered Ranks 1st Princely Rank 2nd Princely Rank 3rd Princely Rank 4th Princely Rank 5th Princely Rank 6th Princely Rank 7th Princely Rank 8th Princely Rank 9th Princely Rank 10th Princely Rank 11th Princely Rank 12th Princely Rank

Name

Script & transcription

1st Bright & Great 1st Bright & Broad 2nd Bright & Great 2nd Bright & Broad 1st Clear & Great 1st Clear & Broad 2nd Clear & Great 2nd Clear & Broad 3rd Clear & Great 3rd Clear & Broad 4th Clear & Great 4th Clear & Broad

明大壱 Myōdaiichi

Taihōryō equivalent 1st Princely Rank

明広壱 Myōkōichi

1st Princely Rank

明大弐 Myōdaini 明廣弐 Myōkōni

1st & 2nd Princely Ranks 2nd Princely Rank

浄大壱 Jōdaiichi

3rd Princely Rank

浄廣壱 Jōkōichi

3rd Princely Rank

浄大弐 Jōdaini

4th Princely Rank

浄廣弐 Jōkōni

4th Princely Rank

浄大参 Jōdaisan

none

浄廣参 Jōkōsan

none

浄大肆 Jōdaishi

none

浄廣肆 Jōkōshi

none

The Tenmu system for officials was even more complex. It included forty-eight Ranks in contrast to only thirty in the Taihōryō system. The designations of officials’ ranks were structured similarly to those of Princes. The first eight were classified as 正 shō ‘just’, following eight as 直 jiki ‘straight’, next eight as 勤 kin ‘laborious’, following eight as 務 mu ‘dutiful’, next eight as 追 tsui ‘following’ and the last eight as 進 shin

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16

MAN’YŌSHŪ

‘advancing’. The second level of classification was into 大 dai ‘great’ and 廣 kō ‘broad’, and the third had numerical designation with only ‘big characters’ (daiji, 大字) for numbers used: 壱 ichi ‘first’, 弐 ni ‘second’, 参 san ‘third’ and 肆 si ‘fourth’. The list of these Ranks introduced in the fourteenth year of Tenmu (685 AD) with correspondences to their Taihōryō equivalents is presented in the following Chart: Chart 7: Ranks of officials introduced in the fourteenth year of Tenmu (685 AD) ## Name 01 02 03 04 05 06 07 08 09

1st Just & Great 1st Just & Broad 2nd Just & Great 2nd Just & Broad 3rd Just & Great 3rd Just & Broad 4th Just & Great 4th Just & Broad 1st Straight & Great

10 1st Straight & Broad 11

2nd Straight & Great

Script & transcription 正大壱 Shōdaiichi 正廣壱 Shōkōichi 正大弐 Shōdaini 正廣弐 Shōkōni 正大参 Shōdaisan 正廣参 Shōkōsan 正大肆 Shōdaishi 正廣肆 Shōkōshi 直大壱 Jikidaiichi 直廣壱 Jikikōichi 直大弐 Jikidaini

12 2nd Straight & Broad

直廣弐 Jikikōni

13 3rd Straight & Great

直大参 Jikidaisan

14 3rd Straight & Broad

直廣参 Jikikōsan

15 4th Straight & Great

直大肆 Jikidaishi

16 4th Straight & Broad

直廣肆 Jikikōshi

17 1st Laborious & Great

勤大壱 Kindaiichi

18 1st Laborious & Broad

勤廣壱 Kinkōichi

19 2nd Laborious & Great

勤大弐 Kindaini

20 2nd Laborious & Broad

勤廣弐 Kinkōni

21 3rd Laborious & Great

勤大参 Kindaisan

22 3rd Laborious & Broad

勤廣参 Kinkōsan

23 4th Laborious & Great

勤大肆 Kindaishi

Taihōryō equivalent Senior 1st Rank Junior 1st Rank Junior 1st Rank Senior 2nd Rank Junior 2nd Rank Senior 3rd Rank Senior 3rd Rank Junior 3rd Rank Senior 4th Rank, Upper Grade Senior 4th Rank, Lower Grade Junior 4th Rank, Upper Grade Junior 4th Rank, Lower Grade Senior 5th Rank, Upper Grade Senior 5th Rank, Lower Grade Junior 5th Rank, Upper Grade Junior 5th Rank, Lower Grade Senior 6th Rank, Upper Grade Senior 6th Rank, Upper Grade Senior 6th Rank, Lower Grade Senior 6th Rank, Lower Grade Junior 6th Rank, Upper Grade Junior 6th Rank, Upper Grade Junior 6th Rank, Lower Grade

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24 4th Laborious & Broad

勤廣肆 Kinkōshi

25 1st Dutiful & Great

務大壱 Mudaiichi

26 1st Dutiful & Broad

務廣壱 Mukōichi

27 2nd Dutiful & Great

務大弐 Mudaini

28 2nd Dutiful & Broad

務廣弐 Mukōni

29 3rd Dutiful & Great

務大参 Mudaisan

30 3rd Dutiful & Broad

務廣参 Mukōsan

31 4th Dutiful & Great

務大肆 Mudaishi

32 4th Dutiful & Broad

務廣肆 Mukōshi

33 1st Following & Great

追大壱 Tsuidaiichi

34 1st Following & Broad

追廣壱 Tsuikōichi

35 2nd Following & Great

追大弐 Tsuidaini

36 2nd Following & Broad

追廣弐 Tsuikōni

37 3rd Following & Great

追大参 Tsuidaisan

38 3rd Following & Broad

追廣参 Tsuikōsan

39 4th Following & Great

追大肆 Tsuidaishi

40 4th Following & Broad

追廣肆 Tsuikōshi

41 1st Advancing & Great

進大壱 Shindaiichi

42 1st Advancing & Broad

進廣壱 Shinkōichi

43 2nd Advancing & Great

進大弐 Shindaini

44 2nd Advancing & Broad

進廣弐 Shinkōni

45 3rd Advancing & Great

進大参 Shindaisan

46 3rd Advancing & Broad

進廣参 Shinkōsan

Junior 6th Rank, Lower Grade Senior 7th Rank, Upper Grade Senior 7th Rank, Upper Grade Senior 7th Rank, Lower Grade Senior 7th Rank, Lower Grade Junior 7th Rank, Upper Grade Junior 7th Rank, Upper Grade Junior 7th Rank, Lower Grade Junior 7th Rank, Lower Grade Senior 8th Rank, Upper Grade Senior 8th Rank, Upper Grade Senior 8th Rank, Lower Grade Senior 8th Rank, Lower Grade Junior 8th Rank, Upper Grade Junior 8th Rank, Upper Grade Junior 8th Rank, Lower Grade Junior 8th Rank, Lower Grade Senior Initial Rank, Upper Grade Senior Initial Rank, Upper Grade Senior Initial Rank, Lower Grade Senior Initial Rank, Lower Grade Junior Initial Rank, Upper Grade Junior Initial Rank, Upper - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

18

MAN’YŌSHŪ

47 4th Advancing & Great

進大肆 Shindaishi

48 4th Advancing & Broad

進廣肆 Shinkōshi

Grade Junior Initial Rank, Lower Grade Junior Initial Rank, Lower Grade

Thus, one can easily see that the Taihōryō system brought much clarity and consistency into the organization of Court Ranks mainly by reducing the total number of ranks, eliminating redundancy, and overall structuring the system more logically. Stability of phonographic spellings In spite of the polyphonic principle of writing ruling supreme in the Man’yōshū, some phonographic spellings appear to be very stable, using the same phonograms on all or almost all occasions. The reason for such a stability is not clear, and only very few words adhere to it. The list presented in the chart below is not intended to be exhaustive, but just illustrative.

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Chart 8: Words with stable phonographic spellings Words akanzu ipa kanze kötöwari papa

Spellings Meanings 安可受 without being satisfied 伊波 rock 可是 wind 許 等 和 利 , reason 己等和利 波々 mother

potötöŋgîsu sakura siŋgure tukapë-

保登等藝須 佐久良 之具礼 都可倍

cuckoo sakura shower to serve

Comments two exceptions two exceptions with the exception of book fourteen three exceptions one exception one exception

Man’yōgana script Man’yōgana script was discussed in detail in the introduction to the translation of book fifteen. In spite of two recent excellent books on the man’yōgana script (Osterkamp 2011), (Bentley 2016), we still do not have a complete list of man’yōgana signs published anywhere, needless to mention Omodaka et al (1967). Osterkamp 2011 concentrated on disyllabic ongana, barely scratching kungana. Bentley 2016 is a very valuable contribution to the study of the historical usage of monosyllabic signs, but it has very few additions beyond the list published already in Omodaka et al (1967). Meanwhile, anyone trying to tackle mixed phonographic-logographic books like one and nineteen, will be overwhelmed by the extensive usage of kungana, especially disyllabic. There is also a significant number of disyllabic ongana. Very few of these signs, especially kungana, are included into Omodaka et al. (1967), Osterkamp (2011), and Bentley (2016). Admittedly, some of these graphs are extremely rare, appearing only once or twice in the whole anthology, but so are some of the monosyllabic ongana included in Omodaka et al. (1967) and Bentley (2016). Meanwhile other previously unlisted signs are quite frequent, and should be memorized by any student of Old Japanese. Therefore, edition of book one resulted in a huge influx of signs not included in Bentley 2016, and edition of book nineteen led to further addition of the new signs. My own expanded list (that will undoubtedly continue to grow following the study of other books), does not pretend to be all-inclusive for Old Japanese, as it presents only those graphs that are used in the Man’yōshū. The compilation of an all-inclusive list or a dictionary of the man’yōgana remains the task for the future, as at the present point it depends on three major directions of research: the thorough study of the man’yōgana in the Man’yōshū, wooden tablets (mokkan, 木簡), and late Old Japanese and early Middle Japanese texts in the man’yōgana. As usual, I place below the revised chart with new additions that are given in both bold and underlined script. Chart 9: Man’yōgana phonographic signs used in the Man’yōshū Transcription a あ

Man’yōgana signs ongana: 阿 安 kungana: 足 吾 鳴呼 - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

20

MAN’YŌSHŪ

i

い

u

う

e

え１

o

お

ka

か

disyllabic ongana: 英[aŋga] disyllabic kungana: 赤[aka] 7 金 [akî] 8 朝 [asa] 9 相 [apî] [apu] [ara]10 荒 [ara]11 在 [ari, aru]12 trisyllabic kungana: 茜, 茜草 [akane]13 ongana: 伊 夷 以 怡 異 移 因 印 壱 已14 kungana: 射 五十 馬声 disyllabic ongana: 因 [ina] 印 [ina] 壱 [iti] 盤 [ipa]15 disyllabic kungana: 五百 [ipo]16 乞 [inde]17 ongana: 于 汙 宇 有 羽 烏 雲 kungana: 氐 菟 卯 得 disyllabic ongana: 雲[una] 鬱[utu] disyllabic kungana: 打 [uti]18 敲 [uti]19 浦 [ura]20 ongana: 衣 愛 依 kungana: 得 榎 荏 ongana: 意 於 応 乙 憶 飫 disyllabic ongana: 乙 [otu] 邑 [opî, opu, opo] disyllabic kungana: 忍 [osi]21 ongana: 加 迦 可 賀 珂 箇 架 嘉 甲 甘 敢 kungana: 鹿 香 蚊 芳 歟 所 disyllabic ongana: 甘 [kamu] 敢 [kamu] 漢 [kani] 干 [kani] 葛 [katu] 甲 [kapî] 香 [kaŋgu] 高 [kaŋgu]22 各 [kaku] 閑 [kana]23 disyllabic kungana: 借 [kasi] 24 方 [kata] 25 鴨

7 Not listed in 8 Not listed in 9 Not listed in 10 Not listed

Bentley 2016. Bentley 2016. Bentley 2016. in Bentley 2016. There is only one example of 相 ara in the Man’yōshū (19.4211). The character 相 sometimes seems to indicate just monosyllabic [pu], but this is just a graphic illusion, due to the vowel contraction a+a > a. 11 Not listed in Bentley 2016. 12 Not listed in Bentley 2016. 13 Not listed in Bentley 2016. 14 Bentley lists this phonogram, but he also says: “It appears only in Man’yōshū and then only in Book 20, where it is used seven times” (2016: 85). This statement is not completely accurate. While Bentley is right that this phonogram appears only in the Man’yōshū, it is not limited to book twenty, see also 10.2011, 14.3393, as well as 1.43 and 4.511, the latter two being discussed in the commentary to 1.43 in this book. I will also defer to the publication of book two the discussion of the usage of 已 in 2.156. 15 Attested only once with this reading in the Man’yōshū (1.22). It is a rare phonogram in this text, and it appears as expected ongana phonogram pa in two other examples found in 6.933 and 11.2522 (but it is more likely that in this last case 盤 renders pani, and not just pa). Bentley includes 盤 as a phonogram for pa (2016: 274), but not for ipa. 16 Not listed in Bentley 2016. 17 Bentley lists this phonogram only with the reading köti (2016: 136). 18 Not listed in Bentley 2016. 19 Not listed in Bentley 2016. 20 Not listed in Bentley 2016. 21 Not listed in Bentley 2016. 22 Used only for writing kaŋgu in Kaŋgu yama in 1.13 and 1.14. Not listed in Bentley 2016. 23 See the detailed discussion of this phonogram in Bentley (2016: 108). It occurs only once in the Man’yōshū (1.1), and, as it seems in the whole OJ corpus as well (Bentley 2016: 108). 24 Not listed in Bentley 2016. 25 Not listed in Bentley 2016.

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kî

き１

kï

き２

ku

く

kê

け１

kë

け２

kô

こ１

kö

こ２

ŋ

ga

が

ŋ

gî ぎ１ gï ぎ２ ŋ gu ぐ ŋ

ŋ

gê

げ１

21

[kamô]26 辛 [kara]27 柄 [kara]28 韓 [kara]29 trisyllabic kungana: 限 [kaŋgîru]30 ongana: 支 伎 吉 岐 棄 枳 企 芡31 kungana: 寸 杵 來 ongana: 紀 幾 貴 奇 騎32 綺 寄 記 kungana: 城 木 樹 ongana: 久 玖 口 群 苦 丘 九 鳩 君 kungana: 來 國33 disyllabic ongana: 君 [kuni] disyllabic kungana: 草 [kusa]34 國 [kuni]35 ongana: 祁 家 計 鶏 介 奚 谿 価 係 結 kungana: 異 disyllabic ongana: 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 兒 籠36 小 粉 ongana: 己 許 巨 居 去 虚 忌 興 kungana: 木 disyllabic ongana: 金 [kömu] 今 [kömu] 近 [könö] 乞 [köti] 興 [köŋgö] disyllabic kungana: 乞 [kösö]37 言 [kötö]38 來 [körö]39 ongana: 何 我 賀 河 蛾 disyllabic kungana: 金 [ŋgane]40 柄 [ŋgara]41 ongana: 芸 祇 岐 伎 ongana: 疑 宜 義 ongana: 具 遇 求 隅 群 disyllabic ongana: 群 [ŋguni/ŋguri] disyllabic kungana: 晩 [ŋgura] ongana: 牙 雅 夏

26 27 28 29 30 31

Not listed in Bentley 2016. Attested only in place names. Not listed in Bentley 2016. Not listed in Bentley 2016. Only for spelling Kara ‘China’. Not listed in Bentley 2016. Not listed in Bentley 2016. The character 芡 as the ongana for kî occurs only once in the OJ corpus: in the preface to 1.22. It is not listed in Bentley 2016. 32 Attested only twice in the Man’yōshū, both times in the place name Akï in 1.45 and 1.46 (Bentley 2016: 152). 33 Not listed in Bentley 2016. 34 Not listed in Bentley 2016. 35 Not listed in Bentley 2016. 36 Bentley lists this kungana phonogram as kô occurring three times in the Man’yōshū (2.193, 4.487, 11.2710) (2016: 164). But he apparently overlooks the fact that it is also used as ŋgô in 1.23 and 12.3205. 37 Bentley lists this phonogram only with the reading köti (2016: 136). 38 Not listed in Bentley 2016. 39 Not listed in Bentley 2016. 40 Not listed in Bentley 2016. 41 Not listed in Bentley 2016.

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22 ŋ ŋ

MAN’YŌSHŪ

gë げ２ gô ご１

ŋ

gö ご２ sa さ

si し

su

す

se

せ

sô

そ１

ongana: 義 宜 濁 ongana: 胡 呉 候 後 虞 吾 kungana: 籠42 ongana: 其 期 碁 凝 ongana: 佐 沙 作 左 者 柴 紗 草 匝 讃 散 尺 積 kungana: 狭 猨 羅 disyllabic ongana: 三 [samu] 雜 [sapa] [sapî] 障 [apa] [apî] [apu] 43 匝 [sapî] 颯 [sapu] 讃 [sanu] 散 [sani] 薩 [sati] [satu] 相 [saŋga] [saŋgu] 尺 [saka] 作 [saka] [saku] 積 [saka] disyllabic kungana: 坂 [saka]44 前 [sakî]45 辟 [sakî]46 樂 [sasa] 47 刺 [sasu] 48 澤 [sapa] 49 禁 [sapë] 50 去 [sari]51 核 [sane]52 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 ongana: 信 [sina] 鍾 [siŋgu] 色 [sikî/sikö] 餝 [sika] 式 [sikî] 拭 [sikî] 叔 [siku] disyllabic kungana: 及 [siki/siku] 53 科 [sina] 54 小竹 [sinô]55 塩 [sipo]56 嶋 [sima]57 ongana: 湏 須 周 酒 洲 珠 数 kungana: 酢 簀 栖 渚 爲 disyllabic ongana: 駿 [suru] 宿 [suka] [suku] disyllabic kungana: 次 [sukî] 58 隅 [sumî] 59 墨 [sumî]60 ongana: 勢 世 西 斉 kungana: 瀬 湍 背 脊 迫 disyllabic ongana: 瞻 [semî] ongana: 蘇 宗 祖 素

42

Bentley lists this phonogram only as kô, but not ŋgô (2016: 164). It occurs as ŋgô in two poems in the Man’yōshū: 1.23 and 12.3205. 43 Not listed in Bentley 2016. 44 Not listed in Bentley 2016. 45 Not listed in Bentley 2016. 46 Not listed in Bentley 2016. 47 Attested only in place names. Not listed in Bentley 2016. 48 Not listed in Bentley 2016. 49 Not listed in Bentley 2016. 50 Not listed in Bentley 2016. 51 Not listed in Bentley 2016. 52 Not listed in Bentley 2016. 53 Not listed in Bentley 2016. 54 Not listed in Bentley 2016. 55 Not listed in Bentley 2016. 56 Not listed in Bentley 2016. 57 Not listed in Bentley 2016. 58 Not listed in Bentley 2016. 59 Not listed in Bentley 2016. 60 Not listed in Bentley 2016.

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sö n

za

そ２ ざ

n

zi じ zu ず n ze ぜ n zô ぞ１ n zö ぞ２ ta た n

ti ち tu つ

te

て

tô と１

23

kungana: 十 麻 disyllabic kungana: 虚 [sôra]61 ongana: 曾 所 僧 増 則 kungana: 衣 背 其 苑 ongana: 射 蔵 邪 社 謝 座 disyllabic kungana: 坂 [nzaka]62 ongana: 自 士 慈 尽 時 寺 仕 ongana: 受 授 聚 殊 洲63 ongana: 是 ongana: 俗 ongana: 叙 序 賊64 ongana: 多 太 他 丹 kungana: 田 手 disyllabic ongana: 丹 [tani] 塔 [tapu] 但 [tani] [tandi] 當 [taŋgî] disyllabic kungana: 妙 [tapë] 65 玉 [tama] 66 垂 [taru]67 ongana: 知 智 恥 陳 珍 遲 kungana: 道 千 乳 路 血 茅 disyllabic ongana:珍 [tinu] ongana: 都 豆 通 追 川 kungana: 津 齋 disyllabic ongana: 筑 [tukî, tuku] 對 [tusi] disyllabic kungana: 爪 [tuma]68 妻 [tuma, nduma]69 嬬 [tuma]70 積 [tumî]71 列 [tura]72 鶴 [turu]73 ongana: 弖 氐 提 天 帝 底 堤 代 kungana: 手 価 直 disyllabic ongana: 点 [temu] ongana: 刀 斗 都 土 度

61

Not listed in Bentley 2016. Not listed in Bentley 2016. In placenames only. The phonogram 賊 as a sign for /nzö/ is attested only in the Man’yōshū (Omodaka et al. 1967: 896). However, it appears as a phonogram in the Man’yōshū just once, in the word kînzö (伎賊) ‘last night’ (MYS 2.150). This is the only phonographic attestation of this word in the Western Old Japanese part of the Man’yōshū. Interestingly enough, Omodaka et al. transcribe this word in the same poem as kîsö in the entry on kîsö ‘last night’ (1967: 241). In addition, the same word is attested in Eastern Old Japanese four times in 14.3505, 14.3522, 14.3550, and 14.3563 written as 伎曾 /kîsö/ with a voiceless /s/. Thus, I believe that the phonogram 賊 was read /sö/ and I think that this word should be read as kîsö in Western Old Japanese as well. 65 Not listed in Bentley 2016. 66 Not listed in Bentley 2016. 67 Not listed in Bentley 2016. 68 Not listed in Bentley 2016. 69 Not listed in Bentley 2016. 70 Not listed in Bentley 2016. It is a rare phonogram in the Man’yōshū, occurring only once with certainty (1.50), and possibly in one other case. 71 Not listed in Bentley 2016. 72 Not listed in Bentley 2016. 73 Not listed in Bentley 2016. 62 63 64

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24

MAN’YŌSHŪ

tö と２

n

da

だ

n

di ぢ du づ

n n

de で dô ど１ n dö ど２ na な n

ni

に

nu ぬ ne

ね

nô の１ nö の２

kungana: 戸 門 利 礪 速 ongana: 止 等 登 騰 得 kungana: 鳥 十 跡 迹 常 disyllabic ongana: 徳 [tökö] 得 [tökö] disyllabic kungana: 友 [tömö]74 ongana: 陁 太 大 disyllabic ongana: 弾 [ndani] disyllabic kungana: 谷 [ndani]75 ongana: 遲 治 地 ongana: 豆 頭 都 disyllabic ongana: 附 [ndukî]76 曇 [ndumî] 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 ongana: 南 [namî, namu] 難 [nani] disyllabic kungana: 成 [nasu]77 梨 [nasi]78 夏 [natu]79 波 [namî]80 雙 [namî/namï]81 楢 [nara]82 trisyllabic kungana: 長柄 [naŋgara]83 ongana: 爾 迩 仁 日 二 而 尼 耳 人 柔 kungana: 丹 荷 似 煮 畠84 disyllabic kungana: 柔 [nikî]85 熟 [nikî]86 ongana: 奴 怒 努 濃 農 kungana: 沼 宿 寝 渟 ongana: 尼 禰 泥 埿 年 kungana: 根 宿 disyllabic ongana: 念 [nemu] ongana: 努 怒 弩 奴 kungana: 野 ongana: 乃 能 kungana: 荷 笶 箆 之87

74 75 76 77 78 79 80 81 82

Not listed in Bentley 2016. Not listed in Bentley 2016. Not listed in Bentley 2016. Not listed in Bentley 2016. Not listed in Bentley 2016. Not listed in Bentley 2016. Not listed in Bentley 2016. Not listed in Bentley 2016. Not listed in Bentley 2016. It is used seven times in the Man’yōshū, all of them except one (12.3166), for writing place name Nara. 83 Not listed in Bentley 2016. 84 Certainly a variant of 煮. 85 Not listed in Bentley 2016. 86 Not listed in Bentley 2016. Strictly speaking, this is a kungana of Korean origin, without a lexical attestation in OJ, cf. OK nik- ‘to be hot’, ‘to ripen’. 87 Used only as a kungana for the attributive form n-ö of the copula n- or the comparative case marker -nö. Not listed in Bentley 2016.

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BOOK NINETEEN

pa

は

pî

ひ１

pï

ひ２

pu ふ

pê

へ１

pë

へ２

po ほ m

ba ば bî び１ m bï び２ m bu ぶ m

m

bê べ１ bë べ２ m bo ぼ ma ま m

25

ongana: 波 播 幡 芳 婆 破 方 防 八 房 半 熏 薄 伴 泊 叵 盤88 kungana: 羽 葉 歯 者 disyllabic ongana: 盤 [pani] disyllabic kungana: 旗 [panda]89 花 [pana]90 ongana: 比 卑 必 臂 嬪 冀 kungana: 日 檜 氷 disyllabic kungana: 引 [pîkï]91 櫃 [pîtu]92 ongana: 非 斐 悲 飛 kungana: 火 干 乾 ongana: 布 不 敷 府 賦 否 負 福 kungana: 經 歴 disyllabic ongana: 粉 [puni] 福 [puku] disyllabic kungana: 盖 [puta]93 ongana: 平 弊 霸 幣 敝 陛 遍 返 反 弁 kungana: 部 辺 重 隔 disyllabic ongana: 伯 [pêkî] ongana: 閇 倍 拝 kungana: 戸 躪 綜 經 ongana: 保 富 宝 朋 倍 抱 方 凡 品 kungana: 帆 穂 太94 disyllabic ongana: 凡 [pomu] 品 [pomu] ongana: 婆 伐 ongana: 毘 毗 鼻 妣 婢 豐95 ongana: 備 肥 ongana: 夫 父 部 扶 disyllabic kungana: 吹 [mbukî]96 振 [mbukî]97 ongana: 辨 便 別 ongana: 倍 ongana: 煩 ongana: 麻 磨 万 萬 馬 末 満 摩 kungana: 眞 間 目 信 鬼 disyllabic ongana: 望 [maŋga] [maŋgu] 莫 [] 幕 [] disyllabic kungana: 儲 [makë] 98 設 [makë] 99 松

88

Bentley’s saying that “This graph appears several times in Man’yōshū” (2016: 274) is an overstatement, as it appears in this major OJ text only three times (1.22, 6.933, 11.2522). As a matter of fact, the only unambiguous example of 盤 used for pa can be found in 6.933. In 1.22 it clearly stands for ipa, and it is more likely that in 11.2522 it renders pani, and not pa. 89 Not listed in Bentley 2016. 90 Not listed in Bentley 2016. 91 Not listed in Bentley 2016. Used to write pîkï in asi pîkï. 92 Not listed in Bentley 2016. 93 Not listed in Bentley 2016. 94 Contraction from opo ‘great’. Attested in 13.3309 and 19.4211. Not listed in Bentley 2016. 95 Attested in 19.4290. Not listed in Bentley 2016. 96 Not listed in Bentley 2016. 97 Not listed in Bentley 2016. 98 Not listed in Bentley 2016.

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MAN’YŌSHŪ

mî

み１

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２

[matu]100 圓 [matô]101 trisyllabic kungana: 相 [masani]102 ongana: 弥 美 民 kungana: 三 御 見 水 参 視 disyllabic ongana: 敏 [mînu] ongana: 微 未 味 尾 kungana: 身 実 箕 ongana: 牟 武 无 模 務 無 謀 鵡 儛 kungana: 六 disyllabic ongana: 目 [muku] disyllabic kungana: 村 [mura]103 ongana: 賣 怡 馬 面 kungana: 女 婦 disyllabic kungana: 食 [mêsi] [mêse]104 ongana: 米 梅 迷 昧 晩 kungana: 目 眼 ongana: 毛 ongana: 母 disyllabic kungana: 圓 [mörö]105 諸 [mörö]106 ongana: 茂 文 聞 忘 蒙 畝 問 門 勿 木 物 kungana: 裳 藻 哭 喪 裙 disyllabic ongana: 物 [moti] disyllabic kungana: 成 [mori]107 ongana: 夜 移 陽 耶 益 野 楊 也 kungana: 屋 八 矢 disyllabic kungana: 山 [yama]108 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 齒109

99 Not listed in Bentley 2016. 100 Not listed in Bentley 2016.

This is a rare phonogram in the Man’yōshū, which is used as a kungana for matu ‘waits’ in 1.73, 13.3258, 13.3324, and possibly in a couple other less clear cases. 101 Not listed in Bentley 2016. 102 Not listed in Bentley 2016. It occurs only once in the Man’yōshū (11.2507). 103 Not listed in Bentley 2016. 104 Not listed in Bentley 2016. 105 Not listed in Bentley 2016. 106 Not listed in Bentley 2016. 107 Not listed in Bentley 2016. 108 Not listed in Bentley 2016. 109 Listed in Bentley (2016: 533), but only as a kungana in 11.2773. Its usage as a quasi-logographic phonogram in 1.10 is not mentioned.

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BOOK NINETEEN

ra

ら

ri り ru る re れ rô ろ１ rö ろ２ wa わ

wi

ゐ

we

ゑ

wo

を

27

ongana: 羅 良 浪 楽 kungana: 等110 disyllabic ongana: 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 ongana: 廉 [remu] ongana: 漏 路 ongana: 呂 侶 里 ongana: 和 丸 kungana: 輪 disyllabic ongana: 丸 [wani] disyllabic kungana: 渡 [wata]111 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 ongana: 越 [woti] [wotö]112 disyllabic kungana: 處 [wotö]113

Textual history of book nineteen The textual transmission of book nineteen is so far the best as compared with other seven books (one, five, fourteen, fifteen, seventeen, eighteen and twenty) that I have published up to date. The lacunae in the Genryaku kōhon (元暦校本) are as following: poem 19.4143 has all man’yōgana characters on lines one to four and the first one character in line five, but the remainder of line five and all kana transcription are missing, poems 19.4174, 19.4202, 19.4205, 19.4206, 19.4210, 19.4212, 19.4217, 19.4239, 19.4263, and 19.4272 have no kana transcription. Poem 19.4265 misses last three lines of kana transcription. As usual, also none of the chōka has a kana transcription, but this is typical for the Genryaku kōhon in general. Otherwise, the Genryaku kōhon has no missing poems. It is also important that the Genryaku kōhon is somewhat earlier than the Ruijū koshū. The following poems are missing in the Ruijū koshū (類聚古集): 19.4160, 19.4169, 19.4173, 19.4198, 19.4245, 19.4254, 19.4264, and 1942.66, altogether eight poems. For the comparison, seven poems from book eighteen (19.4075, 19.4078, 19.4080, 19.4082, 19.4106, 19.4116, and 19.4122) are also missing from the Ruijū koshū. Thus, if we exclude the mostly missing line five in 19.4143, the Genryaku kōhon is the earliest manuscript of the Man’yōshū, where book nineteen appears in its entirety. 110 111 112 113

Not listed in Bentley 2016. Not listed in Bentley 2016. Not listed in Bentley 2016. Not listed in Bentley 2016.

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MAN’YŌSHŪ BOOK NINETEEN Preface to the poems 19.4139-4140

本文・Original text 天平勝寳二年三月一日之暮眺矚春苑桃李花作二首 Translation Two poems that [I] composed in the evening of the first day of the third lunar month of the second year of the Tenpyō-Shōhō while gazing at the peach and plum blossoms in the spring garden. Commentary The first day of the third lunar month of the second year of the Tenpyō-Shōhō corresponds to April 11, 750 AD. These two poems do not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

19.4139

本文・Original text (1) 春苑 (2) 紅尓保布 (3) 桃花 (4) 下照道尓 (5) 出立呎嬬 仮名の書き下し・Kana transliteration (1) はるの 2 そ 2 の 2 (2) くれなゐにほふ (3) も 1 も 1 の 2 はな (4) した でるみ 1 ちに (5) いでたつをと 2 め 1 Romanization (1) PARU-NÖ SÖNÖ (2) KURENAWI nipop-u (3) MÔMÔ-NÖ PANA (4) SITA-n-DER-U MÎTI-ni (5) InDE TAT-U WOTÖMË Glossing with morphemic analysis (1) spring-GEN garden (2) crimson.red glow-ATTR (3) peach-GEN blossom (4) bottom-LOC-shine-ATTR way-LOC (5) go.out(INF) stand-ATTR maiden Translation (5) [Oh,] the maiden, who goes out and stands (4) at the path illuminated (3) [by] the peach blossoms (4) glowing crimson red (5) [in] the spring garden! Commentary Logography is dominant in this poem. On WOJ kurenawi ‘crimson red’ see the commentary to 15.3703. WOJ mômô ‘peach’ is a deciduous tree of a medium height, which is not endemic to Japan. It is considered to be of the mainland origin. In the spring it blooms with white or red flowers that precede the appearance of its leaves. Its fruits are edible and covered with small hair. It is believed that peaches ward off evil. The bows made from peach trees were used in ogre expulsion ceremonies such as tsuina (追儺, from mid-eighth century), and uduchi (卯槌, from Heian period). The peach blossoms were also used figuratively for

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description of young women (Nakanishi 1985: 330). There are no early phonetic attestations of this word, but all late man’yōgana attestations consistently write mômô (毛毛), which may be a trace of a phonographic conservatism, therefore I tentatively transcribe this word as mômô, with kō-rui vowel /ô/. The etymology of the word is obscure. The WOJ word wotömê ‘maiden’ has an interesting spelling here: 呎嬬, with the first character 呎 indicating ‘young woman’, but the second character 嬬 meaning ‘wife’. Thus, Aoki is probably right in her suggestion that this poem is about Opotömö-nö Yakamöti’s imagining his wife, Sakanöupë-nö Opo Iratumê, who went back to the capital in the fall of the previous year (1997: 16). This poem is believed to be influenced by Chinese literary tradition (Omodaka 1984.19: 12-13), (Aoki 1997: 14). There is probably an allusion in this tanka to the opening lines 南國佳人有、容華如桃李 ‘There is a beauty in Southern Land, [her] flowery image is like peaches and plums’ in one of the 雜詩 (Various Poems) by Cáo Zhí (曹植, 192-232 AD). On Cáo Zhí see the commentary to the Chinese essay located after the poem 5.896.

19.4140

本文・Original text (1) 吾園之 (2) 李花可 (3) 庭尓落 (4) 波太礼能未 (5) 遺在可母 仮名の書き下し・Kana transliteration (1) わがそ 2 の 2 の 2 (2) すも 1 も 1 の 2 はなか (3) にはにちる (4) はだ れの 2 いまだ (5) の 2 こ 2 りたるかも 2 Romanization (1) WA-ŋGA SÖNÖ-NÖ (2) SUMÔMÔ-NÖ PANA ka (3) NIPA-ni TIR-U (4) pandare-nö IMAnDa (5) NÖKÖR-I-TAR-U kamö Glossing with morphemic analysis (1) we-POSS garden-GEN (2) plum-GEN blossom IP (3) yard-LOC fall-ATTR (4) light.snow yet (5) remain-INF-PERF/PROG-ATTR EP Translation (2) Is [it] plum blossoms (1) in our garden (3) that fall in the yard? (4/5) Or is it light snow that still remains?

Commentary Logography is dominant in this poem. WOJ sumômô ‘plum’ is a different kind of plum from umë. Sumômô is an high deciduous tree (imported from China) that blooms in the spring with white snow-like flowers, and bears fruits of yellow, red, and purple colors. It is edible, but has acid taste like a peach (Nakanishi 1985: 317), which is reflected in its etymology: su ‘vinegar’ + mômô ‘peach’. This is the only poem in the Man’yōshū where sumômô ‘plum’ is mentioned. The earliest phonographic attestations of the word are only from the early Heian period dictionaries: (SSJ 7: 6b), (WMS 9: 67a, 17: 10a), all uniformly spelled in the man’yōgana as 須毛毛 sumômô. Although the contrast between mô and mö has long disappeared from the language, the uniformity of spelling points to the orthographic conservatism, which alongside with etymology allows us to - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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MAN’YŌSHŪ

transcribe WOJ sumômô with a kō-rui /ô/. WOJ pandare refers to light or thin snow or frost. This word is mostly written phonographically as 波 太 礼 , or in a mixed quasi-logographic/ phonographic script as 薄 太 礼 PAndare but there is also a mixed quasi-logographic/logographic spelling 薄垂, PAnDARE attested in 10.2132.

Preface to the poem 19.4141 本文・Original text 見飜翔鴫作歌一首

Translation A poem that [I] composed seeing a snipe that was flying stretching its wings. Commentary This poem is undated, but given the fact that the poems 19.4139-4140 are dated by the first day of the third lunar month of the second year of the Tenpyō-Shōhō, which corresponds to April 11, 750 AD, the poem 19.4142 by the second day of the third lunar month of the second year of the Tenpyō-Shōhō, which corresponds to April 12, 750, and the poem 19.4141 describes a nocturnal activity that could only take place in the night between the first and second day, it is safe to date it by this night. Moreover, we can even narrow it down to the hour of the Rat, i.e. to the time between 11 pm and 1 am, as it becomes clear from the script used for line three of the poem. On WOJ siŋgî ‘snipe’ see the commentary to the poem 19.4141. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

19.4141

本文・Original text (1) 春儲而 (2) 物悲尓 (3) 三更而 (4) 羽振鳴志藝 (5) 誰田尓加須牟 仮名の書き下し・Kana transliteration (1) はるまけ 2 て (2) も 2 の 2 がなしき 1 に (3) さよ 1 ふけ 2 て (4) はふ き 1 なくしぎ 1 (5) たがたにかすむ

Romanization (1) PARU makë-TE (2) MÖNÖ-ŋ-GANASI-KÎ n-i (3) SA-YÔ PUKË-TE (4) PA PUK-Î NAK-U siŋgî (5) TA-ŋGA TA-ni ka sum-u Glossing with morphemic analysis (1) spring retreat(INF)-SUB (2) thing-GEN-be.sad-ATTR DV-INF (3) PREF-night deepen(INF)-SUB (4) wing flutter-INF sing-ATTR snipe (5) who-POSS rice.field-LOC IP live-ATTR Translation (1) Because the spring retreats, (2) [I] am sad, and (3) as the night grows late, (5) [I wonder] at whose rice field lives (5) the snipe that sings, fluttering [its] wings?

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Commentary Logography is dominant in this poem. The character 儲 ‘to prepare in advance’ is used as a kungana for makë‘to retreat’. WOJ siŋgî ‘snipe’ is a migratory bird that comes to Japan in the autumn and leaves in the spring. It often migrates during the night. It has a long beak and legs, and lives near the water. Snipe was hunted, and its meat was considered to be delicious (Nakanishi 1985: 295). There is a passage in the Ise monogatari (伊勢物語) describing a bird similar to a snipe: 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 “A white bird of the size of a snipe with a read beak and legs was playing at the water and eating fish” (IM IX). This is the only poem in the Man’yōshū where siŋgî ‘snipe’ is mentioned. Line three sa-yô pukëte has an interesting logographic spelling: 三更而, lit. ‘being third night guard, and’. The night time from 7 pm to 5 am was divided into five 更 ‘night guards’ (Chin. gēng): 初更 ‘first night guard’, 二更 ‘second night guard’, 三更 ‘third night guard’, 四更 ‘fourth night guard’, and 五更 ‘fifth night guard’ that corresponded to the hour of the Dog (戌, 7-9 pm), the hour of the Pig (亥, 9-11 pm), the hour of the Rat (子, 11 pm-1 am), the hour of the Ox (丑, 1-3 am), and the hour of the Tiger (寅, 3-5 am).

Preface to the poem 19.4142 本文・Original text 二日攀柳黛思京師歌一首

Translation A poem [that I composed] about [my] sudden longing for the capital when [I] twisted the branches of a willow tree with fresh leaves on the second day [of the third lunar month of the second year of the Tenpyō-Shōhō]. Commentary The second day of the third lunar month of the second year of the Tenpyō Shōhō corresponds to April 12, 750 AD. The Chinese character 黛 dài (Jpn. mayuzumi) means a ‘pencil for painting eyebrows’, but here it is used just for ‘eyebrow’, which serves as a metaphor for willow branches with fresh young leaves (Omodaka 1984.19: 15). Note that the same action of twisting willow branches has simpler and much more straightforward description in the poem itself. However, the preface was written in Classical Chinese, and the choice of the language apparently also dictated the choice of the imagery, which appears to have certain Chinese spirit behind it. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

19.4142

本文・Original text (1) 春日尓 (2) 張流柳乎 (3) 取持而 (4) 見者京之 (5) 大路所念

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仮名の書き下し・Kana transliteration (1) はるの 2 ひ 1 に (2) はれるやなぎ 2 を (3) と 2 りも 2 ちて (4) み 1 れ ばみ 1 やこ 1 の 2 (5) おほちおも 2 ほゆ Romanization (1) PARU-NÖ PÎ-ni (2) PAR-Er-u YANAŋGÏ-wo (3) TÖR-I MÖT-I-TE (4) MÎ-RE-mba MÎYAKÔ-NÖ (5) OPO TI OMÖP-OY-U Glossing with morphemic analysis (1) spring-GEN day-LOC (2) sprout-PROG-ATTR willow-ACC (3) take-INF hold-INF-SUB (4) look-EV-CON capital-GEN (5) great road think-PASS-FIN Translation (3) When [I] took and held (2 the sprouting willow [branches] (1) on a spring day, (4) and looked [at them], (5) [I] suddenly thought of the great avenues (4) in the capital. Commentary Logography is dominant in this poem. On yanaŋgï ‘willow’ see the commentaries to 5.817 and 5.821. Willows were planted along the main streets in the capital of Nara (I doubt that Opo ti should be taken here as the name of the specific street). WOJ ti is the original word for ‘road’, which is rarely used. Much more frequent mîti ‘id.’, which after the Nara period completely replaced ti, except in certain compounds like yamandi < *yama-nö ti ‘mountain road’ or umindi < *umi-nö ti ‘sea road’ historically represents ti with a preceding beautification prefix mî-. The majority of modern scholars read line five as opo ti si omöpoyu, inserting emphatic particle si (Kojima et al. 1975: 298), (Omodaka 1984.19: 15), (Aoki 1997: 21), (Satake et al. 2003.4: 276), (Tada 2010.7: 107), (Aso 2015.10: 44), but not all: Takeda (1957.12: 173), Takagi et al. (1962: 321), Nakanishi (1983.4: 209) do not insert si. The latter point of view has good basis, because this emphatic particle si is not found in any of the old manuscripts containing book nineteen. Thus, the Genryaku kōhon has opo mîti omboyu (GK 19: 1634), which is, of course, anachronistic, because the contraction omöpoyu > omboyu did not take place before the Heian period; the Ruijū koshū exhibits correct opo ti omöpoyu (RK 1: 86), and the same is found in the Nishi Honganji-bon (19: 8a). The divergent Hirose-bon, which probably reflects Teika line of manuscripts, has opo mîti omopoyu (10: 1b). Consequently, there are no solid textual grounds for the insertion of the emphatic particle si.

Preface to the poem 19.4143 本文・Original text 攀折堅香子草花歌一首

Translation A poem [that I composed] when [I] twisted and broke off the flower of katakaŋgô grass

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Commentary WOJ katakaŋgô (堅香子, MdJ katakuri 片栗) ‘dogtooth violet’ is a perennial grass that grows in the wild in the fields of Northern and Central Honshū as well as of Hokkaidō. It blooms in the late spring with purplish six-petal flowers according to Omodaka (1984.19: 15), but with reddish flowers, while it has purplish spots on its glossed leaves, according to Nakanishi (1985: 310). It is an edible plant, with a starch produced from its roots and stalks. Nakanishi’s description can be supported by the fact that one of the Ainu names for this plant is hure epuy ‘red flower’ (Chiri 1976: 203). Incidentally, both WOJ and MdJ character spellings 堅香子 ‘hard fragrance’ and 片栗 ‘side chestnut’ look like ateji. It is not inconceivable that the word is actually a loan of Ainu hantakor ‘black lily’ (Chiri 1976: 203),114 a plant very similar to katakaŋgô, and belonging to the same class. This is the only poem in the Man’yōshū, where katakaŋgô flowers are mentioned, although they must have been cited in later poems, since Nakanishi mentions that it was used as a metaphor for the splendid view of maidens (1985: 310). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. It is not dated, either, but given the mentioning of katakaŋgô flowers it probably was composed in the late spring of 750 AD.

19.4143

本文・Original text (1) 物部乃 (2) 八十呎嬬等之 (3) 挹乱 (4) 寺井之於乃 (5) 堅香子之花

仮名の書き下し・Kana transliteration (1) もの 2 の 2 ふの 2 (2) やそ 1 をと 2 め 1 らが (3) くみ 1 まがふ (4) てら ゐの 2 はたの 2 (5) かたかご 1 の 2 はな Romanization (1) MÖNÖNÖPU-nö (2) YASÔ WOTÖMÊ-RA-ŋGA (3) KUM-Î MAŋGAP-U (4) TERA WI-NÖ PATA-nö (5) KATAKAŋGÔ-NÖ PANA Glossing with morphemic analysis (1) official-GEN (2) eighty maiden-PLUR-POSS (3) scoop.up-INF mix. together-ATTR (4) temple well-GEN near-GEN (5) katakaŋgô-GEN flower Translation (5) [Oh,] katakaŋgô flowers (4) near the temple well, where (2) many maiden [daughter]s (1) of officials (3) mix together scooping up [the water]. Commentary Except two genitive case markers -nö in lines one and four everything else is in logographic script. On WOJ mönönöpu ‘official’ see the commentary to 1.50. 114 Chiri himself believes that hantakor < anrakor (an ‘black’ + ra ‘leaf’ + kor ‘have’) (1976: 203), but I fail to understand how this might be possible from the viewpoint of the Ainu historical phonology: although there are other cases of the prosthetic h- in Bihoro (Vovin 1993: 30), one of the dialects where hantakor is attested, the cluster *-nr- > -yr-, not -nt- (Vovin 1993:37-38).

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WOJ yasô ‘eighty’ < ya ‘eight’ + -sô, bound word for ‘ten’ is often used in the meaning ‘many’. Japanese scholars normally read the Chinese character 於 yú in line four as WOJ upë ‘top, surface’ (Takeda 1957.19: 173), (Omodaka 1984.12: 16), (Aoki 1997: 22). But katakaŋgô flowers do not grow on the top of the temple well, or on the surface of its water, they apparently grow near it. Consequently, I replace upë with WOJ pata ‘edge’, ‘vicinity’. On WOJ katakaŋgô (堅香子, MdJ katakuri 片栗) ‘dogtooth violet’ see the commentary to the preface to 19.4143.

Preface to the poems 19.4144-4145

本文・Original text 見歸鴈歌二首

Translation Two poems [that I composed] when [I] saw returning wild geese. Commentary On WOJ kari ‘wild goose’ see the commentary to 15.3665. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. It is not dated, either, but given the mentioning of wild geese returning to the North and swallows it probably was composed in the late spring of 750 AD.

19.4144

本文・Original text (1) 燕來 (2) 時尓成奴等 (3) 鴈之鳴者 (4) 本郷思都追 (5) 雲隱喧 仮名の書き下し・Kana transliteration (1) つばめ 2 くる (2) と 2 き 1 になりぬと の 1 ひ 1 つつ (5) くも 1 がくりなく

2

(3) かりがねは (4) くにし

Romanization (1) TUmBAMË K-URU (2) TÖKÎ n-i NAR-I-n-u tö (3) KARI-ŋGA NE pa (4) KUNI SINÔP-Î-tutu (5) KUMÔ-ŋ-GAKUR-I NAK-U Glossing with morphemic analysis (1) swallow come-ATTR (2) time DV-INF become-INF-PERF-FIN DV (3) wild.goose-POSS sound TOP (4) land long.for-INF-COOR (5) cloud-LOC-hide-INF cry-FIN Translation (2) As [it] is time when (1) swallows come, (3) wild geese (5) are hiding in the clouds and crying, (4) longing for [their] motherland. Commentary Logography is dominant in this poem. WOJ tumbamë ‘swallow’ is a migratory bird. In poetry it is considered to be a summer bird, therefore we can see a clear transition in this poem: wild geese depart in late spring and swallows come in early summer. Swallows have big

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wings and their tail feathers are long ad divided in two. Swallow has a black glossed back and a white belly. They are considered to be birds that bring benefits to the dwelling where they makes their nests. This is the only poem in the Man’yōshū, where a swallow is mentioned (Nakanishi 1985: 297). WOJ tumbamë ‘swallow’ is an interesting word. It is not attested in OJ in the phonographic spelling, therefore Omodaka et al. transcribe it as tumbame with unknown type of /e/ (1967: 474). Nevertheless, this word apparently contains WOJ suffix -më, found in other birds’ names that are phonographically attested, e.g., sunzumë ‘sparrow’, therefore one can safely come to the conclusion that the word was tumbamë with otsu-rui vowel ë in WOJ. Another interesting aspect to note concerning this word is that in MJ it appears as tumbakurame (TM 33.13).115 I believe that we deal here with two different but partially related compounds: tumba + -më and tumba + kura + -më. The meaning of both tumba and kura is obscure, although kura may mean ‘dark’, given the black color of the bird’s back. The first of them, tumba, may be a North-East Asian Wanderwort, cf. MK cyěpì ‘swallow’, Manchu čibin ‘id.’, Jurchen šibihun (Kiyose 1977: 107) ~ šibiehun (Kane 1989: 219) ‘id.’116 It seems to me, though, that an explanation of both WOJ tumba- and Manchu čibin as loanwords from Old Korean is preferable to the Wanderwort scenario. Nevertheless, the problems remain, such as the presence of a rising pitch in MK cyěpì ‘swallow’, which points to the disyllabic origin of the first syllable, and the discrepancy in vocalism between WOJ and MK forms. Nakanishi provides two other names of the same bird, tubakura and tubakuro (1985: 297), but none of them is attested eve in MJ, let alone OJ. The first one first appears in the Japanese-Portuguese dictionary by Rodriguez in the spelling tçubakura, and the second one is even later, being attested only in the late Edo period in the book fourty-four of the text Jūtei honsō kōmoku keimō (重訂本 草綱目啓蒙) ‘Revised detailed and enlightened description of the herbs of our country’ published in 1847 AD (Nakamura et al. 1994.4: 459). On WOJ kari ‘wild goose’ and kari-ŋga ne ‘cries of wild geese’ see the commentary to 15.3665. Sometimes kari-ŋga ne ‘cries of wild geese’ is used simply to denote kari ‘wild geese’, as in this poem (see also 8.1539) (Omodaka 1984.19: 21). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. It is not dated, either, but given the mentioning of wild geese returning to the North it probably was composed in the late spring of 750 AD.

19.4145a

本文・Original text (1) 春設而 (2) 如此歸等母 (3) 秋風尓 (4) 黄葉山乎 (5) 不超來有米也 115

The textual data from the Taketori monogatari () are cited according to Sakakura Tsuyoshi’s edition (1957). The first number indicates the page of the edition, and the second the number of a line. 116 Kiyose suggested that Jurchen word could be related to Manchu sibirgan ‘speckled swallow’ (Kiyose 1977: 107), cf. also Manchu čibirgan ‘a small bird resembling a swallow with reddish head and back’, but these two words are clearly very late Manchu neologisms, created from the combination of čibin ‘swallow’ + gūldargan ‘eastern house swallow’ (Cincius 1977: 398). Other Tungusic parallels suggested in Cincius (1977: 398) must be reject for phonological and/or semantic problems.

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仮名の書き下し・Kana transliteration (1) はるまけ 2 て (2) かくかへ 1 ると 2 も 2 (3) あき 1 かぜに (4) も 1 み 1 たむやまを (5) こ 1 え 2 こ 2 ざらめ 2 や Romanization (1) PARU makë-TE (2) KA-KU KAPÊR-U tömö (3) AKÎ KAnZE-ni (4) MÔMÎT-U YAMA-wo (5) KÔYE-nZ-AR-Am-ë ya Glossing with morphemic analysis (1) spring retreat(INF)-SUB (2) be.thus-INF return-FIN CONJ (3) autumn wind-LOC (4) leaves.turn.red/yellow-ATTR mountain-ACC (5) cross-NEGexist-TENT-EV IP Translation (2) Even if [wild geese] thus return [to their land] (1) because the spring retreats, (5) would [they] not cross (4) the mountains where leaves turn red and yellow (3) in the autumn wind? [-- Certainly, they would!] Commentary Logography is dominant in this poem. The poem 19.4145 has two variants with very different lines one and two, therefore I present these as 19.4145a and 19.4145b. The character 設 ‘to provide, to pepare’ is used as a kungana for makë- ‘to retreat’. On WOJ kari ‘wild goose’ (not mentioned here verbatim, but implied by the preface to the poems 19.4144-4145 and the general meaning of this poetic sequece) see the commentary to 15.3665. On OJ mômît- ‘to turn red and/or yellow (of autumn leaves)’ see the commentary to 15.3693. The last line represents a irony question (hango, 反語), to which an opposite answer is expected -- a negative answer to an affirmative question, and an affirmative answer to a negative question. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. It is not dated, either, but given the mentioning of wild geese returning to the North it probably was composed in the late spring of 750 AD.

19.4145b

本文・Original text (1) 春去者 (2) 歸此鴈 (3) 秋風尓 (4) 黄葉山乎 (5) 不超來有米也 仮名の書き下し・Kana transliteration (1) はるされば (2) かへ 1 るこ 2 の 2 かり (3) あき 1 かぜに (4) も 1 み 1 たむやまを (5) こ 1 え 2 こ 2 ざらめ 2 や Romanization (1) PARU SAR-E-mba (2) KAPÊR-U KÖNÖ KARI (3) AKÎ KAnZE-ni (4) MÔMÎT-U YAMA-wo (5) KÔYE-nZ-AR-Am-ë ya Glossing with morphemic analysis (1) spring go.away-EV-CON (2) return-ATTR this wild.goose (3) autumn - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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wind-LOC (4) leaves.turn.red/yellow-ATTR mountain-ACC (5) cross-NEGexist-TENT-EV IP Translation (2) These wild geese that are returning [to their land] (1) because the spring goes away, (5) would [they] not cross (4) the mountains where leaves turn red and yellow (3) in the autumn wind? [-- Certainly, they would!] Commentary Logography is dominant in this poem. This is the second variant of the poem 19.4145 with very different lines one and two, therefore I present it as 19.4145b. The rest of the commentary to this poem is virtually identical to the commentary to 19.4145a, so I do not repeat it here.

Preface to the poems 19.4146-4147

本文・Original text 夜裏聞千鳥喧歌二首

Translation Two poems [that I composed] when [I] heard a plover crying in the night. Commentary On WOJ tindöri ‘plover’ see the commentary to 20.4477. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. These poems are not dated, but given the mentioning of plovers, which are the birds associated with winter, it probably was composed in the winter of 750-751 AD.

19.4146

本文・Original text (1) 夜具多知尓 (2) 寐覺而居者 (3) 河瀬尋 (4) 情毛之努尓 (5) 鳴知等 理賀毛

仮名の書き下し・Kana transliteration (1) よ 1 ぐたちに (2) ねさめ 2 てをれば (3) かはせと 2 め ろ 2 も 1 しの 1 に (5) なくちど 2 りかも 1

2

(4) こ 2 こ

2

Romanization (1) YÔ-ŋ-gutat-i n-i (2) NE-n-ZAMË-TE WOR-E-mba (3) KAPA SE TÖMË (4) KÖKÖRÖ mô sinô n-i (5) NAK-U tindöri kamô Glossing with morphemic analysis (1) night-GEN-decline-NML DV-INF (2) sleep(NML)-LOC-wake.up(INF)SUB exist-EV-CON (3) river rapids visit(INF) (4) heart FP drooping DV-INF (5) cry-ATTR plover EP

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Translation (1) The night was on decline, and (2) as I woke up, and (3) visited river rapids, (5) [I wondered about] plovers that were crying (4) [so] depressingly. Commentary Note that starting from this poem the script starts to incorporate more phonographic signs than before. WOJ kutat- ‘to decline’ already appeared before in 5.847. WOJ verb tömë- ‘to visit’ appearing in this poem, probably indicates that WOJ mötömë- ‘to seek’ is a derived verb, exhibiting a prefix or a preverb mö-, with yet unclear meaning + tömë-. On WOJ tindöri ‘plover’ and its symbolic meaning associated with love and longing see the commentary to 20.4477. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. It is not dated, either, but given the mentioning of plovers, which are the birds associated with winter, it probably was composed in the winter of 750-751 AD.

19.4147

本文・Original text (1) 夜降而 (2) 鳴河波知登里 (3) 宇倍之許曽 (4) 昔人母 (5) 之努比來 尓家礼 仮名の書き下し・Kana transliteration (1) よ 1 くたちて (2) なくかはちど 2 り (3) うべ 2 しこ 2 そ 2 (4) むかし の 2 ひ 1 と 2 も 2 (5) しの 1 ひ 1 き 1 にけ 1 れ Romanization (1) YÔ KUTAT-I-TE (2) NAK-U KApa tindöri (3) umbë-si kösö (4) MUKASI PÎTÖ mö (5) sinôp-î K-Î-n-i-kêr-e Glossing with morphemic analysis (1) night decline-INF-SUB (2) cry-ATTR river plover (3) be.proper-FIN FP (4) old.times person FP (5) long.for-INF come-INF-PERF-TENT-EV Translation (3) It is indeed natural that (4) the people of old, too, (5) came longing (2) for river plovers that cry (1) when nights were on decline. Commentary Phonography is marginally dominant in this poem. WOJ kutat- ‘to decline’ already appeared before in 5.847. On WOJ tindöri ‘plover’ and its symbolic meaning associated with love and longing see the commentary to 20.4477. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. It is not dated, either, but given the mentioning of plovers, which are the birds associated with winter, it probably was composed in the winter of 750-751 AD.

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Preface to the poems 19.4148-4149

本文・Original text 聞暁鳴巣歌二首

Translation Two poems [that I composed] when [I] heard a pheasant crying at the early dawn. Commentary Chinese character 暁 xiǎo is an equivalent of WOJ akatökî ‘early dawn, pre-dawn’, on which see the commentary to 17.3945. In temporal progression, it is akatökî ‘early dawn’  akëmbonö ‘dawn’  asakë ‘early morning’  asa ‘morning’. Chinese character 巣 zhì ‘pheasant’ is a variant of the character 雉 zhì with the same meaning. Note that radicals are different, although the phonetic is the same in both cases. OJ kîŋgîsi ‘pheasant’ is a beautiful bird of golden, green, and black colors, with a long feathers in its tail. Females have yellowish color. It subsists on tree fruits, with insects as a supplimentary diet. Pheasants sing in the morning and in the evening when they forage for food. They cry noisily during the breeding period in the spring. Pheasants were hunted, since their meat was considered delicious (Nakanishi 1985: 293). MJ form of the same word is kinzi, with an irregular contraction, with MdJ kizi as its direct descendant. There is a possible etymological connection of OJ kîŋgîsi to MK skwèng ‘pheasant’ < *su-kweŋk(V) and MdK am-khweng ‘female pheasant’ < *ámh-kwèng < *amh-kweŋk(V),117 although the vocalic correspondence of OJ î : MK we remains unexplained.118 This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. These poems are not dated, but given the mentioning of pheasants crying in the morning, they should have been composed in the spring of 750 AD.

19.4148

本文・Original text (1) 榲野尓 (2) 左乎騰流巣 (3) 灼然 (4) 啼尓之毛将哭 (5) 己母利豆麻 可母 仮名の書き下し・Kana transliteration (1) すぎ 2 の 2 の 1 に (2) さをど 2 るき 1 ぎ 1 し (3) いちしろ 1 く (4) ね にしも 1 なかむ (5) こ 2 も 2 りづまかも 2

117

For the reconstructed origin of the aspiration in this word, cf. actually attested MK ám-khàhí ‘bitch’ (lit. ‘female dog’ vs. MK kàhí ‘dog’) and ám-thʌ̀rk ‘hen’ (lit. ‘female chicken’ vs. MK tʌ̀rk ‘chicken’). 118 This difficulty may be resolved on the basis of two conjectures; a) that OJ kîŋgîsi < *kïŋgîsi by regressive assimilation, and that b) pre-OJ *ï < *oy. Then the archetype might have been *oe, with the raising of *e > *i in pre-OJ, with a subsequent devocalization of *-i > *-y, and with the opposite devocalization of OK or PK *o to MK /w/. However, there are also cases when PJ *oy > OJ î, not ï (Vovin 2011b: 225-226).

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Romanization (1) SUŋGÏ-NÖ NÔ-ni (2) sa-wondör-u KÎŋGÎSI (3) ITISIRÔ-KU (4) NE-ni si mô NAK-AM-U (5) kömör-i-n-duma kamö Glossing with morphemic analysis (1) cryptomeria-GEN field-LOC (2) PREF-hop-ATTR pheasant (3) be.clearINF (4) weeping.sound-LOC EP FP cry-TENT-FIN (5) hide-NML-DV (ATTR)-spouse EP Translation (2) A pheasant who hops [up and down] (1) in the cryptomeria field (3) distinctly cries in weeping sounds. (5) [I] wonder whether [you are] a hiding wife! Commentary Logography is marginally dominant in this poem. On OJ suŋgï ‘cryptomeria’ see the commentary to 14.3363. Chinese character 榲 wū ~ wēn is a rarer logographic spelling for OJ suŋgï ‘cryptomeria’ than the much more frequent character 杉 shān. On OJ kîŋgîsi ‘pheasant’ see the commentary to the preface to 19.4147 above. Chinese character 啼 tí means ‘to cry, to weep’, but it corresponds in this poem just to WOJ ne ‘sound’, which has a wide semantic range. In my glossing and translation I have tried to combine the information on semantics provided on the one hand by the script, and on the other by the language itself. WOJ kömör-i-n-duma ‘hiding wife’ is a wife who is hiding in order to avoid to be seen by other men. Here the pheasant who is hiding in the dense grass is compared to a ‘hiding wife’, since both feel the danger of being seen by people (Aoki 1997: 29). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. It is not dated, either, but given the mentioning of pheasants crying in the morning, they should have been composed in the spring of 750 AD.

19.4149

本文・Original text (1) 足引之 (2) 八峯之巣 (3) 鳴響 (4) 朝開之霞 (5) 見者可奈之母 仮名の書き下し・Kana transliteration (1) あしひ 1 き 2 の 2 (2) やつをの 2 き 1 ぎ 1 し (3) なき 1 と 2 よ 2 む (4) あ さけ 2 の 2 かすみ 1 (5) み 1 ればかなしも 2 Romanization (1) ASI pîkï N-Ö (3) YA-TU WO-NÖ KÎŋGÎSI (3) NAK-Î-TÖYÖM-U (4) ASAKË-NÖ KASUMÎ (5) MÎ-RE-mba kanasi-mö Glossing with morphemic analysis (1) foot low DV-ATTR (2) eight-CL hill-GEN pheasant (3) cry-INFresound-ATTR (4) early.morning-GEN mist (5) look-EV-CON be.sad-EXCL

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Translation (5) [I] am sad when [I] look (4) at the mist in the early morning (2) where pheasants from many hills (1) with low feet (3) cry loudly! Commentary Logography is dominant in this poem. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. OJ ya- ‘eight’ is used here in the meaning of ‘many’ (Omodaka 1984.19: 22), (Aoki 1997: 30). On OJ kîŋgîsi ‘pheasant’ see the commentary to the preface to 19.4147 above. On the time slot of WOJ asakë ‘early morning’ see the commentary to the preface to 19.4148-4149. Etymologically the word is a contraction of asa ‘morning’ + akë ‘brightening’. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. It is not dated, either, but given the mentioning of pheasants crying in the morning, they should have been composed in the spring of 750 AD.

Preface to the poem 19.4150

本文・Original text 遥聞泝江船人之唱歌一首

Translation A poem [that I composed] when [I] heard in the distance the song of boatmen, who were going up the river. Commentary The characters 遥聞 ‘heard in the distance’ are also used by Opotömö-nö Yakamöti on two other occasions: in the preface to 17.3988 and in the preface to 18.4089-4092. In both cases they refer to hearing a cuckoo in the distance. The usage of the character 江 ‘river’ instead of 河 or 川 ‘river’ betrays the influence of the Chinese style (Aoki 1997: 31). The river is Imîndu river (Imîndu-ŋ-gapa, 射水河) on which see the commentary to 17.3985. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. This poem is undated and there are no clues indicating the season of the year, but the fact that it is sandwiched between the poems that are either dated by the first or second day of the third lunar month of the second year of the Tenpyō-Shōhō or the poems that are can be dated by the spring of 750 AD (with the exception of 19.4146-4147 that appear to be winter poems) and the poems 19.4151-4153 composed on the third day of the third lunar month of the second year of the Tenpyō-Shōhō, and the fact that it clearly refers to the morning time, allow me to make an educated guess that it was composed in the morning or the afternoon of the third day of the third lunar month of the second year of the Tenpyō-Shōhō (corresponding to April 13, 750 AD), especially given the circumstances that the evening hours were occupied by the banquet in Opotömö-nö Yakamöti’s mansion, as we learn from the preface to 19.4151-4153. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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19.4150

本文・Original text (1) 朝床尓 (2) 聞者遥之 (3) 射水河 (4) 朝己藝思都追 (5) 唱船人 仮名の書き下し・Kana transliteration (1) あさど 2 こ 2 に (2) き 1 け 2 ばはるけ 2 し (3) いみ 1 づかは (4) あさ こ 2 ぎ 1 しつつ (5) うたふふなび 1 と 2 Romanization (1) ASA-n-DÖKÖ-ni (2) KÎK-Ë-mba PARUKË-si (3) IMÎnDU KAPA (4) ASA köŋg-î s-i-tutu (5) UTAP-U PUNA-m-BÎTÖ Glossing with morphemic analysis (1) morning-GEN-bed-LOC (2) hear-EV-CON be.distant-FIN (3) Imîndu river (4) morning row-NML do-INF-COOR (5) sing-ATTR boat-GEN- person Translation (1/2) When [I] heard [it] on [my] bed in the morning, [it] was in the distance: (5) boatmen, who were singing (4) while rowing [up] in the morning (3) on Imîndu river. Commentary Logography is dominant in this poem. On Imîndu river (Imîndu kapa, 射水河 ~ 伊美豆河波 ~ 伊美都河泊), which is present-day Oyabe river (Oyabe-gawa, 小 矢 部 川 ), see the commentary to 17.3985. WOJ parukë- ‘to be distant’ normally refers to sounds that are heard in the distance. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the dating of this poem see the commentary to its preface above.

Preface to the poems 19.4151-4153 本文・Original text 三日守大伴宿祢家持之舘宴歌三首

Translation Three poems [composed] at the banquet in the mansion of Governor Opotömö-nö Yakamöti on the third day [of the third lunar month of the second year of Tenpyō Shōhō]. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. The mansion of the governor of Wettiu province stood on a hill at the foot of Mt. Putaŋgamî. In the clear weather it offered excellent view on Tateyama mountain range. Nowadays Man’yō rekishi kan (万葉歴史館) ‘Man’yōshū history museum’ in Takaoka city (Takaoka-shi, 高岡市) stands on its place. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. There are other cases when he refers to himself as ‘Governor’, see, e.g. the postscript - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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to 17.3962-3964, which are all official occasions. The third day of the third lunar month of the second year of Tenpyō Shōhō corresponds to April 13, 750 AD.

19.4151

本文・Original text (1) 今日之爲等 (2) 思標之 (3) 足引乃 (4) 峯上之櫻 (5) 如此開尓家里 仮名の書き下し・Kana transliteration (1) け 1 ふの 2 ため 2 と 2 (2) おも 2 ひ 1 てしめ 2 し (3) あしひ 1 き 2 の 2 (4) をの 2 うへ 2 の 2 さくら (5) かくさき 1 にけ 1 り Romanization (1) KÊPU-NÖ TAMË tö (2) OMÖP-Î-TE SIMË-si (3) ASI pîkï n-ö (4) WO-NÖ UPË-NÖ SAKURA (5) KA-KU SAK-Î-n-î-kêr-i Glossing with morphemic analysis (1) today-GEN for DV (2) think-INF-SUB mark(INF)-PAST.ATTR (3) feet low DV-ATTR (4) hill-GEN top-GEN sakura (5) be.thus-INF bloom-INFPERF-INF-RETR-FIN Translation (4/5) And so the sakura bloomed on the hill (3) with low foot (2) that I marked [as a place of my dwelling] thinking (1) that [it is] for today[’s banquet]. Commentary This poem is a welcoming poem to the guests that served a purpose of creating a joyful atmosphere at the banquet by mentioning sakura in full bloom (Aoki 1997: 34). WOJ simë- ‘to mark’ usually indicates marking the place of one’s residence or the place where one currently is located (Omodaka et al. 1967: 369). In other words, Opotömö-nö Yakamöti was posting signs for his party. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to 15.3655. The hill mentioned here is, of course, a hill where the gubernatorial mansion was located. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the dating of this poem see the commentary to the preface to 19.4151-4153 above.

