A Handbook To Classical Japanese 9781933947044 1933947047 9781933947341 1933947349 - Compress

A Handbook to Classical Japanese
East Asia Program

Cornell University
Ithaca, New York 14853
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C o v e r ca l l i g r a p h y E t s u k o O b a t a R e i m a n .
C o v e r d e s i g n E v a n g e l i n e Ray.
A H a n d b o o k to Classical J a p a n e s e = [ B u n g o h a n d o b u k k u ]
N u m b e r 1 3 4 in t h e C o r n e l l E a s t A s i a Series
Copyright © 2 0 0 6 b y J o h n T i m o t h y W i x t e d . A l l rights r e s e r v e d
I S S N 1050-2955
I S B N - 1 3 : 978-1-933947-04-4 he / I S B N - 1 0 : 1-933947-04-7 he
ISBN-13: 978-1-933947-34-1 p b / I S B N - 1 0 : 1-933947-34-9 pb
Library o f C o n g r e s s Control N u m b e r : 2 0 0 6 9 3 5 6 8 1
@ T h e p a p e r in this b o o k m e e t s the r e q u i r e m e n t s for p e r m a n e n c e o f I S O 9 7 0 6 : 1 9 9 4 .
C A U T I O N : E x c e p t for brief q u o t a t i o n s in a r e v i e w , n o part o f this b o o k m a y b e re

p r o d u c e d o r utilized in a n y f o r m w i t h o u t p e r m i s s i o n in w r i t i n g f r o m t h e author. P l e a s e
a d d r e s s inquiries to J o h n T i m o t h y W i x t e d in c a r e o f the E a s t A s i a P r o g r a m , C o r n e l l
U n i v e r s i t y , 1 4 0 U r i s Hall, Ithaca, N Y 14853-7601.
For
Burton Watson
Contents
Abbreviations................................................................................................................... xi
Acknowledgments........................................................................................................ xiii
Preface ................................................................................................. ••........... 1
Orthography.................................................................................................... 17
Introduction....................................................................................................23
1 A n Overview of Verbs 24
2 V e r b Conjugations: Basics 27
3 W h i c h V e r b s B e l o n g to W h i c h C o n j u g a t i o n ? 33
4 Principal U s e s o f the S i x V e r b - F o r m s SX* 35
5 V e r b a l Adjectives V A 54
6 Pseudo-Adjectives PA 60
7 L i n k i n g via Kakari-musubi K M 65
8 H o w to 4U n p a c k , Bungo V e r b s UP 73
9 I t e m s Easily C o n f u s e d : A p p a r e n t A m b i g u i t y EC 81
10 iVar/ なり Headaches N R 94
11 なむ/なん Trouble N M 101
12 Additional Items A D 106
13 Respect L a n g u a g e RL 111
Body of t h e Handbook ................................................................................121

V erb-S uffixes (Listed A l p h a betically) 122
P o s t - M I Z E N K E I Inflected Suffixes
MZK.1 - Z ひず 123
MZK.2 -Z A R Iざり 129
MZK.3 - M / む /-#ん 132
MZK.4 - M / Z ひむず /-iVZ ひんず 136
MZK.5 -•//じ 140
MZK.6 -M ASHIまし 142
MZK.7 -MAHOSHIまほし 146
*This c o l u m n gives the abbreviations used w h e n citing sections o f the INTRODUCTION: e.g.,
“lntro.6.PA, # 4 ”refers to cited phrase # 4 in Intro.6, “£seudo-4djectives”（ P A being taken f r o m
the initial letters o f the section-title); a n d “Intro. 12.AD.IIT’refers to Sect. Ill o f Intro.12,
“Additional Items”( A D being d r a w n f r o m “Additional”).
Contents
P o s t - M I Z E N K E I P C H Suffixes (Passive, Potential, Causat i v e ,

Honorific, a n d / o r S p o n t a n e o u s Inflected Suffixes)
MZK.PCH.1 -(RA))RU 150
MZK.PCH.2 -(&4) 双/ ( さ）す 153
MZK.PCH.3 -SHIAfU しむ 156
P o s t - M I Z E N K E I N I S Suffixes ( N o n - I n f l e c t e d Suffixes)
MZK.NIS.1 -似ば(‘if) 159
MZK.NIS.2 -A4K4 ばや 161
MZK.NIS.3 -N A M U なむ卜N A N なん 164
P o s t - R E N ^ O K E I Inflected S u f f i x e s
RYK.1 -TARI 化 ” 166
RYK.2 -KERI ㈣ 170
RYK.3 -册ぬ 173
RYK.4 -NIKER1 \こけ” ， -NIKI \こき， -NITARJ \こI t り 178
RYK.5 -TSU つ 183
RYK.6 -KI き / - SHI し 188
RYK.7 -K E M U けむ/ - K E N けん 194
RYK.8 -TASHI I t し 197
P o s t - S H U S H I K E I Inflected Suffixes
SSK.1 -BESHIべし 201
SSK.2 -R A S W らし 207
SSK.3 - M 4 J 7 まじ 211
SSK.4 -M E R Iめり 215
SSK.5 -R A M U らむ/ - R A N らん 218
SSK.6 なり（hearsay/supposition) 222
P o s t - R E N T A I K E I Inflected Suffixes
RTK.1 -GOTOSHIごとし 225
RTK.2 なり（ explanation/affirmation) 229
Post-IZENKEI NIS N o n - I n f l e c t e d Suffixes

IZK.NIS.1 -5 パば（
‘when/because’
） 233
IZK.NIS.2 - D O ど丨-D O M O ども 235
P o s t - M E I R E I K E I Inflected Su f f i x
MRK.1 -R Iり 237
A p p e n d i c e s .............................................................. 243
A p p e n d i x A
J a p a n e s e T e x t - S o u r c e s for Citations in t h e H a n d b o o k ,
a n d C o n v e n t i o n s in Citation 244
A p p e n d i x B
J a p a n e s e T e x t s C i t e d in the H a n d b o o k : A F i n d i n g List 247
A p p e n d i x C
N o t e s : O t h e r Translations o f Citations in the H a n d b o o k 258
viii
Contents
A p p e n d i x D
A T e x t - b y - T e x t Listing o f the ‘
O t h e r T r a n s lations ’C i t e d
in the N o t e s 286
A p p e n d i x E
Stu d i e s R e l a t e d to Classical J a p a n e s e (Bungo) in W e s t e r n
L a n g u a g e s (exc e p t Russian): Individual B o o k - T i t l e s O n l y 327
A p p e n d i x F
W e s t e r n - L a n g u a g e B u n g o G r a m m a r s : A n Analyti c a l C h a r t 334
A p p e n d i x G
4V e r b ?- E n d i n g s : S u m m a r y C h a r t s 339
In d e x ....................................................................................... 3 4 7
ix
Abbreviations and Symbols
add’
l . = additional “Intro.4 . S X , ”“I n t r o . 5 . V A ，
”e t c . =
adj ⑻ . = adjective ⑻ s e e n., b o t t o m o f p. v n
affirm. = affirmation IZK = Iz e n k e i
a ux. = auxiliary v e r b JTI = s e e pp. 2 4 7 a n d 6 - 7
b. = bom -如く a d j . == see pp. 5 4 - 5 5
bee. = because M J = m o d e m Japanese
biblio. = bibliography M R K = M eireikei
ca. = approximately ( < cir M Z K = M izenkei
ca in Latin) n. = n o t e (i.e., footnote)
cf. = c o m p a r e (< confer in N.B. = N o t e well! (<Nota be

Latin) ne in Latin)
comp. = compiler neg. = negative
d. = died NIS = N o n - I n f l e c t e d Suffix
ed(s). = editor(s)/edited N K B T = s e e pp. 7 - 8
for e x a m p l e ( < exem P . / P P . = page/ pages

e.g. =
pli gratia in Latin) para. = paragraph
esp. = especially P C H Passive, Potential,
etc. = et cetera: see p. 8 n . 1 7 Causa t i v e , Honori f i c , a n d / o r S p o n
explan.= explanation t a n e o u s inflected suffix
fem. = female P G O = s e e p. 5 n. 9 , 2 5 8
ff. = a n d following pol. = 'polite5 u s a g e ; s e e pp.
fl. = flourished (< floruit 111-113
in Latin) rpt. = reprint/reprinted
hon. = thonorific, u s a g e ; see rpts. = reprints
p p . 111-113 R T K = R entadcei
hum. = ‘
h u m b l e ’ usage; see R Y K = R e n ’
y O kei
p p . 111-113 Sect. = Section
i.e. = that is (<id est in L a t -s h i k u しく adj. = s e e pp. 5 4 - 5 5
in) s.o. = someone
IKE = see p. 6 n. 9 „ 2 5 8 SSK = Shushikei
I M X = see p. 5 n. 9, 2 5 8 s.th. = something
IMZ = s e e p. 6 n. 9 , 2 5 8 suppos.— supposition
incl. = i n c l uding viz. = na m e l y (< videlicet in

info. = information Latin)
Intro. 二 In t r o d u c t i o n w. = with
Abbreviations and Symbols
+ = seepp. 101-102, 2 2 2 n . 1
- = see pp. 4 2 , 1 0 1 - 1 0 2 , 2 2 2 n . 1
氺 = see p. 2 5 8
** = see pp. 3 6 a n d 2 4 7
and — > = s e e p. 7 3
<-> see p. 7 6
00 = n o t treated/not in text; s e e pp. 2 5 8 - 2 5 9

------ = s e e p. 2 8 6
< 二 the i t e m to the left o f the a r r o w < is d e r i v e d f r o m the i t e m to t h e right
o f it
> = the i t e m to the left o f the a r r o w > c a n b e p a r a p h r a s e d a s t h e i t e m to
the right o f it
< > = s e e p. 3 2 3 , u n d e r “A s t o n ”
d o e s n o t e q u a l O R is n o t the s a m e as (e.g.，“A ギB ”m e a n s “A is to b e
differentiated f r o m B ”；see pp. 84ff.)
々 = repetition o f the p r e c e d i n g individual kanji (e.g., , y 〇Y〇)
ゞ = repetition o f the p r e c e d i n g i n d i v i d u a l ん (e.g.，こぼ、
る、，b -
boruRlf)
• =
separates multiple k a n ji ( s o m e with o ku rig a n a ) u s e d t o tran-
s c r i b e a n e x p r e s s i o n in J a p a n e s e ( e . g . 饑う•飢う•餓つ,
all u s e d for uu, 4t o starve*); cf. s i n g l e e x p r e s s i o n i n k a n ji
f o l l o w e d b y “etc.” ( s e e p. 8 n . 1 7 )
ハ . = repetition o f the p r e c e d i n g t w o - o r three-syllable unit, in kana and/or
kanji (e.g.,め b / \ ，memMERA.，物 / \ しく，monoMONOshiku;

我も/、， m a r e 膨，旧 /?£■婦）
ハ = repetition o f the p r e c e d i n g t w o - o r three-syllable unit (in kana and/or
kanji), w i t h the initial c o n s o n a n t in the r e p e a t e d syllable v o i c e d (e.g.,
はる卜' \ ，haruBARii\ X t' \ ，hitoBiTO)

自 = intransitive v e r b (/./•ゴみ/?/ 自動詞)； seep. 2 7
他 transitive v e r b (toc/ds/zz•他動詞)； seep_ 2 7
形動ナリ= see p. 6 0
四、上一、
上二、下-、下二、ラ変、サ変、ナ変、a n d 力変=
s e e pp. 2 6 , 2 8 - 3 2 , a n d 2 5 n. 7
Acknowledgments
I am most grateful for the library facilities made available to me in recent

years as an Associate Member o f the Center for East Asian Studies at the Uni
versity o f Chicago, Associate Member o f the Center for Chinese Studies at the
University o f Michigan, and Special Borrower at the University o f Notre Dame.
Citation o f many references in the volume was made possible thanks to the
Inter-Library Loan services o f the University o f Chicago, University o f Michi
gan, and Arizona State University, as well as o f the Three Oaks (Michigan)
Public Library. Final checking o f material was completed with a travel grant
from the Center for Japanese Studies at the University o f Michigan.
Ana Clelia Vincenti, my wife, offered constructive criticism and unfailing
support.
Helpful editing, useful discussion, and careful proofreading were extended
by my friend, John Bowden, with whom I took my first Japanese-language
course more than forty years ago. We were the only students in a class taught by
Makoto Ueda at the University o f Toronto. A few years later we were at the
Inter-University (Stanford) Center in Tokyo at the same time, in 1967-68, when
I first met his spouse.
For help in getting material that otherwise would have been difficult to
obtain, I wish to thank Leora Bowden, Horst Amold-Kanamori, David Lurie,
Claudia Brown, Paul Davidson, David Knechtges, and Glen Dudbridge.
The staff o f the Cornell East Asia Series was ever helpful, especially
Evangeline Ray.
I profited from comments by Kyoko Selden and by external reviewers o f
the manuscript, notably Stephen D. Miller.
Another friend— and colleague for more than twenty-five years at Arizona
State University— Etsuko Obata Reiman, kindly did the calligraphy for the
cover, title-page, and spine o f the book.
Lauren Matacio and Royall Tyler were prompt in answering queries.
The book is dedicated to Burton Watson, whom I first met while a masters
candidate at Stanford University in 1965-66. He was a visiting professor and
became one o f my M.A.-thesis advisors. Contact with him continued over the
xiii
Acknowledgments
years, especially while in Japan: in 1966 in Kyoto, 1970-72 in Wakayama and

Kyoto, and 1999-2000 in Tokyo.
The year at Stanford was golden in many ways. Besides classes in Chinese,
including ones on Chinese poetry with Burton Watson, I took or audited courses
on the Japan side with Robert Brower and Edward Seidensticker, came to know
William McCullough and Helen Craig McCullough, and first met (the preced
ing summer) Donald Shively
The Stanford program was especially fluid at the time. Many left for other
parts. I was to go on to Oxford University for a different kind o f doctoral experi-
ence. In retrospect, I see just how good the year was. Mention o f Burton Watson
brings up these associations.
This is being written in southwest Michigan, in Harbert near Lake Michi

gan, well situated for four o f the five libraries mentioned above. Harbert is
where Carl Sandburg lived from 1928 to 1945 and wrote much o f his multi
volume biography o f Abraham Lincoln. Fifteen miles away is Berrien Springs,
where Andrew N. Nelson was dean o f the Seventh Day Adventist school, Em
manuel Missionary College (now Andrews University) in the 1940s, prior to
completing his \2indm?irkJapanese-English Character Dictionary.
Preface
i
This book is called A Handbook to Classical Japanese. Theoretically, it could

be called An Introduction to Classical Japanese, or even A Grammar o f
Classical Japanese, because it provides an introduction to the classical
language, as well as detailed explanation and copious illustration o f its core
grammatical features. Yet the volume is also largely intended as a reference
work. “Handbook” best summarizes the combined result.
To elaborate, the Handbook is envisaged as being used in the following
complementary ways:
As an Introduction to Classical Japanese
The basic features o f the language are outlined, step-by-step (after a section on
O r t h o g r a p h y ), in the work’s thirteen-part In t r o d u c t i o n . The B o d y o f t h e
H A N D B O O K ， with its hundreds o f examples o f verb-suffix usage, serves as a

kind o f reader. Moreover, the book’s A p p e n d i c e s introduce a wide range o f
Western-language material. As an introductory text, the work can b e ：
used alone as an introduction to the language;
used together with the programmed introduction to classical Japanese by
P.G. O ’N eill;1
used in tandem with one o f the more-general Western-language grammars
o f the classical language: say, by Haruo Shirane, Ikeda Tadashi, or
Bruno Lewin, or even the more specialized work by Alexander Vovin;
and/or used in conjunction with Japanese-language introductions to bungo
文語（ classical Japanese).
In any event, the work can (and optimally should) be used together with other
selected readings from classical texts.
1 T h e studies referred to here are listed in S e c t . 1 ，“G r a m m a r s , Introductions,”o f A ppendix E:

t4Studies o f Classical Japanese {Bungo) in W e s t e r n L a n g u a g e s (except Russian): Individual
Book-Titles Only.” Most of the entries there, no longer being in print, are available only at
research libraries.
Preface
As a Grammar o f Classical Japanese
As a grammar, the Handbook deals with the central issue o f bungo, namely,
'verb'-endings: specifically, the endings o f verbs, verbal adjectives, pseudo
adjectives, and verb-suffixes, êrb'-endings, broadly defined, pose the great
majority o f problems one encounters when dealing with classical Japanese. The
Handbook treats the issue systematically, presenting hundreds o f examples.
Furthermore, the work’s extensive I N T R O D U C T I O N walks the reader through key
problem-areas, with sections on “Which Verbs Belong to Which Conjugation?”
“How to ‘Unpack’ Verbs,” “Items Easily Confused: Apparent Ambigu-
ity,” ‘Wan •なり Headaches,” なむ/なん Trouble,” and “Respect
Language.”
As a Reference Work
Introductory material and grammatical items are presented in such a way— i.e.,
ordered, charted, cross-referenced, and indexed— so that both specific and
more general points can be looked up quickly and comprehensively. And
copious material in the book’s several appendices is available for potential use.
The work is a reference tool in several ways:
in tenns o f grammar, treating verbs (succinctly outlined), verb-suffixes
(briefly summarized but copiously illustrated), and verbal adjectives
and pseudo-adjectives (compactly presented), each fully charted and
indexed (with an additional chart telling what other Western-language
grammars treat which verb-suffixes where— namely, on what exact
pages);
in terms o f translation, giving comprehensive information about other
Western-language translations (into English, French, German, and
Spanish) o f texts cited— especially helpful for potential comparative-
translation study;
in terms o f the classical language perse, offering an extensive bibliography
o f Western-language full-length studies (usefully subdivided and par
tially annotated);
in terms o f citation o f texts (with full explanation o f what editions were
used and how they are cited);
in terms o f orthography (with helpful charts);
and in terms o f material for further study (with listings o f annotated readers
in Western languages and additional material in Japanese, together
with information on how to access it).
In sum, the Handbook can be used as an introduction to classical Japanese,
an initial textbook, a companion text, a review text, and/or a reference work.
Preface
The goals o f the Handbook are as follows: to help students o f bungo master
the core constellation o f grammatical problems posed by the classical language;
to provide users with a generous sampling o f real-language examples
illustrating the grammatical points being discussed; to present a serious but
manageable amount o f vocabulary in context; to introduce readers to writings in
great classic texts (and entice them to read llirther in the original and in
translation); and to serve as a reference work for premodem Japanese language
and literature.
The Handbook emerges from materials the author developed while teach
ing classical Japanese. As such, it draws on his experience o f what areas are
likely to be problematic for those learning the language. Most Western-
language introductions to bungo supply comparatively few examples to illus
trate grammatical points being discussed,2 and some even mix in made-up
sentences. Few clarify what form o f a verb-ending is being used in the samples
cited. None make a systematic attempt to supply more than one example o f a
verb-suffix in each o f its (up to) six forms, if indeed even one o f each is given.
Moreover, since many such works were published at a time when it was
cumbersome or expensive to supply Japanese texts in the original as well as in
romanization, one is often left wondering what ん a/?ノ
7 漢字 might be used in a
citation. Although some works give the sources for quotations cited, most are no
more precise than “Genji” or “Heike.” Almost none refer to what editions o f
texts are being used, let alone the specific chapters and/or page numbers where
citations might be found, and even when doing so may edit the text without
warning. Also, one often wonders whether a given citation is followed by a
comma, quotation particle, or period, or is followed by additional text without
intervening punctuation, as each can affect how the quotation is construed.3
Finally, none point to available translations in Western languages o f works
cited, to say nothing o f giving precise page numbers for the same. This volume
is intended to remedy the above.
II
My own experience ( if I may slip into first-person usage) is that students do not
fare well when taught bungo, or any foreign-language material, mostly in terms
2 Reference is m a d e here to m o s t w o r k s treated in A p p e n d ix F: “W e s t e r n - L a n g u a g e B u n g o G r a m -

mars: A n Analytical Chart.”
3 It m a y s e e m anachronistic to s p e a k o f punctuation (mostly a late nineteenth-century innovation
in Japan) in reference to early materials. B u t such textual mar k e r s — arguably implicit in the
texts— w e r e included b y the editors o f the editions cited in this work; see the discussion in Sect.
I V below, as well as APPENDIX A , ^Japanese Text-Sources for Citations in the H a n d b o o k , a n d
Conven t i ons in Citation.”
Preface
o f grammar. Yet they are quite capable o f learning classical-language material

well, including grammatical points, if the latter are presented through
real-language examples. In a seeming paradox, if one outlines a grammatical
item in class and gives two or three examples o f it, students will likely absorb
little o f what has been presented. But if one introduces the grammatical point
briefly (or not at all), and focuses on a dozen or more examples where the
feature is embedded, students generally learn it quite well. And once they have
reviewed the examples (say, for a test), they come away understanding the
material, having absorbed the grammar, even if they remain unable to discuss it
in grammatical terms.4 Hence the advantage o f having numerous examples o f
each construct, as in the Handbook. One learns through examples.
Via this approach, three goals are simultaneously served. The user (1)
gains understanding o f how bungo is constructed, (2) expands vocabulary
comprehension, and (3) is exposed to great literary texts in the classical
language. A s for the first goal, the key to understanding how bungo is
constructed lies in mastering classical-Japanese verb-endings.5 Arguably, they
encompass the large majority o f grammatical problems one encounters with the
language.6 As for the second goal, in the same way that language students seem
to learn grammar best when it is embedded in examples, the same is true with
vocabulary. While mastering the examples presented here, users o f the
Handbook will perforce enlarge their comprehension o f Japanese vocabulary,
including kanji recognition, doing so in the only way that is effective, in context.
Finally, as regards the third goal, working through the Handbook necessarily
involves becoming familiar with great texts, much o f it at a subconscious level.
A “feel” for ゐ develops, and with it some sense o f the differences both
4 I h a v e found it usually m o r e effective to focus o n grammatical points with students after they h a v e
been introduced to a construction in this way.
5 T h r o u g h o u t the H a n d b o o k , the umbrella terms ，
“verb，
’’“verb-ending,”a n d “verbal element,”
are generally used to refer to verbal adjectives, pseudo-adjectives, a n d inflected verbs-suf-
fixes_ all o f w h i c h are inflected like verbs— as well as to verbs proper; see Intro.1，“A n
O v e r v i e w o f Verbs.”W h e r e necessary, verbal elements are differentiated f r o m e a c h other.
6 M o s t other p r o b l e m s c a n b e solved b y c h e c k i n g a o n e - v o l u m e Japanese-language dictionary o f
the classical language, possession o f which, in a n y case, is indispensible. T h e r e are m a n y s u c h
w o r k s o n the market, all g o o d at explaining entries, including m a n y g r a m m a t i c a l points (but
n o n e is reliable as a source for textual citation). I h a v e u s e d the following to advantage; like
several other recent o n e - v o l u m e classical dictionaries, it helpfully supplies a m o d e m - l a n g u a g e
translation for e v e q cla き
sical-language passage cited: Kitahara Y a s u o 3 匕原保！
！，
ん全訳古語例解辞典（
Tokyo: S h 6 g a k k a n 小学館，1987; 3rd ed. ， 1998).
T h e best m u l t i -volume dictionary o f Japanese (both classical a n d m o d e m ) r e m a i n s Nihon
た
oんwgo ゴ
aヴ日本国語大辞典（
Tok y o : ShSgakkan 小学館，1972-1976, 2 0 vols; 2 n d ed.,
2 0 0 0 - 2 0 0 2 , 1 4 vols). T h e best dictionary devoted solely to み is んogo 角
川古語大辞典，N a k a m u r a Y u k i h i k o 中村幸彦，O k a m i M a s a o 岡見正雄，a n d S a k a k u r a
Atsuyoshi 阪倉篤義， eds. (Tokyo: K a d o k a w a Sho t e n 角川書店， 1 9 8 2 - 1 9 9 9 ) ，5 vols.
Preface
between individual texts and between larger time-frames.7