19.4152

本文・Original text (1) 奥山之 (2) 八峯乃海石榴 (3) 都婆良可尓 (4) 今日者久良佐祢 (5) 大夫之徒 仮名の書き下し・Kana transliteration (1) おくやまの 2 (2) やつをの 2 つばき 1 (3) つばらかに (4) け 1 ふはく らさね (5) ますらをの 2 と 2 も 2

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Romanization (1) OKU YAMA-NÖ (2) YA-TU WO-nö TUmBAKÎ (3) tumbaraka n-i (4) KÊPU pa kuras-an-e (5) MASURA WO N-Ö TÖMÖ Glossing with morphemic analysis (1) back mountain-GEN (2) eight-CL peak-GEN camellia (3) complete DV-INF (4) today TOP live.through-DES-IMP (5) noble man DV-ATTR companion Translation (5) [My] noblemen companions (4) I wish [you] live through today (3) completely [merrily] (2) [like] camellias on many peaks (1) of the mountain in the back! Commentary This poem apparently served the purpose of an official welcoming poem to the guests (Aoki 1997: 35). There is a sound play on first two syllables in tumbaraka ‘complete, plentiful’ and tumbakî ‘camellia’. Certainly, ‘completely’ vs. ‘camellia’ does not quite play the same trick in English, but it is as close as one can get. On OJ ya- ‘eight’ see the commentary to 19.4149. On OJ tumbakî ‘camellia’, see the commentary to 20.4418. WOJ tumbaraka ‘complete’ is a rare word: besides this poem it occurs only in 9.1753. On both occasions we have adverbial usage with the following n-i DV-INF. On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ see the commentary to 5.804. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the dating of this poem see the commentary to the preface to 19.4151-4153 above.

19.4153

本文・Original text (1) 漢人毛 (2) 筏浮而 (3) 遊云 (4) 今日曽和我勢故 (5) 花縵世余 仮名の書き下し・Kana transliteration (1) からひ 1 と 2 も 1 (2) いかだうかべ 2 て (3) あそ 1 ぶと 2 いふ (4) け 1 ふそ 2 わがせこ 1 (5) はなかづらせよ 2 Romanization (1) KARA PÎTÖ mô (2) IKAnDA UKAmBË-TE (3) ASÔmB-U TÖ IP-U (4) KÊPU sö wa-ŋga se-kô (5) PANA KAnDURA se-yö Glossing with morphemic analysis (1) China person FP (2) raft make.float(INF)-SUB (3) enjoy-FIN DV say-FIN (4) today FP I-POSS elder.brother-DIM (5) flower laurel do-IMP Translation (1/3) They say that the Chinese, too, enjoy [themselves] (2) making [pleasure boat] rafts to float. (5) Let us make [sakura] flower laurels (4) today, my elder brothers! - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Commentary Logography is dominant in this poem. This poem apparently served the purpose of outlining the general spirit of the banquet. It also indicated that literati who gathered were behaving in a Chinese style (Aoki 1997: 36). Aoki believes that OJ ikanda ‘raft’ in this poem is the same as Chinese 舟 筏 zhōu fá ‘boat raft’ and probably indicates a boat (1997: 35-36). Although se ‘elder brother’ was normally used as a term of address by a woman to a man, especially if the latter was her husband or a lover, here as in other poems (e.g. 17.3990, 17.3997, 17.4006, and 17.4007) Opotömö-nö Yakamöti uses it towards men, who are also his juniors.119 This usage should be taken along the lines of politeness. On WOJ kandura ‘laurel, wig’ and a custom associated with it see the commentary to 5.817. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the dating of this poem see the commentary to the preface to 19.4151-4153 above.

Preface to the poems 19.4154-4155

本文・Original text 八日詠白大鷹歌一首并短歌

Translation A poem [I] composed on the eighth day [of the third lunar month of the second year of Tenpyō Shōhō] about white three-year old female falcon with a tanka [envoy]. Commentary On WOJ taka ‘hawk, falcon’ and different varieties of it see the commentary to 17.4011. Opo taka (lit. ‘big falcon’) is ‘three-year old female falcon’ or ‘goshawk’, but here it must be the former, because goshawks have blue color. It is interesting to note that all poems about falcons in the Man’yōshū are composed by Opotömö-nö Yakamöti. Falcons must have been his special passion. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. The eighth day of the third lunar month of the second year of Tenpyō Shōhō corresponds to April 18, 750 AD.

19.4154

本文・Original text (1) 安志比奇乃 (2) 山坂超而 (3) 去更 (4) 年緒奈我久 (5) 科坂在 (6) 故志尓之須米婆 (7) 大王之 (8) 敷座國者 (9) 京師乎母 (10) 此間毛於 夜自等 (11) 心尓波 (12) 念毛能可良 (13) 語左氣 (14) 見左久流人眼 (15) 乏等 (16) 於毛比志繁 (17) 曽己由惠尓 (18) 情奈具也等 (19) 秋 附婆 (20) 芽子開尓保布 (21) 石瀬野尓 (22) 馬太伎由吉氐 (23) 乎知 119

There is also at least one example when a man uses it as a term of address to another man of an equal status (20.4499).

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許知尓 (24) 鳥布美立 (25) 白塗之 (26) 小鈴毛由良尓 (27) 安波勢也 理 (28) 布里左氣見都追 (29) 伊伎騰保流 (30) 許己呂能宇知乎 (31) 思延 (32) 宇礼之備奈我良 (33) 枕附 (34) 都麻屋之内尓 (35) 鳥座由 比 (36) 須惠弖曽我飼 (37) 眞白部乃多可 仮名の書き下し・Kana transliteration (1) あしひ 1 き 2 の 2 (2) やまさかこ 1 え 2 て (3) ゆき 1 かはる (4) と 2 しの 2 をながく (5) しなざかる (6) こ 1 しにしすめ 2 ば (7) おほき 1 み (10) こ 2 こ 2 も 1 おや 1 の 2 (8) しき 1 ますくには (9) み 1 やこ 1 をも 2 じと 2 (11) こ 2 こ 2 ろ 2 には (12) おも 2 ふも 1 の 2 から (13) かたりさけ (16) おも 1 ひ 1 し 2 (14) み 1 さくるひ 1 と 2 め 2 (15) と 2 も 2 しみ 1 と 2 しげ 2 し (17) そ 2 こ 2 ゆゑに (18) こ 2 こ 2 ろ 2 なぐやと 2 (19) あき 1 づけ 2 ば (20) はぎ 2 さき 1 にほふ (21) いはせの 1 に (22) うまだき 1 ゆき 1 て (23) をちこ 2 ちに (24) と 2 りふみ 1 たて (25) しらぬりの 2 (26) こ 1 すずも 1 ゆらに (27) あはせやり (28) ふりさけ 2 み 1 つつ (29) い き 1 ど 2 ほる (30) こ 2 こ 2 ろ 2 の 2 うちを (31) おも 2 ひ 1 の 2 べ 2 (32) う れしび 2 ながら (33) まくらづく (34) つまやの 2 うちに (35) と 2 ぐら ゆひ 1 (36) すゑてそ 2 あがかふ (37) ましらふの 2 たか Romanization (1) asi pîkï n-ö (2) YAMA SAKA KÔYE-TE (3) YUK-Î KAPAR-U (4) TÖSI-NÖ WO naŋga-ku (5) sina-n-zakar-u (6) Kôsi-ni si sum-ë-mba (7) OPO KÎMÎ-NÖ (8) SIK-Î-[I]MAS-U KUNI pa (9) MÎYAKÔ-wo mö (10) KÖKÖ mô oyanzi tö (11) KÖKÖRÖ-ni pa (12) OMÖP-U mônökara (13) KATAR-I-sakë (14) MÎ-sak-uru PÎTÖ MË (15) TÖMÖSI-MÎ tö (16) omôp-î-si SIŋGË-SI (17) sökö yuwe n-i (18) KÖKÖRÖ naŋg-u ya tö (19) AKÎ-n-DUK-Ë-mba (20) PAŋGÏ SAK-Î-nipop-u (21) IPASE NÔ-ni (22) UMA-n-dak-î yuk-î-te (23) woti köti-ni (24) TÖRI pum-î TATE (25) SIRA NUR-I-NÖ (26) KÔ-SUnZU mô yura n-i (27) apase-yar-i (28) purisakë-MÎ-tutu (29) ikîndöpor-u (30) kökörö-nö uti-wo (31) OMÖP-Î-NÖmBË (32) uresimbï-naŋgara (33) MAKURA-n-DUK-U (34) tuma-YA-NÖ UTI-ni (35) TÖ-ŋ-GURA yup-î (36) suwe-te sö A-ŋGA KAP-U (37) MA-SIRA-pu n-ö taka Glossing with morphemic analysis (1) foot low DV-ATTR (2) mountain slope cross(INF)-SUB (3) go-INF change-ATTR (4) year-GEN cord be.long-INF (5) sun-COMP-be.far.awayATTR (6) Kôsi-LOC live-EV-CON (7) Great Lord-GEN (8) rule-INFHON-ATTR country TOP (9) capital-ACC FP (10) here FP same DV (11) heart-LOC TOP (12) think-ATTR although (13) talk-INF-let.go(INF) (14) see(INF)-let.go-ATTR person eye (15) be.few-CON DV (16) think-INFPAST.ATTR be.dense-FIN (17) there reason DV-INF (18) heart be.consoledFIN DV (19) autumn-GEN-arrive-EV-CON (20) bush.clover bloom-INFbe.beautiful-FIN (21) Ipase field-LOC (22) horse-LOC-reign-INF go-INFSUB (23) there here-LOC (24) bird tread-INF raise(INF) (25) white plate-NML DV-ATTR (26) DIM-bell FP tinkling DV-INF (27) make.follow. the.prey-send.off-INF (28) look.up(INF)-look(INF)-COOR (29) be. depressed-ATTR (30) heart-GEN inside-ACC (31) think-INF-make.relieved (INF) (32) rejoice(INF)-COOR (33) headrest-GEN-attach-ATTR (34) spouse-room-GEN inside-LOC (35) bird-GEN-house build-INF (36) place(INF)-SUB FP I-POSS feed-ATTR (37) INT-white-spot DV-ATTR falcon - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Translation (6) As [I] live in Kôsi (5) that is far [from the capital] as the sun (4) for a long string of years (3) that go by (2) after [I] crossed slopes [of] mountains (1) with low feet, (12) although [I] think (11) in [my] heart (9/10) that both the capital and here [are] the same, (7/8) in the country that the Emperor deigns to rule, (16) [I] had frequent thoughts (15) that there are few (13/14) people whom [I] could see or talk with to let [my worries] go. (17) Because of that (18) [I thought]: ‘Will [my] heart [ever] be at ease?’ (19) When the autumn comes, (20) bush clover blooms beautifully. (22) As [I] went directing my horse (21) to Ipase field (23/24) raising birds here and there as [I] treaded [on the ground], and (27) [I] released [my] falcon and sent [it] off to follow the prey (25/26) [with its] small silver-plated bells tinkling, (28) when [I] looked up [at it], (30/31) [the sight] made the inside of [my] heart relieved, and (32) while rejoicing, (35) [I] built a bird house, and (36) placed [it] (34) inside [our] spousal chamber, (33) where [our] headrests stand side by side, (37) [for my] white-spotted falcon (36) that I am raising. Commentary Phonography is marginally dominant in this poem. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. WOJ yuk-î kapar- ‘to go by’ is an expression used for years and months that come and go away. See also 11.2792 and 18.4125. WOJ phrase tösi-nö wo naŋga-ku ‘for a long string of years’ (tösi-nö wo ŋ na ga-mî ‘because [it is] for a long string of years’ in one case in 20.4333) is a set idiomatic expression. On WOJ sina-n-zakar- ‘to be far as the sun’ and sina ‘sun’ see the commentary to 17.3969. This expression occurs also in three other poems in the Man’yōshū: 18.4071, 19.4220, and 19.4250. On WOJ placename Kôsi see the commentary to 17.4000. On opo kîmî ‘Great Lord’, a title that refers to the Emperor, see the commentary to 5.794. On OJ oyanzi ‘same’ see the commentary to 14.3464. Contrary to my erroneous glossing in 17.3978 and 17.4006 as ‘be.same(FIN)’, this appears to be an uninflected adjective in OJ, since in contrast to onanzi ‘be the same’, where the infinitive onanzi-ku (18.4073) and attributive onanzi-kî (18.4076) are attested, there are no corresponding forms *oyanzi-ku and *oyanzi-kî. There are only four attestations of this word in the Man’yōshū, one of them in an EOJ text (14.3464). OJ mönökara (spelt unetymologically as mônökara in this poem) is a conjunction meaning ‘although’ (Vovin 2009a: 1143-1144). WOJ katar-i-sakë- is a hapax legomenon, and mî-sakë- is a verb attested just twice. It seems, though, judging from the context that they mean ‘to talk with someone to let go one’s worries, to talk with someone to get consolation’ and ‘to see someone to let go one’s worries, to see someone to get consolation’. WOJ sakë- in these verbal compounds is probably etymologically connected to WOJ sakë- ‘to split, to send away, to send out’. This can probably be confirmed by the second attested example of mî-sakë- in 1.17, where it means ‘to look at in the distance’, i.e., ‘to send one’s gaze away’. On WOJ paŋgï ‘bush clover’ see the commentaries to 15.3656 and 20.4297. Ipase field is frequently believed to be located in Nipîkapa district (新川 - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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郡) of the Wettiu province (越中國), which was until recently Niikawa county (新川郡) of the Toyama prefecture, but nowadays is included into Toyama city (Toyama-shi, 富山市). The more exact location of Ipase field is not known (Nakanishi 1985: 426). Nakanishi makes a reference to Takaoka city (Takaoka-shi, 高岡市) location, which seems to be strange, because Niikawa county is located to the east of Toyama city, while Takaoka city is to the west of it. Omodaka also places the location of Ipase field even more to the west to the relative vicinity of the gubernatorial mansion (1984.19: 28-30). He is probably right, given the next line uma-n-dak-î yuk-î-te ‘direct/reign the horse and go’: it is highly unlikely that Opotömö-nö Yakamöti would go on a horse-back for a day hunt into Eastern Wettiu. WOJ sira nur-i n-ö sunzu ‘silver plated bells’ attached to the tail of a falcon previously appeared in 17.4011. 17.4011 and 19.4154 that are the only poems in the Man’yōshū, where this expression appears. WOJ apase- ‘to release a falcon to follow its prey’ is a lexicalized form of the causative form of OJ ap- ‘to meet’. WOJ purisakë- ‘to look up’ functions as a preverb to OJ mî- ‘to look’. WOJ ikîndöpor- to be depressed’ is attested only once in the Man’yōshū, but there is also its adjectival derived form ikîndöpor-osi ‘to be depressed’ in NK 30. On OJ makura ‘headrest’ and WOJ makura-n-duk- ‘headrests stand side by side’ see the commentary to 5.795. WOJ kura is explained by Omodaka as ‘the place where a bird stays/spends the night’ (1984.19: 31). As it seems to me, a ‘bird house’ or a ‘bird cage’ would be a better equivalent, since: a) kura is a kind of a ‘storehouse’ or a ‘small house’ in general (cf. MdJ hokora < *po-kura ‘small shrine, spirit house’), b) the verb yup- indicates a construction of a house-like structure, c) it is highely unlikely that the falcon’s place was a simple perch: we can easily imagine that Opotömö-nö Yakamöti’s wife was already not quite happy with a bird in their bedroom, and freely roaming falcon would probably be out of question. WOJ yup- ‘to tie, to bind’ can be also used a term meaning building of houses or any other kinds of buildings. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface and the commentary to the preface to 19.4154-4155 above.

19.4155

本文・Original text (1) 矢形尾乃 (2) 麻之路能鷹乎 (3) 屋戸尓須惠 (4) 可伎奈泥見都追 (5) 飼久之余志毛 仮名の書き下し・Kana transliteration (1) やかたをの 2 (2) ましろ 1 の 2 たかを (3) やど 1 にすゑ (4) かき 1 な でみ 1 つつ (5) かはくしよ 2 しも 1 Romanization (1) YA KATA WO-nö (2) ma-sirô n-ö TAKA-wo (3) YAndô-ni suwe (4) kakî-nande MÎ-tutu (5) KAP-Aku si yö-si-mô

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Glossing with morphemic analysis (1) arrow shape tail-GEN (2) INT-white DV-ATTR falcon-ACC (3) home-LOC place(INF) (4) PREV-caress(INF) look(INF)-COOR (5) feedNML EP be.good-FIN-EXCL Translation (5) [It] is [so] good to raise (2) a purely white falcon (1) with an arrow-shaped tail, (3) placing [it] at [my] house (4) while caressing and looking at [it]! Commentary Phonography is dominant in this poem. On WOJ ya kata wo ‘arrow-shaped tail’ see the commentary to 17.4011. On OJ yandô ‘house, house garden’ see the commentary to 19.4172. It is difficult to decide in this case whether kakî- in kakî-nande- ‘to caress’ is a preverb kakî- or an infinitive kak-î of the verb kak- ‘to scratch’, from which the preverb is derived. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface and the commentary to the preface to 19.4154-4155 above.

Preface to the poems 19.4156-4158 本文・Original text 潜鸕歌一首并短歌

Translation A poem [I composed] about diving cormorants with [two] tanka [envoys]. Commentary Chinese 鸕 lú is the same bird as WOJ u ‘cormorant’, although sometimes it refers to bigger species. On WOJ u ‘cormorant see the commentary to 17.3991. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. The dating is more difficult, but mentioning of cormorants in conjunction with summer in 17.4011, and even more importantly of ayu ‘sweetfish’, which is a summer fish in the poems 19.4156 and 19.4258 below indicate that this preface and the poems 19.4156-4158 were composed in the summer of 750 AD.

19.4156

本文・Original text (1) 荒玉乃 (2) 年徃更 (3) 春去者 (4) 花耳尓保布 (5) 安之比奇能 (6) 山下響 (7) 堕多藝知 (8) 流辟田乃 (9) 河瀬尓 (10) 年魚兒挾走 (11) 嶋津鳥 (12) 鸕養等母奈倍 (13) 可我理左之 (14) 奈頭佐比由氣婆 (15) 吾妹子我 (16) 可多見我氐良等 (17) 紅之 (18) 八塩尓染而 (19) 於己 勢多流 (20) 服之襴毛 (21) 等寳利氐濃礼奴

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仮名の書き下し・Kana transliteration (1) あらたまの 2 (2) と 2 しゆき 1 かへ 1 り (3) はるされば (4) はなの 2 み 2 にほふ (5) あしひ 1 き 2 の 2 (6) やましたと 2 よ 2 み 1 (7) おちたぎ 1 ち (8) ながるるさき 1 たの 2 (9) かはの 2 せに (10) あゆこ 1 さばしる (11) しまつと 2 り (12) うかひ 1 と 2 も 2 なへ 2 (13) かがりさし (14) な づさひ 1 ゆけ 2 ば (15) わぎ 1 も 1 こ 1 が (16) かたみ 1 がてらと 2 (17) く れなゐの 2 (18) やしほにそ 2 め 2 て (19) おこ 2 せたる (20) こ 2 ろ 2 も 2 の 2 すそ 1 も 1 (21) と 2 ほりてぬれぬ Romanization (1) arata ma-nö (2) TÖSI YUK-Î ŋGAPÊR-I (3) PARU SAR-E-mba (4) PANA NÖMÏ nipop-u (5) asi pîkï n-ö (6) YAMA SITA TÖYÖM-Î (7) OTI-taŋgît-i (8) NAŋGAR-URU Sakîta-nö (9) KAPA SE-ni (10) ayu-KÔ sa-mBASIR-U (11) SIMA-tu TÖRI (12) U-KAP-Î tömönapë (13) kaŋgari sas-i (14) nandusap-î yuk-ë-mba (15) wa-ŋg-îmô-kô-ŋga (16) katamî-ŋ-katera tö (17) KURENAWI-NÖ (18) YA sipo n-i SÖMË-TE (19) oköse-tar-u (20) KÖRÖMÖ-NÖ SUSÔ mô (21) töpor-i-te nure-n-u Glossing with morphemic analysis (1) new interval-GEN (2) year go-INF return-INF (3) spring go.away-EV-CON (4) flower RP bloom.beautifully-FIN (5) foot low DV-ATTR (6) mountain under resound-INF (7) fall(INF)-rush-INF (8) flow-ATTR Sakîta-GEN (9) river rapids-LOC (10) sweetfish-DIM PREF-run-FIN (11) island-GEN/LOC bird (12) cormorant-feed-NML bring.as.companions(INF) (13) torch light-INF (14) be.soaked.in.water-INF go-EV-CON (15) I-POSS-beloved-DIM-POSS (16) keepsake-DV(INF)COOR DV (17) crimson.red-GEN (18) eight-CL DV-INF dye(INF)-SUB (19) send-PERF/PROG-ATTR (20) garment-GEN hem FP (21) pass-INF-SUB get.wet(INF)-PERF-FIN Translation (1) New (2) years go and return and (3) when the spring goes away (4) only the flowers are blooming beautifully. (10) Sweetfish are swimming fast (8/9) in the rapids of Sakîta river that flows, (7) falls and rushes (6) resounding under the mountains (5) with low feet. (12) [I] brought [with me] keepers of cormorants (11) the island birds, (14) and as [they] go soaking in water (13) and lighting torches, and (21) as [I] was passing through [the water], (20) the hem of [my] garment (15) that my dear beloved (18) dyed many times (17) in crimson red and (19) sent to me (16) intending [it] to be a keepsake (20/21) also got wet. Commentary Phonography is dominant in this poem. On WOJ arata ma ‘new interval’ see the commentary to 15.3683. ŋ gapêr-i in line two has secondary unetymological prenasalization. On WOJ nipop- see the commentary to 1.57. Besides ‘to be fragrant’, which is unlikely to be applicable here, it has a wide range of meanings: ‘to be beautiful, to bloom beautifully, be shining, to show colors’, etc. I follow Omodaka (1984.4: 33) in choosing the second of these multiple meanings in this case. Note that OJ restrictive particle nömï ‘only’ is written in line four with Chinese restrictive particle 耳 ěr, which is functionally not quite the same in - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Classical Chinese, where it is used only as a final restrictive particle with the meaning ‘that’s all’, being itself a contraction of 而已 ér yǐ. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. For the other examples of WOJ taŋgît- ‘to rush’, normally used in reference to water, or with a comparison to water, see 17.4003 and 17.4005. Line eight is hypermetric (jiamari, 字余り). Traditionally, this line is read as naŋgar-u Sakîta-nö without hypermetricity. Omodaka notes that naŋgar-u is used in the function of naŋgar-uru (1984.19: 33), but this is impossible, because the former is the final form, while the latter is the attributive. For the details on this fallacy see the commentary to 18.4106. The location of Sakîta (辟田) is not known with certainty, but it could be Saida (西田) part of Takaoka city (Takaoka-shi, 高岡市). WOJ Sakîta-nö kapa (辟田乃河) ‘Sakîta river’ may be modern Izumi river (Izumi-gawa, 泉 川) (Nakanishi 1985: 448) that flows from Toyama-city (Toyama-shi, 富山 市) through Takaoka city and empties into Toyama gulf (Toyama-wan, 富山 湾). There is no cogent Japanese etymology for this placename; possibly it is from a hypothetic Ainu sat-ki-ta-an ‘the one in dry miscanthus’, lit. dry-miscanthus-LOC-exist. On WOJ ayu ‘sweetfish’ see the commentary to 5.855. The strange spelling 年魚 ‘year fish’120 for ayu ‘sweetfish’ is usually explained as being logographic and motivated by a life cycle of ayu that lives one year (Omodaka et al. 1967: 51). However, this might be a folk etymology, or even if it is right, it is possible that there is another explanation, which could be at least an additional trigger for this spelling. As noted by Shimunek in his recent book, there is a probability that Japonic, while still being on the Asian mainland, borrowed some words from the Serbi (Xiān-bēi, 鮮卑) language (2017: 410, 413-414). Although most of Shimunek’s etymological proposals regarding Japonic remain highly questionable at least, due to the erroneous understanding of the Japonic historical phonology, the general idea might yet turn out to be valid. This case (not proposed by Shimunek) involves the word for ‘year’. The Serbi word for ‘year’ is not attested, but we have it in Khitan, which is a close relative of Serbi. It is Khitan ai ‘year’. Then the spelling 年魚 ‘year fish’ for ayu ‘sweetfish’ can be explained as ai, borrowed from Serbi + u, an irregular contraction of OJ uwo ‘fish’.121 On WOJ u ‘cormorant see the commentary to 17.3991. On WOJ kaŋgari ‘torch’ see the commentary to 17.4011. On WOJ nandusap- ‘to be soaked in water’ see the commentary to 17.4011. On WOJ katamî ‘keepsake’ see the commentary to 15.3693. On WOJ kurenawi ‘crimson red’ see the commentary to 15.3703. WOJ sipo is a classifier indicating the number of times a cloth has been dyed (Omodaka et al. 1967: 365). On OJ ya- ‘eight’ see the commentary to 19.4149. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the dating of this poem by summer of 750 AD see the preface and the 120 Note that an alternative logographic spelling for ayu uses a Chinese character 鮎 (as in the poem 19.4158 below), which is actually a character created in Japan (kokuji, 國字), since the same character 鮎 nián in China is used for a ‘catfish’. 121 Note that iwo ‘fish’ is attested phonographically only in MJ, but not in OJ.

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commentary to the preface to 19.4156-4158 above. Line three paru sar-e-mba ‘when spring goes away’ also points into the same direction.

19.4157

本文・Original text (1) 紅乃 (2) 衣尓保波之 (3) 辟田河 (4) 絶己等奈久 (5) 吾等眷牟 仮名の書き下し・Kana transliteration (1) くれなゐの 2 (2) こ 2 ろ 2 も 2 にほはし (3) さき 1 たがは (4) たゆる こ 2 と 2 なく (5) われかへ 1 りみ 1 む Romanization (1) KURENAWI-NÖ (2) KÖRÖMÖ nipop-as-i (3) Sakîta-ŋ-gapa (4) TAY-URU kötö na-ku (5) WARE KAPÊR-I MÎ-m-u Glossing with morphemic analysis (1) crimson.red-GEN (2) garment be.beautiful-CAUS-INF (3) Sakîta-GENriver (4) stop-ATTR matter not.exist-INF (5) we come.back-INF lookTENT-FIN Translation (3/4/5) We will come back and look endlessly at never-ending Sakîta river (1/2) [that] makes crimson red garment to be beautiful. Commentary Logography is marginally dominant in this poem. On WOJ kurenawi ‘crimson red’ see the commentary to 15.3703. WOJ nipop-as- is in fact a causative form of the verb nipop- ‘to be beautiful’, not the transitive verb nipopas- corresponding to intransitive nipopas it is believed in the Japanese scholarly tradition (Omodaka et al. 1967: 549), since there is a WOJ causative suffix -as- in addition to -ase- (Vovin 2009a: 861ff). On Sakîta river see the commentary to 19.4156. Line four tayuru kötö naku ‘never ending’ refers to both Sakîta river and the action of coming back and looking at it again and again. The script 吾等 I-PLUR for ware ‘I, we’ might give further support for my theory that suffix -re in extended stems of personal pronouns like wa-re ‘I/we-PLUR’, a-re ‘I-PLUR’, o-re ‘thou-PLUR’, na-re ‘thou/you-PLUR’ historically goes back to plural suffix -ra + active case marker -i (Vovin 2005a: 220), with the expected and regular development *-ra-i > *-ray > -re. Omodaka misses the point that ware here is really plural ‘we’, not singular ‘I’ (1984.19: 35), but Aoki has the correct interpretation (1997: 46). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface and the commentary to the preface to 19.4154-4155 above.

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19.4158

本文・Original text (1) 毎年尓 (2) 鮎之走婆 (3) 左伎多河 (4) 鸕八頭可頭氣氐 (5) 河瀬多 頭祢牟 仮名の書き下し・Kana transliteration (1) と 2 しの 2 はに (2) あゆしはしらば (3) さき 1 たがは (4) うやつか づけ 2 て (5) かはせたづねむ Romanization (1) TÖSI-NÖ PA n-i (2) AYU si PASIR-Amba (3) Sakîta-ŋ-GAPA (4) U YA-ndu kandukë-te (5) KAPA SE tandune-m-u Glossing with morphemic analysis (1) year-GEN every DV-INF (2) sweetfish EP run-COND (3) Sakîta-GENriver (4) cormorant eight-head make.dive(INF)-SUB (5) river rapids visit-TENT-FIN Translation (1) Every year (2) when sweetfish swim rapidly, (5) [I] will visit river rapids (4) making many cormorants to dive (3) [into] Sakîta river. Commentary On the postposition pa ‘every’ see (Vovin 2009a: 1298-1299). Since this postposition occurs exclusively after tösi ‘year’, I wonder whether pa is historically not ‘every’, but a borrowing from Ainu pa ‘year’. It is unclear to me how this could work syntactically, but the limitation to the usage of pa only to the position after tösi ‘year’ and the lack of any cogent Japonic etymology for pa as ‘every’ cries for an explanation. On WOJ ayu ‘sweetfish’ see the commentary to 5.855. WOJ conditional gerund -(a)mba introduces a dependent clause with a temporal connection when it is followed further down in a sentence by a tentative suffix -(a)m- or by a negative tentative suffix -(a)nzi (Vovin 2009a: 727). On Sakîta river see the commentary to 19.4156. On WOJ u ‘cormorant see the commentary to 17.3991. Japanese scholars read 八頭 in line four as ya-tu ‘eight-CL’, but there are problems with this reading. First, the classifier -tu is used in OJ predominantly for counting inanimate objects. There are two exceptions: for counting snakes and demons (BS 19). One more possible exception in reference to a tortoise is found in SM 6, but there the alleged -tu is again written with the character 頭 ‘head’, as in this poem. Second, to the best of my knowledge, the character 頭 ‘head’ is never used in the man’yōgana to write syllable tu: it always stands for the syllable ndu, as incidentally, in two other cases of its usage in the same poem in 可頭氣 kandukë- ‘to make dive’ and 多頭祢 tandune- ‘to visit’. Then in all likelihood 頭 ndu in this poem is a loan from either EMC dəu or LHC do (with a subsequent raising of *o > u in WOJ), used certainly as a classifier to count animals. Cf. also 13.3330, where 八頭 ‘eight heads’ is equally used for counting cormorants, and 16.3885, where it is used for counting tigers. There are no examples of other numerals from 1-10 to be used in the same function in the Man’yōshū. On OJ ya- ‘eight’ see the commentary to 19.4149. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface and the commentary to the preface to 19.4154-4155 above.

Preface to the poems 19.4159-4165

本文・Original text 季春三月九日擬出擧之政行於舊江村道上属目物花之詠并興中所作之歌 Translation In the late spring, on the ninth day of the third lunar month [of the second year of Tenpyō Shōhō], because of the examination tour [I] went to Puruye village. [There is] a poem [composed when I was looking at an excellent view on the way, as well as poems composed in [my] excitement. Commentary On 出擧 shukko ‘examination tour’ see the commentary to the postscript to 17.4021-4029. On Puruye village (舊江村) see the commentary to the preface to the poems 17.3991-3992. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. The ninth day of the third lunar month of the second year of Tenpyō Shōhō corresponds to April 19, 750 AD. The trip probably did not take one day. Although Puruye village was reachable on a horse back within a day with a return on the same day, nevertheless we can date these poems by the date given above or shortly thereafter.

Preface to the poem 19.4159

本文・Original text 過澁谿埼見巌上樹歌一首樹名都萬麻 Translation A poem about a tree that [I] saw on a rock when [I] was passing the cape in Simbutani. The tree’s name is tumama. Commentary On Simbutani (澁谿) see the commentary to17.3954. The cape in Simbutani is mentioned in poems 17.3985-3986 and 17.3991. WOJ tumama is MdJ tabunoki (タブの木、樟) ‘Machilus thunbergii’, a tall evergreen tree. It is found in great numbers close to the shore. It has somewhat glossy thick leaves that are concentrated at the end of branches. In the early summer it blooms with yellow greenish flowers. With the passage of years, its roots start to show above ground. It was considered a sacred tree. Tumama was used for building and making utensils. There are also hypotheses that consider that tumama is the same as MdJ inutuge (犬柘植、犬黄楊) ‘Japanese holly’, a low evergreen tree 2-3 m high or MdJ tutaurusi (蔦漆) ‘poison ivy’, a deciduous vine (Nakanishi 1985: 321).

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This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface to the poems 19.4159-4165.

19.4159

本文・Original text (1) 礒上之 (2) 都萬麻乎見者 (3) 根乎延而 (4) 年深有之 (5) 神左備尓 家里 仮名の書き下し・Kana transliteration (1) いそ 1 の 2 うへ 2 の 2 (2) つままをみ 1 れば (3) ねをはへ 2 て (4) と 2 しふかからし (5) かむさび 2 にけ 1 り Romanization (1) ISÔ-NÖ UPË-NÖ (2) tumama-wo MÎ-RE-mba (3) NE-wo PAPË-TE (4) TÖSI PUKA-K-AR-Asi (5) KAMU-sambï-n-i-kêr-i Glossing with morphemic analysis (1) rock-GEN top-GEN (2) tumama-ACC see-EV-CON (3) root-ACC spread(INF)-SUB (4) year be.deep-INF-exist-SUP (5) deity-be.like(INF)PERF-INF-RETR-FIN Translation (2) When [I] saw tumama [tree] (1) on the top of the rock, (3/4) it seemed [it] was spreading its roots for many years. (5) It turned out that [it] was like a deity. Commentary Logography is dominant in this poem. Line one is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since isô-nö upë-nö was in all probability pronounced as [isônöpënö]. On WOJ tumama tree ‘Machilus thunbergii’ see the commentary to the preface to 19.4159 above. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface to the poems 19.4159-4165.

Preface to the poems 19.4160-4162

本文・Original text 悲世間無常歌一首并短歌

Translation A poem [I composed] lamenting the impermanence of [this] world.

With two

tanka [envoys].

Commentary This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date see the preface to the poems 19.4159-4165.

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19.4160

本文・Original text (1) 天地之 (2) 遠始欲 (3) 俗中波 (4) 常無毛能等 (5) 語續 (6) 奈我良 倍伎多礼 (7) 天原 (8) 振左氣見婆 (9) 照月毛 (10) 盈鋪之家里 (11) 安之比奇乃 (12) 山之木末毛 (13) 春去婆 (14) 花開尓保比 (15) 秋都 氣婆 (16) 露霜負而 (17) 風交 (18) 毛美知落家利 (19) 宇都勢美母 (20) 如是能未奈良之 (21) 紅乃 (22) 伊呂母宇都呂比 (23) 奴婆多麻能 (24) 黒髪變 (25) 朝之咲 (26) 暮加波良比 (27) 吹風乃 (28) 見要奴我 其登久 (29) 逝水乃 (30) 登麻良奴其等久 (31) 常毛奈久 (32) 宇都呂 布見者 (33) 尓波多豆美 (34) 流渧 (35) 等騰米可祢都母 仮名の書き下し・Kana transliteration (1) あめ 2 つちの 2 (2) と 2 ほき 1 はじめ 2 よ 1 (3) よ 2 の 2 なかは (4) つ ねなき 1 も 1 の 2 と 2 (5) かたりつぎ 1 (6) ながらへ 2 き 1 たれ (7) あま の 2 はら (8) ふりさけ 2 み 1 れば (9) てるつき 2 も 1 (10) み 1 ちかけ 2 し け 1 り (11) あしひ 1 き 2 の 2 (12) やまの 2 こ 2 ぬれも 1 (13) はるされば (14) はなさき 1 にほひ 1 (15) あき 1 つけ 2 ば (16) つゆしも 1 おひ 1 て (17) かぜまじり (18) も 1 み 1 ちちりけ 1 り (19) うつせみ 1 も 2 (20) かくの 2 み 2 ならし (21) くれなゐの 2 (22) いろ 2 も 2 うつろ 2 ひ 1 (23) ぬばたま の 2 (24) くろ 1 かみ 1 かはり (25) あさの 2 ゑみ 1 (26) ゆふへ 1 かはら ひ 1 (27) ふくかぜの 2 (28) み 1 え 2 ぬがご 2 と 2 く (29) ゆくみ 1 づの 2 (30) と 2 まらぬご 2 と 2 く (31) つねも 1 なく (32) うつろ 2 ふみ 1 れば (33) に はたづみ 1 (34) ながるるなみ 1 た (35) と 2 ど 2 め 2 かねつも 2 Romanization (1) AMË TUTI-NÖ (2) TÖPO-KÎ PAnZIMË-yô (3) YÖ-NÖ NAKA pa (4) TUNE NA-KÎ mônö tö (5) KATAR-I-TUŋG-Î (6) naŋgar-apë-k-î-tar-e-mba (7) AMA-NÖ PARA (8) purisakë-MÎ-RE-mba (9) TER-U TUKÏ mô (10) MÎT-I KAKË s-i-kêr-i (11) asi pîkï n-ö (12) YAMA-NÖ KÖ-N-URE mô (13) PARU SAR-E-mBA (14) PANA PÎRAK-Î nipop-î (15) AKÎ tuk-ë-mba (16) TUYU SIMÔ OP-Î-TE (17) KAnZE MAnZIR-I (18) mômît-i TIR-I-kêr-i (19) utu semi mö (20) KA-KU nömï nar-asi (21) KURENAWI-nö (22) irö mö uturöp-î (23) numba tama-nö (24) KURÔ KAMÎ KAPAR-I (25) ASA-NÖ WEMÎ (26) YUPU-PÊ kapar-ap-î (27) PUK-U KAnZE-nö (28) MÎ-ye-n-u-ŋga ŋgötö-ku (29) YUK-U MÎnDU-nö (30) tömar-an-u ŋgötö-ku (31) TUNE mô na-ku (32) uturöp-u MÎ-RE-mba (33) nipa ta-n-dum-î (34) NAŋGAR-URU NAMÎTA (35) töndömê-kane-t-umö Glossing with morphemic analysis (1) Heaven Earth-GEN (2) be.distant-ATTR beginning-ABL (3) world-GEN inside TOP (4) permanent not.exist-ATTR thing DV (5) talk-INF-follow-INF (6) flow-ITER(INF)-come-INF-PERF/PROG-EV-CON (7) Heaven-GEN plain (8) look.up(INF)-look(INF)-CON (9) shine-ATTR moon FP (10) be.full-NML wane(NML) do-INF-RETR-FIN (11) foot low DV-ATTR (12) mountain-GEN tree-GEN-top FP (13) spring go.away-EV-CON (14) flower open-INF shine-INF (15) autumn arrive-EV-CON (16) dew frost cover-INF-SUB (17) wind mix-INF (18) leaves.turn.red/yellow-NML fall-INF-RETR-FIN (19) ephemeral cicada FP (20) be.thus-INF RP be-SUP (21) crimson.red-GEN (22) facial.color FP fade-INF (23) pitch-black jade-COMP (24) black hair change-INF (25) morning-GEN smile (26) evening-side change-ITER-INF (27) blow-ATTR wind-GEN (28) see-PASS-NEG-ATTR-POSS be.like-INF (29) go-ATTR water-GEN (30) - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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stop-NEG-ATTR be.like-INF (31) permanence FP not.exist-INF (32) fade-ATTR see-EV-CON (33) garden rice.field- LOC-pile.up-INF (34) flow-ATTR tear (35) stop(INF)-NEG.POT(INF)-PERF- EXCL Translation (6) Because (2) from the distant beginning (1) of Heaven and Earth, (5/6) and up till now [they] have been continuously talking about (3) this world (4) as being impermanent, (8) when [I] look up at (7) the plain of Heaven, (9/10) it turns out that the shining moon also grew full and waned. (12) The tree tops on the mountains (11) with low feet as well (14) shine with open flowers (13) when the spring goes away, and (15) when the autumn arrives, (16) [they] are covered with dew and frost, and (17) as the wind mixes [with them], (18) it turns out that colored autumn leaves [already] fell. (19/20) It seems that human beings are just like that, too. (21) Both [their] crimson-red (22) facial color fades, and (23/24) [their] hair, dark as pitch-black jade turns [into gray], and (25) [their] morning smiles (26) constantly change in the evening, and (31/32) when [I] see that [their appearances] are not permanent and fade away (27/28) like the blowing wind that [one] cannot see, or (29/30) like the flowing that does not stop, (35) [I] cannot stop (34) tears that flow (33) filling gardens and rice fields! Commentary Logography is marginally dominant in this poem. On yö-nö naka ‘[this] world’ see the commentary to 5.793. WOJ tune na- ‘to be impermanent’ is a Japanese translational equivalent of Chinese 無常 wú cháng ‘impermanent, impermanence’. On ama- ‘heaven’ in ama-nö para ‘plain of Heaven’ see the commentary to 15.3662. WOJ purisakë- ‘to look up’ functions as a preverb to OJ mî- ‘to look’. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. On WOJ mômît-i ‘colored autumn leaves’ and its derivation see the commentary to 15.3693. On utu semi ‘ephemeral cicada, ephemeral world’ see the commentaries to 15.3617 and 14.3456. Here it refers to mortal human beings. On WOJ kurenawi ‘crimson red’ see the commentary to 15.3703. On WOJ numba tama ‘pitch-black jade’ see the commentary to 15.3598. Line thirty-three nipa tandumî is considered to be a permanent epithet for OJ naŋgare- ‘to flow’ (makura-kotoba, 枕詞) (Omodaka 1984.19: 43), (Aoki 1997: 53). Its meaning and etymological structure are obscure, and given the great variation in logographic spellings it might have been already obscure in the Nara period. It is necessary to note that Aoki’s interpretation of it as nipa tat-u mî ‘water rising in the garden’ (1997: 53) is unlikely to be tenable, because the man’yōgana sign 豆 normally stands for the syllable ndu, not tu. Also, nipa tandumî is attested not only with the following naŋgare- ‘to flow’, but also with kapa ‘river’ as in 13.3335 and 13.3339. The interpretation nipa ta-n-dum-î ‘piling up in gardens and rice fields’ is only a very tentative and preliminary one. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface to the poems 19.4159-4165.

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19.4161

本文・Original text (1) 言等波奴 (2) 木尚春開 (3) 秋都氣婆 (4) 毛美知遅良久波 (5) 常乎 奈美許曽一云常无牟等曽 仮名の書き下し・Kana transliteration (1) こ 2 と 2 と 2 はぬ (2) き 2 すらはるさき 1 (3) あき 1 つけ 2 ば (4) も 1 み 1 ちぢらくは (5) つねをなみ 1 こ 2 そ 2 一云つねなけ 1 むと 2 そ 2 Romanization (1) KÖTÖ töp-an-u (2) KÏ SURA PARU SAK-Î (3) AKÎ tuk-ë-mba (4) mômît-i-n-dir-aku (5) TUNE-wo na-mî kösö A variant: (5) TUNE na-kêm-u tö sö Glossing with morphemic analysis (1) word ask-NEG-ATTR (2) tree RP spring bloom-INF (3) autumn arrive-EV-CON (4) leaves.turn.red/yellow-NML-GEN-fall-NML (5) permanence-ABS not.exist-CON FP A variant: (5) permanence not.exist-ATTR/ TENT-FIN DV FP

Translation (5) There is no permanence because a variant: [they say that there is probably no permanence [as] (1/2) even the trees that do not talk bloom in the spring, and (3) when the autumn arrives, (4) the colored autumn leaves fall. Commentary Phonography is dominant in this poem. On WOJ mômît-i ‘colored autumn leaves’ and its derivation see the commentary to 15.3693. On absolutive case marking in OJ with the case marker -wo see Vovin (2005a: 163-166, 170). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface to the poems 19.4159-4165.

19.4162

本文・Original text (1) 宇都世美能 (2) 常无見者 (3) 世間尓 (4) 情都氣受弖 (5) 念日曽於 保伎一云嘆日曽於保吉 仮名の書き下し・Kana transliteration (1) うつせみ 1 の 2 (2) つねなき 11 みれば (3) よ 2 の 2 なかに (4) こ こ 2 ろ 2 つけ 2 ずて (5) おも 2 ふひ 1 そ 2 おほき 1 一云なげ 2 くひ 1 そ 2 おほき 1

2

Romanization (1) utu semi-nö (2) TUNE NA-KÎ MÎ-RE-mba (3) YÖ-NÖ NAKA-ni (4) KÖKÖRÖ tukë-nz-u-te (5) OMÖPU PÎ sö opo-kî A variant: (5) NAŋGËK-U PÎ sö opo-kî

Glossing with morphemic analysis (1) ephemeral cicada-GEN (2) permanence not.exist-ATTR see-EV-CON (3)

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world-GEN inside-LOC (4) heart attach-NEG-INF-SUB (5) think-ATTR day FP be.many-ATTR A variant: (5) lament-ATTR day FP be.many-ATTR Translation (2) When [I] see the impermanence (1) of human beings, (5) there are many days when [I] reflect on [it] A variant: there are many days when [I] lament on [it] (4) without being attached (3) to this world. Commentary Logography is marginally dominant in this poem. On utu semî ‘ephemeral cicada, ephemeral world’ see the commentaries to 15.3617 and 14.3456. Here it refers to mortal human beings. On yö-nö naka ‘[this] world’ see the commentary to 5.793. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface to the poems 19.4159-4165.

Preface to the poem 19.4163 本文・Original text 豫作七夕歌一首

Translation A poem [that I] composed in advance for Tanambata [festival]. Commentary On Tanambata ‘Weaver Star’, ‘Tanambata festival’, see the commentary to the preface to the poem 15.3611. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface to the poems 19.4159-4165.

19.4163

本文・Original text (1) 妹之袖 (2) 和礼枕可牟 (3) 河湍尓 (4) 霧多知和多礼 (5) 左欲布氣 奴刀尓 仮名の書き下し・Kana transliteration (1) いも 1 がそ 1 で (2) われまくらかむ (3) かはの 2 せに (4) き 2 りた ちわたれ (5) さよ 1 ふけ 2 ぬと 1 に Romanization (1) IMÔ-ŋGA SÔnDE (2) ware MAKURA-k-am-u (3) KAPA SE-ni (4) KÏRI tat-i-watar-e (5) sa-yô pukë-n-u tôni Glossing with morphemic analysis (1) beloved-POSS sleeve (2) I pillow-DER-TENT-FIN (3) river rapids-LOC (4) fog rise-INF-cross-IMP (5) PREF-night deepen-NEG-ATTR while

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Translation (1/2) I will use the sleeves of [my] beloved as a headrest. (4) [Oh,] fog rise over (3) the river rapids (5) while the night does not grow late. Commentary Phonography is dominant in this poem. For the details on WOJ conjunction tôni ‘while’ see Vovin (2009a: 1154-1155). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface to the poems 19.4159-4165.

Preface to the poems 19.4164-4165

本文・Original text 慕振勇士之名歌一首并短歌

Translation A poem on wishing to proclaim the names of brave men with a tanka [envoy]. Commentary 勇士 (Jpn. yūsi, Chin. yǒngshì) is ‘brave man’, ‘hero’, WOJ masura wo ‘excellent man, nobleman, gentleman, brave man’. On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ see the commentary to 5.804. The Chinese word is frequently used at the later period as a translation equivalent of Written Mongolian baɣatur (Middle Mongolian ba’atur) ‘hero, strong man, great warrior’. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date see the preface to the poems 19.4159-4165.

19.4164

本文・Original text (1) 知智乃實乃 (2) 父能美許等 (3) 波播蘇葉乃 (4) 母能美己等 (5) 於 保呂可尓 (6) 情盡而 (7) 念良牟 (8) 其子奈礼夜母 (9) 大夫夜 (10) 无 奈之久可在 (11) 梓弓 (12) 須惠布理於許之 (13) 投矢毛知 (14) 千尋 射和多之 (15) 劔刀 (16) 許思尓等理波伎 (17) 安之比奇能 (18) 八峯 布美越 (19) 左之麻久流 (20) 情不障 (21) 後代乃 (22) 可多利都具倍 久 (23) 名乎多都倍志母 仮名の書き下し・Kana transliteration (1) ちちの 2 み 2 の 2 (2) ちちの 2 み 1 こ 2 と 2 (3) ははそ 1 ばの 2 (4) はは のみ 1 こと (5) おほろかに (6) こころつくして (7) おもふらむ (8) そ の 2 こなれやも 2 (9) ますらをや (10) むなしくあるべ 2 き 1 (11) あづさ ゆみ 1 (12) すゑふりおこ 2 し (13) なげ 2 やも 1 ち (14) ちひろいわたし (15) つるぎ 1 たち (16) こ 2 しにと 2 りはき 1 (17) あしひ 1 き 2 の 2 (18) や つをふみ 1 こ 1 え 2 (19) さしまくる (20) こ 2 こ 2 ろ 2 さやらず (21)の 2 ちの 2 よ 2 の 2 (22) かたりつぐべ 2 く (23) なをたつべしも 2 Romanization (1) titi-nö MÏ-nö (2) TITI n-ö mî-kötö (3) papasô-m-BA-nö (4) PAPA n-ö

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mî-kötö (5) oporöka n-i (6) KÖKÖRÖ TUKUS-I-TE (7) OMÖP-Uram-u (8) SÖNÖ KÔ nar-e ya mö (9) MASURA WO ya (10) munasi-ku AR-UmBË-KÎ (11) AnDUSA YUMÎ (12) suwe pur-i-okös-i (13) NAŋGË-YA môt-i (14) TI PIRO I-watas-i (15) TURUŋGÎ TATI (16) kösi-ni tör-i-pak-î (17) asi pîkï n-ö (18) YA-TU WO pum-î-kôye (19) sas-i-mak-uru (20) KÖKÖRÖ SAYAR-AnZ-U (21) NÖTI-NÖ YÖ-nö (22) katar-i-tuŋg-umbë-ku (23) NA-wo tat-umbë-si-mö Glossing with morphemic analysis (1) titi-GEN fruit-COMP (2) father DV-ATTR HON-matter (3) oak-GEN-leaf-COMP (4) mother DV-ATTR HON-matter (5) negligent DV-INF (6) heart exhaust-INF-SUB (7) think-TENT2-ATTR (8) that child be-EV IP (9) excellent man IP (10) be.idle-INF exist-DEB-ATTR (11) catalpa bow (12) end shake-INF-raise-INF (13) shoot-arrow hold-INF (14) thousand fathom shoot(INF)-cross.over-INF (15) straigt.sword long.sword (16) waist-LOC take-INF-wear-INF (17) foot low DV-ATTR (18) eight-CL hill tread-INF-cross(INF) (19) point-INF-appoint-ATTR (20) heart impede-NEG-INF (21) after-GEN generation-GEN (22) talk-INF-followDEB-INF (23) name-ACC raise-DEB-FIN-EXCL Translation (8) Will [you] be that child (7) who would think (5) negligently of (6) all the care (2) [by his] honorable father (1) [hard] like a fruit of a titi [tree, and] (4) [his] honorable mother (3) [gentle] like a leaf of an oak? [-- Certainly not!] (9/10) [Therefore,] should a gentleman be idle? (11/12) Raising the ends of [his] catalpa bow with vigor (13) [he] holds shooting arrows, and (14) shoots [them] over a thousand fathoms. (15/16) Wearing a double edge sword and a long sword at [his] waist, and (18) crossing many hills (17) with low feet, (20) without [his] heart standing in the way (19) [of his] duties (23) [he] must establish [his] name (21) [so that] the future generations (22) should continue to talk [about it]! Commentary Phonography is dominant in this poem. On WOJ titi ‘titi tree’ and titi-nö mï-nö ‘like a fruit of a titi’ see the commentary to 20.4408. In this commentary I wrote that the titi tree is not identifiable, but after all may be it is. Among the four likely modern candidates that Nakanishi lists: inubiwaka ‘inubiwaka tree’ (no English equivalent), sugi ‘cryptomeria’, toti ‘horse-chestnut tree’, and ityō ‘gingko’ (1985: 320), the first one has soft fruits, so it probably can be excluded because soft fruits do not fit into the context of the poem, sugi ‘cryptomeria’ is well known as OJ suŋgï, and ityō ‘gingko’ is likely to be a late mainland import (and its fruit is not that hard when taken out of its shell and very soft after boiling). This leaves us with toti ‘horse-chestnut tree’. Toti is not attested in OJ, but MJ attestations are pretty early, as it is found in SSJ 7.6a (written as 止知) and in UHM 1: 85.2.122 It is possible to conjecture that WOJ form titi is derived from *toti or *təti by regressive vowel assimilation, therefore MJ form is more archaic than the WOJ one, although we cannot tell 122

Utsuho monogatari is cited according to the edition Kōno (1959). The first number refers to a chapter, the second to page, and the last one indicates a line.

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whether the Japonic archetype was *toti or *təti. As far as I can tell, this word is not attested in Ryukyuan languages. There is certainly a connection with Horobetsu Ainu toci-ni ‘horse-chestnut tree’, toci ‘fruit of a horse chestnut tree’ (Chiri 1976: 92), also recorded by Batchelor as tochi-ni ‘horse-chestnut tree’ with a note that it ‘means sticky or dirty tree’ (1938: 500) < PA *toti. Although it is impossible to tell who borrowed this word from whom because of the limited distribution in both Japanese and Ainu, one consideration can be given in favor of the directionality Ainu > Japanese rather than the opposite. Namely, I know of no other examples of tree names borrowed by Ainu from Japanese, while there is at least one other tree name borrowed by Japanese from Ainu: EOJ karimba (14.3399), WOJ kanimba ~ kanipa (SSI 5, MYS 6.942) ‘sakura, sakura bark’< Ainu karinpa ‘id.’ On the honorific mî-kötö ‘HON-matter/person’, see the commentary to 5.794. On WOJ papasô ‘oak’ and papasô-m-ba-nö ‘like a leaf of an oak’ see the commentary to 20.4408. On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ see the commentary to 5.804. Line ten is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since munasi-ku ar-umbë-kî was in all probability pronounced as [munasikarumbëkî]. WOJ naŋgë-ya ‘shooting arrow’ is believed to be a kind of a javelin or a dart that one throws without fixing it to a bow (Omodaka et al. 1967: 521), because of the verb naŋgë- ‘to throw’, but this poorly agrees with a context of this poem. Omodaka notes also that naŋgë- is listed with the meaning ‘to shoot’ in WMS (1984.19: 50). Some scholars read this compound as naŋg-u ya ‘shoot-ATTR arrow’ (Omodaka 1984.19: 46, 49), but there is no evidence for the existence in OJ of the consonantal verb naŋg- ‘to shoot, to throw’, the fact that Omodaka himself admits (1984.19: 50). This word is also attested in 13.3345, unfortunately also in the logographic spelling 投箭. On OJ andusa ‘catalpa tree’ (梓) see the commentary to 14.3487. On turuŋgî ~ turukî ‘[double-edged] straight sword’ and tati ‘long sword’, see the commentary to 5.804. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. On OJ ya- ‘eight’ see the commentary to 19.4149. WOJ sasimakuru in line nineteen is a hapax legomenon with a meaning that is not completely understood. It is probably connected to makë- ‘to appoint’, but sasimak-uru kökörö may represent a syntactic problem for the present (and usual) interpretation. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface to the poems 19.4159-4165.

19.4165

本文・Original text (1) 大夫者 (2) 名乎之立倍之 (3) 後代尓 (4) 聞繼人毛 (5) 可多里都具 我祢

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仮名の書き下し・Kana transliteration (1) ますらをは (2) なをしたつべ 2 し (3) の 2 ちの 2 よ 2 に (4) き 1 き つぐひ 1 と 2 も 1 (5) かたりつぐがね

1

Romanization (1) MASURA WO pa (2) NA-wo si TAT-Umbë-si (3) NÖTI-NÖ YÖ-ni (4) KÎK-Î-TUŋG-U PÎTÖ mô (5) katar-i-tuŋg-u ŋgane Glossing with morphemic analysis (1) excellent man TOP (2) name-ACC EP establish-DEB-FIN (3) after-GEN age-LOC (4) hear-INF-continue-ATTR person FP (5) speak-INF-continueATTR CONJ Translation (1/2) A gentleman must establish his name. (5) So that (4) the people who continue to hear [about it] (3) in the later ages (5) will continue to speak [about it], too. Commentary Logography is dominant in this poem. On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ see the commentary to 5.804. For the details on WOJ conjunction ŋgane ‘so that, in order to/that’ see Vovin (2009a: 1154-1155). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the preface to the poems 19.4159-4165. Postscript to the poems 19.4164-4165 本文・Original text 右二首追和山上憶良臣作歌 Translation Two poems above are presented in response to the poem composed by Yamanöupë-nö Okura asömî. Commentary It is not a ‘response’ in the proper sense of the word, since Yamanöupë-nö Okura was long dead at the moment of writing of 19.4164-4165, but rather an allusion. The poem by Yamanöupë-nö Okura mentioned here is unknown, although some common expressions are shared with chōka 5.804, composed by Yamanöupë-nö Okura. On the biography of Yamanöupë-nö Okura see the commentary to the preface to 5.794. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

Preface to the poems 19.4166-4168 本文・Original text 詠霍公鳥并時花歌一首并短歌

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Translation A poem [I] recited on cuckoo and flowers [of four] seasons [envoys].

with [two] tanka

Commentary On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. According to the postscript to the poems 19.4166-4168, they were composed before the twentieth day of the third lunar month of the second year of Tenpyō Shōhō that corresponds to April 30, 750 AD. Consequently, Opotömö-nö Yakamöti must have recited and/or written them down between April 19 (the date for the poems 19.4159-4165) and April 30, 750 AD, with a very strong possibility that the actual date of the composition was closer to April 19.

19.4166

本文・Original text (1) 毎時尓 (2) 伊夜目都良之久 (3) 八千種尓 (4) 草木花左伎 (5) 喧鳥 乃 (6) 音毛更布 (7) 耳尓聞 (8) 眼尓視其等尓 (9) 宇知嘆 (10) 之奈要 宇良夫礼 (11) 之努比都追 (12) 有争波之尓 (13) 許能久礼能 (14) 四 月之立者 (15) 欲其母理尓 (16) 鳴霍公鳥 (17) 従古昔 (18) 可多里都 藝都流 (19) 鸎之 (20) 宇都之眞子可母 (21) 菖蒲 (22) 花橘乎 (23) 呎 嬬良我 (24) 珠貫麻泥尓 (25) 赤根刺 (26) 晝波之賣良尓 (27) 安之比 奇乃 (28) 八丘飛超 (29) 夜干玉乃 (30) 夜者須我良尓 (31) 暁 (32) 月 尓向而 (33) 徃還 (34) 喧等余牟礼杼 (35) 何如将飽足 仮名の書き下し・Kana transliteration (1) と 2 き 1 ご 2 と 2 に (2) いやめ 2 づらしく (3) やちくさに (4) くさ き 2 はなさき 1 (5) なくと 2 りの 2 (6) こ 2 ゑも 1 かはらふ (7) み 1 み 1 に き 1 き 1 (8) め 2 にみ 1 るご 2 と 2 に (9) うちなげ 2 き 1 (10) しなえ 2 うら ぶれ (11) しの 1 ひ 1 つつ (12) あらそ 1 ふはしに (13) こ 2 の 2 くれの 2 (14) うづき 2 したてば (15) よ 1 ご 2 も 2 りに (16) なくほと 2 と 2 ぎ 1 す (17) いにしへ 1 ゆ (18) かたりつぎ 1 つる (19) うぐひ 1 すの 2 (20) うつ しまこ 1 かも 2 (21) あやめ 1 ぐさ (22) はなたちばなを (23) をと 2 め 1 らが (24) たまぬくまでに (25) あかねさす (26) ひ 1 るはしめ 1 らに (27) あしひ 1 き 2 の 2 (28) やつをと 2 び 1 こ 1 え 2 (29) ぬばたまの 2 (30) よ 1 るはすがらに (31) あかと 2 き 1 の 2 (32) つき 2 にむかひ 1 て (33) ゆ き 1 かへ 1 り (34) なき 1 と 2 よ 2 むれど 2 (35) なにかあき 1 たらむ

Romanization (1) TÖKÎ-ŋGÖTÖ-ni (2) iya mëndurasi-ku (3) YA TI KUSA n-i (4) KUSA KÏ PANA sak-î (5) NAK-U TÖRI-nö (6) KÖWE mô KAPAR-AP-U (7) MÎMÎ-ni KÎK-Î (8) MË-ni MÎ-RU ŋgötö n-i (9) uti-NAŋGËK-Î (10) sinaye-urambure (11) sinôp-î-tutu (12) araSÔP-u pasi-ni (13) kö-nö kure-nö (14) UnDUKÏ si TAT-E-mba (15) yô-ŋ-gömör-i-ni (16) NAK-U POTÖTÖŋGÎSU (17) INISIPÊ-YU (18) katar-i-tuŋg-i-t-uru (19) UŋGUPÎSU- NÖ (20) utusi MA-KÔ kamö (21) AYAMÊ-ŋ-GUSA (22) PANA TATImBANA-wo (23) WOTÖMÊ-ra-ŋga (24) TAMA NUK-U-mande-ni (25) aka ne sas-u (26) PÎRU pa simêra n-i (27) asi pîkï n-ö (28) YA-TU WO TÖmB-Î-KÔYE (29) NUmBA - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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TAMA-nö (30) YÔRU pa suŋgara n-i (31) AKATÖKÎ-NÖ (32) TUKÏ-ni MUKAP-Î-TE (33) YUK-Î KAPÊR-Î (34) NAK-Î-töyöm-ure-ndö (35) NANI KA AK-Î-TAR-AM-U Glossing with morphemic analysis (1) time-every-LOC (2) more.and.more be.lovely-INF (3) eight thousand type DV-INF (4) grass tree flower bloom-INF (5) sing-ATTR bird-GEN (6) voice FP change-ITER-FIN (7) ear-LOC hear-INF (8) eye-LOC see-ATTR every.time DV-INF (9) PREF-lament-INF (10) wither(INF)-be.depressed(INF) (11) admire-INF-COOR (12) compete-ATTR interval-LOC (13) tree-GEN shade-GEN (14) fourth.lunar.month rise-EV-CON (15) night-LOC-hide. oneself-NML DV-INF (16) cry-ATTR cuckoo (17) ancient.times-ABL (18) talk-INF-follow-INF-PERF-ATTR (19) bush. warbler-GEN (20) real INT-child EP (21) iris-GEN-grass (22) flower mandarin.orange-ACC (23) maiden-PLUR-POSS (24) ornamental.ball string-ATTR-TERM-LOC (25) bright sun shine-ATTR (26) day.time TOP without.interruption DV-INF (27) low foot DV-ATTR (28) eight-CL hill fly-INF-cross(INF) (29) pitch-black jade-COMP (30) night.time TOP all.through DV-INF (31) early.dawn-GEN (32) moon-LOC turn-INF-SUB (33) go-INF return-INF (34) cry-INF-resound-EV-CONC (35) what IP satisfy-INF-be.sufficient-TENTATTR Translation (1) Every season (3) many thousand varieties [of] (4) grass and tree flowers bloom, and (2) [they] are more and more lovely. (5/6) The voices of singing birds change one after another, too. (8) Every time [I] see [the flowers] with [my] eyes (7) or hear [the birds] with [my] ears, (9) [I] lament and (10) [I] am deeply moved, and (12) while [they] compete [in my heart] (11) when [I] continue to admire [them], (14) when fourth lunar month comes (13) with [its] shade [under] the trees, (16/20) [I] wonder whether the crying cuckoo (15) that hides in the night (20) is a real child (19) of a bush warbler, (18) about which [people] have been continuously talking (17) from the ancient times. (23/24) Until maidens string (21) irises (22) [and] flowers [of] mandarin oranges (24) [as] ornamental balls, (34) although [the cuckoo] will cry (26) all day long (25) when the bright sun shines, (30) and all through the night, (29) dark, as a pitch-black jade, (28) when it flies over many hills (27) with low feet, (32/33) going towards the moon (31) at early dawn and (33) returning, (35) what would make [me] to have enough [of it]? Commentary Logography is dominant in this poem. On OJ ya ‘eight’ see the commentary to 19.4149. WOJ sinaye-urambure- here means not ‘to be depressed’, but ‘to be deeply moved’ (Omodaka 1984.19: 53), (Aoki 1997: 68). On WOJ sinôp- ‘to admire’ see the commentary to 1.16. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On WOJ inisipê ‘ancient times, past’ in line seventeen see the commentary to 17.3973b. On WOJ uŋgupîsu ‘bush warbler’ see the commentary to 5.824. The saying potötöŋgîsu … uŋgupîsu-nö utusi ma-kô kamö ‘I wonder whether the cuckoo … is a real child of a bush warbler’ in lines sixteen and - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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nineteen-twenty is a hint at the fact that cuckoos lay its eggs into the nests of bush warblers (Aoki 1997: 68). On WOJ ayamê-ŋ-gusa ‘iris’ see the commentary to 18.4035. On tatimbana ‘mandarin orange’ see the commentary to the poem 15.3779. On tama ‘ornamental balls’ and the ritual role of strings with ornamental balls see the commentary to the poem 17.3910. On the permanent epithet (makura-kotoba, 枕詞) aka ne sasu and the explanation of the word ne as ‘the sun’ see the commentary to 20.4455. On WOJ sumêra n-i ‘plentifully, as always, without interruption’ see the commentary to 17.3969. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to 15.3655. On WOJ numba tama ‘pitch-black jade’ see the commentary to 15.3598. On WOJ akatökî ‘early dawn, pre-dawn’, see the commentary to 17.3945. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. According to the postscript to the poems 19.4166-4168, this poem was composed before the twentieth day of the third lunar month of the second year of Tenpyō Shōhō that corresponds to April 30, 750 AD. Consequently, Opotömö-nö Yakamöti must have recited and/or written it down between April 19 (the date for the poems 19.4159-4165) and April 30, 750 AD, with a very strong possibility that the actual date of the composition was closer to April 19.

Preface to the poems 19.4167-4168 本文・Original text 反歌二首 Translation Two envoys. Commentary These are envoys to the chōka 19.4166 above. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. According to the postscript to the poems 19.4166-4168, they were composed before the twentieth day of the third lunar month of the second year of Tenpyō Shōhō that corresponds to April 30, 750 AD. Consequently, Opotömö-nö Yakamöti must have recited and/or written down these two poems between April 19 (the date for the poems 19.4159-4165) and April 30, 750 AD, with a very strong possibility that the actual date of the composition was closer to April 19.

19.4167

本文・Original text (1) 毎時 (2) 弥米頭良之久 (3) 咲花乎 (4) 折毛不折毛 (5) 見良久之余 志母 仮名の書き下し・Kana transliteration (1) と 2 き 1 ご 2 と 2 に (2) いやめ 2 づらしく (3) さくはなを (4) をり も 1 をらずも 1 (5) み 1 らくしよ 2 しも 2

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Romanization (1) TÖKÎ-ŋGÖTÖ-NI (2) IYA mëndurasi-ku (3) SAK-U PANA-wo (4) WOR-I mô WOR-AnZ-U mô (5) MÎ-r-aku si yö-si-mö Glossing with morphemic analysis (1) 1) time-every-LOC (2) more.and.more be.lovely-INF (3) bloom-ATTR flower-ACC (4) break-INF FP break-NEG-INF FP (5) look-ATTR-NML EP be.good-FIN-EXCL Translation (4) Whether [I] break off or not (3) blooming flowers (2) [that] are more and more lovely (1) every season, (5) [it] is good to look at [them]! Commentary Logography is dominant in this poem. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. According to the postscript to the poems 19.4166-4168, this poem was composed before the twentieth day of the third lunar month of the second year of Tenpyō Shōhō that corresponds to April 30, 750 AD. Consequently, Opotömö-nö Yakamöti must have recited and/or written it down between April 19 (the date for the poems 19.4159-4165) and April 30, 750 AD, with a very strong possibility that the actual date of the composition was closer to April 19.