Sentences and phrases in the Handbook are purposely repeated.8 This is
done with multiple pedagogical aims in mind: to illustrate how the same phrase
or sentence often exemplifies more than one verb-ending (in effect, cumula-
tively to convey how classical Japanese “all fits together” )；to increase mastery
o f vocabulary (through repetition); and to foster deeper understanding o f the
passages cited (by viewing them from different perspectives, as it were). The
cross-referencing o f additional examples at the end o f individual verb-suffix
entries in the B o d y O F T H E H a n d b o o k further underscores how everything
presented weaves together.
The visual dimension to the Handbook's layout is also important. The part
o f the inflected suffix that changes is highlighted: dark red for Japanese-text
variables, bold-black in small caps for their romanization. The importance o f
these features cannot be overemphasized. The aim is to communicate material
at both conscious and unconscious levels, and to repeat and reinforce it by
presenting it in complementary modes highlighted by contrasting graphic fea-
tures (in 々 a 少•/ 漢字 and ん awa 力、な，on the one hand, and in romanization, on
the other).
Ill
In compiling the Handbook, I have built on the work o f others as regards

presentation and content. Regarding presentation, I have drawn on the strengths
o f earlier studies by Ivan Morris, P.G. O'Neill, and Ikeda Tadashi in the
following ways.9 Morris gives examples o f discrete verb-suffix forms. O ’Neill
7 T h e difference in style bet w e e n texts o f the s a m e general time-period can b e quite p r o n o u n c e d (for
example, between //の知 mcwcâ/fl/7• 平家物語，o n the o n e h a n d ，a n d 说 /•方丈記 or
徒然草，o n the other— all three dating from the medieval penod). This is to say
nothing o f the difference in style bet w e e n larger time-frames (say, bet w e e n Makura no soshi
子 a n d 尺か/7〇如/c/z/ゴa/ o/wcr 好色— 代女，f r o m the classic a n d late periods respectively, a n d
b e t w e e n either o f these a n d a n y o f the medieval texts just mentioned). N o t e that A p p e n d ix B,
"Japanese Texts Cited in the H a n d b o o k : A Finding List/' w h i c h lists all citations f r o m each
individual work, can be helpflil in focusing o n exam p l e s f r o m a specific text or time-period.
A p p e n d ix B can also be used to c h e c k w h e r e a n y individual citation in the H a n d b o o k m i g h t be
treated elsewhere in the work.
8 T h e r e are 6 7 0 citations in the H a n d b o o k , 3 8 5 o f w h i c h are discretely different quotations
( m e a n i n g 2 8 5 are repeated entries, the majority o f w h i c h [185] recur in the INTRODUCTION).
9 Specifically, I refer to the following works, listed in order o f publication (preceded b y the
abbreviation used for each):
IMX = Ivan Morris, Dictionary o f Selected Forms in Classical Japanese Literature
( N e w York: C o l u m b i a University Press, 1966).
PGO = P.G. O'Neill, A Programmed Introduction to Literary-Style Japanese ( L o n d o n :
School o f Oriental a n d African Studies, 1968).
Preface
highlights suffixes in capitalized romanization, and when supplying more literal

or paraphrased renderings provides text in parentheses (with pointed brackets, <
or >). Ikeda also highlights the part o f a Japanese verb-suffix whose usage is
being illustrated, and usually indicates what form each suffix is in. All o f these
are helpful features I have adopted.
I have also drawn on the work o f these three authors in regard to content.
Specifically, 38% o f the citations in the Handbook are in whole or in part found
in one or more o f the four works by these three authors.10 But while I am clearly
indebted to their effort, I also go considerably beyond it. Not only are 62% o f
the citations included in the Handbook found nowhere in their work, even for
those that are, the percentages are misleading. I often cite more o f a passage
than they do. The original text is given here in far more reliable fashion. And the
renderings here take into account a fresh look at each citation in its context in
the original."
I would like to be able to say that the remaining citations in this volume, the
62% majority, result from my vast reading— from wide and systematic study,
and occasional browsing, in great classic works o f premodem Japanese
literature. Unfortunately, that would not be true. Although some citations have,
by happenstance, come more or less in that fashion, the vast majority have been
made possible through use o f the on-line Japanese Text Initiative o f the
University o f Virginia Library.12 Indeed, my being able to track down the
IMZ = Ivan Morris, Dictionary o f Selected Forms in Classical Japanese Literature:

Corrigenda, Addenda, Substituenda ( N e w York: C o l u m b i a Universit Press,
1970).
IKE = Ikeda Tadashi, Classical Japanese Grammar Illustrated with Texts ( T okyo: The
T o h o Gakkai, 1975; 2 n d ed., 1980).
F o r those without a n y experience o f classical J a p anese w h o are tackling the l a n guage o n
their o w n (but p r e s u m a b l y hav i n g already studied m o d e m Japanese for t w o or three years), I
r e c o m m e n d that, in t a n d e m with the H a n d b o o k , they use the P.G. O'Neill v o l u m e cited above,
w h i c h w a s specifically designed for self-study.
10 N a m e l y , 146 o f the 385 discretely different citations in the H a n d b o o k . In A ppendix C,
tcNotes: O t h e r Translations o f Citations in the H a n d b o o k , r e f e r e n c e is given to those items cited
b y a n y o f the three.
O n e m i g h t note, however, that the I M Z w o r k often d r a w s o n material in P G O , s o m e t i m e s
verbatim, without attribution. A n d both the I M X a n d P G O v o l u m e s are indebted to the L e w i n
g r a m m a r for several o f their examples, a n d to the S a n s o m o n e as well for s o m e (see APPENDIX E,
S e c t . 1,for full citation o f both), a n d n o w h e r e is credit given. Additionally, m o r e than a handful
o f citations in these introductions to bungo are not to b e f o u n d in the w o r k s cited— at least in
their computer-searchable editions.
11 N o t e Ivan Morris' c o m m e n t : "Several e x a m p l e s h a v e b e e n taken f r o m J a p anese g r a m m a r s a n d
w o r k s o f reference a n d could not be studied in their full context; their translations are conse-
quently tentative” ；I M X , p. ix. A s for the g r a m m a r s a n d m a n u a l s that these earlier authors d r e w
on, O ^ e i l l ( P G O , p. vii) a n d Morris ( I M X , p. x), as well as M c C u l l o u g h {Bungo Manual, [p.
in]), identify the Japanese-language bungo m a n u a l s they used. Ikeda credits n o other work.
~ A t http://etext.lib.virginia.edu/japanese/. T h e Initiative is coordinated b y I w a b u c h i Sachiko,
Preface
citations made by Morris, O ’N eill， and Ikeda, and to find most other examples
o f usage cited in the Handbook, was only made possible thanks to the Japanese
Text Initiative.13
The Japanese Text Iniative does not use the “NK BT” editions (discussed
immediately below) that, in most cases, are employed as base-texts for Japanese
citations in the Handbook. So in more than 90% o f instances, some adjustment
had to be made to any text found via a computer search. Not infrequently, a
wonderful example o f usage would evaporate, as it was formulated differently
in the editions used for the Handbook (or occasionally, was not to be found in
them at all).14
IV
In reproducing Japanese texts, I have followed one set o f source-texts in the vast
majority o f cases: namely, those found in the Nihon Koten Bungaku Taikei
(NKBT ) 日本古典文學关系 series o f Japanese classical works, edited and
published in Tokyo by Iwanami Shoten 岩波書店 over the period 1957 -1 9 6 8 .1
adhere carefully to them in regard to old- or new-style kanji forms, and in
the matter o f kana that are supplied in parentheses. The reader may notice
that not all o f the texts cited, even when from the same NKBT series, uniformly
use old-style characters, as conventions changed over time. But in this regard I
follow the lead o f the editors o f the individual texts in the series. I felt it
important to have a base source-text for each work cited, and to follow it
unwaveringly.
the technical director is M a t t h e w Gibson, a n d the co-directors are K e n d o n S t u b b s a n d N o g u c h i

Sachie.
13 Lest o n e think that finding such citations is simple, howe v e r , it should b e pointed out that, as
part o f the perennial p r o b l e m with c o m p u t e r searches (viz. items m u s t m a t c h exactly), there are
special “wrinkles”involved w h e n searching classical Japanese texts: o n e m u s t c h e c k items both
with a n d without kanji, a n d with a n d without old-style kanji, all the w hile taking into account
a n y possible variations in classical orthography; moreover, parentheses or brackets a r o u n d a n y
item in the c o m p u terized text can render finding it especially problematic.
14 C o m p a r i s o n o f the H a n d b o o k with the Bungo Manual b y Helen Craig M c C u l l o u g h a n d with
Classical Japanese b y H a r u o Shirane (both fully cited in APPENDIX E, S e c t . 1 ) m i g h t b e in order
here. O f the 670 citations in the H a n d b o o k , w h e r e a s 357 (of a total o f 385) discretely different
citations (and 100 o f the total 285 repeated ones) are quoted in the B ody OF THE Handbook to
illustrate thirty-two verb-suffixes in all o f the forms in w h i c h they are used (with t w o or m o r e
e x a m p l e s for each f o r m or function), there are 156 citations in the Bungo Manual a n d 1 9 1 in
Classical Japanese (that is, discretely different real-language bungo ones) to illustrate only
selected f o r m s ( w h i c h often r e m a i n unidentified) o f the s a m e verb-suffixes. (There are addi-
tional citations in the t w o works, but u n d e r other g r a m m atical entries.) F e w e r than a d o z e n
citations in the H a n d b o o k overlap with those in the M c C u l l o u g h work, a n d slightly m o r e than
t w o d o z e n overlap with those in the Shirane g r a m m a r .
Preface
The same approach was employed in the matter o f transcribing readings for
Chinese characters. W h e r e v e r ふりがな readings are supplied in the
source-texts, as they frequently are, I follow them sedulously. Students may at
first balk at washiru for or nai for but are usually mollified when
seeing the relevant NKBT pages with t h e わしる and なひ. Such
unexpected kanji readings are a reality o f bungo, and one that I feel should be
introduced from the start. The only area in the matter o f transcription that I feel
unsure about has to do with the omnipresent in Genji monogatari
a prefix that, depending on usage, can be read mi-, on-, o-on-, dmi-, go-, or
gyo-.16 In some cases, the readings provided are but educated guesses.
Where the punctuation in the Japanese is, in my view, not as helpful as it
could be, I do not hesitate to modify it in the romanization (for example, by
adding or deleting commas or by adding semi-colons). But the Japanese-
language original text is reproduced unmodified. (Any material in parentheses
in the Japanese text was printed as such in the NKBT editions.)
For vocabulary that is glossed, all information (conjugation, transitive or
intransitive usage, etc.) is specific to the example being cited. It would be
cumbersome and confusing to try to list all possible conjugations for verbs and
all possible meanings for entries.17
ゴds/w• 自動詞（ intransitive verbs) and 他動詞（ transitive verbs)
are distinguished in the glosses (by the abbreviations 自 and 他） . This
information is often as crucial as knowing the meaning o f a verb, for it can clear
up many problems o f interpretation.
If the Handbook reflects a conservative bent in the matter o f reproducing
texts and romanizing readings o f kanji, the opposite could be said to be the case
in the matter o f phonology. No effort has been made to reproduce the sounds o f
premodem Japanese. There are multiple reasons for this. First, the texts that are
quoted come from roughly four time-periods (exemplified by the texts cited
immediately below in parentheses) that presumably would demand some
contrast in transcription: namely, early {Man ydshu classic (Kokinshu
古今集， ■sds/z/ 枕草子，G q /7 wowoga/ar/ 源氏物語 )， medieval
• 方丈記， / /e 如 • 平家物語，徒 ^^ 草)， and15*
15 R T K . 1 (gotoshi), #5, a n d R Y K . 6 (ki/shi), #15, respectively. F o r explanation o f this m a n n e r o f

citation, see Sect. V I below.
U) Ikeda Tadashi {Classical Japanese, p p . 187-188) a n d H a r u o Shirane {Classical Japanese, pp.
3 4 9 - 3 5 1 ) h a v e helpful lists o f phrases whe r e i n ea c h o f these readings for 御 is used. Un/or-
tunately, they d o not begin to exhaust the comb i n a t i o n s o n e in fact encounters.
Kanji are supplied w h e n glossing lexical items cited in the original only in kana. A s various
kanji w e r e often used in the p r e m o d e m language for s u c h kana, I supply the m o s t c o m m o n ones
u p to three; if there are m o r e (even in o n e - v o l u m e classical dictionaries in Japanese), I s upply a
s a m p l e o n e a n d simply a d d êtc.55 (Note also the romanization used throughout the H a n d b o o k
for o w ろ/” 音便 [‘
elision’
] and 漢文 [‘
texts in C h i n e s e or S i n o-Japanese’
].)
Preface
late ( 尺み/^ んw zc/z/•ゴa/' 好色一代女，7b/ ふんwro 對髑髏 )• Second, those

trying to master the fundamentals o f bungo already have more than enough to
contend with; there is no point at this stage in introducing another difficulty that
is likely to be viewed as an unnecessary impediment.18 And third, historical
phonology is beyond my competence. But rather than overlook it, a wealth o f
material is provided in A P P E N D I X E that those interested can consult.
Nearly 95% o f the translations in the Handbook are my own. Those that are not
are cited with an asterisk in A P P E N D I X C . 19 In the case o f short quotations in
simple classical Japanese, my renderings necessarily differ only slightly from
published versions.20 But in many cases, the opposite problem emerges.
Namely, my translation not only differs from, but is often less polished or
literary than already published ones. This is because, for pedagogical purposes,
I have tried to stay close to the ongmal in terms o f grammatical structure and the
semantic core o f vocabulary, while at the same time trying not to go to an
extreme.21*In part for this reason, much o f the material in the Handbook could
be used to advantage in studying the theory and practice o f translation.“
In APPENDIX C, 4<Notes: Other Translations o f Citations in the Hand-
book”一 and its pair, A p p e n d i x D, t4A Text-by-Text Listing o f the 'Other
Translations’ Cited in the N otes”一 I have cited most “standard” （ i.e.， familiar
and frequently cited) renderings o f texts quoted and translated in the Handbook,
and many “nonstandard” ones as well.23 And while I pointto many translations
18 Examination o f the romanization systems used by Vovin, Bentley, Markus, Martin, Miller (in
his 1975 study), and others (all cited in APPENDIX E) is enough to make the non-specialist
blanche. I here follow the lead o f McCullough in her Bungo Manual, and romanize everything
according to the Hepburn system. (I also follow her example by treating ザ/り as a post-MElRE 卜
KEI suffix [MRK.l ].)
19 2 5 o f the 3 8 5 discretely different citations in the H a n d b o o k (namely, 6 % ) e m p l o y others'
translations (verbatim, “slightly modi f i e d ，，
’or “modified”).
20 F o r e xample, “O n c e u p o n a time there w a s a y o u n g m a n , ”for A/wArcw/zi o/o ん
o a n •ん • む力、しお
とこ有りけり，a n d “although w e d o not meet,”for avvazcrm/c? 逢はざれど：R Y K . 2 (keri)， #4,
a n d M Z K . 2 (zari), #13, respectively.
21 A p r o p o s here is the discussion o f “topics” a n d “subjects” in Intro.12, “Additional Items，
”
Sect. I.
」 For e xample, the renderings o f C7叫// w c w o g a / a r /•源氏物語 passages could b e c o m p a r e d with
the m a j o r translations that are cited. T h e s a m e is true for the Ise monogatari Hdjdki
方丈記，a n d T i w r ezwregwsa 徒然草 passages that are quoted, w h e r e several other translations
are available a n a cited in convenient form.
Extensive bibliographies o f translations, arranged b y individual p r e m o d e m title, are provided b y
the P M J S ( P r e - M o d e m Japanese Studies) site o n the internet, moder a t e d b y M i c h a e l W a tson:
http://www.meijigakuin.ac.jp/~pmjs. V e r y helpful, especially for Western-language translations
into languages other than English, is Fran 9ine Herail, Elements de bibliographie japonaise:
9
Preface
in English, I also cite numerous versions in other Western languages. The first
and main goal here was to make it easier for interested parties to consult other
renderings o f passages cited, for any o f several possible reasons: to check the
context, to see how others have understood the phrasing, to see what different
wordings translators have devised, or to follow up some other item o f interest.
To make a general point about translations, I here quote (from memory) J.
Craig LaDriere, whose course on comparative literature I sat in on at Harvard
University: “For those languages one does not read well— and how many o f us
read Latin, Greek, and Hebrew well?— one can get a reasonably good sense o f
the original by reading three good translations o f the work.” （ I have reservations
about this generalization, but advance it to make the following point.) As far as
classical Japanese is concerned, we happen to have three good translations into
English o f G%/7 肢如 r/ 源氏物語， those by Royall Tyler, Helen Craig
McCullough (partial), and Edward G. Seidensticker, plus a fourth rendering, the
brilliant adaptation by Arthur Waley.24 Yet in premodem Japanese studies we
are lucky to have one good (and complete) translation o f a work into English, to
say nothing o f three. But if one draws on translations into other European
languages, the room for comparison is wider, the pool greater. Besides, students
o f Japanese, especially those in the United States who tend to be monolingual in
terms o f European languages (sometimes with no foreign-language competence
other than the Japanese they have studied), might benefit from exposure to
traditions o f Japanese studies in Western languages other than English.
In Appendices C and D, as wide a range as possible o f alternative
renderings, including non-English ones, is provided for those works that seem
to get cited in only one translated version in English. I have in mind such
translations as the ones by Donald Keene o f the Tsurezuregusa by
Ivan Morris o f the Ma ん wra sds/z/ 枕草子， and by Helen Craig McCullough
o f the /se 叹 a/arz.伊勢物語 • They are all good renderings by outstanding
scholars. But the follow ing general points about translation are worth keeping
in mind: originals are not reducible to any single translated version; many
passages are open to interpretation; translations implicitly offer commentaries
on a text; and it is often instructive to see how different intelligent readers
handle the same material, especially when committing themselves so ir
revocably in black and white as when attempting to create an analogue o f a
passage in another language.
Ouvrages tmduifs au japonais， Etudes en hngues occidenfaies (Paris: Pub\icaticms Orientsdistes

d e France, 1986). A n o t h e r important source is T h e J apan P.E.N. Club, ed., Japanese
Literature in
Foreign Languages, 1945-1995 (Tokyo: T h e Japan P.E.N. Club, 1997), w h i c h includes entries for
selected classical authors a n d texts.
~4 T h e s e a n d other translations referred to in this section are all fully cited in A p p e n d i x D.
10
Preface
I have always found it fascinating to see how the same passage can be
rendered variously by different scholars, often with differing kinds o f fidelity
reflective o f different emphases and different sets o f trade-offs. Styles o f
translation change over time， as attested by many o f the “older” translations
cited (important for possible use in a comparative-translation context). Even
“bad” or “m isleading” renderings can be useful, for they prompt fUrther
analysis. Why or in what sense is a rendering “bad ” ？In what way(s) is it
“misleading ” ？
I have limited m yself to translations o f classical texts into English,
French, German, and Spanish, because they are the modem European lan
guages I read with facility. There is also a considerable body o f classical Japa
nese translated into Italian and Russian,25 as w ell as other languages (such as
Czech), much o f which is doubtless o f value. This is to say nothing o f the
growing body o f scholarly translation into Chinese,26 or the large amount o f
material already available in Korean.
Considerable effort was expended to gather the information that is
presented about other available translations o f citations in the Handbook.
Many titles were difficult to obtain,27 and partial translations had to be
“analyzed.”28 Still, there are practicable limits to how much can be cited.
Additional parameters for inclusion are outlined at the beginning o f
A p p e n d i x D.
25 F o r a c o m p r e h e n s i v e listing o f translations into Italian, see A d r i a n a Boscaro, Narrativa

giapponese: Cent'anni di traduzioni (Venezia: Cafoscarina, 2000). Book-l e n g t h translations
into R u ssian are cited b y B r u n o L e w i n (for those bungo texts h e treats) in v o l . 1 o f his
Japanische Chrestomathie (see APPENDIX E, Sect. 3, for c o m p l e t e citation). N o t e al§o Norbert
R. A d a m i , Russischsprachige Japanliteratur/ Literature on Japan in Russian: Ein Auswahl-
verzeichnis/A Selective Bibliography, 1980-1990 (Mianchen: Iudicum, 1 9 9 1 ) , pp. 54-57. For
additional material o n translations into Russian a n d other E u r o p e a n languages, see the sources
cited in n. 2 3 above. O t h e r material is f o u n d in E. Stuart Kirby, Russian Studies o f Japan: An
Swrve 夕（ s Pr e s s , 1981) ，
N e w York: St. M a r t i n ’ esp. the chapters “Literature” （
pp.
8 8 - 1 1 0 ) a n d “Linguistics” （pp. 115- 1 2 4 ) ，although the former cites only a f e w p r e m o d e m
authors or w o r k s (e.g., Basho).
26 Note, for example, the three comp l e t e Chinese-language translations o f Genji monogatari, b y
卜in W e n y u e 林文月（ 1980)，F e n g iikai 凤子t岂（1980)，a n d L i a n g C h u n 梁_ ( 2 0 0 2 ) .
27 E v e n the greatest o f collections, those o f H a r v a r d University a n d the Library o f Congress, to
say nothing o f other libraries, h a v e significant omissions w h e n it c o m e s to holdings o f material
cited in APPENDIX D. Interested parties can obtain cited titles via Inter-Library Loan, using
W o r l d C a t ( O C L C On l i n e U n i o n Catalog, also called FirstSearch) a n d R L G (Research Libraries
G r o u p , also called R L I N ) union-catalog databases. M o s t university libraries subscribe to these
services.
28 T h a t is to say, translated selections h a d to b e identified as to w h e r e they c a m e f r o m in the
original work, a n d then cross-checked to see in w h i c h instances (if any) they coincided with
quotations in the H a n d b o o k .
11
Preface
VI
The Handbook is organized into three main divisions, in addition to the

P reface , a section on O rthography , and the In d e x .
The first main division, the INTRODUCTION is itself divided into thirteen
sections. These deal with the basics o f verbs, uses o f the six verb-forms, verbal
adjectives ， pseudo-adjectives, and h んゐ / 係り結び linking, as well as
a variety o f problem areas: which verbs belong to which conjugation, how to
“unpack，，ゐ verb constructions (i.e., break them down into their constitu-
tive elements), which endings are most easily confused with each other, and the
perennial probiem o f respect language.29
In the second main divison, the B ody of the Handbook , thirty-two
verb-suffixes are treated, arranged in the following order: post-MlZENKEl
suffixes,30 post-RENYOKEI suffixes, post-SHUSHIKEI suffixes, post-RENTAIKEI
suffixes, post-IZENKEl suffixes, and the (single) post-MElRElKEl suffix. The six
are abbreviated as MZK, RYK, SSK, RTK, IZK, and MRK. Each suffix is
numbered— M Z K .l, MZK.2, MZK.3, etc.— “post-” being understood in the
label. For example, “M Z K .l,” namely, “post-MlZENKEl suffix #1,” treats the
verb-suffix -zu Quoted examples o f bungo usage are similarly referred to:
for example, “RYK.5 (tsu), #7’’ refers to “citation #7 in the section on post-
R eny Okei suffix # 5 , - なw つ .’’ Until it beomes second-nature, users are advised
to note the suffix-order followed in the Handbook (conveniently listed in the
Table o f Contents): MZK, MZK.PCH, MZK.NIS, RYK, SSK, RTK, IZK.NIS,
MRK.
The treatment o f individual verb-suffixes in the B ody of the Handbook
is as follows. First, an entry is headed by those o f the six forms it employs. The
suffix’s usage is then summarized in a paragraph. This is followed by several
examples o f its usage (at least two for each form or function employed),31
presented in the standard order: MZK, RYK, SSK, RTK, IZK, and MRK. (For
the five non-inflected suffixes that are treated, no such sub-divisions were
necessary.)
' H e r e I d r a w o n m y experience teaching bungo to address areas f o u n d to b e consistently

problematic.
T h e p o s t - M l Z E N K E l suffixes are in turn divided into three parts:( 1 ) p o s t - M l Z E N K E I [regular]
suffixes; (2) p o s t - M l Z E N K E l “P C H ” suffixes ( P C H = Passive, Potential, Causative, Honorific,
and/or S p o n t a n e o u s Suffixes); a n d (3) p o s t M i Z E N K E l “N I S ” suffixes ( N I S = Non-inflected
Suffixes). T h e s e are abbreviated respectively as M Z K , M Z K . P C H , a n d M Z K . N I S .
Since repetition in the citation o f a n y quotation in the H a n d b o o k c a n b e readily c h e c k e d in
A p p e n d i x B, “Japanese Texts Cited in the H a n d b o o k : A F i nding List,” cross-references to the
treatment elsewhere in the H a n d b o o k o f a citation are restricted to the following: “for a d d ， l.
treatment o f this passage, se e . " ’ ’leads to further annotation o f the passage; “also cited in...”
leads to m o r e m i n o r points or to potentially helpful c o m p l e m e n t a r y illustration o f its use.
12
Preface
The third main division o f the Handbook consists o f seven A ppendices ,

lettered A through G. To summarize each in brief, A ppendix A, “Japanese
Text-Sources for Citations in the Handbook, and Conventions in Citation,
notes the editions used for Japanese-language quoted texts (usually the NKBT
series) and explains their manner o f citation. A ppendix B, “Japanese Texts
Cited in the Handbook: A Finding List,” alphabetically lists the classical texts
quoted in the Handbook and under each gives, in numerical order, the section-,
chapter-, poem-, and/or page-number for every citation o f the work in the
Handbook, keyed both to the Japanese-language original-text and to its treat
ment in the Handbook. APPENDIX C, <4Notes: Other Translations o f Citations in
the H a n d b ook ,fu lfills three functions: first, it lists in shorthand form (by
translator's surname and page-number reference only) other Western-language
renderings o f examples cited in the Handbook; second, it identifies with an
asterisk those translators whose work is being quoted (sometimes modified) in
the Handbook; and finally, it identifies which quotes are also treated by Morris,
O’Neill, and/or Ikeda in the works cited above (in n. 9). A ppendix D ，“A
Text-by-Text Listing o f the ‘Other Translations’ Cited in the N otes，” supplies
Hill bibliographical information for the translations cited in APPENDIX C (under
the title o f the Japanese-language original texts, as listed alphabetically).
English-language translations are presented first, followed by other Western-
language versions, the entries under each language-category (English, French,
German, and Spanish) being in reverse chronological order (i.e., most recent
rendering first). A ppendix E, ''Studies o f Classical Japanese (Bungo) in
Western Languages (except Russian): Individual Book-Titles Only,” is a par-
tially annotated bibliography o f book-length material on bungo in Western
languages. A ppendix F , 44Western-Language Bungo Grammars: An Analytical
Chart,” lists the thirty-two suffixes treated in the B ody OF the Handbook and
identifies on what pages treatment o f them is found in earlier Western-language
grammars o f classical Japanese. Finally, A ppendix G, tttVerb,-Endings: Sum
mary C h arts,serves as a handy reference tool, listing in compact form the
endings introduced in the Handbook to t4verbsi,: namely, verbs, verbal adjec
tives, pseudo-adjectives, and verb-suffixes (with an alphabetical list o f verb-
suffixes that tells under what heading treatment o f them can be found).
Finally, the INDEX to the Handbook not only has entries for the main-
headings one would expect~~e.g. ，-mq// まじ（ SSK.3)— but also entries for
every discrete form under each main-heading: in this case, -wq/z• まじ，
-m a jik a m まじから， -m a jik u まじく， -m a jika riまじかり， -m a i まい，
• まじき，-wqy7/，まじい，- まじけれ， and まいけ
t l . Easily confused suffix-forms also have separate, clearly identifiable
entries: for example, for -«w ぬ， the RTK form of-zw ず（
M ZK .1)， and for
ぬ， the SSK form o f ぬ（ RYK.3).
13
Preface
VII
All o f the major verb-suffixes are represented in the B ody OF THE

H andbook .32 Each o f the (up to six) forms employed by a verb-suffix is illus
trated by at least two real-language examples.33
The problem with learning bungo by employing just one classical text (like
7bん etor/ 竹取物語 or 说 / 方丈記） or only one type o f material
(like waん a 和歌 poetry) is that some verb-suffixes are not represented at all, and
many are used rarely and/or only in a very limited number o f forms.
Ideally, the Handbook should be used in conjunction with the reading o f
selections from a variety o f classic works. This has been found to be the most
satisfactory approach. Excerpts might be drawn from /從wcwogator/ 伊勢物語，
/ / 句说 / 方丈記，徒然草，and/or (7叫 7 如r / 源氏物語
— although in fact selections from almost any grouping o f bungo texts can be
used eftectively, it done in balance.
Even though the many examples cited in the Handbook may at first
appear to have been randomly selected, closer examination is likely to reveal
some rationale. For example, there are twenty-two entries (with twenty-five
examples) for the verb-suffix - ゐ &s7z/ べし（ S S K .l). These break down as
follows: three examples each ofM Z K - 心んw ベく and M Z K ん a m ベから；
two examples o f RYK ベく， two o f RYK んar ，
• ベかり， and three o f
RYK -心んw /wo arazw ベくもあらず； three examples o f SSK - ゐ以/?/ べし；
two examples each o f the RTK forms - 化ん/ べき，ベかる， and the
ombin (sound-change) variant -bekameri < t 、せ）乃 \ and finally, three
examples o f IZK ベけれ， one each with ん oso こそ，ふ ( w o ) ど（も)，
and 6a ば（ ‘because/when’).34
When deciding on which specific examples to use, the attempt was made
to illustrate a range o f uses from more than one source. Priority was given to
those examples tnat posed the fewest ancillary problems regarding vocabu
lary and grammar. Given the limited pool o f examples sometimes available,
compromises occasionally had to be made.
32 T h e rarer p o s t - M l Z E N K E l verb-suffixes ，まうし，-/ w ふ，a n d -(ra)yw ( ら）ゆ，are not

introduced. For treatment of-/w ぬ/?/ まう L ，see Ikeda ( I K E ， p . 127). F o r -/w ふ，see Ikeda (IKE,
p p . 141-143), M c C u l l o u g h {Bungo Manual, p . 11), a n d Shirane {Classical Japanese, p. 312).
For -{ra)yu ( h ) ^ , see Ikeda (IKE, p . 1 1 In.), M c C u l l o u g h {Bungo Manual, p. 9), Shirane
{Classical Japanese, pp. 308-309), Bentley ( p p . 194-196), a n d L e w i n {Abriss, p p . 1 5 0 a n d 152).
33 Exc e p t for M Z K . P C H . 1 thru 3, w h e r e three e x a m p l e s are given for every Junction o f each
suffix. N O T E : T h e r e m a y in fact exist e x a m p l e s for verb-forms listed in the H a n d b o o k as being
N I L , but they are rare. ( N o t w o g r a m m a r s coincide in the f o r m s given for verb-suffixes.)
34 Similarly, R Y K . 4 — w h i c h treats - m 知ra にけら， - w 知/7• にけり，にける；-«/ん /•にき，
-m's/z/ にし，
- m ' W A r a にしか; a n d -m7ar/ にたり，にたり， -m ’ torw にたる一 supplies t w o
e x a m p l e s for each f o r m (except for three for -/7/知だ/ にけり，the m o s t c o m m o n suffix o f the nine).
14
Preface
VIII
For further study o f classical Japanese, the following types o f material are
recommended, preferably used simultenously:
A) Annotated material in Western languages:

See A ppendix E, Sect. 3 , <4Annotated Texts— For Further Study.”
B) Western-language translations (used in tandem with Japanese-
language originals):
See the listings under individual titles in A p p e n d i x D, as well as Sect.
V above (especially the bibliographic items cited in n. 23, taking into
account n. 27).
C) Western-language studies o f individual works:
First, check the bibliography and notes sections o f available transla
tions for citation o f studies o f the work. For book-length monographs,
try the title o f the work in major library databases.35 The bibliogra
phies o f any studies acquired in this way, once checked, will in turn list
earlier article-length treatment o f the work.36
D) Individual-title bungo texts intended for high-school use in Japan:37
The following different series o f highly annotated editions in Japanese
(all published in Tokyo), which include the original text (with every
lexical item identified as to what part o f speech it is,38 and what form
every verb-ending is in), a modem-Japanese translation o f the text,
copious notes, and introductory as well as supplementary material, are
extremely h elp fb l:( 1 ) Bunp5 Kaimei S6sho 文法解明叢書， first
published by Yiiseid6 有精堂 over the period 1954-1956— initially
24 volumes, later expanded; (2) FCoten Shinshaku ShirTzu 古典新釈
35 In addition to the databases cited in n. 2 7 above, o n e should c h e c k P r o Q u e s t for dissertation

titles.
36 T h e r e is n o o n e g o o d source that lists a n ever-proliferating range o f Wester n - l a n g u a g e
secondary material o n classical Japanese texts. S o m e hint o f just h o w m u c h is available is
suggested b y the bibliography o f readings (all in English) I g a v e to students in 1 9 9 7 w h e n last
teaching a semester-long Gew/7-in-English-Translation course. It listed n o f e w e r than 31
book-length items o n Genji monogatari (either b o o k s or dissertations), a n d 12 entries (articles
or review articles) discussing or c o m p a r i n g then-available Western-l a n g u a g e translations o f the
work.
37 Precisely because o f their status as textbooks (and high-school texts, at that), m a j o r university
libraries in the United States, w h i c h c o m m o n l y h a v e the policy o f not b u y i n g textbooks, h a v e
mostly not acquired them. T h e y are still to be f o u n d in large Kinokuniya bookstores in
Japan, a n d in m o s t cases ca n still b e special-ordered f r o m booksellers. (For m o r e publishing
information o n individual titles, c h e c k u n d e r the series-titles in the databases cited in n. 2 7
above, a n d u n d e r the title o f individual w o r k s in the W e b c a t a n d W e b c a t Plus online c o m p r e
hensive catalogs cited in n. 41 below.)
38 T h e first t w o series that follow d o this.
15
Preface
シリーズ，27+ volumes, first published by Ch0d6kan 中道館 over

the period c a . 1975-1978; and (3) Shin Meikai Koten Shiiizu 新明解
古典シリーズ， 12 volumes， first published by Sanseid6 三省堂 in
1990. In such series， shorter texts like 7bむ/or/ 竹取物語,
Tosa 土佐日記， and んz•方丈 gci are unabridged， and longer
ones excerpted.
E) Multi-volume series o f classical titles with dual-language texts (in
bungo and in modem-Japanese translation):
Such volumes, which provide both the complete classical-language
text and a full modem-Japanese translation (together with notes) for
each work treated, are most helpful.39 There are many such series.
Illustrative is the 51-volume Nihon Koten Bungaku ZenshG 日本古典
文学全集 initially published in Tokyo by Sh6gakkan 小学館 over the
period 1970-1976 40
F) Specialized studies in Japanese:
There are all manner o f more specialized works in Japanese on any
standard title in the classical language, to say nothing o f books o f
commentary about, or individual translations of, specific works.
Available titles can be checked at the websites for such major East
Asian-language collections as those o f Harvard University and the
Library o f Congress, as well as the Webcat and Webcat Plus compre
hensive listings o f holdings o f Japanese libraries.41
Cf. the N K B T series (discussed in Sect. I V above), w h i c h supplies useful notes, but n o
m o d e m - l a n g u a g e translations.
40 S u c h m u l t i -volume c o m p e n d i a are similar to the L o e b Classical Library in the W e s t published
b y Ha r v a r d University Press, w h i c h supplies both original-language G r e e k or Latin texts a n d
English-language translations for the w o r k s it treats.
41 Respectively, http://lib.harvard.edu/, http://catalog.loc.gov/, http://webcat.nii.ac.jp/, a n d http:
//webcatplus.nn. ac.jp/.
16
Orthography
Old-style orthography was in use until just after World War II. Not only are all
bungo texts transcribed in accord with its conventions, so too is much material
in the modem language. Familiarity with it is crucial for understanding classical
Japanese. It can take considerable time to feel at ease with the older system.
This section breaks it into its distinctive features.1
As noted and explained earlier,2 all citations in Japanese in the Handbook are
romanized in accord with the Hepburn system. It cannot be stressed too much
that, as a result, the romanized readings for the language here and elsewhere in
the volume all reflect the conventional way o f reading bungo texts aloud in the
modem language. They do not incoporate any attempt to reconstruct the way
texts were earlier read (and the language earlier spoken). Much material on the
latter, selectively highlighted, is cited in Appendix E.
Two Additionalむ如：ゐ and 灸

There are two additional kana in old-style orthography: i and e $>.3 They are
used, for example, in the following:
聲節笑畫
灸ちむが
こせ袅灸
ゐど Ido 井尸 koE
會むく
灸く
ゐなか Inaka 田舍 sechiE

まゐる malru 參る Emu
ゐのしし inosnishi 豬 Egaku
Most of the examples provided are drawn from the Ikeda grammar {Classical Japanese, pp.
21-25) and from hrtfl-zwんa/ 心rtra/7 新旧かなづかい便覧，もanseidO HenshOjo 二名
堂編修所， ed. (Tokyo: Sanseid6, 1999). The format sometimes follows Ikeda, especially for the
“Other Combinations” listed below.
2 b the latter part of Sect. IV of the PREFACE, in c l.n .18.
3 The / Vヽand e familiar from the modem language are also used: e.g.，/ゴ〇«/ Vヽたす（
出た
す） and £ た
/ えき（易).
17
Orthography
Two Kana Each for J/, Zu , and O:

じ a n d ぢ；ず a n d づ；を a n d お
Although the two kana in each o f the three pairs— じ and ぢ；ず and づ；を and
お一 are now read the same (//', zw, and 6), they are not interchangeable, as they
are conventionally used with different lexical items:
恥陣恥
じんずずとお
はじはかおじ
はぢ haJI haJI 攄
すづ
ち^
るか
ちんする Jin suru JInchi 人知
はづかし hazukashi
鬉男悄
haZUe 葉末
かづら kaZUra 數
々
kaZU
り
をとこ Otoko Oto 立
しをしを shiOshiO jiOri 地織
The //a-Line o f は行
The ha-\inQ o f kana refers to ha, h iju , he, ho— は，ひ，ふ，へ，ほ一 which are
pronounced ha, hi,fu, he, ho when they come at the beginning o f a word:
なろねいど
花廣舟平程
なるかんし
はひふへほ
るし
はひふへほ
HAna HAnaru 離る
しけ
Hiroshi HIru 蚩
FUne FUkashi 磊し
H e ike HEn 邊
HOdo HOshi 星
But (with a few minor exceptions) when they come later in a word— namely, in
the middle or at the end o f a word— は，ひ，ふ，へ，ほ are pronounced w,
e, o :
繩戀給前顔
歌思夕歸遠
合ひべるし
せ
なは naWA うたあはせ uta-aWAse
こひ kol おもひ omol
たまふ tamaU ゆふべ yuUbe > yiibe
まぺ maE かへる kaEru
かほ kaO とほし toOshi> tdshi
Only Full-Size 心似：
や，ゆ，よ
In old-style orthography, there are no half-size や，ゆ，よ；there are only fiall-
size や，ゆ，よ. In the following examples, an old-style んa /70 rendering is given,
followed by its romanization, then the MJ (modem Japanese) kana equivalent,
and finally a Kanji for the reading:
18
Orthography
きやく KYAku M J きゃく

しゆく SHUku M J しゆく
#
ちよく CHOku M J ちよく
A variation of the preceding is the combination や + つ to produce a ア〇(or 6)
sound when used together with a preceding consonant. The possible combina
tions are as follows (with an example for each, in kana and romanization as well
kanji) ：
京行傷上長丈兵屏名糧
風者寒手者六衛風利食
きやう kyo きやうふう KYOfu
ぎやう gy 〇ぎやうじや GYOja
しやう shd しやうかん SHOkan
じやう j〇じやうず JOzu
ちやう cho ちやうじや CHOja
ぢやう j〇ぢやうろく JOroku
ひやう hyo ひやう袅 HYOe
びやう byd びやうぶ BYObu
みやう myd みやうり MYOri
りやう ryd りやうしよく RYOshoku
Other Combinations
The following additional kana combinations are used in old-style orthography.
None occurs in the transcription of sounds in modem Japanese (except /w いつ，
read as yu). For each entry, a syllable-combination is given together with its
romanization, followed by a real-language example: first in kana (in old-style
え
orthography), then in romanization, and finally in kanji.