19.4168

本文・Original text (1) 毎年尓 (2) 來喧毛能由惠 (3) 霍公鳥 (4) 聞婆之努波久 (5) 不相日 乎於保美毎年謂之等之乃波 仮名の書き下し・Kana transliteration (1) と 2 しの 2 はに (2) き 1 なくも 1 の 2 ゆゑ (3) ほと 2 と 2 ぎ 1 す (4) き 1 け 2 ばしの 1 はく (5) あはぬひ 1 をおほみ 1 毎年謂之と 2 しの 2 は Romanization (1) TÖSI-NÖ PA n-i (2) K-Î NAK-U mônöyuwe (3) POTÖTÖŋGÎSU (4) KÎK-Ë-mba sinôp-aku (5) AP-AN-U PÎ-wo opo-mî Every year is called tösi-nö pa Glossing with morphemic analysis (1) year-GEN every DV-INF (2) come-INF cry-ATTR although (4) hear-EV-CON long.for-NML (5) meet-NEG-ATTR day-ABS be.many-CON Translation (2/3) Although the cuckoo comes and cries (1) every year, (4) when [I] hear [it], [I] long for [it], (5) because there are many days when [I] do not meet [it]. Commentary Logography is dominant in this poem. On the possible interpretation of pa in tösi-nö pa see the commentary to 19.4158. WOJ mönöyuwe is chameleon conjunction. Here and in 19.4242 it - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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obviously introduces a concessive connection ‘although’, but cf. its usage in 15.3586, where it introduces conjunctive connection ‘because’. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. According to the postscript to the poems 19.4166-4168, this poem was composed before the twentieth day of the third lunar month of the second year of Tenpyō Shōhō that corresponds to April 30, 750 AD. Consequently, Opotömö-nö Yakamöti must have recited and/or written it down between April 19 (the date for the poems 19.4159-4165) and April 30, 750 AD, with a very strong possibility that the actual date of the composition was closer to April 19.

Postscript to the poems 19.4166-4168

本文・Original text 右廿日雖未及時依興預作之

Translation [I] composed in advance these [poems] above on the basis of my inspiration, although the calendar has not yet reached the twentieth day [of the third lunar month of the second year of Tenpyō Shōhō]. Commentary A cuckoo was believed to come in the fourth lunar month that was considered to be the first month of summer (Aoki 1997: 72). Therefore, if we follow this, the ‘twentieth’ day can refer only to the twentieth day of the third lunar month. There is, however, a conflicting information on the timing of arrival of a cuckoo in the texts: 19.4166 mentions the fourth lunar month, while 19.4169 indicates the fifth. The twentieth day of the third lunar month of the second year of Tenpyō Shōhō corresponds to April 30, 750 AD. These three poems were probably composed between April 19 (the date for the poems 19.4159-4165) and April 30, 750 AD, with a very strong possibility that the actual date of the composition was closer to April 19.

Preface to the poems 19.4169-4170

本文・Original text 爲家婦贈在京尊母所誂作歌一首并短歌 Translation A poem that [I] composed and sent to [my] honorable mother in the capital at the instigation of [my] wife with a tanka [envoy]. Commentary The wife (家婦) of Opotömö-nö Yakamöti is Sakanöupë-nö Opo Iratumê (大 伴坂上嬢女), who returned to the capital in the fall of the previous year. The ‘honorable mother’ ( 尊 母 ) is Opotömö-nö Yakamöti’s mother-in-law, Opotömö-nö Sakanöupë-nö Iratumê (大伴坂上郎女), a prominent female poet, on whose biography see the commentary to the preface to the poems

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17.3927-3928. On the honorific term Iratumê see the commentary to the preface to 5.871-875. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. These two poems are undated, but the following poems 19.4171-4172 have the date of the twenty-third day of the fourth lunar month of the second year of Tenpyō Shōhō (June 1, 750 AD), so it is probably safe to consider them to be composed in the fourth lunar month, but prior to the twenty-third day.

19.4169

本文・Original text (1) 霍公鳥 (2) 來喧五月尓 (3) 咲尓保布 (4) 花橘乃 (5) 香吉 (6) 於夜 能御言 (7) 朝暮尓 (8) 不聞日麻祢久 (9) 安麻射可流 (10) 夷尓之居者 (11) 安之比奇乃 (12) 山乃多乎里尓 (13) 立雲乎 (14) 余曽能未見都追 (15) 嘆蘇良 (16) 夜須家奈久尓 (17) 念蘇良 (18) 苦伎毛能乎 (19) 奈 呉乃海部之 (20) 潜取云 (21) 眞珠乃 (22) 見我保之御面 (23) 多太向 (24) 将見時麻泥波 (25) 松栢乃 (26) 佐賀延伊麻佐祢 (27) 尊安我吉美 御面謂之美於毛和

仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) き 1 なくさつき 2 に (3) さき 1 にほふ (4) はな たちばなの 2 (5) かぐはしき 1 (6) おやの 2 み 1 こ 2 と 2 (7) あさよ 2 ひ 1 に (8) き 1 かぬひ 1 まねく (9) あまざかる (10) ひ 1 なにしをれば (11) あしひ 1 き 2 の 2 (12) やまの 2 たをりに (13) たつくも 1 を (14) よ 2 そ 2 の 2 み 2 み 1 つつ (15) なげ 2 くそ 1 ら (16) やすけ 1 なくに (17) おも 2 ふそ 1 ら (18) くるしき 1 も 1 の 2 を (19) なご 1 の 2 あまの 2 (20) かづ き 1 と 2 ると 2 いふ (21) しらたまの 2 (22) み 1 がほしみ 1 おも 2 (23) た だむかひ 1 (24) み 1 むと 2 き 1 までは (25) まつかへの 2 (26) さかえ 2 い まさね (27) たふと 1 あがき 1 み 1 御面謂之みおも 1 わ Romanization (1) POTÖTÖŋGÎSU (2) K-Î NAK-U SA-TUKÏ-ni (3) SAK-Î nipop-u (4) PANA TATImBANA-nö (5) KAŋGUPASI-kî (6) oya-nö MÎ-KÖTÖ (7) ASA YÖPÎ-ni (8) KÎK-AN-U PÎ mane-ku (9) ama-n-zakar-u (10) PÎNA-ni si WOR-E-mba (11) asi pîkï n-ö (12) YAMA-nö tawori-ni (13) TAT-U KUMÔwo (14) yösö nömï MÎ-tutu (15) NAŋGËK-U sôra (16) yasu-kên-aku n-i (17) OMÖP-U sôra (18) KURUSI-kî mônöwo (19) Naŋgô-nö AMA-nö (20) KAnDUK-Î TÖR-U TÖ IP-U (21) SIRA TAMA-nö (22) MÎ-ŋga posi MÎ-OMÖ (23) tanda MUKAP-Î (24) MÎ-M-U TÖKÎ-mande pa (25) MATU KAPE-nö (26) sakaye-imas-an-e (27) TAPUTÔ a-ŋga kîmî [They] call 御面 omôwa Glossing with morphemic analysis (1) cuckoo (2) come-INF cry-ATTR fifth-lunar.month-LOC (3) bloom-INF be.fragrant-ATTR (4) flower mandarin.orange-COMP (5) be.fragrant-ATTR (6) parent-GEN HON-word (7) morning evening-LOC (8) hear-NEG-ATTR day be.many-INF (9) Heaven-COMP-be.far.away-ATTR (10) countrysideLOC EP exist-EV-CON (11) foot low DV-ATTR (12) mountain-GEN pass-LOC (13) rise-ATTR cloud-ACC (14) outside RP look(INF)-COOR (15) lament-ATTR RP (16) be.easy-ATTR.NEG-NML DV-INF (17) long.for-ATTR RP (18) be.hard-ATTR CONJ (19) Naŋgô-GEN fisherman-GEN (20) dive-INF take-FIN DV say-ATTR (21) white pearl-COMP (22) look(NML)-POSS - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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be.desirable HON-face (23) straight face-INF (24) see-TENT-ATTR time-TERM TOP (25) pine cypress-COMP (26) flourish(INF)-HON-DESIMP (27) awesome I-POSS lady [They] call 御面 omôwa Translation (8) There are many days when [I] do not hear (7) in the morning [and] in the evening (6) the words of a parent, (5) which are fragrant (4) like the flowers of mandarin orange (3) that bloom and emit fragrance (1/2) in the fifth lunar month when a cuckoo comes and cries, and (10) because [I] live in the countryside, (9) which is as far [from the capital] as Heaven, (14) I just continue to look from the distance (13) at the clouds that rise (12) at the pass of the mountains (11) with low feet. (18) Although (15) even to lament (16) is not easy, and (17) even to long for [you] (18) is difficult, (23/24) until the time when [I] see directly (22) [your] face that [I] desire to look upon, (21) which is like white pearls (19/20) that as they say the fishermen of Na ŋgô dive and collect, (26) [I] want [you] to flourish (25) like pine and cypress, (27) my awesome lady. [They] call 御面 omôwa Commentary Phonography is marginally dominant in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On sa-tukï ‘fifth lunar month’ see the commentary to 5.897. On tatimbana ‘mandarin orange’ see the commentary to the poem 15.3779. On ama-n-zakar-u ‘to be as far from the capital as Heaven’ see the commentary to 15.3608. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. Line sixteen is hypometric (jitarazu, 字足らず). On Naŋgô see the commentary to the poem 17.3956. Line nineteen is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since Naŋgô-nö AMA-nö was in all probability pronounced as [naŋgônamanö]. OJ tama ‘jewel’ can mean any kind of a precious gem, like jade, pearl, etc. See also the commentary to the poem 5.804. 眞珠 ‘real pearls’ are ‘white pearls’ as we learn from the following envoy 19.4170, where the same word combination is spelled as sira tama 白玉 ‘white pearls’. The same characters 眞珠 ‘real pearls’ are also used to write sira tama ‘white pearls’ in 16.3814. Apparently, in the Nara period white pearls were appreciated much more than any other kind of pearls. This is a very interesting contrast with the modern times, when, for example, the black pearls coming from Ise (modern Mie prefecture, 三重県) are appreciated above white pearls. It appears that the old commentary that indicates that a logogram 面 ‘face’ in line twenty-two is to be read as omöwa (with a correction of an unetymological mô to mö) is taken at a face value by modern Japanese scholars who uniformly introduce the reading omöwa into the text (Takeda 1957.19: 206), (Takagi et al. 1962: 331), (Kojima et al. 1975: 309), (Nakanishi 1983.4: 220), (Omodaka 1984.19: 57), (Aoki 1997: 73), (Itō 1998.10: 105), (Satake et al. 2003.4: 290), (Tada 2010.7: 127), (Aso 2015.10: 87). But a number of objections can be raised against this reading. Besides the obvious observation that the reading omöwa would create a hypermetric line, more important one is that besides this commentary omöwa is not attested anywhere - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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else in OJ besides as 面輪 in 9.1807 and 19.4192 and as 面 in 10.2003. Since both these spellings are logographic, nothing can preclude us from claiming that it is actually line two in 10.2003 which would be hypometric with the reading of 面 as omö, rather than making line twenty-two in 19.4169 hypermetric with the reading of 面 as omöwa, instead of the regular expected seven syllables long with the reading omö. Furthermore, the spelling 面 in 9.1807 and 19.4169 strongly suggests that the real omöwa ‘face [round like] a wheel’123 would be spelled exactly like 面輪 with the characters 面 ‘face’ and 輪 ‘wheel’. Finally, the most important fact is that omö ‘face’ is attested in the phonographic writing in OJ in other examples, while the sole phonographic attestation of omöwa is confined to this old commentary (probably from the early Heian period) to 19.4169. Therefore, in my edition I use just omö, not omöwa. Better late than never. For some reason may be this word was so familiar to me as to any Japanologist, I have never managed to write a commentary on OJ matu ‘pine’, which is one of the most frequently mentioned plants in the Man’yōshū. Now finally it is here. OJ matu (MdJ matsu) ‘pine’ is a coniferous evergreen tall tree that grows in all regions of Japan in the wild. Depending on the color of its bark, two major varieties are distinguished nowadays: aka matsu ‘red pine’ and kuro matsu ‘black pine’. Aka matsu tends to grow in the mountains, and kuro matsu along the seashore. Because it is resistant to water, it is widely used for building and construction. The fruits of kuro matsu are edible. It is widely used for play on words (kakekotoba, 掛詞) with the final or attributive forms mat-u of the verb mat- ‘to wait’ (Nakanishi 1985: 328). I should add that Japanese varieties of pine, and especially kuro matsu, look quite different from the European varieties, in particular the variety found in Scandinavia and Northern European part of Russia, which appears to be taller and more straight, while the Japanese kuro matsu is shorter and more crooked. WOJ kape is kind of cypress, which together with matu ‘pine’ serves as a representation of evergreen trees in general (Nakanishi 1985: 311). Since there are no phonographic attestations in OJ, we do not know whether it was *kapê or *kapë. In the traditional reading, line twenty-seven is hypermetric (jiamari, 字余 り) with the reading of the character 尊 as taputô-kî (Takeda 1957.19: 206), (Omodaka 1984.19: 57), (Aoki 1997: 74), etc. However, there are possible objections to this reading from both philological and linguistic viewpoints. Since there is no kana glossing for this poem in the Genryaku kōhon, and it is lacking in the Ruijū koshū, the first reliable textual evidence is only from the Nishi Honganji-bon (19: 14a). But this is too late for uninflected adjectives that disappeared from the language several centuries earlier, so the scribe of the Nishi Honganji-bon was probably influenced by the bungo grammatical standards of his time. In addition, although WOJ taputô- ‘to be awesome’ is mostly used as an inflected adjective, cf. itö taputô // opo mîya-n-dökörö ‘very awesome // place of the Great Palace’ in 6.1050, where it appears as an uninflected adjective. In spite of the fact that these two lines are unfortunately written completely logographically as 甚貴 // 大宮處, 124 the reading of 123 124

This was a standard for the female beauty in the Nara period. The facts that taputô ‘awesome’ appears in a different line from the opo mîya-n-dökörö ‘the place of the Great Palace’ and is also separated from mîya ‘palace’ by another uninflected

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taputô rather than taputô-kî seems to be quite justified in 6.1050. Then a legitimate question arises: what should preclude us from reading the character 尊 as an uninflected adjective taputô rather than an inflected adjective taputô-kî in line twenty-seven of 19.4169? Therefore, this is the correction to the reading of this line that I introduce in my edition. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the commentary to the preface to 19.4969-4170.

Preface to the poem 19.4170 本文・Original text 反歌一首 Translation A [tanka] envoy Commentary This is the tanka envoy to the preceding chōka 19.4169. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the commentary to the preface to 19.4969-4170.

19.4170

本文・Original text (1) 白玉之 (2) 見我保之君乎 (3) 不見久尓 (4) 夷尓之乎礼婆 (5) 伊家 流等毛奈之

仮名の書き下し・Kana transliteration (1) しらたまの 2 (2) み 1 がほしき 1 み 1 を (3) み 1 ずひ 1 さに (4) ひ なにしをれば (5) いけ 1 ると 2 も 1 なし

1

Romanization (1) SIRA TAMA-NÖ (2) MÎ-ŋga posi KÎMÎ-wo (3) MÎ-nZ-U PÎSA n-i (4) PÎNA-ni si wor-e-mba (5) ik-êr-u tö mô na-si Glossing with morphemic analysis (1) white pearl-COMP (2) look(NML)-POSS desirable lady-ACC (3) see-NEG-INF long DV-INF (4) countryside-LOC EP exist-EV-CON (5) live-PROG-ATTR place FP not.exist-FIN Translation (4) Because [I] am in the countryside (3) for a long time without seeing (2) [my] lady whom [I] want to look upon (1) like [at] white pearls, (5) there is not even a reason [for me] to live. adjective opo ‘great’ strongly speak against the explanation of taputô as a first element of a compound.

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Commentary Phonography is dominant in this poem. OJ tama ‘jewel’ can mean any kind of a precious gem, like jade, pearl, etc. See also the commentaries to the poems 5.804 and 19.4169. Line five is famous for causing difficulty for interpretation. It is sometimes argued that it is a mistake for ik-êr-i tömö na-si (Omodaka 1984.19: 59-60), because the conjunction tömö ‘even if, even though’ follows the final and not the attributive form of verbs, or that tö is a misspelling for -tô ‘intention, will power, vigor’ attested only in the compounds such kökörö-n-dô ‘heart desire’ (Aoki 1997: 76-77). The issue is further complicated by ik-êr-u tô mô na-si written as 生刀毛無 in 2.215 and 2.227 and by ik-êr-u tô mô na-kî as 生戸 裳名寸 in 11.2525 vs. ik-êr-u tö mô na-si written as 生跡毛無 in 2.212 and as 生跡文奈思 in 12.3060 (Aoki 1997: 76-77). However, there is also another point of view that proposes to read the last two cases (along with four similar others found in 6.946, 12.2980, 12.3107, and 12.3185) as ik-êr-i tömö na-si, with a conjunction tömö following the final form of a verb as expected. This explains the dichotomy in spelling, without any need to resort to accusations of Opotömö-nö Yakamöti making grammatical mistakes in his own language, or to an appeal of misspelling: the cases of 2.215, 2.227 and 11.2525 involve tô ‘will power, intention’, while 2.212, 12.2980, 12.3060, 12.3107, and 12.3185 all exhibit conjunction tömö ‘even if, even though’. Unfortunately, this does not explain the case in 19.4170, where we clearly have a contradiction between the attributive form of the verb and the following otsu-rui vowel /ö/ in the following syllable tö. I trust that the explanation might be quite simple, though: WOJ tö [tə] is a loanword from Korean, cf. MK tʌ́ ‘place, cause, reason’, more often appearing in the form tʌ́y, also borrowed as -te in WOJ.125 Care must be taken, of course, to distinguish this Korean loan from a native OJ tô ‘place’. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the commentary to the preface to 19.4969-4170.

Preface to the poems 19.4171-4172

本文・Original text 廿四日應立夏四月節也因此廿三日之暮忽思霍公鳥暁喧聲作歌二首 Translation The first day of the summer is on the twenty-fourth day of the fourth lunar month [of the second year of Tenpyō Shōhō]. Because of that [I] composed two poems on the evening of the twenty-third day of the fourth lunar month [of the second year of Tenpyō Shōhō], when [I] suddenly thought about a cuckoo’s crying voice at the early dawn. Commentary On WOJ akatökî ‘early dawn, pre-dawn’, see the commentary to 17.3945. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the 125

See the p. 6 of the introduction to book one of the Man’yōshū under the heading ‘place’ in the Chart 2, Korean loans in the Man’yōshū.

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commentary to 15.3754. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. The twenty-third day of the fourth lunar month of the second year of Tenpyō Shōhō corresponds to June 1, 750 AD.

19.4171

本文・Original text (1) 常人毛 (2) 起都追聞曽 (3) 霍公鳥 (4) 此暁尓 (5) 來喧始音 仮名の書き下し・Kana transliteration (1) つねひ 1 と 2 も 1 (2) おき 2 つつき 1 くそ 2 (3) ほと 2 と 2 ぎ 1 す (4) こ 2 の 2 あかと 2 き 1 に (5) き 1 なくはつこ 2 ゑ

Romanization (1) TUNE PÎTÖ mô (2) OKÏ-tutu KÎK-U sö (3) POTÖTÖŋGÎSU (4) KÖNÖ AKATÖKÎ-ni (5) K-Î NAK-U PATU KÖWE Glossing with morphemic analysis (1) ordinary person FP (2) be.awake(INF)-COOR listen-ATTR FP (3) cuckoo (4) this early.dawn-LOC (5) come-INF cry-ATTR first voice Translation (1) Even the ordinary people [of this world] (2) listen, being awake, to (3) a cuckoo[’s] (5) the first voice when [it] comes and cries (4) at the early dawn today. Commentary This poem is quite dense with logographic writing. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On WOJ akatökî ‘early dawn, pre-dawn’, see the commentary to 17.3945. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the commentary to the preface to 19.4971-4172.

19.4172

本文・Original text (1) 霍公鳥 (2) 來喧響者 (3) 草等良牟 (4) 花橘乎 (5) 屋戸尓波不殖而 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) き 1 なき 1 と 2 よ 2 め 2 ば (3) くさと 2 らむ (4) は なたちばなを (5) やど 1 にはうゑずて Romanization (1) POTÖTÖŋGÎSU (2) K-Î NAK-Î TÖYÖMË-mba (3) KUSA tör-am-u (4) PANA TATImBANA-wo (5) YAndô-ni pa UWE-nZ-U-TE

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Glossing with morphemic analysis (1) cuckoo (2) come-INF cry-INF make.resound-COND (3) grass take-TENTFIN (4) flower mandarin.orange-ACC (5) house.garden-LOC TOP plant-NEG- INF-SUB Translation (3) [I] will pull out the grass (1/2) when a cuckoo comes, cries, and makes [its voice] resound, (5) without [yet] having planted in my house garden (4) the flowers of mandarin orange. Commentary This poem is quite dense with logographic writing. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. Omodaka believes that in line two we have the transitive verb töyömë‘make resound’, not the intransitive töyöm- (1984.19: 61). Although the morphological evidence for deciding in favor of töyömë-mba ‘make.resound-COND’ or töyöm-ë-mba ‘resound-EV-CON’ is lacking, syntax is in favor of Omodaka’s point of view, because temporal connection before the following tentative verbal form is introduced by the conditional, and not the conjunctive gerund. OJ kusa ‘grass’ is believed by Omodaka to be a kuzu vine, who dedicates a very long and imaginative commentary to justify his point of view (1984.19: 61-62). Aoki, on the other hand thinks that Opotömö-nö Yakamöti was collecting grass in the field (1997: 78), also a point of view that is difficult to justify. Usually down-to-earth Takeda thinks that it might be a cuckoo who is pulling the weeds from paddies and acts as an agriculturalist. He further adds that this poem may be based on some legend about a cuckoo that did not survive (1957.19: 209). He might be right, but in the absence of the said legend, the point is moot. Takagi et al. come with the best textual evidence based on 10.1942, where both a crying cuckoo and maidens pulling out kuzu from the paddies are mentioned (1962: 332). But Opotömö-nö Yakamöti was not a peasant, and his house garden, not a paddy, is mentioned in this poem. Therefore, I think that the best solution is to imagine that Opotömö-nö Yakamöti pulled out weeds (kuzu or not) from his garden (or. much more likely, made his gardener(s) do it), but had no time for planting mandarin oranges. On tatimbana ‘mandarin orange’ see the commentary to the poem 15.3779. A cuckoo was believed to be fond of mandarin orange flowers, hence the mention of them in this poem. But note that Opotömö-nö Yakamöti specifically says that he has not planted the mandarin oranges, and simply took out the weeds. Both OJ ipê and yandô can be routinely translated into English as ‘house, home’, but there is a difference: while ipê indicates spiritual aspect of a dwelling, yandô points to an actual physical structure (Aoki 1997: 79). This is highly reminiscent of a very similar dichotomy found in the Ainu language, where uni indicates a ‘house as a place of habitat’, while cise is a ‘house as an actual building’ (Nakagawa & Nakamoto 1997: 110). In the late Man’yōshū poetry the word yandô in about 80% of its usage refers to the ‘house garden’ rather to the ‘house’ itself (Aoki 1997: 79), as in this poem. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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On the date of this poem see the commentary to the preface to 19.4971-4172.

Preface to the poem 19.4173

本文・Original text 贈京丹比家歌一首

Translation A poem that I presented to Tandipî mansion in the capital. Commentary A number of scions of Tandipî clan (spelled as 丹比 or 多治比) are Man’yōshū poets, although all of them are represented just by a few poems. This clan like Tatimbana is an offshoot of the imperial clan, and it looks like Opotömö and Tandipî clans were quite close (Aoki 1997: 80). It is interesting to note that the name Tandipî is meaningless in Japanese, this is why it occurs only in the phonographic writing. Possibly, there might be a Korean etymology for it: cf. MK tàtʌ́m- < *tantʌm- ‘to refine, to embellish’. Although it is not completely unproblematic phonetically (both the vocalic correspondences in the second syllable and -m- : -p- have to be explained), I tentatively propose it here and consider that the name Tandipî might mean ‘the refined ones’. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. This poem has no date, but presumably it was composed before the third day of the fourth lunar month of Tenpyō Shōhō (the date of 19.4177) that corresponds to May 13, 750 AD.

19.4173

本文・Original text (1) 妹乎不見 (2) 越國敝尓 (3) 經年婆 (4) 吾情度乃 (5) 奈具流日毛無 仮名の書き下し・Kana transliteration (1) いも 1 をみ 1 ず (2) こ 1 しの 2 くにへ 1 に (3) と 2 しふれば (4) あが こ 2 こ 2 ろ 2 ど 1 の 2 (5) なぐるひ 1 も 1 なし

Romanization (1) IMÔ-wo MÎ-nZ-U (2) KÔSI-NÖ KUNI pê-ni (3) TÖSI PUR-E-mba (4) A-ŋGA KÖKÖRÖ-n-dô-nö (5) naŋg-uru PÎ mô NA-SI Glossing with morphemic analysis (1) beloved-ACC see-NEG-INF (2) Kôsi-GEN land side-LOC (3) year pass-EV-CON (4) I-POSS heart-GEN-vigor-GEN (5) be.consoled-ATTR day FP not.exist-FIN Translation (3) As [I] pass the years (2) at the side of the land of Kôsi (1) without seeing my beloved, (4/5) there is no day when my heart desire is consoled.

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Commentary Logography is dominant in this poem, although not to the extent as in the previous two. On WOJ region of Kôsi see the commentaries to 17.3959 and 17.4000. WOJ kökörö-n-dô ‘heart desire’ is a compound consisting of kökörö ‘heart’ and -tô ‘intention, will power, vigor’. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the commentary to its preface.

Preface to the poem 19.4174

本文・Original text 追和筑紫大宰之時春苑梅歌一首 Translation A poem presented later in response [to the poems composed] on plum blossoms in the spring garden at the time when [I was at] Dazaifu in Tukusi. Commentary The response is to the poems 5.815-846 composed on the thirteenth day of the first lunar month of the second year of Tenpyō (corresponding to February 4, 730 AD) in Dazaifu, where young Opotömö-nö Yakamöti was staying together with his father, Opotömö-nö Tambîtö, who was at that time the Governor-General of Dazaifu. Apparently, there was a practice to write responses to poetic sequences composed in a different place and at a different time. Cf. Opotömö-nö Pumîmöti’s another response (17.3901-3906) to the poetic sequence on plum blossoms in book five of the Man’yōshū (5.815-846), or the poems 18.4063-4064 that represent the response to the poems 18.4058-4060. On OJ umë ‘plum’ see the commentary to the poem 5.815. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the commentary to its postscript.

19.4174

本文・Original text (1) 春裏之 (2) 樂終者 (3) 梅花 (4) 手折乎伎都追 (5) 遊尓可有

仮名の書き下し・Kana transliteration (1) はるの 2 うちの 2 (2) たの 1 しき 1 をへ 2 は (3) うめ 2 の 2 はな (4) た をりをき 1 つつ (5) あそ 1 ぶにあるべ 2 し Romanization (1) PARU-NÖ UTI-NÖ (2) TANÔSI-KÎ WOPË PA (3) UMË-NÖ PANA (4) TA-WOR-I wok-î-tutu (5) ASÔmB-U n-i AR-UmBË-SI Glossing with morphemic analysis (1) spring-GEN inside-GEN (2) be.pleasant-ATTR finish(NML) TOP (3) plum-GEN flower (4) hand-break-INF invite-INF-COOR (5) enjoy-ATTR DV-INF exist-DEB-FIN

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Translation (2) The ultimate pleasure (1) in the spring (5) should be the enjoying [oneself] (4) while inviting [friends] to hand break (3) plum blossoms. Commentary Logography is dominant in this poem. Lines one and five are hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since paru-nö uti-nö and n-i ar-umbë-si were in all probability pronounced as [parunutinö] and [narumbësi]. On OJ umë ‘plum’ see the commentary to the poem 5.815. Omodaka believes that WOJ wok- ‘to invite’ here means ‘to admire’ in reference to plum blossoms, but as a matter of fact none of the three Man’yōshū poems (2.160, 5.815, and 17.3901) that he cites in the support of his point of view (1984.19: 64) include WOJ wok-. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of this poem see the commentary to its postscript.

Postscript to the poem 19.4174 本文・Original text 右一首廿七日依興作之

Translation [I] composed the poem above on the basis of my inspiration on twenty seventh day [of the third lunar month of the second year of Tenpyō Shōhō]. Commentary The twenty seventh day of the third lunar month of the second year Tenpyō-Shōhō corresponds to May 7, 750 AD. This poem must have been really done solely on the basis of inspiration, because even in the cold climate of Wettiu province, plum blossoms were already gone by the end of the third lunar month.

Preface to the poems 19.4175-4176

本文・Original text 詠霍公鳥二首

Translation Two poems that [I] composed on a cuckoo. Commentary On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. These two poems have no date, but in all probability they were composed at the very end of the third lunar month or at the very beginning of the fourth lunar month, because 19.4174 was has the date of the twenty seventh day of the third lunar month of the second year of Tenpyō Shōhō and 19. 4177 on the third day of the fourth lunar month of the second year of the same era.

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19.4175

本文・Original text (1) 霍公鳥 (2) 今來喧曽无 (3) 菖蒲 (4) 可都良久麻泥尓 (5) 加流々日 安良米也 毛能波三箇辞闕之 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) いまき 1 なき 1 そ 2 む (3) あやめ 1 ぐさ (4) か づらくまでに (5) かるるひ 1 あらめ 2 や も１の２は三箇辞闕之 Romanization (1) POTÖTÖŋGÎSU (2) IMA K-Î NAK-Î-söm-u (3) AYAMÊ-ŋ-GUSA (4) kandurak-u-mande-ni (5) kar-uru PÎ ar-am-ë ya mô nö pa 三箇辞闕之 Glossing with morphemic analysis (1) cuckoo (2) now come-INF cry-INF-begin-FIN (3) iris-GEN-grass (4) make.a.laurel-ATTR-TERM-LOC (5) be.separated day exist-TENT-EV IP…three words mô, nö, and pa are lacking Translation (1) A cuckoo (2) now came and began to cry. (3/4) Until [we] make irises into laurels, (5) will be there a day when [I] would be separated from [it]? [-Certainly not!] …three words mô, nö, and pa are lacking Commentary Phonography is dominant in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On WOJ ayamê-ŋ-gusa ‘iris’ see the commentary to 18.4035. On WOJ kandura ‘laurel, wig’ and a custom associated with it see the commentary to 5.817. Line five is hypermetric (jiamari, 字余り). The commentary phrase after a poem 毛能波三箇辞闕之 ‘three words mô, nö, pa are lacking’ indicates that these particles/case markers that are otherwise very frequent in poetry are missing from this particular poem (Aoki 1997: 83). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

19.4176

本文・Original text (1) 我門従 (2) 喧過度 (3) 霍公鳥 (4) 伊夜奈都可之久 (5) 雖聞飽不足 毛能波氐尓乎六箇辞闕之

仮名の書き下し・Kana transliteration (1) わがかど 1 ゆ (2) なき 1 すぎ 2 わたる (3) ほと 2 と 2 ぎ 1 す (4) いや なつかしく (5) きけ 2 ど 2 あき 1 だらず も１の２はてにを六箇辞闕之 Romanization (1) WA-ŋGA YAnDÔ-YU (2) NAK-Î SUŋGÏ-WATAR-U (3) POTÖTÖŋGÎSU (4) iya natukasi-ku (5) KÎK-Ë-nDÖ AK-Î-TAR-AnZ-U mô nö pa te ni wo 六箇辞 闕之

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Glossing with morphemic analysis (1) we-POSS garden-ABL (2) cry-INF pass(INF)-cross-ATTR (3) cuckoo (4) more.and.more be.dear-INF (5) listen-EV-CONC be.satisfied-INFbe.enough-NEG-FIN …six words mô, nö, pa, te, ni wo are lacking Translation (3) A cuckoo (1/2) that passes through the gates of our house and cries (4) is more and more dear, and (5) although [I] listen [to it], [I] cannot be satisfied enough…six words mô, nö, pa, te, ni, wo are lacking Commentary Phonography again reverts to logography in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. Line five is hypermetric (jiamari, 字余り). The commentary phrase after a poem 毛能波氐尓乎六箇辞闕之 ‘six words mô, nö, pa, te ni, wo are lacking’ indicates that these particles/case markers/auxiliaries that are otherwise very frequent in poetry are missing from this particular poem (Aoki 1997: 83). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

Preface to the poems 19.4177-4179

本文・Original text 四月三日贈越前判官大伴宿祢池主霍公鳥歌不勝感舊之意述懐一首并短歌 Translation A poem on a cuckoo with [two] tanka [envoys] that [I] sent to Opotömö-nö Ikënusi the Secretary of Wetinzen province relating my feelings, being unable to overcome [my] yearning for the old [days spent together].

Commentary On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On Wetinzen province see the commentary to the preface to the poems 18.4073-4075. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137. On the biography of Opotömö-nö sukune Ikënusi see the commentary to the postscript to 20.4295. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. The third day of the fourth lunar month of the second year of Tenpyō Shōhō corresponds to May 12, 750 AD.

19.4177

本文・Original text (1) 和我勢故等 (2) 手携而 (3) 暁來者 (4) 出立向 (5) 暮去者 (6) 振放

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見都追 (7) 念暢 (8) 見奈疑之山尓 (9) 八峯尓波 (10) 霞多奈婢伎 (11) 谿敝尓波 (12) 海石榴花咲 (13) 宇良悲 (14) 春之過者 (15) 霍公鳥 (16) 伊也之伎喧奴 (17) 獨耳 (18) 聞婆不怜毛 (19) 君与吾 (20) 隔而 戀流 (21) 利波山 (22) 飛超去而 (23) 明立者 (24) 松之狭枝尓 (25) 暮 去者 (26) 向月而 (27) 菖蒲 (28) 玉貫麻泥尓 (29) 鳴等余米 (30) 安寐 不令宿 (31) 君乎奈夜麻勢 仮名の書き下し・Kana transliteration (1) わがせこ 1 と 2 (2) てたづさはりて (3) あけ 2 くれば (4) いでたちむ かひ 1 (5) ゆふされば (6) ふりさけ 2 み 1 つつ (7) おも 2 ひ 1 の 2 べ 2 (8) み 1 なぎ 2 しやまに (9) やつをには (10) かすみ 1 たなび 1 き 1 (11) たに へ 1 には (12) つばき 1 はなさき 1 (13) うらがなし (14) はるしすぐれば (15) ほと 2 と 2 ぎ 1 す (16) いやしき 1 なき 1 ぬ (17) ひと 2 りの 2 み 2 (18) きけ 2 ばさぶしも 1 (19) き 1 み 1 と 2 あれと 2 (20) へ 1 だててこ 1 ふる (21) と 1 なみ 1 やま (22) と 2 び 1 こ 1 え 2 ゆき 1 て (23) あけ 2 たてば (24) ま つの 2 さえ 2 だに (25) ゆふされば (26) つき 2 にむかひ 1 て (27) あや め 1 ぐさ (28) たまぬくまでに (29) なき 1 と 2 よ 2 め 2 (30) やすいねし め 2 ず (31) き 1 み 1 をなやませ Romanization (1) wa-ŋga se-kô-tö (2) TE TAnDUSAPAR-I-TE (3) AKË K-URE-mba (4) InDE-TAT-I MUKAP-Î (5) YUPU SAR-E-mba (6) purisakë-MÎ-tutu (7) OMÖP-Î-NÖmBË (8) MÎ-naŋgï-si YAMA-ni (9) YA-TU WO-ni pa (10) KASUMÎ tanambîk-u (11) TANI pê-ni pa (12) TUmBAKÎ PANA SAK-Î (13) ura-ŋ-GANASI (14) PARU si SUŋG-URE-mba (15) POTÖTÖŋGÎSU (16) iyasi-kî NAK-Î-n-u (17) PÎTÖ-RI NÖMÏ (18) KÎK-Ë-mba SAmBUSI-mô (19) KÎMÎ-TÖ ARE (20) PÊnDATE-TE KÔP-Uru (21) Tônamî YAMA (22) TÖmB-Î-KÔYE-YUK-Î-TE (23) AKË TAT-E-mba (24) MATU-NÖ SA YEnDA-ni (25) YUPU SAR-E-mba (26) TUKÏ-NI MUKAP-Î-TE (27) AYAMÊ-ŋ-GUSA (28) TAMA NUK-U-mande-ni (29) NAK-Î-töyömë (30) YASU I NE-SIMË-nZ-U (31) KÎMÎ-wo nayam-as-e Glossing with morphemic analysis (1) I-POSS elder.brother-DIM-COM (2) hand hold-INF-SUB (3) dawn come-EV-CON (4) go.out(INF)-depart-INF face-INF (5) evening go-EV-CON (6) look.up(INF)-look(INF)-COOR (7) think-INF-make. relieved(INF) (8) look(INF)-be.consoled(INF)-PAST.ATTR mountain-LOC (9) eight-CL hill-LOC TOP (10) mist trail-FIN (11) valley side-LOC TOP (12) camellia flower bloom-INF (13) heart-LOC-sad (14) spring EP pass-EV-CON (15) cuckoo (16) be.more.and.more-ATTR cry-INF-PERF- FIN (17) one-CL RP (18) listen-EV-CON be.lonely(FIN)-EXCL (19) lord-COM I (20) separate(INF)-SUB long.for-ATTR (21) Tônamî mountain (22) fly-INF-cross(INF)-go-INF-SUB (23) dawn rise-EV-CON (24) pine-GEN narrow branch-LOC (25) evening go.away-EV-CON (26) moon-LOC face-INF-SUB (27) iris-GEN-grass (28) ornamental.ball string-TERM-LOC (29) cry-INF-make.resound-EV (30) easy sleep sleep-CAUS-NEG-INF (31) lord-ACC suffer-CAUS-IMP Translation (15) A cuckoo (16) is crying more and more (13/14) when the heart-wrenching spring passes away, (12) camellia flowers (11) bloom at valley sides, and (10) mists trail (9) at many hills (8) [and] mountains that [we] looked [together] in - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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consolation (7) and were relieved of [our] worries (2) holding hands (1) with my dear elder brother, (4) as [we] went out and faced [them] (3) when the dawn would come, (6) while looking up [at them], (5) when the evening would go away. (17/18) When [I] listen to [a cuckoo] alone, [I] am lonely! (22) Flying over (21) Mt. Tônamî, (20) for which [I] am longing and that separates (19) [my] lord and me, (29) make [your] cry resound (24) in the narrow branches of pines (23) when the dawn comes, and (26) facing the moon (25) when the evening goes away, and (27/28) until [we] string irises [as] ornamental balls (31) make [my] lord suffer (30) not letting [him] to sleep easily. Commentary Logography is dominant in this poem, but there are some medium-length phonographic sequences as well. This poem represents two examples of quite extreme left syntactic branching (lines one-sixteen and nineteen-thirty-one). On WOJ se-kô ‘dear elder brother’ as a term of address from a male to his male friend see the commentary to 17.3890. The nameless mountain mentioned in line eight is Mt. Putaŋgamî, on which see the commentary to 17.3955. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On OJ tumbakî ‘camellia’, see the commentary to 20.4418. OJ ura ‘inside’, ‘back’ is used here metaphorically for heart as an internal organ. See also 14.3443, 14.3495, 14.3500, 15.3584, 15.3752, 17.3978, 19.4214, 19.4290, and 20.4311 for the same usage. On Mt. Tônamî see the commentary to 17.4008. Since it is a mountain on the border of Wettiu and Wetinzen provinces, it symbolically separates Opotömö-nö Yakamöti and Opotömö-nö Ikënusi. Line nineteen might be hypermetric (jiamari, 字余り), if we trust, of course, its traditional reading as kîmî-tö are-tö (Aoki 1997: 86). Note, though, that only the first comitative case marker -tö is spelled out logographically as 与 in 君与吾. Consequently, it might be more prudent to follow Omodaka’s proposal and read this line as kîmî-tö are (1984.19: 86). Lines twenty-three and twenty-five are traditionally read as akë tat-amba and yupu sar-amba respectively (Omodaka 1984.19: 67), (Aoki 1997: 86). However, because a dependent clause ending with a conditional gerund -amba can acquire temporal function only with the verb in the main clause standing in a tentative form. Since there is no following tentative form, the conditional gerund -amba can only form a conditional clause that does not make any sense here. Consequently, I analyze 立 者 and 去 者 as conjunctive gerunds tat-e-mba and sar-e-mba that introduce temporal dependent clauses. OJ yupu refers to the first part of the evening when the sun has not yet set and there is still light. On WOJ ayamê-ŋ-gusa ‘iris’ see the commentary to 18.4035. The stringing of irises as ornamental balls took place in the fifth lunar month. On tama ‘ornamental balls’ and the ritual role of strings with ornamental balls see the commentary to the poem 17.3910. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

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19.4178

本文・Original text (1) 吾耳 (2) 聞婆不怜毛 (3) 霍公鳥 (4) 丹生之山邊尓 (5) 伊去鳴尓毛 仮名の書き下し・Kana transliteration (1) あれの 2 み 2 (2) き 1 け 2 ばさぶしも 1 (3) ほと 2 と 2 ぎ 1 す (4) にふ のやまへ 1 に (5) いゆき 1 なかにも 1 Romanization (1) ARE NÖMÏ (2) KÎK-Ë-mba SAmBUSI-mô (3) POTÖTÖŋGÎSU (4) Nipu-NÖ YAMA PÊ-ni (5) i-YUK-Î NAK-An-i mô Glossing with morphemic analysis (1) I RP (2) listen-EV-CON be.lonely(FIN)-EXCL (3) cuckoo (4) Nipu-GEN mountain side-LOC (5) DLF-go-INF cry-DES-NML FP Translation (1/2) When I listen alone [to a cuckoo, I] am lonely! (3) [Oh,] cuckoo (4/5) I wish you go to the side of Mt. Nipu and cry there. Commentary Logography is dominant in this poem. Line one is hypometric (jitarazu, 字足らず). Since this line is written completely logographically, we can only guess its reading. There are various proposals to read it in order to avoid hypometricity: ware nömï n-i, are nömï si, ware pîtöri, pîtöri nömï, etc. (Omodaka 1984.19: 69), (Aoki 1997: 90). But the character 耳 is usually used as a logogram for nömï, not for pîtöri, which is normally written logographically as 獨. And there is no evidence for anything being written after 耳. Consequently, I opt for the variant ware nömï, which I rewrote as are nömï, since there is no group representation in this case, as Opotömö-nö Yakamöti refers here exclusively to himself, and not to himself as a member of a certain group. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. Mt. Nipu corresponds to modern Mt. Onigadake (鬼ケ岳), located in the west of present-day Takefu city (Takefu-shi, 武生市) in Fukui prefecture. The gubernatorial office of Wetinzen province was on the territory of Takefu city (Nakanishi 1985: 474). Thus, this is an indirect reference to the location of Opotömö-nö Ikënusi, who was at that time the Secretary (Jō/Hōgan/Hangan, 掾/判官) in Wetinzen province. The height of Mt. Onigadake is 533 m, and it is a popular hiking spot. The placename Nipu (p. n.) may be of Japonic pedigree: OJ ni ‘red earth, red pigment’ + pu ‘thicket, spot’ or of the Ainu origin: cf. Ainu ni-pu ‘wooden storehouse’ (ni ‘tree, wood’ + pu ‘storehouse’), variously used either for keeping driftwood or dry salmon. It occurs as a placename in Bihoro (Chiri 1956: 66). See also 14.3560 and the commentary to it for a different placename Nipu. This seems to be the only example in the OJ corpus when the desiderative -an(a)- is followed by the nominalizer -î. The example nari-wo s-i-mas-an-i ‘you do not do your daily chores’ from 5.801 that Omodaka also cites (1984.19: 70) has nothing to do with the desiderative, because it represents negative -an-. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of the composition of this poem see the preface to the poems 19.4977-4979.

19.4179

本文・Original text (1) 霍公鳥 (2) 夜喧乎爲管 (3) 和我世兒乎 (4) 安宿勿令寐 (5) 由米情 在 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) よ 1 なき 1 をしつつ (3) わがせこ 1 を (4) やす いなねしめ 2 (5) ゆめ 2 こ 2 こ 2 ろ 2 あれ

Romanization (1) POTÖTÖŋGÎSU (2) YÔ NAK-Î-wo S-I-tutu (3) wa-ŋga se-kô-wo (4) YASU I NA-NE-SIMË (5) yumë KÖKÖRÖ AR-E Glossing with morphemic analysis (1) cuckoo (2) night cry-NML-ACC do-INF-COOR (3) I-POSS elder.brother-DIM-ACC (4) easy sleep NEG-sleep-CAUS(INF) (5) at.all feeling exist-IMP Translation (1) [Oh,] cuckoo, (2) while [you] are crying at night (5) be considerate and (3/4/5) do not let at all my dear elder brother sleep easily. Commentary Logography is slightly dominant in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. In line five we have a major syntactic break occurring within this line after the word yumë ‘at all’, which is a rather rare phenomenon in Old Japanese poetry. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of the composition of this poem see the preface to the poems 19.4977-4979.

Preface to the poems 19.4180-4183

本文・Original text 不飽感霍公鳥之情述懐作歌一首并短歌 Translation A poem that I composed with [three] tanka [envoys] relating my feelings when[I] could not get enough of admiring a cuckoo. Commentary On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754.

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This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. These four poems are undated, but given the fact that the poems 19.4177-4179 were composed on the third day of the fourth lunar month of the second year of Tenpyō Shōhō, and the poem 19.4184 sent on the fifth day of the same lunar month in the same year, the poems 19.4180-4183 can probably be dated by the third to fifth day.

19.4180

本文・Original text (1) 春過而 (2) 夏來向者 (3) 足檜木乃 (4) 山呼等余米 (5) 左夜中尓 (6) 鳴霍公鳥 (7) 始音乎 (8) 聞婆奈都可之 (9) 菖蒲 (10) 花橘乎 (11) 貫交 (12) 可頭良久麻泥尓 (13) 里響 (14) 喧渡礼騰母 (15) 尚之努波 由 仮名の書き下し・Kana transliteration (1) はるすぎ 2 て (2) なつき 1 むかへ 2 ば (3) あしひ 1 き 2 の 2 (4) やま よ 1 び 1 と 2 よ 2 め 2 (5) さよ 1 なかに (6) なくほと 2 と 2 ぎ 1 す (7) はつ こ 2 ゑを (8) き 1 け 2 ばなつかし (9) あやめ 1 ぐさ (10) はなたちばなを (11) ぬき 1 まじへ 2 (12) かづらくまでに (13) さと 1 と 2 よ 2 め 2 (14) な き 1 わたれど 2 も 2 (15) なほししの 1 はゆ Romanization (1) PARU SUŋGÏ-TE (2) NATU K-Î-MUKAP-Ë-mba (3) ASI pîkï n-ö (4) YAMA YÔmB-Î-töyömë (5) sa-YÔ NAKA-ni (6) NAK-U POTÖTÖŋGÎSU (7) PATU KÖWE-wo (8) KÎK-Ë-mba natukasi (9) AYAMÊ-ŋ-GUSA (10) PANA TATImBANA-wo (11) NUK-Î-MAnZIPË (12) kandurak-u-mande-ni (13) SATÔ TÖYÖMË (14) NAK-Î-WATAr-e-ndömö (15) NAPO si sinôp-ay-u Glossing with morphemic analysis (1) spring pass(INF)-SUB (2) summer come-INF-face-EV-CON (3) foot low DV-ATTR (4) mountain call-INF-make.resound(INF) (5) PREF-night middle-LOC (6) cry-ATTR cuckoo (7) first voice-ACC (8) hear-EV-CON be.nostalgic(FIN) (9) iris-GEN grass (10) flower mandarin.orange-ACC (11) string-INF-mix(INF) (12) make.laurel-ATTR-TERM-LOC (13) village make.resound(INF) (14) cry-INF-cross-EV-CONC (15) still EP long.for-PASS-FIN Translation (1) When spring passes away, and (2) summer comes this way (8) [I] feel nostalgic as hear (7) the first voice (6) of a cuckoo that cries (5) in the middle of the night (4) making resound the mountains (3) with low feet. (12) Until [we] make laurels (11) stringing together (10) flowers of mandarin oranges (9) [and] irises, (14) although [the cuckoo] with fly across (13) and make [my] village resound, (15) [I] will [still impulsively] long for [it]. Commentary Logography is dominant in this poem, although there are also parts written phonographically. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On WOJ ayamê-ŋ-gusa ‘iris’ see the commentary to 18.4035. On tatimbana ‘mandarin orange’ see the commentary to the poem 15.3779. On WOJ kandura ‘laurel, wig’ and a custom associated with it see the commentary to 5.817. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of the composition of this poem see the commentary to the preface to the poems 19.4980-4983.

Preface to the poems 19.4181-4183

本文・Original text 反歌三首

Translation Three [tanka] envoys. Commentary These envoys are for the poem 19.4180.

19.4181

本文・Original text (1) 左夜深而 (2) 暁月尓 (3) 影所見而 (4) 鳴霍公鳥 (5) 聞者夏借 仮名の書き下し・Kana transliteration (1) さよ 1 ふけ 2 て (2) あかと 2 き 1 づき 2 に (3) かげ 2 み 1 え 2 て (4) な くほと 2 と 2 ぎ 1 す (5) き 1 け 2 ばなつかし Romanization (1) sa-YÔ PUKË-TE (2) AKATÖKÎ-n-DUKÏ-ni (3) KAŋGË MÎ-YE-TE (4) NAK-U POTÖTÖŋGÎSU (5) KÎK-Ë-mba natukasi(FIN) Glossing with morphemic analysis (1) PREF-night deepen(INF)-SUB (2) early.dawn-GEN-moon-LOC (3) shadow see-PASS(INF)-SUB (4) cry-ATTR cuckoo (5) hear-EV-CON be.nostalgic(FIN) Translation (5) [I] feel nostalgic when [I] hear (4) cuckoo that cries (3) looking like a shadow (2) in the moon[light] at early dawn (1) when it is still dark. Commentary Logography is dominant in this poem. WOJ yô pukë- ‘night deepens’ indicates here not the middle of the night, but the fact that it is still dark (Omodaka 1984.19: 72). On WOJ akatökî ‘early dawn, pre-dawn’, see the commentary to 17.3945. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. This poem does not mention an author, but according to the postscript to

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the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of the composition of this poem see the commentary to the preface to the poems 19.4980-4983.

19.4182

本文・Original text (1) 霍公鳥 (2) 雖聞不足 (3) 網取尓 (4) 獲而奈都氣奈 (5) 可礼受鳴金 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) き 1 け 2 ど 2 も 2 あかず (3) あみ 1 と 2 りに (4) と 2 りてなつけ 2 な (5) かれずなくがね Romanization (1) POTÖTÖŋGÎSU (2) KÎK-Ë-nDÖMÖ AK-AnZ-U (3) AMÎ TÖR-I-ni (4) TÖR-I-TE natukë-na (5) kare-nz-u NAK-U ŋgane Glossing with morphemic analysis (1) cuckoo (2) listen-EV-CONC get.enough-NEG-FIN (3) net take-NML-LOC (4) catch-INF-SUB tame-DES (5) leave-NEG-INF cry-ATTR CONJ Translation (1/2) Although [I] listen to a cuckoo, [I] cannot get enough [of it]. (3/4) [I] wish to catch [it] in the net and tame [it], (5) so that [it] would cry without leaving [me]. Commentary Logography is dominant in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. WOJ ŋgane is a conjunction meaning ‘so that’, ‘in order to’. For details see Vovin (2009a: 1147-1148). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of the composition of this poem see the commentary to the preface to the poems 19.4980-4983.

19.4183

本文・Original text (1) 霍公鳥 (2) 飼通良婆 (3) 今年經而 (4) 來向夏波 (5) 麻豆将喧乎 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) かひ 1 と 2 ほせらば (3) こ 2 と 2 しへ 2 て (4) き 1 むかふなつは (5) まづなき 1 なむを Romanization (1) POTÖTÖŋGÎSU (2) KAP-Î-TÖPOS-Er-amba (3) KÖ TÖSI PË-TE (4) K-Î-MUKAP-U NATU pa (5) mandu NAK-Î-N-AM-U-wo Glossing with morphemic analysis (1) cuckoo (2) feed-INF-pass-PROG-COND (3) this year pass.through(INF)-

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SUB (4) come-INF-face-ATTR summer TOP (5) first.of.all cry-INF-PERFTENT-ATTR-ACC Translation (2) If [one] continues to feed a (1) cuckoo, (3) through this year, (5) [it] would cry first of all [other cuckoos] (4) in the summer that will come this way, but… Commentary Logography is dominant in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of the composition of this poem see the commentary to the preface to the poems 19.4980-4983.

Preface to the poem 19.4184 本文・Original text 従京師贈來歌一首

Translation A poem sent here from the capital. Commentary Capital is, of course, the capital of Nara. On the date of the composition of this poem and its author see the postscript to the poem 19.4984.

19.4184

本文・Original text (1) 山吹乃 (2) 花執持而 (3) 都礼毛奈久 (4) 可礼尓之妹乎 (5) 之努比 都流可毛

仮名の書き下し・Kana transliteration (1) やまぶき 1 の 2 (2) はなと 2 りも 2 ちて (3) つれも 1 なく (4) かれに しいも 1 を (5) しの 1 ひ 1 つるかも 1 Romanization (1) yamambukî-nö (2) PANA TÖR-I-MÖT-I-TE (3) ture mô na-ku (4) kare-n-i-si IMÔ-wo (5) sinôp-î-t-uru kamô Glossing with morphemic analysis (1) yamambukî.rose-GEN (2) flower take-INF-hold-INF-SUB (3) relation FP not.exist-INF (4) separate(INF)-PERF-INF-PAST.ATTR younger.sister-ACC (5) long.for-INF-PERF-ATTR EP

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Translation (5) Oh, [I] have been longing for (4) [my] younger sister who parted [with me] (3) coldheartedly (2) holding [in her hands] the flowers (1) of yamambukî roses! Commentary Phonography is dominant in this poem. On WOJ yamambukî ‘kerria, yamabuki rose’ see the commentary to 20.4302. On the date of the composition of this poem and its author see the postscript to the poem 19.4984.

Postscript to the poem 19.4184 本文・Original text 右四月五日従留女之女郎所送也

Translation [The poem] above was sent by the steward lady to [the daughter of Saka-nö-upë-nö] Iratumê on the fifth day of the fourth lunar month [of the second year of Tenpyō Shōhō]. Commentary The fifth day of the fourth lunar month of the second year of Tenpyō-Shōhō corresponds to May 14, 750 AD. In spite of the fact that all manuscripts of the Man’yōshū except the Ruijū koshū have 留女 ‘steward lady’, that is the woman who was taking care of the Opotömö mansion in the capital during Opotömö-nö Yakamöti’s absence, and who is believed to be his younger sister (Aoki 1997: 97), some scholars prefer to have 留京 ‘staying in the capital’, following the script in the Ruijū koshū (Omodaka 1984.19: 74-75). Apart from the fact that the singular piece of evidence from the Ruijū koshū vis-à-vis all other manuscripts is not highly persuasive, note that this poem is not addressed to Opotömö-nö Yakamöti, but to a woman. If one believes that the daughter of Saka-nö-upë-nö Iratumê, the wife of Opotömö-nö Yakamöti, was staying at the capital at this time, then who is this mysterious woman?

Preface to the poems 19.4185-4186

本文・Original text 詠山振花歌一首并短歌

Translation A poem [I] composed on yamambukî flowers with a tanka [envoy]. Commentary On WOJ yamambukî ‘kerria, yamabuki rose’ see the commentary to 20.4302. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. These two poems are undated, but given the fact that the poem 19.4184 was sent on the fifth day of the fourth lunar month of the second year of Tenpyō Shōhō, and the poems 19.4187-4188 have the date of the sixth day of

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the same month and year, the poems 19.4185-4186 can probably be dated by the fifth to sixth day.

19.4185

本文・Original text (1) 宇都世美波 (2) 戀乎繁美登 (3) 春麻氣氐 (4) 念繁波 (5) 引攀而 (6) 折毛不折毛 (7) 毎見 (8) 情奈疑牟等 (9) 繁山之 (10) 谿敝尓生流 (11) 山振乎 (12) 屋戸尓引殖而 (13) 朝露尓 (14) 仁保敝流花乎 (15) 毎見 (16) 念者不止 (17) 戀志繁母 仮名の書き下し・Kana transliteration (1) うつせみ 1 は (2) こ 1 ひ 2 をしげ 2 み 1 と 2 (3) はるまけ 2 て (4) お も 2 ひ 1 しげ 2 け 1 ば (5) ひ 1 き 1 よ 2 ぢて (6) をりも 1 をらずも 1 (7) み 1 るご 2 と 2 に (8) こ 2 こ 2 ろ 2 なぎ 2 むと 2 (9) しげ 2 やまの 2 (10) た にへ 1 におふる (11) やまぶき 1 を (12) やど 1 にひ 1 き 1 うゑて (13) あ さつゆに (14) にほへ 1 るはなを (15) み 1 るご 2 と 2 に (16) おも 2 ひ 1 はやまず (17) こ 1 ひ 2 ししげ 2 しも 2 Romanization (1) utu semî pa (2) KÔPÏ-wo SIŋGË-mî tö (3) PARU makë-te (4) OMÖP-Î SIŋGË-KÊmba (5) PÎK-Î-YÖnDI-TE (6) WOR-I mô WOR-AnZ-U mô (7) MÎ-RU ŋGÖTÖ N-I (8) KÖKÖRÖ naŋgï-m-u tö (9) SIŋGË YAMA-NÖ (10) TANI pê-ni OP-Uru (11) yamambukî-wo (12) yandô-ni PÎK-Î-UWE-TE (13) ASA TUYU-ni (14) nipop-êr-u PANA-wo (15) MÎ-RU ŋGÖTÖ N-I (16) OMÖP-Î pa YAM- AnZ-U (17) KÔPÏ si SIŋGË-si-mö Glossing with morphemic analysis (1) ephemeral cicada TOP (2) long.for(NML)-ABS be.dense-CON DV (3) spring retreat(INF)-SUB (4) think-NML be.dense-ATTR.COND (5) pull-INF-pull.strongly(INF)-SUB (6) break-NML FP break-NEG-NML FP (7) look- ATTR every.time DV-INF (8) heart be.consoled-TENT-FIN DV (9) dense mountain-GEN (10) valley side-LOC grow-ATTR (11) yamambukî. rose-ACC (12) house.garden-LOC pull-INF-plant(INF)-SUB (13) morning dew-LOC (14) shine-PROG-ATTR flower-ACC (15) look-ATTR every.time DV-INF (16) think-NML TOP stop-NEG-INF (17) long.for(NML) EP be.dense-FIN- EXCL Translation (1) People of this world (2) think that [their] longings are dense, so (3) when the springs retreats, (4) because [their] thoughts are dense, (8) [they] think that [their] hearts would be consoled, (7) every time [they] look [at yamambukî roses] (5) when [they strongly pull [them towards themselves], (6) whether breaking [them] off or not. (12) Pulling out and planting in [their] house gardens (11) yamambukî roses (10) that grow on the sides of the valleys (9) of dense[ly overgrown] mountains (15) every time [they] look at (14) [yamambukî] flowers shining (13) in the morning dew, (16) [their] thoughts do not stop, and (17) [their] longing is dense! Commentary Logography is dominant in this poem. On utu semî ‘ephemeral cicada, ephemeral world’ see the commentaries to - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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15.3617 and 14.3456. Here it refers to mortal human beings. On WOJ yamambukî ‘kerria, yamabuki rose’ see the commentary to 20.4302. On OJ yandô ‘house, house garden’ see the commentary to 19.4172. OJ -kêmba, adjectival conditional is a fusion of adjectival attributive -kî and conditional -amba. For details see Vovin (2009a: 480-482). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of the composition of this poem see the preface to the poems 19.4185-4186.

19.4186

本文・Original text (1) 山吹乎 (2) 屋戸尓殖弖波 (3) 見其等尓 (4) 念者不止 (5) 戀己曽益 礼 仮名の書き下し・Kana transliteration (1) やまぶき 1 を (2) やど 1 にうゑては (3) み 1 るご 2 と 2 に (4) おも 2 ひ 1 はやまず (5) こ 1 ひ 2 こ 2 そ 2 まされ

Romanization (1) yamambukî-wo (2) yandô-ni UWE-te pa (3) MÎ-RU ŋgötö n-i (4) OMÖP-Î pa YAM- AnZ-U (5) KÔPÏ kösö MASAr-e Glossing with morphemic analysis (1) yamambukî.rose-ACC (2) house.garden-LOC plant(INF)-SUB TOP (3) look-ATTR every.time DV-INF (4) think-NML TOP stop-NEG-INF (5) long.for(NML) FP increase-EV Translation (2) [I] have planted in [my] house garden (1) yamambukî roses, and (3) every time [I] look at [them], (4) [my] thoughts do not stop, and (5) [my] longing increases. Commentary Phonography is slightly dominant in this poem. On WOJ yamambukî ‘kerria, yamabuki rose’ see the commentary to 20.4302. On OJ yandô ‘house, house garden’ see the commentary to 19.4172. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of the composition of this poem see the preface to the poems 19.4185-4186.

Preface to the poems 19.4187-4188

本文・Original text 六日遊覧布勢水海作歌一首并短歌

Translation A poem [I] composed on the sixth day [of the fourth lunar month of the

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second year of Tenpyō Shōhō during] a sightseeing of Puse lake

[envoy].

with a tanka

Commentary The sixth day of the fourth lunar month of the second year of Tenpyō Shōhō corresponds to May 15, 750 AD. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On Puse lake see the commentary to the preface to the poems 17.39913992.

19.4187

本文・Original text (1) 念度知 (2) 大夫乃 (3) 許能久礼 (4) 繁思乎 (5) 見明良米 (6) 情也 良牟等 (7) 布勢乃海尓 (8) 小船都良奈米 (9) 眞可伊可氣 (10) 伊許藝 米具礼婆 (11) 乎布能浦尓 (12) 霞多奈妣伎 (13) 垂姫尓 (14) 藤浪咲 而 (15) 濱浄久 (16) 白波左和伎 (17) 及々尓 (18) 戀波末左礼杼 (19) 今日耳 (20) 飽足米夜母 (21) 如是己曽 (22) 弥年乃波尓 (23) 春花之 (24) 繁盛尓 (25) 秋葉乃 (26) 黄色時尓 (27) 安里我欲比 (28) 見都追 思努波米 (29) 此布勢能海乎 仮名の書き下し・Kana transliteration (1) おも 2 ふど 1 ち (2) ますらをの 2 こ 2 の 2 (3) こ 2 の 2 くれ (4) しげ 2 き 1 おも 2 ひ 1 を (5) み 1 あき 1 らめ 2 (6) こ 2 こ 2 ろ 2 やらむと 2 (7) ふせ の 2 うみ 1 に (8) をぶねつらなめ 2 (9) まかいかけ 2 (10) いこ 2 ぎ 1 め 2 ぐれば (11) をふの 2 うらに (12) かすみ 1 たなび 1 き 1 (13) たるひ 1 め 1 に (14) ふぢなみ 1 さき 1 て (15) はまき 1 よ 1 く (16) しらなみ 1 さわ き 1 (17) しくしくに (18) こ 1 ひ 2 はまされど 2 (19) け 1 ふの 2 み 2 (20) あ き 1 たらめ 2 やも 2 (21) かくしこ 2 そ 2 (22) いやと 2 しの 2 はに (23) は るはなの 2 (24) しげ 2 き 1 さかりに (25) あき 1 の 2 はの 2 (26) も 1 み 1 たむと 2 き 1 に (27) ありがよ 1 ひ 1 (28) み 1 つつしの 1 はめ 2 (29) こ 2 の 2 ふせの 2 うみ 1 を Romanization (1) OMÖP-U ndôti (2) MASURA WO N-Ö KÔ-nö (3) kö-nö kure (4) SIŋGË-KÎ OMÖP-Î-wo (5) MÎ-AKÎramë (6) KÖKÖRÖ yar-am-u tö (7) Puse-nö UMÎ-ni (8) WOn-BUNE turanamë (9) MA-kayi kakë (10) i-köŋg-î-mëŋgur-e-mba (11) Wopu-nö URA-ni (12) KASUMÎ tanambîk-î (13) Taru PÎMÊ-ni (14) PUnDI NAMÎ SAK-Î-TE (15) PAMA KÎYÔ-ku (16) SIRA NAMÎ sawak-î (17) siku-siku n-i (18) KÔPÏ pa masar-e-ndö (19) KÊPU NÖMÏ (20) AK-Î-TAr-am-ë ya mö (21) KA-KU SI kösö (22) IYA TÖSI-nö pa n-i (23) PARU PANA-NÖ (24) SIŋGË-KÎ SAKAR-I-ni (25) AKÎ-NÖ PA-nö (26) MÔMÎT-AM-U TÖKÎ-ni (27) ari-ŋgayôp-î (28) MÎ-tutu sinôp-am-ë (29) KÖNÖ Puse-nö UMÎ-wo Glossing with morphemic analysis (1) think-ATTR companion (2) noble man DV-ATTR lad-GEN (3) tree-GEN shade (4) be.dense-ATTR think-NML-ACC (5) look(INF)-brighten(INF) (6) mood send.away-TENT-FIN DV (7) Puse-GEN lake-LOC (8) DIM-boat put.in.row(INF) (9) INT-oar place.on.side(INF) (10) DLF-row-INF-go. around-EV-CON (11) Wopu-GEN bay-LOC (12) mist trail-INF (13) Taru - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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lady-LOC (14) wisteria wave bloom-INF-SUB (15) shore be.clear-INF (16) white wave make.noise-INF (17) constant DV-INF (18) long.for(NML) TOP increase-EV-CONC (19) today only (20) be.satisfied-INF-be.enough-TENTEV IP FP (21) be.thus-INF EP FP (22) more.and.more year-GEN every DV-INF (23) spring flower-GEN (24) be.dense-ATTR fully.bloomNML-LOC (25) autumn-GEN leaf-GEN (26) leaves.turn.red.or.yellowTENT-ATTR time-LOC (27) ITER-go.back.and.forth-INF (28) look(INF)COOR long.for-TENT-EV (29) this Puse-GEN lake-ACC Translation (1) [My] like-minded companions, (2) the noblemen lads, (6) say that [they] want to get away [from their gloomy] mood, and (5) and brighten [by] sightseeing (4) [their] thoughts that are dense (3) [like] shade under trees. (8) As [we] put in row small boats (7) on Puse lake, (9) and placing oars on boat sides, (10) [we] row around there, (12) the mist is trailing (11) in Wopu bay, (14) wisteria waves are blooming (13) in lady Taru[’s bay], (15) shores are clear, and (16) white waves roar. (17/18) Although [our] longing constantly increases, (20) will [we] have enough (19) just today? [-- Certainly we will not!] (21) In this way, (22) more and more every year (23/24) when spring flowers are in [their] dense full bloom, and (25/26) at the time when autumn leaves are turning red or yellow, (27) [we] will constantly go back and forth, and (28/29) while looking at this Puse lake, [we] will long for it! Commentary Phonography is slightly dominant in this poem. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ see the commentary to 5.804. Line three is hypometric (jitarazu, 字足らず). On Puse lake see the commentary to the preface to the poems 17.39913992. Lines seven, eleven, and twenty-nine are hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since Puse-nö umî and Wopu-nö ura-ni were in all probability pronounced as [pusenömî] and [wopunörani]. On Wopu bay see the commentary to 18.4049. On Lady Taru see the commentary to 18.4046. The bay of Lady Taru is mentioned in 18.4048. On OJ pundi ‘wisteria’ see the commentary to 14.3504. Japanese scholars traditionally read line nineteen 今日耳 as kêpu nömï-ni (Omodaka 1984.19: 78), (Aoki 1997: 102), apparently in order to avoid hypometricity. However, there is no evidence for -ni here; and, moreover, there are four other examples in the Man’yōshū, which present only kêpu nömï (3.416, 8.1488, 9.1759, and 20.4488), while there is no any other example of *kêpu nömï-ni. Therefore, I prefer to leave this line hypometric rather than to introduce a textually unwarranted reading. On the possible interpretation of pa as ‘year’ and not ‘every’ in tösi-nö pa n-i see the commentary to 19.4158. On the date of the composition of this poem see the preface to the poems 19.4187-4188.