い
A-Lm t Kana あ行
あ
鸚扇憂揖謠葉
フ*
あつむ
-0 - 0
あふぎ
^*
フ
いううっ
ふ
いふじよう
5
*つ
えうきよく
えふみやく
ふ
Ka-L\m Kana か行
衣雨殻格
更豪甲合
s
力力力力
ううふ ^
5
かうい KOI
がうう GOU
5
^，
かふかく KOkaku
，^
がふかく GOkaku
19
Orthography
救牛吸官元黄轟矯僥挾業
護後氣選祖禍々激倖撃
きぎきくぐくぐけげけげ
ううふわわわわううふふ
ごごきんんううげかげ
きぎきくぐくぐけげけげ
ぅ
'
1 5.3
KYUgO
ぅ
GYUgO
ふわわわわぅ
KYUki
せそくぐきうき
ん
KAnsen
わわ
GAnso
う
Kdka
う
GOgo
が
ナ
KYOgeki
ぅ
GYOkd
ふふ
| ' | 3-S
KYOgeki
GYO
a
1
さ行
§さざさざしじしじせせ
ぅぅふふぅぅふふぅふ
さうふく sofuku s l
i i
l
ZO ざうぶつ zobutsu
50 さふにふ SOnyu
ZO ざふにん l l
I m
ZOnin
i i
频
しうか SHUka
じうだう JUdo
しふくわ SHUka
じふぐわつ JUgatsu
せ
せうけい SHOkei
せふれふ SHOryd
a
i
ni
た行
g
陶道搭問晝行ち眺條貼疊十
藝化乗答夜くふ望幅付字日
た
ただただちちてでてでと
ぅぅふ^ぅふぅぅ ^ふを
たうげい TOgei
ss
c/o だうけ D〇ke

たふじよう T〇j 〇
もんだふ monDO
ち
c/o
ll
ちうや
ゆくちふひと
人
てうばう CHObo
l l
でうふく jofuku
yo
てふふ CHOfu
でふじ
yo
s
とをか T〇ka
ななななににね
a
Li nl
§
な
rT
囊納直柔入鐃
ぅまぅふぅ
うふほうふう
ちにしわきは
ゆふ
な > 6なここね
NOchii
no
«o NOnyu
NOshi
こ
rto
s
やち
NYUwa
NYUkyd
-T®
NYOhachi
20
o
y
hog
rth
邦忘法日謬表廟法弘
1
家我名向見裏眼法
6
« ~ フ A ^フ ■
- L' は行
は
§はばはひびへベほぼ /!o はうか HOka
S
ひへ
ばうが BOga
はふみやう HOmyd
I
ほ
ひうが HYUga
びうけん BYUken
>
m
フフ
孟賜苗
> ーフkふ
へ5 り HYOri
夏ぅ字
ベう BYO
れりら化ゃ丄めま
ほふげん HOgen
こうぼふ k〇BO
影
向
£
J
ま行
*
<3
フフ
ままめ
まうか
l -i - l 凡-
MOka
朗蠟流立寮漁
たまふ tamau (taMO)
詠涙寓坪試師
めうじ MYOji
a フ*
や行
1や
••
やうがう YOgd
-
<3 ら行
•
§ららりりれれ
ク> ふ ”クふ >
»/
ro らうえい ROei
ro らふるレ、 ROrui
3
りうぐう RYUgii
りふつぼ RYUtSubo
S
れうし
-
J- RYOshi
ク
れふし RYOshi
^Ta-Lme Kana ゎ行
わわう 6 わうごん Ogon 黄金
Homophonous Kami
As suggested by the above, m a n y kanii compounds that are nomophonous in the
modern language are transcribed in old-style orthography with different, non-
mterchangeable kana combinations. For example'——
印
公
杬紉紉 to
印
行
« «
員
行
こういん
隱
光
かういん
/?
«
かうゐん
くわういん
Some o f the compounds listed here (and under “Other Combinations” above) are o f com-
paratively recent formation.
21
Orthography
くわうゐん鑛貝 kdin
こうゐん工員 kdin
All of these would be transcribed the same m new-stvle orthographv: こつ Vヽん.
Similarly, single Kanji that may be homophonous in the moaem language offer
a range or possibile transcriptions in oungo. In practice, onlv a certain kana
combination is used with eacn specific graph. The following includes a sample
た辦7 for each transcription: よやええ
用樣葉幼
ううふう
yo
yo
yo
yo
In modem orthography all of these would be transcribed the sam e:よつ.
Romanization
Throughout the Handbook, the final parts o f verbs ending in an -u sound are
consistently romanized so as to keep their final-u (and its inflections)~~e.g.,
warawfor 笑ふ（わらふ ),/“fo r 言ふ（いふ ),Hi/ for 植う（うう),a n d f o r
戀ふ（こふ )一 and not as they might be read: namely, ward, yu, u, and kd.5
This is because, with verbs that ena in an -u sound preceded by a vowel (a, /, w,
or o) ,it is only by preserving in romanization the <4vowel + -w,5 (and variant
conjugated forms) that one can distinguish the six lorms of the verb to whatever
degree possible. This convention extends to forms followed by a verb-suffix:
e.g., f o r 交らひ給ふめる（まじらひたまふめる）and
f o r 爭ふらしき（あらそふらしき），instead of wq/7ra/-
tamomeru and arasdrashiki.
Conversely, the non-inflected parts o f verbs are transcribed with a "long o,9
where appropriate, because that is the way they are read and because a different
romanization of the cluster would not help distinguish the verb’s six forms: e.g.,
なw/cJwaなwrw f o r 仕うまつる（つかうまつる )，MJzw f o r 調ず（てうず ),
and fo r 仰す（おほす ).
In In tro .2 (o n ly ), b o th tra n s c r ip tio n s a re g iv e n f o r in itia l e n tr ie s w h e re a p p lic a b le .

22
Introduction
1 . An O verview o f V erbs
Verbs are the key to classical Japanese. Moreover, in classical Japanese (bungo
^Cf〇) more than one grammatical category acts the way verbs do. Verbal adjec
tives, pseudo-adjectives, and inflected verb-suffixes also conjugate (i.e., go
through a fixed series of inflections) in the same way that verbs do. Throughout
the Handbook, more often than not when speaking of “verbs,” or something
general like “a/the sentence-final verb,” 厂of these categories are being
referred to: specifically, verbs, verbal adjectives, pseudo-adjectives, and in-
fleeted verb-suffixes. Only when necessary are the four “verbal elements” dis-
tinguished.
There are nine verb conjugations in the classical language.1(Here, only
“verbs” are being referred to, notthe other three categories.) There are six: forms
for each verb conjugation.
It is to the six verb-forms that verb-suffixes are added, some being added to
one form, others being added to other forms. Most of the verb-suffixes, in turn,
have up to six forms—which are similar to and go by the same name as the six
verb-forms— although many occur in reduced number. There are thirty-two
verb-suffixes treated in the Handbook. Twenty-seven are inflected (i.e., have
some or all of the six forms), and five are non-inflected (i.e., have only one
form). Treatment of these thirty-two verb-suffixes is the focus of the B o d y o f
the H a ndbook .
Japanese is an agglutinative language. That is to say, verbs often have verb-
endings that, in turn, have verb-suffixes or auxiliary verbs that, by the same
token, can have verb-suifixes, and so on seemingly endlessly.2 This is espe
cially true of the classical language. (This is treated more fully in Intro. 8, t4How
to ‘Unpack’ Classical Verbs.” ）
Verbal adjectives and pseudo-adjectives also conjugate in the same way
and with the same six forms that verbs do (and often, in turn, have verb-suffixes
of tneir own)/
T h e s e a re o u tlin e d in In tro .2 , “ V e rb C o n ju g a tio n s : B a s ic s .” T h e n in e c o n ju g a tio n s c a n b e

re d u c e d to th re e : c o n s o n a n t- s te m , v o w e l-s te m , a n d irr e g u la r ; s e e V o v in , R eference Grammar,
p p . 1 6 5 - 1 7 2 . B u t a s h e p o in ts o u t ( p . 1 6 5 )， “ a m a s te r y o f a t le a s t th e b a s ic s o f th e tr a d itio n a l
s y s te m is m a n d a to r y , s in c e , w ith o u t k n o w in g it, a s tu d e n t o f c la s s ic a l J a p a n e s e w ill n o t b e a b le
to u s e d ic tio n a r ie s a n d o th e r r e fe re n c e to o ls .” （ F u ll b ib lio g r a p h ic a l in f o r m a tio n f o r th is a n d th e
w o rk c ite d in n . 7 b e lo w is f o u n d in A p p e n d i x E , S e c t . 1.)
2 T h e g e n e r a l order fo llo w e d b y th e s e a ffix e s is o u tlin e d b y V o v in , p . 165.
3 T h e y a re tre a te d in ln tr o .5 , “ V e rb a l A d je c t iv e s ,” a n d I n tr o .6 , “ P s u e d o - A d je c tiv e s .”
24
Intro.1
Overview o f Verbs
It is crucial to have the six verb-forms (that are used for all four categories
of “verb”) clearly in mind—or at least be able to refer to charts of them4—so as
to know which form a verbal element is in. The six verb-forms are as follows
(with kanji, abbreviation, and rough English equivalent for each):5
然用止体然令
未連終連已命
形衫衫形形形
MIZEN KE I MZK ‘Not Yet’ Form
R e n 'y o k e i RYK 4Connecting? Form
Shushikei SSK ‘Final’ Form
R entaikei RTK ‘Modifying’ Form
IZENKEI IZK ‘Already’ Form
M eireikei MRK ‘Imperative’ Form
Note that throughout the Handbook, whenever the six verb-forms are
given—whether for verbs, verbal adjectives, pseudo-adjectives, or inflected
verb-suffixes—they will be presented in the above order— MZK, RYK, SSK,
RTK, IZK, MRK—but will no longer be labeled as such.6
The “dictionary form” of a verb— the form by which it is referred to in
the Handbook and under which it is listed in most classical dictionaries— is
the S h u s h i k e i .
The following chart provides a quick overview of the nine conjugations,7
with a sample verb for each. Paradoxically, as suggested by the color con
trasts, it is easier to communicate verb conjugations in romanization than in
kana (Kana do not allow for differentiation between the initial and final
part of a syllable.) It is the parts in red that tell us which of the six forms a verb
is in in each of the nine conjugations.
4 T h e y a re c o n v e n ie n tly p ro v id e d in APPENDIX G ，“ ‘V e r b ’-E n d in g s : S u m m a r y C h a r ts .”

5 F o r fu lle r tre a tm e n t, s e e In tro .4 , “ P rin c ip a l U s e s o f th e S ix V e r b - F o r m s .” E n g lis h e q u iv a le n ts
a re p r e s e n te d h e r e s o a s to e n a b le r e a d e r s to g e t a n in itia l id e a o f w h a t th e te r m s r e f e r to ; th e y w ill
b e f u r th e r e x p la in e d in ln tr o .4 . O th e rw is e , th e J a p a n e s e n a m e s f o r th e fo rm s ( a n d th e ir a b b r e v ia
tio n s ) a r e u s e d t h r o u g h o u t th e H a n d b o o k .
6 W h e n a v e rb a l e le m e n t h a s o n ly c e r ta in o f th e s ix fo rm s , f o r th e s a k e o f c la r ity a n d c o n s is te n c y
s ix e n tr ie s w ill still b e g iv e n fo r it: e .g ., -nikera, NIL, -nikeri, -nikeru, NIL, NIL (R Y K .4 ) . R e NIL,
s e e th e P r e f a c e , n . 3 3 .
7 F o r e x p la n a tio n o f th e n a m e s o f th e c o n ju g a tio n s , s e e S h ir a n e , Classical Japanese, p p . 2 6 - 2 7 .
( N o te th a t th e Arawノ ./ 段[ゴ a « ] is n o t in c lu d e d in th e a b b r e v ia tie d J a p a n e s e ta g s f o r f iv e o f th e
c o n ju g a tio n s , a n d th a t th e //ew 変 in th e o th e r f o u r c o n ju g a tio n s is a n a b b r e v ia tio n [ o f //⑼んd w
変革].)
25
Intro. I
Overview o f Verbs
Verb C onjugations
MZK RYK SSK RTK IZK M RK

R egular V erbs
Y odan 四書く ‘to write’

）
kakA kkl kakU kakU kakE kakE
かかかきかくかくかけかけ
Ka m iic h id a n 上一 (w/rw 見る ‘to s e e , 100k at’
）
ml ml mIRU mIRU mFRE mIYO
みみみるみるみれみよ
Ka m in id a n 上二 (<3如起く ‘to rise, get up’
）
okl okl okU okURU okURE oklYO
おきおきおくおくるおくれおきよ
S h im o ic h id an 下一 (女
erw 職る ‘to kick ’
）
kE kE kERU kERU kERE kEYO
けけけるけるけれけよ
S him o ntoan > 二 (/aswAzz 助く ‘to help’)
tasukE tasukE tasukli tasukURU tasukURE tasukEYO
たすけたすけたすくたすくるたすくれたすけよ
Irreg ular V erbs
Ra h en ラ変 (ar/ 在り • 有り ‘to exist ’

）
arA arl arl arU arE arE
あらありありあるあれあれ
S a h e n サ変 (5w 爲 ‘to d o ’
）
sE shl sU sURU sURE sEYO
せしすするすれせよ
N a h e n ナ変 ⑽ /⑽ 死ぬ ‘的 ^ ’
）
shinA shinl shinU shinURU shinURE shinE
しなしにしぬしぬるしぬれしね
K a h e n 力変 (Ai/ 來 ‘to come ’
）
kO kl kU kURU kURE kOYO
26
2. V erb C onjugations: B asics
The focus in this section is on the basics of the nine verb conjugations. The nine
conjugations are each presented below with information in the following order:
the name of the conjugation and the kanji abbreviation used for it; its t4bare
form”一i.e., the inflected part of the conjugation (well worth memorizing)—
followed by a “model verb” for the conjugation, both in the six verb- forms;1 a
sampling (or in some cases, virtually a complete list) of verbs in the
conjugation; and finally, a section labeled “Note,” of items to pay particular
attention to with that conjugation.
Verbs are identified as being transitive or intransitive. Knowing whether a
verb is one or the other is often key to understanding a passage in bungo.
Transitive verbs demand a direct object (or at least an implied one): e.g., in the
English sentence, 4tHeputi\\Q bookow the tabled 4puf is transitive and 'book9is
the direct object. With intransitive verbs, there is no direct object and the
subject does the action on his/her/its own: e.g., in the English sentence, “She
slept for a while,5, 'slept5*is intransitive. Some verbs can be transitive or intransi
tive, depending on how they are used: e.g., in <4She sang a song'" 'sang 4is
transitive, 'song5being its direct object; but in 4tHe sang in the ch o ir,'san g 1 is
intrans1i*tive.2 Throughout the Handbook, the kanji abbreviations ft!l (ta) and §
(/•/•) are used to identify transitive (to/ds7z/ 他動詞） and intransitive verbs
自動詞)， respectively.
Treatment of ‘honorific，’ ‘humble，’ and ‘polite’ verbal expression—
abbreviated as ‘hon.,’ ‘hum.,， and upol.’ below—as well as ‘auxiliary’ （ ‘aux.’)
verbs, is found in Intro.13, “Respect Language.”
The following listing of information should be used in conjunction with the
table on the preceding page.
1 T h e s ix v e r b - f o r m s w e re b rie fly p r e s e n te d in I n t r o .1， “ A n O v e rv ie w o f V e r b s .” F o r f u lle r tre a t-

m e n t, s e e In tro .4 , “ P r in c ip a l U s e s o f th e S ix V e r b - F o r m s .”
2 B y th e s a m e to k e n , in th e Tsurezuregusa c ita tio n (ita lic s a re a d d e d in th e f o llo w in g e x a m p le s ) ,
“•Secwre th e g cr/e w e ll!” （ R Y K .5 [ts u ], # 2 1 ) ，‘s e c u r e ’ is tr a n s itiv e a n d ‘g a te ’ is th e d ir e c t o t j e c t .
B u t in th e Kokinshu p a s s a g e , 4<N ig h t s e e m s to have deepened' (S S K .2 [ r a s h i] , # 6 ) , 'h a v e
d e e p e n e d ’ is in tr a n s itiv e . T h e v e rb /fl/sw ( 立つ） is u s e d b o th tr a n s itiv e ly a n d in tr a n s it 丨
v e ly : in
"T h e one w ho is standing o u t s i d e . . .5, ( R Y K . 1 [ta ri], # 1 1 ) , it is in tr a n s itiv e ; b u t in 4t[ H ] e tr ie s to
establish ( < [m a k e ] s ta n d ) a name.. ( M Z K .4 [ m u z u /n z u ], # 6 ), it is tr a n s itiv e , t n a m e , b e in g th e
d ir e c t o b je c t. B u t th e tatsu in e a c h is in a d if f e r e n t c o n ju g a tio n , YODAN a n d SHIMO NIDAN,
r e s p e c tiv e ly . O fte n tr a n s itiv e a n d in tr a n s itiv e fo r m s h a v e d if f e r e n t d ic tio n a r y e n tr ie s : e .g .,
/〇ゴ ow w 留む ‘to m a k e s .th . s ta y ’ （他、下二） a n d /ocfom arw 留まる ‘to s ta y ’ （自、四）， e x a m p le s
o f w h ic h c a n b e s e e n in c o n s e c u tiv e e n trie s in M Z K .N I S .1 ( b a /if ), # 5 a n d # 6 ( = r e s p e c tiv e ly ,
M R K .l [ri], # 1 , a n d R Y K .5 [ts u ], # 1 ). S e e a ls o In tr o .4 .S X , n . 6 , a n d In tr o .9 .E C , n . 3.
27
Intro.2
Verb Basics
Y o d a n 四
Basics:
“Bare f o r m ”：-a, -i，-u ，-u, -e，-e
M o d e l verb: [Aah/ 書く，‘
to write’他 ] k a k a ，kaki ，k a k u ，k a k u ，k a k e ，k a k e
Verbs:
oAi/ 飽く， ‘to get one’s fi 丨
丨of, get sick o f 自 ow o w (o/w の思ふ， ‘to think; lo v e ’ 他
/w (y/7)言ふ， ‘to speak’ 自如 6 «/*仙 (抓如 /"の候ふ，‘1〇 361^ ，自 [1111111.];
AwAw 書く， ‘to write’ 他 a ls o aux. [p o l.]
Arasw 貸す， ‘to lend’ 他 /a m a w 給ふ， ‘t o g r a n t, b e -
(ん5 ) 買ふ， ‘to buy’ 他 s t o w ' fdl, a l s o a u x . [ h o n .] ; 4t o r e
々ogz/ 漕ぐ， ‘to row ，他 c e i v e ; d r in k 5 fdl, a l s o a u x . [ h u m .]
wa/rw 參る， ‘to come, go; visit，’ 自； ‘to eat; /a/ewaAswrw 率 ^ ) , ‘to put on; ea t，他， a lso
put on; ride’ 他 [both hum.] aux. [h o n .]; ‘to g iv e , o ffe r ，他， a l s o au x.
waArarw 罷る， ‘to leave， depart (the Palace)’ [h um .]
自 [hum.] /cr/sw 立つ， ‘to b e sta n d in g ’ 自；cf. S h im o
wa/sw 待つ， ‘to wait for’ 他 N1DAN to/sw 立つ (他）
wesw 召す， ‘to call, summon, order; eat; 飛ぶ , ‘to fly’ 自
wear; board’ 他 [hon.] /orw 取る， ‘to ta k e’ 他
w みw 申す， ‘to say’ 他; also aux. [bothhum.] 仕うまつる， ‘to b e in ser-
/70^7/wflw («o/crw(5)宣ふ， ‘to say, tell’他 v ic e t o ’ 自；‘to d o ’ 他 [both h um .]
[hon.] u w a w (w a rめ笑ふ， ‘to s m ile , la u g h ’ 自
060s/z/wesw 思し召す， to think，consider; _yo/ww 読む， ‘to read’ 他
be fond o f 他 [hon.， o f imperial family] アow w 就む， ‘to recite; c o m p o s e , 他
Note:
Y odan verbs whose dictionary form ( S S K ) ends in a t4vowel + <w,J, (e.g., iu, kau, notamau,
omou, saburau, tamau, warau) add a 4V ' sound (and the letter4V ' in romanization) in the
M Z K : e.g., iwa, kawa, notamawa, etc.
The following are R Y K endings o f Y odan verbs, by sub-category (with examples from the list
above); note especially those with -shi or -chi endings:
-ki (e.g., kaki) kaku
-gi (e.g., kogi) kogu
-shi (e.g., meshi) kasu, mesu, mdsu, oboshimesu
-chi (e.g., machi) matsu, tatsu
-i (e.g., omoi) iu, notamau, omou, saburau, tamau, warau
-bi (e.g., tobi) tobu
-mi (e.g” 少謂•） yomu, yom u
-ri (e.g., tori) mairu, makam , tatematsuru, toru, tsukdmatsuru
Y O D A N endings are used for those (of the six) forms that occur with the following inflected verb-
suffixes: -mu!-n ( M Z K . 3 ) , -kemul-ken ( R Y K . 7 ) , a n d -ramul-ran (SSK.5).
K amiichidan 上一
Basics:
“B a r e f o r m ”：-i, -i, -iru，-iru, -ire, -iyo
M o d e l verb: [w/rw 見る，‘
to see,100k at’他 ] mi, mi, m i r u ，m i r u ，mire, m i y o
28
Intro.2
Verb Basics
Verbs:
There are only a limited n u m b e r o f K a m i ICHIDAN verbs— fewer than twenty— but they are really
reducible to only fiv e variations, verbs read as (or that e n d in) hiru (3), iru (7), kiru ( 1) ,miru (5),
and niru (2):
み/ib/rw 率ゐる，‘
to lead forth’他 Aae/v/w/rw 顧みる，‘
to look b a c k at; reflect
///•rw 干る， 4to b e c o m e dry’自 onMtll ；cf. kaeri-miru b e l o w
A/rw 嚏る，4to sneeze’他 w / r w 見る，‘
to see, look at’他；a n d verbs
簸る，‘
to w i n n o w ’他 fo r m e d in combination with -mini, like:
/rw る，4to shoot’他歸り見る，‘
to return a n d see’
/rw 鑄る，‘
to cast metal ’他 fill; cf. kaerimiru a b o v e
/rw 居る，‘
to b e in a place, to sit’自 ws/nro-zmrM 後ろ見る，‘
to look after;
zrw 沃る，‘
to d o w s e (with water)’他 act as a patron to’自
/rw 率る，‘
to lead forth’他 w o c M r w 用ゐる，‘
to use’他
女/r w 着る，‘
to w e a r ’他 m r w 似る，‘
to b e similar to’自
たo r o w / r w 試みる，‘
to attempt’他煮る，‘
to boil f o o d ’他
Note:
KAMI ICHIDAN forms for th e /v e “/rw verbs” （ noting that the romanization conflates / い and / ゐ）
are as follows: i , i,iru , iru, ire, iyo.
K ami nidan 上二
Basics:
“ B are form ”：-i, - i ，-u ，-uru，-u re， -iy o
to rise, g et u p ’ 自] oki ，oki ，o k u ，o k u r u ，okure, okiyo
M o d el verb: [ o h 起く，‘
Verbs:
恥づ，‘to b e e m b a r r a s s e d , 自 shinobu 'to k e e p (feelings) inside;
At o m 戀ふ，‘
to lo v e ’ 他 k e e p s.th. hi d d e n ’他
起く，‘
to rise, to g et u p ’ 自 •swgw 過ぐ，‘
to pass through; pass (of time);
otow 落つ，‘
to fa ll’ 自 pass a w a y * 自
qyw 老ゆ，‘
to g e t o ld ’ 自 /■swAi/ 盡く，‘
to b e c o m e used up, e n d ’自
Note:
Kam丨NIDAN たow is quite regular: koi，koi，kou，kouru, koure，koiyo.
N o t e the contrast between, o n the o n e hand, the M Z K , R Y K , a n d M R K f orms (italicized), a n d
o n the other, the S S K , R T K , a n d I Z K forms (in SMALL CAPS), o f K a m i NIDAN verbs w h o s e
dictionary f o r m ( S S K ) ends in一
-tsu (e .g .，otsu ) ochi, ochi, OTSU, OTSURU, OTSURE, ochiyo
-yu (e .g ., o y u ) oi, 〇/, OYU, OYURU, OYURE, oiyo
-zu (e .g ., h azu ) hajU haji, HAZU, HAZURU, HAZURE, hajiyo
Sh i m o i c h i d a n 下一
Basics:
“B a r e f o r m ”：-e, -e, -em, -eru，-ere, -eyo
M o d e l verb : [レrw 職る，‘
to kick’他 ] k e ，ke ，k e m ，kern, kere，k e y o
29
Intro.2
Verb Basics
Verb and Note:
There is only one SHIMO 丨
CHlDAN verb: んerw 職る，‘
to kick’他 .
Sh i m o n i d a n > 二
Basics:
“B a r e f o r m ”：-e，-e, -u ，-urn, -ure，-eyo
M o d e l verb: [tasuku 助く，‘
to help s.o./s.th.’他 ] tasuke, tasuke ，tasuku, tasukuru, tasukure,
tasukeyo
Verbs:
izw 出づ，‘
to depart; e m e r g e ’自；‘
to s h o w ’ mezu 愛づ， ‘to m o v e or touch emotionally*
他他
知枯る，‘
to wither’自見ゆ，‘
to b e taken in visualy’自
A7A:o>»w 聞こゆ，‘
to tell, say; present’他， w f l g a w w 眺む，‘
to gaze at’他
also aux. [hum.]; 4(for s.th.) to be heard, d s w 仰す，‘
to say, tell’他 [hon.]
b e c o m e clear, b e s p o k e n of* 自 /o s w Atv 助く，‘
to help’他
消ゆ，‘
to b e c o m e extinguished’自 totew 立つ，‘
to stand (s.th.) u p ’他；cf. Y o -
知 /a w (ん句答ふ，‘
to reply ’自 D A N 立つ（自）
ん— 越ゆ，‘
to cross over’自 /aw 堪ふ • 耐ふ，4to bear’g
比ぶ，‘
to c o m p a r e ’他寺ぬ，*to inquire about' 他
如 rw 暮る，4to e n d (of the season or year), w s w 失す，‘
to pass a w a y , die’自
set (of the sun)’自 w o s w r w 忘る，‘
to forget’他
Note:
T h e following SHIMO N1DAN verbs are especially prone to misidentification a n d misreading:
u 得 ‘to obtain’ 他 e, e, u, uru, ure, eyo
ふ fti 經 ‘(ror time) to pass; pass through’ 自 he, he, fu, furu, fure, heyo
0 0 uu 饑う • 飢う • 餓う ‘ to starve’ 白 ue, ue, uu, uuru, uure, ueyo
0 0 uu 植う ‘to plant’ 他 ue, ue, uu, uuru, uure, ueyo
Sh i m o nidan verbs w h o s e dictionary f o r m ( S S K ) ends in “-z m ” （
e.g .，/zw，w e z w ) take the
following six-form pattern:
iae, ide, izu, izuru, izure, ideyo
mede, mede, mezu, mezuru, mezure, medeyo
SHIMO NIDAN verbs whose dictionary form ends in are easy to misconjugate in the MZK,
RYK, and MRK (as illustrated by kikoyu, kiyu, and koyu):
kikoe, kikoe, kikoyu, kikoyuru, kikoyure, kikoeyo
kie, kie, kiyu, kiyuru, kiyure, kieyo
koe, koe, koyu, koyuru, koyure, koeyo
SHIMO NIDAN fonns are used with the following inflected verb-suffixes: -{ra)ru ( M Z K . P C H . 1 ) ,
-(sd)su ( M Z K . P C H . 2 ) , -shimu ( M Z K . P C H . 3 ) , -tsu (RYK. 5 ) .
R a h e n ラ変
Basics:
“Bare f o r m ”：-a, -i, -i，-u, -e, -e
M o d e l verb: [ar/ 在り • 有り，‘
to exist，b e ’_ ] ara ，ari，ari, aru ，are，are
30
Intro. 2
Verb Basics
Verbs:
There are only fiv e R a h e n verbs (treating sari, /cakari, a n d shikari as variations o f ari):
arz•在り • 有り，‘
to exist，b e ’
；later, ‘
to be provided with’（ to h a v e ’
> ‘ ）自
war/■なり • 也，‘
to b e (equivalent to)’
；see Intro. 10. N R . ，n. 4
or/ 居り，‘
to be; sit’自
ゐer/•侍り，‘
to exist，b e ’自 [pol.]; ‘
to serve’自 [hum.]; also aux. [pol.]
/woswAor/ 在すかり，‘
to exist, b e ’_ [hon.] (and its variants，/wosoAar/, /waswgar/，a n d
imasogari)
T h e ad verb s 似 , ん and jo in e d w ith a r /, con tract to form the fo llo w in g v e r b s :如"/•さり
( ‘to b e th u s’)，知认狀/ かかり（ ‘to b e like th is ’)，A / 知7"/•しかり（ ‘to b e s u c h ’).
Note:
R a h e n e n d in g s are a lso u sed (o ften in partial sets) w ith th ese RAHEN-like verbal elem ents::
1 ) W i t h the following verb-suffixes: -zari ( M Z K . 2 ) , -tari (RYK. l ) , -keri ( R Y K . 2 ) , -nikeri
( R Y K . 4 ) , -nitari (RYK . 4 ) , -meri (SSK.4), -nari ( S S K . 6), +nari (RTK.2), -ri ( M R K . 1 ).
2) W i t h the “- A a W forms”o f verb-suffixes having the endings o f verbal adjectives— except
-go/as/7/ ( R T K . 1)，w h i c h has n o “- A w W forms ”：e.g” (MZK), ( R Y K ) , and
-bekaru ( R T K ) for -beshi; namely, for -mahoshi ( M Z K . 7 ) , -tashi ( R Y K . 8), -beshi (SSK.
1), -rashi (SSK.2), a n d -maji (SSK.3).
3) W i t h the “-Aar/ forms”o f verbal adjectives (see Intro.5): e.g” ( M Z K ) ，5a m w -
わび/ ( R Y K ) ，a n d 心7rw ( R T K ) for the 七 / adj.，s a w w s み/ 寒し（‘
to b e cold ’
)；a n d
ureshikara ( M Z K ) , ureshikari ( R Y K ) , a n d ureshikaru ( R T K ) for the -shiku adj., ureshi
嬉し（‘
to b e happy; be delightful’
).
4) W i t h all pseudo-adjective -nari a n d -tari forms (see Intro.6 ), except -to: e.g., for the
forms o f M / z m A o w a n • 静かなり（
‘ ）a n d o f 必ぬ /ar/• 堂々たり（‘
to b e still, quiet’ to be
imposing, grand; flourishing*).
S A H E N サ変
Basics:
“B a r e f o r m ”：-e，-i，-u ，-uru ，-ure，-eyo
M o d e l verb: [>w 爲，‘
to d o , 他 ] se，shi，su ，suru ，sure，seyo
Verbs:
c /7J z m 調ず，‘
to supply; arrange’他 A r i o m s w 心す，‘
to p a y h e e d to’自
怨ず，‘
to vent o n e ’
s grievance or re 物す，‘
to be; g o ’自；‘
to do; say’他
s e n tment’他念ず，‘
to pray; bear’他
g o r a w z w 御覧ず，‘
to see, 100k at’他 [hon.] ■sMzw 請ず，4to invite’他
成ず，‘
to Dring to successful c o m p le- ■sdsw 奏す，‘
to address s.th.(to the e m p eror)’
tion’他 to perform (music)’他
[hum.]; ‘
知wzw 感ず，‘
to b e m o v e d ’ 自如ゐ/ 似旅す，‘
to travel’自
Note:
SAHEN verb s are o f tw o types:
1 ) V e r b s conjugated the “regular”w a y -
A) T h o s e that e n d in -su (e.g., kokorosu): kokorose, kokoroshi, kokorosu, kokorosuru,
kokorosure, kokoroseyo
B) T h o s e that e n d in -zu (e.g., nenzu) [note the R Y K ] : nenze, nenji, nenzu, nenzuru,
nenzure, nen z e y o
31
Intro.2
V e r b Basics
2) C o m p o u n d s consisting o f a “n o u n + 似，
” w h i c h f o r m a t/e 为 cto verb: e.g.，“/め / 旅
(‘ ）+ s w す（
travel’ 爲，‘
to d o ’
)”= ‘
to travel’
S a h e n endings (partial) are used with the following inflected verb-suffix: -muzul-nzu (M Z K .4 ).
N a h e n ナ変
Basics:
“B a r e f o r m ”：-a, -i，-u ，-urn, -ure，-e
M o d e l verb: レ/7/rtw 死ぬ，4to die’_ ] shina ，shini，shinu ，shinuru ，shinure, shine
Verbs and Note:

Basically, there are only N a h e n verbs，A w w 死ぬ，‘
to die’_ ，a n d 往ぬ • 去ぬ，‘
to go,
自• B u U / 7 / m z has c o m p o u n d forms: e.g.，女戀ひ死ぬ，‘
to die o f love ，自.
N a h e n endings are used with the following inflected verb-suffix: -nu (R Y K .3 ).
K A H E N 力変
Basics:
“Bare f o r m ”：-0, -i，-u ，-urn, -ure，-oyo
M o d e l verb: [Aw 來，‘
to c o m e ’自] ko, ki，k u ，k u r u ，kure，k o y o
Verb and Note:

Basically, there is only K A H E N verb: h 來，‘
to c o m e ’自 • B u t 如 can h a v e c o m p o u n d forms:
e.g”/rz-h 人り來 ‘
to c o m e a n d enter’（
< ‘ ）自.
entering, to c o m e ’
32
3. W hich V erbs Belong to W hich C onjugation?
T o determine what conjugation a verb belongs to,1 r e m e m b e r —

T w o conjugations have only o n e verb each:
Sh i m o ichidan keru (to kick)
K ahen ku (to come)
A n d four conjugations have only a limited number of verbs:
N ahen has only two: shinu (to die) and inu (to go), and very few c o m b i
nations with these, like koi-shinu (to die of love)
R a h e n has only five: they all m e a n ‘ to b e ’
to exist’and/or ‘ ：ar/ (plus
variants, sari, kakari, and shikari, 44to be thus,,?
etc.), nari,12 ori, haberi, and imasukari (plus
variants, imasugari，imasogari, and imasokari)
K ami ichidan has fewer than twenty, but is really reducible to five
variations: namely, verbs read as (or that end in)—
him (3) hint (to dry out), him (to sneeze), hiru (to wi n
now)
iru (7)3 iru (to shoot), iru (to cast metal), iru (to be in a
place, sit), iru (to dowse), iru (to lead forth),
hikiiru (to lead forth), mochiiru (to use)
kiru (1) kiru (to wear)
miru (5) miru (to see, to look at), kokoromiru (to attempt),
kaerimiru (to look back at; reflect on), kaeri-miru
uto return and sqq,'' ushiro-miru (to look after s.o.;
act as a patron)
niru (2): niru (to resemble), niru (to boil food)
S a h e n has s o m e verbs, but other than those formed in combination with
su (to do), like tabi su (to travel), these are comparatively few: they
comprise verbs that—
end in -su kokorosu (to pay heed to), sdsu (to address s.th. to
the emperor; perform music), monosu (to do; be),
tsukisu (to exhaust)
1 For a n d /rawfl for items in this section, see lntro.2, “V e r b Conjugations: Basics.”
2 T h e c opula nari has b e e n a d d e d here, per Intro. 1 0 . N R , n. 4.
3 K e e p i n g in m i n d that the romanization conflates /• V ヽa n d z ゐ .
33
Intro.3
Which Conjugation?
end in -zu goranzu (to see), shozu (to invite), chozu (to
supply; arrange), nenzu (to pray; bear), kanzu (to
be moved), enzu (to vent one's grievance or
resentment),yozw (to bring s.th. to completion)
As long as the verb in question is not one of the above, that leaves only three
conjugations: Y o d a n , K a m i n i d a n , and S h i m o n i d a n .
But, looking at the verb in its context—
If it has a MZK ending in -A,
it has to be Y o d a n .
If it has a MZK ending in -I,
it has to be K ami nidan .
And if it has a MZK ending in -E,
it has to be S H I M O NIDAN.
Similarly—
If it has an - I R U or - I R E ending,
it has to be K a m i n i d a n .
A n d if it has an - E R U or - E R E ending,
it has to be S h i m o n i d a n .
Of course, in many instances there is no alternative to looking the verb up in a

classical dictionary.
34
4. Principal U ses o f the Six V erb-Form s
There is considerable “circularity” involved when mastering classical Japanese.

One must be familiar with, and refer back and forth to, virtually all other “links”
in the chain that make up the language when focusing on any specific link. For
‘Verbs’’ alone, one must know the nine verb conjugations (Intro.1 thru Intro.3),
the six verb-forms and their uses (the focus of this section), how verbal
adjectives and pseudo-adjectives are formed (Intro.5 and Intro.6, respectively),
kakari-musubi usage (Intro.7), and a plethora of information about verb-
suffixes ( B o d y o f t h e H a n d b o o k ). This is to say nothing of vocabulary that
can differ from the modem language, and orthography that takes considerable
getting used to (see O R T H O G R A P H Y ) . Should knowledge of any of these be
lacking, a passage often cannot be understood, since in classical Japa
nese everything “fits together.” All of the strands, warp and woof, weave a
seamless whole.
For those unfamiliar with bungo, it is advisable to give this and the
following sections of the I N T R O D U C T I O N only a perfunctory first reading,
simply to gain a general familiarity with each topic.1 M o r e serious re-reading
and study of each section should follow later.
In this section the main uses of the six verb-forms will be outlined,
illustrated by real-language examples. The six verb-forms were briefly intro-
duced in Intro.1， “An Overview of Verbs,” and their endings charted in Intro.2,
“Verb Conjugations: Basics.” The English-language equivalents for their
names (presented in Intro.1 and briefly explained below) are meant only to
suggest something of their usage. Throughout the rest of the Handbook, they are
referred to only by their Japanese name or its abbreviation.
Note that in the following examples the focus will be on w h i c h of the six
verb-forms the verbal element highlighted in red and bold is in (regardless of
whether it is a verb, verbal adjective, pseudo-adjective, or inflected verb-
suffix). Other verb-suffixes or grammatical elements that are integral to the
construction being illustrated are underlined in Japanese (and printed in outline-
italics in romanization). But the latter elements are of comparatively secondary
importance here. Those are focused upon in the B o d y o f t h e H a n d b o o k and
can be readily checked there via the cross-referencing provided. Explanation of
verbal adjectives, pseudo-adjectives, and kakari-musubi—all of which are
S e e a ls o th e fin a l para, o f th e PREFACE, n . 9.
35
Intro.4
Uses o f the Six Verb-Forms
referred to below—is found in later separate sections of the I N T R O D U C T I O N .
Transitive and intransitive verbs were discussed in Intro.2.
Most of the examples below appear in the B o d y O F t h e H a n d b o o k (per
the citation after each quotation in Japanese, cross-referenced to further treat
ment in the volume). Some have been abbreviated from their citation there.
Those that do not appear there are followed by **. For more information about
them, see A p p e n d i x C: t4Notes: Other Translations of Citations in the Hand-
book.”
I MIZENKEI 未然形 M ZK ‘Not Yet， Form
The M l Z E N K E l , or “‘Not Yet’ Form,” could also be called the “Imperfective” or

“‘Not-Yet-Perfected’ Form”一“perfected” in the sense of “completed,” as the
んawゾ 7 for the term suggest,未然（ w/zの?）meaning ‘not yet so’ or ‘not yet thus.’2
The M I Z E N K E I is usea in two complementary ways with this sense. First, the
negative verb-suffixes that follow it (see A below) deal with situations that have
not yet been completed or have not yet happened (whether presented in a past,
present, or future context); hence the negative form that is used when translating
them: something has not [been completed or happened]. They can also be hypo
thetical. Second, when used with verb-suffixes of intention or conjecture, as
well as desire (B below), the M I Z E N K E I refers to situations that have not yet
come to pass or which only might be. Similarly, the three suffixes that
follow the M i z e n k e i (D below) are also imperfective, being either conjectural
(‘if ’） or expressive of desire (‘How I wish that I m ight...!’ or ‘How I wish that
[s.o. or s.th. else] might...!,).
In addition, the M i z e n k e i precedes the three “PCH” suffixes (C below).
A ) The M izenkei precedes three o f the four verb-suffixes expressing nega

tion—namely, -zw -zar/ ざり，and -ゾ/ じ（ MZK.l, MZK.2, and MZK.5,
respectively)3—so is frequently used in negative phrases or sentences. For
example—
1 . 京にはあら MZtC5(ji)， #l
m’wa •… （/se wcwoga/ar/ 伊勢物語，9:116)
I do not intend to stay (< be) in the capital;...
[ a m あら is the MZK of the intransitive R a h e n verb, a n •在り = ‘to
exist， be ’； -力 •じ here4 is the SSK of the verb-suffix プソ• じ（