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19.4188

本文・Original text (1) 藤奈美能 (2) 花盛尓 (3) 如此許曽 (4) 浦己藝廻都追 (5) 年尓之努 波米 仮名の書き下し・Kana transliteration (1) ふぢなみ 1 の 2 (2) はなの 2 さかりに (3) かくしこ 2 そ 2 (4) うらこ 2 ぎ 1 み 2 つつ (5) と 2 しにしの 1 はめ 2 Romanization (1) PUnDI namî-nö (2) PANA-NÖ SAKAR-I-ni (3) KA-KU SI kösö (4) URA köŋg-î-MÏ-tutu (5) TÖSI-ni sinôp-am-ë Glossing with morphemic analysis (1) wisteria wave-GEN (2) flower-GEN fully.bloom-NM-LOC (3) be.thus-INF EP FP (4) bay row-INF-go.around(INF)-COOR (5) year-LOC long.for-TENT-EV Translation (4) While rowing around bays [of lake Puse] (3) in this way (1/2) when the flowers of wisteria waves are in full bloom, (5) we will long [for lake Puse every] year. Commentary Phonography is slightly dominant in this poem. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On OJ pundi ‘wisteria’ see the commentary to 14.3504. Bays mentioned here are probably Wopu bay and Lady Taru’s bay of lake Puse. See the commentaries to the preface to the poems 17.3991- 3992 on lake Puse, to 18.4049 on Wopu bay, and to 18.4046 and 18.4048 on Lady Taru and Lady Taru’s bay. On the date of the composition of this poem see the preface to the poems 19.4187-4188.

Preface to the poems 19.4189-4191

本文・Original text 贈水烏越前判官大伴宿祢池主歌一首并短歌 Translation A poem [I composed] when [I] presented cormorants to Opotömö-nö sukune Ikënusi, the Sectretary of Wetinzen province lake with [two] tanka [envoys]. Commentary On the date of composition of these poems see the postscript to the poems 19.4189-4191. On WOJ u ‘cormorant’ see the commentary to 17.3991. On Wetinzen province see the commentary to the preface to the poems 18.4073-4075. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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On the biography of Opotömö-nö sukune Ikënusi see the commentary to the postscript to 20.4295. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

19.4189

本文・Original text (1) 天離 (2) 夷等之在者 (3) 彼所此間毛 (4) 同許己呂曽 (5) 離家 (6) 等之乃經去者 (7) 宇都勢美波 (8) 物念之氣思 (9) 曽許由惠尓 (10) 情 奈具左尓 (11) 霍公鳥 (12) 喧始音乎 (13) 橘 (14) 珠尓安倍貫 (15) 可 頭良伎氐 (16) 遊波之母 (17) 麻須良乎々 (18) 等毛奈倍立而 (19) 叔 羅河 (20) 奈頭左比泝 (21) 平瀬尓波 (22) 左泥刺渡 (23) 早湍尓 (24) 水烏乎潜都追 (25) 月尓日尓 (26) 之可志安蘇婆祢 (27) 波之伎和我勢 故

仮名の書き下し・Kana transliteration (1) あまざかる (2) ひ 1 なと 2 しあれば (3) そ 2 こ 2 こ 2 こ 2 も 1 (4) おや じこ 2 こ 2 ろ 2 そ 2 (5) いへ 1 ざかり (6) と 2 しの 2 へ 2 ぬれば (7) うつせ み 1 は (8) も 2 の 2 も 2 ひ 1 しげ 2 し (9) そ 2 こ 2 ゆゑに (10) こ 2 こ 2 ろ 2 なぐさに (11) ほと 2 と 2 ぎ 1 す (12) なくはつこ 2 ゑを (13) たちばな の 2 (14) たまにあへ 2 ぬき 1 (15) かづらき 1 て (16) あそ 1 ばむはしも 2 (17) ますらをを (18) と 2 も 1 なへ 2 たてて (19) しくらがは (20) なづ さひ 1 の 2 ぼり (21) ひ 1 らせには (22) さでさしわたし (23) はやき 1 せに (24) うをかづけ 2 つつ (25) つき 2 にひ 1 に (26) しかしあそ 1 ばね (27) はしき 1 わがせこ 1 Romanization (1) AMA-n-ZAKAR-U (2) PÎNA tö si AR-E-mba (3) SÖKÖ KÖKÖ mô (4) OYAnZI kökörö sö (5) IPÊ-n-ZAKAR-I (6) TÖsi-nö PË-N-URE-mba (7) utu semî pa (8) MÖNÖMÖP-Î siŋgë-si (9) sökö yuwe n-i (10) KÖKÖRÖ naŋg-usa-ni (11) POTÖTÖŋGÎSU (12) NAK-U PATU KÖWE-wo (13) TATImBANA-NÖ (14) TAMA n-i apë-NUK-Î (15) kandurak-î-te (16) ASÔmB-AM-U pasi mö (17) masura wo-wo (18) tömônapë-TATE-TE (19) Sikura ŋGAPA (20) nandusap-î NÖmBOR-I (21) PÎRA SE-ni pa (22) sande SAS-I-WATAS-I (23) PAYA-KÎ SE-ni (24) U-wo KAnDUKË-tutu (25) TUKÏ-ni PÎ-ni (26) sika si asômb-an-e (27) pasi-kî wa-ŋga se-kô Glossing with morphemic analysis (1) Heaven-COMP-be.far.away-ATTR (2) countryside DV EP exist-EV- CON (3) there here FP (4) same feeling FP (5) home-LOC- be.far.away-INF (6) year-GEN pass(INF)-PERF-EV-CON (7) ephemeral cicada TOP (8) be.concerned-NML be.dense-FIN (9) there reason DV-INF (10) heart be.consoled-NML-LOC (11) cuckoo (12) cry-ATTR first voice-ACC (13) mandarin.orange-GEN (14) ornamental.ball DV-INF join(INF)-string-INF (15) wear.as.laurel-INF-SUB (16) enjoy.oneself-TENT-ATTR interval FP (17) noble man-ACC (18) companion.make(INF)-make.depart(INF)-SUB (19) Sikura river (20) be.soaked.in.water-INF go.up-INF (21) flat rapids-LOC TOP (22) fish.trap point-INF-spread-INF (23) fast rapids-LOC (24) cormorant-

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ACC make.dive(INF)-COOR (25) month-LOC day-LOC (26) thus EP enjoy.oneself-DES-IMP (27) be.beloved-ATTR I-POSS elder.brother-DIM Translation (4) [It] feels the same (3) here and there (2) because [it] is the countryside, (1) which is as far [from the capital] as Heaven. (6) Because [they] pass years (5) away from [their] homes, (7) human beings (8) have deep concerns. (9) For this reason, (16) while [you] enjoy yourself (10) for the consolation of [your] heart (15) wearing as a laurel (12) the first crying voices (11) [of] a cuckoo (13/14) joining it together with mandarin oranges as ornamental balls, (17/18) [you] make noblemen to depart as [you] companions, and (20) [you] go upstream being soaked in water (19) [of] Sikura river, and (22) spread fish traps (21) in flat rapids, and (24) while [you] make cormorants dive (23) in fast rapids, (26) [I] want [you] to enjoy yourself in this way (25) [every] month and [every] day, (27) my beloved dear elder brother! Commentary Phonography is slightly dominant in this poem. On ama-n-zakar-u ‘to be as far from the capital as Heaven’ see the commentary to 15.3608. OJ sökö ‘there’ here refers to Wetinzen province, where Opotömö-nö Ikënusi is serving as a Secretary, and kökö ‘here’ to Wettiu province, where Opotömö-nö Yakamöti is a Governor. The logogram 同 oyanzi ‘same’ in line four can be also read as onanzi, as we have no evidence for one way or another. On utu semî ‘ephemeral cicada, ephemeral world’ see the commentaries to 15.3617 and 14.3456. Here it refers to mortal human beings. On WOJ nominalizer -usa see Vovin (2009a: 776-779). On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On tatimbana ‘mandarin orange’ see the commentary to the poem 15.3779. On tama ‘ornamental balls’ and the ritual role of strings with ornamental balls see the commentary to the poem 17.3910. On WOJ kandura ‘laurel, wig’ and a custom associated with it see the commentary to 5.817. Sikura river corresponds to present-day Hinogawa river (Hinogawa, 日野 川), which flows to the north through Takefu city (Takefu-shi, 武生市) in Fukui prefecture. Sikura (叔羅) is mentioned in the Engi shiki among the locations near Wetinzen province postal relay station between Kapîru (鹿蒜), a.k.a. Kapêru (歸) and Nipu (丹生) (Nakanishi 1985: 452). The place name Sikura is meaningless in Japonic. Possibly it has an Ainu etymology: *sik-korar ‘plentifully giving’. The OJ -k- in early Ainu loanwords should reflect Ainu -kk- or -C[-nasal]k-, because Ainu -k- [-g-] is reflected as OJ -ŋg-. The loan must also precede the raising of *o > u in OJ. The loss of final -r in OJ is expected. For the imagery of river as a provider of provisions see 1.38. On WOJ nandusap- ‘to be soaked in water’ see the commentary to the poem 17.4011. OJ expression pîra se ‘flat rapids’ occurs besides this poem only once in the Man’yōshū in a poem in EOJ (14.3551). It indicates the rapids where the flow of the river is comparatively slow. Quite possibly, this expression is synonymous with simô-tu se ‘lower rapids’, cf., e.g. the similar context of 1.38, where sande ‘fish traps’ are spread in simô-tu se ‘lower rapids’, and - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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where cormorant fishing is done in kamî-tu se ‘upper rapids’, as it is described in this poem as well. On WOJ sande ‘fish trap’ see the commentary to 1.38. On WOJ u ‘cormorant’ see the commentary to 17.3991. For kandukë- ‘to make dive’ see also 19.4158. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of composition of this poem see the postscript to the poems 19.4189-4191.

19.4190

本文・Original text (1) 叔羅河 (2) 湍乎尋都追 (3) 和我勢故波 (4) 宇可波多々佐祢 (5) 情 奈具左尓 仮名の書き下し・Kana transliteration (1) しくらがは (2) せをたづねつつ (3) わがせこ さね (5) こ 2 こ 2 ろ 2 なぐさに

1

は (4) うかはたた

Romanization (1) Sikura ŋGAPA (2) SE-wo TAnDUNE-tutu (3) wa-ŋga se-kô pa (4) u kapa tat-as-an-e (5) KÖKÖRÖ naŋg-usa-ni Glossing with morphemic analysis (1) Sikura river (2) rapids-ACC visit(INF)-COOR (3) I-POSS elder.brother-DIM TOP (4) cormorant river stand-HON-DES-IMP (5) heart be.consoled-NML-LOC Translation (3/4) [I] want my dear elder brother to do cormorant fishing (5) for the consolation of his heart (2) while [he] visits the rapids (1) [of] Sikura river. Commentary The script in this poem is almost completely phonographic. On Sikura river see te commentary to 19.4190. WOJ nominalizer -usa does not mean ‘when’ or ‘the time when’ in this poem. For details see Vovin (2009a: 776-779). This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of composition of this poem see the postscript to the poems 19.4189-4191.

19.4191

本文・Original text (1) 鸕河立 (2) 取左牟安由能 (3) 之我波多波 (4) 吾等尓可伎无氣 (5) 念之念婆 仮名の書き下し・Kana transliteration (1) うかはたち (2) と 2 らさむあゆの き 1 むけ 2 (5) おも 2 ひ 1 しおも 2 はば

2

(3) しがはたは (4) われにか

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Romanization (1) U KAPA TAT-I (2) TÖR-As-am-u ayu-nö (3) si-ŋga pata pa (4) WARE-ni kakî-mukë (5) OMÖP-Î si OMÖP-Amba Glossing with morphemic analysis (1) cormorant river stand-INF (2) catch-HON-TENT-ATTR sweeetfish-GEN (3) it-POSS fin TOP (4) I-DAT PREF-direct(IMP) (5) think-NML EP think-COND Translation (5) If [you] think [about me], (4) direct to me (2/3) fins of sweetfish that [you] would catch (1) during cormorant fishing. Commentary Phonographic script is dominant in this poem. The meaning of this poem is not completely clear, as it refers to some custom or ritual of directing fins of the caught fish to a person who is dearly missed. Since this custom/ritual did not survive, and is not mentioned in other texts, it is difficult to determine its essence. Aoki makes an educated guess that sending just the fins of the fish caught with cormorants that Opotömö-nö Yakamöti presented to Opotömö-nö Ikënusi would equal thanks on the behalf of the latter (1997: 111), but in the light of absence of any hard-core evidence it remains just a guess. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of composition of this poem see the postscript to the poems 19.4189-4191.

Postscript to the poems 19.4189-4191

本文・Original text 右九日附使贈之

Translation [I] sent the above [poems] with a messenger on the ninth day [of the fourth lunar month of the second year of Tenpyō Shōhō]. Commentary The ninth day of the fourth lunar month of the second year Tenpyō-Shōhō corresponds to May 18, 750 AD.

Preface to the poems 19.4192-4193b

本文・Original text 詠霍公鳥并藤花一首并短歌

Translation A poem [I composed] on a cuckoo and wisteria flowers with [a] tanka [envoy]. Commentary On the date of composition of these poems see the postscript to the poems 19.4192-4193b.

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On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On OJ pundi ‘wisteria’ see the commentary to 14.3504. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

19.4192

本文・Original text (1) 桃花 (2) 紅色尓 (3) 尓保比多流 (4) 面輪乃宇知尓 (5) 青柳乃 (6) 細眉根乎 (7) 咲麻我理 (8) 朝影見都追 (9) 呎嬬良我 (10) 手尓取持有 (11) 眞鏡 (12) 盖上山尓 (13) 許能久礼乃 (14) 繁谿邊乎 (15) 呼等余 米 (16) 旦飛渡 (17) 暮月夜 (18) 可蘇氣伎野邊 (19) 遥々尓 (20) 喧霍 公鳥 (21) 立久々等 (22) 羽觸尓知良須 (23) 藤浪乃 (24) 花奈都可之 美 (25) 引攀而 (26) 袖尓古伎礼都 (27) 染婆染等母 仮名の書き下し・Kana transliteration (1) も 1 も 1 の 2 はな (2) くれなゐいろ 2 に (3) にほひ 1 たる (4) おも 2 わの 2 うちに (5) あをやぎ 2 の 2 (6) ほそ 2 き 1 まよ 1 ねを (7) ゑみ 1 ま がり (8) あさかげ 2 み 1 つつ (9) をと 2 め 1 らが (10) てにと 2 りも 2 て る (11) まそ 1 かがみ 1 (12) ふたがみ 1 やまに (13) こ 2 の 2 くれの 2 (14) しげ 2 き 1 たにへ 1 を (15) よ 1 び 1 と 2 よ 2 め 2 (16) あさと 2 び 1 わたり (17) ゆふづくよ 1 (18) かそ 1 け 2 き 1 の 1 へ 1 に (19) はろ 1 はろ 1 に (20) な くほと 2 と 2 ぎ 1 す (21) たちくくと 2 (22) はぶれにちらす (23) ふぢな み 1 の 2 (24) はななつかしみ 1 (25) ひ 1 き 1 よ 2 ぢて (26) そ 1 でにこ 1 き 1 れつ (27) しまばしむと 2 も 2 Romanization (1) MÔMÔ-NÖ PANA (2) KURENAWI IRÖ-ni (3) nipop-î-tar-u (4) OMÖ-WA-nö uti-ni (5) AWO YAŋGÏ-nö (6) POSÖ-KÎ MAYÔ-NE-wo (7) WEM-Î-maŋgar-i (8) ASA KAŋGË MÎ-tutu (9) WOTÖMÊ-ra-ŋga (10) TE-ni TÖR-I-MÖT-ER-U (11) MA-SÔ KAŋGAMÎ (12) PutaŋGAMÎ YAMA-ni (13) kö-nö kure-nö (14) SIŋGË-KÎ TANI PÊ-wo (15) YÔmB-Î-töyömë (16) ASA TÖmB-Î-WATAR-I (17) YUPU-n-DUKUYÔ (18) kasôkë-kî NÔ PÊ-ni (19) PARÔ-PARÔ n-i (20) NAK-U POTÖTÖŋGÎSU (21) TAT-I kuk-u tö (22) PA-m-BURE-ni tiras-u (23) PUnDI NAMÎ-nö (24) natukasi-mî (25) PÎK-Î-YÖnDI-TE (26) SÔnDE-ni kôk-î-[i]re-t-u (27) SIM-Amba SIM-U tömö Glossing with morphemic analysis (1) peach-GEN flower (2) crimson.red color-LOC (3) shine-INF-PERF/ PROG-ATTR (4) face-wheel-GEN inside-LOC (5) green willow-COMP (6) be.thin-ATTR eyebrow-root-ABS (7) smile-INF-be.curved-INF (8) morning light look(INF)-COOR (9) maiden-PLUR-POSS (10) hand-LOC take-INFhold-PROG-ATTR (11) INT-clear mirror (12) Putaŋgamî mountain-LOC (13) tree-GEN shade-GEN (14) be.dense-ATTR valley side-ACC (15) call-INF-resound(INF) (16) morning fly-INF-cross-INF (17) evening-GENmoonlight (18) be.dim-ATTR field side-LOC (19) distant-distant DV-INF (20) cry-ATTR cuckoo (21) rise-INF pass.through-FIN DV (22) wing-GEN-touch(NML)-LOC make.fall-ATTR (23) wisteria wave-GEN (24) be.dear-CON (25) pull-INF-pull.strongly(INF)-SUB (26) sleeve-LOC draw.through.hand-INF-insert(INF)-PERF-FIN (27) dye-COND dye-FIN CONJ - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Translation (9) Maidens (10) hold in [their] hands (11) the clearest mirrors (8) while [they] are looking [at themselves] in the morning light (7) smiling and curving (6) [their] eyebrows that are thin (5) like green willow [branches] (4) on [their] faces [round like] a wheel (3) that are shining (2) in crimson red color (1) [of] peach flowers. (20) A cuckoo that cries (19) in a distance (18) in the field dimly [lit] (17) [by] the evening moonlight (16) flies across in the morning (15) resounding (13/14) at the sides of a valley, where the shade [under] trees is dense (12) at Mt. Putaŋgamî. (21) When [the cuckoo] rises and passes, (22/23/24) because the wisteria waves that [it] makes fall touching [them] by [its] wings, are dear [to me] (25) [I] pull them strongly, and (26) breaking [them] off, put into [my] sleeves. (27) If [wisteria] dyes [my sleeves], let [it] dye [them]! Commentary Logographic script is dominant in this poem. On WOJ mômô ‘peach’ see the commentary to 19.4139. On WOJ kurenawi ‘crimson red’ see the commentary to 15.3703. On WOJ omö-wa ‘face [round like] a wheel’ see the commentary to 19.4169. Note that the word order in this compound reflects rather SVO than SOV, with the second element modifying the first. On WOJ yaŋgï ‘willow’ see the commentaries to the poems 5.817 and 5.821. On ma-sô kaŋgamî ‘really clear mirror’ see the commentary to the poem 15.3765. On Mt. Putaŋgamî see the commentary to 17.3955. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. WOJ kasôkë- ‘to be dim, to be slight’ is a cognate of MdJ kasuka ‘dim, slight, faint’, which preserves the original vocalism with the primary PJ *o prior to o > u raising. On OJ pundi ‘wisteria’ see the commentary to 14.3504. WOJ kôk- (MdJ sigok-) indicates an action of passing something through one’s hand. Since wisteria flowers grow in bunches, the author breaks them off by passing a bunch though his hand. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of composition of this poem see the postscript to the poems 19.4192-4193a.

19.4193a

本文・Original text (1) 霍公鳥 (2) 鳴羽觸尓毛 (3) 落尓家利 (4) 盛過良志 (5) 藤奈美能花 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) なくはぶれにも 1 (3) ちりにけ 1 り (4) さかり すぐらし (5) ふぢなみ 1 の 2 はな Romanization (1) POTÖTÖŋGÎSU (2) NAK-U PA-m-BURE-ni mô (3) TIR-I-n-i-kêr-i (4) SAKAR-I SUŋG-Urasi (5) PUnDI namî-nö PANA - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Glossing with morphemic analysis (1) cuckoo (2) cry-ATTR wing-GEN-touch(NML)-LOC FP (3) fall-INF-PERF-INF-RETR-FIN (4) fully.bloom-NML pass-SUP (5) wisteria wave-GEN flower Translation (5) The flowers of wisteria waves, (3) as it turns out, are falling (1/2) even at the touch of wings of a cuckoo that cries. (4) It looks like their peak of blooming has passed. Commentary Logographic script is dominant in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On OJ pundi ‘wisteria’ see the commentary to 14.3504. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of composition of this poem see the postscript to the poems 19.4192-4193b.

19.4193b

本文・Original text (1) 霍公鳥 (2) 鳴羽觸尓毛 (3) 落奴倍美 (4) 袖尓古伎納都 (5) 藤浪乃 花 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) なくはぶれにも 1 (3) ちりぬべ 2 み 1 (4) そ 1 で にこ 1 き 1 いれつ (5) ふぢなみ 1 の 2 はな Romanization (1) POTÖTÖŋGÎSU (2) NAK-U PA-m-BURE-ni mô (3) TIR-I-n-umbë-mî (4) SÔnDE-ni kôk-î-[I]RE-t-u (5) PUnDI NAMÎ-nö PANA Glossing with morphemic analysis (1) cuckoo (2) cry-ATTR wing-GEN-touch(NML)-LOC FP (3) fall-INFPERF-DEB-CON (4) sleeve-LOC draw.through.hand-INF-insert(INF)-PERF -FIN (5) wisteria wave-GEN flower Translation (3/5) Because the flowers of wisteria waves, would have fallen (1/2) even at the touch of wings of a cuckoo that cries, (4) [I] broke [them] off and put [them] into [my] sleeves. Commentary This poem is a variant of 19.4193a, with different three last lines, although line five is different only in the script. Logography is dominant in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On OJ pundi ‘wisteria’ see the commentary to 14.3504. On WOJ kôk- ‘to pass through one’s hand’ see the commentary to 19.4192. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of composition of this poem see the postscript to the poems 19.4192-4193b.

Postscript to the poems 19.4192-4193b

本文・Original text 同九日作之

Translation [I] composed these [poems] on the same ninth day [of the fourth lunar month of the second year of Tenpyō Shōhō]. Commentary This postscript is a cross-reference to the postscript to the poems 19.4189-4191. The ninth day of the fourth lunar month of the second year of Tenpyō-Shōhō corresponds to May 18, 750 AD.

Preface to the poems 19.4194-4196

本文・Original text 更怨霍公鳥哢晩歌三首

Translation Three poems that [I composed] in addition grieving that a cuckoo’s crying is late. Commentary These three poems have no date, but judging from the fact that there is reference to the first day of a month in 19.4196, they were composed sometimes during the fourth lunar month of the second year of Tenpyō Shōhō On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

19.4194

本文・Original text (1) 霍公鳥 (2) 喧渡奴等 (3) 告礼騰毛 (4) 吾聞都我受 (5) 花波須疑都 追 仮名の書き下し・Kana transliteration (1) ほと 2 と 2 ぎ 1 す (2) なき 1 わたりぬと 2 (3) つぐれど 2 も 1 (4) あれ き 1 き 1 つがず (5) はなはすぎ 2 つつ Romanization (1) POTÖTÖŋGÎSU (2) NAK-Î-WATAR-I-n-u tö (3) TUŋG-Ure-ndömô (4) ARE KÎK-Î-tuŋg-anz-u (5) PANA pa suŋgï-tutu

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Glossing with morphemic analysis (1) cuckoo (2) cry-INF-cross-INF-PERF-FIN DV (3) report-EV-CONC (4) I hear-INF-follow-NEG-FIN (5) flower TOP pass(INF)-COOR Translation (3) Although [people] report (1/2) that a cuckoo has crossed over crying, (4) I still do not hear [it] (5) while the [blooming] flowers pass away. Commentary Logography is dominant in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. Although the exact type of flowers is not mentioned in this poem, presumably Opotömö-nö Yakamöti meant pundi ‘wisteria’ that appear in the previous poems 19.4192-4193a. On OJ pundi ‘wisteria’ see the commentary to 14.3504. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of composition of this poem see the preface to the poems 19.4194-4196.

19.4195

本文・Original text (1) 吾幾許 (2) 斯努波久不知尓 (3) 霍公鳥 (4) 伊頭敝能山乎 (5) 鳴可 将超 仮名の書き下し・Kana transliteration (1) わがこ 2 こ 2 だ (2) しの 1 はくしらに (3) ほと 2 と 2 ぎ 1 す (4) いづ へ 1 の 2 やまを (5) なき 1 かこ 1 ゆらむ Romanization (1) WA-ŋGA KÖKÖnDA (2) sinôp-aku SIR-An-i (3) POTÖTÖŋGÎSU (4) indu pê-nö YAMA-wo (5) NAK-Î ka KÔY-URAM-U Glossing with morphemic analysis (1) I-POSS so.much (2) long.for-NML know-NEG-INF (3) cuckoo (4) which side-GEN mountain-ACC (5) cry-INF IP cross.over-TENT2-ATTR Translation (1/2) I did not know that [I] would long for [you] so much -- (3) cuckoo, (4/5) on what side will [you] cross over the mountains and cry?

Commentary Logography is dominant in this poem. On the special WOJ negative form -an-i see Vovin (2009a: 706-708). On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of composition of this poem see the preface to the poems 19.4194-4196. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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19.4196

本文・Original text (1) 月立之 (2) 日欲里乎伎都追 (3) 敲自努比 (4) 麻泥騰伎奈可奴 (5) 霍公鳥可母 仮名の書き下し・Kana transliteration (1) つき 2 たちし (2) ひ 1 よ 1 りをき 1 つつ (3) うちじの 1 ひ 1 (4) まて ど 2 き 1 なかぬ (5) ほと 2 と 2 ぎ 1 すかも 2 Romanization (1) TUKÏ TAT-I-si (2) PÎ-yôri wok-î-tutu (3) uti-nzinôp-î (4) mat-e-ndö k-î nak-an-u (5) POTÖTÖŋGÎSU kamö Glossing with morphemic analysis (1) month rise-INF-PAST.ATTR (2) day-ABL call-INF-COOR (3) PREF-long.for-INF (4) wait-EV-CONC come-INF cry-NEG-ATTR (5) cuckoo EP Translation (5) Oh, cuckoo (4) [you] did not came and cried, although [I] was waiting (3) longing, and (2) calling [you] from the day (1) when the month began. Commentary Phonography is dominant in this poem. WOJ tukï tatisi pî ‘the day when the month begins’ is the designation of the first day of a lunar month. It was further abbreviated to tukï tati, which is the ancestral form of MdJ tuitati ‘the first day of a month’, which originated after the merger of kō-rui vowel i and otsu-rui vowel ï, with a successive loss of -k-. WOJ wok- may mean both ‘to invite’ and ‘to call’. WOJ uti-nzinôp- represents a secondary prenasalization of the second consonant in uti-sinôp-. There is no doubt that the third syllable starts from the prenasalized voiced consonant, because the character 自 is used to spell only n zi, but not si. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. On the date of composition of this poem see the preface to the poems 19.4194-4196.

Preface to the poems 19.4197-4198

本文・Original text 贈京人歌二首

Translation Two poems that [I] sent to a person in the capital. Commentary These three poems have no date, but they were probably composed sometimes during the fourth lunar month of the second year of Tenpyō Shōhō, because - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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they represent a response to 19.4184, which is dated by the fifth day of the fourth lunar month of the second year of Tenpyō Shōhō (May 14, 750 AD). A person in the capital is Opotömö-nö Yakamöti’s younger sister as it becomes clear from the postscript to the poems 19.4197-4198. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

19.4197

本文・Original text (1) 妹尓似 (2) 草等見之欲里 (3) 吾標之 (4) 野邊之山吹 (5) 誰可手乎 里之 仮名の書き下し・Kana transliteration (1) いも 1 ににる (2) くさと 2 み 1 しよ 1 り (3) あがしめ 2 し (4) の へ 1 の 2 やまぶき 1 (5) たれかたをりし

1

Romanization (1) IMÔ-ni NI-RU (2) KUSA tö MÎ-si-yôri (3) A-ŋGA SIMË-si (4) NÔ PÊ-NÖ yamambukî (5) TARE ka TA-wor-i-si Glossing with morphemic analysis (1) younger.sister-DAT look.like-ATTR (2) grass DV see(INF)-PAST.ATTRABL (3) I-POSS mark(INF)-PAST.ATTR (4) field side-GEN yamambukî.rose (5) who IP hand-break-INF-PAST.ATTR Translation (5) Who broke with a hand (4) the yamambukî rose at the side of the field (3) that I marked [as mine] (2) since [I] saw it as a plant, (1) which resembles [you, my] younger sister? Commentary Logography is dominant in this poem. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. However, since he responds to his younger sister by the invitation of his wife, to whom 19.4184 was addressed, as we learn from the postscript to 19.4197-4198, we can probably surmise that he adopts the voice of his wife here. On marking specific property such as dwellings and graves see the poems 18.4096 and 19.4151 and the commentaries to them. On WOJ yamambukî ‘kerria, yamabuki rose’ see the commentary to 20.4302. On the date of composition of this poem see the preface to the poems 19.4197-4198.

19.4198

本文・Original text (1) 都礼母奈久 (2) 可礼尓之毛能登 (3) 人者雖云 (4) 不相日麻祢美 (5) 念曽吾爲流

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仮名の書き下し・Kana transliteration (1) つれも 2 なく (2) かれにしも 1 の 2 と 2 (3) ひ 1 と 2 はいへ 2 ど 2 (4) あ はぬひ 1 まねみ 1 (5) おも 2 ひ 1 そ 2 あがする Romanization (1) ture mö na-ku (2) kare-n-i-si mônö tö (3) PÎTÖ pa IP-Ë-nDÖ (4) AP-AN-U PÎ mane-mî (5) OMÖP-Î sö A-ŋGA S-Uru Glossing with morphemic analysis (1) relation FP not.exist-INF (2) separate(INF)-PERF-INF-PAST.ATTR thing DV (3) person TOP say-EV-CONC (4) meet-NEG-ATTR day be.many-CON (5) think-NML FP I-POSS do-ATTR Translation (3) Although you say (2) that [I] parted [with you] (1) coldheartedly, (4) because there are many days when [I] do not meet [with you], (5) I do think [about you]. Commentary Phonography is slightly dominant in this poem. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti. However, since he responds to his younger sister by the invitation of his wife, to whom 19.4184 was addressed, as we learn from the postscript to 19.4197-4198, we can probably surmise that he adopts the voice of his wife here. Line three is hypermetric (jiamari, 字余り). OJ pîtö ‘person’ refers to Opotömö-nö Yakamöti’s younger sister. On the date of composition of this poem see the preface to the poems 19.4197-4198.

Postscript to the poems 19.4197-4198

本文・Original text 右爲贈留女之女郎所誂家婦作也女郎者即大伴家持之妹 Translation [I] composed the above poems at the invitation of the lady of the house and sent [them] to the steward lady. The steward lady is Opotömö-nö Yakamöti’s younger sister. Commentary The lady of the house is Opotömö-nö Yakamöti’wife.

Preface to the poems 19.4199-4202

本文・Original text 十二日遊覧布勢水海船泊於多祜灣望見藤花各述懐作歌四首 Translation Four poems composed on the twelfth day [of the fourth lunar month of the second year of Tenpyō Shōhō], when [we] were doing sightseeing at Puse lake, [we] anchored in Takô bay, and everyone expressed [his] feelings.

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Commentary The twelfth day of the fourth lunar month of the second year of Tenpyō Shōhō corresponds to May 21, 750 AD. In this mini-sequence poems are strictly organized according to the social position of authors in the provincial bureaucracy: first the Governor, then the Assistant Governor, then the Secretary, and finally the person whose official job title is not even mentioned. On Puse lake see the commentary to the preface to the poems 17.39913992. Takô bay (Takô-nö ura, 多祜灣/多祜乃浦) of the nowadays dried-up Puse lake corresponds to Kamidako (上田子) and Simodako (下田子) sections of present-day Himi city (Himi-shi, 氷見市) in Toyama prefecture (Nakanishi 1985: 459). It is highly unlikely that Takô bay on Puse lake was ‘Octopus bay’, ‘Callus bay’, or ‘Kite bay’. But with these three choices the search for the Japonic origin of the name Takô seems to be pretty much exhausted. It is much more likely that we dealing here with another placename of the Ainu pedigree: Ainu takkop ‘field/plain where the reeds or grass grows’ looks like a perfect candidate, both for the phonetic reasons (Ainu takkop > OJ takô is a perfect match, because we expect Ainu -kk- to be reflected as -k- in OJ, and the final -p should be lost without any trace in OJ), and for the fact that that takkop is actually attested as a placename in Ainu (Chiri 1956: 127).

19.4199

本文・Original text (1) 藤奈美乃 (2) 影成海之 (3) 底清美 (4) 之都久石乎毛 (5) 珠等曽吾 見流 仮名の書き下し・Kana transliteration (1) ふぢなみ 1 の 2 (2) かげ 2 なすうみ 1 の 2 (3) そ 2 こ 2 き 1 よ 1 み 1 (4) し づくいしをも 1 (5) たまと 2 そ 2 あがみ 1 る Romanization (1) PUnDI namî-nö (2) KAŋGË NAS-U UMÎ-NÖ (3) SÖKÖ KÎYÔ-mî (4) sinduk-u ISI-wo mô (5) TAMA tö sö A-ŋGA MÎ-ru Glossing with morphemic analysis (1) wisteria wave-GEN (2) shade make-ATTR lake-GEN (3) bottom be.clear-CON (4) be.submerged-ATTR stone-ACC FP (5) pearl DV FP I-POSS look-ATTR Translation (3) Because the bottom (2) of the lake in shade (1) of wisteria waves (3) is clear, (4/5) I perceive the submerged stones as pearls, too. Commentary Logography is dominant in this poem. On OJ pundi ‘wisteria’ see the commentary to 14.3504. Line five is hypermetric (jiamari, 字余り). OJ tama ‘jewel’ can mean any kind of a precious gem, like jade, pearl, etc. See also the commentaries to the poems 5.804 and 19.4169. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

108

MAN’YŌSHŪ

On the date of composition of this poem see the preface to the poems 19.4199-4202.

Postscript to the poem 19.4199

本文・Original text 守大伴宿祢家持

Translation Opotömö-nö sukune Yakamöti, the Governor. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4200

本文・Original text (1) 多祜乃浦能 (2) 底左倍尓保布 (3) 藤奈美乎 (4) 加射之氐将去 (5) 不見人之爲 仮名の書き下し・Kana transliteration (1) たこ 1 の 2 うらの 2 (2) そ 2 こ 2 さへ 2 にほふ (3) ふぢなみ 1 を (4) か ざしてゆかむ (5) み 1 ぬひ 1 と 2 の 2 ため 2 Romanization (1) Takô-nö URA-nö (2) SÖKÖ sapë nipop-u (3) PUnDI namî-wo (4) kanzas-i-te YUK-AM-U (5) MÎ-N-U PÎTÖ-NÖ TAMË Glossing with morphemic analysis (1) Takô-GEN bay-GEN (2) bottom RP shine-ATTR (3) wisteria wave-ACC (4) decorate-INF-SUB go-TENT-FIN (5) see-NEG-ATTR person-GEN for Translation (4) [I] will go away decorating [my hair] (3) with waves [of] wisteria [flowers] (2) that shine even [up to] the bottom (1) of Takô bay, (5) for a person who has not seen [them]. Commentary Logography and phonography are equally utilized in this poem. This poem also appears in the Wakan rōeishū (和漢朗詠集), where it is correctly attributed to Kura-nö Napamarö, and in the Shūi wakashū (拾遺和歌 集), where its authorship is mistakenly ascribed to Kakînömötö-nö Pîtömarö (Omodaka 1984.19: 95). Line one is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since Takô-nö ura-nö was in all probability pronounced as [takônöranö]. On Takô bay see the commentary to the preface to the poems 19.4199-4202. On OJ pundi ‘wisteria’ see the commentary to 14.3504.

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On the date of composition of this poem see the preface to the poems 19.4199-4202.

Postscript to the poem 19.4200

本文・Original text 次官内蔵忌寸縄麻呂

Translation Kura-nö imîkî Napamarö, the Assistant Governor. Commentary On the biography of Kura-nö Napamarö see the commentary to the postscript to the poem 17.3996. On imîkî, asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. Sukë (介, 次官) ‘Assistant Governor’ is the next in the chain of provincial command after Môri ‘Governor’. It is the position above the provincial Secretary (Jō/Hōgan/Hangan, 掾/判官).

19.4201

本文・Original text (1) 伊佐左可尓 (2) 念而來之乎 (3) 多祜乃浦尓 (4) 開流藤見而 (5) 一 夜可經 仮名の書き下し・Kana transliteration (1) いささかに (2) おも 2 ひ 1 てこ 2 しを (3) たこ 1 の 2 うらに (4) さ け 1 るふぢみ 1 て (5) ひ 1 と 2 よ 1 へ 2 ぬべ 2 し Romanization (1) isasaka n-i (2) OMÖP-Î-TE KÖ-si-wo (3) Takô-nö URA-ni (4) SAK-Êr-u PUnDI MÎ-TE (5) PÎTÖ YÔ PË-N-UmBË-SI Glossing with morphemic analysis (1) little.while DV-INF (2) think-INF-SUB come(INF)-PAST.ATTR-ACC (3) Takô-GEN bay-LOC (4) bloom-PROG-ATTR wisteria see(INF)-SUB (5) one night pass(INF)-PERF-DEB-FIN Translation (2) Although [I] came thinking that (1) [it] will be for a little while, (4) after having seen blooming wisteria (3) in Takô bay, (5) [I] should have stayed for a night. Commentary Logography is dominant in this poem. Line three is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since Takô-nö ura-ni was in all probability pronounced as [takônörani] or [takônurani]. On Takô bay see the commentary to the preface to the poems 19.4199-4202. On OJ pundi ‘wisteria’ see the commentary to 14.3504.

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On the date of composition of this poem see the preface to the poems 19.4199-4202.

Postscript to the poem 19.4201 本文・Original text 判官久米朝臣廣縄

Translation Kumë-nö asömî Pîrönapa, the Secretary. Commentary On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137.

19.4202

本文・Original text (1) 藤奈美乎 (2) 借廬尓造 (3) 灣廻爲流 (4) 人等波不知尓 (5) 海部等 可見良牟 仮名の書き下し・Kana transliteration (1) ふぢなみ 1 を (2) かりほにつくり (3) うらみ 2 する (4) ひ 1 と 2 と 2 はしらに (5) あまと 2 かみ 1 らむ Romanization (1) PUnDI namî-wo (2) KARI-[I]PO-ni TUKUR-I (3) URA MÏ S-Uru (4) PÎTÖ tö pa SIR-An-i (5) AMA tö ka MÎ-ram-u Glossing with morphemic analysis (1) wisteria wave-ACC (2) temporary-hut-LOC make-INF (3) bay go.around(NML) do-ATTR (4) person DV TOP know-NEG-INF (5) fisherman DV IP see-TENT2-ATTR Translation (5) [They] probably perceive [us] as fishermen (4) without knowing who are the people (3) who go around the bay (1/2) and make waves of wisteria [flowers] into temporary huts. Commentary Logography is dominant in this poem. On OJ pundi ‘wisteria’ see the commentary to 14.3504. The bay mentioned in line three is certainly Takô bay, on which see the commentary to the preface to the poems 19.4199-4202. On the perception of someone as a fisherman see 15.3607 and the commentary to it. On the date of composition of this poem see the preface to the poems 19.4199-4202.

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Postscript to the poem 19.4202 本文・Original text 久米朝臣繼麻呂

Translation Kumë-nö asömî Tuŋgîmarö. Commentary Nothing is known about the biography of Kumë-nö asömî Tuŋgîmarö except that he was an employee of Wettiu gubernatorial office and took part in the sightseeing at Puse lake that was mentioned in the preface to the poems 19.4199-4202. He must have been a very lowly clerk in the provincial hierarchy, definitely below Sakan ‘clerk’, since his job title is not even mentioned here. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

Preface to the poem 19.4203 本文・Original text 恨霍公鳥不喧歌一首

Translation A poem grieving that a cuckoo does not cry. Commentary On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. This poem has no date, but given the fact that Opotömö-nö Yakamöti’s response to it (19.4207-4208) is marked by the twenty-second day of the fourth lunar month of the second year of Tenpyō Shōhō, one can safely assume that it was composed in the same fourth lunar month, but before the twenty-second day.

19.4203

本文・Original text (1) 家尓去而 (2) 奈尓乎将語 (3) 安之比奇能 (4) 山霍公鳥 (5) 一音毛 奈家 仮名の書き下し・Kana transliteration (1) いへ 1 にゆき 1 て (2) なにをかたらむ (3) あしひ 1 き 2 の 2 (4) やま ほと 2 と 2 ぎ 1 す (5) ひ 1 と 2 こ 2 ゑも 1 なけ 1 Romanization (1) IPÊ-ni YUK-Î-TE (2) nani-wo KATAR-AM-U (3) asi pîkï n-ö (4) YAMA POTÖTÖŋGÎSU (5) PÎTÖ KÖWE mô nak-ê Glossing with morphemic analysis (1) home-LOC go-INF-SUB (2) what-ACC tell-TENT-FIN (3) foot low DV-ATTR (4) mountain cuckoo (5) one voice FP cry-IMP

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Translation (1) After [I] go back home, (2) what would [I] tell [my folks about my travel experiences]? (4) Oh, cuckoo from the mountains (3) with low feet, (5) please cry just once! Commentary Logography is dominant in this poem. Line one is hypermetric (jiamari, 字余り). On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On the date of composition of this poem see its preface above. On its author see its postscript below.

Postscript to the poem 19.4203 本文・Original text 判官久米朝臣廣縄

Translation Kumë-nö asömî Pîrönapa, the Secretary. Commentary On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137.

Preface to the poems 19.4204-4205

本文・Original text 見攀折保寳葉歌二首

Translation Two poems on magnolia leaves that [Opotömö-nö Yakamöti] saw and broke off. Commentary WOJ popoŋgasipa ‘magnolia hypoleuca’ (MdJ hōnoki, ほおのき・朴) is a tall deciduous tree that grows in the wild in mountain forests. In early summer it blooms with large white flowers with a yellowish tint that emit strong fragrance. It has big leaves (up to 30 cm) with white underside that resemble the leaves of kasipa ‘oak’, but do not have saw-looking edges like the latter (hence the usage of the word kasipa ‘oak’ in this term). These leaves were used for food-wrapping or as drinking cups for sake during festivals. The wood of this tree is light with a smooth grain, and was used as a material for utensils. Its bark was used for medicinal purposes, and young leaves and buds for food (Omodaka et al. 1967: 660), (Nakanishi 1985: 327). WOJ popoŋgasipa ‘magnolia hypoleuca’ in the Man’yōshū appears in this preface as

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well as in 19.4204-19.4205. From this limited usage it becomes apparent that the word popoŋgasipa could refer to both the tree and its leaves. This poem has no date. Given the surrounding poems, it is likely that these poems were composed in the fourth lunar month of the second year of Tenpyō Shōhō, but there is no proof for it.

19.4204

本文・Original text (1) 吾勢故我 (2) 捧而持流 (3) 保寳我之婆 (4) 安多可毛似加 (5) 青盖 仮名の書き下し・Kana transliteration (1) わがせこ 1 が (2) ささげ 2 ても 2 てる (3) ほほがしは (4) あたかも 1 にるか (5) あをき 1 き 1 ぬがさ Romanization (1) WA-ŋGA se-kô-ŋga (2) SASAŋGË-TE MÖT-ER-U (3) popoŋgasipa (4) atakamô NI-RU ka (5) AWO-KÎ KÎNU-ŋGASA Glossing with morphemic analysis (1) I-POSS elder.brother-DIM-POSS (2) offer(INF)-SUB bring-PROG- ATTR (3) magnolia.leaf (4) exactly resemble-ATTR EP (5) be.green-ATTR silk-hat Translation (3/4) I wonder whether magnolia leaves (1/2) that my dear elder brother offered [to me] (4) look exactly like (5) green silk umbrella.

Commentary Logography is dominant in this poem. Note that the author of this poem, Wegyau, uses humble WOJ verb sasaŋgë- ‘to offer, to present’ about the action performed not by himself, but by Opotömö-nö Yakamöti. This is the strange combination with calling the latter ‘elder brother’ at the same time. We probably can attribute the latter usage to the adopted poetic etiquette, but the first is more difficult to explain, because normally only an Emperor could speak about the actions of his subjects using humble verbs. Probably the explanation lies in the fact that the position and fame of Wegyau in the Japanese Buddhist hierarchy were very high (see the commentary to the postscript to 19.4204). Alternatively, it is possible that the attitude towards monks was similar to the one that is still found today in Thailand, where even a lowly monk commands much higher respect than a very high-positioned lay person. On WOJ popoŋgasipa ‘magnolia, magnolia leaves’ see the commentary to the preface to the poems 19.4204-4205. WOJ adverb atakamô ‘exactly, completely’ is attested in the Man’yōshū only in this poem. WOJ kînu-ŋgasa could be either a hat or a shade worn on the top of one’s head, or a big umbrella (kasa) with a cover made of silk (kînu) that was carried behind a person of a high rank and/or position. Neither of them resembled a modern kasa ‘umbrella’ that has a handle for an individual to carry himself. This is another give-away that points to an extremely high position of Wegyau. This custom as well as the words constituting the compound is of continental origin. There are images of very high positioned - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Chinese with a kînu-ŋgasa behind them. It is frequently believed that OJ kînu ‘silk, garment’ is a loan from EMC kjiwänC or LHC kyenC ‘silk’, which is certainly its ultimate source. However, the otherwise unattested OK predecessor of MK kính ‘string, cord’ (assuming that a semantic shift ‘silk’ > ‘cord’ took place in the latter) may be its immediate source.126 Likewise, WOJ kasa ‘umbrella’ appears to be a loan from otherwise unattested OK predecessor of MK kás ‘broad hat, shade’. On the date of composition of this poem see the preface to 19.4204-4205 above. On its author see its postscript below.

Postscript to the poem 19.4204 本文・Original text 講師僧惠行

Translation Monk Wegyau, the Teacher-Lecturer. Commentary Nothing is known about the biography of monk Wegyau, except that in 750 AD he was the National Teacher in Wettiu province who was appointed by the court and supervised all Buddhist establishments there. However, the linguistic considerations outlined in the commentary to 19.4204 suggest that his position was quite high. The institute of National Teachers (kokushi, 國師), who were the officially appointed supervisors of National sub-Temples (kokubunji, 國分寺) was established in the second lunar month of the second year of Taihō (March 702 AD). However, in the eighth lunar month of the fourteenth year of Enryaku (September-October 795 AD), the title of the National Teacher (kokushi, 國 師) was replaced by the Teacher-Lecturer (kōshi, 講師), although their functions did not change (Omodaka 1984.19: 99). Consequently, this postscript either cannot be dated before 795 AD, or it was edited later. The second solution seems to be more likely to me.

19.4205

本文・Original text (1) 皇神祖之 (2) 遠御代三世波 (3) 射布折 (4) 酒飲等伊布曽 (5) 此保 寳我之波 仮名の書き下し・Kana transliteration (1) すめ 1 ろ 2 き 1 の 2 (2) と 2 ほみ 1 よ 2 み 1 よ 2 は (3) いしき 1 をり (4) さ け 2 の 2 むと 2 いふそ 2 (5) こ 2 の 2 ほほがしは Romanization (1) SUMÊRÖKÎ-NÖ (2) TÖPO MÎ-YÖ mî-YÖ pa (3) i-SIK-Î WOR-I (4) SAKË NÖM-U tö ip-u sö (5) KÖNÖ popoŋgasipa 126 Note that the Korean word must be an old loanword from Chinese because MK -h apparently reflects OC -s > Early Han Chinese -h, which became tone C (departing tone) by EMC times.

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Glossing with morphemic analysis (1) imperial.ancestor-GEN (2) distant HON-age HON-age TOP (3) DLF-spread-INF bend-INF (4) rice.wine drink-FIN DV say-ATTR FP (5) this magnolia.leaf Translation (4) [They] say that [everyone] drank rice wine (2) from the distant ages (1) of imperial ancestors (3) spreading and bending (5) these magnolia leaves. Commentary Logography is dominant in this poem. On WOJ sumêrökî ‘[male] imperial ancestors’, ‘Emperor’ see the commentaries to 15.3688 and 17.4006. OJ töpo ‘distant, far’ in line two is an uninflected adjective. The character 三 ‘three’ in line two is a kungana for the syllable /mî/. The analysis of -u in ip-u ‘say-ATTR’ as an attributive form is provisional, for details see Vovin (2009a: 1186). On WOJ popoŋgasipa ‘magnolia, magnolia leaves’ see the commentary to the preface to the poems 19.4204-4205. On the usage of magnolia leaves as wine cups see the commentary to the preface to the poems 19.4204-4205. Line four is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since tö ip-u was in all probability pronounced as [töpu] or [tepu]. On the date of composition of this poem see the commentary to the preface to 19.4204-4205 above. On its author see its postscript below.

Postscript to the poem 19.4205 本文・Original text 守大伴宿祢家持

Translation Opotömö-nö sukune Yakamöti, the Governor. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

Preface to the poem 19.4206 本文・Original text 還時濱上仰見月光歌一首

Translation A poem on the moonlight that [I] saw, looking up at the shore, when [I] was returning. Commentary The way back from Takô bay on Puse lake to the gubernatorial residence in Wettiu province was along the seashore. The seashore meant here is probably

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Matundaye shore (Kōnosu 1939: 3162), (Omodaka 1984.19: 101). This poem has no date. However, given the fact that the sightseeing on Puse lake took place on the twelfth day of the fourth lunar month of the second year of Tenpyō Shōhō (May 21, 750 AD), it is highly likely that this poem was composed on or immediately after the twelfth day of the fourth lunar month of the second year of Tenpyō Shōhō.

19.4206

本文・Original text (1) 之夫多尓乎 (2) 指而吾行 (3) 此濱尓 (4) 月夜安伎氐牟 (5) 馬之末 時停息 仮名の書き下し・Kana transliteration (1) しぶたにを (2) さしてわがゆく (3) こ 2 の 2 はまに (4) つくよ 1 あ き 1 てむ (5) うましましと 2 め 2 Romanization (1) Simbutani-wo (2) SAS-I-TE WA-ŋGA YUK-U (3) KÖNÖ PAMA-ni (4) TUKUYÔ ak-î-te-m-u (5) UMA simasi TÖMË Glossing with morphemic analysis (1) Simbutani-ACC (2) point-INF-SUB we-POSS go-ATTR (3) this shoreLOC (4) moon.light get.enough-INF-PERF-TENT-FIN (5) horse for.a.while stop(IMP) Translation (5) Let [us] stop horses for while (3) at this shore (2) that we go along towards (1) Simbutani (4) to fully enjoy the moonlight. Commentary Logography is dominant in this poem. On Simbutani see the commentary to 17.3954. The character 吾 in Classical Chinese normally refers to singular ‘I’ rather than to plural ‘we’, but I believe that the traditional glossing of it with the original plural form of the first person pronoun wa- is correct, because it is hard to imagine that a Governor of a province would go on a horse back alone without any kind of retinue. On WOJ tukuyô ‘moon light’ vs. tuku-yô ‘moon-lit night’ see the commentaries to 18.4054 and 1.15. On the date of composition of this poem see the preface to 19.4204-4205 above. On its author see its postscript below.

Postscript to the poem 19.4206

本文・Original text 守大伴宿祢家持

Translation Opotömö-nö sukune Yakamöti, the Governor.

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Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

Preface to the poems 19.4207-4208

本文・Original text 廿二日贈判官久米朝臣廣縄霍公鳥怨恨歌一首并短歌 Translation A poem where [I express my] grief for a cuckoo that [I] presented to Kumë-nö asömî Pîrönapa, the Secretary, on the twenty-second day [of the fourth lunar month of the second year of Tenpyō Shōhō] with a tanka [envoy]. Commentary The twenty-second day of the fourth lunar month of the second year of Tenpyō Shōhō corresponds to May 31, 750 AD. On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. These two poems do not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

19.4207

本文・Original text (1) 此間尓之氐 (2) 曽我比尓所見 (3) 和我勢故我 (4) 垣都能谿尓 (5) 安氣左礼婆 (6) 榛之狭枝尓 (7) 暮左礼婆 (8) 藤之繁美尓 (9) 遥々尓 (10) 鳴霍公鳥 (11) 吾屋戸能 (12) 殖木橘 (13) 花尓知流 (14) 時乎麻 大之美 (15) 伎奈加奈久 (16) 曽許波不怨 (17) 之可礼杼毛 (18) 谷可 多頭伎氐 (19) 家居有 (20) 君之聞都々 (21) 追氣奈久毛宇之

仮名の書き下し・Kana transliteration (1) こ 2 こ 2 にして (2) そ 2 がひ 1 にみ 1 ゆる (3) わがせこ 1 が (4) か き 1 つの 2 たにに (5) あけ 2 されば (6) はりの 2 さえ 2 だに (7) ゆふさ れば (8) ふぢの 2 しげ 2 み 1 に (9) はろ 1 はろ 1 に (10) なくほと 2 と 2 ぎ 1 す (11) わがやど 1 の 2 (12) うゑき 2 たちばな (13) はなにちる (14) と 2 き 1 をまだしみ 1 (15) き 1 なかなく (16) そ 2 こ 2 はうらみ 2 ず (17) しかれど 2 も 1 (18) たにかたづき 1 て (19) いへ 1 をれる (20) き 1 み 1 がき 1 き 1 つつ (21) つげ 2 なくも 1 うし Romanization (1) KÖKÖ n-i s-i-te (2) söŋgap-î-ni MÎ-Y-URU (3) wa-ŋga se-kô-ŋga (4) KAKÎ-tu-nö TANI-ni (5) akë sar-e-mba (6) PARI-NÖ SA YEnDA-ni (7) YUPU sar-e-mba (8) PUnDI-NÖ SIŋGË-mî-ni (9) PARÔ-PARÔ n-i (10) NAK-U

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POTÖTÖŋGÎSU (11) WA-ŋGA yandô-nö (12) UWE-KÏ tatimbana (13) pana n-i tir-u (14) TÖKÎ-wo mandasi-mî (15) k-î nak-an-aku (16) sökö pa URAMÏ-nZ-U (17) sikar-e-ndömô (18) TANI katanduk-î-te (19) IPÊ WOR-ER-U (20) KÎMÎ-ŋGA KÎK-Î-tutu (21) tuŋgë-n-aku mô u-si Glossing with morphemic analysis (1) here DV-INF do-INF-SUB (2) facing.the.back-NML-LOC see-PASSATTR (3) I-POSS elder.brother-DIM-POSS (4) fence-inside-GEN valley-LOC (5) dawn come-EV-CON (6) alder-GEN narrow branch-LOC (7) evening come-EV-CON (8) wisteria-GEN be.dense-NML-LOC (9) distant-distant DV-INF (10) cry-ATTR cuckoo (11) we-POSS house.garden-GEN (12) plant(NML)-tree mandarin.orange (13) flower/ in.vain DV-INF fall-ATTR (14) time-ABS be.not.yet-CON (15) come-INF cry-NEG-NML (16) there TOP regret-NEG-FIN (17) be.so-EV-CONC (18) valley incline-INF-SUB (19) house exist-PROG-ATTR (20) lord-POSS listen-INF-COOR (21) report-NEG-NML FP be.sad-FIN Translation (16) [I] do not regret that (10) a cuckoo that cries (9) in the distance (4) in the valley inside the fence (3) of my dear elder brother[’s house] (2) that is further in the back (1) than my place, (6) in the narrow branches of alders (5) when a dawn comes, [and] (8) in the density of wisteria [flowers], (7) when an evening comes, (15) does not come and cry (14) while it is not yet the time (12/13) when the flowers [of] mandarin oranges trees planted (11) in our house garden fall in vain. (17) However, (20/21) [I] am sad that [you, my] lord, (19) who is living [in] the house (18) facing the valley, (20/21) did not tell [me] that [you] are listening [to a cuckoo] all the time. Commentary Phonography is dominant in this poem. On WOJ söŋgap-î ‘facing the back’ see the commentary to 14.3991. The residence of Kumë-nö asömî Pîrönapa was located in the back of Opotömö-nö Yakamöti’s mansion and, consequently, was closer to the mountains. The OJ compound kakî-tu ‘inside the fence’ is very significant for the reconstruction of the PJ form of OJ uti ‘inside’. Unless we had this compound, we would not be able to tell whether the PJ for was *uti or *utuy,127 due to the merger of î < *i and ï < *uy, *oy, *əy in OJ. But the form -tu points clearly to PJ *utuy, with the expected apheresis of u in the vowel cluster î+u and final -y > -Ø before the next consonant. On OJ pari ‘alder’ see the commentary to 14.3410. On OJ pundi ‘wisteria’ see the commentary to 14.3504. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On OJ yandô ‘house, house garden’ see the commentary to 19.4172. On tatimbana ‘mandarin orange’ see the commentary to the poem 15.3779. WOJ pana n-i is an adverb meaning ‘in vain’. It is interesting that pana is written with disyllabic kungana sign pana 花 ‘flower’; apparently because 127

It is unlikely that we would have PJ *otoy, since WOJ tends to preserve PJ *o in the second syllable of disyllabic nouns as ô.

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the context tells us about the mandarin oranges flowers that do not yet fall in vain. In any case, this script apparently points to the word play between pana n-i ‘in vain’ and pana ‘flower’. WOJ mandasi ‘to be not yet (of time)’ is an apparent adjectival derivation from the adverb manda ‘not yet’ that represents a contraction of manda ‘not yet’ and adjectivizing suffix -asi: manda + -asi > mandasi. OJ sikar- ‘to be so’ is a contraction of sika ‘thus’ and ar- ‘to exist’: sika + ar-. On the date of composition of this poem and its author see the preface and the commentary to the preface to 19.4207-4208 above.

Preface to the poem 19.4208 本文・Original text 反歌一首 Translation An envoy. Commentary This envoy is to the poem 19.4207 above.

19.4208

本文・Original text (1) 吾幾許 (2) 麻氐騰來不鳴 (3) 霍公鳥 (4) 比等里聞都追 (5) 不告君 可母 仮名の書き下し・Kana transliteration (1) あがこ 2 こ 2 だ (2) まてど 2 き 1 なかぬ (3) ほと 2 と 2 ぎ 1 す (4) ひ 1 と 2 りき 1 き 1 つつ (5) つげ 2 ぬき 1 み 1 かも 2 Romanization (1) A-ŋGA KÖKÖnDA (2) mat-e-ndö K-Î NAK-AN-U (3) POTÖTÖŋGÎSU (4) pîtö-ri KÎK-Î-tutu (5) TUŋGË-N-U KÎMÎ kamö Glossing with morphemic analysis (1) I-POSS so.much (2) wait-EV-CONC come-INF cry-NEG-ATTR (3) cuckoo (4) one-CL listen-INF-COOR (5) report-NEG-ATTR lord EP Translation (5) Oh, [you, my] lord who does not tell [me] (4) listening alone (3) [to] a cuckoo (1/2) that does not come [here] and cry, although I waited for it so much! Commentary Logography is dominant in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On the date of composition of this poem and its author see the preface and the commentary to the preface to 19.4207-4208 above.

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Preface to the poems 19.4209-4210

本文・Original text 詠霍公鳥歌一首并短歌

Translation A poem [I] composed about a cuckoo with a tanka [envoy]. Commentary On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On the date of composition of these two poems and their author see the postscript and the commentary to the postscript to 19.4209-4210 below.

19.4209

本文・Original text (1) 多尓知可久 (2) 伊敝波乎礼騰母 (3) 許太加久氐 (4) 佐刀波安礼騰 母 (5) 保登等藝須 (6) 伊麻太伎奈加受 (7) 奈久許惠乎 (8) 伎可麻久 保理登 (9) 安志多尓波 (10) 可度尓伊氐多知 (11) 由布敝尓波 (12) 多 尓乎美和多之 (13) 古布礼騰毛 (14) 比等己惠太尓母 (15) 伊麻太伎己 要受 仮名の書き下し・Kana transliteration (1) たにちかく (2) いへ 1 はをれど 2 も 2 (3) こ 2 だかくて (4) さと 1 は あれど 2 も 2 (5) ほと 2 と 2 ぎ 1 す (6) いまだき 1 なかず (7) なくこ 2 ゑ を (8) き 1 かまくほりと 2 (9) あしたには (10) かど 1 にいでたち (11) ゆふへ 1 には (12) たにをみ 1 わたし (13) こ 1 ふれど 2 も 1 (14) ひ 1 と 2 こ 2 ゑだにも 2 (15) いまだき 1 こ 2 え 2 ず

Romanization (1) tani tika-ku (2) ipê pa wor-e-ndömö (3) kö-n-daka-ku-te (4) satô pa ar-e-ndömö (5) potötöŋgîsu (6) imanda k-î nak-anz-u (7) nak-u köwe-wo (8) kîk-am-aku por-i tö (9) asita-ni pa (10) kandô inde-tat-i (11) yupu pê-ni pa (12) tani-wo mî-watas-i (13) kôp-ure-ndömô (14) pîtö köwe ndani mö (15) imanda kîk-öye-nz-u Glossing with morphemic analysis (1) valley be.close-INF (2) house TOP exist-EV-CONC (3) tree-GENbe.high-INF-SUB (4) village TOP exist-EV-CONC (5) cuckoo (6) yet comeINF cry-NEG-FIN (7) cry-ATTR voice-ACC (8) hear-TEN-NML want-FIN DV (9) morning-LOC TOP (10) gate-LOC go.out(INF)-depart-INF (11) evening side-LOC TOP (12) valley look(INF)-cross.over-INF (13) long.forEV-CONC (14) one voice RP FP (15) yet hear-PASS-NEG-FIN Translation (2) Although [I] live [in] the house (1) close to a valley, [and] (4) although [in] the village [where I] live (3) trees are high, (5) a cuckoo (6) has not yet come and cried. (8) As [I] want to hear (7) [its] cry, (10) [I] go out of the gate (9) in the morning and (12) look across the valley in the evening, but (13) although [I] long for [it], (15) [I] could not yet hear (14) even a single cry.

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Commentary The script is completely phonographic in this poem. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On the etymology of OJ kandô ‘gate’ see the commentary to 14.3530. On the date of composition of this poem and its author see the postscript and the commentary to the postscript to 19.4209-4210 below.

19.4210

本文・Original text (1) 敷治奈美乃 (2) 志氣里波須疑奴 (3) 安志比紀乃 (4) 夜麻保登等藝 須 (5) 奈騰可伎奈賀奴 仮名の書き下し・Kana transliteration (1) ふぢなみ 1 の 2 (2) しげ 2 りはすぎ 2 ぬ (3) あしひ 1 き 2 の 2 (4) やま ほと 2 と 2 ぎ 1 す (5) など 2 かき 1 なかぬ Romanization (1) pundi namî-nö (2) siŋgër-i pa suŋgï-n-u (3) asi pîkï n-ö (4) yama potötöŋgîsu (5) nandö ka k-î nak-an-u Glossing with morphemic analysis (1) wisteria wave-GEN (2) grow.thick-NML TOP pass(INF)-PERF-FIN (3) foot low DV-ATTR (4) mountain cuckoo (5) why IP come-INF cry-NEGATTR Translation (1/2) The peak of growth of wisteria waves flowers has passed. (4) A cuckoo from the mountains (3) with low feet (5) why does [it] not come and cry? Commentary The script is completely phonographic in this poem. On OJ pundi ‘wisteria’ see the commentary to 14.3504. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to 15.3754. On the date of composition of this poem and its author see the postscript and the commentary to the postscript to 19.4209-4210 below.

Postscript to the poems 19.4209-4210

本文・Original text 右廿三日掾久米朝臣廣縄和

Translation Kumë-nö asömî Pîrönapa, the Secretary, responded with [two poems] above on the twenty-third day [of the fourth lunar month of the second year of Tenpyō Shōhō].

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Commentary The twenty-third day of the fourth lunar month of the second year of Tenpyō Shōhō corresponds to June 1, 750 AD. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137. On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. The poem 19.4209 is the only chōka by him in the Man’yōshū. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

Preface to the poems 19.4211-4212 本文・Original text 追同處女墓歌一首并短歌

Translation A poem [I] composed later as a response to previous poems about a grave of a maiden with a tanka [envoy]. Commentary The grave of a maiden is grave of a maiden from Unapî, who committed suicide by drowning herself in the sea when two men were asking her to marry them. This legend is narrated in 19.4211 below. On Unapî see the commentary to 19.4211. Other poems on a grave of a maiden from Unapî are all found in book nine: 9.1801-1803 (poetical collection of Takapasi-nö Musimarö) and 9.1809-1811 (poetical collection of Tanambë-nö Pukumarö). Since these poems chronologically precede these poems by Opotömö-nö Yakamöti, they are probably these previous poems referred to in the preface. On the date of composition of these two poems and their author see the postscript to 19.4211-4212 below.

19.4211

本文・Original text (1) 古尓 (2) 有家流和射乃 (3) 久須婆之伎 (4) 事跡言繼 (5) 知努乎登 古 (6) 宇奈比壯子乃 (7) 宇都勢美能 (8) 名乎競争登 (9) 玉剋 (10) 壽 毛須氐弖 (11) 相争尓 (12) 嬬問爲家留 (13) 呎嬬等之 (14) 聞者悲左 (15) 春花乃 (16) 尓太要盛而 (17) 秋葉之 (18) 尓保比尓照有 (19) 惜 (20) 身之壯尚 (21) 大夫之 (22) 語勞美 (23) 父母尓 (24) 啓別而 (25) 離家 (26) 海邊尓出立 (27) 朝暮尓 (28) 満來潮之 (29) 八隔浪尓 (30) 靡珠藻乃 (31) 節間毛 (32) 惜命乎 (33) 露霜之 (34) 過麻之尓家礼 (35) 奥墓乎 (36) 此間定而 (37) 後代之 (38) 聞継人毛 (39) 伊也遠尓 (40) 思努比尓勢餘等 (41) 黄楊小櫛 (42) 之賀左志家良之 (43) 生而靡 有 仮名の書き下し・Kana transliteration (1) いにしへ 1 に (2) ありけ 1 るわざの 2 (3) くすばしき 1 (4) こ 2 と 2 と 2 いひ 1 つぐ (5) ちぬをと 2 こ 1 (6)うなひ 1 をと 2 こ 1 の 2 (7) うつせ み 1 の 2 (8) なをあらそ 1 ふと 2 (9) たまき 1 はる (10) いの 2 ちも 1 すて て (11) あらそ 1 ひ 1 に (12) つまど 1 ひ 1 しけ 1 る (13) をと 2 め 1 らが (14) き 1 け 2 ばかなしさ (15) はるはなの 2 (16) にほえ 2 さかえ 2 て (17)

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あき 1 の 2 はの 2 (18) にほひ 1 にてれる (19) あたらしき 1 (20) み 2 の 2 さかりすら (21) ますらをの 2 (22) こ 2 と 2 いたはしみ 1 (23) ちちはは に (24) まうしわかれて (25) いへ 1 ざかり (26) うみ 1 へ 1 にいでたち (27) あさよ 2 ひ 1 に (28) み 1 ちくるしほの 2 (29) やへ 1 なみ 1 に (30) な び 1 くたまもの 2 (31) ふしの 2 まも 1 (32) をしき 1 いの 2 ちを (33) つゆ しも 1 の 2 (34) すぎ 2 ましにけ 1 れ (35) おくつき 2 を (36) こ 2 こ 2 と 2 さだめ 2 て (37) の 2 ちの 2 よ 2 の 2 (38) き 1 き 1 つぐひ 1 と 2 も 1 (39) い やと 2 ほに (40) しの 1 ひ 1 にせよ 2 と 2 (41) つげ 2 をぐし (42) しかさ しけ 1 らし (43) おひ 2 てなび 1 け 1 り Romanization (1) INISIPÊ-nö (2) AR-I-kêr-u wanza-nö (3) kusumbasi-kî (4) KÖTÖ tö IP-Î-TUŋG-U (5) Tinu wotökô (6) Unapî WOTÖKÔ-nö (7) utu semi-nö (8) NA-wo ARASÔP-U tö (9) TAMAKÎPARU (10) INÖTI mô sute-te (11) ARASÔP-Î n-i (12) TUMA-n-DÔP-Î s-i-kêr-u (13) WOTÖMÊ-RA-ŋGA (14) KÎK-Ë-mba KANASI-sa (15) PARU PANA-nö (16) nipoye SAKAYE-TE (17) AKÎ-NÖ PA-nö (18) nipop-î TER-ER-U (19) ATARASI-KÎ (20) MÏ-NÖ SAKAR-I SURA (21) MASURA WO-NÖ (22) KÖTÖ ITAPASI-mî (23) TITI PAPA-ni (24) MAWUS-I-WAKARE-TE (25) IPÊ-n-ZAKAR-I (26) UMÎ PÊ-ni InDE-TAT-I (27) ASA YÖPÎ-ni (28) MÎT-I-K-URU SIPO-NÖ (29) YA-pê NAMÎ-ni (30) NAmBÎK-U TAMA MO-nö (31) PUSI-NÖ MA mô (32) WOSI-KÎ INÖTI-wo (33) TUYU SIMÔ-nö (34) SUŋGÏ-[i]mas-i-n-i-kêr-e (35) OKU-TU KÏ-wo (36) KÖKÖ TÖ SAnDAMË-TE (37) NÖTI-NÖ YÖ-NÖ (38) KÎK-Î-TUŋG-U PÎTÖ mô (39) iya TÖPO n-i (40) sinôp-î n-i se-yö tö (41) TUŋGE WOŋ-GUSI (42) sika sas-i-kêr-asi (43) OPÏ-TE NAmBÎK-ÊR-I Glossing with morphemic analysis (1) ancient.times-GEN (2) exist-INF-RETR-ATTR event-GEN (3) be. wonderful-ATTR (4) matter DV say-INF-continue-FIN (5) Tinu man (6) Unapî man-GEN (7) ephemeral cicada-COMP (8) name-ACC compete-FIN DV (9) precious (10) life FP throw.away(INF)-SUB (11) compete-NML DV-INF (12) wife-DV(INF)-ask-NML do-INF-RETR-ATTR (13) maidenDIM-POSS (14) hear-EV-CON be.sad-NML (15) spring flower-COMP (16) shine(INF) bloom(INF)-SUB (17) autumn-GEN leaf-COMP (18) be. radiant-INF shine-PROG-ATTR (19) be.precious-ATTR (20) body-GEN fully.bloom-NML RP (21) noble man-GEN (22) word feel.sorry.for-CON (23) father mother-DAT (24) say(HUM)-INF-part(INF)-SUB (25) home-LOCbe.separated-INF (26) sea side-LOC go.out(INF)-depart-INF (27) morning evening-LOC (28) be.full-INF-come-ATTR tide-GEN (29) eight-CL waveLOC (30) stream-ATTR pearl seaweed-GEN (31) joint interval FP (32) be.hard.to.part.with-ATTR life-ABS (33) dew frost-COMP (34) pass(ING)-exist (HON)-INF-PERF-INF-RETR-EV (35) inner-GEN/LOC fortress-ACC (36) here DV establish(INF)-SUB (37) later-GEN age-GEN (38) hear-INF-continue-ATTR person FP (39) more.and.more distant DV-INF (40) long.for-NML DV-INF do-IMP DV (41) boxwood.tree DIM-comb (42) thus stick-INF-RETR-SUP (43) grow(INF)-SUB bend.over(INF)-PROG-FIN Translation (4) [They] continue to speak about the matter (2/3) of the wonderful event (1) in the ancient times. (14) [I] was sad when [I] heard (13) [about the story] of a maiden (5) [whom] a man from Tinu (6) [and] a man from Unapî (12) asked to be [their] wife (11) competing (9/10) [to the extent] of throwing [their] - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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precious lives away (8) while saying that [they] will compete for [their] fame (7) ephemeral like cicada. (19/20) [With her] precious body in full bloom, (16) shining and blooming (15) like spring flowers, (18) radiant and shining (17) like autumn leaves, (22) [she] felt sorry for the words (21) of [two] noble men, so (24) [she] said the words of parting (23) to [her] father [and] mother, (25) and leaving home (26) [she] went to the seashore, and (32) [her] life that is hard to part with (31) and [that was short] as the joint (30) of pearly seaweeds that are streaming (29) in many-layered waves (28) of the tide that comes in full (27) in the morning [and] in the evening (34) has passed away (33) like dew and frost. (36) [They] established here (35) [her] grave, and (42) it looks like that [they] stuck (41) [her] boxwood comb, (43) [which] grew up [in a boxwood tree] bending over [the grave] (38) so that even the people who continue to hear [about her story] (37) in later ages (40) would long for [her] (39) in more and more remote [places]. Commentary Logography is dominant in this poem. On WOJ inisipê ‘ancient times, past’ in line one see the commentary to 17.3973b. Tinu (血沼, 知努) in line five is the old name of Indumî province that corresponds to the coastal part of present-day Ōsaka prefecture stretching from Sakai city (Sakai-shi, 堺市) to Kishiwada city (Kishiwada-shi, 岸和田 市) (Nakanishi 1985: 462-463). The spelling 血沼 seems to be phonographic kungana, as it is unlikely that ‘bloody swamp’ was really meant here. If this is the case, then the likely origin is Ainu cin < *tin ‘cliff bottom, cliff foot’ (Chiri 1956: 18). The final vowel -u is either an echo vowel, or a dialect variation of a possessive form in -i that this word has in Hokkaidō Ainu (Chiri 1956: 18). Unapî (宇奈比) in line six is a district in Settsu province corresponding to the coastal area below the Mt. Rokkō (Rokkō-san, 六甲山) in present day eastern ward of Kōbe city and Ashiya city (Ashiya-shi, 芦屋市) (Nakanishi 1985: 429-430). There is no apparent Japanese etymology for this place name. Ainu úna ‘volcanic ash’ + pi ‘pebble’ (Chiri 1956: 94, 136) might be tempting, but the fly in the ointment is that Mt. Rokkō is not a volcano. On utu semî ‘ephemeral cicada, ephemeral world’ see the commentaries to 15.3617 and 14.3456. On WOJ tamakîparu ‘precious’ in line nine see the commentary to 15.3744. It is interesting that OJ inöti ‘life’ in line ten is written with the character 壽 ‘longevity’. Aoki believes that -ra in line thirteen is possibly a marker of plural, that includes both the maiden from Unapî and her two suitors (Aoki 1997: 144). This is possible, but in WOJ -ra has the function of the representative plurality only in Senmyō (Vovin 2005a: 95-96). In addition, it is fate of the maiden that the author thinks with sadness of, but not of the two suitors. Consequently, I think that -ra is this case is a diminutive suffix in its endearment function (Vovin 2005a: 2008-2009). The character 等 for -ra here is used not logographically, but as a kungana sign. The character 太 as a kungana for po (< opo ‘great’) in line sixteen occurs only twice in the Man’yōshū: in 13.3309 and 19.4211. The verb nipoye- ‘to shine’ in line sixteen is a hapax legomenon in OJ. I analyze the spelling of a comparative case marker -nö as 之 in line seventeen as the case of kungana, because Classical Chinese 之 has no such - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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function. Note the meaning of WOJ atarasi: ‘to be precious’, ‘to be important’, ‘not to be wasted’, but not ‘to be new’ as in MdJ. In contrast, ‘to be new’ in OJ is aratasi. On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ in line twenty one see the commentary to 5.804. On WOJ oku-tu kï ‘inner fortress’ in line thirty-five as a metaphor for ‘grave’, see the commentary to 18.4096. OJ tama ‘jewel’ can mean any kind of a precious gem, like jade, pearl, etc. See also the commentaries to the poems 5.804 and 19.4169. WOJ tuŋge ‘boxwood tree’ in line forty-one is an evergreen tree of a medium height. It grows in the wild in the mountains in the warm areas. It blooms in early spring with pale yellow flowers, its bark is of ashen white color, and its wood has yellow color. Boxwood tree wood was used for making headrests and combs. In poetry it has connotation with love (Nakanishi 1985: 320). There are no phonographic attestations in WOJ, therefore we do not know for sure whether the word was *tuŋgê or *tuŋgë. Both early Heian period dictionaries SSJ and WMS spell the second syllable with the character 介 /kê/ it certainly can be a mistake in both, but the consistency of spelling rather suggests an orthographic conservatism. Thus, it is more likely that the word was actually tuŋgê, but this is no more than an educated guess. On the date of composition of this poem and its author see the postscript to 19.4211-4212 below.

19.4212

本文・Original text (1) 乎等女等之 (2) 後乃表跡 (3) 黄楊小櫛 (4) 生更生而 (5) 靡家良思 母 仮名の書き下し・Kana transliteration (1) をと 2 め 1 らが (2) の 2 ちの 2 しるしと かはりおひ 2 て (5) なび 1 き 1 け 1 らしも 2

2

(3) つげをぐし (4) おひ

2

Romanization (1) wotöMÊ-ra-ŋGA (2) NÖTI-nö SIRUSI tö (3) TUŋGE WOŋ-GUSI (4) OPÏ KAPAR-I OPÏ-TE (5) NAmBÎK-Î-kêr-asi-mö Glossing with morphemic analysis (1) maiden-DIM-POSS (2) later-GEN sign DV (3) boxwood.tree DIM-comb (4) grow(INF) change-INF grow(INF)-SUB (5) bend.over-INF-RETR-SUPEXCL Translation (2) As a sign for posterity (1) for a maiden, (3) a comb from a boxwood tree (4) grows and changes [into a tree], and growing (5) it looks like that [the box wood tree] bent over [her grave]! Commentary Logography is dominant in this poem. On 等 as a kungana sign for ra see the commentary to 19.4211. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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On WOJ tuŋge ‘boxwood tree’ see the commentary to 19.4211. Line four is hypermetric (jiamari, 字余り). On the date of composition of this poem and its author see the postscript to 19.4211-4212 below.

Postscript to the poems 19.4211-4212

本文・Original text 右五月六日依興大伴宿祢家持作之

Translation Opotömö-nö sukune Yakamöti composed these [two poems] on the basis of the inspiration on the sixth day of the fifth lunar month [of the second year of Tenpyō Shōhō]. Commentary The sixth day of the fifth lunar month of the second year of Tenpyō Shōhō corresponds to June 14, 750 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4213

本文・Original text (1) 安由乎疾 (2) 奈呉乃浦廻尓 (3) 与須流浪 (4) 伊夜千重之伎尓 (5) 戀度可母 仮名の書き下し・Kana transliteration (1) あゆをいたみ 1 (2) なご 1 の 2 うらみ 2 に (3) よするなみ 1 (4) いやち へ 1 しき 1 に (5) こ 1 ひ 2 わたるかも 2 Romanization (1) ayu-wo ITA-MÎ (2) Naŋgô-nö URA MÏ-ni (3) yös-uru NAMÎ (4) iya TI-PÊ sikî n-i (5) KÔPÏ-WATAR-U kamö Glossing with morphemic analysis (1) eastern.wind-ACC be.violent-CON (2) Naŋgô-GEN bay turn(NML)- LOC (3) approach-ATTR wave (4) more.and.more thousand-CL frequently DV-INF (5) long.for(INF)-cross.over-ATTR EP Translation (5) I continue to long [for you] (4) thousand times more and more frequently (3) like [the thousand] waves that approach (2) the circumference of Naŋgô bay, (1) because the eastern wind is violent! Commentary Phonography and logography are used almost equally in this poem, although the phonography is slightly dominant. Line one is hypermetric (jiamari, 字余り). On WOJ ayu ‘eastern wind’ see the commentary to the poem 17.4006.

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On Naŋgô see the commentary to the poem 17.3956. The character 乃 in line two is found only in the Genryaku kōhon and the Ruijū koshū, but not in other manuscripts that have 能 instead. OJ watar- ‘to cross over’ may be used as an auxiliary indicating either than an action goes over some area, or that it continues for some time. For details see Vovin (2009a: 1087-1091). On the date of composition of this poem and its author see the commentary to the postscript to 19.4213 below.

Postscript to the poem 19.4213 本文・Original text 右一首贈京丹比家

Translation [I] sent the poem above to Tandipî mansion in the capital. Commentary Although there is no date, it is largely believed that this poem was composed on the same sixth day of the fifth lunar month of the second year of Tenpyō Shōhō (June 14, 750 AD) as the poems 19.4211-4212 above. On Tandipî clan see the commentary to the preface to the poem 19.4173. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

Preface to the poems 19.4214-4216

本文・Original text 挽歌一首并短歌

Translation An elegy with two tanka [envoys]. Commentary On the date of composition of these three poems and their author see the postscript to 19.4214-4216 below.

19.4214

本文・Original text (1) 天地之 (2) 初時従 (3) 宇都曽美能 (4) 八十伴男者 (5) 大王尓 (6) 麻都呂布物跡 (7) 定有 (8) 官尓之在者 (9) 天皇之 (10) 命恐 (11) 夷 放 (12) 國乎治等 (13) 足日木 (14) 山河阻 (15) 風雲尓 (16) 言者雖通 (17) 正不遇 (18) 日之累者 (19) 思戀 (20) 氣衝居尓 (21) 玉桙之 (22) 道來人之 (23) 傳言尓 (24) 吾尓語良久 (25) 波之伎餘之 (26) 君者比 來 (27) 宇良左備弖 (28) 嘆息伊麻須 (29) 世間之 (30) 猒家口都良家 苦 (31) 開花毛 (32) 時尓宇都呂布 (33) 宇都勢美毛 (34) 无常阿里家 利 (35) 足千根之 (36) 御母之命 (37) 何如可毛 (38) 時之波将有乎 (39) 眞鏡 (40) 見礼杼母不飽 (41) 珠緒之 (42) 惜盛尓 (43) 立霧之 (44) 失去如久 (45) 置露之 (46) 消去之如 (47) 玉藻成 (48) 靡許伊臥 (49) 逝水之 (50) 留不得常 (51) 狂言哉 (52) 人之云都流 (53) 逆言乎 - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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(54) 人之告都流 (55) 梓弓 (56) 爪弦夜音之 (57) 遠音尓毛 (58) 聞者 悲弥 (59) 庭多豆水 (60) 流涕 (61) 留可祢都母 仮名の書き下し・Kana transliteration (1) あめ 2 つちの 2 (2) はじめ 2 の 2 と 2 き 1 ゆ (3) うつそ 2 み 1 の 2 (4) や そ 1 と 2 も 2 の 2 をは (5) おほき 1 み 1 に (6) まつろ 2 ふも 2 の 2 と 2 (7) さ だまれる (8) つかさにしあれば (9) おほき 1 み 1 の 2 (10) み 1 こ 2 と 2 かしこ 1 み 1 (11) ひ 1 なざかる (12) くにををさむと 2 (13) あしひ 1 き 2 の 2 (14) やまかはへ 1 なり (15) かぜくも 1 に (16) こ 2 と 2 はかよ 1 へ 2 ど 2 (17) ただにあはぬ (18) ひ 1 の 2 かさなれば (19) おも 2 ひ 1 こ 1 ひ 2 (20) いき 1 づき 1 をるに (21) たまほこ 2 の 2 (22) み 1 ちくるひ 1 と 2 の 2 (23) つてこ 2 と 2 に (24) あれにかたらく (25) はしき 1 よ 2 し (26) き 1 み 1 はこ 2 の 2 こ 2 ろ 2 (27) うらさび 2 て (28) なげ 2 かひ 1 います (29) よ 2 の 2 なかの 2 (30) うけ 1 くつらけ 1 く (31) さくはなも 1 (32) と 2 き 1 にうつろ 2 ふ (33) うつせみ 1 も 1 (34) つねなくありけ 1 り (35) たらち ねの 2 (36) み 1 ははの 2 み 1 こ 2 と 2 (37) なにしかも 1 (38) と 2 き 1 しは あらむを (39) まそ 1 かがみ 1 (40) み 1 れど 2 も 2 あかず (41) たまの 2 をの 2 (42) をしき 1 さかりに (43) たつき 2 りの 2 (44) うせぬるご 2 と 2 く (45) おくつゆの 2 (46) け 2 ぬるがご 2 と 2 く (47) たまもなす (48) な び 1 きこ 2 いふし (49) ゆくみ 1 づの 2 (50) と 2 ど 2 め 2 かねつと 2 (51) た はこ 12 と 2 か (52) ひ 1 と 2 の 2 いひ 1 つる (53) およ 2 づれか (54) ひ 1 と 2 の 2 つげ 2 つる (55) あづさゆみ 1 (56) つまび 1 くよ 1 おと 2 の 2 (57) と 2 ほおと 2 にも 1 (58) き 1 け 2 ばかなしみ 1 (59) にはたづみ 1 (60) なが るるなみ 1 た (61) と 2 ど 2 め 2 かねつも 2 Romanization (1) AMË TUTI-NÖ (2) PAnZIMË-NÖ TÖKÎ-YU (3) utu sömî-nö (4) YASÔ TÖMÖ N-Ö WO PA (5) OPO KÎMÎ-ni (6) maturöp-u MÖNÖ tö (7) SAnDAMAR-ER-U (8) TUKASA n-i si AR-E-mba (9) OPO KÎMÎ-NÖ (10) MÎKÖTÖ KASIKÔ-MÎ (11) PÎNA-n-ZAKAR-U (12) KUNI-wo WOSAM-U tö (13) ASI pîkï n-ö (14) YAMA KAPA PÊNAR-I (15) KAnZE KUMÔ-ni (16) KÖTÖ pa KAYÔP-Ë-nDÖ (17) TAnDA N-I AP-AN-U (18) PÎ-NÖ KASANAR-E-mba (19) OMÖP-Î KÔPÏ (20) IKÎ-n-DUK-Î WOR-U-ni (21) TAMA POKÖ-NÖ (22) MÎTI K-URU PÎTÖ-NÖ (23) TUTEKÖTÖ n-i (24) ARE-ni KATAr-aku (25) pasi-kî yö-si (26) KÎMÎ pa KÖNÖ körö (27) ura-sambï-te (28) NAŋGËK-AP-Î-imas-u (29) YÖ-NÖ NAKA-NÖ (30) U-kêku tura-kêku (31) SAK-U PANA mô (32) TÖKÎ-ni utur-öp-u (33) utu semî mô (34) TUNE NA-KU ar-i-kêr-i (35) taratine n-ö (36) MÎ-PAPA n-ö MÎ-KÖTÖ (37) NANI SI kamô (38) TÖKÎ si pa AR-AM-U-wo (39) MA-SÔ KAŋGAMÎ (40) MÎ-re-ndömö AK-AnZ-U (41) TAMA-NÖ WO-NÖ (42) WOSI-KÎ SAKAR-I-ni (43) TAT-U KÏRI-nö (44) USE-N-URU ŋGÖTÖ-ku (45) OK-U TUYU-NÖ (46) KË-N-URU-ŋGA ŋGÖTÖ-KU (47) TAMA MO-nasu (48) NAmBÎK-Î köyi-PUS-I (49) YUK-U MÎnDU-nö (50) TÖnDÖMË-KANE-T-U tö (51) TAPA KÖTÖ ka (52) PÎTÖ-NÖ IP-Î-t-uru (53) OYÖnDURE ka (54) PÎTÖ-NÖ TUŋGË-t-uru (55) AnDUSA YUMÎ (56) TUMA-m-BÎK-U YÔ OTÖ-NÖ (57) TÖPO OTÖ n-i mô (58) KÎK-Ë-mba KANASI-mî (59) NIPA tandumî (60) NAŋGAR-URU NAMÎTA (61) TÖnDÖMË-kane-t-umö Glossing with morphemic analysis (1) Heaven Earth-GEN (2) beginning-GEN time-ABL (3) ephemeral cicadaGEN (4) eighty companion DV-ATTR man TOP (5) Great Lord-DAT (6) serve-ATTR thing DV (7) be.established-PROG-ATTR (8) office DV-INF EP - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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exist-EV- CON (9) Great Lord-GEN (10) command be.awesome-CON (11) countryside-COMP-be.far.away-ATTR (12) province-ACC govern-FIN DV (13) foot low DV-ATTR (14) mountain river be.separated-INF (15) wind cloud-LOC (16) word TOP go.back.and.forth-EV-CONC (17) straight DV-INF meet-NEG-ATTR (18) day-GEN pile.up-EV-CON (19) think-NML long.for-NML (20) breath-LOC-pant-INF exist-ATTR-LOC (21) jewel spear-COMP (22) road come-ATTR person-GEN (23) message DV-INF (24) I-DAT say-NML (25) be.lovely-ATTR be.good-FIN (26) lord TOP this times (27) heart-lament(INF)-SUB (28) lament-ITER-INF-HON-FIN (29) worldGEN inside-GEN (30) be.sad-ATTR.NML be.painful-ATTR.NML (31) bloom-ATTR flower FP (32) time-LOC fade-ITER-FIN (33) ephemeral cicada FP (34) eternal not.exist-INF exist-INF-RETR-FIN (35) (makura-kotoba) DV-ATTR (36) HON-mother DV-ATTR HON-person (37) how EP EP (38) time EP TOP exist-TENT-ATTR-ACC (39) INT-clear mirror (40) look-EV-CONC get.enough-NEG-FIN (41) jewel-GEN string-GEN (42) be.hard.to.part.with-ATTR fully.bloom-NML-LOC (43) rise-ATTR fog-GEN (44) be.lost(INF)-PERF-ATTR be.like-INF (45) put-ATTR dew-GEN (46) disappear(INF)- PERF-ATTR-POSS be.like-INF (47) pearl seaweed-COMP (48) stretch.out-INF lie.down(INF)-lie.prone-INF (49) go-ATTR waterCOMP (50) stop(INF)-NEG/POT-FIN DV (51) rash word IP (52) person-GEN say-INF-PERF-ATTR (53) lie IP (54) person-GEN report(INF)-PERF-ATTR (55) catalpa bow (56) nail-GEN-pull-ATTR night sound-GEN (57) distant sound DV-INF FP (58) hear-EV-CON be.sad-CON (59) garden flood.water (60) flow-ATTR tear (61) stop(INF)-NEG/POT- PERF-EXCL Translation (8) Because [these] are offices (7) established (6) as institutions, where (4) many companion men (3) of the ephemeral world (6) serve (5) to the Great Lord (2) from the time of the beginning (1) of Heaven and Earth, (9/10) [and] because the command of the Great Lord is awesome, (12) [I] was going to govern a province (11) that is as distant [from the capital] as the countryside. (14) [Thus, we] are separated [by] rivers and mountains (13) with low feet, (16) and although [we] heard of each other (15) by the means of winds and clouds (17/18) because the days when we did not meet directly piled up, (20) [I] was sighing (19) with thoughts and longing for [you]. (22) A person who came [along] the road (21) that is like a jeweled spear, (23/24) gave me the message saying that (25/26) [my] lord, who is lovely and good, [at] this time (27) is distressed and (28) laments constantly. (29/30) It is the fact that life is sad and painful. (31) Blooming flowers (32) will be fading [in their time], too. (33) Ephemeral cicada (34) does not live forever, either. (35) [Your] dear (?) (36) honorable mother (37/38) although [she] still had some time, [and] (39/40) although [one] looked at her as at the clearest mirror, [one] could not get enough, (41/42) at the prime of [her] life that is hard to part with (43/44) like a rising fog is lost, [or] (45/46) like a lying dew disappears, (48) [she] lied down stretched out (47) like a pearly seaweed (49) [and was gone] like a flowing water (50) that [one] cannot stop -- saying this (52) has [this] person made (51) a rash remark? (54) [Or] has [this] person reported (53) a lie? (58) [I] am sad when [I] hear (57) as a distant sound (55/56) the night sound of catalpa bow being plucked by nails, and (61) [I] cannot stop (60) [my] tears flowing (59) [like] flood in the garden!

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Commentary Logography is dominant in this poem. The occasion on which this chōka and accompanying two tanka were composed is explained in the postscript to the poems 19.4214-4216. On OJ semî ‘cicada’ see the commentary to 15.3617. WOJ utu sömî ‘ephemeral cicada’ (> ‘ephemeral world’) is a rare phonetic variant of utu semî ‘id.’ It is attested also in 2.165, 2.196, 2.210, and 2.213. The variant sömî demonstrates that PJ form was *səymi, not *saymi or *siami. Cf. the same alternation in se ~ sö- ‘back’. On utu semî ‘ephemeral cicada, ephemeral world’ see the commentaries to 15.3617 and 14.3456. Aoki thinks that utu sömî is an old form of utu semî (1997: 153), a belief probably based on the fact that all attestations of utu sömî besides 19.4214 are confined to book two of the Man’yōshū, but this is doubtful, because this poem reveals also utu semî in line thirty-three. In addition, and much more importantly, Ryūkyūan forms indicate PR *e, and not PR *o: Shuri siimiigwa (OGJ 471), Yaeyama siimiinaa (Miyara 1980: 331). OJ yasô ‘eighty’ is often used as a metaphor for ‘many’, as in this case. On opo kîmî ‘Great Lord’ which refers to the Emperor, see the commentary to 5.794. Line eight is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since si ar-e-mba was in all probability pronounced as [saremba]. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. On WOJ tama pokö-nö ‘like a jeweled spear’ see the commentary to 5.886. OJ yö-si ‘is good’ (line twenty-five) is a final form used in the attributive function. See the commentary to 15.3602 for the lack of strict differentiation between final and attributive forms of inflected adjectives in Old Japanese. The character 來 ‘to come’ can be used as a kungana for körö, cf. also 2.123, 4.767, 10.2182, etc. Since this kungana reading is apparently based on attributive k-uru of kö- ‘to come’, it demonstrates how imprecise kungana usage may be. OJ ura ‘inside’, ‘back’ is used here metaphorically for heart as an internal organ. See also 14.3443, 14.3495, 14.3500, 15.3584, 15.3752, 17.3978, 19.4177, 19.4290, and 20.4311 for the same usage. Lines twenty-nine and thirty yö-nö naka-nö // u-kêku tura-kêku ‘the fact that is that life is sad and painful’ also occur as lines seven and eight in 5.897. On the adjectival nominalized form -kêku see the commentary to 15.3694. Line thirty-four is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since na-ku ar-i-kêr-i was in all probability pronounced as [nakarikêri]. On WOJ permanent epithet (makura-kotoba, 枕詞) taratine-nö or taratine n-ö see the commentary to 15.3688. On the honorific mî-kötö ‘HON-matter/person’, see the commentary to 5.794. Line thirty-eight is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since pa ar-am-u was in all probability pronounced as [paramu]. On ma-sô kaŋgamî ‘really clear mirror’ see the commentary to the poem 15.3765. WOJ tama-nö wo ‘string of jewels’ is used here metaphorically for ‘life’. Lines forty-four and forty-six are very important for the history of the - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Japanese language, because the spelling of the perfective -n- as 去 ‘to go away’ in them proves that it was originally an auxiliary verb derived from in‘to go away’. It is, in fact, the second independent piece of evidence for such a development in addition to the fact that perfective -n- has the same n-irregular conjugation as in- ‘to go away’, with the root ending in a consonant, but with attributive and evidential forms looking like vowel verb conjugation forms -uru and -ure. OJ tama ‘jewel’ can mean any kind of a precious gem, like jade, pearl, etc. See also the commentaries to the poems 5.804 and 19.4169. It seems that there are three main variants of reading of line fifty 留不得 常 according to the various commentators, e.g.: töndömë-kane-t-u tö (Takeda 1957.19: 256), töndömë-kane-kî tö (Omodaka 1984.19: 115), töndömë-kane-te-kî tö (Aoki 1997: 152). Among these, kane-kî is apparently Omodaka’s idiosyncrasy, as it is attested nowhere else in the Man’yōshū, kane-te-kî is attested only once in kungana phonographic spelling as 金手寸 in 13.3269, but there are plenty of cases of kane-t-u, therefore I follow Takeda’s reading. Line fifty-six is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since yô otö was in all probability pronounced as [yôtö]. On OJ andusa ‘catalpa tree’ (梓) see the commentary to 14.3487. The image described in lines fifty-five to fifty-eight must have some ritual meaning, which is, unfortunately, lost for us in the twenty-first century. Line fifty-seven is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since töpo otö was in all probability pronounced as [töpotö]. On the date of composition of this poem and its author see the postscript to 19.4214-4216 below.

Preface to the poems 19.4215-4216 本文・Original text 反歌二首 Translation Two envoys. Commentary These envoys are for 19.4214.

19.4215

本文・Original text (1) 遠音毛 (2) 君之痛念跡 (3) 聞都礼婆 (4) 哭耳所泣 (5) 相念吾者 仮名の書き下し・Kana transliteration (1) と 2 ほおと 2 にも 1 (2) き 1 み 1 がなげ 2 くと 2 (3) き 1 き 1 つれば (4) ね の 2 み 2 しなかゆ (5) あひ 1 おも 2 ふあれは Romanization (1) TÖPO OTÖ mô (2) KÎMÎ-ŋGA NAŋGËK-U tö (3) KÎK-Î-t-ure-mba (4) NE NÖMÏ SI NAK-AY-U (5) APÎ-OMÖP-U ARE pa

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Glossing with morphemic analysis (1) distant sound FP (2) lord-POSS lament-FIN DV (3) hear-INF-PERFEV-CON (4) sound RP EP cry-PASS-FIN (5) REC-think-ATTR I TOP Translation (3) Because [I] have heard (1) [as] a distant rumor (3) that [my] lord is lamenting, (5) I, who has the same thoughts, (4) can only cry loudly. Commentary Logography is dominant in this poem. Line one is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since töpo otö was in all probability pronounced as [töpotö]. On the date of composition of this poem and its author see the postscript to 19.4214-4216 below.

19.4216

本文・Original text (1) 世間之 (2) 无常事者 (3) 知良牟乎 (4) 情盡莫 (5) 大夫尓之氐 仮名の書き下し・Kana transliteration (1) よの 2 なかの 2 (2) つねなき 1 こ 2 と 2 は (3) しるらむを (4) こ 2 こ 2 ろ 2 つくすな (5) ますらをにして Romanization (1) YÖ-NÖ NAKA-NÖ (2) TUNE NA-KÎ KÖTÖ pa (3) SIR-AM-U-wo (4) KÖKÖRÖ TUKUS-UNA (5) MASURA WO n-i s-i-te Glossing with morphemic analysis (1) world-GEN inside-GEN (2) permanent not.exist-ATTR matter TOP (3) know-TENT-ATTR-ACC (4) heart exhaust-NEG/IMP (5) noble man DV-INF do-INF-SUB Translation (3) Because [you] realize (2) the impermanence (1) of [this] world, (5) being a noble man, (4) do not exhaust [your] heart [with grief]. Commentary Logography is dominant in this poem. On the date of composition of this poem and its author see the postscript to 19.4214-4216 below.

Postscript to the poems 19.4214-4216

本文・Original text 右大伴宿祢家持弔聟南右大臣家藤原二郎之喪慈母患也五月廿七日 Translation The above poems were composed by Opotömö-nö sukune Yakamöti on the twenty-seventh day of the fifth lunar month [of the second year of Tenpyō Shōhō] to console the grief for his beloved mother of his son-in-law, the

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second son of the Minister of the Right from the Southern Branch of Pundipara clan. Commentary The twenty-seventh day of the fifth lunar month of the second year of Tenpyō Shōhō corresponds to July 5, 750 AD. Note the non-standard character 聟 ‘son-in-law’ used instead of 婿. Pundipara clan ( 藤 原 氏) was divided into four branches or houses: Northern Pundipara ( 藤 原 北 家 ), Southern Pundipara ( 藤 原 南 家 ), Siki Pundipara (藤原式家), and Capital Pundipara (藤原京家). The Minister of the Right (Udaijin, 右大臣) is the third position in seniority at the Imperial court following the Great Minister (Daijōdaijin, 太 政大臣) and the Minister of the Left (Sadaijin, 左大臣). According to the Ritsuryō code, it corresponded to the Senior or Junior Second Rank. The Minister of the Right at that time was Pundipara-nö Töyönari (藤原豊 成), the eldest son of Pundipara-nö Mutimarö (藤原武智麻呂), the founder of the Southern Branch of Pundipara. Pundipara-nö Töyönari was appointed the Minister of the Right in the first year of Tenpyō Shōhō. His second son was Pundipara-nö Tuŋgunapa (藤原繼縄) then twenty-four years old. His mother was a daughter of Mîti-nö mapîtö Musimarö (路眞人虫麻呂). On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

Preface to the poem 19.4217

本文・Original text 霖雨嚠日作歌一首

Translation A poem [I] composed on the day when [it] had cleared up [after] long rain. Commentary The long rain is apparently a monsoon long rain in the summer. On the date of composition of this poem and its author see the postscript and the commentary to 19.4217-4218 below.

19.4217

本文・Original text (1) 宇能花乎 (2) 令腐霖雨之 (3) 始水逝 (4) 縁木積成 (5) 将因兒毛我 母 仮名の書き下し・Kana transliteration (1) うの 2 はなを (2) くたすながめ 2 の 2 (3) はつみ 1 づゆく (4) よ 2 る こ 2 つみ 1 なす (5) よ 2 らむこ 1 も 1 がも 2 Romanization (1) u-nö PANA-wo (2) KUTAS-U NAŋGAMË-NÖ (3) PATU MÎnDU YUK-Î (4) YÖR-U KÖtumî-nasu (5) YÖR-U KÔ môŋgamö

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Glossing with morphemic analysis (1) deutzia-GEN flower-ACC (2) rot-ATTR long.rain-GEN (3) first water go-NML (4) approach-ATTR debris-COMP (5) approach girl DP Translation (5) [I] want a girl to be drawn to [me] (4) like a wooden debris that is drawn (3) [to] the first water flooding (2) from the long rain that was rotting (1) deutzia flowers. Commentary Logography is dominant in this poem. On u-nö pana ‘deutzia flowers’ see the commentary to 17.3978. WOJ kutas-u ‘to rot’ is a transitive variant of intransitive WOJ kute- ‘to rot’. Line three is hypermetric (jiamari, 字余り). Line three has been read differently in all manuscripts and by all commentators. The reading mîndu pana-ni kötumî-nasi (sic! Not -nasu -- A.V.) seems to go back to Sengaku’s commentary (Omodaka 1984.19: 123), but the reversal of mîndu in the compound 始水 does not seem to be justified. In addition, the word pana is claimed to mean ‘front’ (Aoki 1997: 161). But there is no word pana with such a meaning in OJ. Unfortunately, the character combination 始水 is a hapax legomenon in the Man’yōshū, so this potentially opens the room for the wildest possible speculations. Consequently, I follow Takeda in what seems to be the simplest solution, which does not involve any linguistic or philological acrobatics: to read the character 始 as patu ‘first’ (1957.19: 261), the word amply attested in OJ. Also, many modern scholars believe that the character 逝 ‘to go’ in line three is a mistake for 迩 (Omodaka 1984.19: 122), (Aoki 1997: 160),128 in spite of the fact that the oldest manuscripts, the Genryaku kōhon, and the Ruijū koshū, and the Hirose-bon that comes from a different line Teika line of manuscripts all have quite clearly written 逝. Here again I follow the lead of Takeda (1957.19: 261) and preserve the original spelling with 逝. On WOJ kötumî and EOJ kötu ‘wooden debris’, ‘trash’ see the commentaries to 20.4396 and 14.3548. On the date of composition of this poem and its author see the postscript and the commentary to 19.4217-4218 below.

Preface to the poem 19.4218

本文・Original text 見漁夫火光歌一首

Translation A poem [I] composed when [I] saw the lights of fishermen’s fires. 128 Both Omodaka and Aoki tell us that the substitution of 逝 by 迩 is based on Keichū’ 1690 commentary to the Man’yōshū (Omodaka 1984.19: 122-123), (Aoki 1997: 160). Moreover, Omodaka even cites the following phrase from Keichū commentary:「又逝ハ邇ノ誤ニヤ」 ‘Is 逝 also a mistake for 邇?’ However, I see nothing to this effect in both editions of Keichū’s Man’yō daishōki that I have in my collection: Keichū (1690 (1912.4): 437-438, ed. by Shinmura Izuru et al.) and Keichū (1690 (1974.7): 184, ed. by Hisamatsu Sen’ichi et al.). Could it be that Omodaka and Aoki relied on a completely different manuscript of the Man’yō daishōki?

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Commentary The boats of fishermen who fished during the night used to make fires. On the date of composition of this poem and its author see the postscript and the commentary to 19.4217-4218 below.

19.4218

本文・Original text (1) 鮪衝等 (2) 海人之燭有 (3) 伊射里火之 (4) 保尓可将出 (5) 吾之下 念乎 仮名の書き下し・Kana transliteration (1) しび 1 つくと 2 (2) あまの 2 と 2 も 2 せる (3) いざりひ 2 の 2 (4) ほに かいださむ (5) あがしたも 2 ひ 1 を Romanization (1) SImBÎ TUK-U tö (2) AMA-NÖ TÖMÖS-ER-U (3) inzar-i PÏ-NÖ (4) po-ni ka InDAS-AM-U (5) A-ŋGA SITA [O]MÖP-Î-wo Glossing with morphemic analysis (1) giant.tuna harpoon-FIN DV (2) fisherman-GEN burn-PROG-ATTR (3) fish-NML fire-COMP (4) open-LOC IP put.out-TENT-ATTR (5) I-POSS bottom think-NML-ACC Translation (4) Will [I] put in the open (5) my inner thoughts (3) like the fishing fires (2) that fishermen are burning (1) when [they] are going to harpoon a giant tuna? Commentary Logography is dominant in this poem. WOJ simbî is a kind of a giant tuna that can reach 2.5 m in length. It has pale and dark back, but its belly is white. Its young species 30-60 cm long are called meji in modern Kantō area. As it grows up, it becomes bigger and longer (Nakanishi 1985: 285), (Omodaka et al. 1967: 364). Both attestations in the Man’yōshū are logographic (6.938, 19.4218), but WOJ simbî ‘giant tuna’ is attested phonographically in other OJ texts, e.g., 志毘 (KK 108, 110), 思 寐 (NK 87, 95), etc. On the fires of fishermen see the commentary to the preface to 19.4218 above. WOJ po ‘open’ implies something that other people can see, or when it becomes apparent to others. I wonder if it is connected etymologically to WOJ po ‘top’ (as in the kuni-nö ma-po ‘pinnacle (lit. ‘true top’) of the land’ (5.800, 9.1753, 18.4089, especially that in this poem it apparently contrasts with sita ‘bottom’ in the next line. OJ sita ‘bottom’ in sita omöp-î in line five refers to inner or secret thoughts/longings/passions unknown to other people. OJ sita can also mean ‘inside the heart’ as in 17.3962, but this is derived from the same metaphor of being hidden at the bottom or inside. On the date of composition of this poem and its author see the postscript and the commentary to 19.4217-4218 below.

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Postscript to the poems 19.4217-4218

本文・Original text 右二首五月

Translation [I] composed two poems above in the fifth lunar month [of the second year of Tenpyō Shōhō]. Commentary The fifth lunar month of the second year of Tenpyō Shōhō corresponds to June 9 -- July 7, 750 AD. No day or days is/are specified. Takeda believes that it is a later addition (1957.19: 263), but provides no supporting evidence for his point of view. This postscript does not mention an author, but according to the general postscript to book nineteen, all unsigned poems are by Opotömö-nö Yakamöti.

19.4219

本文・Original text (1) 吾屋戸之 (2) 芽子開尓家理 (3) 秋風之 (4) 将吹乎待者 (5) 伊等遠 弥可母 仮名の書き下し・Kana transliteration (1) わがやど 1 の 2 (2) はぎ 2 さき 1 にけ 1 り (3) あき 1 かぜの 2 (4) ふか むをまたば (5) いと 2 と 2 ほみ 1 かも 2 Romanization (1) WA-ŋGA YAndô-NÖ (2) PAŋGÏ SAK-Î-n-i-kêr-i (3) AKÎ KAnZe-NÖ (4) PUK-AM-U-wo MAT-Amba (5) itö TÖPO-mî kamö Glossing with morphemic analysis (1) we-POSS house.garden-GEN (2) bush.clover bloom-INF-PERF-INFRETR-FIN (3) autumn wind-GEN (4) blow-TENT-ATTR-ACC wait-COND (5) very be.far-CON EP

Translation (1/2) The bush clover at our house garden has unexpectedly bloomed. (3/4) If [bush clover] was waiting for the autumn wind, (5) [I] wonder whether [it] would be too far away. Commentary Logography is dominant in this poem. On OJ yandô ‘house, house garden’ see the commentary to 19.4172. On WOJ paŋgï ‘bush clover’ see the commentaries to 15.3656 and 20.4297. WOJ retrospective -kêr- may also indicate an action that was not anticipated by a speaker. OJ gerund -amba may introduce either irrealis or realis condition. For details see Vovin (2009a: 727-733).

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Postscript to the poem 19.4219

本文・Original text 右一首六月十五日見芽子早花作之 Translation [I] composed the above poem on the fifteenth day of the sixth lunar month [of the second year of Tenpyō Shōhō] when I saw early flowers of a bush clover. Commentary The fifteenth day of the sixth lunar month of the second year of Tenpyō Shōhō corresponds to July 22, 750 AD. This postscript does not mention an author, but according to the general postscript to book nineteen, all unsigned poems are by Opotömö-nö Yakamöti.

Preface to the poems 19.4220-4221 本文・Original text 従京師來贈歌一首并短歌

Translation A poem sent from the capital with a tanka [envoy]. Commentary On the date of composition of these poems and their author see the postscript and the commentary to 19.4220-4221 below.

19.4220

本文・Original text (1) 和多都民能 (2) 可味能美許等乃 (3) 美久之宜尓 (4) 多久波比於伎 氐 (5) 伊都久等布 (6) 多麻尓末佐里氐 (7) 於毛敝里之 (8) 安我故尓 波安礼騰 (9) 宇都世美乃 (10) 与能許等和利等 (11) 麻須良乎能 (12) 比伎能麻尓麻仁 (13) 之奈謝可流 (14) 古之地乎左之氐 (15) 波布都多 能 (16) 和可礼尓之欲理 (17) 於吉都奈美 (18) 等乎牟麻欲妣伎 (19) 於保夫祢能 (20) 由久良々々々耳 (21) 於毛可宜尓 (22) 毛得奈民延都 々 (23) 可久古非婆 (24) 意伊豆久安我未 (25) 氣太志安倍牟可母 仮名の書き下し・Kana transliteration (1) わたつみ 1 の 2 (2) かみ 2 の 2 み 1 こ 2 と 2 の 2 (3) み 1 くしげ 2 に (4) た くはひ 1 おき 1 て (5) いつくと 2 ふ (6) たまにまさりて (7) おも 1 へ 1 りし (8) あがこ 1 にはあれど 2 (9) うつせみ 1 の 2 (10) よ 2 の 2 こ 2 と 2 わりと 2 (11) ますらをの 2 (12) ひ 1 き 1 の 2 まにまに (13) しなざかる (14) こ 1 しぢをさして (15) はふつたの 2 (16) わかれにしよ 1 り (17) お き 1 つなみ 1 (18) と 2 をむまよ 1 び 1 き 1 (19) おほぶねの 2 (20) ゆくらゆ くらに (21) おも 1 かげ 2 に (22) も 1 と 2 なみ 1 え 2 つつ (23) かくこ 1 ひ 2 ば (24) おいづくあがみ 2 (25) け 2 だしあへ 2 むかも 2 Romanization (1) wata-tu mî n-ö (2) kamï n-ö mî-kötö-nö (3) mî-kusi-ŋ-gë-ni (4) takupap-î ok-î-te (5) ituk-u tö [i]p-u (6) tama-ni masar-i-te (7) omôp-êr-i-si (8) a-ŋga kô n-i pa ar-e-ndö (9) utu semî-nö (10) yö-nö kötöwari tö (11) masura wo-nö (12) pîk-î-nö manima n-i (13) sina-n-zakar-u (14) Kôsi-n-di-wo sas-i-te (15) pap-u

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tuta-nö (16) wakare-n-i-si-yôri (17) okî-tu namî (18) töwom-u mayô-n-bîk-î (19) opo-n-bune-nö (20) yukura yukura n-i (21) omôkaŋgë n-i (22) môtöna mî-ye-tutu (23) ka-ku kôpï-mba (24) oyi-nduk-u a-ŋga mï (25) këndasi apë-m-u kamö Glossing with morphemic analysis (1) sea-GEN/LOC dragon DV-ATTR (2) deity DV-ATTR HON-matter-GEN (3) HON-comb-GEN-box-LOC (4) store-INF place-INF-SUB (5) praise-INF DV say-ATTR (6) jewel-LOC excel-INF-SUB (7) think-PROG-INF-PAST. ATTR (8) I-POSS child DV-INF TOP exist-EV-CONC (9) ephemeral cicada-GEN (10) world-GEN principle DV (11) noble man-GEN (12) pull-NML-GEN according DV-INF (13) sun-COMP-be.distant-ATTR (14) Kôsi-GEN-road-ACC point-INF-SUB (15) creep-ATTR vine-COMP (16) part(INF)-PERF-INF-PAST.ATTR-ABL (17) offing-GEN/LOC wave (18) bend-ATTR eyebrow-GEN-draw-NML (19) big-DV.ATTR-boat-COMP (20) rocking rocking DV-INF (21) image DV-INF (22) in.vain see-PASS-COOP (23) be.thus-INF long.for-COND (24) grow.old(INF)-attach-ATTR I-POSS body (25) probably endure-TENT-ATTR EP Translation (8) Although [you] are my child (7) [about whom I] was caring (6) more than for a jewel (4/5) that is said to be praised and stored (3) in the beautiful comb box (2) of the honorable deity (1) who is the sea dragon, (16) after [we] parted (15) like creeping vines (14) [with you] going to the road to Kôsi, (13) which is distant [from the capital] as the sun, (12) according to the posting (11) of the nobleman, [your husband], (10) as [it] is the principle of the world (9) of ephemeral beings, (22) [I] continue to see in vain (21) as an image (18) [your] painted eyebrows bent (17) [like] waves in the offing (20) and rocking (19) like a big boat. (23) If [I] long for [you] so [much], (24/25) would my aging body be able to endure [it]? [-- Probably not!] Commentary The script in this poem is completely phonographic. Omodaka made an important observation that the spelling system used in this poem is quite different from the spelling system used in book nineteen, but is very close to the orthography appearing in the book five, such as 民 for mî, 味 for mï, 宜 for ŋgë, 耳 for ni, 得 for tö, 意 for o, etc. He further believes that these orthographical conventions were due to the influence by spelling system used by Opotömö-nö Tambîtö and Yamanöupë-nö Okura (1984.19: 127). On WOJ wata-tu mî ‘sea dragon’ see the commentaries to 15.3597 and 1.15. On WOJ kusi-ŋ-gë ‘comb box’ see the commentary to 15.3726. On utu semî ‘ephemeral cicada, ephemeral world’ see the commentaries to 15.3617 and 14.3456. Here it refers to mortal human beings. On WOJ masura wo ‘excellent man’, ‘nobleman’, ‘brave man’ see the commentary to 5.804. On WOJ sina-n-zakar- ‘to be far as the sun’ and sina ‘sun’ see the commentary to 17.3969. This expression occurs also in three other poems in the Man’yōshū: 18.4071, 19.4154, and 19.4250. On WOJ placename Kôsi see the commentary to 17.4000. OJ mayô-n-bîk-î is ‘painted eyebrows’ (lit.: ‘eyebrow drawing’). On OJ mayô ‘eyebrow’ see the commentary to 5.804. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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WOJ omökaŋgë ‘image’ is historically a compound consisting of omö ‘face’ and kaŋgë ‘shadow, light, reflection’.

Preface to the poem 19.4221

本文・Original text 反歌一首 Translation An envoy.

Commentary The envoy is to the poem 19.4220.

19.4221

本文・Original text (1) 可久婆可里 (2) 古非之久志安良婆 (3) 末蘇可我美 (4) 弥奴比等吉 奈久 (5) 安良麻之母能乎 仮名の書き下し・Kana transliteration (1) かくばかり (2) こ 1 ひ 2 しくしあらば (3) まそ 1 かがみ 1 (4) み 1 ぬ ひ 1 と 2 き 1 なく (5) あらましも 2 の 2 を Romanization (1) ka-ku mbakari (2) kôpïsi-ku si ar-amba (3) ma-sô kaŋgamî (4) mî-n-u pî tökî na-ku (5) ar-amasi mönöwo Glossing with morphemic analysis (1) be.thus-INF RP (2) be.longing-INF EP exist-COND (3) INT-clear mirror (4) see-NEG-ATTR day time not.exist-INF (5) exist-SUBJ CONJ Translation (2) If [I] am longing for [you] (1) so much (4/5) [I wish] there would be no days and time when [I] do not see [you] (3) [except in] the clearest mirror, but… Commentary The script in this poem is completely phonographic. Line two is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since si ar-amba was in all probability pronounced as [saramba]. On ma-sô kaŋgamî ‘really clear mirror’ see the commentary to the poem 15.3765.

Postscript to the poems 19.4220-4221

本文・Original text 右二首大伴氏坂上郎女賜女子大嬢也

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Translation Opotömö-nö Sakanöupë Iratumê presented two poems above to [her] daughter Opowotömê. Commentary On Opotömö-nö Sakanöupë Iratumê see the commentary to the preface to 17.3927-3928. Opotömö-nö Sakanöupë-nö Opowotömê (坂上大嬢) is the eldest daughter of Opotömö-nö Sakanöupë Iratumê, who became the wife of Opotömö-nö Yakamöti. The poems 19.4220-4221 are undated, but since the previous poem 19.4219 is dated by the fifteenth day of the sixth lunar month of the second year of Tenpyō Shōhō (July 22, 750 AD), the following poems 19.4222-4223 by the third day of the ninth lunar month of the second year of Tenpyō Shōhō (October 7, 750 AD), we can surmise that the poems 19.4220-4221 were composed somewhere in between, although they are usually attributed to the sixth lunar month. These two are the last poems by Opotömö-nö Sakanöupë Iratumê in the Man’yōshū. After that there is no further information on her biography.

Preface to the poems 19.4222-4223

本文・Original text 九月三日宴歌二首

Translation Two poems from the banquet on the third day of the ninth lunar month [of the second year of Tenpyō Shōhō]. Commentary The third day of the ninth lunar month of the second year of Tenpyō Shōhō corresponds to October 7, 750 AD.

19.4222

本文・Original text (1) 許能之具礼 (2) 伊多久奈布里曽 (3) 和藝毛故尓 (4) 美勢牟我多米 尓 (5) 母美知等里氐牟 仮名の書き下し・Kana transliteration (1) こ 2 の 2 しぐれ (2) いたくなふりそ 2 (3) わぎ 1 も 1 こ 1 に (4) み せむがため 2 に (5) も 2 み 1 ちと 2 りてむ

1

Romanization (1) könö siŋgure (2) ita-ku na-pur-i-sö (3) wa-ŋg-îmô-kô-ni (4) mî-se-m-u-ŋga tamë n-i (5) mömît-i tör-i-te-m-u Glossing with morphemic analysis (1) this shower (2) be.hard-INF NEG-fall-INF-do (3) I-POSS-belovedDIM-DAT (4) see-CAUS-TENT-ATTR-POSS for DV-INF (5) leaves.turn. red/yellow-NML take-INF-PERF-TENT-FIN

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Translation (1) [Oh,] this shower, (2) do not rain hard. (5) [I] have been planning to gather colored autumn leaves (4) in order to show [them] (5) to my dear beloved. Commentary The script in this poem is completely phonographic. On WOJ siŋgure ‘shower, light shower’ see the commentary to 1.82. Diminutive suffix -kô in wa-ŋg-îmô-kô ‘my dear beloved’ has the endearment function here. On WOJ mômît- ‘to turn red and/or yellow (of autumn leaves),’ see the commentary to 15.3693. In this poem WOJ mômît- ‘to turn red and/or yellow (of autumn leaves)’ is spelled unetymologically as mömît-, which is to be expected given the loss of the contrast between ô and ö in the position after m after 712 AD if not earlier.

Postscript to the poem 19.4222 本文・Original text 右一首掾久米朝臣廣縄作之

Translation The poem above was composed by Kumë-nö asömî Pîrönapa, the Secretary. Commentary On Secretary (Jō/Hōgan/Hangan, 掾 / 判 官 ) see the commentary to the preface to the poem 18.4137. On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. The poem 19.4209 is the only chōka by him in the Man’yōshū. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4223

本文・Original text (1) 安乎尓与之 (2) 奈良比等美牟登 (3) 和我世故我 (4) 之米家牟毛美 知 (5) 都知尓於知米也毛 仮名の書き下し・Kana transliteration (1) あをによ 2 し (2) ならひ 1 と 2 み 1 むと 2 (3) わがせこ 1 が (4) しめ 2 け 1 むも 1 み 1 ち (5) つちにおちめ 2 やも 1 Romanization (1) awo ni yö-si (2) Nara pîtö mî-m-u tö (3) wa-ŋga se-kô-ŋga (4) simë-kêm-u mômît-i (5) tuti-ni oti-m-ë ya mô Glossing with morphemic analysis (1) green earth be.good-FIN (2) Nara person see-TENT-FIN DV (3) I-POSS elder.brother-DIM-POSS (4) mark(INF)-PAST.TENT-ATTR leaves.turn. red/yellow-NML (5) ground-LOC fall-TENT-EV IP EP

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Translation (3/4) Colored autumn leaves that my dear elder brother marked (1/2) for a person in Nara where the green earth is good to see [them], (5) will [they] fall on the ground? [-- Certainly not!] Commentary The script in this poem is completely phonographic. This poem certainly represents a poetic response to the previous 19.4222. Note, however, the unusual order: at banquets poems were recited in the order of seniority, and certainly Kumë-nö asömî Pîrönapa was much more junior in his rank and official position than Opotömö-nö sukune Yakamöti. On the permanent epithet (makura-kotoba, 枕詞) awo ni yö-si, WOJ ni ‘earth, soil, clay’, the place name Nara, and the lack of strict differentiation between final and attributive forms of inflected adjectives in OJ see the commentary to 15.3602. Nara pîtö ‘Nara person’ refers to a beloved or a wife of Kumë-nö asömî Pîrönapa. Diminutive suffix -kô in wa-ŋga se-kô ‘my dear elder brother’ has the endearment function here. As Takeda pointed out, simë- ‘to mark’ does not necessarily imply the physical marking by ropes or stakes, it might also refer to marking in one’s heart (1957.19: 267-268). On WOJ mômît- ‘to turn red and/or yellow (of autumn leaves),’ see the commentary to 15.3693.

Postscript to the poem 19.4223

本文・Original text 右一首守大伴宿祢家持作之

Translation The poem above was composed by Opotömö-nö sukune Yakamöti, the Governor. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4224

本文・Original text (1) 朝霧之 (2) 多奈引田爲尓 (3) 鳴鴈乎 (4) 留得哉 (5) 吾屋戸能波義 仮名の書き下し・Kana transliteration (1) あさぎ 2 りの 2 (2) たなび 1 くたゐに (3) なくかりを (4) と 2 ど 2 め 2 えむかも 2 (5) わがやど 1 の 2 はぎ 2 Romanization (1) ASA-n-GÏRI-NÖ (2) tanambîk-u TAwi-ni (3) NAK-U KARI-wo (4) TÖnDÖMË-E-M-U KAMÖ (5) WA-ŋGA YAndô-nö paŋgï

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Glossing with morphemic analysis (1) morning-GEN-fog-GEN (2) trail-ATTR rice.field-LOC (3) cry-ATTR wild.goose-ACC (4) stop(INF)-get-TENT-ATTR EP (5) we-POSS house.garden-GEN bush.clover Translation (4/5) [I] wonder whether the bush clover in our garden will be able to stop (3) wild geese that are crying (1/2) in the rice fields where the morning fog is trailing? Commentary Logography is dominant in this poem. Wild geese were believed to be fond of paŋgï ‘bush clover’. Stopping certainly implies stopping from leaving. WOJ tawi ‘rice field, a place where rice fields are’ consists of ta ‘rice field’ and rare and obsolete suffix -wi, which probably originally meant ‘location, place’. Cf. also kumôwi ‘cloud, a place covered by clouds’ vs. kumô ‘cloud’. On WOJ kari ‘wild goose’ see the commentary to 15.3665. On OJ yandô ‘house, house garden’ see the commentary to 19.4172. On WOJ paŋgï ‘bush clover’ see the commentaries to 15.3656 and 20.4297.

Postscript to the poem 19.4224

本文・Original text 右一首歌者幸於芳野宮之時藤原皇后御作 但年月未審詳 十月五日河邊朝臣東人傳誦云尓 Translation The poem above was composed by Pundipara Empress, when [she] went to Yösinô. However, the date [of the composition] is not yet known. It is said that Kapapê-nö asömî Andumapîtö recited it on the fifth day of the tenth lunar month [of the second year of Tenpyō Shōhō]. Commentary On Yösinô palace see the commentary to the preface to the poems 18.4098-4100. Pundipara Empress (Pundipara opo kisaki, 藤原皇后) is Empress Kōmyō ( 光 明 皇 后 , 701-760 AD), wife of Emperor Shōmu, and daughter of Pundipara-nö Pumbîtö. Not much is known about the biography of Kapapê 129 -nö asömî n A dumapîtö (河邊朝臣東人). In the fifth year of Tenpyō (733 AD) he was visiting ailing Yamanöupë-nö Okura. In fourteenth year of Tenpyō (739 AD) Kapapê-nö asömî Andumapîtö was performing Buddhist chants during the lecture on Vimalakīrti sutra in the place of Empress. He was promoted from the Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade in the first year of Jingo Keiun (767 AD). In the tenth lunar month of the first year of Hōki (770 AD) Kapapê-nö asömî Andumapîtö is mentioned in the Shoku Nihongi as the governor of Ipamî province. He is an author of just one poem 129

His family name may be also read as Kapa mbê: since we have no phonographic evidence, there is no way of knowing.

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in the Man’yōshū: 8.1440 (Nakanishi 1985: 224). On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. The fifth day of the tenth lunar month of the second year of Tenpyō Shōhō corresponds to November 8, 750 AD. On the characters 云尓 ‘so it is said’, see the commentary to the postscript to 20.4436-4439.

19.4225

本文・Original text (1) 足日木之 (2) 山黄葉尓 (3) 四頭久相而 (4) 将落山道乎 (5) 公之超 麻久 仮名の書き下し・Kana transliteration (1) あしひ 1 き 2 の 2 (2) やまの 2 も 1 み 1 ちに (3) しづくあひ 1 て (4) ち らむやまぢを (5) き 1 み 1 がこえ 2 まく Romanization (1) ASI pîkï-NÖ (2) YAMA-NÖ MÔMÎT-I-ni (3) sinduku AP-Î-TE (4) TIR-AM-U YAMA-n-DI-wo (5) KÎMÎ-ŋGA KÔYE-m-aku Glossing with morphemic analysis (1) foot low DV-ATTR (2) mountain-GEN leaves.turn.red/yellow-NML-DAT (3) rain.drop meet-INF-SUB (4) fall-TENT-ATTR mountain-GEN-road- ACC (5) lord-POSS cross-TENT-NML Translation (5) It is that [you, my] lord will cross (3/4) by the mountain road, where rain drops fall meeting (2) colored autumn leaves from the mountains (1) with low feet. Commentary Logography is dominant in this poem. The imagery is quite interesting in this poem: first, the rain drops fall on the colored autumn leaves (or, in the wording of the poem, meet them), and then they fall together onto the mountain road. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to 15.3655. On WOJ mômît- ‘to turn red and/or yellow (of autumn leaves),’ see the commentary to 15.3693.

Postscript to the poem 19.4225

本文・Original text 右一首同月十六日餞之朝集使少目秦伊美吉石竹時守大伴宿祢家持作之

Translation The poem above was composed by Opotömö-nö sukune Yakamöti, the Governor, on the sixteenth day of the same lunar month, at the farewell [meeting] for Provincial Messenger to the Court Pata-nö imîkî Ipatakë, the Junior Clerk.

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Commentary The sixteenth day of the same lunar month is the sixteenth day of the tenth lunar month (mentioned in 19.4224 above) of the second year of Tenpyō Shōhō that corresponds to November 19, 750 AD. On a Provincial Messenger to the Court (Chōshūshi, 朝集使) see the commentary to the preface to the poems 18.4116-4118. Shōsakan (少目) ‘Junior Clerk’ is the junior clerical position in provincial offices of Great Provinces. It corresponded to Junior Eighth Rank, Lower Grade. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the biography of Pata-nö imîkî Ipatakë see the preface to the poems 18.4086-4088.

Preface to the poem 19.4226

本文・Original text 雪日作歌一首

Translation A poem [I] composed on a snowy day. Commentary None.

19.4226

本文・Original text (1) 此雪之 (2) 消遺時尓 (3) 去來歸奈 (4) 山橘之 (5) 實光毛将見 仮名の書き下し・Kana transliteration (1) こ 2 の 2 ゆき 1 の 2 (2) け 2 の 2 こ 2 ると 2 き 1 に (3) いざゆかな (4) や またちばなの 2 (5) み 2 の 2 てるも 1 み 1 む 2 Romanization (1) KÖNÖ YUKÎ-NÖ (2) KË-NÖKÖR-U TÖKÎ-ni (3) InZa YUK-Ana (4) YAMA TATImBANA-NÖ (5) MÏ-NÖ TER-U mô MÎ-M-U

Glossing with morphemic analysis (1) this snow-GEN (2) melt(INF)-remain-ATTR time-LOC (3) right.away go-DES (4) mountain mandarin.orange-GEN (5) fruit-GEN shine-ATTR FP see-TENT-FIN Translation (3) [I] wish [we] go right away (1/2) when this snow has not completely melted. (5) [We] will see the shining fruits (4) of mountain mandarin oranges. Commentary This poem is written almost completely logographically. WOJ kë-nökör- implies ‘to be left from disappearing/melting’.

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On the spelling 去來 for inza ‘right away’ see the commentary to 1.10. On tatimbana ‘mandarin orange’ see the commentary to the poem 15.3779.

Postscript to the poem 19.4226 本文・Original text 右一首十二月大伴宿祢家持作之

Translation The poem above was composed by Opotömö-nö sukune Yakamöti in the twelfth lunar month. Commentary The twelfth lunar month is the twelfth lunar month of the second year of Tenpyō Shōhō, corresponding to January 2-31, 751 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4227

本文・Original text (1) 大殿之 (2) 此廻之 (3) 雪莫踏祢 (4) 數毛 (5) 不零雪曽 (6) 山耳尓 (7) 零之雪曽 (8) 由米縁勿人哉 (9) 莫履祢雪者 仮名の書き下し・Kana transliteration (1) おほと 2 の 2 の 2 (2) こ 2 の 2 も 2 と 2 ほりの 2 (3) ゆき 1 なふみ 1 そ 2 ね (4) しばしばも 1 (5) ふらぬゆき 1 そ 2 (6) やまの 2 み 2 に (7) ふりし ゆき 1 そ 2 (8) ゆめ 2 よるなひ 1 と 2 や (9) なふみ 1 そ 2 ねゆき 1 Romanization (1) OPO TÖNÖ-NÖ (2) KÖNÖ MÖTÖPOR-I-NÖ (3) YUK-Î NA-PUM-ÎSÖ-n-e (4) SimBA-SimBA mô (5) PUR-AN-U YUKÎ sö (6) YAMA nömï-ni (7) PUR-I-si YUKÎ sö (8) yumë YÖR-UNA PÎTÖ YA (9) NA-PUM-Î-SÖ-n-e YUKÎ pa Glossing with morphemic analysis (1) Great Hall-GEN (2) this go.around-NML-GEN (3) go-INF NEGtrample-NML-do-DES-IMP (4) frequently-frequently FP (5) fall- NEG-ATTR snow FP (6) mountain RP-LOC (7) fall-INF-PAST.ATTR snow FP (8) at.all approach-NEG/IMP person EP (9) NEG-step-NML-do- DES-IMP snow TOP Translation (3) [I] wish [you] do not trample (2) in this vicinity (1) of the Great Hall. (5) The snow that does not fall (4) frequently (7) [is] the snow that fell (6) only in the mountains. (8) People, do not approach [it] at all. (9) [I] wish [you] do not trample the snow. Commentary This poem is written mostly logographically. The meter is highly unusual in this short chōka. Not only the typical chōka

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meter of 5-7-5-7-5...7-7 is broken in this poem starting with line three, so that the even-numbered lines are shorter than the odd-numbered lines, even with this reversed meter, lines five and seven are hypometric (jitarazu, 字足らず), and line eight is hypermetric (jiamari, 字余り). Overall, although this poem has an author according to the postscript to the poems 19.4227-4228, it gives an impression of a folk song.

Preface to the poem 19.4228 本文・Original text 反歌一首 Translation An envoy. Commentary An envoy is to the poem 19.4227.

19.4228

本文・Original text (1) 有都々毛 (2) 御見多麻波牟曽 (3) 大殿乃 (4) 此母等保里能 (5) 雪 奈布美曽祢

仮名の書き下し・Kana transliteration (1) ありつつも 1 (2) め 1 したまはむそ 2 (3) おほと 2 の 2 の 2 (4) こ 2 の 2 も 2 と 2 ほりの 2 (5) ゆき 1 なふみ 1 そ 2 ね Romanization (1) AR-I-tutu mô (2) MÊS-I-tamap-am-u sö (3) OPO TÖNÖ-nö (4) KÖNÖ mötöpor-i-nö (5) YUKÎ na-pum-î-sö-n-e Glossing with morphemic analysis (1) exist-INF-COOR FP (2) look(HON)-INF-HON-TENT-ATTR FP (3) Great Hall-GEN (4) this go.around-NML-GEN (5) snow NEG-trampleNML-do-DES-IMP Translation (1) While [it] exists, (2) [you] will deign to see [the snow]! (5) [I] wish [people] do not trample the snow (4) in the vicinity (3) of the Great Hall. Commentary Phonography is dominant in this poem. It is interesting that OJ honorific form mês- (a contraction of mî- ‘to see, to look’ + -as-, honorific suffix) is written logographically as 御見, honorific prefix 御 and 見 ‘to see, to look’.

Postscript to the poems 19.4227-4228

本文・Original text 右二首歌者三形沙弥承贈左大臣藤原北卿之語作誦之也聞之傳者笠朝臣 子君復後傳讀者越中國掾久米朝臣廣縄是也

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Translation Two poems above were composed and recited by Śrāmaṇera Mîkata, when [he] received a word sent by Pundipara Kita-nö mapêtukîmî. The one who heard [it] and transmitted was Kasa-nö asömî Kôŋgîmî. Still later it was recited by Kumë-nö asömî Pîrönapa, the Secretary of Wettiu province. Commentary WOJ 沙弥 samî (Sanskrit śrāmaṇera) is a Buddhist novice monk. Śrāmaṇera Mîkata ( 三 形 ), also written as 三 方 elsewhere in the Man’yōshū, is probably Yamanda-nö pumbîtö Mîkata, who became Śrāmaṇera Mîkata after joining the Buddhist monkhood. He is the author of seven poems in the Man’yōshū: 2.123, 2.125, 4.508, 6.1027a, 10.2315a, 19.42127-4228 (Nakanishi 1985: 275). Pundipara Kita-nö mapêtukîmî (藤原北卿) is Pundipara-nö Pusasakî (藤原 房 前 ), a progenitor of the Northern branch of Pundipara clan. On his biography see the commentary to 5.812. He is an author of just one poem in the Man’yōshū, 5.812. Nothing is known about the biography of Kasa-nö asömî Kôŋgîmî. On Wettiu province see the commentary to the preface to the poems 17.3927-3928. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137. On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. There are no dates for the original composition or the recitation by Kumë-nö asömî Pîrönapa that was recorded by Opotömö-nö Yakamöti. The original composition certainly has 737 AD, the year when Pundipara-nö Pusasakî passed away as non post quem. Even given the fact that he was promoted posthumously to the Minister of the Left in the tenth lunar month of the ninth year of Tenpyō after he passed away in the fourth lunar month of the same year, does not give us any non ante quem date, except a possible speculation that the composition must have occurred pretty much close to the end of his life. The recitation of these poems by Kumë-nö asömî Pîrönapa must have been done in the twelfth lunar month of the second year of Tenpyō Shōhō like the poem 19.4226 by Opotömö-nö Yakamöti, and before the second day of the first lunar month of the third year of Tenpyō Shōhō, which is the date for 19.4929.