MZK.5)]
2 C f. d is c u s s io n in S e c t. V b e lo w o f th e term IZENKEI.
3 T h e fourth verb-suffix o f negation is -wq/7 まじ（
SSK.3).
4 “H e r e ”indicates that there is another verb-form, h o m o p h o n o u s with the o n e being discussed,
36
Intro.4
2 . . ..よからを事なり。 MZK.1 (zu), #22
...YOKARAnu koto nari. (Tsurezuregusa 徒然草，170:227)
It is not a good thing to...
[yoんara よから is the MZK of the adj. (Intro.5),アos/z/ 良し •
好し•善し= ‘ to be good, fine’
；-«w ぬ here is the R T K of the
verb-suffix -zw ず ( M Z K . 1)]
B) T h e M iz e n k e i is used before four other verb-suffixes: three of intention or

conjecture, and one expressing desire. T h e three of intention or conjecture are
む /ん ,-wwzw/-«zw むず /んず , and -mos/z/ まし , （ M Z K . 3 , M Z K . 4 , and
M Z K . 6 , respectively); the one of desire is -wa/zos/n• まほし（ M Z K . 7 ) . For
example—
3.. ..幾許かこの降る雪の嬉しからまし。 MZK.6 (mashi), #2

...ikubaku ka kono furuyuki no URESHlKARAmashi
{M anyoshu M M M , 8/1658:2/353)
. . n o w delightful this falling s n o w w o ul d be!
[wms/z/ん ara 嬉しから is the MZK of the -s/z/んw adj. (Intro.5), wms/z/
石喜し= ‘ to be happy; delightful’
；-wos/z/•まし here is the R T K of the
verb-suffix -was/z/ まし（ MZK.6)]
4 . 言はまほしからむこと … M Z K . 7 (mahoshi), #2
IWAmahoshikammu koto... (Genji monogatari 源、
&：物語，2.. \ / 名6)
T h e things she might wish to say...
[/wa 言は is the MZK of the Y 〇D A N verb, zw 言ふ，here transitive
= ‘to say s.th.’
；- m M a s / n W a r a まほしから is the M Z K of the verb-
suffix -wa/zos/n• まほし（
MZK.7)]
C ) T h e M iz e n k e i prec 汉 //ze //zr沈 “ P C H ” 5■ が 1kes, namely， those

indicating action or conduct that is “P ”passive, (“P ”）potential,“C ”causative,
“H ” honorific, and/or (“S ”）spontaneous.5 T h e suffixes are -(ra)rw ( ら）る，
-(犯 )⑽ （さ)す，and - A / w w しむ（ M Z K . P C H . 1 ，M Z K . P C H . 2 , and M Z K . P C H .
3, respectively). For example—
that the suffix m i g h t be confused with. (See esp. Sects. I a n d II o f Intro.9, "'Items Easily
C o n f used: A p p a r e n t A m b i g u i t y . ’
’）In this case, the S S K プ•，
•じ o f プ•/ じ（
M Z K - 5 ) is implicitly
being contrasted with the R T K , also -ji じ. N o t e the related use o f “here” explained in n. 6
below, a n d the analogous use o f “a ” （ as in “a R Y K form,” etc.) clarified in n. 9 below.
(Similarly, “here”is used to distinguish the t w o uses o f -ゐa, as well as definitions specific to a
passage.) W h e n e v e r a n y o f these markers appears in Intro.4 thru Intro.13, it is useful to ask oneself:
W h a t other h o m o p h o n o u s item is implicitly being referred to?
T h e s e c o n d “P ”is not repeated, nor is the “S ”included, in the abbreviation “P C H . ”
37
Intro.4
5 . 籠に入 (れ ) られて、… M Z K . P C H . 1 ([ra]ru),# 2
心职 m ... 似徒然草，121:187)
[Birds] having been placed in cages,...
[/re 入れ here is the M Z K of zrw 入る，here a transitive S H I M O
N I D A N verb = 4to olace s.th. m 9;6 -rare b t l here is the R Y K of the
verb-suffix -(ra)rw ( ら）る（ M Z K . P C H . 1)]
6 . 妻の女に預けて養は土。 MZK.PCH.2([sa]su)，
#2
Me no onna ni azukete YASHINA WAm.
(7bんCor/ w o ⑽gw/ar/ 竹取物語，1:29)
Entrusting [Kaguya-hime] to the w o m a n w h o was his wife, he had her
bring her ud .
[vos/n’w a w a 養は is the M Z K of the transitive Y o d a n verb,
yashinau = 4to raise, bring up s.o./s.th.5; -su 'f' is the S S K of
the verb-suffix -〇a)似（さ)す（ MZK.PCH.2)]
D) Finally, the M i z e n k e i precedes three "NIS^ suffixes (NIS = Non-Inflected

Suffix; such suffixes have only one form, not the up to six forms oi inflected
verb-suffixes). The three p o s t - M Z K non-inflected suffixes are -ba (i (4if),
-ゐqya ばや（ ‘H o w I wish that I might."!’)，and なむ /なん（ ‘How I
wish that [s.o. or s.th. else] might...!*) (MZK.NIS.1, MZK.NIS.2, and M Z K .
NIS.3, respectively). Far and away the most c o m m o n of the three is -ba (i
meaning ‘ if.’ 7*For example—
7 . とりのあと、ひさしくとゞ、まれら tf 、... MRK.l(ri)，
#l
Tori no ato msashiku todomareRAba,...
(心た如/?ジ古今集, Preface仮名序，103)
Ifthese bird tracks (> these poems) last (< continue to remain) a long time,
[-ra ら is the M Z K of the verb-suffix -r/•り（M R K. l ) ; - 6 a ば here is

the p o s t - M Z K non-inflected U i meaning ‘if (MZK.NIS.1)]
6 T h e use o f “here” m “here a transitive S m m o nidan v e r b ” c o m p l e m e n t s the use or “here”

outlined a b o v e (in n. 4). In identifications o f verb conjugations, “here”indicates there is another
conjugation o f the “s a m e verb” （ /rw 八 O ，in this case), to b e differentiated f r o m the o n e
indicated. E v e n t h o u g h they share the s a m e dictionary f o r m ( S S K ) a n d s a m e kanji (if any), a n d
he n c e are listed u n d e r the s a m e entry-heading in o n e - v o l u m e classical dictionaries, they are
conjugated differently and/or h a v e different transitive a n d intransitive uses or m e a n ings. In this
instance，the transitive S h i m o N I D A N v e r b , 入る，m e a n i n g 4to place s.th. in，’is implicitly
being contrasted with the intransitive Y o d a n verb，/rw 入る，m e a n i n g ‘ (for s.o. or s.th.) to
enter.* (In fact, s u c h different conjugations are best thought o f as separate verbs.) S e e also
Intro.2, n. 2, a n d Intro.9.EC, n. 3.
7 N o t to b e confused with the non-inflected verb-suffix -みa (ま m e a n i n g ‘
b e c a u s e ’or ‘
when,’
w h i c h follows the IZENKEI (IZK.NIS.1).
38
Intro.4
8 . ...こ灸をきかばや。 MZK.NIS.2 (baya), #2
..•た ⑽ (ぬ士似加古今集， 3/138:130)
If only I could hear the voice ...
[ん/んa きか is the M Z K of the transitive Y 〇D A N verb, ん/如聞く = ‘to
hear s.th.’；•みの;a ばや is a post-MZK non-inflected verb-suffix
(MZK.NIS.2)]
II Ren ’ y Okei 連用形 RYK ‘Connecting’ Form
The R e n ’y O k e i is called the “’Connecting’ Form,” as it nearly always joins the

verb that it is a part of to a following verbal clause, or to a verb-suffix, auxiliary
verb, or verb. The other six verb-forms (except, as traditionally categorized, the
M E I R E I K E I ) also join verbs to verb-suffixes, but the R e n ^ O K E I is the
connecting form par excellance, as suggested by the kanji for the term:
(ren yd) means 'linking to declinables, (i.e., grammatical units having inflected
forms). As such, the Ren 'YOKEI is employed in two major complementary
ways, either “suspensively” or as a multi-purpose “coupler.” Used “suspen-
sively” （ A thru C below), the Ren ’yOkei leaves the clause it precedes “hanging
in the air,?, only for a following clause to make things clear in both (i.e., clari
fying not only the latter part of the sentence, but also earlier part[s] as well). As
a multi-purpose “coupler,” the Ren ’yOkei joins all of the following: the first
part of a compound verb to the second part (D below); verbs to auxiliary verbs
(E below); verbal adjectives used adverbially to verbs (F below); and verbs to
eight inflected verb-suffixes (G and H below), mostly the so-called “past”-
suffixes.
A ) The R e n 9Y〇KEI is frequently used (,suspensively,namely, when the first

of two clauses is temporarily left “suspended” or “hanging,” only to be clarified
by the verb-endings concluding the second or a later clause.8 For example—
x It is advisable to render such initial clauses, at least provisionally, with a participial construction in
English— n a m e l y ，using an “-ing”phrase: for e x a m p l e ’“Seeing her in a d r e a m ”" ” or “H a v i n g
crossed the river， ."’ 一 a n d to leave the “m a i n Height’
’ ’o f action, thought, etc.，to the sentence’ s
final clause a n d its rendering. (This also holds true for B a n d C below, a n d even for the initial part o f
c o m p o u n d verbs addressed in D.) S a m u e l E. Martin (using different terminology) finds nine uses
for the “suspensive”in the m o d e m l a n g u a g e ~ o n e s arguably are n o less applicable to bungo\ A R ef
erence Grammar o f Japanese ( N e w Ha v e n : Yale University Press, 1975), p. 4 7 9 (slightly m o d i
fied):
1 . T e m p o r a l sequence: 'and then?
2. C o n s e q u e n c e : ‘
and so’
3. M a n n e r : ‘b y -ing’
4. Contrast ‘
but’
5. Concession: ‘
a n d yet, e v e n s o ’
39
Intro.4
9 . 姿もきよげに、あはれも深くみゆ。 **
Sugata mo KIYOGE NI, aware mo fukaku miyu.
( TIswMzwregw似徒然草，14:101)
O n e feels tnat [what tne ancients wrote] is both pure in form ana profound
in emotion (くits form being pure，at the same time its emotion is deep).
[んか叹ど《/•きよげに is a R Y K form 9 of the pseudo-adj. (Intro.6 )，
んかひが war/’青6了^ : り = ‘ to be pure， ’here used suspensively;
見ゆ（自、下二）= here, M J ん训ノ‘ / r a r m / 感じられる，o削 w a r m /
思わ ; ^ る]
1 0. 暇あるこそ、めやすく、あらまほしけれ。 MZK.7(mahoshi)，
#17
Itoma aru koso, MEYASUKU aramahoshikere.
( 徒然草，151:2 16)
It is desirable as well as seemly (< Being seemly, it is also desirable; to
be at leisure.
たw めやすく is a R Y K form of the -たw adj. (Intro.5)，
meyasushi @ ^ L = 'to be seemly,' here used suspensively; it is
coordinate with arawa/zas1/?/たere あらまほしけれ ,the I Z K of the
-s/n•たw adj. (Intro.5)， •有らまほし = ‘ to be desirable’ ]
B) Another example of the ^suspensive" use of the R e n ^ O K E I is found in

those preliminary clauses ending in ,-te, X where ,-te, X is the RYK o f the
verb-suffbc i-tsu, 〇 (RYK.5), which are, in turn, followed by another clause.
The construction is most c o m mon:
1 1 . 舟に乗て送る。 RYK.5 (tsu), #5

Fw狀 o如 rw. //oso/wzc/?/ 奥の細道，70)
Boarding the boat, they saw us off. 10
6. Condition: - - m g ’m e a n i n g ‘
if or ‘
when’
7. Intrument: ‘
b y -ing’
8. Wit n e s s or exemplification: ‘a n d in p r o o f thereof
9. S i m p l e conjoining: a n d ’or ‘
‘ ;，
T h e advan t a g e o f at least initially using a n “-ing”phrase as a n English equivalent for a “sus-
pensive”f o r m is that the rendering is flexible e n o u g h to i m p l y m a n y o f the above. Citation #11
below, for example, translated as “Boar d i n g the boat, they s a w us off,”m i g h t also b e rendered:
“T h e y b o a r d e d the boat a n d s a w us o f f ’
；“T h e y b o a r d e d the boat a n d then s a w us o f f ’
；“T h e y
boarded the boat, a n d so they s a w us o f f ’ ；or “B y b o a rding the boat, they s a w us off.”
9 F r o m here o n in the I N T R O D U C T I O N , w h e n a suffix is identified as being '"a R T K [or M Z K , etc.]
form of X ， ’
’this signals there is another suffix in the s a m e f o r m for verb-suffix X (or pseudo-adj.
X ，etc.). In this instance, ん(yoge 清げに is o n e R Y K f o r m o f the pseudo-adj .， •清
げなり；咏 o g e «ar/_清げなり is another.
10 For a d d M . renderings, see n. 8 above. Grammatically, the verb-ending {okuru ) is neutral
as to time; there is no tense involved. B u t context m a k e s the past sense clear. T h i s kind o f
''historical present,* is quite c o m m o n in bungo (for e x a m p l e , in # 6 above).
40
Intro.4
Uses of the Six Verb-Forms
[-/e て here is the R Y K of the verb-suffix -なw つ ]
12. 或は露落ちて花殘れり。 MRK.l(ri)， #6
Aruiwa tsuyu ochiTE hana nokoreri. (Hdjdki 方丈記，
A..24)
Sometimes, d e w having fallen, blossoms remain.
[-纪て here is the R Y K of the verb-suffix -むw つ（
RYFC. 5)]
C) Often with the 似/ve”w從 ofthe R e n ’ y O k e i ，because of consider-

able intervening text between the “suspended， ’and “final”verbs (e.g.，#13
below) or because of the apparent complexity of the final verb (e.g., #14), it is
easy to lose sight of the fact that the endings o f the final verb t(drive not only
that verb but also the suspended'' verb that precedes it. In 11.A above (#9 and
#10), the final verbs drive the suspended verbs as well. But the relationship m a y
need underscoring in the following examples—
13. 假の宿り、誰が為にか心を悩まし、
何によりてか目を喜ばしむる。
M Z K . P C H . 3 (shimu), # 4
Kari no yadori, ta ga tame ni ka kokoro o NA YAMASHI, nani ni yorite Ka
me o yorokobashmum.
(Hdjdki 方丈記， A:24)
A s for their temporary dwellings, for w h o m (< on whose account) do they
aggrieve (< m a k e aggrieved) their hearts, and for what reason (< stem
ming from what) do they delight (< m a k e delighted) their eyes?
悩まし is the R Y K of the transitive Y o d a n verb, wa-
アaw a s w 悩ます = ‘ to aggrieve (s.o./s.th.)，’here used suspensively;
the causative at the end of the sentence (づしむる，whicn is
the R T K of the verb-suffix しむ)，applies to both
and the final verb，ヌ喜ぶ（他、四）= ‘ to delight s.o./s.th.’
]
14• 深く思ひ、深く知れ互心人 … M R K . 1 (ri)，# 2

Fukaku OMOI, fukaku shirera/n hito...
(//^/说 / 方丈記，K:49, alternate text for K:40)
O n e w h o thinks deeply and is deeply knowledgable... (< O n e w h o m a y
think deeply and w h o m a y be deeply knowledgable".)
[omoi is the R Y K of omou a transitive Y o d a n verb = 4to
think (s.th.); love (s.o.)/ here used suspensively; the two suffixes
attached to the second verb (shiru 5 ) also 'drive5 the first verb
(owow 思ふ）：the two suffixes are (A) -ra ら，the M Z K of the
verb-suffix -rz•り（ M R K . 1),and (B) ん，here the R T K of the verb-
suffix -ww/-A7 む /ん（ MZK.3); in other words, the ongoing state
connoted by the -ra b , and the w e a k 'might, might be 9 conveyed by
the -n Ay, not only modify the verb to which they are attached, but
41
Intro.4
also condition the preceding verb; the suspensive use of the first verb
enables this, also making it possible for both verb phrases to modify
the noun, h ito A ]11
D) The R E N ^ O K E I is used to end the first o f two verbs in a compound verb.

The first part of almost any c o m p o u n d verb is in the R Y K of its verb-form,
while the verb-form of the second part depends on h o w it is used in the
sentence.1121 In order to help clarify c o m p o u n d verbs and their usage, throughout
the Handb o o k they are romanized with a hyphen between the two parts of the
verb. 13 For example—
15•衣をだに脱ぎかへなで … MZK.1 (zu),#15

Koromo o dani NUG卜kaenade… (Taketori monogatari 竹取物語，4.39 、
Without even changing clothes,…
脱ぎ is in the R Y K of its conjugation, 脱ぐ (他、四)，
because it is the first part of the c o m p o u n d verb，似gz•初 w 脱き換ふ
(他、下一）= ‘ to change clothes’（ < ‘ taking off [clothing], to change
[it])，]
16.北の屋陰に消 (え )殘りたる雪の、いたう凍（り）
たるに、… RYK.1 (ta-
ri)，# 1 2
Kua no okukage m KlE-nokontaruymi no, ito kdritaru ni,...

徒然草，105:173)
rhe s n o w still left over in the shade north or the house really rroze
[hard],...
[A:た-消え here is in the R Y K of its conjugation,々かw 消ゆ（自、下
一 ),because it is the first part of the c o m p o u n d verb, kie-nokoru
ス■ 殘る（自、四）= ‘ becoming extinguished, t o「 still] be left over’

]
11 F o r additional discussion o f this passage, see Intro.9.EC, # 1 5 ; for longer citation o f it, see
M R K . 1 (ri),#2.
12 Rarely, there is in the first part o f a c o m p o u n d verb (hence the “a lmost”in the a b o v e
formulation): for example, the f o r m かw 突い居る（instead o f A s w h W r w ) in R Y K . 2 (keri),
# 10 .
13 Occasionally, the R Y K f o r m o f the first verb is followed b y a -/e て，itself the R Y K o f -/似つ
( R Y K . 5 ) , still m a k i n g for a R Y X en d i n g to the first verb in a c o m p o u n d verb: e.g., sueTE-
s w w M の ^ す系て住まばや “if only I could install s o m e o n e ...and live with her” （
く if only I
could, h a v i n g installed s o m e o n e . " , live with her) ( M Z K . N I S . 2 [baya], #6: w c w o g a / a r z •源
氏物語 ),a n d ゐa うつしてふゞ'めてば “If, transferring it to m y sleeve， ...’
’
(< If, transferring it, I halted it [on m y sleeve,...]) ( R Y K . 5 [tsu], # 1 : Kokinshu
42
Intro.4
£) The R E N 9Y O K E I is used before auxiliary verbs.^ For example—
i 7 . 早くまゐり給ひね。 RYK.3 (nu)，
#20
Havaku MAlRHamaine. (Genjl monogatari 源、氏物語，35\3/365)
Please go quickly [back to the Palace]!
[所a/r/ まゐり is in the R Y K of its conjugation, wflzn/ 參る（自、四）
= ‘to come, go; ascend to’（ num.), because it is followed by the aux-
iliary verb，/amaw 糸合ふ（目、四)，here ‘ honorinc’（ see Intro.13)]
18.「かの殿には、我も / \ 、婿に取りたてまつらん」と. . . RTK.2 (nari/

explan), #11
(,Kano aono ni wa, ware mo ware mo, muko ni TORl-tatematswran,y, to...
(G q /7 •源氏物語，5 0:5/141)
“I too, I too, would like to take that courtier as a son-in-law，’
’…
170n •取り is in the R Y K of its conjugation, torw 取る etc•(他、四）=
4to take s.th./s.o.,5 because it is followed by the auxiliary verb, ta-
/emcr加/rw 奉る（自、四），here ‘ humble’（ see lntro.13)]
F) The R e n ’
y O k e i of “plain-form”verbal adjectives (see Intro.5, “ Verbal
Adjectives’’
)，w h e n followed by another verb is usually adverbial. A n d w h e n the
“plain-form”of a verbal adjective is followed by the verb (成る )，the
expression means ‘ to become ADJ.’(i.e.，‘ long,’‘ old,’etc.); see Sect. VI of
Intro.10, •なり Headaches.”For example—
19• ちかく來ぬれど、… RYK3(nu)，
#17
Ch ik a k u Mnuredo,… (Makura no sdshi 枚草子，
Although w e had c o m e near,...
[c/zztoAi/ ちかく is the “ plain-form”R Y K of the verbal adjective，
c/n•たos1/?/ 近し (-くadj.) = ‘ to be near’
；h 來 is the R Y K of the verb
來（自、力変 ) = ‘ to c o m e ’]
2 0 . つめのいとながくなりにたるをみて、… RYK.4 (nikeri, etc.),#18

Tsume no ito NAGAKU nannitaru o mite,...
•たた/ 土佐日記，1月 2 9 日:46)
Seeing that m y nans had grown (< become) quite long,...
「wagaんw is the “ plain-form”R Y K of the verbal adjective, 爪
長し（ -くadj.) = ‘ to be long’ ；war/ なり is the R Y K of the verb
成る（i 、四）= ‘ to b e c o m e ’
] 14
14 N u m e r o u s H a n d b o o k e x a m p l e s are cited in Intro.13, ''Respect L a n g u a g e / ' in the treatment o f

individual auxiliary verbs.
43
Intro.4
G ) The R e n 9YOKEI isfollowed by seven o f the eight verb-suffixes that, loosely
defined, indicate the “past.”'5 They are -tari t こ， -keti けり， -nu ね， -nikeri
(etc.)にけり，-なw つ，-/://-从 / き/し，a n d ，
んeww/-A：
⑼けむパナん（
R Y K . l thru
RYK.7, respectively) .16 For example—
2 1 . 渡守に問ひければ、...RYK.2 (keri),#12
Watashimori ni TOlkereba， … （Ise monogatari 伊勢物語 ,9:\ \7)
W h e n they asked the m a n in charge of the rerry,...
[to/ 問ひ is the RYK of the transitive Y o d a n verb, tow 問ふ = ‘ to
ask s.th.’
；けれ is the I Z K of the “ past”verb-suffix -/:⑺•けり
(RYK.2)]
2 2 . カバまよ力、り RYK. 6 (ki/shi)， #6