Preface to the poems 19.4229-4259 本文・Original text 天平勝寳三年

Translation Third year of Tenpyō Shōhō.

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Commentary Third year of Tenpyō Shōhō corresponds to February 1, 751 -- January 20, 752 AD. This preface refers to all poems composed or recited in the third year of Tenpyō Shōhō. As one can see, there are far less of those than poems from the second year of Tenpyō Shōhō in book nineteen of the Man’yōshū.

19.4229

本文・Original text (1) 新 (2) 年之初者 (3) 弥年尓 (4) 雪踏平之 (5) 常如此尓毛我 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 は (3) いやと 2 しに (4) ゆき 1 ふみ ならし (5) つねかくにも 1 が

1

Romanization (1) ARATASI-KÎ (2) TÖSI-NÖ PAnZIMË pa (3) IYA TÖSI-ni (4) YUKÎ PUM-Î NARAs-i (5) TUNE KA-KU n-i môŋga Glossing with morphemic analysis (1) be.new-ATTR (2) year-GEN beginning TOP (3) more.and.more year-LOC (4) snow tread-INF level-INF (5) always be.thus-INF DV-INF DP Translation (1/2) At the beginning of a New Year, (5) in this way [I] always want (4) to tread on and level the snow (3) in many more years [to come]. Commentary Logography is dominant in this poem. The phrase aratasi-kî tösi-nö panzimë ‘beginning of the New Year’ occurs in three other poems in the Man’yōshū: 17.3925, 19.4284, and 20.4516. The last character in line five is written as 義 ŋgï in the Genryaku kōhon, but it is corrected to 我 ŋga on the left side. Given the facts that both the Ruijū koshū and the Hirose-bon (belonging to a different Teika line of manuscripts) have 我 ŋga, and that 義 ŋgï does not make any sense in this context, I use 我 ŋga in my edition.

Postscript to the poem 19.4229

本文・Original text 右一首歌者正月二日守舘集宴於時零雪殊多積有四尺焉即主人大伴宿祢 家持作此歌也 Translation Opotömö-nö sukune Yakamöti, the Governor, composed this poem above on the second day of the first lunar month [of the third year of Tenpyō Shōhō] during the banquet at the gubernatorial residence when falling snow piled up in unusually big quantity, as there were four shaku of it. Commentary The second day of the first lunar month of the third year of Tenpyō Shōhō corresponds to February 2, 751 AD.

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On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. Wettiu province gubernatorial mansion and offices were located on the grounds of the Man’yōshū historical museum (Man’yō rekishikan, 万葉歴史 館) in present-day Takaoka city (Takaoka-shi, 高岡市) in Toyama prefecture. Shaku (尺, Chinese chǐ) is a measure of length equal to 30.2 or 30.3 cm (0.995 feet). Wettiu province as well as modern Toyama prefecture is famous for its excessive snow falls, when snow can accumulate to 2-3 m high just within a few hours. Especially the accumulating snow on roof tops always presents a danger. In the regions of Wettiu/Toyama with exceedingly high levels of snow fall, such as, for example, in Gokayama (五箇山), and indigenous construction of roof tops called Gasshō-zukuri ( 合 掌 作 り ) ‘building like hands joined in prayer’ with roof sides standing at 80 degrees angles that prevents snow from accumulating and makes it naturally slide down was developed.

19.4230

本文・Original text (1) 落雪乎 (2) 腰尓奈都美弖 (3) 参來之 (4) 印毛有香 (5) 年之初尓 仮名の書き下し・Kana transliteration (1) ふるゆき 1 を (2) こ 2 しになづみ 1 て (3) まゐりこ 2 し (4) しるしも 1 ある か (5) と 2 しの 2 はじめ 2 に Romanization (1) PUR-U YUKÎ-wo (2) KÖSI-ni nandum-î-te (3) MAWIR-I-KÖ-si (4) SIRUSI mô AR-U ka (5) TÖSI-NÖ PAnZIMË-ni Glossing with morphemic analysis (1) fall-ATTR snow-ABS (2) waist-LOC cling-INF-SUB (3) come(HUM)come(INF)-PAST.ATTR (4) effect FP exist-ATTR EP (5) year-GEN beginning-LOC Translation (4) [I] wonder whether there was any use (3) of [my] coming (5) in the beginning of the year (1) [with] falling snow (2) clinging to my waist. Commentary Logography is dominant in this poem. Lines one and two present a good example of the usage of the case marker -wo in its absolutive function, marking the subject of the intransitive verb nandum- ‘to cling’. OJ sirusi130 means not only a ‘mark’ or a ‘sign’ as in MdJ, but also ‘effect’, ‘worth’. The particle ka in line four is not an interrogative particle ka, but the emphatic particle ka (more frequently attested in its longer secondary form 130

Attested only as a verb sirus- in EOJ (20.4366).

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kamö). Pierson made a major blunder suggesting the possibility on the word play between Kôsi, a name of a province, and kö-si ‘come-PAST.ATTR’ (1963: 119), which demonstrated only the fact that forty years after the rediscovery of kō-otsu distinctions in Old Japanese, he was still quite oblivious of it. Certainly, given the different vocalism in WOJ, any play on words in this case is plainly impossible.

Postscript to the poem 19.4230

本文・Original text 右一首三日會集介内蔵忌寸縄麻呂之舘宴樂時大伴宿祢家持作之 Translation Opotömö-nö sukune Yakamöti, the Governor, composed the poem above on the third day [of the first lunar month of the third year of Tenpyō Shōhō], when [he] enjoyed the banquet at the gathering in the mansion of Kura-nö imîkî Napamarö, the Assistant Governor. Commentary The third day of the first lunar month of the third year of Tenpyō Shōhō corresponds to February 3, 751 AD. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On the biography of Kura-nö Napamarö see the commentary to the postscript to the poem 17.3996. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

Preface to the poem 19.4231

本文・Original text 于時積雪彫成重巌之起奇巧綵發草樹之花属此掾久米朝臣廣縄作歌一首 Translation At this time [they] made a layered rock out of the snow that fell, and skillfully carved flowers of trees and grass [out of the snow]. On this occasion, Kumë-nö asömî Pîrönapa, the Secretary, composed a poem. Commentary This time probably refers to the third day of the first lunar month of the third year of Tenpyō Shōhō (February 3, 751 AD). On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137. On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

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19.4231

本文・Original text (1) 奈泥之故波 (2) 秋咲物乎 (3) 君宅之 (4) 雪巌尓 (5) 左家理家流可 母 仮名の書き下し・Kana transliteration (1) なでしこ 1 は (2) あき 1 さくも 2 の 2 を (3) き 1 み 1 がいへ 1 の 2 (4) ゆ き 1 の 2 いはほに (5) さけ 1 りけ 1 るかも 2 Romanization (1) nandesikô pa (2) AKÎ SAK-U MÖNÖwo (3) KÎMÎ-ŋGA IPÊ-NÖ (4) YUKÎ-NÖ IPAPO-ni (5) sak-êr-i-kêr-u kamô Glossing with morphemic analysis (1) carnation TOP (2) autumn bloom-ATTR CONJ (3) lord-POSS house-GEN (4) snow-GEN rock-LOC (5) bloom-PROG-INF-RETR-ATTR EP Translation (1/2) Although carnations bloom in autumn, (5) [they] are apparently blooming (4) at the snow rock (5) in [my] lord’s house [garden]. Commentary Logography is dominant in this poem, but by a close margin. On WOJ nandesikô ‘carnation’, see the commentary to 20.4442. OJ ipapo ‘rock’131 apparently consists of OJ ipa ‘rock’ + -po, an obsolete suffix with an obscure meaning.

Preface to the poem 19.4232 本文・Original text 遊行女婦蒲生娘子歌一首

Translation A poem [composed] by courtesan Kamapu wotömê. Commentary Courtesans (ukaremê, 遊行女婦) were professional entertainers who sang and danced at parties of noblemen. There were in general highly educated, as they knew and could recite ancient poetry. Like later geisha in no way they should be confused with common prostitutes. Nothing is known about the biography of Kamapu wotömê. This is her only poem in the Man’yōshū.

19.4232

本文・Original text (1) 雪嶋 (2) 巌尓殖有 (3) 奈泥之故波 (4) 千世尓開奴可 (5) 君之挿頭 尓

131

There is a single attestation in EOJ of this word in 14.3495.

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仮名の書き下し・Kana transliteration (1) ゆき 1 の 2 しま (2) いはほにうゑたる (3) なでしこ 1 は (4) ちよ にさかぬか (5) き 1 み 1 がかざしに

2

Romanization (1) YUKÎ-NÖ sima (2) IPAPO-ni UWE-TAR-U (3) nandesikô pa (4) TI YÖ-ni SAK-An-u ka (5) KÎMÎ-ŋGA KAnZAS-I n-i Glossing with morphemic analysis (1) snow-GEN artificial.garden (2) rock-LOC plant(INF)-PERF/PROG- ATTR (3) carnation TOP (4) thousand generation-LOC bloom-NEG-ATTR IP (5) lord-POSS make.laurel-NML DV-INF Translation (3) Carnations (2) that have been planted on the rock (1) in the snowy garden, (4) will not [they] bloom for a thousand generations (5) for [my] lord’s laurel? Commentary Logography is dominant in this poem. The poem was apparently composed on the same date and at the same banquet as 19.4230 and 19.4231. WOJ sima here is not an island (although the poem uses the character 嶋 ‘island’ as a kungana), but a garden with an artificial mountain and a stream. On OJ ipapo ‘rock’, see the commentary to 19.4231. On WOJ nandesikô ‘carnation’, see the commentary to 20.4442.

Preface to the poem 19.4233

本文・Original text 于是諸人酒酣更深鷄鳴因此主人内蔵伊美吉縄麻呂作歌一首 Translation At this [point] everyone was happily inebriated, and as the night was getting late, the rooster cried. Therefore, Kura-nö imîkî Napamarö, the host, composed a poem. Commentary On the biography of Kura-nö Napamarö see the commentary to the postscript to the poem 17.3996. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4233

本文・Original text (1) 打羽振 (2) 鷄者鳴等母 (3) 如此許 (4) 零敷雪尓 (5) 君伊麻左米也 母 仮名の書き下し・Kana transliteration (1) うちはふき 1 (2) と 2 りはなくと 2 も 2 (3) かくばかり (4) ふりしく ゆき 1 に (5) き 1 み 1 いまさめ 2 やも 2

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Romanization (1) UTI-PA-PUK-Î (2) TÖRI pa NAK-U tömö (3) KA-KU mBAKARI (4) PUR-I SIK-U YUKÎ-ni (5) KÎMÎ imas-am-ë ya mö Glossing with morphemic analysis (1) PREF-wing-flop-INF (2) rooster TOP cry-FIN CONJ (3) be.thus-INF RP (4) fall-INF spread-ATTR snow-LOC (5) lord go(HON)-TENT-EV IP EP Translation (2) Even though a rooster cried (1) flopping its wings, (5) would [my] lords go [back] (4) in the snow that falls and spreads (3) just like that? [-- Certainly not!] Commentary Logography is dominant in this poem. The poem was composed on the same date and at the same banquet as 19.4230-4232 above.

Preface to the poem 19.4234

本文・Original text 守大伴宿祢家持和歌一首

Translation Opotömö-nö sukune Yakamöti, the Governor, responded with the [following] poem. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4234

本文・Original text (1) 鳴鷄者 (2) 弥及鳴杼 (3) 落雪之 (4) 千重尓積許曽 (5) 吾等立可氐 祢 仮名の書き下し・Kana transliteration (1) なくと 2 りは (2) いやしき 1 なけ 2 ど 2 (3) ふるゆき 1 の 2 (4) ちへ 1 につめ 2 こ 2 そ 2 (5) われたちかてね Romanization (1) NAK-U TÖRI pa (2) IYA sikî NAK-Ë-ndö (3) PUR-U YUKÎ-NÖ (4) TI PÊ n-i TUM-Ë kösö (5) ware tat-i-kate-n-e Glossing with morphemic analysis (1) cry-ATTR rooster TOP (2) more.and.more frequently cry-EV-CONC (3) fall-ATTR snow-GEN (4) thousand layer DV-INF pile.up-EV FP (5) we depart-INF-POT-NEG-EV

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Translation (1/2) Although the crying rooster cries more and more frequently, (3/4) since the falling snow piled up one thousand layers, (5) we cannot depart. Commentary Logography is dominant in this poem. WOJ sikî has the same meaning as sikîri ‘frequently’. Japanese scholars normally read 吾等 in line five as wa-ŋga ‘I/we-POSS’ (Omodaka 1984.19: 141), (Aoki 1997: 187). Since nothing in the writing indicates the presence of the possessive case marker -ŋga here, and because it is also syntactically unwarranted, I replaced it with ware ‘we’ in my edition, which, as believe, agrees better with the script showing 吾等 including the plural suffix 等.

Preface to the poem 19.4235

本文・Original text 太政大臣藤原家之縣犬養命婦奉天皇歌一首 Translation A poem that lady Aŋgatainukapî, [the wife] of the Prime Minister from the Pundipara clan, presented to the Emperor. Commentary The Prime Minister from the Pundipara clan is Pundipara-nö Pumbîtö (藤原不 比等), who was a famous and influential politician in the late Asuka and early Nara periods, and the arch-enemy of Prince Naŋgaya, whom he finally managed to eliminate. He is the second son of Pundipara-nö Kamatari. Pundipara-nö Pumbîtö started his career in the second lunar month of the third year of Jitō (February 25 -- March 25, 689 AD) with the Jikikōshi Rank (直廣 肆) that in the Tenmu system of ranks introduced in 685 AD corresponded to the Junior Fifth Rank, Lower Grade in the Taihōryō system.132 In the tenth lunar month of the tenth year of Jitō (October 31 -- November 29, 696 AD) he was promoted to Jikikōni Rank (直廣弐) that in the Tenmu system of ranks introduced in 685 AD corresponded to the Junior Fourth Rank, Lower Grade in the Taihōryō system. In the sixth month of the second year of Monmu (July 7 -- August 11, 698 AD) Pundipara-nö Pumbîtö was further promoted to Jikikōichi Rank (直廣壱) that in the Tenmu system of ranks introduced in 685 AD corresponded to the Senior Fourth Rank, Lower Grade in the Taihōryō system. The next promotion to the Senior Third Rank came in the third lunar month of the first year of Taihō (April 13 -- May 12, 701 AD), and he was also made a Great Counsellor (Dainagon, 大納言) the same month. Pundipara-nö Pumbîtö was further promoted to the Junior Second Rank in the first lunar month of the second year of Keiun (February 10 -- March 9, 704 AD). The final promotion while he was still alive was to the Senior Second Rank in the first lunar month of the first year of Wadō (January 28 -- February 25, 708 AD). In the third lunar month of the same year (March 27 -- April 24, 708 AD) Pundipara-nö Pumbîtö was appointed as the Minister of the Right. He passed away from an illness on the third day of the eighth month of the fourth 132

On the various Pre-Taihōryō systems of ranks see the introduction to book nineteen.

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year of Yōrō (September 9, 720 AD) at the age of sixty-three. Pundipara-nö Pumbîtö was posthumously promoted to the Senior First Rank and appointed Prime Minister on the twenty-third day of the tenth lunar month of the fourth year of Yōrō (November 27, 720 AD). He has no poems in the Man’yōshū, and he is mentioned just two times in the anthology: in the preface to 3.378 and in the preface to 19.4235 (Nakanishi 1985: 269-270), (Omodaka 1984.19: 142), (Aoki 1997: 189), which is not surprising given the Opotömö clan’s connection to Prince Naŋgaya. There are, however, five of his Chinese poems in the Kaifūsō (懐風藻). But perhaps his most important legacy lies in his leading role for the adoption of the Taihō ritsuryō (大寶律令) legal code, and for producing several children, the most important of whom was doubtlessly the future Empress Kōmyō (光明皇后, 701-760 AD), the wife of Emperor Shōmu, and the mother of Empress Kōken a.k.a. Shōtoku. Lady Aŋgatainukapî is Aŋgatainukapî-nö Mîtiyö ( 縣 犬 養 三 千 代 ), a daughter of Aŋgatainukapî-nö sukune Andumapîtö (縣犬養宿禰東人). She was first married to Prince Mînô (美努王), to whom she bore Tatimbana-nö Möröye (橘諸兄) and other children, but later remarried to Pundipara-nö Pumbîtö, to whom she bore the future Empress Kōmyō. Remember that in Ancient Japan women did not change their family name to that of their husband as they do nowadays in modern Japan. This old custom is still preserved in China and Korea today, but it was replaced in Japan probably due to Western influence. On myōbu (命婦) ‘lady’ see the commentary to the preface to the poem 20.4438 and the footnote 52 to it. Aŋgatainukapî-nö Mîtiyö was uchi no myōbu (内命婦) ‘inside lady’ as she served in the Imperial Palace herself to Empresses Genmei and Genshō, and to Emperor Shōmu, being mentioned exactly as uchi-no myōbu (内命婦) ‘inside lady’ in the account from the eleventh day of the first lunar month of the fifth year of Tenpyō (January 31, 733 AD), and not just a ge no myōbu (外命婦) ‘outside lady’ due to her position as being married to a husband who had the Fifth or the higher Rank. It is not clear who the Emperor or the Empress is to whom this poem was presented. It could be Empresses Genmei and Genshō or Emperor Shōmu, as Aŋgatainukapî-nö Mîtiyö served all three of them. Takeda (1957.19: 277-278), Omodaka (1984.19: 142), and Aoki (1997: 189) all agree that it is probably Emperor Shōmu, although none of them gives any hard-core evidence supporting this belief. If they are right, it gives us the window between 724 AD, when Shōmu ascended the throne, and 733 AD, when Aŋgatainukapî-nö Mîtiyö passed away, for the date of the original composition.

19.4235

本文・Original text (1) 天雲乎 (2) 富呂尓布美安太之 (3) 鳴神毛 (4) 今日尓益而 (5) 可之 古家米也母 仮名の書き下し・Kana transliteration (1) あまくも 1 を (2) ほろ 2 にふみ 1 あだし (3) なるかみ 2 も ふにまさりて (5) かしこ 1 け 1 め 2 やも 2

1

(4) け

1

Romanization (1) AMA-KUMÔ-wo (2) porö n-i pum-î at-as-i (3) NAR-U KAMÏ mô (4) KÊPU-ni MASAR-I-TE (5) kasikô-kêm-ë ya mö - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Glossing with morphemic analysis (1) sky-cloud-ACC (2) big DV-INF raise-SING go.out-CAUS-INF (3) sound-ATTR deity FP (4) today-LOC increase-INF-SUB (5) be.fearful-ATTR/TENT-EV IP EP Translation (4/5) Should [I] be increasingly fearful today (3) [of] the Thunder Deity (2) as [he] raises and makes go out in big numbers (1) clouds in the sky? [-Certainly, I should not!] Commentary Phonography is dominant in this poem. The interpretation of this poem is difficult, because it has two hapax legomenoi: porö and andas-, both in line two. All my predecessors were struggling with reading this line entirely in Japanese, making such big leaps of faith as equating porö with MdJ bara-bara ‘lose, apart, scattered’ (onomatopoetic word) (Omodaka 1984.19: 142), (Aoki 1997: 188). Crazy as it might sound, but I think that all lexical elements in line two are actually loanwords from Ainu, with only grammatical morphemes being Japanese. Since this poem was composed by a member of high nobility, and not in Eastern Japan, this might at the first glance to diminish further the credibility of my explanation. But then, what about the highly unpoetic family name Aŋgatainukapî (縣犬養) for a high-born aristocrat: ‘the one who feeds/raises dogs in a province’? But languages should always speak for themselves first. The first hapax legomenon in line two porö is easily equated with Ainu poro ‘big, great’. The second one, andasi, I think can be read as atasi as well, since the character 太, although mostly used for the syllable /nda/, can be also used for /ta/. Ainu at ‘to go out’ (used in the modern Hokkaidō Ainu about smoke or steam), followed by WOJ causative -as- and then by common Japonic infinitive -i. This leaves us with pumî on the same line two, which, as I think, has nothing to do with stepping, treading, or trampling, which would be the only possible explanation in Japanese. The interesting observation about the Ainu phonology that can be made is that while there are not many, but at least several words with the initial syllable mi-, the same syllable -mi- practically does not occur in the medial position. Although the exact answer to this problem lies in the future once we know the historical phonology of Ainu much better than we do today, the most obvious initial answer to this puzzle is that for one reason or another medial Ainu -mi- palatalized to -ni-. Thus, Ainu puni ‘to lift, to raise’ that perfectly fits into the context of the poem was probably preserved there in its original form pumi. There is certainly an additional morphological boundary in Ainu: pum-i > pun-i, where -i indicates the singular number of an agent on a verb, which is in this case the Deity of Thunder. Line two is hypermetric (jiamari, 字余り). WOJ nar-u kamï, lit. ‘a deity that sounds’ is a Thunder Deity.

Postscript to the poem 19.4235 本文・Original text 右一首傳誦掾久米朝臣廣縄也

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Translation The poem above was recited by Kumë-nö asömî Pîrönapa, the Secretary. Commentary The recitation apparently took place on the same third day of the first lunar month of the third year of Tenpyō Shōhō that corresponds to February 3, 751 AD. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137. On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

Preface to the poems 19.4236-4237

本文・Original text 悲傷死妻歌一首并短歌 作主未詳

Translation A poem grieving about the wife who passed away author is unknown.

with a tanka envoy.

The

Commentary This poem has no author and no date, but see the postscript below on its recitation.

19.4236

本文・Original text (1) 天地之 (2) 神者无可礼也 (3) 愛 (4) 吾妻離流 (5) 光神 (6) 鳴波多 呎嬬 (7) 携手 (8) 共将有等 (9) 念之尓 (10) 情違奴 (11) 将言爲便 (12) 将作爲便不知尓 (13) 木綿手次 (14) 肩尓取挂 (15) 倭文幣乎 (16) 手尓取持氐 (17) 勿令離等 (18) 和礼波雖禱 (19) 巻而寐之 (20) 妹之 手本者 (21) 雲尓多奈妣久 仮名の書き下し・Kana transliteration (1) あめ 2 つちの 2 (2) かみ 2 はなかれや (3) うつくしき 1 (4) わがつま さかる (5) ひ 1 かるかみ 2 (6) なるはたをと 2 め 1 (7) たづさはり (8) と 2 も 2 にあらむと 2 (9) おも 2 ひ 1 しに (10) こ 2 こ 2 ろ 2 たがひ 1 ぬ (11) い はむすべ 1 (12) せむすべ 1 しらに (13) ゆふだすき 1 (14) かたにと 2 り かけ 2 (15) しつぬさを (16) てにと 2 りも 2 ちて (17) なさけ 2 そ 2 と 2 (18) われはいの 2 れど 2 (19) まき 1 てねし (20) いも 1 がたも 2 と 2 は (21) くも 1 にたなび 1 く Romanization (1) AMË TUTI-NÖ (2) KAMÏ pa NA-k-ar-e ya (3) UTUKUSI-KÏ (4) WA-ŋGA TUMA SAKAr-u (5) PÎKAR-U KAMÏ (6) NAR-U PATA WOTÖMÊ (7) TAnDUSAPAR-I (8) TÖMÖ N-I AR-AM-U tö (9) OMÖP-Î-SI-ni (10) KÖKÖRÖ TANŋGAP-Î-n-u (11) IP-AM-U SUnpê (12) SE-M-U SUnpê SIR-An-i (13) YUPU-n-DA-SUKÎ (14) KATA-ni TÖR-I-KAKË (15) SITU NUSA-wo (16) TE-ni TÖR-I MÖT-I-te (17)

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NA-SAKË-SÖ tö (18) ware pa INÖR-E-nDÖ (19) MAK-Î-TE NE-si (20) IMÔ-ŋGA TAMÖTÖ pa (21) KUMÔ-ni tanambîk-u Glossing with morphemic analysis (1) Heaven Earth-GEN (2) deity TOP not.exist-INF-exist-EV IP (3) be.dear-ATTR (4) I-POSS spouse get.separated-FIN (5) shine-ATTR deity (6) sound-ATTR loom maiden (7) hold.hands-INF (8) together DV-INF exist-TENT-FIN DV (9) think-INF-PAST.ATTR-LOC (10) heart be.different-INF-PERF-FIN (11) say-TENT-ATTR way (12) do-TENT- ATTR way know-NEG-INF (13) mulberry.tree.bark.cloth-GEN-hand-sash (14) offering.for.the. shoulder-LOC take-INF-place(INF) (15) pattern safe.passage-ACC (16) hand-LOC take-INF hold-INF-SUB (17) NEGseparate-do DV (18) I TOP pray-EV-CONC (19) pillow-INF-SUB sleep(INF)PAST.ATTR (20) beloved-POSS sleeve TOP (21) cloud-COMP trail-FIN Translation (1/2) Do not the deities of Heaven and Earth exist? [ -- Certainly they do exist!] (3/4) My dear wife went away [from me]. (9) When [I] was thinking (8) of being together (7) and holding hands (6) [with] the maiden which is like a sounding loom (5) of the shining deity, (10) [it] went contrary to my desire. (12) Not knowing what to do, and (11) what to say, (18) although I prayed: (17) “Do not take [her] away [from me]”, (14) placing on [my] shoulders (13) the hand sashes from the cloth of mulberry tree bark, and (16) holding in [my] hands (15) the adorned offerings for the safe passage, (20) the sleeves of [my] beloved (19) that [I] used to sleep on using [them as my] head-rest, (21) trailed away like clouds. Commentary Logography is dominant in this poem. The -e ya construction in nakar-e ya expresses the irony: do [they] not exist? [-- Certainly they do exist!] OJ utukusi meant not ‘to be beautiful’ as MdJ utukusii, but rather ‘to be dear, to be loveable, to be cute’. The image in lines five and six is obscure. WOJ pîkar-u kamï ‘shining deity’ is the Thunder deity, but pata may be a ‘loom’, or alternatively the last name Pata of the wife, or the place name Pata. Both pîkar-u kamï ‘shining deity’ and nar-u pata ‘sounding loom’ are unique attestations in 19.4236, not appearing in any other text in the Man’yōshū. I corrected the traditional reading nar-i of 鳴 to nar-u, because while nominalizer can modify a following noun, usually a copula is required in this position, and generally it is more typical to have and attributive in this construction. Certainly, since the spelling of 鳴 is completely logographic, we will never know for sure. WOJ yupu is a cloth made from bark fibers of the mulberry tree and other similar trees. The process of production started with peeling of the bark, steaming and then soaking in water its fibers, bleaching, and then splitting into thin threads before weaving. The cloth was beautiful and white and was used as an offering to deities (Omodaka et al. 1967: 784). On WOJ ta-sukî ‘hand-sash’ see the commentary to 1.5. On WOJ situ ‘pattern’ see the commentary to 5.804. On nusa ‘ritual offerings for deities for the safe passage’ see the commentary to 1.34. Here it certainly refers to the offerings made for the safe passage through the illness. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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The image of clouds trailing away as a metaphor of death is highly unusual in the Man’yōshū. Besides 19.4236 it occurs only in 3.444. The comparative case marker -ni in line twenty-one (also in line one of the following envoy 19.4237) is a rare and archaic variant of the more usual allomorph -nö. For details see Vovin (2005a: 199-200, 202). This usage probably indicates that both poems 19.4236 and 19.4237 are quite old poems.

Preface to the poem 19.4237 本文・Original text 反歌一首 Translation An envoy. Commentary This envoy is to the poem 19.4236.

19.4237

本文・Original text (1) 窹尓等 (2) 念氐之可毛 (3) 夢耳尓 (4) 手本巻寐等 (5) 見者須便奈 之 仮名の書き下し・Kana transliteration (1) うつつにと 2 (2) おも 2 ひ 1 てしかも 1 (3) いめ 2 の 2 み 2 に (4) た も 2 と 2 まき 1 ぬと 2 (5) み 1 ればすべ 1 なし

Romanization (1) UTUTU-ni tö (2) OMÖP-Î-te-si kamô (3) IMË NÖMÏ-ni (4) TAMÖTÖ MAK-Î-N-U tö (5) MÎ-RE-mba sumbê na-si Glossing with morphemic analysis (1) reality-COMP DV (2) think-INF-PERF-PAST.ATTR EP (3) dream RP-LOC (4) sleeve pillow-INF-PERF-FIN DV (5) see-EV-CON way not.exist-FIN Translation (2) [I] wanted to think (1) about [it] like of reality! (5) There is nothing [I] could do when [I] see (4) using [her] sleeves as [my] head-rest (3) only in a dream. Commentary Logography is dominant in this poem. On the comparative case marker -ni see the commentary to the poem 19.4236 above. The WOJ construction -te-si kamö or -te-si ka expresses desire. For details see Vovin (2009a: 1243-1245).

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Postscript to the poems 19.4236-4237

本文・Original text 右二首傳誦遊行女婦蒲生是也

Translation The two poems above were recited by courtesan Kamapu wotömê. Commentary On courtesans (ukaremê, 遊行女婦) see the commentary to the preface to the poem 19.4232. Nothing is known about the biography of Kamapu wotömê. The recitation was apparently done on the third day of the first lunar month of the third year of Tenpyō Shōhō (February 3, 751 AD) during the banquet in the mansion of Kura-nö imîkî Napamarö, the Assistant Governor.

Preface to the poem 19.4238

本文・Original text 二月二日會集于守舘宴作歌一首 Translation A poem composed when [we] gathered for a banquet at the gubernatorial mansion on the second day of the second lunar month [of the third year of Tenpyō Shōhō]. Commentary The second day of the second lunar month of the third year of Tenpyō Shōhō corresponds to March 2, 751 AD. On Wettiu province gubernatorial mansion see the commentary to the postscript to the preface to the poems 19.4151-4153 and to the poem 19.4229.

19.4238

本文・Original text (1) 君之徃 (2) 若久尓有婆 (3) 梅柳 (4) 誰与共可 (5)吾縵可牟 仮名の書き下し・Kana transliteration (1) き 1 み 1 がゆき 1 (2) も 2 しひ 1 さにあらば (3) うめ 2 やなぎ 2 (4) た れと 2 と 2 も 2 にか (5) わがかづらかむ Romanization (1) KÎMÎ-ŋGA YUK-Î (2) MÖSI PÎSA n-i AR-Amba (3) UMË YANAŋGÏ (4) TARE-TÖ TÖMÖ N-I ka (5) WA-ŋGA KAnDURAk-am-u Glossing with morphemic analysis (1) lord-POSS go-INF (2) if long DV-INF exist-COND (3) plum willow (4) who-COM together DV-INF (5) I-POSS wear.laurel-ATTR Translation (2) If it is long [time] (1) after [you, my] lord go away (4) with whom (5) would I wear laurels (4) together (5) [made from] plum [blossoms] and willow [branches]?

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Commentary Logography is dominant in this poem. It is interesting that logographic script in line one uses the character 徃 ‘to go away’, and not simply the character 行 ‘to go’. Line two is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since n-i ar-amba was in all probability pronounced as [naramba]. On OJ umë ‘plum’ see the commentary to the poem 5.815. On OJ yanaŋgï ‘willow’ see the commentaries to the poems 5.817 and 5.821. On OJ kandura ‘laurel, wig’ see the commentaries to 5.817 and 18.4035.

Postscript to the poem 19.4238

本文・Original text 右判官久米朝臣廣縄以正税帳應入京師仍守大伴宿祢家持作此歌也但越 中風土梅花柳絮三月初咲耳 Translation Opotömö-nö sukune Yakamöti composed this poem above, when Kumë-nö asömî Pîrönapa, the Secretary, had to go to the capital as a Taxation Report Messenger. However, in Wettiu climate plums blossoms and willow fluff start to bloom only in the third lunar month. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137. On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. On Taxation Report Messengers (Seizeichō[shi], 正税帳[使]) see the commentary to the preface to poems 17.3989-3990. On Wettiu province (越中國) see the commentary to the preface to 17.3926-3927. On OJ umë ‘plum’ see the commentary to the poem 5.815. Willow fluff (ryūjo, 柳絮) is a substitute for flowers, since willows do not have any flowers in the proper sense of the word. It is the fluffy stuff that has willow seeds inside.

Preface to the poem 19.4239

本文・Original text 詠霍公鳥歌一首

Translation A poem [I] composed about a cuckoo.

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Commentary On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to the poem 15.3754.

19.4239

本文・Original text (1) 二上之 (2) 峯於乃繁尓 (3) 許毛里尓之 (4) 彼霍公鳥 (5) 待騰來奈 賀受 仮名の書き下し・Kana transliteration (1) ふたがみ 1 の 2 (2) をの 2 うへ 2 の 2 しげ 2 に (3) こ 2 も 1 りにし (4) そ 2 の 2 ほと 2 と 2 ぎ 1 す (5) まてど 2 き 1 なかず Romanization (1) PUTAŋGAMÎ-NÖ (2) WO-NÖ UPË-nö SIŋGË-ni (3) kömôr-i-n-i-si (4) SÖNÖ POTÖTÖŋGÎSU (5) MAT-E-nDÖ K-Î nak-anz-u Glossing with morphemic analysis (1) Putaŋgamî-GEN (2) summit-GEN top-GEN be.dense(NML)-LOC (3) hide-INF-PERF-INF-PAST.ATTR (4) that cuckoo (5) wait-EV-CONC come-INF cry-NEG-FIN Translation (5) Although [I] wait for (4) that cuckoo, (3) which has been hiding (2) in the density of [foliage] on the top (1) of the Mt. Putaŋgamî, (5) it does not come and cry. Commentary Logography is dominant in this poem. On Mt. Putaŋgamî (二上山, MdJ Futagami) see the commentary to the poem 17.3955. It seems to be illogical that OJ upë ‘top’ is written with the character 於 ‘in at’, also ongana for /o/. Yet there are at least three other cases of such a weird spelling: in 2.166, 3.261, and 3.390. Possibly it is somehow connected with a locative function of 於 in Classical Chinese texts, but overall we can only guess the reason of this oddity. On WOJ potötöŋgîsu ‘cuckoo’ and its symbolic meaning, see the commentary to the poem 15.3754.

Postscript to the poem 19.4238 本文・Original text 右四月十六日大伴宿祢家持作之

Translation Opotömö-nö sukune Yakamöti composed the poem above on the sixteenth day of the fourth lunar month [of the third year of Tenpyō Shōhō]. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū.

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On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. The sixteenth day of the fourth lunar month of the third year of Tenpyō Shōhō corresponds to May 15, 751 AD.

Preface to the poem 19.4240

本文・Original text 春日祭神之日藤原太后御作歌一首 即賜入唐大使藤原朝臣清河 Translation On the day when [they] venerated the deity at Kasuŋga, the Pundipara Empress composed a poem. And then [she] deigned to give [it] to the Ambassador going to Tang, Pundipara-nö asömî Kîyôkapa. Commentary In the later manuscripts, such as the Kishū-bon, there is an addition in the small script at the end of the second line of the preface: 参議従四位下遣唐使 ‘[they] sent as an Ambassador to Tang the Imperial Adviser, who had the Junior Fourth Rank, Lower Grade’ . But since this addition is not present in the earlier manuscripts, such as the Genryaku kōhon and the Ruijū koshū it probably was inserted later. Pundipara Empress is Retired Empress Kōmyō. Since Pundipara-nö asömî Kîyôkapa was appointed Ambassador to China on the twenty-fourth day of the ninth lunar month of the second year of Tenpyō Shōhō (October 28, 750 AD), but was given settō ( 節 刀 ), a ceremonial sword that symbolizes imperial authority granted to generals and Ambassadors to China only on the ninth day of the third intercalary lunar month of the fourth year of Tenpyō Shōhō (April 27, 752 AD), the date of composition of this poem was probably around the latter date. Aoki points out that he departed in the third intercalary lunar month of the fourth year of Tenpyō Shōhō (April 19 -- May 17, 752 AD) (1997: 253). Given the fact that a day’s travel was necessary to get to Tu (MdJ Settsu) province from Nara, I think we can further limit the time frame for his departure to April 30 -- May 17, 752 AD. Pundipara-nö asömî Kîyôkapa was the fourth son of Pundipara-nö asömî Pusasakî. He had quite a dramatic life. Pundipara-nö asömî Kîyôkapa was promoted from the Senior Sixth Rank, Upper Grade to the Junior Fifth Rank Lower Grade on the twenty first day of the eleventh lunar month of the twelfth year of Tenpyō (December 14, 740 AD). This was followed by two moderately rapid promotions to Senior Fifth Rank, Lower grade on the fifth day of the fifth lunar month of the fifteenth year of Tenpyō (June 1, 743 AD) and to Fourth Junior Rank, Lower Grade on the twenty-third day of the fourth lunar month of the eighteenth year of Tenpyō (May 17, 746 AD) as well as by appointments to quite important positions: Junior Assistant Minister (Shōyū, 少輔) in the Ministry of Central Affairs (Naka tukasa shō, Naka matsurigoto no tukasa, 中務省) on the third day of the seventh lunar month of the thirteenth year of Tenpyō (August 18, 741 AD), Governor of Yamatö province (Yamatö-nö kamî, 大養徳守) on the thirtieth day of the sixth lunar month of the fifteenth year of Tenpyō (July 25, 743 AD), and Imperial Adviser (Sangi, 参議) on the second day of the seventh lunar month of the first year of Tenpyō - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Shōhō (August 19, 749 AD) before his appointment as the Ambassador to China (see the comment immediately above). Pundipara-nö asömî Kîyôkapa was required to stay in China as the Japanese Ambassador for twenty-four years, being allowed to return only on the fifteenth day of the fourth lunar month of the seventh year of Hōki (May 7, 776 AD), which was already Emperor Kōnin (光仁天皇)’s reign. But on the way back, his boat ran into a strong headwind, and drifted to Huānzhōu (驩州)133 in Southern Tang China. The aboriginals attacked the stranded boat and killed everyone except Pundipara-nö asömî Kîyôkapa himself, who was the only one who managed to escape. However, he stayed in China, where he died ten plus years later, never to see Japan again. Pundipara-nö asömî Kîyôkapa is an author of two poems in the Man’yōshū: 19.4241 and 19.4244 (Omodaka 1984.19: 150), (Nakanishi 1985: 266).

19.4240

本文・Original text (1) 大舶尓 (2) 眞梶繁貫 (3) 此吾子乎 (4) 韓國邊遣 (5) 伊波敝神多智 仮名の書き下し・Kana transliteration (1) おほぶねに (2) まかぢしじぬき 1 (3) こ 2 の 2 あご 1 を (4) からくに へ 1 やる (5) いはへ 1 かみ 2 たち Romanization (1) OPO-n-BUNE-ni (2) MA-KAnDI SInZI NUK-Î (3) KÖNÖ A-ŋ-GÔ-wo (4) Kara-KUNI-PÊ YAR-U (5) ipap-ê KAMÏ-tati Glossing with morphemic analysis (1) big-DV(ATTR)-boat-LOC (2) INT-rudder constantly pierce-INF (3) this I-OSM-child-ACC (4) China-land-DIR send-FIN (5) protect-IMP deity-PLUR Translation (4) [I] am sending to the land of China (3) this child of mine, (2) [who goes there] constantly piercing [the waves with his] great rudder (1) in his big boat. (5) Protect [him], [oh] deities! Commentary Logography is dominant in this poem. The first two lines probably represent a honkadori (本歌取り) ‘allusive variation’ technique, as they occur in nine other examples in the Man’yōshū (3.368, 7.1386, 8.1453, 9.1668, 11.2494, 13.3333, 15.3611, 15.3627, 15.3979) plus in two more examples (10.2089, 20.4368) with more or less different line one, but the identical line two. OJ -ŋ- is here an allomorph of the oblique stem marker -n-, conditioned as ŋ - - here by the following velar. For details on the oblique stem marker see Vovin (2005a: 221-235).

133

Nowadays it is located in Vietnam.

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WOJ Kara can mean either ‘Korea’ or ‘China’. In the first case it is usually spelled with character 韓, but in the second case with the character 唐. In this poem we see the spelling 韓, although it clear refers to China here, and not to Korea. Thus, the usage of the character 韓 should be taken as kungana here.

Preface to the poem 19.4241 本文・Original text 大使藤原朝臣清河歌一首

Translation A poem by Pundipara-nö asömî Kîyôkapa, the Ambassador. Commentary On Pundipara-nö asömî Kîyôkapa’s biography see the commentary to the preface to 19.4240.

19.4241

本文・Original text (1) 春日野尓 (2) 伊都久三諸乃 (3) 梅花 (4) 榮而在待 (5) 還來麻泥

仮名の書き下し・Kana transliteration (1) かすがの 1 に (2) いつくみ 1 も 2 ろ 2 の 2 (3) うめ 2 の 2 はな (4) さか え 2 てありまて (5) かへ 1 りくるまで Romanization (1) KASUŋGA NÔ-ni (2) ituk-u mî-mörö-nö (3) UMË-NÖ PANA (4) SAKAYE-TE ari-MAT-E (5) KAPÊR-I-K-URU-mande Glossing with morphemic analysis (1) Kasuŋga field-LOC (2) venerate-ATTR HON-abode-GEN (3) plum-GEN flower (4) bloom(INF)-SUB PREF-wait-IMP (5) return-INF-come-ATTRTERM Translation (3) [Oh,] plum blossoms, (2) in the deity’s venerated abode (1) on Kasuŋga field, (4) after [you] have bloomed, continue to wait (5) until [I] come back. Commentary Logography is dominant in this poem. Kasuŋga field is located at the Western foot of Mt. Kasuŋga in the Eastern part of present-day Nara city (Nakanishi 1985: 435). WOJ mî-mörö refers here not to the Mî-mörö mountains, but to the abode or shrine of a deity where the deity (in this case Kasuŋga deity) was venerated. It consists of mî-, honorific prefix, and mörö, a word with obscure etymology. The traditional theory connecting it with OJ murô ‘room, house with four walls, cave’ has to be abandoned due to the discrepancy in vocalism. I think that it is likely to be a loan from an OK predecessor of MK mʌrʌm LH ‘chamber, detached house’. On OJ umë ‘plum’ see the commentary to the poem 5.815.

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This poem is an apparent response to 19.4240 above, so it must have been composed on the same day.

Preface to the poem 19.4242

本文・Original text 大納言藤原家餞之入唐使等宴日歌一首即主人卿作之 Translation A poem composed on the day of the banquet when [they] were seeing off the Amdassador to China and others at the house of the Senior Counsellor from the Pundipara clan. Therefore, the host, the High Noble, composed this [poem]. Commentary On Senior Counsellor (Dainagon, 大 納 言 ) see the commentary to the postscript to the poems 20.4293-4294. The host, the Senior Counsellor from the Pundipara clan is Pundipara-nö Nakamarö (藤原仲麻呂), on whose biography see the commentary to the postscript to the poems 20.4293-4294. On Kyau (卿) ‘High Noble’ see the commentary to the preface to the poem 20.4293. The Amdassador to China is Pundipara-nö asömî Kîyôkapa, on whose biography see the commentary to the preface to 19.4240. The day of the banquet, as well as of the composition of this poem and two following, 19.4243 and 19.4244, is not known, but it must have been around the ninth day of the third intercalary lunar month of the fourth year of Tenpyō Shōhō (April 27, 752 AD), prior to Pundipara-nö asömî Kîyôkapa’s departure to China. However, the mention of plum blossoms suggests a slightly earlier date around the first lunar month of the fourth year of Tenpyō Shōhō (January 21 -- February 19, 752).

19.4242

本文・Original text (1) 天雲乃 (2) 去還奈牟 (3) 毛能由惠尓 (4) 念曽吾爲流 (5) 別悲美 仮名の書き下し・Kana transliteration (1) あまくも 1 の 2 (2) ゆき 1 かへ 1 りなむ (3) も 1 の 2 ゆゑに (4) おも 2 ひ 1 そ 2 あがする (5) わかれかなしみ 1

Romanization (1) AMA-KUMÔ-nö (2) YUK-Î KAPÊR-I-n-am-u (3) mônöyuwe n-i (4) OMÖP-Î sö A-ŋGA S-Uru (5) WAKARE KANASIm-î Glossing with morphemic analysis (1) sky-cloud-GEN (2) go-INF return-INF-PERF-TENT-ATTR (3) although DV-INF (4) think NML FP I-POSS do-ATTR (5) part(NML) grieve-NML Translation (3) Although (1) sky clouds (2) go away and come back, (4) I do think (5) about the sadness [of] parting.

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Commentary Logography is dominant in this poem. WOJ mönöyuwe is a chameleon conjunction. Here and in 19.4168 it obviously introduces a concessive connection ‘although’, but cf. its usage in 15.3586, where it introduces conjunctive connection ‘because’. Line four is hypermetric (jiamari, 字余り).

Preface to the poem 19.4243

本文・Original text 民部少輔丹治眞人土作歌一首

Translation A poem composed by Tandipî-nö mapîtö Panisi, the Junior Assistant Minister in the Ministry of Popular Affairs. Commentary On Ministry of Popular Affairs (Minbushō, 民部省) see the commentary to the postscript to the poem 20.4299. On Junior Assistant Minister (Shōyū, 少輔) see the commentary to the postscript to the poems 20.4315-4320. Tandipî-nö mapîtö Panisi (丹治眞人土) was promoted from the Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade on the thirteen day of the first lunar month of the twelfth year of Tenpyō (February 14, 740 AD). On the fifth day of the sixth lunar month of the fifteenth year of Tenpyō (June 30, 743 AD) he was appointed the Assistant Governor of the Tu province, and on the eleventh day of the fourth lunar month of the eighteenth year of Tenpyō (May 5, 746 AD) Tandipî-nö mapîtö Panisi was made the Junior Assistant Minister in the Ministry of Popular Affairs. On the fifth day of the fourth lunar month of the sixth year of Tenpyō Shōhō (May 1, 754 AD) he was appointed the Governor of the Opari province, and on the twenty-first day of the fifth lunar month of the first year of Tenpyō Hōji (June 12, 757 AD) Tandipî-nö mapîtö Panisi was promoted from Junior Fifth Rank, Lower Grade to the Junior Fifth Rank, Upper Grade, and consequently to Senior Fifth Rank, Lower Grade on the ninth day of the first lunar month of the seventh year of Tenpyō Hōji (February 25, 763 AD). He was made Imperial Advisor and simultaneously promoted to the Junior Fourth Rank, Upper Grade on the twentieth day of the seventh lunar month of the first year of Hōki (August 15, 770 AD). Tandipî-nö mapîtö Panisi passed away on the tenth day of the sixth lunar month of the second year of Hōki (August 24, 771 AD). He is an author of just one poem in the Man’yōshū: 19.4243 (Omodaka 1984.19: 153), (Nakanishi 1985: 249).

19.4243

本文・Original text (1) 住吉尓 (2) 伊都久祝之 (3) 神言等 (4) 行得毛來等毛 (5) 舶波早家 无 仮名の書き下し・Kana transliteration (1) すみ 1 の 2 え 2 に (2) いつくはふりが (3) かむご 2 と 2 と 2 (4) ゆく と 2 も 1 くと 2 も 1 (5) ふねははやけ 1 む

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Romanization (1) SUMÎNÖYE-ni (2) ituk-u PAPURI-ŋGA (3) KAMU-ŋ-GÖTÖ tö (4) YUK-U tömô K-U tömô (5) PUNE pa PAYA-kêm-u Glossing with morphemic analysis (1) Sumînöye-LOC (2) venerate-ATTR priest-POSS (3) deity-GEN-word DV (4) go-FIN CONJ come-FIN CONJ (5) boat TOP be.fast-ATTR.TENT-FIN Translation (3) According to deity words [pronounced by] (2) the priests who venerate [the deity] (1) in Sumînöye, (5) [your] boat will be fast (4) both when [it] goes away and when [it] comes back. Commentary Logography is dominant in this poem. On Sumînöye and the deity venerated there see the commentary to 20.4408. WOJ papuri are Shintō priests. The etymology of this word is obscure, although there are several ‘theories’ that are no more than folk etymologies. There are no phonographic examples of this word in WOJ texts.

Preface to the poem 19.4244

本文・Original text 大使藤原朝臣清河歌一首

Translation A poem by Pundipara-nö asömî Kîyôkapa, the Ambassador. Commentary On Pundipara-nö asömî Kîyôkapa’s biography see the commentary to the preface to 19.4240. The date of the composition should be the same as for the two previous poems 19.4242 and 19.4243.

19.4244

本文・Original text (1) 荒玉之 (2) 年緒長 (3) 吾念有 (4) 兒等尓可戀 (5) 月近附奴 仮名の書き下し・Kana transliteration (1) あらたまの 2 (2) と 2 しの 2 をながく (3) あがおも 2 へ 1 る (4) こ らにこ 1 ふべ 2 き 1 (5) つき 2 ちかづき 1 ぬ

1

Romanization (1) arata ma-NÖ (2) TÖSI-NÖ WO NAŋGA-KU (3) A-ŋGA OMÖP-ÊR-U (4) KÔ-ra-ni KÔP-UmBË-KÎ (5) TUKÏ TIKAnDUK-Î-n-u Glossing with morphemic analysis (1) new interval-GEN (2) year-GEN string be.long-INF (3) I-POSS think-PROG-ATTR (4) girl-DIM-DAT long.for-DEB-ATTR (5) month approach-INF-PERF-FIN

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Translation (1/2) The string of new years [that come one after another] is long, and (5) [now] the month approached (4) when [I] should long for my dear wife (5) whom I love. Commentary Logography is dominant in this poem. On arata ma-nö ‘of the new interval’ see the commentary to 15.3683. WOJ tösi-nö wo ‘string of years’ is a metaphor for years that come one after another. The character 等 ra here stands for the diminutive suffix -ra, not the plural -ra, and, therefore represents kungana usage. WOJ kô-ra ‘dear girl’ refers here to the author’s wife. The logographic spelling 近附 of OJ tikanduk- ‘to approach’, consisting of 近 tika ‘close’ and 附 tuk- ‘to attach’ demonstrates that the scribe was conscious of this word’s etymological constituents.

Preface to the poem 19.4245

本文・Original text 天平五年贈入唐使歌一首并短歌 作主未詳 Translation A poem presented to the Ambassador who was going to China in the fifth year of Tenpyō with a tanka [envoy]. The author is unknown. Commentary The fifth year of Tenpyō lasted from January 21, 733 AD to February 7, 734 AD. It was longer than the solar year because there was an intercalary third lunar month. The Ambassador who went to China in the fifth year of Tenpyō is Tandipî-nö mapîtö Pîrönari (多治比眞人廣成), on whose biography see the commentary to the postscript to the poems 5.894-896.

19.4245

本文・Original text (1) 虚見都 (2) 山跡乃國 (3) 青丹与之 (4) 平城京師由 (5) 忍照 (6) 難 波尓久太里 (7) 住吉乃 (8) 三津尓舶能利 (9) 直渡 (10) 日入國尓 (11) 所遣 (12) 和我勢能君乎 (13) 懸麻久乃 (14) 由々志恐伎 (15) 墨吉乃 (16) 吾大御神 (17) 舶乃倍尓 (18) 宇之波伎座 (19) 舶騰毛尓 (20) 御 立座而 (21) 佐之与良牟 (22) 礒乃埼々 (23) 許藝波氐牟 (24) 泊々尓 (25) 荒風 (26) 浪尓安波世受 (27) 平久 (28) 率而可敝理麻世 (29) 毛 等能國家尓 仮名の書き下し・Kana transliteration (1) そ 1 らみ 1 つ (2) やまと 2 の 2 くに (3) あをによ 2 し (4) ならの 2 み 1 やこ 1 ゆ (5) おしてる (6) なにはにくだり (7) すみ 1 の 2 え 2 の 2 (8) み 1 つにふなの 2 り (9) ただわたり (10) ひ 1 の 2 いるくにに (11) つかは さる (12) わがせの 2 き 1 み 1 を (13) かけ 2 まくの 2 (14) ゆゆしかしこ 1 き 1 (15) すみ 1 の 2 え 2 の 2 (16) わがおほみ 1 かみ 2 (17) ふなの 2 へ 2 に (18) うしはき 1 いまし (19) ふなど 2 も 1 に (20) み 1 たたしまして (21)

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さしよ 2 らむ (22) いそ 1 の 2 さき 1 ざき 1 (23) こ 2 ぎ 1 はてむ (24) と 2 まりと 2 まりに (25) あらき 1 かぜ (26) なみ 1 にあはせず (27) たひ 1 らけ 1 く (28) ゐてかへ 1 りませ (29) も 1 と 2 の 2 み 1 かど 1 に 1î Romanization (1) sôra mîtu (2) Yamatö-nö KUNI (3) AWO NI yö-si (4) NARA-NÖ MÎYAKÔ-yu (5) os-i-ter-u (6) Nanipa-ni kundar-i (7) SUMÎNÖYE-nö (8) mî-TU-ni PUNA-nör-i (9) TAnDA WATAR-I (10) PÎ-NÖ IR-U KUNI-ni (11) TUKAP-AS-AR-U (12) wa-ŋga se n-ö KÎMÎ-wo (13) KAKË-m-aku-nö (14) yuyusi KASIKÔ-KÎ (15) SumîNÖYE-nö (16) WA-ŋGA OPO MÎ-KAMÏ (17) PUNA-nö pë-ni (18) usipak-î-IMAS-I (19) PUNA-n-dömô-ni (20) MÎ-TAT-AS-I-[I]MAS-I-TE (21) sas-i-yör-am-u (22) ISÔ-nö SAKÎ-n-ZAKÎ (23) köŋg-î pate-m-u (24) TÖMARI-TÖMARI-ni (25) ARA-KÎ KAnZE (26) NAMÎ-ni ap-ase-nz-u (27) TAPÎRAKÊ-ku (28) WI-TE kapêr-i-[i]mas-e (29) môtö-nö MÎKAnDÔ-ni Glossing with morphemic analysis (1) sky under (2) Yamatö-GEN land (3) green earth be.good-FIN (4) Nara-GEN capital-ABL (5) push-INF-shine-ATTR (6) Nanipa-LOC descend-INF (7) Sumînöye-GEN (8) HON-harbor-LOC boat-board-INF (9) directly cross.over-INF (10) sun-GEN set-ATTR land-LOC (11) sendCAUS-PASS-FIN (12) I-POSS elder.brother DV-ATTR lord-ACC (13) say-TENT-NML-GEN (14) feel.reserve(FIN) be.awesome-ATTR (15) Sumînöye-GEN (16) we-POSS great HON-deity (17) boat-GEN prow-LOC (18) rule-INF-HON-INF (19) boat-GEN-stern-LOC (20) HON-stand-HONINF-HON-INF-SUB (21) point-INF-approach-TENT-ATTR (22) rocky. shore-GEN cape-LOC-cape (23) row-INF anchor-TENT-ATTR (24) harbor-harbor-LOC (25) be.rough-ATTR wind (26) wave-LOC meet-CAUSNEG-INF (27) be.safe-INF (28) guide(INF)-SUB return-INF-HON-IMP (29) origin-GEN realm-LOC Translation (6) [You] went down to Nanipa, (5) upon which [the sun] shines, (4) from the capital of Nara, (3) where the green earth is good, (2) [in] the land of Yamatö (1) under Heaven, [and] (8) boarded the boat in the harbor (7) of Sumînöye, and (12) [my] lord elder brother (11) [you] are sent [by the Emperor] (9) to cross over directly (10) to the land, where the sun sets. (16) Our great deity (15) of Sumînöye (14) who is awe-inspiring [and about whom I] feel reserve (13) to speak of, (18) ruling (17) at the prow of the boat, and (20) standing (19) at the stern of the boat, (26) do not let [him] meet with waves (25) [and] rough wind (24) in the harbors (23) where he would row [in] and anchor [his boat] (22) and at the capes of the rocky shores (21) that [he] would approach. (27/28) After [the deity] guides [you] safely, return (29) to [your] original realm. Commentary Logography and phonography are used equally in this poem. Line one is hypometric (jitarazu, 字足らず). On WOJ sôra mîtu ‘under sky, under Heaven’ see the commentary to 5.894. Line two is hypometric (jitarazu, 字足らず). On the permanent epithet (makura-kotoba, 枕詞) awo ni yö-si, WOJ ni - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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‘earth, soil, clay’, the place name Nara, and the lack of strict differentiation between final and attributive forms of inflected adjectives in OJ see the commentary to 15.3602. On OJ ositer- ‘to shine upon’ see the commentary to the poem 20.4360. On Nanipa, see the commentaries to poems 20.4329 and 20.4330. On Sumînöye and the deity venerated there see the commentary to 20.4408. WOJ pî-nö ir-u kuni ‘the land where the sun sets, the land of the sunset’ is another name for China, as opposed to pî-nö ind-uru kuni ‘the land where the sun rises’, i. e. Japan. This is the only example in the Man’yōshū, when mî-kandô is written as 國 家 (Aoki 1997: 2008). The original meaning of the word mî-kandô is ‘honorable-gate’, but then it underwent further semantic shifts to ‘Emperor’ > ‘palace’ > ‘court’ > ‘realm’, which demonstrate the gradual broadening of the semantics. At the stage when mî-kandô started to mean ‘court’ and ‘realm’, the connection with its original morphological structure: mî-, honorific prefix + kandô ‘gate’ was clearly lost, so I transcribe it here as mîkandô, without a morphological boundary.

Preface to the poem 19.4246

本文・Original text 反歌一首 Translation An envoy.

Commentary This envoy is for the poem 19.4245 above.

19.4246

本文・Original text (1) 奥浪 (2) 邊波莫越 (3) 君之舶 (4) 許藝可敝里來而 (5) 津尓泊麻泥 仮名の書き下し・Kana transliteration (1) おき 1 つなみ 1 (2) へ 1 なみ 1 なこ 1 しそ 2 (3) き 1 み 1 がふね (4) こ 2 ぎ 1 かへ 1 りき 1 て (5) つにはつるまで

Romanization (1) OKÎ-TU NAMÎ (2) PÊ NAMÎ NA-KÔS-I-SÖ (3) KÎMÎ-ŋGA PUNE (4) köŋg-î kapêr-i-K-Î-TE (5) TU-ni PAT-URU-mande Glossing with morphemic analysis (1) offing-GEN/LOC wave (2) shore wave NEG-cross.over-INF-do (3) lord-POSS boat (4) row-INF return-INF-come-INF-SUB (5) harbor-LOC anchor-ATTR-TERM Translation (1) Waves in the offing [and] (2) waves [at] the shore, do not cross over (3) [my] lord’s boat (4/5) until [it] comes rowing back and anchors in the harbor.

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Commentary Logography is dominant in this poem. There is a disagreement between Japanese scholars whether the protograph had the character 越 ‘to cross over’ or the character 起 ‘to rise’ in line two. But since it seems that only the Hirose-bon has the latter, it is safer to opt for the former variant, as already Omodaka did (1984.19: 159-160).

Preface to the poem 19.4247

本文・Original text 阿倍朝臣老人遣唐時奉母悲別歌一首

Translation A poem on the sadness of parting presented by Apë-nö asömî Okîna at the time when [he] was sent to China. Commentary Nothing is known about the biography of Apë-nö asömî Okîna. The educated guess is that he was a member of the same mission to China that was sent in the fifth year of Tenpyō and is referred to in the poems 19.4245-4246 above. He is an author of just one poem in the Man’yōshū: 19.4247 (Nakanishi 1985: 196). Okîna may be either ‘old man’ or used as a personal name. I believe that the characters 老人 can also be read as Oyipîtö, in which case it certainly would be a personal name.

19.4247

本文・Original text (1) 天雲能 (2) 曽伎敝能伎波美 (3) 吾念有 (4) 伎美尓将別 (5) 日近成 奴 仮名の書き下し・Kana transliteration (1) あまくも 1 の 2 (2) そ 2 き 1 へ 1 の 2 き 1 はみ 1 (3) あがおも 2 へ 1 る (4) き 1 み 1 にわかれむ (5) ひ 1 ちかくなりぬ Romanization (1) AMA-KUMÔ-nö (2) sök-î pê-nö kîpamî (3) A-ŋGA OMÖP-ÊR-U (4) kîmî-ni WAKARE-M-U (5) PÎ TIKA-KU NAR-I-n-u Glossing with morphemic analysis (1) Heaven-cloud-GEN (2) be.distant-NML side-GEN limit (3) I-POSS think-PROG-ATTR (4) lady-DAT part-TENT-ATTR (5) day be.close-INF become-INF-PERF-FIN Translation (5) The day has drawn near (4) when [I] will part with [my] lady [mother] (3) about whom I will be thinking (2) to the farthest limit (1) where the heavenly clouds [reach]. Commentary Logography is dominant in this poem. Omodaka believes that the poem 19.4244 by Pundipara-nö asömî Kîyôkapa

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is an imitation of this poem, replacing ‘mother’ with ‘wife’ and ‘day’ with ‘month’ (1984.19: 160). WOJ sök-î pê ‘far side’ is a rare expression found only in two other poems in the Man’yōshū: 9.1801 and 17.3964. Calling one’s mother kîmî ‘lady’ is unusual.

Postscript to the poem 19.4247

本文・Original text 右件歌者傳誦之人越中大目高安倉人種麻呂是也但年月次者随聞之時載 於此焉 Translation The poem above was recited by Takayasu-nö kurambîtö Tanemarö, the Senior Clerk of Wettiu [province]. However, [I] placed in the temporal sequence here according to the time when [I] heard it. Commentary On Senior Clerk (Daisakan, 大目) see the commentary to the postscript to the poems 20.4363-4372. On Wettiu province (越中國) see the commentary to the preface to 17.3926-3927. Nothing is known about the biography of Takayasu-nö kurambîtö Tanemarö. Kurambîtö (倉人) is an old kabane (姓) title, on which see the commentary to the postscript to the poem 1.56. Time when Opotömö-nö Yakamöti heard the recitation of this poem is not very helpful reference for determining the date of this recitation. Probably it took place in the spring or summer of 751 AD.

Preface to the poems 19.4248-4249

本文・Original text 以七月十七日遷任少納言仍作悲別之歌贈貽朝集使掾久米朝臣廣縄之舘 二首 既満六載之期忽値遷替之運於是別舊之悽心中欝結拭渧之袖何以能旱 因作悲歌二首式遺莫忘之志其詞曰 Translation Two poems that [I] composed on the sadness of parting when [I] was appointed the Junior Counsellor on the seventeenth day of the seventh lunar month of the [third year of Tenpyō Shōhō] and sent to the mansion of Kumë-nö asömî Pîrönapa, the Provincial Messenger to the Court and Secretary. Having fulfilled the six-year term, [I] was suddenly transferred. The sadness of parting with old [friends] filled [my] heart with melancholy. How would [I] be able to dry [my] sleeves that [I] used to wipe tears? Therefore, [I] composed two elegies, where [I] expressed [my] intention to forget nothing. Their words say: Commentary The seventeenth day of the seventh lunar month of the third year of Tenpyō

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Shōhō corresponds to August 12, 751 AD. On Junior Counsellor (Shōnagon, 少納言) see the commentary to the postscript to the poems 20.4293-4294. On Provincial Messengers to the Court (Chōshūshi, 朝集使) see the commentary to the preface to the poems 18.4116-4118. As Takeda and Omodaka pointed out this is probably a mistake, because Kumë-nö asömî Pîrönapa is mentioned as a Taxation Report Messenger (Seizeichō, 正税帳) in the postscript to 19.4238 (Takeda 1957.19: 293), (Omodaka 1984.19: 161). Since Taxation Report Messengers were given their appointments in the second lunar month and Provincial Messengers to the Court in the eleventh lunar month, the former must be meant here. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137. On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4248

本文・Original text (1) 荒玉乃 (2) 年緒長久 (3) 相見氐之 (4) 彼心引 (5) 将忘也毛 仮名の書き下し・Kana transliteration (1) あらたまの 2 (2) と 2 しの 2 をながく (3) あひ 1 み 1 てし (4) そ の 2 こ 2 こ 2 ろ 2 び 1 き 1 (5) わすらえ 2 め 2 やも 1

2

Romanization (1) arata ma-nö (2) TÖSI-NÖ WO NAŋGA-ku (3) APÎ-MÎ-te-si (4) SÖNÖ KÖKÖRÖ-n-BÎK-Î (5) WASUR-AYE-M-Ë ya mô Glossing with morphemic analysis (1) new interval-GEN (2) year-GEN string be.long-INF (3) REC-see(INF)PERF(INF)-PAST.ATTR (4) that heart-GEN-drag-NML (5) forget-PASSTENT-EV IP EP Translation (3) [We] have been meeting each other (1/2) for a long string of new years [that came one after another]. (5) Would I forget (4) that attraction to [you]? [-- Certainly not!] Commentary Logography is dominant in this poem. On arata ma-nö ‘of the new interval’ see the commentary to 15.3683. WOJ tösi-nö wo ‘string of years’ is a metaphor for years that come one after another. There are two verbs ‘to forget’ in OJ: wasur- and wasure-. The consonantal verb wasur-, which we have in this poem indicates intentional forgetting, while the vowel verb wasure- describes an act of unintentional forgetting.

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19.4249

本文・Original text (1) 伊波世野尓 (2) 秋芽子之努藝 (3) 馬並 (4) 始鷹猲太尓 (5) 不爲哉 将別 仮名の書き下し・Kana transliteration (1) いはせの 1 に (2) あき 1 はぎ 2 しの 1 ぎ 1 (3) うまなめ 2 て (4) はつ と 2 がりだに (5) せずやわかれむ Romanization (1) Ipase NÔ-ni (2) AKÎ PAŋGÏ sinôŋg-î (3) UMA NAMË-TE (4) PATU TÖ-ŋ-GARI ndani (5) SE-nZ-U YA WAKARE-M-U Glossing with morphemic analysis (1) Ipase field-LOC (2) autumn bush.clover push.through-INF (3) horse place.side.by.side(INF)-SUB (4) first bird-GEN-hunt RP (5) do-NEG-INF IP part-TENT-ATTR Translation (5) Will [we] part without doing (4) even a first falcon hunt (3) placing [horses] side by side, and (2) pushing through autumn bush clovers (1) at Ipase field? Commentary Logography is dominant in this poem. On Ipase field see the commentary to 19.4154. Note that the actual word for ‘falcon hunt’ written as 鷹猲 ‘falcon hunt’ is tö-ŋ-gari ‘bird hunt’, where tö- is an irregular contraction of OJ töri ‘bird’. Omodaka notes that hunting with small falcons was done in the autumn, but with big falcons in winter. It is the former that is meant here (1984.19: 163). On WOJ paŋgï ‘bush clover’ see the commentaries to 15.3656 and 20.4297.

Postscript to the poems 19.4248-4249

本文・Original text 右八月四日贈之

Translation [I] sent the above [poems] on the fourth day of the eighth lunar month [of the third year of Tenpyō Shōhō]. Commentary The fourth day of the eighth lunar month of the third year of Tenpyō Shōhō corresponds to August 29, 751 AD.

Preface to the poem 19.4250

本文・Original text 便附大帳使取八月五日應入京師因此以四日設國厨之饌於介内蔵伊美吉 縄麻呂舘餞之于時大伴宿祢家持作歌一首

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Translation Namely, because the Account Messenger was due to depart for the capital on the fifth day of the eighth lunar month [of the third year of Tenpyō Shōhō], which was chosen [as an auspicious date for his departure], the food from Provincial Kitchen was prepared at the mansion of Kura-nö imîkî Napamarö, the Assistant Governor, on the fourth day of the eighth lunar month [of the third year of Tenpyō Shōhō] and at the time of farewell party, Opotömö-nö sukune Yakamöti composed a poem. Commentary On Account Messengers (Daichōshi, 大帳使) see the commentary to the preface to the poems 18.4116-4118. Here it refers to Opotömö-nö Yakamöti, who as Aoki noted, was not already a member of Wettiu provincial government,134 but he still could fulfill the function of an Account Messenger upon his return to the new appointment in the capital (1997: 218). The fourth day of the eighth lunar month of the third year of Tenpyō Shōhō corresponds to August 29, 751 AD. The fifth day of the eighth lunar month of the third year of Tenpyō Shōhō corresponds to August 30, 751 AD. Sukë (介, 次官) ‘Assistant Governor’ is the next in the chain of provincial command after Môri ‘Governor’. It is the position above the provincial Secretary (Jō/Hōgan/Hangan, 掾/判官). On the biography of Kura-nö Napamarö see the commentary to the postscript to the poem 17.3996. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū.

19.4250

本文・Original text (1) 之奈謝可流 (2) 越尓五箇年 (3) 住々而 (4) 立別麻久 (5) 惜初夜可 毛 仮名の書き下し・Kana transliteration (1) しなざかる (2) こ 1 しにいつと 2 せ (3) すみ 1 すみ 1 て (4) たちわ かれまく (5) をしき 1 よ 2 ひ 1 かも 1 Romanization (1) sina-n-zakar-u (2) Kôsi-ni ITU-TÖSE (3) SUM-Î SUM-Î-TE (4) TAT-I WAKARE-m-aku (5) WOSI-KÎ YÖPÎ kamô Glossing with morphemic analysis (1) sun-COMP-be.distant-ATTR (2) Kôsi-LOC five-year(CL) (3) live-INF live-INF-SUB (4) depart-INF part-TENT-NML (5) be.regretful-ATTR early.night EP 134

Note the absence of his former official title Governor (Môri, 守) in this preface as well as in the preface to 19.4251.

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Translation (5) Oh, the evening when [I] regret (4) that [I] should leave and part [with you] (3) after living and living (2) for five years in Kôsi, (1) which is distant [from the capital] as the sun. Commentary Logography is dominant in this poem. On WOJ sina-n-zakar- ‘to be far as the sun’ and sina ‘sun’ see the commentary to 17.3969. This expression occurs also in three other poems in the Man’yōshū: 18.4071, 19.4154, and 19.4220. On WOJ placename Kôsi see the commentary to 17.4000. At the first glance there might be a contradiction with the preface to the poems 19.4248-4249, where Opotömö-nö Yakamöti speaks about six years’ term in Wettiu, and this poem where he mentions only five years. But the difference is that on the first occasion the official term of service for a provincial governor is meant, which could be six, five, or four years, or could be even undetermined depending a particular province, while in the second case Opotömö-nö Yakamöti means five full years that he spent in Wettiu (Aoki 1997: 218). WOJ -töse is a classifier for ‘year’, which has a different vowel in the second syllable as compared to the noun tösi ‘year’. OJ yöpî is routinely translated as ‘evening’, but care must taken to differentiate it with OJ yupu ‘evening’, as yöpî is in fact ‘late evening, early night, first part of the night’. The dividing point between yupu and yöpî is the sunset: while yupu lasts until the sunset, yöpî starts after the sunset and lasts until the middle of the night.

Preface to the poem 19.4251

本文・Original text 五日平旦上道仍國司次官已下諸僚皆共視送於時射水郡大領安努君廣嶋 門前之林中預設餞饌之宴于此大帳使大伴宿祢家持和内蔵伊美吉縄麻呂 捧盞之歌一首 Translation At dawn of the fifth day of the eighth lunar month [of the third year of Tenpyō Shōhō I] set on the road. Because of that, all officials of the provincial government starting from the Assistant Governor, saw [me] off together. At that time, [they] prepared the farewell banquet in the forest in front of the gate [of the mansion] of Anô-nö kîmî Pîrösima, the Senior Officer of Imîndu district. At this [banquet] Opotömö-nö sukune Yakamöti, the Account Messenger, responded [with a poem] to a poem [by] Kura-nö imîkî Napamarö, who [composed it] when [he] raised a sake cup [to Opotömö-nö sukune Yakamöti]. Commentary The fifth day of the eighth lunar month of the third year of Tenpyō Shōhō corresponds to August 30, 751 AD. Assistant Governor (Sukë, 介/次官) is the next in the chain of provincial command after Governor (Môri, 守). It is the position above the provincial Secretary (Jō/Hōgan/Hangan, 掾/判官). The Assistant Governor meant here is Kura-nö imîkî Napamarö. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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On Imîndu district (射水郡) see the commentary to the preface to poems 17.3985-3987. Senior Officer (Tairyō, 大領) is the head of the district administration and the senior position among district officials (Gunshi, 郡司) who handled 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). They were selected from the members of local gentry, and these positions were as a rule hereditary. Nothing is known about the biography of Anô-nö kîmî Pîrösima (安努君廣 嶋). Anô does not look like a family name of the Japonic origin. Possibly Ainu anun ‘stranger, guest’ underlies it. Note that in modern Ainu languages the sequence /no/ occurs only at the morphemic boundaries, i. e., it is always /n-o/. On Account Messengers (Daichōshi, 大帳使) see the commentary to the preface to the poems 18.4116-4118. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. On the biography of Kura-nö Napamarö see the commentary to the postscript to the poem 17.3996. Note that the poem by Kura-nö imîkî Napamarö is not recorded here, only the response to it by Opotömö-nö Yakamöti himself.

19.4251

本文・Original text (1) 玉桙之 (2) 道尓出立 (3) 徃吾者 (4) 公之事跡乎 (5) 負而之将去 仮名の書き下し・Kana transliteration (1) たまほこ 2 の 2 (2) み 1 ちにいでたち (3) ゆくわれは (4) き 1 み 1 が こ 2 と 2 と 2 を (5) おひ 1 てしゆかむ

Romanization (1) TAMA POKÖ-NÖ (2) MÎTI-ni InDE-TAT-I (3) YUK-U WARE pa (4) KÎMÎ-ŋGA KÖTÖ-TÖ-wo (5) OP-Ï-TE SI YUK-AM-U Glossing with morphemic analysis (1) jewel spear-COMP (2) road-LOC go.out(INF)-depart-INF (3) go-ATTR I TOP (4) lord-POSS matter-trace-ACC (5) carry.on.the.back-IF-SUB EP go-TENT-FIN Translation (3) I, who goes away (2) departing by the road (1) that is like a jeweled spear, (5) [I] will carry on my back [the record of] achievements of [you, my lord]. Commentary Logography is dominant in this poem. On WOJ tama pokö-nö ‘like a jeweled spear’ see the commentary to 5.886. Kötö-tö (lit. ‘traces of matters’, a contraction of kötö-atö) are achievements, which Opotömö-nö Yakamöti is going to carry with him to the capital in order to make them known there. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Aoki notes that during a travel the burden was loaded on the back of horses, but here Opotömö-nö Yakamöti says that he will carry it on his own back, obviously implying that there so many achievements, so the beast of burden is nedeed to carry the record of them to the capital (1997: 220).

Preface to the poem 19.4252

本文・Original text 正税帳使掾久米朝臣廣縄事畢退任適遇於越前國掾大伴宿祢池主之舘仍 共飲樂也于時久米朝臣廣縄矚芽子花作歌一首 Translation The Taxation Report Messenger Kumë-nö asömî Pîrönapa, the Secretary, finished the business matters [in the capital] and was returning to the place of his appointment, when [he] unexpectedly met [Opotömö-nö sukune Yakamöti] at the mansion of Opotömö-nö sukune Ikënusi, the Secretary of Wetinzen province. Therefore, [they] enjoyed drinking together, and at this time Kumë-nö asömî Pîrönapa, looking at flowers of bush clovers, composed a poem. Commentary This poem has no date, but the encounter described here must have taken place two or three days after the fifth day of the eighth lunar month of the third year of Tenpyō Shōhō (August 30, 751 AD), which is the date for the previous poem 19.4251. On Taxation Report Messengers (Seizeichō[shi], 正税帳[使]) see the commentary to the preface to poems 17.3989-3990. On Secretary (Jō/Hōgan/Hangan, 掾/判官) see the commentary to the preface to the poem 18.4137. On the biography of Kumë-nö asömî Pîrönapa see the commentary to the postscript to the poem 18.4050. On asömî, sukune, pumbîtö, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. On Wetinzen province see the commentary to the preface to the poems 18.4073-4075. On the biography of Opotömö-nö sukune Ikënusi see the commentary to the postscript to 20.4295.

19.4252

本文・Original text (1) 君之家尓 (2) 殖有芽子之 (3) 始花乎 (4) 折而挿頭奈 (5) 客別度知 仮名の書き下し・Kana transliteration (1) き 1 み 1 がいへ 1 に (2) うゑたるはぎ 2 の 2 (3) はつはなを (4) をり てかざさな (5) たび 1 わかるど 1 ち Romanization (1) KÎMÎ-ŋGA IPÊ-ni (2) UWE-TAR-U PAŋGÏ-NÖ (3) PATU PANA-wo (4) WOR-I-TE KAnZAS-Ana (5) TAmBÎ WAKAR-U ndôti

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Glossing with morphemic analysis (1) lord-POSS home-LOC (2) plant(INF)-PERF/PROG-ATTR bush.cloverGEN (3) first flower-ACC (4) break-INF-SUB decorate-DES (5) journey part-ATTR companion Translation (5) [Oh, my] companions, with whom [I] part on [my] journey, (4) [I] wish we decorate [ourselves with laurels], after [we] break off (3) first flowers (2) of bush clovers that are planted (1) at [my] lord’s home. Commentary Logography is dominant in this poem. Line one is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since kîmî-ŋga ipê-ni was in all probability pronounced as [kîmîŋgapêni] or [kîmîŋgîpêni]. On WOJ paŋgï ‘bush clover’ see the commentaries to 15.3656 and 20.4297.

Preface to the poem 19.4253

本文・Original text 大伴宿祢家持和歌一首

Translation A poem in response [by] Opotömö-nö Yakamöti. Commentary For the date of this poem see the commentary to the preface to the poem 19.4252. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4253

本文・Original text (1) 立而居而 (2) 待登待可祢 (3) 伊泥氐來之 (4) 君尓於是相 (5) 挿頭 都流波疑 仮名の書き下し・Kana transliteration (1) たちてゐて (2) まてど 2 まちかね (3) いでてこ 2 し (4) き 1 み 1 に こ 2 こ 2 にあひ 1 (5) かざしつるはぎ 2 Romanization (1) TAT-I-TE WI-TE (2) MAT-E-ndö MAT-I-kane (3) inde-te KÖ-si (4) KÎMÎ-ni KÖKÖ-ni AP-Î (5) KAnZAS-I-t-uru paŋgï Glossing with morphemic analysis (1) stand-INF-SUB sit(INF)-SUB (2) wait-EV-CONC wait-INF-NEG.POT (INF) (3) go.out(INF)-SUB come(INF)-PAST.ATTR (4) lord-DAT here-LOC meet-INF (5) decorate-INF-PERF-ATTR bush.clover

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Translation (2) Although [I] waited, [I] could not wait (1) [whether] standing or sitting. (3) [I] went out and came, (4) meeting [you] here [my] lord. (5) [Oh,] the bush clover, which [we used for laurels] to decorate [our heads]! Commentary Logography is dominant in this poem. Line one is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since kîmî-ŋga ipê-ni was in all probability pronounced as [kîmîŋgapêni] or [kîmîŋgîpêni]. On WOJ paŋgï ‘bush clover’ see the commentaries to 15.3656 and 20.4297.

Preface to the poems 19.4254-4255

本文・Original text 向京路上依興預作侍宴應詔歌一首并短歌 Translation [I] composed in advance this poem on the road to the capital in anticipation that [I] I will be ordered to present [a poem] while serving at the Imperial banquet with a tanka [envoy]. Commentary The date of the composition of this chōka and accompanying tanka envoy is not known, but it should be sometime in the last twenty days of eighth lunar month of the third year of Tenpyō Shōhō (these twenty days correspond to September 4-23, 751 AD), since the travel from Wettiu to the capital took seventeen days. Since Opotömö-nö Yakamöti was appointed Junior Counsellor, he anticipated to serve in the palace and to be present and the official functions, such as Imperial banquets.

19.4254

本文・Original text (1) 蜻嶋 (2) 山跡國乎 (3) 天雲尓 (4) 磐船浮 (5) 等母尓倍尓 (6) 眞可 伊繁貫 (7) 伊許藝都追 (8) 國看之勢志氐 (9) 安母里麻之 (10) 掃平 (11) 千代累 (12) 弥嗣繼尓 (13) 所知來流 (14) 天乃日継等 (15) 神奈 我良 (16) 吾皇乃 (17) 天下 (18) 治賜者 (19) 物乃布能 (20) 八十友之 雄乎 (21) 撫賜 (22) 等登能倍賜 (23) 食國毛 (24) 四方之人乎母 (25) 安夫左波受 (26) 鬻賜者 (27) 従古昔 (28) 無利之瑞 (29) 多婢末祢久 (30) 申多麻比奴 (31) 手拱而 (32) 事無御代等 (33) 天地 (34) 日月等 登聞仁 (35) 万世尓 (36) 記續牟曽 (37) 八隅知之 (38) 吾大皇 (39) 秋 花 (40) 之我色々尓 (41) 見賜 (42) 明米多麻比 (43) 酒見附 (44) 榮流 今日之 (45) 安夜尓貴左 仮名の書き下し・Kana transliteration (1) あき 1 づしま (2) やまと 2 の 2 くにを (3) あまくも 1 に (4) いはふ ねうかべ 2 (5) と 2 も 2 にへ 2 に (6) まかいしじぬき 1 (7) いこ 2 ぎ 1 つつ (8) くにみ 1 しせして (9) あも 2 りまし (10) はらひ 1 たひ 1 らげ 2 (11) ち よ 2 かさね (12) いやつぎ 1 つぎ 1 に (13) しらしくる (14) あまの 2 ひ 1 つぎ 1 と 2 (15) かむながら (16) わがおほき 1 み 1 の 2 (17) あめ 2 の 2

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した (18) をさめ 2 たまへ 2 ば (19) も 2 の 2 の 2 ふの 2 (20) やそ 1 と 2 も 2 の 2 をを (21) なでたまひ 1 (22) と 2 と 2 の 2 へ 2 たまひ 1 (23) をすく にも 1 (24) よ 2 も 1 の 2 ひ 1 と 2 をも 2 (25) あぶさはず (26) め 2 ぐみ 1 た まへ 2 ば (27) いにしへ 1 ゆ (28) なかりししるし (29) たび 1 まねく (30) まをしたまひ 1 ぬ (31) たむだき 1 て (32) こ 2 と 2 なき 1 み 1 よ 2 と 2 (33) あめ 2 つち (34) ひ 1 つき 2 と 2 と 2 もに (35) よ 2 ろ 2 づよ 2 に (36) しるしつがむそ 2 (37) やすみ 1 ちし (38) わがおほき 1 み 1 (39) あき 1 の 2 はな (40) しがいろ 2 いろ 2 に (41) め 1 したまひ 1 (42) あき 1 らめ 2 たまひ 1 (43) さかみ 1 づき 1 (44) さかゆるけ 1 ふの 2 (45) あやにたふ と 1さ Romanization (1) AKÎnDU SIMA (2) Yamatö-nö kuni-wo (3) AMA-KUMÔ-ni (4) IPA PUNE UKAmBË (5) tömö-ni pë-ni (6) MA-kayi SInZI NUK-Î (7) i-köŋg-î-tutu (8) KUNI-MÎ si se-s-i-te (9) am[a]-ori-[i]mas-i-te (10) PARAP-Î TAPÎRAŋGË (11) TI YÖ KASANE (12) IYA TUŋG-Î TUŋG-Î n-i (13) SIR-AS-I-K-Uru (14) AMA-nö PÎ-TUŋG-Î tö (15) KAMU-na-ŋ-gara (16) WA-ŋGA OPO KÎMÎ-nö (17) AMË-NÖ SITA (18) WOSAMË-TAMAP- Ë-mba (19) mönönöpu n-ö (20) YASÔ TÖMÖ n-ö WO-WO (21) NAnDE-TAMAP-Î (22) tötönöpë-TAMAP-Î (23) WOS-U KUNI mô (24) YÖ MÔ PÎTÖ-wo mö (25) ambus-ap-anz-u (26) MËŋGUM-Î-TAMAP-Ë-mba (27) INISIPÊ-YU (28) NA-K-Ar-i-si SIRUSI (29) tambî mane-ku (30) MAWOS-I-tamap-î-n-u (31) TA-MUnDAK-Î-TE (32) KÖTÖ NA-KÎ MÎ-YÖ tö (33) AMË TUTI (34) PÎ TUKÏ-tö tömo n-i (35) YÖRÖnDU YÖ-ni (36) SIRUSI TUŋG-AM-U sö (37) yasu mît-i-si (38) WA-ŋGA opo kîmî (39) AKÎ-NÖ PANA (40) si-ŋGA irö-irö-ni (41) MÊS-I-TAMAP-Î (42) AKÎRAmë-tamap-î (43) SAKA-mînduk-î (44) SAKAY-Uru KÊPU-NÖ (45) aya n-i TAPUTÔ-SA Glossing with morphemic analysis (1) dragonfly domain (2) Yamatö-GEN land-ACC (3) Heaven-cloud-LOC (4) stone boat make.float(INF) (5) stern-LOC prow-LOC (6) INT-oar constantly pierce-INF (7) DLF-row-INF-COOR (8) land-observing EP do-HONINF-SUB (9) Heaven-descend-HON-INF-SUB (10) wipe-INF pacify(INF) (11) thousand age pile.up(INF) (12) more.and.more follow-INF follow-NML DV-INF (13) rule-HON-INF-come-ATTR (14) Heaven-GEN sun-succeedNML DV (15) deity-PLUR-GEN-nature (16) we-POSS Great Lady-GEN (17) Heaven-GEN under (18) rule(INF)-HON-EV-CON (19) official DV-ATTR (20) eighty companion DV-ATTR man-ACC (21) caress(INF)-HON-INF (22) direct(INF)-HON-INF (23) rule-ATTR land FP (24) four direction person-ACC FP (25) leave-ITER-NEG-INF (26) take.care.of-INF-HON-EVCON (27) ancient.times-ABL (28) not.exist-INF-exist-INF-PAST.ATTR omen (29) time be.many-INF (30) say(HUM)-INF-HON-INF-PERF-FIN (31) arm-embrace-INF-SUB (32) matter not.exist-ATTR HON-age DV (33) Heaven Earth (34) the sun the moon-COM together DV-INF (35) ten.thousand age-LOC (36) record continue-TENT-ATTR FP (37) peace be.filled-INF-PAST.ATTR (38) we-POSS Great Lady (39) autumn-GEN flower (40) they-POSS color-color-LOC (41) look(HON)-INF-HON-INF (42) brighten.one’s.heart(INF)-HON-INF (43) rice.wine-soak-INF (44) flourishATTR today-GEN (45) unusually DV-INF be.awesome-NML Translation (8) After [Niniŋgî] performed the land observing (2) of the land of Yamatö, (1) - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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the dragonfly domain, (7) while rowing (4) and making stone boat float (3) among the Heaven clouds (6) constantly piercing [them with] great oars (5) on the stern [and] on the prow, (9) [he] descended [from] Heaven, and (10) wiped out and pacified [evil people]. (11) The ages piled up, and (12) as more and more followed one after another, (16) our Great Lady, (15) who has the nature of deities, (13) came to rule (14) as the heavenly Sun-successor. (18) Because [she] rules (17) [the land] under Heaven, (21) [she] caresses and (22) directs (20) many male companion (19) officials. (26) Because [she] takes care of, and (25) never abandons (24) either the people [of all] four directions, (23) or the land that [she] rules, (30) [they] say that (29) there are many times (28) when [auspicious] omens [appeared], that did not reveal themselves (27) from ancient times. (36) The records will be probably passed on (35) for many ages (34) alongside with the sun, the moon, (33) Heaven and Earth, (32) about [this] peaceful age, (31) when the Empress is at ease. (38) Our Great Lady, (37) who is filled with peace, (41) looks at autumn flowers (40) [and] their colors, and (42) [this] brightens [her] heart. (44) Today [when she gives] a lavish (43) banquet (45) is an unusually awesome [day]! Commentary Logography is dominant in this poem. On akîndu sima ‘dragonfly domain’ see the commentary to 1.3. Niniŋgî is the grandson of Amaterasu Opo mî-kamï, who was sent to Earth to rule Japan. On the kuni-mî (望國, 國見, 國看) ‘observing the land’ ritual see the commentary to the preface to the poem 1.2. WOJ se-s- is an honorific form of the verb se- ‘to do’, resulting from the contraction of the root se- and honorific suffix -as-. WOJ am-ori- is a contraction of ama- ‘Heaven’ and ori- ‘to descend’. On WOJ opo kîmî ‘Great Lord’, which refers to the Emperor, see the commentary to 5.794. Here it refers to Empress Kōken, therefore, I translate it as ‘Great Lady’, not ‘Great Lord’. On OJ plural marker -na and the complex suffix -naŋgara < -na-ŋ-gara PLUR-GEN-nature ‘having the nature of’ see Vovin (2005a: 102-106). WOJ word mönönöpu ‘official’ normally refers to both civil and military officials serving at the imperial court, or to either of them. OJ yasô ‘eighty’ may mean just ‘many’. WOJ mô ‘direction’ is usually considered to have an unknown type of /o/ (Omodaka et al. 1967: 737), but it is attested as -mô in OJ simô ‘lower part, downstream’, an obvious compound of si- ‘below, bottom’ (cf. OJ sita ‘bottom’) and -mô ‘direction, side’. OJ sirusi has many meanings: ‘mark, sign, omen, record’. On WOJ inisipê ‘ancient times, past’ in twenty-seven see the commentary to 17.3973b. WOJ ta-mundak- ‘to embrace in the arms’ or ‘to fold the arms’ is a metaphor for the absence of things to do, especially something urgent, or a relaxed state of affairs. Line thirty-three is hypometric (jitarazu, 字足らず). OJ yöröndu ‘ten thousand’ may mean just ‘many’. On WOJ yasu mît-i-si (八隅知之) ‘filled with peace’, see the commentary to 1.3. Line thirty-eight is hypometric (jitarazu, 字足らず). OJ honorific form mês- of the verb mî- ‘to look, to see’ is a contraction of - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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mî- ‘to look, to see’ and honorific suffix -as-. WOJ saka-mînduk- ‘to soak in rice wine’ is a metaphor for providing a banquet.

Preface to the poem 19.4255

本文・Original text 反歌一首 Translation A [tanka] envoy.

Commentary This envoy is to the previous poem 19.4254.

19.4255

本文・Original text (1) 秋時花 (2) 種尓有等 (3) 色別尓 (4) 見之明良牟流 (5) 今日之貴左 仮名の書き下し・Kana transliteration (1) あき 1 の 2 はな (2) くさぐさにあれど 2 (3) いろ 2 ご 2 と 2 に (4) め 1 しあき 1 らむる (5) け 1 ふの 2 たふと 1 さ Romanization (1) AKÎ-NÖ PANA (2) KUSA-ŋ-GUSA n-i AR-E-ndö (3) IRÖ ŋGÖTÖ n-i (4) MÊs-i AKÎram-uru (5) KÊPU-NÖ TAPUTÔ-SA Glossing with morphemic analysis (1) autumn-GEN flower (2) kind-LOC-kind DV-INF exist-EV-CONC (3) color every DV-INF (4) look(HON)-INF brighten.one’s.heart-ATTR (5) today-GEN be.awesome-NML Translation (2) Although there are different kinds (1) [of] autumn flowers, (5) [oh,] the awe of today, (4) when [our Empress] brightens [her] heart looking at every color. Commentary Logography is dominant in this poem. On OJ honorific form mês- of the verb mî- ‘to look, to see’ see the commentary to the poem 19.4254.

Preface to the poem 19.4256

本文・Original text 爲壽左大臣橘卿預作歌一首

Translation A poem composed in advance [to celebrate] the longevity of the Minister of the Left Tatimbana-nö Möröye.

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Commentary The Minister of the Left (Sadaijin, 左大臣) is the second highest position in the Imperial court after the Great Minister (Daijōdaijin, 太政大臣 ). It corresponded to the Second Senior or Junior Rank. On the biography of Tatimbana-nö Möröye see the commentary to the preface to the poem 20.4304. This poem has no date, but Aoki believes that Tatimbana-nö Möröye was sixty-eight at the moment of composition. If so, this poem had to be composed in the third year of Tenpyō Shōhō (751 AD). According to the postscript to the poem 19.4292, all unsigned poems in book nineteen are by Opotömö-nö Yakamöti.

19.4256

本文・Original text (1) 古昔尓 (2) 君之三代經 (3) 仕家利 (4) 吾大主波 (5) 七世申祢 仮名の書き下し・Kana transliteration (1) いにしへ 1 に (2) き 1 み 1 の 2 み 1 よへ 2 て (3) つかへ 2 け 1 り (4) あ がおほぬしは (5) ななよ 2 まをさね Romanization (1) INISIPÊ-ni (2) KÎMÎ-NÖ MÎ YÖ PË-TE (3) TUKAPË-kêr-i (4) A-ŋGA OPO NUSI pa (5) NANA YÖ MAWOS-An-e Glossing with morphemic analysis (1) past-LOC (2) Emperor three generation pass.through(INF)-SUB (3) serve(INF)-RETR-FIN (4) I-POSS great master TOP (5) seven generation serve(HUM)-DES-IMP Translation (4) My great master (3) served (2) through three generations of Emperors (1) in the past. (5) [I] wish [you] will serve [for] seven generations. Commentary Logography is dominant in this poem. On WOJ inisipê ‘ancient times, past’ in line one see the commentary to 17.3973b. The number symbolism is interesting in this poem. While ‘three’ is one of the Japanese sacred numbers, seven is a Chinese sacred number.

Preface to the poems 19.4257-4259

本文・Original text 十月廿二日於左大辨紀飯麻呂朝臣家宴歌三首 Translation Three poems from the banquet at the house of the Major Controller of the Left Kï-nö Ipîmarö asömî on the twenty-second day of the tenth lunar month [of the third year Tenpyō Shōhō].

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Commentary The twenty-second day of the tenth lunar month of the third year Tenpyō Shōhō corresponds to November 14, 751 AD. Major Controller of the Left (Sadaiben, 左大辨) is an official of the Great Council of the State (Daijōkan, 太政官), but not the actual member of it, following in seniority after the Imperial Adviser (Sangi, 参議). Sadaiben is the senior official of the Controlling Board of the Left (Sabenkan, 左辨官), a supervising board for four Ministries: Ministry of Central Affairs (Naka tukasa shō, Naka matsurigoto no tukasa, 中務省), Ministry of Ceremonial Affairs (Shikibu[shō], 式部[省]), Ministry of Civil Administration (Jibushō], Osamuru tukasa, 治部省), and Ministry of Popular Affairs (Minbushō, 民部 省).The position of the Major Controller of the Left corresponded to the Junior Fourth Rank, Upper Grade. Kï-nö Ipîmarö asömî (紀飯麻呂朝臣)135 was promoted from the Senior Sixth Rank, Upper Grade to the Junior Fifth Rank, Lower Grade on the fifth day of the eighth lunar month of the first year of Tenpyō (September 9, 729 AD) and the fourteenth day of the third lunar month of the fifth year of Tenpyō (April 2, 733 AD) to the Upper Grade of the same Rank. On the fifth day of the third lunar month of the thirteenth year of Tenpyō (March 26, 741 AD) he was promoted to the Junior Fourth Rank, Lower Grade, and appointed the Governor of Yamatö province on the twenty-seventh day of the second lunar month of the first year of Tenpyō Shōhō (March 3, 749 AD). Kï-nö Ipîmarö asömî made Major Controller of the Right (Udaiben, 右大辨) on the ninth day of the seventh lunar month of the sixth year of Tenpyō Shōhō (August 1, 754 AD) and further promoted to the Senior Fourth Rank, Lower Grade on the fourth day of the eighth lunar month of the first year of Tenpyō Hōji (August 28, 757 AD). He was promoted to the Senior Fourth Rank, Upper Grade on the sixteenth day of the sixth lunar month of the third year of Tenpyō Hōji (July 14, 759 AD), and to the Junior Third Rank on the fourth day of the first lunar month of the sixth year of Tenpyō Hōji (January 31, 762 AD). Kï-nö Ipîmarö asömî passed away on the nineteenth day of the seventh lunar month of the sixth year of Tenpyō Hōji (August 8, 762 AD). There are no poems composed by him in the Man’yōshū (Omodaka 1984.19: 175), (Nakanishi 1985: 227).

19.4257

本文・Original text (1) 手束弓 (2) 手尓取持而 (3) 朝猲尓 (4) 君者立之奴 (5) 多奈久良能 野尓 仮名の書き下し・Kana transliteration (1) たつかゆみ 1 (2) てにと 2 りも 2 ちて (3) あさがりに (4) き 1 み 1 は たたしぬ (5) たなくらの 2 の 1 に Romanization (1) TA-TUKA YUMÎ (2) TE-NI TÖR-I-MÖT-I-TE (3) ASA-ŋ-GARI-ni (4) KÎMÎ pa TAT-As-i-n-u (5) Tanakura-nö NÔ-ni 135

Placing the kabane title after the given name conveys the higher degree of respect.

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Glossing with morphemic analysis (1) hand-grip bow (2) hand-LOC take-INF-hold-INF-SUB (3) morningGEN-hunt-LOC (4) lord TOP depart-HON-INF-PERF-FIN (5) TanakuraGEN field-LOC Translation (4) [My] lord has departed (3) to the morning hunt (5) to Tanakura field (2) holding in [his] hand (1) a bow with a [strong?] grip. Commentary Logography is dominant in this poem. It is not clear what kind of a bow is ta-tuka yumî. Possibly, it is a bow with a special grip. The location of Tanakura field is not known, although there are various hypotheses (Omodaka 1984.19: 176-177), (Nakanishi 1985: 460).

Postscript to the poem 19.4257

本文・Original text 右一首治部卿船王傳誦之久迩京都時歌未詳作主也 Translation A poem above is the poem from the time of Kuni capital recited by Prince Puna, the Minister of the Ministry of Civil Administration. It. Its author is not yet known.

Commentary 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. On the biography of Prince Puna see the commentary to the postscript to the poem 20.4449. On the capital of Kuni see the commentary to the preface to the poems 17.3907-3908.

19.4258

本文・Original text (1) 明日香河 (2) 河戸乎清美 (3) 後居而 (4) 戀者京 (5) 弥遠曽伎奴 仮名の書き下し・Kana transliteration (1) あすかがは (2) かはと 1 をき 1 よ 1 み 1 (3) おくれゐて (4) こ 1 ふれ ばみ 1 やこ 1 (5) いやと 2 ほそ 2 き 1 ぬ

Romanization (1) Asuka ŋGAPA (2) KAPA-TÔ-wo KÎYÔ-mî (3) OKURE-WI-TE (4) KÔP-URE-mba (5) IYA TÖPO sök-î-n-u

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Glossing with morphemic analysis (1) Asuka river (2) river-door-ABS be.clear-CON (3) stay.behind(INF)dwell(INF)-SUB (4) long.for-EB-CON (5) more.and.more distant become. distant-INF-PERF-FIN Translation (1/2) Because the river crossing on Asuka river is clear, (3) [I] stayed behind, and (4) because [I] long for [the capital of Nara], (5) [it] became more and more distant. Commentary Logography is dominant in this poem. Asuka river starts in dry fields at Mt. Takatori (高取山) in Takaichi county (Takaichi-gun, 高市郡), goes around the western foot of Mt. Inabuchi (稲渕 山), and flowing to the North-West through the ruins of Fujiwara capital (藤原 京跡), joins Yamato river (大和川) (Nakanishi 1985: 416). Staying behind implies staying in Asuka and not moving to the new capital of Nara. OJ kapa-tô, lit. ‘river-door’ is a ‘river crossing’.

Postscript to the poem 19.4258

本文・Original text 右一首左中辨中臣朝臣清麻呂傳誦古京時歌也 Translation A poem above is a poem from the times of old capital recited by Nakatömî-nö asömî Kîyômarö, the Middle Controller of the Left. Commentary The old capital is probably Fujiwara-kyō (Pundipara-nö mîyakô). The Middle Controller of the Left (Sachūben, 左中辨) at the Board of the Control of the Left (Sabenkan, 左辨官) in the Great Council of State (Daijōkan, 太政官) is the next in the chain of command to Major Controller of the Left (Sadaiben, 左大辨). This position corresponds to Senior Fifth Rank, Upper Grade. On the biography of Nakatömî-nö asömî Kîyômarö see the commentary to the postscript to the poem 20.4296.

19.4259

本文・Original text (1) 十月 (2) 之具礼能常可 (3) 吾世古河 (4) 屋戸乃黄葉 (5) 可落所見 仮名の書き下し・Kana transliteration (1) かむなづき 2 (2) しぐれの 2 つねか (3) わがせこ 1 が (4) やど 1 の 2 も 1 み 1 ちば (5) ちりぬべくみ 1 ゆ Romanization (1) KAMU-NA-n-DUKÏ (2) siŋgure-nö TUNE ka (3) WA-ŋGA se-kô-ŋga (4) YAndô-nö MÔMÎT-I-m-ba (5) TIR-I-N-UmBË-KU MÎ-Y-U

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Glossing with morphemic analysis (1) deity-PLUR-GEN-month (2) shower-GEN usual IP (3) I-POSS elder.brother-DIM-POSS (4) house.garden-GEN turn.red/yellow-NML-DV (ATTR)-leaf (5) fall-INF-PERF-DEB-INF see-PASS-FIN Translation (2) Are showers usual (1) in the tenth lunar month? (4/5) It seems that the autumn leaves are to fall in the house garden (3) of [my] dear elder brother. Commentary Logography is dominant in this poem. The native Japanese name for the tenth lunar month was kamu-na-n-dukï ‘the month of deities’. This name in Japanese tradition is frequently assigned the folk etymology ‘month without deities’, which makes no sense at all, as many important Shintō rituals and religious ceremonies were performed in the tenth lunar month. This etymology is based on the misanalysis of -na- as na‘not to exist’, in spite of the fact that an adjectival stem cannot be followed directly by the genitive case marker -n[ö]. A similar folk etymology reveals itself is the explanation of the sixth lunar month’s native Japanese name mîna-n-dukï as a ‘month without water’, in spite of the fact that it is the rainiest month of the year. On WOJ siŋgure ‘shower, light shower’ see the commentary to 1.82. Diminutive suffix -kô in wa-ŋga se-kô ‘my dear elder brother’ has the endearment function here. On OJ yandô ‘house, house garden’ see the commentary to 19.4172. On WOJ mômît- ‘to turn red and/or yellow (of autumn leaves),’ see the commentary to 15.3693.

Postscript to the poem 19.4259

本文・Original text 右一首少納言大伴宿祢家持當時矚梨黄葉作此歌也 Translation A poem above is a poem composed by Shōnagon Opotömö-nö sukune Yakamöti when he looked at that time at the red and yellow leaves of pear [trees]. On the date of the composition of this poem see the preface to the poems 19.4257-4259. Commentary On Junior Counsellor (Shōnagon, 少 納 言 ) see the commentary to the postscript to the poems 20.4293-4294. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. Pear is a deciduous cultivated fruit tree. It blooms in the spring with five-petal white flowers. Its edible fruits ripen in the autumn, and its autumn red and yellow leaves are beautiful (Nakanishi 1985: 322).

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Preface to the poems 19.4260-4261

本文・Original text 壬申年之乱平定以後歌二首

Translation Two poems [composed] after the pacification of the rebellion of the Jinshin year. Commentary On Jinshin rebellion (672 AD) see the commentary to the preface to the poem 1.21.

19.4260

本文・Original text (1) 皇者 (2) 神尓之座者 (3) 赤駒之 (4) 腹婆布田爲乎 (5) 京師跡奈之 都 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 は (2) かみ 2 にしませば (3) あかご 1 まの 2 (4) はらば ふたゐを (5) み 1 やこ 1 と 2 なしつ

Romanization (1) OPO KÎMÎ pa (2) KAMÏ n-i si [I]MAS-E-mba (3) AKA-ŋ-GÖMA-NÖ (4) PARA-m-bap-u TAwi-wo (5) MÎYAKÔ tö nas-i-t-u Glossing with morphemic analysis (1) Great Lord TOP (2) deity DV-INF EP exist(HON)-EV-CON (3) red-DV(ATTR)-stallion-GEN (4) belly-LOC-crawl-ATTR rice.field-ACC (5) capital DV make(HON)-INF-PERF-FIN Translation (1/2) Because the Great Lord is a deity, (5) [he] has made into a capital (3/4) a rice field, where a red stallion [can barely walk] crawling on [its] belly. Commentary Logography is dominant in this poem. On WOJ opo kîmî ‘Great Lord’, which refers to the Emperor, see the commentary to 5.794. Note that here it is written logographically as 皇 ‘Emperor’. The image of a stallion crawling on its belly through a rice field indicates that there is so much water that it rises to the stallion’s belly, portraying very, therefore, a place that is very damp and unsuitable for living. On WOJ tawi ‘rice field’ see the commentary to the poem 19.4224.

Postscript to the poem 19.4260

本文・Original text 右一首大将軍贈右大臣大伴卿作

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Translation A poem above was composed by the General Opotömö, the High Noble, [posthumously] granted [the position of] the Minister of the Right. Commentary General Opotömö, the High Noble, is Opotömö-nö Mîyukî (大伴御行), the elder brother of Opotömö-nö Yakamöti’s grandfather Opotömö-nö Yasumarö (大伴安麻呂). He was a meritorious subject (kōshin, 功臣) during the Jinshin rebellion. He passed away on the fifteenth day of the first lunar month of the first year of Taihō (February 27, 701 AD) and was posthumously appointed the Minister of the Right (Udaijin, 右大臣). On Minster of the Right (Udaijin, 右大臣) see the commentary to the postscript to the poems 19.4214-4216.

19.4261

本文・Original text (1) 大王者 (2) 神尓之座者 (3) 水鳥乃 (4) 須太久水奴麻乎 (5) 皇都常 成通作者未詳 仮名の書き下し・Kana transliteration (1) おほき 1 み 1 は (2) かみ 2 にしませば (3) み 1 づと 2 りの 2 (4) すだ くみ 1 ぬまを (5) み 1 やこ 1 と 2 なしつ Romanization (1) OPO KÎMÎ pa (2) KAMÏ n-i si [I]MAS-E-mba (3) MÎnDU TÖRI-nö (4) sundak-u mî-numa (5) MÎYAKÔ tö nas-i-t-u Glossing with morphemic analysis (1) Great Lord TOP (2) deity DV-INF EP exist(HON)-EV-CON (3) water fowl-GEN (4) gather.in.big.numbers-ATTR water-marsh (5) capital DV make(HON)-INF-PERF-FIN

Translation (1/2) Because the Great Lord is a deity, (5) [he] has made into a capital (3/4) a water marsh, where water fowl gather in big numbers. The author is not yet known. Commentary Phonography is slightly dominant in this poem. The poems 19.4260 and 19.4261 are apparently in the honkadori (本歌取 り) ‘allusive variation’ relationship, because except for the differences in script lines one, two, and five are identical. We certainly have no way of knowing which one of them is the original. Although the poem 19.4261 is unsigned, it could not possibly be by Opotömö-nö Yakamöti, who was born forty years after the Jinshin rebellion.

Postscript to the poems 19.4260-4261

本文・Original text 右件二首天平勝寳四年二月二日聞之即載於茲也

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Translation I heard two poems above on the second day of the second lunar month of the fourth year of Tenpyō Shōhō, therefore [I] placed them here. Commentary The second day of the second lunar month of the fourth year of Tenpyō Shōhō corresponds to February 2, 752 AD.

Preface to the poems 19.4262-4263

本文・Original text 閏三月於衛門督大伴古慈悲宿祢家餞之入唐副使同胡麻呂宿祢等歌二首 Translation Two poems [composed] in the intercalary third lunar month [of the fourth year of Tenpyō Shōhō] at the house of Opotömö-nö Kôsimbï sukune at the farewell party for Kômarö with the same [family name], the Assistant Ambassador and others who were going to China.

Commentary The intercalary third lunar month of the fourth year of Tenpyō Shōhō corresponds to April 4 - May 17, 752 AD. Commander of the Palace Guards (Emontoku/Emon-no kami, 衛門督) is the position corresponding to Senior Fifth Rank, Upper Grade. The original name of the office of Palace guards was Yuŋgupî-nö tukasa, ‘the office of quiver bearers’. It is mentioned starting from the reign of Empress Kōgyoku (642-645 AD). At this time there has not yet been the division between the Left and Right Palace Guards (Omodaka 1984.19: 182). On the biography of Opotömö-nö Kôsimbï sukune (a.k.a. Opotömö-nö sukune Kôsimbï) see the commentary to the postscript to the poems 20.4465-4467. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. The character 同 ‘same’ indicates that Kômarö had the same family name Opotömö as Opotömö-nö Kôsimbï. Opotömö-nö Kômarö was promoted from Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade on the seventh day of the first lunar month of the seventeenth year of Tenpyō (February 12, 745 AD), and appointed Minor Controller of the Left (Sashōben, 左少辨) on the tenth day of the eighth lunar month of the first year of Tenpyō Shōhō (September 25, 749 AD). He was appointed Assistant Ambassador to China on the twenty-fourth day of the ninth lunar month of the second year of Tenpyō Shōhō (October 28, 750 AD), and promoted to Junior Fifth Rank, Upper Grade on the twenty-fifth day of the first lunar month of the third year of Tenpyō Shōhō (February 25, 751 AD). Opotömö-nö Kômarö came back from China on the sixteenth day of the first lunar month of the sixth year of Tenpyō Shōhō (February 12, 754 AD) and was appointed Major Controller of the Left on the fifth day of the fourth lunar month of the same year (May 1, 754 AD) and promoted to Senior Fourth Rank, Lower Grade two days later. But on the fourth day of the seventh lunar month of the first year of Tenpyō Hōji (July 24, 757 AD) his rather rapid and illustrious career came to an abrupt and tragic end as he was sentenced to the

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execution by clubbing for his involvement in Tati mbana-nö Naramarö’s rebellion. He has no poems in the Man’yōshū.

19.4262

本文・Original text (1) 韓國尓 (2) 由伎多良波之氐 (3) 可敝里許牟 (4) 麻須良多家乎尓 (5) 美伎多弖麻都流 仮名の書き下し・Kana transliteration (1) からくにに (2) ゆき 1 たらはして (3) かへ 1 りこ 2 む (4) ますらた け 1 をに (5) み 1 き 1 たてまつる Romanization (1) Kara KUNI-ni (2) yuk-î tarapas-i-te (3) kapêr-i-kö-m-u (4) masura takê wo-ni (5) mî-kî tatematur-u Glossing with morphemic analysis (1) China land-LOC (2) go-INF fulfill-INF-SUB (3) return-INF-comeTENT-ATTR (4) noble brave man-DAT (5) HON-rice.wine preset-FIN Translation (5) [I] offer rice wine (4) to a noble [and] brave man, (3) who should come back (1/2) after going to China and fulfilling [his] duties [there]. Commentary This poem is almost completely phonographic. WOJ tarapas- ‘to fulfill’ is considered to be a transitive derivation of OJ tarap- ‘to be sufficient’ (Omodaka et al. 1967: 449). The problem is that *tarap- is an unattested lexical ghost in OJ. While on the unattested diachronical level the derivation tar-ap-as- ‘be.sufficient-ITER-CAUS-’ appears to be correct, on the actual WOJ synchronical level it remains speculative. This poem is interesting example demonstrating that masura wo ‘noble man’ is not a compound masura-wo as it is frequently believed, because another uninflected adjective, takê ‘brave’ is found between masura ‘noble’ and wo ‘man’. As Murayama Shichirō convincingly demonstrated the original form of -kï ‘rice wine’ was with the otsu-rui vowel /ï/, while -kî form with the kōrui vowel /î/ is due to the progressive vowel assimilation after the prefix mî(1988: 251-252).

Postscript to the poem 19.4262

本文・Original text 右一首多治比眞人鷹主壽副使大伴胡麻呂宿祢也 Translation In the above poem Tandipî-nö mapîtö Takanusi offers [his prayers] for the Assistant Ambassador Opotömö-nö Kômarö.

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Commentary Nothing is known about the biography of Tandipî-nö mapîtö Takanusi except that he participated in Tatimbana-nö Naramarö’s rebellion (Nakanishi 1985: 249). On the biography of Opotömö-nö Kômarö see the commentary to the preface to the poems 19.4262-4263

19.4263

本文・Original text (1) 梳毛見自 (2) 屋中毛波可自 (3) 久左麻久良 (4) 多婢由久伎美乎 (5) 伊波布等毛比氐作者未詳 仮名の書き下し・Kana transliteration (1) くしも 1 み 1 じ (2) やぬちも 1 はかじ (3) くさまくら (4) たび 1 ゆ くき 1 み 1 を (5) いはふと 2 も 1 ひ 1 て Romanization (1) KUSI mô mî-nzi (2) YA-N-UTI mô pak-anzi (3) kusa makura (4) tambî yuk-u kîmî-wo (5) ipap-u tö [o]môp-î-te Glossing with morphemic analysis (1) comb FP look-NEG.TENT (2) house-GEN-inside FP sweep-NEG.TENT (3) grass head.rest (4) journey go-ATTR lord-ACC (5) pray-FIN DV think-INF-SUB Translation (5) Thinking to pray (4) for [you, my] lord, who goes on a journey, (3) where [he will use] grass [for his] headrest, (1) [I] would neither look at my comb (2) nor sweep the house. The author is not yet known. Commentary This poem is almost completely phonographic. Omodaka noted that even in his days there was a custom not to clean the house for the members of the family when someone went on a journey (1984.19: 185). Aoki notes that this ritual was intended for the safety of the traveling person (1997: 249).

Postscript to the poem 19.4263

本文・Original text 右件歌傳誦大伴宿祢村上同清繼等是也 Translation The above poem was recited by Opotömö-nö sukune Murakamî, Kîyôtuŋgu with the same family name, and others. Commentary On the biography of Opotömö-nö sukune Murakamî see the commentary to the postscript to the poem 20.4299. Nothing is known about the biography of Opotömö-nö sukune Kîyôtuŋgu.

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Preface to the poems 19.4264-4265

本文・Original text 勅従四位上高麗朝臣福信遣於難波賜酒肴入唐使藤原朝臣清河等御歌一 首并短歌 Translation A poem by [Empress Kōken], who gave Imperial Order to Kôma-nö asömî Pukusini, of the Junior Fourth Rank Upper Grade, and send [him] to Nanipa to give rice wine and side dishes to the Ambassador Pundipara-nö asömî Kîyôkapa and others who were going to China. With a tanka [envoy]. Commentary Kôma-nö asömî Pukusini is from a family of immigrants from Korea (more exactly Koguryǒ, judging by his family name Kôma), who lived in Kôma district of Munzasi province since his grandfather). His original name was Sena-nö kîmî (背奈公) ‘lord of Sena’, again pointing to Koguryǒ connection: cf. Koguryǒ śä ‘elder brother’ and frequent usage of the character 背 ‘back’ to transcribe OJ se ‘elder brother’, which is likely to be a Korean loan. In 750 AD he was granted family name Kôma and kabane title asömî. Kôma-nö asömî Pukusini was occupying a number of important positions throughout his official career and passed away in 787 AD while having Junior Third Rank. Overall, he is a perfect example of a scion of an immigrant family who has perfectly blended into Japanese rank and bone society and was able to surpass in his official career many of his Japanese contemporaries, belonging to the old families, including, for example Opotömö-nö Yakamöti. On Pundipara-nö asömî Kîyôkapa’s biography see the commentary to the preface to 19.4240.

19.4264

本文・Original text (1) 虚見都 (2) 山跡乃國波 (3) 水上波 (4) 地徃如久 (5) 船上波 (6) 床座 如 (7) 大神乃 (8) 鎮在國曽 (9) 四舶 (10) 舶能倍奈良倍 (11) 平安 (12) 早渡來而 (13) 還事 (14) 奏日尓 (15) 相飲酒曽 (16) 斯豊御酒者 仮名の書き下し・Kana transliteration (1) そ 1 らみ 1 つ (2) やまと 2 の 2 くには (3) み 1 づの 2 うへ 2 は (4) つち ゆくご 2 と 2 く (5) ふねの 2 うへ 2 は (6) と 2 こ 2 にをるご 2 と 2 (7) おほ かみ 2 の 2 (8) いはへ 1 るくにそ 2 (9) よ 2 つの 2 ふね (10) ふなの 2 へ 2 な らべ 2 (11) たひ 1 らけ 2 く (12) はやわたりき 1 て (13) かへ 1 りこ 2 と 2 (14) まをさむひ 1 に (15) あひ 1 の 2 まむさけ 2 そ 2 (16) こ 2 の 2 と 2 よ 2 み 1き 1は Romanization (1) sôra mîtu (2) Yamatö-nö KUNI pa (3) MÎnDU-NÖ UPË pa (4) TUTI YUK-U ŋGÖTÖ-ku (5) PUNE-NÖ UPË pa (6) TÖKÖ-NI WOR-U ŋGÖTÖ (7) OPO KAMÏ-nö (8) IPAP-ÊR-U KUNI sö (9) YÖ-TU N-Ö PUNE (10) PUNA-nö pë narambë (11) TAPÎRAKË-KU (12) PAYA WATAR-I-K-Î-TE (13) KAPÊR-I-KÖTÖ (14) MAWOS-AM-U PÎ-ni (15) APÎ-NÖM-AM-U SAKË sö (16) KÖNÖ TÖYÖ MÎ-KÎ pa

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Glossing with morphemic analysis (1) sky under (2) Yamatö-GEN land TOP (3) water-GEN top TOP (4) land go-ATTR be.like-INF (5) boat-GEN top TOP (6) bed-LOC exist-ATTR like (7) great deity-GEN (8) protect-PROG-ATTR land FP (9) four-CL DV-ATTR boat (10) boat-GEN prow put.side.by.side(INF) (11) be.safe-INF (12) fast cross-INF-come-INF-SUB (13) return-NML-matter (14) say(HUM)-TENTATTR day-LOC (15) REC-drink-TENT-ATTR rice.wine FP (16) this abundant HON-rice.wine TOP Translation (2) The land of Yamatö (1) under Heaven (7/8) is the land that great deities are protecting, (3) where [going] on water (4) is like walking on land, and (5) [being] on a boat (6) is like being in bed. (14) On the day when [you] will report (13) [to me your] return, after (9) four boats (10) with [their] prows in a row, (12) will come back crossing [the sea] quickly [and] (11) safely, (16) this abundant rice wine (15) is the rice wine that [we] will drink together. Commentary Logography is dominant in this poem. This poem uses senmyōgaki (宣命書) script with smaller size characters for certain phonograms, which is highly unusual for the Man’yōshū. Omodaka believes that this usage is due to the fact that is an imperial poem written in the edict style (1984.19: 188). Line one is hypometric (jitarazu, 字足らず). Line three is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since mîndu-nö upë was in all probability pronounced as [mîndunöpë] or [mîndunupë]. Line five is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since pune-nö upë was in all probability pronounced as [punenöpë] or [punenupë]. Line fourteen is hypometric (jitarazu, 字足らず). Line fifteen is hypermetric (jiamari, 字余り). On WOJ -kî ~ -kï ‘rice wine’ see the commentary to the poem 19.4262. Focus particle sö in this poem functions as a copula.

Preface to the poem 19.4265

本文・Original text 反歌一首 Translation A [tanka] envoy.

Commentary This envoy is to the poem 19.4264 above.

19.4265

本文・Original text (1) 四舶 (2) 早還來等 (3) 白香著 (4) 朕裳裙尓 (5) 鎮而将待

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仮名の書き下し・Kana transliteration (1) よつの 2 ふね (2) はやかへ 1 りこ 2 と 2 (3) しらかつく (4) わがも の 2 すそ 1 に (5) いはひ 1 てまたむ

1

Romanization (1) YÖ-TU N-Ö PUNE (2) PAYA WATAR-I-KÖ tö (3) SIRA ka TUK-U (4) WA-ŋGA MÔ-nö SUSÔ-ni (5) IPAP-Î-TE MAT-AM-U Glossing with morphemic analysis (1) four-CL DV-ATTR boat (2) fast cross-INF-come(IMP) DV (3) white cloth(?) attach-ATTR (4) I-POSS skirt-GEN hem-LOC (5) pray-INF-SUB wait-TENT-FIN Translation (5) [I] will wait for [you], praying (4) on the hem of my skirt (3) where white cloth is attached, (1/2) that four boats would cross and come back quickly. Commentary Logography is dominant in this poem. The character 等 on line two is written in the smaller size conforming to the senmyōgaki (宣命書) script, on which see the commentary to 19.4264 above. The situation described in this poem is not entirely clear. Women’s skirts were supposed to have magical power (Omodaka 1984.19: 189). On WOJ mô ‘skirt’ see the commentary to 5.804. It is not also clear what ka on line three is. Omodaka treats it as ‘scent’ (1984.19: 188-189), but sira ka ‘white scent’ does not make any sense, because scents do not have colors. Alternatively it might be a ‘piece of white cloth used during festivals’, possibly also attested in 3.179 (Aoki 1997: 253). The character 朕 ‘I’ on line four is a royal first person singular pronoun in Classical Chinese.

Postscript to the poems 19.4264-4265

本文・Original text 右發遣勅使并賜酒樂宴之日月未得詳審也 Translation The above [poems] refer to [Empress Kōken] sending an Imperial Messenger with a gift of rice wine. The day and month of the banquet is not yet known exactly. Commentary The Imperial Messenger is Kôma-nö asömî Pukusini, on whom see the commentary to the preface to the poems 19.4264-4265. As Aoki notes, it is strange that Opotömö-nö Yakamöti, who was at that time already at the capital, did not know the date of the banquet. It could be tentatively fixed to April 30 -- May 15, 752 AD. See the commentary to the preface to the poem 19.4240 on the tentative dates for Pundipara-nö asömî Kîyôkapa’s departure to China.

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Preface to the poems 19.4266-4267

本文・Original text 爲應詔儲作歌一首并短歌

Translation A poem [I] composed in advance responding to Imperial order.

With a tanka

[envoy].

Commentary This poem was composed in advance for the Imperial New Year banquet in anticipation of an Imperial order to present a poem during this banquet.

19.4266

本文・Original text (1) 安之比奇能 (2) 八峯能宇倍能 (3) 都我能木能 (4) 伊也繼々尓 (5) 松根能 (6) 絶事奈久 (7) 青丹余志 (8) 奈良能京師尓 (9) 万代尓 (10) 國所知等 (11) 安美知之 (12) 吾大皇乃 (13) 神奈我良 (14) 於母保之 賣志弖 (15) 豊宴 (16) 見爲今日者 (17) 毛能乃布能 (18) 八十伴雄能 (19) 嶋山尓 (20) 安可流橘 (21) 宇受尓指 (22) 紐解放而 (23) 千年保 伎 (24) 保吉等餘毛之 (25) 惠良惠良尓 (26) 仕奉乎 (27) 見之貴者 仮名の書き下し・Kana transliteration (1) あしひ 1 き 2 の 2 (2) やつをの 2 うへ 2 の 2 (3) つがの 2 き 2 の 2 (4) い やつぎ 1 つぎ 1 に (5) まつがねの 2 (6) たゆるこ 2 と 2 なく (7) あをによ 2 し (8) ならの 2 み 1 やこ 1 に (9) よろ 2 づよ 2 に (10) くにしらさむと 2 (11) やすみ 1 ちし (12) わがおほき 1 み 1 の 2 (13) かむながら (14) おも 2 ほしめ 1 して (15) と 2 よ 2 の 2 あかり (16) め 1 すけ 1 ふの 2 ひ 1 は (17) も 1 の 2 の 2 ふの 2 (18) やそ 1 と 2 も 2 の 2 をの 2 (19) しまやまに (20) あ かるたちばな (21) うずにさし (22) ひ 1 も 1 と 2 き 1 さけ 2 て (23) ちと 2 せほき 1 (24) ほき 1 と 2 よ 2 も 1 し (25) ゑらゑらに (26) つかへ 2 まつ るを (27) み 1 るがたふと 1 さ Romanization (1) asi pîkï n-ö (2) YA-TU WO-nö upë-nö (3) tuŋga-nö KÏ-nö (4) iya TUŋG-Î TUŋG-Î n-i (5) MATU-ŋGA NE-nö (6) TAY-URU KÖTÖ na-ku (7) AWO NI yö-si (8) Nara-nö MÎYAKÔ-ni (9) YÖRÖnDU YÖ-ni (10) KUNI SIR-AS-AM-U tö (11) YASU mît-i-si (12) WA-ŋGA OPO KÎMÎ-nö (13) KAMU-na-ŋ-gara (14) omöp-os-i-mês-i-te (15) TÖYÖ N-Ö AKARI (16) MÊS-U KÊPU-NÖ PÎ pa (17) mônönöpu n-ö (18) YASÔ TÖMÖ WO-nö (19) SIMA-YAMA-ni (20) akar-u TATImBANA (21) unzu n-i SAS-I (22) PÎMÔ TÖKË-SAKË-TE (23) TI-TÖSE pok-î (24) pok-î-töyömôs-i (25) wera-wera n-i (26) TUKAPË-MATUR-U-WO (27) MÎ-RU-ŋGA TAPUTÔ-SA Glossing with morphemic analysis (1) foot low DV-ATTR (2) eight-CL hill-GEN top-GEN (3) tuŋga-GEN tree-COMP (4) follow-INF follow-NML DV-INF (5) pine-POSS root-COMP (6) break-ATTR matter not.exist-INF (7) green earth be.good-FIN (8) Nara-GEN capital-LOC (9) ten.thousand age-LOC (10) land rule-HONTENT-FIN DV (11) peace be.filled-INF-PAST.ATTR (12) we-POSS Great Lady-GEN (13) deity-PLUR-GEN-nature (14) think-HON-INF-HON-INFSUB (15) abundant DV-ATTR banquet (16) see(HON)-ATTR today-GEN day - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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TOP (17) official DV-ATTR (18) eighty companion man-GEN (19) artificial.mountain-LOC (20) redden-ATTR mandarin.orange (21) laurel/hair.decoration DV-INF insert-INF (22) cord untie(INF)-loosen(INF)SUB (23) thousand-year(CL) pray-INF (24) pray-INF-resound-INF (25) smiling DV-INF (26) serve(INF)-HUM-ATTR-ACC (27) see-ATTR-POSS be.awesome-NML Translation (12) Our Great Lady, (11) who is filled with peace, (13) [and] who has the nature of deities (14) deigns to think (10) to rule the country (9) for many ages (8) in the capital of Nara, (7) where the green earth is good, (6) without [these ages] breaking (5) like pine roots (4) [and] following more and more one after another (3) like [branches of] tuŋga trees (2) on the top of eight hills (1) with low feet, and] (27) [it] is awesome to see (16) how today when [the Great Lady] oversees (15) the abundant banquet, (18) the eighty companion male (17) officials (26) serve to [her], (25) smilingly and merrily, (24) intoning loudly (23) [their] prayers for [her] thousand year [rule], (22) with the cords [of their garment] loosen, and (19/20/21) inserting [fruits of] mandarin oranges that are reddening on the artificial mountain [in the garden] as decorations in [their] laurels and hair. Commentary Logography is slightly dominant in this poem. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. On WOJ tuŋga-nö kï ~ tôŋga-nô kï ‘tuŋga tree’ in line three see the commentary to 17.4006. Because WOJ tuŋga-nö kï is a high evergreen tree, it was probably used here as metaphorical comparison for the following iya tuŋg-î tuŋg-î ‘followed more and more and one after another’ in line eight. One can also see a phonetic symbolism between tuŋga and tuŋg-î. On OJ matu ‘pine’ see the commentary to the poem 19.4169. On the permanent epithet (makura-kotoba, 枕詞) awo ni yö-si, WOJ ni ‘earth, soil, clay’, the place name Nara, and the lack of strict differentiation between final and attributive forms of inflected adjectives in OJ see the commentary to 15.3602. OJ yöröndu ‘ten thousand’ may mean just ‘many’. On WOJ yasu mît-i-si (安美知之) ‘filled with peace’, see the commentary to 1.3. Line fifteen is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since töyö n-ö akari was in all probability pronounced as [töyönakari]. WOJ yasô ‘eighty’ < ya ‘eight’ + -sô, bound word for ‘ten’ is often used in the meaning ‘many’. On WOJ mönönöpu ‘official’ see the commentary to 1.50. WOJ sima-yama (lit. ‘island-mountain’) is an artificial mountain, built on an island in the pond at mansions or palaces. On tatimbana ‘mandarin orange’ see the commentary to the poem 15.3779. WOJ unzu are flowers, branches, artificial flowers, as well as gold or silver pendants that were inserted into laurels or directly into the hair as decorations. Loosening one’s garment cord does not have here any sexual overtones, but implies the relaxed informal atmosphere at this official banquet.

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Preface to the poem 19.4267

本文・Original text 反歌一首 Translation A [tanka] envoy.

Commentary This envoy is to the poem 19.4266 above.

19.4267

本文・Original text (1) 須賣呂伎能 (2) 御代万代尓 (3) 如是許曽 (4) 見爲安伎良目米 (5) 立年之葉尓 仮名の書き下し・Kana transliteration (1) すめ 1 ろ 2 き 1 の 2 (2) み 1 よ 2 よ 2 ろ 2 づよ 2 に (3) かくしこ 2 そ 2 (4) め 1 しあき 1 らめ 2 め 2 (5) たつと 2 しの 2 はに Romanization (1) sumêrökî-nö (2) MÎ-YÖ YÖRÖnDU YÖ-ni (3) KA-KU SI kösö (4) MÊs-i akîramë-m-ë (5) TAT-U TÖSI-NÖ pa n-i Glossing with morphemic analysis (1) Empress-GEN (2) HON-age ten.thousand age-LOC (3) be.thus-INF EP FP (4) see(HON)-INF brighten.one’s.heart-TENT-EV (5) rise-ATTR year- GEN every DV-INF Translation (1) [Our] Empress, (3) in this way (2) for many ages of your reign (5) every New Year (4) [you] should brighten your heart when overseeing a banquet. Commentary Phonography is slightly dominant in this poem. In this poem WOJ sumêrökî ‘[male] imperial ancestor’ quite unusually refers to currently ruling Empress Kōken. On WOJ sumêrökî ‘[male] imperial ancestors’, ‘Emperor’ see the commentaries to 15.3688 and 17.4006. OJ yöröndu ‘ten thousand’ may mean just ‘many’. On the possible interpretation of pa as ‘year’ and not ‘every’ in tösi-nö pa n-i see the commentary to 19.4158.

Postscript to the poems 19.4266-4267

本文・Original text 右二首大伴宿祢家持作之

Translation Opotömö-nö sukune Yakamöti composed two poems above. Commentary On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of

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the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. These poems have no date, but since it is said in the preface to them above that they were composed in anticipation of being ordered to present these poems at the New Year banquet, which was customarily held shortly after the New Year, one can safely surmise that they were composed sometimes in the eleventh or twelfth lunar month of the fourth year of Tenpyō Shōhō (December 10, 752 AD -- February 7, 753 AD). Since the poems 19.4269-19.4272 are dated by eighth date of the eleventh month of the fourth year of Tenpyō Shōhō (December 10, 752 AD -- January 8, 753 AD), dating composition by early eleventh month is even more preferable.

Preface to the poem 19.4268

本文・Original text 天皇太后共幸於大納言藤原家之日黄葉澤蘭一株抜取令持内侍佐々貴山 君遣賜大納言藤原卿并陪従大夫等御歌一首命婦誦曰 Translation On the day when the Empress and the Empress Dowager went together to the house of Senior Counsellor Pundipara, the Empress took one yellowing marsh orchid and letting Sasakï-nö Yamakîmî, the Palace Attendant, hold [it], deigned to send a poem to Senior Counsellor Pundipara, the High Noble, and attending Great Nobles. The [senior] lady recited [the poem]. Commentary The Empress is Empress Kōken, and the Empress Dowager is Kōmyō, on whom see the commentaries to the prefaces to the poems 20.4293 and 20.4301 and to the postscript to the poems 20.4293-4294. On Senior Counsellor (Dainagon, 大納言) see the commentary to the postscript to the poems 20.4293-4294. The Senior Counsellor Pundipara is Pundipara-nö Nakamarö (藤原仲麻呂), on whose biography see the commentary to the postscript to the poems 20.4293-4294. We do not know what that day was, but given the natural phenomenon of grass changing color it must be late autumn or early winter of 752 AD. WOJ sapa araraki (~ araraŋgi)136 ‘marsh orchid’ (no OJ phonographic attestations) does not appear in the Man’yōshū poetry, although there is a logographic attestation in the Nihonshoki, accompanied with a later kana gloss アララキ (NSK XIII: 338). It resembles a bellflower (Aoki 1997: 258-259). It is worth noting, however, that in the earliest Heian period dictionaries the word is spelled in the man’yōgana as 阿良良支 (SSJ 7.34a) and 阿良良岐 (WMS 4.68b), with both 支 and 岐 indicating kî, which in case of this parallel evidence may represent orthographic conservatism, in spite of the fact that the contrast between /kî/ and /kï/ was no longer extant in the language. Palace Attendant (naishi, 内侍) is a female from the Palace Attendants Office (Naishi-no tsukasa, 内侍の司). The duties of Palace Attendants involved attending upon an Empress in person as well as performing certain 136

All early attestations indicate voiceless -k-.

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religious Shintō rites. Nothing is known about a biography of Sasakï-nö Yamakîmî. Aoki speculates that Yamakîmî might be a kabane title (1997: 259). But since there are no other records of such a kabane title, it might be just a personal name. Omodaka refers to the record from the Shoku Nihongi dating from the fifth day of the eighth lunar month of the sixteenth year of Tenpyō (August 17, 744 AD) that mentions two Sasakï-nö Yamakîmî (1984.19: 193), who might be respectively a father and an elder brother of the lady-in-waiting appearing in this preface, but they, of course, could be completely unrelated persons. On Taifu (大夫) ‘Great Noble’ see the commentary to the preface to the poems 20.4295-4297. Taifu (大夫) ‘Great Noble’ is not to be confused with an isographic Daibu (大夫) ‘Master’, as, for example, in Master of the Left Capital Ward (Sakyō daibu, 左京大夫). On Kyau (卿) ‘High Noble’ see the commentary to the preface to the poem 20.4293. On myōbu (命婦) ‘lady’ see the commentary to the preface to the poem 20.4438 and the footnote 52 to it.

19.4268

本文・Original text (1) 此里者 (2) 繼而霜哉置 (3) 夏野尓 (4) 吾見之草波 (5) 毛美知多里 家利 仮名の書き下し・Kana transliteration (1) こ 2 の 2 さと 1 は (2) つぎ 1 てしも 1 やおく (3) なつの 2 の 1 に (4) あ がみ 1 しくさは (5) も 1 み 1 ちたりけ 1 り Romanization (1) KÖNÖ SATÔ pa (2) TUŋG-Î-TE SIMÔ YA OK-U (3) NATU-NÖ NÔ-ni (4) A-ŋGA MÎ-si KUSA pa (5) mômît-i-tar-i-kêr-i

Glossing with morphemic analysis (1) this village TOP (2) continue-INF-SUB frost IP stay-ATTR (3) summer-GEN field-LOC (4) I-POSS see(INF)-PAST.ATTR grass TOP (5) become.red/yellow-INF-PERF/PROG-INF-RETR-FIN Translation (2) Does the frost always lie (1) in this village? (5) It turned out that (4) the grass that I saw (3) in summer fields (5) has become red and yellow. Commentary Logography is dominant in this poem. WOJ tuŋg-î-te in this poem means ‘continuously’ rather than ‘following’ (Omodaka 1984.19: 1949. The retrospective form -kêr- in this poem has the function of a sudden realization of a certain fact.