⑹ (Tbsa •土佐日記，2 月 4 日:50)
Its face was lovely.
[ydar/ よかり is a RYK form of the -女w adj. (Intro.5)，ァos/n•良し •
好し •善し= ‘ to be fine’ ；-た/き is a S S K form of the “past”verb-
suffix-hAMz.き/し（ R Y K . 6 )]
H ) Lastly，the R e n ’
Y 〇KEl/?ac 汉 /es1 //ze v沒必-巧ガム：‘
ィas/z/’たし，indicating a
positive hope or desire. For example—
2 3 . 家にありたき木は、松 • さくら。 RYK. 8 (tashi)， _
Ie ni ARJkM ki wa，matsu，sakura. (Tsurezuregusa 徒然草， 139:207)
The trees one wants to have by one's house are the pine and cherry.
[an •あり here is the RYK of the intransitive R A H E N verb ，ar/ 有り
•在り = ‘ to be, exist’
；later, ‘
to be provided with’（ > ‘ to have ’
)；
-/aA：
/ たき is the R T K of the verb-suffix たし（ R Y K . 8 )]
2 4 . 歸りたければ、… 睡たければ、...R Y K .8 (tashi), #11

KAERltakereba,...; NEtakereba,... (Tsurezuregusa 60:140)
W h e n he felt like going back,.. w h e n he felt like taking a nap,...
[kaeri ^ *9 is the RYK of the intransitive Y O D A N verb, kaeru 5 =
‘to return，go back’ ；狀睡 here is the RYK of the intransitive S h i m o
NIDAN verb, 睡= ‘ to nap，sleep’ ；both -/aんたけれ forms are in
the I Z K of the verb-suffix -/os/?/ たし（R Y K . 8 )] 15
15 Conventionally, these are called “past”verb-suffixes. B u t the label is misleading, for they can
indicate o n e or m o r e o f the following: the past, recollection o f the past, or hearsay information
about the past; completion o f a n action; continuation o f a n action or state, past or present; a c o n
tinuing state pursuant to a n action; and/or e m p h a s i s — m i l d surprise, affirmation, or w o nder.
44
Intro.4
III Shushikei 終止形 SSK ‘Final’ Form
T h e S H 〇SHlKEliscalledthe‘
“F i n a r F o r m ”becaus e it e nds se nte nc es( Ab e -
l〇w), as indicated by the kanji for it, {shushi) meaning 'end-stop/ No te
that the “dictionary form” of a verb~~the form it is listed under in most
dictionaries of the classical language— is the SHUSHIKEI.
T h e SHtiSHlKEl also precedes six “speculative”verb-suffixes (B and C be-
low), and is used both in negative c o m m a n d s and with the hypothetical con
cessive tomo meaning 'even if (D below).
A ) The SHUSHIKEI, most notably, is used to end sentences, coming at the end
of sentence-final verbs.16 17 There are exceptions to this (kakari-musubi sentences
that end in the R e n t a i k e i or Iz e n k e i [see Intro.7] and other R e n t a i k e i sen
tence-final usage [see IV.D below]), but tins is its most prominent use. For
example—
2 5 . かしかましとて ...RYK.5(tsu),#ll
te d . ( 似徒然草，18:104)
“It’s noisy,” …
[んos1/?汝awos/zz•かしかまし is the S S K of the -Azto adj. (Intro.5),
んas/z/Arawos/z/ 囂まし = ‘
to be noisy’
；it is followed by the quotation
particle, to纪と飞 ]
2 6 . いかが思もはざらんとおぼゆ t MZK. 2 (zari)， #3
Ikaga omowazaran to OBOYU. (Makura no sdshi 仗萆■子，
261:216)
One wonders how they could not love them (i.e., their children).
レわおぼゆ is the SSK of M o 夕w 覺ゆ， here an intransitive S h i m o
NIDAN verb = ‘
to naturally c o m e to mind; be considered’ ]
B) The SHUSHIKEI precedes two verb-suffixes that conjugate like verbal ad
jectives: -beshi ベし (expressive of intention, urging, appropriateness，
supposition, or potential) and -rashi らし（expressing conjecture or resem
blance). Use of the former is most common. For example一
16 T h e “past”verb-suffix that does follow the R Y K is -r/ り（ MRK.1^

17 Since the w o r d “sentence”is u s e d frequently in the H a n d b o o k (explicitly，w h e n referring to
sentence-final verbal elements, a n d implicitly, w h e n identitying w h i c h o f the six verb-forms a
sentence-final unit is in), a w o r d of clarification is in order. Througho u t , w h a t is m e a n t is “a
sentence-like unit ”：namely, either a n actual sentence, a virtual sentence e n d e d b y a quotation
m a r k e r {to t or tote t X , or o n e that is implied), or a substantial poetic (or e v e n prose) unit
with definite caesura (i.e., pause).
Cf. the use o f the R entaikei to end sentences (n. 22 below).
45
Intro.4
27. 心憂く見ゆべけれど、... S S K . l (beshi), # 2 2
Kokoro-uku MlYUbekeredo,. . . （Makura no sdshi 枚草子，2桃 ..217)
Although presumably they looked on with grief(< in a heart-grieving kind
of way),…
[w かw 見ゆ is the S S K of the intransitive S H I M O NIDAN verb, w かw 見
ゆ= ‘ (for s.th.) to be taken in visually’ ；-心/^re ベけれ is the I Z K of
the verb-suffix ■ ゐes/zz•べし（ S S K . 1)]
2 8 . 春は來ぬらし。 S S K . 2 (rashi), # 4
Haru wa kiNUrmhi {Man’ydshU 萬葉集 , \QI
Spring, it seems, has come.
[-ww ぬ here is the S S K of the verb-suffix -仙ぬ（RYK.3); -ros/z/
らし here is the S S K of the verb-suffix -ros/w•らし（SSK.2)]
C) The S h u s h i k e i comes before four other verb-suffixes: the less-commonly

used suffixes of conjecture, -w の7•めり and らむ / らん；the
negative suffix of conjecture, -maji S C; and the tchearsay/supposition,? -nari
なり：SSK.4, SSK.5, SSK.3, and SSK. 6 ,18 respectively. For example—
2 9. ふるさとは雪とのみこそ花はちるらめ。 S S K . 5 (ramu/ran), # 1 3
turusato wayuki to nomi koso hana wa CHlRUrame.
(ぬた/似加古今集， 2/111:124)
In the old town, cnerry blossoms are probably scattering like snow.
ychiru 6 here is the S S K of the intransitive Y o d a n verb, chiru
散る= ‘ (for s.th.) to scatter，disperse’
；-rawe らめ is the I Z K of the
verb-suffix - r a w らむ/らん（ SSK.5)]
30. .••、さもおぼ吵まじ。 S S K . 3 (maji), # 7
sa mo OBOYUmaji {Makura no soshi 4 1 :90)

... [it] certainly wouldn’ t be considered so.
[ M q y w おぼゆ is the S S K of ゐqyw 覺ゆ，here an intransitive
S H I M O NIDAN verb = ‘ to naturally c o m e to mind; be considered’
；
-wa力•まじ is a S S K form of the verb-suffix -wq/)•まじ（ SSK.3)]
D) Finally, the S h O s h i k e i is used in negative c o m m a n d s with な to m e a n

‘
D o not … A n d it is used with the hypothetical concessive とも to m e a n
‘
even if.’丨
9 For example— 18 19
W a r / なり H e a d a c h e s . ”
18 F o r S S K . 6 , see also Intro.10, ‘
19 N o t e that, for the latter, the “plain-form”R Y K is u s e d in verbal-adjective constructions (e.g.，
S S K . 3 [maji], #6).
46
Intro.4
Uses of the Six Verb-Forms
31. 「
龍の頸の玉取りえずは、帰り來立」と… MZK.1( zu )，
#18
i(Tatsu no kubi no tama tori-ezu wa, KAERl-KUna,to...
(7bた故)r/ 竹取物語 ,6:46)
“If you don’t succeed in getting the jewel from the dragon’s neck, don’t
come back!” …
帰り來 is the SSK of the verb 帰り來（自、力変 )
= *to come back5 (< 'returning, to come7); na ^ is a negative-com
mand particle]
3 2 . 消えずはありとち ...MZK.1 (zu),#17
Kiezu wa ARI tomo...
(/從 mcwc切加？ 7•伊勢物語，17:122;ぬた/«土 7 古今集，1/63:116)
Even if they’re [still] there, not having melted away” "
[an•あり here is the SSK o f the verb an •在り • 有り（自、ラ変) = ‘to
exist, be’ （the ん/似如 text has 有りとも)；めwo とも fimctions
with the meaning oi even if]
IV R e n t a ik e i 連体形 RTK ‘M o d if y in g ’ F o r m
A verbal element in the R e n t a i k e i modifies a noun or pronoun, hence its name,

the “‘Modifying’Form.”A s such, it functions adjectivally, as suggested by the
kanji for it, i S (rentai) meaning 'linking to substantives (i.e., nouns)/ Verbal
elements in the R e n t a i k e i are linked to nouns in various ways: by directly
preceding them (A below), via a mediating verb-suffix (with -gotoshi, B
below), or standing alone with a noun implied (D below, ana implicitly with B
and E). The RENTAIKEI is also used in kakari-musubi combinations with zo, ya,
namu/nan, and ka (C below). These constructions, as well, have m a n y charac
teristics of noun-phrases; see Intro. 7, <4Linking via Kakari-musubir
The R e n t a i k e i also nominalizes— i.e., turns into nouns— various verbal
constructions. Verbal adjectives (e.g., Intro.5.VA, #21 and #22), longer verb
phrases (D, and implicitly E, below), and entire sentences (n. 22 below ),20 all
can become nouns or noun phrases w h e n ending in the RENTAIKEI.
A ) The R e n t a i k e i is used to modify a noun or pronoun. This is a most

c o m m o n construction. For example—
It h a s b een argu ed th at th e RENTAIKEI is m o re lik e ly to b e u se d than th e SHUSHIKEI to en d s e n

te n c e s th at c o m m u n ic a te a ssu m e d or p resu p p o sed in fo rm a tio n , or in fo rm a tio n that is o f a
su p p o rtin g or b a ck g ro u n d nature.
47
Intro.4
3 3 . はづかしき人にものいはんとするに、先に ALつ。 M Z K .4 (m u z u /n z u ),
#8
Hazukashiki hito ni mono iwan to suru ni, saki ni tatsu.
( M a んwra 5^ / 2/ 枕草子，152:207)
One is about to say something to someone shy, but then [that person] goes
first.
[ k z w んos/zzh•はづかしき is a RTK form of the -5/2/•ん
w adj. (Intro. 5)，
•恥づかし = ‘
to be shy’
；the noun modified here isみ/め人
(‘a person’ )]
34 . 峨々たる嶺のたかき … 嶮々たる签のふかき … **
Gaga taru mine no takaki... kenken ta r u tani no fukaki...
(7/e/たe ⑽ 0が /ar/ 平家物語，2.15:1/200)
The height of the soaring peaks.. the depth of the steep valleys...
[gflga /arw 峨々たる is the RTK of the pseudo-adj. (Intro.6)， gaga
tor/ 峨々たり = ‘to be lofty, soaring’；レ /arw 峻々たる is the
RTK of the pseudo-adj.,ん⑼ん⑼tov•險々たり = ‘to be precipitous，
steep9; the nouns modi tied here are mine ^ ('peaks') and tani ^
(‘valleys’)]
B) The RENTAIKEI れw •ごとし（ ‘to be like

s.th.’
）and the “explanation/affirmation”+«ar/ なり（
RTK.l and R T K . 2 ,21
respectively). For example—
3 5 . 花の散りぬるごときわご王 ... R Y K .3 (n u ), # 1 4
Hana no chiriNURUgotoM wago okimi...

萬葉集，3/477:1/223)
Our great prince who is like blossoms that have scattered...
ぬる is the RTK of the verb-suffix -⑽ ぬ（ RYK.3);-め加h
ごとき is the RTK of the verb-suffix -が /as•ん / ごとし（ RTK.l);
w a g o 欲 /w / わご王 = w a g a 我が大君 ;]
3 6 • 死の近 (き)事を忘る、なり。 M Z K .2 (za ri), # 1 0
Shi no chikaki koto 0 WASURURU+nari (Tsurezuregusa 徒然草 ,9 3 \\6 6 )

It is Decause they torget h o w near death is.
[wasururu ^ is the RTK or wasuru here a transitive
YODAN verb = ‘to forget s.th.’ ； ■なり here is the SSK of the
post-RTK verb-suffix +似r/ なり，namely, the +/?ar/ なり of ex
planation or affirmation (RTK.2)]
21 F o r th e latter, s e e a ls o In tro .1 0 , ‘W a r / なり H e a d a c h e s.”
48
Intro.4
C) The RENTAiKEl is used to end sentence-final verbs when there is ‘kakari-
’withzo ぞ，アa や , なむ /なん，か；see Intro.7, “Link-
ing via Kakari-musubir For example—
3 7 . 風のをとに :£ おどろかれぬる。 MZK.PCH.l([ra]m)，
#ll
Kaze no oto n izo odowkareNURU. [KokinshU 古今集 ,4/\69..\36)
It is by the sound of the wind that I find myself startled [into awareness
that autumn has come].
[-«wrw ぬる is the RTK of the verb-suffix -ww ぬ（ RYK.3); it is in
the R T K because of kakari-musubi (Intro.7) with mid-sentence zo
ぞ]
3 8 . おとこも女も、あひはなれぬ宫づかへになむ出でにける。 RYK.4
#〇
(niken, etc.),
Otoko mo onna mo, ai-hanarenu miva-zukae m namu ideNIKERU.

( / s e 加 r/ 伊勢物語，86:163)
Sure enough, it was into Palace service where they were not removed
trom eacn other, that the man and the woman Doth had enterea.
[-mferw にける is the RTK of the verb-suffix -m•んer/ にけり
(RYK.4); it is in the R T K because of kakari-musubi (Intro.7) with
mid-sentence なむ]
D) The 从 ENTAlKEl is used to end phrases or clauses when there is cm implied

‘
ん事 orVwowo ’ 者 or 7z"ゲ人 that in effect “nominal izes”the construction
(i.e.，turns it into a noun phrase): “(the matter of)...”or “(the one w h o ) ...”22
For example—
3 9 • そこを八橋といひけるは、… RYK.2(keri),#9
5b ん〇0 to //凡£■/?ひw a ,... (/见 w o 仰め加 77•伊勢物語，9 :116 )
T h e reason that place was called Yatsuhashi (< A s for [the matter of]
that place’ s being called Yatsuhashi)...
[-んm / ける is the RTK of the verb-suffix -んの7•けり（ R Y K . 2 );ん
0- or mono ^ is understood]
40• 女のえ得まじかりけるを、… SSK.3(maji)， #5
Onna no e-umajikariKERU 〇, . . . （Ise monogatari 伊勢物語 , 6.A
— P r e s u m a b l y developing f r o m this u s a g e (but initially with a n implied ん

〇/〇war/ 事なり after it
meaning，
‘‘
It is/was a case o f the use o f the R e n t aikei to e n d sentences b e c a m e c o m m o n in
medieval times; see lntro.7.KM, # 1 5 (also discussed in Intro.9.EC, # 1 7 [= S S K . l (beshi), #17]).
N o t e also the e x a m p l e s o f R E N T A I K E I verb-endings preceding sentence-final z o そ: Intro.7.KM,
#18-19.
49
Intro.4
[A m a n courted] a w o m a n w h o was impossible to win (< one a m o n g
w o m e n w h o was impossible to obtain)...
ける is the RTK of the verb-suffix -むr/ けり（
RYK.2); w o ⑽
^ or hito A is understood]
E) Finally, theR E N T A l K E l p m : 汉 ' ( w o ⑽）o ’（もの）

をゴに w / z 汾?
they end a subordinate clause. In such cases, \m ono) o' means 4although^ (or
“because”),23 and ’has a wide range of possible significance: “on [doing],”
“in [doing]，
”“when/because/although".’ ’
4 1 . 人げなき恥を隠しつ、交らひたまふめる皇、… S S K . 4 ( m e r i ) ，# l l
Hitoge-naki haji o kakushi tsutsu, majirai-tamauMERU
( G q //•卿 • 源氏物語， 1:1/37)
Although she seemed to be interacting with them, all the while con
cealing her shame at the inhuman treatment,...
[-/werw める is the RTK of the verb-suffix - w m • めり（SSK.4); 0
を here functions with the meaning o f ‘
although’
]
42• 「
涙のこぼるゞ ] 目も見えず、
物もいはれず」といふ。 m z k .p c h .1
([ra]ru), # 5
“Namida no KOBORURU m， me mo miezu, mono mo iwarezu,” to iu.

(/se • 伊勢物語， 62:145)
She said, “Because [my] tears are overflowing, I can neither see nor speak
(< Lmyj eyes cannot see nor can anything be said).’’
[Zrokrwn/ こぼる、 is the RTK of the intransitive S H I M O NIDAN
verb,ん溢る • 零る = ‘ to overflow’；m •に here functions with
the meaning o f ‘
because’ ]
V IZENKEI 已然形 IZK ‘A 丨

ready’ Form
The Iz e n k e i , or “‘
Already’F o r m ，
’’could be termed the ‘
Perfective’or ‘ Per-
fected9 F o r m — tperfected, in the sense of'completed/ as indicated by the kanji
( M ?⑽）〇( もの）をm e a n i n g ‘although’’or “b e c a u s e ”is not to b e conflised with sentence-final

( w o « o ) o ( もの) を， w h i c h is used to express emphasis, m i l d surprise, etc. F o r e x a m p l e s o f the
latter, see M Z K . 5 〇 *i), # 8 [= M Z K . 6 (mashi), #4]; M Z K . 5 (ji), #9; M Z K . 7 (mahoshi), # 1 3 [=
S S K . 1 (beshi), #14]; S S K . 4 (meri), #10; a n d R T K . 2 (nari/explan), #6.
N o r is it to be conflised with o を or worn? o ものを，w h e n the 0 を，e v e n t h o u g h it is
followed b y a c o m m a in our texts, m a r k s a direct object: e.g., the preceding citation (Intro.4.SX,
#40); M Z K . . P C H . 1 ([ra]ru), # 1 2 [= R T K . 2 (nari/explan), #2]; a n d S S K . 6 (nari/hearsay), # 4 [=
R T K . 2 (nari/explan), #5].
F o r other e x a m p l e s o f (wo/70) o ( もの）を meaning ‘
although’
’（or ‘
notwithstanding’
)，see
R Y K . 4 (nikeri, etc.), #16; a n d S S K . l (beshi), #9.
50
Intro.4
u se d : 已然（泛⑼ ） means ‘already so’ or ‘already thus.’24 This is because the
circumstances implied in the sections that follow (A and B below)— namely,
those that “‘when’ or ‘because， or ‘although’ they are [already] in effect”一 are
in some sense already perfected or completed, even if only fictionally so. The
IZENKE1 is also used in kakari-musubi constructions with koso (C below), where
the evidential nature o f a statement (i.e., something is ‘already’ evident to the
speaker or addressee) is both confirmed and emphasized.
A) The lZENKEl precedes the non-inflected verb-suffix O'US) ‘ -ba ’ば mean-

/«g ‘
ゎ沈aw犯 ’ o r W z 肌 25 This is a most common construction. For example—
4 3 . あかつきよりあめふれ 1 2 、… M R K . 1 (ri),#8
似/ : / a 騰 / ^ 五&炫, … （ァ〇似川•たA7• 土佐日記，1月 1 4 日:38)
Because rain fell from break o f day,...
ふれ here is the 1 Z K o f the intransitive YODAN verb，> rw 降る
= ‘(for snow or rain) to fall ，；ば here is the post-IZIC non-in-
flected -5a ば meaning ‘because’ or ‘when’ （ IZK.NIS.l)]
4 4 . 暮るれ这露のやどりなりけり。RYK.2 (keri), #6
KURUREba tsuyu no yadori narikeri. (Ise monogatari 伊勢物語，56..
142)
When night falls, [my sleeve] is the lodging place o f dew (i.e., tears).
[たwrwre 暮るれ is the I Z K of the intransitive S H I M O NIDAN verb，
如rw 暮る = ‘ to become dusk’ ；ば here is the post-IZK non-in-
flected ば meaning ‘ because’or ‘ w h e n ’（
IZK.NIS.l)]
The IZENKEl precedes the non-inflected verb-suffix‘ -do(m〇y ど（も）mean-

ing 'although. *The construction is quite common. For example一
4 5 . ...逢はざれ上_... MZK.2(zari)， #13
… ... ’ァか/^ 萬葉集，15/3775:4/107)
. . . although we do not m eet,...
[-zare ざれ is the I Z K of the verb-suffix -zan• ざり（MZK.2); -Jo
ど is the post-IZK non-inflected verb-suffix -ゴ〆m o ) ど（も）（ IZK.
NIS.2)]
4 6 . 入たかりつれども、... R Y K . 8 (tashi), # 5
IritakariTSUREdomo,… （Heike monogatari 平家物語，\Q.\Q..2/271)
I wanted to advance, but... (< Although I wanted to enter,...)
Cf. discussion in Sect. I a b o v e o f the term M i z e n k e i .