Preface to the poems 19.4269-4272

本文・Original text 十一月八日在於左大臣橘朝臣宅肆宴歌四首

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Translation Four poems from the official banquet at the mansion of Tatimbana-nö asömî [Möröye], the Minister of the Left on the eighth day of the eleventh lunar month [of the fourth year of Tenpyō Shōhō]. Commentary The eighth day of the eleventh lunar month [of the fourth year of Tenpyō Shōhō] corresponds to December 17, 752 AD. On the Minister of the Left (Sadaijin, 左大臣) see the commentary to the preface to the poem 19.4256. On the biography of Tatimbana-nö Möröye see the commentary to the preface to the poem 20.4304. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. The mansion mentioned here is not the mansion of Tatimbana-nö Möröye in Nara, but his countryside house. See the commentary to 19.4272 on its location. An official banquet (sien, 肆宴) is the banquet on which a person from Emperor’s family (a reigning Emperor himself, a Retired Emperor, an Empress, etc.) is present.

19.4269

本文・Original text (1) 余曽能未尓 (2) 見者有之乎 (3) 今日見者 (4) 年尓不忘 (5) 所念可 母 仮名の書き下し・Kana transliteration (1) よ 2 そ 2 の 2 み 2 に (2) み 1 ればありしを (3) け 1 ふみ 1 ては (4) と 2 しにわすれず (5) おも 2 ほえ 2 むかも 2 Romanization (1) yösö nömï-ni (2) MÎ-RE-mba ARI-I-si-wo (3) KÊPU MÎ-TE pa (4) TÖSI-ni WASURE-nZ-U (5) OMÖP-OYE-M-U kamö Glossing with morphemic analysis (1) outside RP-LOC (2) see-EV-CON exist-INF-PAST.ATTR-ACC (3) today see(INF)-SUB TOP (4) year-LOC forget-NEG-FIN (5) think-PASS-TENTATTR EP Translation (2) Although [I] had seen [before your mansion] (1) only from outside, (5) [I] would think [that] (4) [I] will not forget [it] for years (3) after [I] saw [it] today. Commentary Logography is dominant in this poem. The passive suffix -oye- in omöp-oye-m-u conveys the meaning of a spontaneous action. This poem demonstrates quite well the intimate connection between the prose and the poetry in the Man’yōshū: the contextual meaning of the poem

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would be completely opaque without the previous preface and the following postscript: who sees what or whom and on what occasion?

Postscript to the poem 19.4269

本文・Original text 右一首太上天皇御歌

Translation The above poem is a poem by Retired Emperor [Shōmu]. Commentary Emperor Shōmu (聖武, 701-756 AD, r. 724-749 AD). He ordered the suicide of Prince Naŋgaya in the first year of Tenpyō (729 AD), and with appointing Kōmyō, the daughter of Pundipara-nö Pumbîtö, as his Empress the next year, he is essentially responsible for the starting things in motion that eventually led to the gradual solidifying of Pundipara family grip on power within several next centuries. He is also well known for the building of Tōdaiji (東大寺) with its Great Buddha (大佛) statue in Nara, and for being an eccentric who tried to make Kegon sect (華嚴宗) of Buddhism the state religion of Japan.

19.4270

本文・Original text (1) 牟具良波布 (2) 伊也之伎屋戸母 (3) 大皇之 (4) 座牟等知者 (5) 玉 之可麻思乎 仮名の書き下し・Kana transliteration (1) むぐらはふ (2) いやしき 1 やど 1 も 2 (3) おほき 1 み 1 の 2 (4) まさむ と 2 しらば (5) たましかましを Romanization (1) muŋgura pap-u (2) iyasi-kî YAndô mö (3) OPO KÎMÎ-NÖ (4) MAS-Am-u tö SIR-Amba (5) TAMA sik-amasi-wo Glossing with morphemic analysis (1) weed creep-ATTR (2) be.poor-ATTR house FP (3) Great Lord-GEN (4) come-TENT-FIN DV know-COND (5) pearl cover-SUBJ-ACC Translation (3/4) If [I] were to know that [my] Great Lord would come (2) [to my] poor house (1) where the weeds are creeping, (5) [I] would cover [it with] pearls. Commentary Phonography is dominant in this poem. WOJ muŋgura is a perennial grass that grows at road sides and in gardens. Its leaves resemble palm of the hand. It might be used as a symbol for an abandoned house. It is also used as a general term for different weeds including madders and other similar weeds (Nakanishi 1985: 329). On OJ yandô ‘house, house garden’ see the commentary to 19.4172. On opo kîmî ‘Great Lord’, a title that refers to the Emperor, see the commentary to 5.794.

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OJ tama ‘jewel’ can mean any kind of a precious gem, like jade, pearl, etc. From the context of the following poem 19.4271, it becomes clear that it is ‘pearl’ which is meant here. See also the commentaries to the poems 5.804 and 19.4169.

Postscript to the poem 19.4270

本文・Original text 右一首左大臣橘卿

Translation The above poem [is by] the Minister of the Left, Tatimbana[-nö Möröye], the High Noble. Commentary On the Minister of the Left (Sadaijin, 左大臣) see the commentary to the preface to the poem 19.4256. On the biography of Tatimbana-nö Möröye see the commentary to the preface to the poem 20.4304. On Kyau (卿) ‘High Noble’ see the commentary to the preface to the poem 20.4293.

19.4271

本文・Original text (1) 松影乃 (2) 清濱邊尓 (3) 玉敷者 (4) 君伎麻佐牟可 (5) 清濱邊尓 仮名の書き下し・Kana transliteration (1) まつかげ 2 の 2 (2) き 1 よ 1 き 1 はまへ 1 に (3) たましかば (4) き み 1 きまさむか (5) き 1 よ 1 き 1 はまへ 1 に

1

Romanization (1) MATU KAŋGË-nö (2) KÎYÔ-KÎ PAMA PÊ-ni (3) TAMA SIK-Amba (4) KÎMÎ k-î-[i]mas-am-u ka (5) KÎYÔ-KÎ PAMA PÊ-ni Glossing with morphemic analysis (1) pine shade-GEN (2) be.clear-ATTR seashore side-LOC (3) pearl coverCOND (4) lord come-INF-HON-TENT-ATTR IP (5) be.clear-ATTR seashore side-LOC Translation (3) If [I] cover with pearls (2) the clear seashore (1) in the shade of pines, (4) would [you] come, [my] lord, (5) to the clear seashore? Commentary Logography is dominant in this poem. On OJ matu ‘pine’ see the commentary to the poem 19.4169. OJ tama ‘jewel’ can mean any kind of a precious gem, like jade, pearl, etc. See also the commentaries to the poems 5.804 and 19.4169.

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Postscript to the poem 19.4271

本文・Original text 右一首右大辨藤原八束朝臣

Translation The above poem [is by] the Pundipara-nö Yatuka asömî, the Major Controller of the Right. Commentary On the Major Controller of the Right (Udaiben, 右大辨) see the commentary to the preface to the poems 20.4446-4448. Pundipara-nö Yatuka asömî is the third son of Pundipara-nö Pusasakî and the elder brother of Pundipara-nö Kîyôkapa. As a scion of the most powerful aristocratic family in Nara Japan he rather quickly rose through the ranks. Pundipara-nö Yatuka was promoted from the Senior Sixth Rank, Upper Grade to the Junior Fifth Rank, Lower Grade in the first lunar month of the twelfth year of Tenpyō (February 2 – March 2, 740 AD) and then almost immediately to the Junior Fifth Rank, Upper Grade in the eleventh lunar month of the same year (November 24 – December 22, 740 AD). He was further promoted to the Senior Fifth Rank, Upper Grade in the fifth lunar month of the fifteenth year of Tenpyō (May 28 – June 25, 743 AD) and in the eleventh lunar month of the sixteenth year of Tenpyō (December 9, 744 AD – January 6, 745 AD) to the Junior Fourth Rank, Lower Grade, with a subsequent appointment as the Minister of the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部省) in the third lunar month of the nineteenth year of Tenpyō (April 14, – May 13, 747 AD). In the fourth lunar month of the first year of Tenpyō Shōhō (May 18 – June 15, 752 AD) he was appointed the Master of Tu Province and promoted to the Junior Fourth Rank, Upper Grade in the first lunar month of the sixth year of Tenpyō Shōhō (January 28 – February 26, 754 AD). In the eighth lunar month of the first year of Tenpyō Hōji (August 20 – September 18, 757 AD) Pundipara-nö Yatuka was promoted to the Senior Fourth Rank, Lower Grade, with a subsequent simultaneous appointments to the Imperial Adviser and the Minister of the Ministry of Central Affairs (Naka tukasa shō, Naka matsurigoto no tukasa, 中務省). The next promotions were to the Senior Fourth Rank, Upper Grade in eighth lunar month of the third year of Tenpyō Hōji (August 27 – September 25, 759 AD) and to the Junior Third Rank in the first lunar month of the fourth year of Tenpyō Hōji (January 23 – February 20, 760 AD), with a simultaneous appointment as the Governor-General of Dazaifu. In the ninth lunar month of the eighth year of Tenpyō Hōji (September 30 – October 28, 764 AD) he was promoted to the Senior Third Rank and made Senior Counsellor (Dainagon, 大納言) in the first lunar month of the second year of Tenpyō Jingo (February 14 – March 14, 766 AD). Pundipara-nö Yatuka passed away on the twelfth day of the third lunar month of the same year (April 25, 766 AD). He is the author of eight poems in the Man’yōshū: 3.398, 3.399, 6.987, 8.1547, 8.1570, 8.1571, 19.4271 and 19.4276 (Omodaka 1977.3: 454-455), (Nakanishi 1985: 270). On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

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19.4272

本文・Original text (1) 天地尓 (2) 足之照而 (3) 吾大皇 (4) 之伎座婆可母 (5) 樂伎小里 仮名の書き下し・Kana transliteration (1) あめ 2 つちに (2) たらはしてりて (3) わがおほき 1 み 1 (4) しき 1 ま せばかも 2 (5) たの 1 しき 1 をさと 1 Romanization (1) AMË TUTI-ni (2) TAR-AP-As-i TER-I-TE (3) WA-ŋGA OPO KÎMÎ (4) sik-î-[I]MAS-E-mba kamö (5) TANÔSI-kî WO-SATÔ Glossing with morphemic analysis (1) Heaven Earth-LOC (2) be.plenty-ITER-HON-INF shine-INF-SUB (3) we-POSS Great Lord (4) rule-INF-HON-EV-CON EP (5) be.happy-ATTR DIM-village Translation (3/4) Because our Great Lord rules (2) shining plentifully (1) in Heaven and Earth, (5) [even here it is] a happy small village. Commentary Logography is dominant in this poem. On opo kîmî ‘Great Lord’, a title that refers to the Emperor, see the commentary to 5.794. Line four is a hyperbola because Retired Emperor Shōmu, of course, no longer ruled. Small village refers to the village where the country house of Tatimbana-nö Möröye was situated and where this official banquet was taking place. This village was in Ide town (Ide-chō, 井手町) in present-day Kyōto prefecture, 12 km to the North of Nara.

Postscript to the poem 19.4272 本文・Original text 右一首少納言大伴宿祢家持未奏

Translation The above poem [is by] Opotömö-nö sukune Yakamöti, the Junior Counsellor. [It] was not presented.

Commentary On Junior Counsellor (Shōnagon, 少 納 言 ) see the commentary to the postscript to the poems 20.4293-4294. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. The poem was probably not presented, because the time ran out with all these high-positioned dignitaries presenting their poems, so the turn for Opotömö-nö Yakamöti to do so never came up. Cf. also the commentary to the postscript to the poem 20.4453. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Preface to the poems 19.4273-4278

本文・Original text 廿五日新甞會肆宴應詔歌六首

Translation Six poems [presented] in response to Imperial Order at the official banquet for the Festival of the New Harvest on the twenty-fifth day [of the eleventh lunar month of the fourth year of Tenpyō Shōhō]. Commentary The twenty-fifth day of the eleventh lunar month of the fourth year of Tenpyō Shōhō corresponds to January 3, 753 AD. On official banquets (sien, 肆宴) see the commentary to the preface to the poems 19.4269-4272. A banquet with conjunction of the Festival of the New Harvest (Niinamesai, 新嘗祭) was held in the eleventh lunar month on the day which had the Earthly Branch sign 卯 ‘hare’ in its cyclic designation. This is true for the twenty-fifth day of the eleventh lunar month of the fourth year of Tenpyō Shōhō, which was designated in the cycle as 丁卯.

19.4273

本文・Original text (1) 天地与 (2) 相左可延牟等 (3) 大宮乎 (4) 都可倍麻都礼婆 (5) 貴久 宇礼之伎 仮名の書き下し・Kana transliteration (1) あめ 2 つちと 2 (2) あひ 1 さかえ 2 むと 2 (3) おほみ 1 やを (4) つかへ 2 まつれば (5) たふと 1 くうれしき 1 Romanization (1) AMË TUTI-TÖ (2) APÎ-sakaye-m-u tö (3) OPO MÎYA-wo (4) tukapë-matur-e-mba (5) TAPUTÔ-ku uresi-kî Glossing with morphemic analysis (1) Heaven Earth-COM (2) REC-flourish-TENT-FIN DV (3) Great Place-ACC (4) serve(INF)-HUM-EV-CON (5) feel.awe-INF be.happy Translation (4) Because [I] serve for [the construction of] (3) the Great Palace, (2) so that [you, my Empress] would flourish together (1) with Heaven and Earth, (5) [I] feel awed and happy. Commentary Phonography is slightly dominant in this poem. Opo mîya ‘Great Palace’ here refers to the shrine that was built for the celebration of the Festival of the New Harvest, not to the Imperial Palace Line five is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since taputô-ku uresi-kî was in all probability pronounced as [taputôkuresikî].

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Postscript to the poem 19.4273 本文・Original text 右一首大納言巨勢朝臣

Translation The above poem [is by] Köse-nö asömî [Nandemarö], the Senior Counsellor. Commentary On Senior Counsellor (Dainagon, 大 納 言 ) see the commentary to the postscript to the poems 20.4293-4294. On Köse-nö asömî Nandemarö (巨勢朝臣奈弖麻呂)’s biography, see the commentary to the postscript to the poems 17.3922-3926. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4274

本文・Original text (1) 天尓波母 (2) 五百都綱波布 (3) 万代尓 (4) 國所知牟等 (5) 五百都 々奈波布似古歌而未詳 仮名の書き下し・Kana transliteration (1) あめ 2 にはも 2 (2) いほつつなはふ (3) よ 2 ろ 2 づよ 2 に (4) くにし らさむと 2 (5) いほつつなはふ Romanization (1) AMË-ni pa mö (2) IPO-tu TUNA pap-u (3) YÖRÖnDU YÖ-ni (4) KUNI SIR-AS-Am-u tö (5) IPO-tu tuna pap-u Glossing with morphemic analysis (1) Heaven-LOC TOP FP (2) five.hundred-CL rope creep-FIN (3) ten. thousand age-LOC (4) land rule-HON-TENT-FIN DV (5) five.hundred-CL rope creep-FIN Translation (1) In the roof of the shrine (2) five hundred ropes are creeping. (5) Five hundred ropes are creeping (4) so that [you, my Empress] would rule the land (3) for ten thousand ages. [This poem] resembles an old poem, but [it] is not clear. Commentary Logography is slightly dominant in this poem. Heaven here refers to the roof the shrine built for the Festival of the New Harvest, where rafters and beams were tied together with ropes. Classifier -tu can be used in late Western Old Japanese exceptionally after ipo ‘500’, but not after other hundreds. See also ipo-tu ‘500’ in 17.4011 and 18.4105.

Postscript to the poem 19.4274 本文・Original text 右一首式部卿石川年足朝臣

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Translation The above poem [is by] Isikapa-nö Tösitari asömî, the Minister of the Ministry of Ceremonial Affairs. Commentary On the Ministry of Ceremonial Affairs (Shikibu[shō], 式部[省]) see the commentary to the postscript to the poem 20.4459. Minister (Kyō, 卿) should not be confused with isographic Kyau (卿) ‘High Noble’. Isikapa-nö Tösitari is mentioned in the Nihon Shoki for the first time on the twenty-third day of the sixth lunar month of the eleventh year of Tenpyō (August 2, 739 AD) as the Governor of Indumô province with the Junior Fifth Rank, Lower Grade. He was promoted to the Junior Fifth Rank, Upper Grade on the thirteenth day of the first lunar month of the twelfth year of Tenpyō (February 14, 740 AD) and to the Senior Fifth Rank, Lower Grade on the fifth day of the fifth lunar month of the fifteenth year of Tenpyō (June 1, 743 AD). On the fourth day of the fourth lunar month of the eighteenth year of Tenpyō (April 28, 746 AD) Isikapa-nö Tösitari was appointed the Governor of Mutu province and promoted to the Junior Fourth Rank, Lower Grade on the twentieth day of the first lunar month of the nineteenth year of Tenpyō (March 5, 747 AD). He was further promoted to the Junior Fourth Rank, Upper Grade on the second day of the seventh lunar month of the first year of Tenpyō Shōhō (August 19, 749 AD). Already with the Junior Third Rank Isikapa-nö Tösitari was appointed Governor-General of Dazaifu on the twenty-eighth day of the ninth lunar month of the fifth year of Tenpyō Shōhō (October 28, 753 AD). On the sixteenth day of the sixth lunar month of the first year of Tenpyō Hōji (July 6, 757 AD) he was appointed the Head of the Department of Shintō (Jingi[kan] Haku, 神祇[官]伯), and received the Senior Third Rank on the first day of the eighth lunar month of the second year of Tenpyō Hōji (September 7, 758 AD). Isikapa-nö Tösitari passed away on the thirtieth day of the ninth lunar month of the sixth year of Tenpyō Hōji (October 21, 762 AD) (Omodaka 1984.19: 200-201). Besides this poem he also may be the author of the poem 9.1728, but there is also an opinion that it might be attributed to Isikapa-nö Mîyamarö (Nakanishi 1985: 200). On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4275

本文・Original text (1) 天地与 (2) 久万弖尓 (3) 万代尓 (4) 都可倍麻都良牟 (5) 黒酒白酒 乎 仮名の書き下し・Kana transliteration (1) あめ 2 つちと 2 (2) ひ 1 さしき 1 までに (3) よ 2 ろ 2 づよ 2 に (4) つか へ 2 まつらむ (5) くろ 1 き 2 しろ 1 き 2 を Romanization (1) AMË TUTI-TÖ (2) PÎSASI-KÎ-mande-ni (3) YÖRÖnDU YÖ-ni (4) tukapë-matur-am-u (5) KURÔ KÏ SIRÔ KÏ-wo

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Glossing with morphemic analysis (1) Heaven Earth-COM (2) be.long-ATTR-TERM-LOC (3) ten.thousand age-LOC (4) serve(INF)-HUM-TENT-FIN (5) black rice.wine white rice.wine-ACC Translation (1) [I] will serve you (3) for ten thousand ages, (2) as long as (1) Heaven and Earth [last], (5) [offering] black rice wine and white rice wine. Commentary Logography is slightly dominant in this poem. The same poem is found in completely phonographic script in the Genryaku kōhon instead of the kana transcription and in the postscript in the Ruijū koshū, but in the latter the character 倍 in line four is missing: Genryaku kōhon 本文・Original text (1) 愛女川知登 (2) 非左之期末天尓 (3) 与呂川与耳 (4) 從可倍麻都良 舞 (5) 具呂期志呂伎遠 仮名の書き下し・Kana transliteration (1) あめ 1 つちと 2 (2) ひ 2 さしき 2 までに (3) よ 2 ろ 2 づよ 2 に (4) つか へ 2 まつらむ (5) くろ 2 き 2 しろ 2 き 1 を Romanization (1) amê tuti-tö (2) pïsasi-kï-mande-ni (3) yöröndu yö-ni (4) tukapëmatur-am-u (5) kurö kï sirö kî-wo Ruijū koshū 本文・Original text (1) 阿免川知登 (2) 非左之期末天尓 (3) 与呂川与耳 (4) 都可麻都良舞 (5) 具呂期志呂伎遠 仮名の書き下し・Kana transliteration (1) あめつちと 2 (2) ひ 2 さしき 2 までに (3) よ 2 ろ 2 づよ 2 に (4) つか まつらむ (5) くろ 2 き 2 しろ 2 き 1 を Romanization (1) ame tuti-tö (2) pïsasi-kï-mande-ni (3) yöröndu yö-ni (4) tuka-matur-am-u (5) kurö kï sirö kî-wo Omodaka mentioned that the variant found in the Genryaku kōhon (GK 19.1746) is usually considered to be the phonographic rendition of the text saturated with logograms, but at the same time he noted that the variant in the Ruijū koshū (RK 12.6) preceded by 或本云 ‘a certain book says’ points to a different textual variant (Omodaka 1984.19: 202). But if we look attentively at the script in these two variants it becomes immediately clear that neither of them can predate the Heian period, because in both of them kō-otsu distinctions have completely collapsed. Namely etymological kî is either replaced by kï as is in pïsasi-kï (非左之期) ‘be long-ATTR’, or they are interchangeable as in kï ~ kî (期 ~ 伎) ‘rice wine’. Likewise, etymological rô is replaced by rö in kurö (具呂) ‘black’ and sirö (志呂) ‘white’: kurô (久路) - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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and sirô (志路) would be expected in the genuine WOJ. Finally, the character 免 me is not used in the man’yōgana, but its sōsho form 狸 frequently occurs in the Heian period kana. Incidentally, the character 期 is used in the man’yōgana for ŋgö, but not for kï or kî. Thus, in spite of the Genryaku kōhon and Ruijū koshū being the oldest manuscripts for book nineteen, these variants are nothing but the later insertions. Their only value is that they confirm our reading of the logographic parts in this poem. There are two hypotheses what kurô kï ‘black rice wine’ and sirô kï ‘white rice wine’ represent. According to one, the ashes of kusagi tree (臭木, lit. ‘stinking tree’, Eng. Harlequin glory bower, Lat. Clerodendrum trichotomum) were added to rice wine to make its color black, while they were not added to sirô kï ‘white rice wine’. The second hypothesis replaces the ashes of kusagi tree with black malt (kōji, 麹) (Omodaka 1984.19: 202), (Aoki 1997: 269). These types of rice wine were widely used at Festivals of the New Harvest, and the First Festival of the New Harvest (Daijōsai, 大嘗祭), given after the ascension of a new Emperor. As Murayama has demonstrated, in these two cases of kurô kï ‘black rice wine’ and sirô kï ‘white rice wine’, the WOJ word kï ‘rice wine’ preserves its original vowel /ï/, which gets assimilated to the preceding /î/ in mî-kî ‘HON-wine’ (1988: 251-252).

Postscript to the poem 19.4275 本文・Original text 右一首従三位文屋智努眞人

Translation The above poem [is by] Pumîya137-nö Tinu mapîtö, [who had Junior Third Rank]. Commentary Pumîya-nö Tinu mapîtö is the same person as Prince Tinu. He was given family name Pumîya and kabane title mapîtö after he was demoted from the Imperial Family to nobility. On the biography of Prince Tinu see the commentary to the postscript to the poems 17.3922-3926. On asömî, sukune, mapîtö, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4276

本文・Original text (1) 嶋山尓 (2) 照在橘 (3) 宇受尓左之 (4) 仕奉者 (5) 卿大夫等 仮名の書き下し・Kana transliteration (1) しまやまに (2) てれるたちばな (3) うずにさし (4) つかへ るは (5) まへ 1 つき 1 み 1 たち

137

2

まつ

Sometimes Pumîya is read as Pumuya.

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Romanization (1) SIMA-YAMA-ni (2) TER-ER-U TATImBANA (3) unzu n-i sas-i (4) TUKAPË-MATUR-U pa (5) MAPÊTUKÎMÎ-TATI Glossing with morphemic analysis (1) artificial.mountain-LOC (2) shine-PROG-ATTR mandarin.orange (3) laurel/hair.decoration DV-INF insert-INF (4) serve(INF)-HUM-ATTR TOP (5) High.and.Great.lord-PLUR Translation (4) Those who serve [the Empress] (1/2/3) inserting [fruits of] mandarin oranges that are shining on the artificial mountain [in the garden] as decorations in [their] laurels and hair (5) are High Nobles and Great Nobles. Commentary Logography is dominant in this poem. WOJ sima-yama (lit. ‘island-mountain’) is an artificial mountain, built on an island in the pond at mansions or palaces. On tatimbana ‘mandarin orange’ see the commentary to the poem 15.3779. WOJ unzu are flowers, branches, artificial flowers, as well as gold or silver pendants that were inserted into laurels or directly into the hair as decorations. High Nobles (Kyau, 卿) legally included officials who had Third Rank and Higher, while Great Nobles (Taifu, 大夫) comprised those who had Fifth and Fourth Ranks. The term Mapêtukîmî appears to be much more fluid: sometimes it was used synonymously with High Nobles, but it could also include both High and Great Nobles, as in this poem, or be applied exclusively to the officials with the Fourth Rank. See also the commentary to the poem 5.815.

Postscript to the poem 19.4276 本文・Original text 右一首右大辨藤原八束朝臣

Translation The above poem [is by] the Pundipara-nö Yatuka asömî, the Major Controller of the Right. Commentary On the Major Controller of the Right (Udaiben, 右大辨) see the commentary to the preface to the poems 20.4446-4448. On Pundipara-nö Yatuka’s biography see the commentary to the postscript to the poem 19.4271. On asömî, sukune, mapîtö, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4277

本文・Original text (1) 袖垂而 (2) 伊射吾苑尓 (3) 鸎乃 (4) 木傳令落 (5) 梅花見尓

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仮名の書き下し・Kana transliteration (1) そ 1 でたれて (2) いざわがそ 2 の 2 に (3) うぐひ 1 すの 2 (4) こ 2 づ たひ 1 ちらす (5) うめ 2 の 2 はなみ 1 に Romanization (1) SÔnDE TARE-TE (2) inza WA-ŋGA SÖNÖ-ni (3) UŋGUPÎSU-nö (4) KÖ-n-DUTAP-Î TIR-AS-U (5) UMË-NÖ PANA MÎ-ni Glossing with morphemic analysis (1) sleeve let.hang.down(INF)-SUB (2) INTER we-POSS garden-LOC (3) bush.warbler-GEN (4) tree-LOC-go.along-INF fall-CAUS-ATTR (5) plum-GEN blossom look(NML)-LOC Translation (1) Letting the sleeves hang down, (2) hey, [let us go] to our garden (5) to look at plum blossoms that (3) a bush warbler(4) makes to fall going along [branches of plum] trees. Commentary This poem is almost completely logographic. OJ sônde < *sontay ‘sleeve’ must be a loan from OK *sontʌy, which is not attested per se, but the Korean etymology of the word appears to be impeccable: son ‘hand’ + tʌy ‘place’. On uŋgupîsu ‘bush warbler’ see the commentary to the poem 5.824. There is a difference between OJ sönö ‘garden’ and OJ yandô ‘house, house garden’: while the former refers to the place where trees, grass, and vegetables grow, the latter points to the structure, very often to the single structure with a house itself. See also the commentary to the poem 17.3906.

Postscript to the poem 19.4277 本文・Original text 右一首大和國守藤原永手朝臣

Translation The above poem [is by] the Pundipara-nö Naŋgate asömî, the Governor of Yamatö province. Commentary Yamatö province ( 大 和 國 ) roughly corresponds to present-day Nara 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. The name of the Yamatö province was originally spelled as 倭國, but on the twenty-seventh day of the second lunar month of the ninth year of Tenpyō (April 1, 737 AD) it was changed to 大養徳國. The spelling 大和國 starts to be used in the Tenpyō Shōhō era (749 -- 758 AD) (Omodaka 1984.19: 204). Pundipara-nö Naŋgate, who was the second son of Pundipara-nö Pusasakî, was promoted from the Senior Sixth Rank, Upper Grade to the Junior Fifth Rank, Lower Grade on twenty-eighth day of the ninth lunar month of the ninth year of Tenpyō (October 26, 737 AD), on the first day of the fourth lunar month of the first year of Tenpyō Shōhō (April 21, 749 AD) to the Junior - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Fourth Rank, Lower Grade, and to the Junior Fourth Rank, Upper Grade on the sixteenth day of the first lunar month of the second year of Tenpyō Shōhō (February 26, 750 AD). He was appointed the Governor of Yamatö province on the third day of the eleventh lunar month of the fourth year of Tenpyō Shōhō (December 12, 752) and promoted to the Junior Third Rank on the sixteenth day of the first lunar month of the sixth year of Tenpyō Shōhō (February 2, 754 AD). Pundipara-nö Naŋgate was appointed the Minister of the Ministry of War (Hyōbu[shō], 兵部[省]) on the ninth day of the first lunar month of the seventh year of Tenpyō Hōji (February 25, 763 AD) and promoted to the Senior Third Rank on the eleventh day of the ninth lunar month of the eighth year of Tenpyō Hōji (October 10, 764 AD). He was further appointed the Minister of the Right on the eighth day of the first lunar month of the second year of Tenpyō Jingo (February 21, 766 AD) and promoted to the Senior Second Rank on the seventeenth day of the same month and year (March 2, 766 AD). Already in the capacity of the Minster of the Left, Pundipara-nö Naŋgate was promoted to the Junior First Rank on the third day of the second lunar month of the third year of Jingo Keiun (March 15, 769 AD). On the first day of the tenth lunar month of the first year of Hōki (October 23, 770 AD) he received the ultimate promotion to the Senior First Rank. Pundipara-nö Naŋgate suddenly became sick on the sixteenth day of the second lunar month of the second year of Hōki (March 6, 771 AD) and passed away on the twenty-second day of the same month and year (March 12, 771 AD). He was fifty-eight years old (Omodaka 1984.19: 204-205). This is the only poem by him in the Man’yōshū (Nakanishi 1985: 268). On asömî, sukune, mapîtö, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

19.4278

本文・Original text (1) 足日木乃 (2) 夜麻之多日影 (3) 可豆良家流 (4) 宇倍尓也左良尓 (5) 梅乎之努波牟

仮名の書き下し・Kana transliteration (1) あしひ 1 き 2 の 2 (2) やましたひ 1 かげ 2 (3) かづらけ 1 る (4) うへ 2 にやさらに (5) うめ 2 をしの 1 はむ Romanization (1) ASI pîkï n-ö (2) yama sita PÎKAŋGË (3) kandurak-êr-u (4) upë-ni ya sara n-i (5) UMË-wo sinôp-am-u Glossing with morphemic analysis (1) foot low DV-ATTR (2) mountain bottom ground.pine (3) make.laurelPROG-ATTR (4) top-LOC IP in.addition DV-INF (5) plum-ACC long.for-ATTR Translation (4) After (3) decorating [myself] with a laurel (2) [made from] the ground pine under the mountain (1) with low foot, (4/5) would [I] long for plum blossoms in addition [after being present at this banquet]? [-- Certainly not!]

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Commentary This poem is almost completely phonographic. On WOJ asi pîkï n-ö ‘with low feet’ see the commentary to the poem 15.3655. On WOJ pîkaŋgë (also called kandura kaŋgë or simply kaŋgë) ‘ground pine’ see the commentary to the poem 14.3573. On OJ umë ‘plum’ see the commentary to the poem 5.815. This poem contains a very well veiled and polite refusal to the invitation by Pundipara-nö Naŋgate in the previous poem 19.4277.

Postscript to the poem 19.4278

本文・Original text 右一首少納言大伴宿祢家持

Translation The above poem [is by] Opotömö-nö sukune Yakamöti, the Junior Counsellor. Commentary On Junior Counsellor (Shōnagon, 少 納 言 ) see the commentary to the postscript to the poems 20.4293-4294. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

Preface to the poems 19.4279-4281

本文・Original text 廿七日林王宅餞之但馬按察使橘奈良麻呂朝臣宴歌三首 Translation Three poems [composed] in the mansion of Prince Payasi on the twenty-seventh day [of the eleventh lunar month of the fourth year of Tenpyō Shōhō] at the farewell banquet for Tatimbana-nö Naramarö asömî, who [was send] as a provincial inspector to Tandima [province]. Commentary The twenty-seventh day of the eleventh lunar month of the fourth year of Tenpyō Shōhō corresponds to January 5, 753 AD. On Prince Payasi’s biography see the commentary to the postscript to the poems 17.3922-3926. Tandima province (但馬國) corresponds to the northern part of present-day Hyōgo prefecture. 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. Anzeti (按察使) ‘provincial inspectors’ are officials who inspected political state of affairs in provinces. They were introduced in the third year of Yörö (719 AD) as the imitation of Chinese practices. Later their actual job was preserved only for Mutu and nDepa provinces, but in the rest it remained just as an honorary appointment for Senior and Middle Counsellors.

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On the biography of Tatimbana-nö Naramarö see the commentary to the preface to the poems 20.4449-4451.

19.4279

本文・Original text (1) 能登河乃 (2) 後者相牟 (3) 之麻之久母 (4) 別等伊倍婆 (5) 可奈之 久母在香 仮名の書き下し・Kana transliteration (1) の 2 と 2 がはの 2 (2) の 2 ちにはあはむ (3) しましくも 2 (4) わかると 2 いへ 2 ば (5) かなしくも 2 あるか

Romanization (1) Nötö-ŋ-KAPA-nö (2) NÖTI-NI pa AP-Am-u (3) simasi-ku mö (4) WAKAR-U tö ip-ë-mba (5) kanasi-ku mö AR-U ka Glossing with morphemic analysis (1) Nötö-GEN-river-COMP (2) after-LOC TOP meet-TENT-FIN (3) be.a.while-INF FP (4) part-FIN DV say-EV-CON (5) be.sad-INF FP exist-ATTR EP Translation (2) [We] will meet later (1) like Late (Nötö) river. (4) When [you] say that [we] part (3) just for a while, (5) [I] am still sad! Commentary Phonography is dominant in this poem. Nötö river originates at the Mt. Kasuga (OJ Kasuŋga, 春日山), flows between Mt. Takamado (OJ Takamatô, 高円山) and Mt. Mikasa (OJ Mîkasa, 三笠山) and joins Saho (also Sao) river (OJ Sapoŋgapa, 佐保川) (Aoki 1997: 275). The place name Nötö is of the Ainu origin: Ainu not ‘cape, promontory’. A different placename Nötö is attested in the preface to 17.4026-4027 and in 17.4026. See also Vovin (2009b: 6). There is a play on words between Nötö, the name of a river, and nöti ‘after, later’, which is difficult to translate into English. Line five is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since kanasi-ku mö ar-u ka was in all probability pronounced as [kanasikumaruka]. The particle ka in line five is not an interrogative particle, but a shorter version of the emphatic particle kamö.

Postscript to the poem 19.4279 本文・Original text 右一首治部卿船王

Translation The above poem [is by] Prince Puna, the Minister of the Ministry of Civil Administration.

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Commentary On the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部省) see the commentary to the postscript to the poem 19.4257. On the biography of Prince Puna see the commentary to the postscript to the poem 20.4449.

19.4280

本文・Original text (1) 立別 (2) 君我伊麻左婆 (3) 之奇嶋能 (4) 人者和礼自久 (5) 伊波比 弖麻多牟 仮名の書き下し・Kana transliteration (1) たちわかれ (2) き 1 み 1 がいまさば (3) しき 2 しまの はわれじく (6) いはひ 1 てまたむ

2

(4) ひ 1 と

2

Romanization (1) TAT-I WAKARE (2) KÎMÎ-ŋga imas-amba (3) sikï SIMA-nö (4) PÎTÖ pa ware nzi-ku (5) ipap-î-te mat-am-u Glossing with morphemic analysis (1) depart-INF part(INF) (2) lord-POSS go(HON)-COND (3) (makura-kotoba) (4) person TOP we be.like-INF (5) pray-INF-SUB wait-TENT-FIN Translation (2) If [you, our] lord go away (1) departing for a journey, (3/4) the people of Yamatö like us (5) will pray and wait for [you]. Commentary Phonography is dominant in this poem. On sikï-sima see the commentary to the poem 20.4466. Usually sikï sima-nö is used as a permanent epithet (makura-kotoba, 枕詞) for Yamatö, but this is not the case here. Also, since Tatimbana-nö Naramarö is not going abroad, it will be strange if people from Yamatö would wait for him, unless Yamatö is meant in its narrow sense as Yamatö province, and not in the broad sense as the name for Japan. Ainu siki [sigi] ‘to be full’ might be tempting here, but we would rather expect WOJ siŋgî, if it were an Ainu loan, because Ainu intervocalic voiced are regularly reflected as OJ prenasalized voiced in earlier loans. Or it might be a poetic hyperbola, when people in the court circles are compared to the whole Japan. WOJ nzi- ‘to be like’ usually appears in its stem form nzi, or more frequently in the compound form nzi-mönö. This is the only example of the infinitive form nzi-ku in the Man’yōshū.138

Postscript to the poem 19.4280 本文・Original text 右一首右京少進大伴宿祢黒麻呂 138

Unlike Japanese traditional scholars, I believe that this nzi- and -nzi-kî/-nzi-ku in töki-nzi- ‘to be out of season’ are too functionally and formally different to be lumped together.

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Translation The above poem [is by] Opotömö-nö sukune Kurômarö, the Junior Secretary of the Right Capital Ward Office. Commentary 右京 here stands for the 右京職 (Ukyō shiki) ‘Right Capital Ward Office’, the office that was in charge of local affairs of the Right Ward, that is the Western half of the capital. Junior Secretary (Shōshin, 少進) is an official of the Third Class. This position is quite low, because it corresponds to the Senior Seventh Rank, Upper Grade. Nothing is known about the biography of Opotömö-nö sukune Kurômarö. There are no other poems by him in the Man’yōshū, either (Nakanishi 1985: 211).

19.4281

本文・Original text (1) 白雪能 (2) 布里之久山乎 (3) 越由加牟 (4) 君乎曽母等奈 (5) 伊吉 能乎尓念 仮名の書き下し・Kana transliteration (1) しらゆき 1 の 2 (2) ふりしくやまを (3) こ 1 え 2 ゆかむ (4) き 1 み をそ 2 も 2 と 2 な (5) いき 1 の 2 をにおも 2 ふ

1

Romanization (1) SIRA YUKÎ-nö (2) pur-i sik-u YAMA-wo (3) KÔYE-yuk-am-u (4) KÎMÎ-wo sö mötöna (5) ikî-nö wo-ni OMÖP-U Glossing with morphemic analysis (1) white snow-GEN (2) fall-INF cover-ATTR mountain-ACC (3) cross(INF)-go-TENT-ATTR (4) lord-ACC FP in.vain (5) breath-GEN cord-LOC think-FIN Translation (5) [I] am dead worried (4) in vain for [my] lord (3) who will go across (2) mountains, covered in falling (1) white snow. Commentary Phonography is dominant in this poem. WOJ ikî-nö wo-ni omöp-u ‘to be dead worried’, ‘to be worried at the risk to one’s own life’ is an idiomatic expression.

Postscript to the poem 19.4281

本文・Original text 左大臣換尾云伊伎能乎尓須流然猶喩曰如前誦之也 右一首少納言大伴宿祢家持 Translation The Minister of the Left told [me] to change the last line to ikî-nö wo-ni s-uru ‘[I] am betting on [my] life’, but then he retracted [his] instruction and told

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[me] to recite [it] as it was originally written. The above poem [is by] Opotömö-nö sukune Yakamöti, the Junior Counsellor. Commentary The Minister of the Left is Tati mbana-nö Möröye, on whose biography see the commentary to the preface to the poem 20.4304. On the Minister of the Left (Sadaijin, 左大臣) see the commentary to the preface to the poem 19.4256. 尾 ‘tail’ here refers to the last line in the poem. This little anecdote demonstrates that Opotömö-nö Yakamöti showed his poem to Tatimbana-nö Möröye before reciting it at the banquet. This certainly would not be possible if there was no close connection between them. It also makes clear that Tatimbana-nö Möröye had enough wit to recognize that Opotömö-nö Yakamöti’s original variant is poetically superior to the variant he himself suggested. On Junior Counsellor (Shōnagon, 少納言) see the commentary to the postscript to the poems 20.4293-4294. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen.

Preface to the poems 19.4282-4284

本文・Original text 五年正月四日於治部少輔石上朝臣宅嗣家宴歌三首 Translation Three poems [composed] at the banquet in the house of Isônökamî-nö asömî Yakatuŋgu, the Junior Assistant Minister of the Ministry of Civil Administration on the fourth day of the first lunar month of the fifth year [of Tenpyō Shōhō]. Commentary The fourth day of the first lunar month of the fifth year of Tenpyō Shōhō corresponds to February 11, 753 AD. On the Ministry of Civil Administration (Jibushō, Osamuru tukasa, 治部 省) see the commentary to the postscript to the poem 19.4257. On Junior Assistant Minister (Shōyū, 少輔) see the commentary to the postscript to the poems 20.4315-4320. Isônökamî-nö asömî Yakatuŋgu was promoted from the Senior Sixth Rank, Upper Grade to Junior Fifth Rank, Lower Grade on the twenty-fifth day of the first lunar month of the third year of Tenpyō Shōhō (February 25, 751 AD), and then to Junior Fifth Rank, Upper Grade on the twenty-first day of the fifth lunar month of the first year of Tenpyō Hōji (June 12, 757 AD). He was appointed the Governor of Saŋgamu province on the sixteenth day of the sixth lunar month of the same year (July 6, 757 AD). Isônökamî-nö asömî Yakatuŋgu was further promoted to Senior Fifth Rank, Upper Grade and simultaneously appointed the Governor of Pîtati province on the third day of the tenth lunar month of the eighth year of Tenpyō Hōji (October 31, 764 AD), with a subsequent promotions to Junior Fourth Rank, Lower Grade on the seventh day of the first lunar month of the first year of Tenpyō Jingo - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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(February 1, 765 AD) and to Senior Fourth Rank, Lower Grade on the twenty-fifth day of the tenth lunar month of the second year of Tenpyō Jingo (December 1, 766 AD) already in the capacity of the Major Controller of the Left and the Imperial Adviser. He was promoted to Junior Third Rank on the tenth day of the first lunar month of the second year of Jingo Keiun (February 2, 768 AD) and appointed Governor-General of Dazaifu on the sixteenth day of the ninth lunar month of the first year of Hōki (October 9, 770 AD). Isônökamî-nö asömî Yakatuŋgu was appointed Senior Counsellor on the first day of the second lunar month of the eleventh year of Hōki (March 11, 780 AD) and promoted to the Senior Third Rank on the fifteenth day of the fourth lunar month of the first year of Ten’ō (May 12, 781 AD). He passed away on the twenty-fourth day of the sixth lunar month of the same year (July 19, 781 AD) (Omodaka 1984.19: 209-210).

19.4282

本文・Original text (1) 辞繁 (2) 不相問尓 (3) 梅花 (4) 雪尓之乎礼氐 (5) 宇都呂波牟可母 仮名の書き下し・Kana transliteration (1) こ 2 と 2 しげ 2 み 1 (2) あひ 1 と 2 はなくに (3) うめ 2 の 2 はな (4) ゆ き 1 にしをれて (5) うつろ 2 はむかも 2 Romanization (1) KÖTÖ SIŋGË-MÎ (2) APÎ-TÔP-AN-AKU n-i (3) UMË-NÖ PANA (4) YUKÎ-ni siwore-te (5) uturöp-am-u kamö Glossing with morphemic analysis (1) word be.dense-CON (2) REC-visit-NEG-NML DV-INF (3) plum-GEN blossom (4) snow-LOC wither(INF)-SUB (5) fade-TENT-ATTR EP Translation (2) As [we] do not visit each other (1) because the rumors are dense, (3) plum blossoms (4) will wither in the snow and (5) fade, alas! Commentary Logography is dominant in this poem. On OJ umë ‘plum’ see the commentary to the poem 5.815. OJ uturöp- ~ uturôp- ‘to fade’ etymologically consists of utur- ‘to change, to move’ + -öp- ~ -ôp- < -ap-, iterative suffix, but uturöp- ~ uturôp- is already lexicalized in the meaning ‘to fade, to fall (of flowers)’.

Postscript to the poem 19.4282

本文・Original text 右一首主人石上朝臣宅嗣

Translation The above poem [is by] Isônökamî-nö asömî Yakatuŋgu, the Host. Commentary On the biography of Isônökamî-nö asömî Yakatuŋgu see the commentary to

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the preface to the poems 19.4282-4284 above. This is the only poem by Isônökamî-nö asömî Yakatuŋgu in the Man’yōshū (Nakanishi 1985: 202).

19.4283

本文・Original text (1) 梅花 (2) 開有之中尓 (3) 布敷賣流波 (4) 戀哉許母礼留 (5) 雪乎待 等可 仮名の書き下し・Kana transliteration (1) うめ 2 の 2 はな (2) さけ 1 るがなかに (3) ふふめ 1 るは (4) こ 1 ひ 2 やこ 2 も 2 れる (5) ゆき 1 をまつと 2 か

Romanization (1) UMË-NÖ PANA (2) SAK-ÊR-U-ŋGA NAKA-ni (3) pupum-êr-u pa (4) KÔPÏ YA kömör-er-u (5) YUKÎ-wo MAT-U tö ka Glossing with morphemic analysis (1) plum-GEN blossom (2) bloom-PROG-ATTR-POSS inside-LOC (3) bud-PROG-ATTR TOP (4) long.for(NML) IP hide-PROG-ATTR (5) snow-ACC wait-FIN DV IP Translation (1) Plum blossoms (3) are still in buds (2) when [they should] be blooming. (4) Is the longing hidden [inside the buds]? (5) Or does it mean that [they] wait for snow? Commentary Logography is dominant in this poem. On OJ umë ‘plum’ see the commentary to the poem 5.815. Plum blossoms are staying in the buds because they are afraid to be withered by snow.

Postscript to the poem 19.4283

本文・Original text 右一首中務大輔茨田王

Translation The above poem [is by] Prince Mamuta, the Senior Assistant Minister in the Ministry of Central Affairs. Commentary The Ministry of Central Affairs (Naka tukasa shō, Naka matsurigoto no tukasa, 中務省) was the most important among eight ministries, since its functions included assistance to an Emperor, promulgation of imperial edicts, bestowing titles, etc. On Senior Assistant Minister (Tayū, 大輔) see the commentary to the postscript to the poem 20.4483. This position belonged to the second class of officials.

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Judging by his career, Prince Mamuta139 (茨田王) must have been a really minor Prince. He was promoted from a person with no Rank to the Junior Fifth Rank, Lower Grade on the thirteenth day of the first lunar month of the eleventh year of Tenpyō (February 25, 739 AD) and then to the Junior Fifth Rank, Upper Grade on the twenty-first day of the eleventh lunar month of the twelfth year of Tenpyō (December 14, 740 AD). On the nineteenth day of the ninth lunar month of the eighteenth year of Tenpyō (October 8, 746 AD) Prince Mamuta was appointed Senior Assistant Minister in the Ministry of the Emperor’s Household, and on the fourth day of the eleventh lunar month of the nineteenth year of Tenpyō (December 10, 747 AD) to the Governor of Wetinzen province. There is no record in the Nihon Shoki about him being the Senior Assistant Minister in the Ministry of Central Affairs (Omodaka 1984.19: 213). This is the only poem by Prince Mamuta in the Man’yōshū (Nakanishi 1985: 274).

19.4284

本文・Original text (1) 新 (2) 年始尓 (3) 思共 (4) 伊牟礼氐乎礼婆 (5) 宇礼之久母安流可 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 に (3) おも 2 ふど 1 ち (4) いむ れてをれば (5) うれしくも 2 あるか Romanization (1) ARATASI-KÎ (2) TÖSI-NÖ PAnZIMË-ni (3) OMÖP-U i-mure-te wor-e-mba (5) uresi-ku mö ar-u ka

n

DÔTI (4)

Glossing with morphemic analysis (1) be.new-ATTR (2) year-GEN beginning-LOC (3) think-ATTR companion (4) DLF-gather(INF)-SUB (5) be.delighted-INF FP exist-ATTR EP Translation (3/4) Because the companions who have [the same] mind gathered here (1/2) in the beginning of the New Year, (5) [I] am indeed delighted! Commentary Logography and phonography are used equally in this poem. The phrase aratasi-kî tösi-nö panzimë ‘beginning of the New Year’ occurs in three other poems in the Man’yōshū: 17.3925, 19.4229, and 20.4516. Contrary to Yanagida & Whitman (2009), prefix i- in i-mure-te cannot be a marker of ergativity, because mure- is an intransitive verb. The context is in favor of i- being a prefix of a directive-locative focus, as suggested in Vovin (2009a: 561-569). Line five is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since uresi-ku mö ar-u ka was in all probability pronounced as [uresikumaruka].

139

Sometimes his name is read as Umarata.

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Postscript to the poem 19.4284

本文・Original text 右一首大膳大夫道祖王

Translation The above poem [is by] Prince Punando, the Master of the Office of the Palace Table. Commentary The Office of the Palace Table (Daizen[shiki], 大膳[職]) was the most important office in the Ministry of the Emperor’s Household. It was charged with preparation and delivery of food to the court. Here the Master (Daibu, 大夫) refers to the Head of the Office of the Palace Table. Prince Punando is a grandson of Emperor Tenmu. He was promoted from a person with no Rank to Junior Fourth Rank, Lower Grade on the twenty-eighth day of the ninth lunar month of the ninth year of Tenpyō (October 26, 737 AD), and to Junior Fourth Rank, Upper Grade on the twenty-first day of the eleventh lunar month of the twelfth year of Tenpyō (December 14, 740 AD). On the second day of the fifth lunar month of the eighth year of Tenpyō Shōhō (June 3, 756 AD) he was made the Crown Prince (Kōtaishi, 皇太子) according to the death-bed decree by Retired Emperor Shōmu. But such a vile creature as Empress Kōken, one of the greatest villains in the Japanese history, could not, of course, do as little as to respect her deceased father’s wish, so the on the twenty-fifth day of the third lunar month of the first year of Tenpyō Hōji (April 18, 757 AD) Crown Prince Punando was demoted back to Prince Punando on the trumpeted-up charges of being dissolute and unrepentant. On the second day of the seventh lunar month of the same year (August 22, 757 AD) he was clubbed to death on Empress’s order for his involvement in Tatimbana-nö Naramarö’s rebellion (Omodaka 1984.19: 214), more likely imaginable and or cooked-up by Empress Kōken than real. This the only poem by him in the Man’yōshū (Nakanishi 1985: 272).

Preface to the poems 19.4285-4287

本文・Original text 十一日大雪落積尺有二寸因述拙懐歌三首 Translation On the eleventh day [of the first lunar month of the fifth year of Tenpyō Shōhō], there was a big snowfall, [with snow] piling up [one] shaku and two sun. Therefore, [I] narrated [my] humble feelings [in] three poems. Commentary The eleventh day of the first lunar month of the fifth year of Tenpyō Shōhō corresponds to February 18, 753 AD. Shaku (Chin. Chǐ, 尺) equals 0.32 m or roughly one foot. Sun (Chin. Cùn, 寸) equals one tenth of a shaku (尺), that is 0.032 m, or roughly 1.2 inches. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

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19.4285

本文・Original text (1) 大宮能 (2) 内尓毛外尓母 (3) 米都良之久 (4) 布礼留大雪 (5) 莫踏 祢乎之 仮名の書き下し・Kana transliteration (1) おほみ 1 やの 2 (2) うちにも 1 と 1 にも 2 (3) め 2 づらしく (4) ふれる おほゆき 1 (5) なふみ 1 そ 2 ねをし Romanization (1) OPO MÎYA-nö (2) UTI-ni mô TÔ-ni mö (3) mëndurasi-ku (4) pur-er-u OPO YUKÎ (5) NA-PUM-Î-SÖ-n-e wosi Glossing with morphemic analysis (1) Great Palace-GEN (2) inside-LOC FP outside-LOC FP (3) be.rare-INF (4) fall-PROG-ATTR big snow (5) NEG-step-INF-do-DES-IMP be.a.waste (FIN) Translation (5) Do not step on the big snow (4) that is falling (3) rarely (2) both inside and outside (1) of the Great Palace. (5) [It will] be a waste. Commentary Phonography is slightly dominant in this poem. Great Palace is, of course, the Imperial Palace in the capital of Nara. The original meaning of OJ mëndurasi is ‘to be attractive’. In this poem, however, it means ‘to be rare’ or ‘to be splendid’ (both meanings that survived in the modern Japanese language), or the combination of ‘to be rare’ and ‘to be splendid’. It is difficult to decide: while nowadays Kansai region hardly gets any extensive snowfalls, the situation more than twelve hundred years ago was quite different, although even then the snowfalls were not as extensive as on the Japan sea side.

19.4286

本文・Original text (1) 御苑布能 (2) 竹林尓 (3) 鸎波 (4) 之伎奈吉尓之乎 (5) 雪波布利 都々 仮名の書き下し・Kana transliteration (1) み 1 そ 2 の 2 ふの 2 (2) たけ 2 の 2 はやしに (3) うぐひ 1 すは (4) しき 1 なき 1 にしを (5) ゆき 1 はふりつつ Romanization (1) MÎ-SÖNÖ-pu-nö (2) TAKË-NÖ PAYASI-ni (3) UŋGUPÎSU pa (4) sikî nak-î-n-i-si-wo (5) YUKÎ pa pur-i-tutu Glossing with morphemic analysis (1) HON-garden-growing.place-GEN (2) bamboo-GEN grove-LOC (3) bush.warbler TOP (4) frequently sing-INF-PERF-INF-PAST.ATTR-ACC (5) snow TOP fall-INF-COOR

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Translation (3/4) Although a bush warbler has been singing frequently (2) in the bamboo grove (1) of your garden, (5) snow continues to fall. Commentary Phonography and logography are used almost equally in this poem. On OJ sönö ‘garden’ see the commentary to the poems 17.3906 and 19.4277. WOJ sönö-pu is used synonymously with OJ sönö ‘garden’, although historically the former consists of sönö ‘garden’ and pu ‘growing place’, the latter referring to the spot where trees and grasses are growing or are cultivated. On OJ takë ‘bamboo’ see the commentary to the poem 5.824. On uŋgupîsu ‘bush warbler’ see the commentary to the poem 5.824. Omodaka noted that all manuscripts except the Genryaku kōhon have simba ‘frequently’ instead of sikî ‘id.’ in line four (1984.19: 216). However, this is not completely accurate. The Hirose-bon has 之伎 sikî in the original text, but シハ siha in katakana transcription (HB 10.41b). Apparently, katakana transcription is secondary as compared with the original text, so the combined evidence from the Genryaku kōhon and the Hirose-bon, the latter coming from a completely different Taika line of manuscripts, points to sikî in the Ur-text.

19.4287

本文・Original text (1) 鸎能 (2) 鳴之可伎都尓 (3) 尓保敝理之 (4) 梅此雪尓 (5) 宇都呂布 良牟可 仮名の書き下し・Kana transliteration (1) うぐひ 1 すの 2 (2) なき 1 しかき 1 つに (3) にほへ 1 りし (4) うめ こ 2 の 2 ゆき 1 に (5) うつろ 2 ふらむか

2

Romanization (1) UŋGUPÎSU-nö (2) NAK-Î-si kakî-tu-ni (3) nipop-êr-i-si (4) UMË KÖNÖ YUKÎ-ni (5) uturöp-uram-u ka Glossing with morphemic analysis (1) bush.warbler-GEN (2) sing-INF-PAST.ATTR fence-inside-LOC (3) bloom-PROG-INF-PAST.ATTR (4) plum this snow-LOC (5) fade-TENT2ATTR IP Translation (4) Plum blossoms (3) that were blooming (1/2) inside the fence where a bush warbler sang, (5) would [they] fade (4) in this snow? Commentary Phonography is dominant in this poem. On uŋgupîsu ‘bush warbler’ see the commentary to the poem 5.824. On OJ kakî-tu ‘inside the fence’ see the commentary to the poem 19.4207. On OJ umë ‘plum’ see the commentary to the poem 5.815. On OJ uturöp- ~ uturôp- ‘to fade’ see the commentary to the poem 19.4282. - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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Preface to the poem 19.4288

本文・Original text 十二日侍於内裏聞千鳥喧作歌一首 Translation A poem [I] composed on the twelfth day [of the first lunar month of the fifth year of Tenpyō Shōhō], when [I] served in the Palace and heard plovers crying. Commentary The twelfth day of the first lunar month of the fifth year of Tenpyō Shōhō corresponds to February 19, 753 AD. On WOJ tindöri ‘plover’ and its symbolic meaning associated with love and longing see the commentary to the poem 20.4477.

19.4288

本文・Original text (1) 河渚尓母 (2) 雪波布礼々之 (3) 宮裏 (4) 智杼利鳴良之 (5) 爲牟等 己呂奈美 仮名の書き下し・Kana transliteration (1) かはすにも 2 (2) ゆき 1 はふれれし (3) み 1 やの 2 うちに (4) ちど 2 りなくらし (5) ゐむと 2 こ 2 ろ 2 なみ 1 Romanization (1) KAPA SU-ni mö (2) YUKÎ pa pur-er-e si (3) MÎYA-NÖ UTI-NI (4) tindöri NAK-Urasi (5) wi-m-u tökörö na-mî Glossing with morphemic analysis (1) river sandbank-LOC FP (2) snow TOP fall-PROG-EV EP (3) palace- GEN inside-LOC (4) plover cry-SUP (5) live-TENT-ATTR place not.exist-CON Translation (2) Snow is falling (1) even at river sandbanks. (4) It seems that plovers cried (3) in the Palace, (5) because [they] have no [other] place to live. Commentary Phonography is dominant in this poem. The overall meaning of this poem is that since snow covered river sandbanks, which are the place where plovers live, they have no place to live now and migrated to the palace grounds. The construction with an evidential followed by emphatic particle si is unusual and rare, but yet it is possible (Omodaka 1984.19: 217-218). Provided we read it correctly, line three is hypermetric (jiamari, 字余り), but this is probably just a graphic illusion, since mîya-nö uti-ni was in all probability pronounced as [mîyanutini]. On WOJ tindöri ‘plover’ and its symbolic meaning associated with love and longing see the commentary to the poem 20.4477. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

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Preface to the poem 19.4289

本文・Original text 二月十九日於左大臣橘家宴見攀折柳條歌一首 Translation A poem [I composed] at the banquet in the house of Tati mbana-nö Möröye on the nineteenth day of the second lunar month [of the fifth year of Tenpyō Shōhō], when [I] saw the pulled strongly and broken off willow branches. Commentary The nineteenth day of the second lunar month of the fifth year of Tenpyō Shōhō corresponds to March 28, 753 AD. On the Minister of the Left (Sadaijin, 左大臣) see the commentary to the preface to the poem 19.4256. On the biography of Tatimbana-nö Möröye see the commentary to the preface to the poem 20.4304. On WOJ yaŋgï ‘willow’ see the commentaries to the poems 5.817 and 5.821.

19.4289

本文・Original text (1) 青柳乃 (2) 保都枝与治等理 (3) 可豆良久波 (4) 君之屋戸尓之 (5) 千年保久等曽 仮名の書き下し・Kana transliteration (1) あをやぎ 2 の 2 (2) ほつえ 2 よ 2 ぢと 2 り (3) かづらくは (4) き み 1 がやど 1 にし (5) ちと 2 せほくと 2 そ 2

1

Romanization (1) AWO YAŋGÏ-nö (2) po-tu YE yöndi tör-i (3) kandurak-u pa (4) KÎMÎ-ŋGA YAndô-ni si (5) TI-TÖSE pok-u tö sö Glossing with morphemic analysis (1) green willow-GEN (2) top-GEN/LOC branch pull.strongly(INF) take- INF (3) decorate.with.laurel-ATTR TOP (4) lord-POSS house.garden-LOC EP (5) thousand-year(CL) pray-FIN DV FP Translation (5) [I] pray [that] for a thousand years (4) at [my] lord’s garden (3) [we] will decorate [ourselves] with laurels (2) [which we make by] pulling strongly and breaking off top branches (1) of green willows. Commentary Phonography is dominant in this poem. On WOJ yaŋgï ‘willow’ see the commentaries to the poems 5.817 and 5.821. On WOJ po < pô ‘top, pinnacle’ see the commentary to the poem 5.800. On OJ yandô ‘house, house garden’ see the commentary to 19.4172. This poem does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

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Preface to the poems 19.4290-4291

本文・Original text 廿三日依興作歌二首

Translation Two poems [I composed] on the basis of my inspiration on the twenty-third day of the second lunar month [of the fifth year of Tenpyō Shōhō]. Commentary The twenty-third day of the second lunar month of the fifth year of Tenpyō Shōhō corresponds to April 1, 753 AD. This preface does not mention an author, but according to the postscript to the poem 19.4292, all unsigned poems are by Opotömö-nö Yakamöti.

19.4290

本文・Original text (1) 春野尓 (2) 霞多奈豐伎 (3) 宇良悲 (4) 許能暮影尓 (5) 鸎奈久母 仮名の書き下し・Kana transliteration (1) はるの 2 の 1 に (2) かすみ 1 たなび 1 き の 2 ゆふかげ 2 に (5) うぐひ 1 すなくも 2

1

(3) うらがなし (4) こ

2

Romanization (1) PARU-NÖ NÔ-ni (2) KASUMÎ tanambîk-î (3) ura-ŋ-GANASI (4) könö YUPU KAŋGË-ni (5) UŋGUPÎSU nak-umö Glossing with morphemic analysis (1) spring-GEN field-LOC (2) mist trail-INF (3) heart-LOC-be.sad(FIN) (4) this evening light-LOC (5) bush.warbler sing-EXCL Translation (1) In the spring fields (2) mist is trailing, and (3) [I] am sad in [my] heart. (5) Bush warbler sings (4) in the sunlight this evening! Commentary Logography is dominant in this poem. The character 豐 in line two is, as far as I can tell, the unique usage for m bî.140 It seems to be a poor match for mbî, because LH reading for 豐 (Mandarin Chinese fēng) is phuŋ and EMC reading is phjuŋ. OJ ura ‘inside’, ‘back’ is used here metaphorically for heart as an internal organ. See also 14.3443, 14.3495, 14.3500, 15.3584, 15.3752, 17.3978, 19.4177, 19.4214, and 20.4311 for the same usage. OJ kaŋgë is a polysemantic word: ‘shade, shadow, light, sunlight’. Here it refers to the evening sunlight. On uŋgupîsu ‘bush warbler’ see the commentary to the poem 5.824.

140

It is an impressionistic observation, because the MYSearcher program refuses to recognize 豐 even in this poem, and shows 0 hits for this character in the Man’yōshū.

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19.4291

本文・Original text (1) 和我屋度能 (2) 伊佐左村竹 (3) 布久風能 (4) 於等能可蘇氣伎 (5) 許能由布敝可母 仮名の書き下し・Kana transliteration (1) わがやどの 2 (2) いささむらたけ 2 (3) ふくかぜの 2 (4) おと 2 の 2 か そけ 2 き (5) こ 2 の 2 ゆふへかも 2 Romanization (1) wa-ŋga YAndô-nö (2) isasa-mura TAKË (3) puk-u KAnZE-nö (4) otö-nö kasôkë-kî (5) könö yupu-pê kamö Glossing with morphemic analysis (1) we-POSS garden-GEN (2) small-group bamboo (3) blow-ATTR windGEN (4) sound-GEN be.faint-ATTR (5) this evening-side EP Translation (5) Oh, this evening (4) with the faint sound (3) of wind blowing [through] (2) the bamboo [growing in] a small grove (1) in our garden. Commentary Phonography is absolutely dominant in this poem. On OJ yandô ‘house, house garden’ see the commentary to 19.4172. There is a controversy regarding the interpretation of isasa in line two. In a nutshell, two main theories treat it as either isasa ‘small’, the root of isasa-ka ‘id.’ or i sasa ‘sacred bamboo grass’ (Omodaka et al. 1967: 72), (Omodaka 1984.19: 221-223), (Aoki 1997: 295). The second analysis leaves us with a strange syntactic construction: ‘sacred bamboo grass group bamboo’, but the first one appears to be unproblematic both syntactically and morphologically, because -ka is a frequent adjectival derivational suffix, like in sindu-ka ‘quiet’, nipa-ka ‘sudden’, etc. Therefore, I follow the first analysis. On OJ takë ‘bamboo’ see the commentary to the poem 5.824. WOJ kasôkë- is a predecessor of later kasuka ‘slight, faint’ (not attested in OJ). Three interesting points worth mentioning here are: first, kasôkë- shows the form still preserving primary vowel ô < *o, prior to the raising *o > u; second, all the attestations of kasôkë- are always in the attributive form kasôkë-kî, there is no final kasôkë-si or infinitive kasôkë-ku; and third, while the WOJ kasôkë- is apparently an inflected adjective, the later form kasuka represents an uninflected adjective.

Preface to the poem 19.4292

本文・Original text 廿五日作歌一首

Translation A poem [I composed] on the twenty-fifth day [of the second lunar month of the fifth year of Tenpyō Shōhō].

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Commentary The twenty-fifth day of the second lunar month of the fifth year of Tenpyō Shōhō corresponds to April 3, 753 AD.

19.4292

本文・Original text (1) 宇良宇良尓 (2) 照流春日尓 (3) 比婆理安我里 (4) 情悲毛 (5) 比登 里志於母倍婆 仮名の書き下し・Kana transliteration (1) うらうらに (2) てれるはるひ 1 に (3) ひ 1 ばりあがり (4) こ 2 こ ろ 2 がなしも 1 (5) ひ 1 と 2 りしおも 2 へ 2 ば

2

Romanization (1) ura-ura n-i (2) TER-Er-u PARU PÎ-ni (3) pîmbari aŋgar-i (4) KÖKÖRÖ-ŋ-GANASI-mô (5) pîtö-ri si omöp-ë-mba Glossing with morphemic analysis (1) bright DV-INF (2) shine-PROG-ATTR spring sun-LOC (3) skylark soar.up-INF (4) heart-LOC-be.sad-EXCL (5) one-CL EP think-EV-CON Translation (3) A skylark soars up (2) towards the spring sun that is shining (1) brightly. (5) When [I] think alone, (4) [I] am sad in my heart! Commentary Phonography is dominant in this poem. On WOJ pîmbari ‘skylark’ see the commentary to the poem 20.4433. Lines three and five are hypermetric (jiamari, 字余り).

Postscript to the poem 19.4292

本文・Original text 春日遅々鶬鶊正啼悽惆之意非歌難撥耳仍作此歌式展締緒但此巻中不偁 作者名字徒録年月所處縁起者皆大伴宿祢家持裁作歌詞也 Translation Spring days become long and skylarks are openly chirping. It is difficult to express painful thoughts except in poems. Therefore, [I] composed this poem trying to untie [my melancholy], which tied [my heart like] a knot not to be untied. However, [it is to be kept in mind] that poems in this book that do not mention the name of an author, and only record dates and places [they] originated from are all the poems that Opotömö-nö sukune Yakamöti composed and placed [there]. Commentary 春日遅々鶬鶊正啼 is an allusion to Shī jīng 154 (七月): 春日載陽、有鳴倉 庚 … 春日遲遲 ‘spring days bring warmth, there are chirping skylarks … spring days become long’. Some scholars believe that 鶬鶊 is a ‘bush warbler’ and not a ‘skylark’ (Aoki 1997: 299), while others prefer ‘skylark’ (Omodaka 198.19: 225). I

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believe that there is unassailable evidence supporting the latter point of view. First, as many Japanese scholars including Omodaka pointed out, pîmbari in Wamyōshō is clearly defined as 鶬鶊 or 倉庚 (WMS 7.27a, 18.8a). Second, postscript to the poem about a skylark referring to a bush warbler simply makes no sense. Finally, bush warblers sing (鳴), they do not chirp or cry (啼) like skylarks. On Opotömö-nö Yakamöti’s biography, see the Introduction to book twenty of the Man’yōshū. On asömî, sukune, pumbîtö, imîkî, and other kabane (姓) ranks see footnote 17 on p. 33 of the Man’yōshū book fifteen. END OF BOOK NINETEEN

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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. —— 1949. Moji oyobi kanazukai no kenkyū [Studies on Characters and Kana Usage]. Tokyo: Iwanami shoten. Hashimoto, Tatsuo 1985. Man’yōshū zenchū. Kan dai 17. [The Man’yōshū Completely Annotated, vol. 17]. Tokyo: Yūhikaku. 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 - 978-90-04-37010-4 Downloaded from Brill.com11/09/2020 12:05:43PM via free access

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