° N o t to b e confUsed with the non-inflected verb-suffix -6a はm e a n i n g ‘
if，
’w h i c h follows the
M izenkei (MZK.NIS.1).
51
Intro.4
[-むwre つれ is the I Z K of the verb-suffix -むw つ（ R Y K . 5 ) ; -ゴo m o
ども is the post-IZK non-inflected verb-suffix -ゴo ( m o ) ど（ ) (IZK.
NIS.2)]
C ) The IZENKEI is also used to end sentence-final verbs when there is 'kakari-
mwswZ?/，vwY/z mz•ゴこそ，a construction that confirms—— while
emphasizing~~the evidential nature of a statement. Its fimction is akin to that of
an exclamation mark; see Intro.7, ''Linking via Kakari-musubi^
4 7 • まことに蓬萊の木かとこそ思ひつれ。 RYK.5(tsu)，
#17
Makoto ni Horai no ki ka to koso omoiTSURE.
{Taketori monogatari 4:40)
I did indeed think, perhaps it was truly a tree-Dranch trom Horai (i.e.,
Penglai).
[-加/re つれ is the I Z K of the verb-suffix -なw つ（ R Y K . 5); it is in
the I Z K because of kakari-musubi (Intro.7) with mid-sentence koso
こそ]
4 8 . さこそ異樣なりけめ。 RYK.7(kemu/ken),#12
Sa hom kotoyd nariKEME. (Tsurezuregusa 徒然草，53:\33)
It must have been strange indeed!
けめ is the I Z K of the verb-suffix -た⑼W - ん⑼けむ/けん
(RYK.7); it is in the I Z K because of kakari-musubi (Intro.7) with
mid-sentenceたas^ こそ ]
VI M eireikei 命令形 MRK ‘Imperative’ Form
The M eireikei — as indicated by its kanji, (meirei) meaning 'com

m a n d *— is the ‘ A below )，
“Imperative’F o r m ”（
The M e i r eikei also precedes one verb-suffix, -n• り.26
A) The M eireikei is used at the end o f sentences to express commands. For

example—
49.「
はや舟に乗れ、日も暮れぬ」と...**
11 Hay a fune ni NORE; hi mo kurenu,f, to...
26 T h e inclusion o f -r/ りu n d e r the M eireikei is d o n e to simplify matters organizationally a n d

pedagogically. Traditionally, -ri り is classified as a n inflected suffix occuring after the I Z K o f
Y odan verbs a n d the M Z K o f SAHEN verbs. H o w e v e r , since those verb-forms are the same as
the M R K in the t w o conjugations, it simplifies matters to treat -r/ り as being p o s t - M R K (as
M c C u l l o u g h d o e s in Bungo Manual).
52
Intro.4
(/此 •伊勢物語，9:117)
“Hurry up and get aboard ship! The sun is setting.”
[wore 乗れ here is the MRK of the intransitive Y O D A N verb,
乗る= ‘ to go aboard’]
50. 「
寢給ひね」と… R Y K .3(n u )，
#21
4 We-to/而 /7VE, ”. (Ma/rwra / 枕草子，134:187)
“Please go to sleep!”
[-狀ね here is the MRK of the verb-suffix ぬ]
B) The Meireikei preceゴes 汾ど V/ ’ り，27 which indicates com-

pletion of a past action or a continuing state resulting from a past action.28 For
example—
51 . 或は去年燒けて今年作れ 1 。 M R K . 1 (ri), # 9
Aruiwa kozo yakete kotoshi TSUKUREri (Hdjdki 方文記，A\23)
In some cases, having burned d o w n last year, they (i.e., houses) have been
(re)built this year.
[/■swたwre 作れ here is the MRK of the transitive Y o d a n verb,なw-
作る= ‘ to make, build s.th.’
；-rz. り here is the S S K of the verb-
suffix-r/ り]
52. まゐれ1 し使は、… M R K . 1 ⑹ ，# 5
MAlRErishi tsukai wa... (Genji monogatari 源、

氏物語，]3..2/67)
The messenger w h o had c o m e (i.e., had c o m e and was still there)...
[mazre まゐれ here is the MRK of wfl/rw 参る，here an intransitive
Y o d a n verb = ‘to come, go; ascend to’（ hum.); -r/ り here is the
R Y K of the verb-suffix -n• り]
0-7
~ S e e the preceding footnote.
T h e other “past”verb-suffixes are RYK.1 thru RYK. 7.
53
5. V erbal A djectives
“Adjectives”are here called Verbal Adjectives (ねひ你/?/ 形容詞 )，because in

Japanese they are closer to being verbs than a separate category called “
Adjec
tives.”Moreover, they are conjugated in the same w a y that verbs are. Thus,
samushi ^ L means "to be cold9 (and not just tcold,) and has the same six
forms that a verb has.
There are two kinds of V e r b a l A d j e c t i v e s ：

A) くadjectives”
B) ‘ ‘-sみしく adjectives”
Verbal adjectives are conjugated as follows. For たw adjectives,”take the

dictionary form (SSK), drop the final -shi, and add -ku; the form that results is
one of its two R Y K forms. Similarly, ‘ ‘づ/?/如 adjectives”are conjugated by
taking the dictionary fonn (SSK), dropping the final -shi, and adding -shiku\ the
form that results is one oi its two R Y K forms.
Furthermore, both kinds of verbal adjective have two sets of forms (both of
which are partial). W e will call them the “plain-forms” and the “-/rar/ torms”
of a verbal adjective. The “plain-forms”of the adjective (other than the S S K
dictionary form and the R Y K form ending in -ku or -shiku already noted), are
m a d e by dropping the -A:w of the “plain-form”R Y K , and adding -んん ere, and
-んare, resulting in the R T K , IZK, and M R K “ plain-forms”for both kinds of
adjective. A s for the u-kari forms,they are m a d e by dropping the final -ku of
the “plain-form”R Y K and adding -ん ara,-たar/, and -んarw, to form the three
-kari forms, M Z K , R Y K , and R T K . (The latter are, in fact, R a h e n end
ings一 being a combination of -ku + ari, contracted to -kari, etc.)
Whereas the “plain-forms”of verbal adjectives are always used independ-
ently— i.e., without any inflected verb-suffixes attached to them (with the
exception of -te T , which can attach to the plain-form R Y K ) — forms”
are always used in combination with following verb-suffixes. 1
N u m bers in the following charts match example phrases and sentences cited
below, where each form is illustrated at least once.
1 T h e “-/ccrr/ forms”o f ds/?/• 多し • 大し（ ‘to b e m a n y ; big，

）apparently offer the only exceptions to
the above: the IZK f o r m is okare, a n d R T K dkaru can m o d i f y n o u n s directly.
54
Intro. 5
Verbal Adjectives
M o d e l Verbal Adjectives
-AX/ くADJS.’
“ ’：寒し‘
to be cold’
P = p la in -fo rm s ; K = -kari form s
p NIL sam uKU sam u sm sam uK i sam uK ER E SamuKARE

寒く 3,17，
19 寒し 7 実去 9,21-22 寒けれ 13 寒かれ 15
p 00
K SamuKARA samuKARi NIL samuKARU NIL NIL
K 寒から, 寒かり 4 00 寒かる1G 00 00
U-SHIKU L < ADJS.,?: u resh i M b 'to be happy; to be delightfuF

P = plain-forms; K = -kari forms
P NIL ureSHiKU u resm ureSfflKi ureSHIKERE ureSHIKARE

P 00 嬉しく 5，18,2G 嬉し 8 嬉しき 11 嬉しけれ 14 嬉しかれ 16
K ureSHIKARA UreSHIKARI NIL ureSHIKARU NIL NIL
K 嬉しから 2 嬉しかり 6 00 嬉しかる 12 00 00
Which of the two classes a verbal adjective belongs to can often be determined
by its use in context. Otherwise, it is best to check the expression in a classical
dictionary.
Note that the R Y K plain-form of verbal adjectives is often used adverbially

(e.g., #17-18 below).2 Such adverbs are especially prone to o m b in changes,
where, for the m od el verbal adjectives above ，R Y K “s a m u K U ”寒く（さむく）
becomes “s a m O ” 寒う（さまう），and R Y K “ureSHiKU” 嬉しく be co mes
“ureSHd”嬉しう；see the examples below (#19-20).
Note that nouns have developed out of the plain-form R e n t a i k e i of m a n y ver

bal adjectives (e.g., #21-22) — a natural extension from the use of the R e n t a i k e i
with an implied た〇/0 事（ see Intro.4.IV.D).
Most of the examples below appear elsewhere in the H a n d b o o k (per the citation
after each quotation in Japanese, cross-referenced to further treatment in the
volume). S o m e have been abbreviated from their citation there. Those that do
not appear elsewhere are followed by **. For more information about them, see
A p p e n d i x C: “
Notes: Other Translations of Citations in the Handbook.”
2 T h e RYK plain-form o f verbal adjectives is also often used with the verb なる（
成る，‘
to be-
c o m e ,): for examples, see # 3 a n d # 5 below; for discussion a n d add'l. examples, see Intro.10.NR.V1.
55
Intro.5
Verbal Adjectives
M Z K
1 . . . . よからぬ事なり。 M Z K . 1 (zu)，# 2 2
…夕ん m?,/. (Tiwrezwregwsa 徒然草，170:227)

It is not a good thing to."
[yos/zz•良し • 好し • 善し（
-くadj.) = ‘
to be good，fine’
]
2 . おごる平家は久しからず。 MZK.l(zu),#20
Ogoru Heike wa hisaSHIKARAzu. (Proverb 讓 )
T h e proud (< the proud Heike) do not last long. [ = Pride before the fall.]
[/zwos/z/ 久し（-しく adj.) = ‘to be a long time’ ]
R Y K (see also #17-20 below)

3 . つめのいとながくなりにたるをみて、… RYK.4(nikeri,etc.)，# 1 8
Tsume no ito nagaKUnarinitaru o mite, ...
(7b犯土佐日記，1月 2 9 日:46)
Seeing that m y nails had grown quite long,...
[nagashi S L (-< adj.) = 'to be long5]
4 • なごかりつる海 ..• RYK.5(tsu),#13
NagoKARltsuru umi.… （ Makura no sdshi 炊草子，3Q&.3\5)

The sea that had been so calm,...
[nagoshi fP L(- < adj.) = 4to be calm, peacefUr]
5 . 世になくて久しくなり侍りぬれば、... R Y K 3 ( n u ) ，# 1 8
Yo ni nakute hisaSHlKUnari-haberinureba,...
(G q/7 源氏物語，5:1/189)
Since a long time has passed (< it has bec o m e long [in time]) since he
died,...
[/z/ms/n•久し（
- しく adj.) = ‘
to be a long time，
]
6 . をかしかりしにそへて… RYK.4(nikeri，
etc.)，# 1 3
OkaSHIKARIshi ni soete… （ Makura no sdshi 枕草子，\34•八幻)

In addition to feeling amused,...
[oんos/z/•をかし（
- しく adj.) = ‘
to be amusing，charming; splendid,
lovely’ ]
SSK
7 • いさ、人のにくしとおもひたりしが、… R YK.l(tari)，# 6
Isa, hito no nikuSHl to omoitarishiga,...
(MaArwra sds/z/ 枕草子，143:200)
56
Intro. 5
Verbal Adjectives
“
No, since they find m e (< one) so dislikable，".’’
[«/た⑽/?/ 憎し（ -くadj.) = ‘ to be disagreeable, objectionable; ugly’
’]
8 . かしかましとて捨てつ。 RYK*5 (tsu)，

#11
心 5/2 to佗sw抡なw. (Dw厂
ezwregusa 徒然草，18:104)
Saying, “It’
s noisy,”he threw it away.
[ん 70s/z/ # まし（-しく adj.) = ‘
to be noisy’
]
RTK (see also #21-22 below)

9 . 死の近 (き)事を忘るゞなり。 MZK.2 (zari)， #10
Shi no chikaKIkoto 〇wasurum+nari. (Tsurezuregusa 徒然草，93:\66)
It is that they forget how near death is.
[c/z/ん
os/z/ 近し(-くadj.) = ‘ to be near’
]
10. … しるべかるらん。 SSK.l(beshi)，

#16
... ひraw. 职蠕鈴日記，下 :281)
I have a pretty good idea [how tinged your words are].
[the verb-suffix -ゐa/z/ べし（
S S K . 1)conjugates the same as a -ん
w く
adj.]
11. はづかしき人にものいはんとするに、… MZK.4 (muzu/nzu), #8

HazukaSHIKI hito ni mono iwan to sum ni,...
(Mflんwra sds/zz•枕草子，152:207)
One is about to say something to someone shy,...
[//azwたos/z/ 恥づかし( - しく adj.) = ‘to be retiring, shy’]
1 2 . 其願むなしかるべくは、… SSK.l(beshi),#2
Sono gan munaSHIKARUbeku wa, ...
(Heike monogatari 平家物語，5.9: \/362)
[But] if such a desire is (> proves) pointless,...
•空し • 虚し（ -しく adj.) = ‘to be empty, fruitless, in vain’
]
IZK
1 3 . ねぶたければみなねぬ。 RYK.3(nu)， #6
NebutaKEREba, mina nenu. [Makura no sdshi 饮草子，名..50、
Since we were very tired, we all fell asleep.
[狀わw/os/zz•寢たし • 眠たし（- くadj.) = ‘to be very tired’]
1 4. まいりこまほしけれど、… MZK.7 (mahoshi)，

#16
Ma/W-たowa みoS///反£/?£"ゴ6)，. . . （
尺a が r J 川•たん/ 蜻鈴日記，上 :125)
Td like to come visit you, but...
57
Intro. 5
Verbal Adjectives
[the verb-suffix -ma/zos/z/ まほし（
M Z K . 7) conjugates the same as a
-*s72/A：
w しく adj.]
MRK
15. 從へもちゐることなかれ。 RTK.1 (gotoshi)，# 7
Shitagae-mochiiru koto naKARE. (Tsurezuregusa 徒然草，217:264)

D o not use itaccording to w h i m (< D o not use it following [your wishes])!
[wos/z/ 無し • 亡し（ -くadj.) = ‘ to be lacking, absent’；also functions
as a negative]
16. 人を「惡しかれ」など思ふ心もなけれど、. . . * *
Hito 〇 (<ashiKAREnado omou kokoro mo nakeredo,...
( •源氏物語，9:1/331)
Although she didn’ t intentionally wish that something untoward might
happen to another (くAltnough she didn’ t have thoughts that went, “Might
it be untoward”to another, or the like),…
[os/z/ 惡し（
- しく adj.) = ‘to be untoward’ ]
RYK PLAIN-FORMS OF VERBAL ADJECTIVES USED ADVERBIALLY：

1 7 . ちかく來ぬれど、… R Y K 3 ( n u ) ，# 1 7
ChikaKUkinuredo,… （Makura no sdshi 枚草子，99 ，

\5V)
.
[c///んos/n•近し (-くadj.) = ‘ to be near’
]
18. おとこ、ひさしくをともせで、… M Z I C i ( z u ) ，# 1 2
Otoko, hisaSHlKU oto mo sede， … {Ise monogatari 伊勢物語， ]
T h e man, sending no word for a long time,...
[み/ms/z/ 久し（- しく adj.) = ‘to be a long time’ ]
SOUND-CHANGES WITH RYK-ADVERBS FROM VERBAL ADJECTIVES：

19 • 雪のおもしろう降りたりし朝、… RYK.l( t a r i ) ，# 4
Yuki no omoshirO fidfitarishi ashita，" . （ Tsurezuregusa 徒然草，3\ A \6)

O n a morning m a d e beautiful by the fallen snow,...
[omas/z/ros/n• 面白し（ -くadj.) = ‘ to be charming, lovely; cheer-
flil，]
2 0 •••.、ゆかしう思ふことは、そひにたり。 R Y K . 4 ( n i k e r i ，
etc.)，# 1 6
yukaSHU omou koto wa soimtari.
( G 巧// ■ 如が /ar/源氏物語，4 5 :4/335)
58
Intro. 5
Verbal Adjectives
his longing for her increased.
[ywた似/z/ゆかし（ - しく adj.) = M J むw/ras/z//なつかしい ]
In the above examples, the final ^-sound has dropped from omoshiroku and
yukashiku. This phe n o m e n o n happens with such frequency, it merits listing
the following—
F O R A D D ?L E X A M P L E S o f ombin with -ku adjs., see M Z K . 5 (ji), # 7 a n d R Y K . l (tari),
# 12.
F O R ADD5L e x a m p l e s o f ombin w i t h -shiku adjs., see M Z K . P C H . 1 ([ra]ru), #12; M Z K .
NIS.2 (baya), #6; R Y K . 1 (tari), #14; R Y K . 1 (tari), #15; S S K . 3 (maji), #4; a n d S S K . 4
(meri), #10.
NOUNS FROM THE PLAIN-FORM RTK OF VERBAL-ADJECTIVES：3

2 1 . この水の近きを賴りにて、… **
Kono mizu no CHIKAKI o tayori nite,...
(Gq/7 がar/ 源氏物語，52:5/304)
Because of (< Stemming from) the closeness of this river,...
[c///んos/z/ 近し（
-くadj.) = ‘
to be nearby，]
22. 峨々たる嶺のたかき … 險々たる谷のふかき … Intro.4 . S X ，# 3 4
Gaga tarn mine no TAKAKI... kenken taru tani no FUKAKI...

(//ど/レ則平家物語，2.15:1/200)
The height of the soaring peaks...，the depth of the steep valleys...
[takashi L (- < adj.) = 4to be high, tall;fukashi ^ L (- < adj.)=
‘to be deep’ ]
YC)KEI f o r m o f verbs: e.g •，

3 Cf. the formation o f n o u n s f r o m the R e n ’ 力 • 舟乘り
(‘boat-boarding’ ）in s w r a w w (?/〇膨 - r a .• . 舟乘りすらむ撼婦らが .•.（ “T h e
y o u n g w o m e n probably n o w g o i n g aboard [< d o i n g boat-boarding] " • ’
’)，S S K . 5 ( ramu/
ran), #7; watari (t[ferry-]crossing,) in Yodo no watari to iu mono seshikaba,... ( ^ B e c a u s e
w e crossed o n the Y o d o Ferry [< did the ' Y o d o (ferry-crossing5 R Y K . 6 (ki/shi),
#23; a n d nozoki (^peeping, peeking') in Mono-nozoki no kokoro mo samenumeri
きの心もさめムめり（ Aiid her desire to p e e k [く m i n d for p e e k i n g at things] h a d
apparently cooled), S S K . 4 (m e n ) , #7.
6. Pseudo-A djectives
Pseudo-Adjectives ぬ s/2/ 形容動詞）are another kind of “ verb”in the

sense that they are conjugated with m a n y of the six forms that verbs are.
Pseudo-adjectives function m u c h as verbal adjectives do (namely, as descrip
tive predicates); and like verbal adjectives, they can (in one of their R e n ^ O K E I
forms) act as adverbs. They are called “pseudo”because they only •seew fit
the category of adjectives. Grammatically they are closer to nouns turned into
verbal adjectives (or kanji compounds from Chinese that have been domesti
cated, clarified grammatically by the verbs, with their final forms, that are at
tached to them).
Pseudo-Adjectives are of two kinds:

The nari ^ *9 type, which turn m a n y native-Japanese word-roots, in
cluding m a n y nouns, into de facto verbal adjectives: e.g., shizuka nari
り，‘ to be still, quiet’ ； war/ あはれなり，‘ to be pitiable, moving,
touching.’These are identified in classical-language dictionaries as 形動ナリ .
The tor/ たり type, which turn m a n y 々fl/iゾ 7 漢字 compounds, including
repeated characters, into verbal adjectives: e.g•，ゴ /an• 堂々たり，‘ to be
imposing, grand; flourishing’ ；從 /an• 整然たり，‘ to be orderly, regular，
systematic.’They also occasionally turn “native-Japanese”nouns into ゴた )
verbal adjectives. W h e n included in classical-language dictionaries, these are
identified as 形動タリ • TbfW is a copula, and functions as one in this usage.
Both nari and tari have R a h e n verb-forms, plus one additional R Y K form
(highlighted— in bold or underlined— in the following chart). Strictly speaking,
the t w o additional forms are separate verbs.
Model Pseudo-Adjectives
N A R I なり with sample model (R a h e n endings):
shizuka + nara nari / ni nari naru nare NIL
静か + なら，なり 2/ 匕 35 なり6 なる7 なれ8 00
T A R I たり with sample model (R a h e n endings):

dodo + NIL tari / to tari taru nil NIL
堂々 + 00 たり 9/とHM2 たり 13 たる l4 〇
〇
00
Numb e r s match the example phrases and sentences below.
60
Intro.6
Pseudo-Adj ecti ves
Note that there are T H R E E U S E S of w/ に，the R Y K short-form of pseudo-
adjective war/ なり：（A) A D V E R B I A L (as in #3 below); (B) S U S P E N S I V E (as in #4;
to end— “suspending， ”as it were— the first of two clauses; see Intro.4.II.A thru
C )；and (C) B E F O R E -S H IT E , producing ni shite (C L T (as in #5; similar to the
S U S P E N S I V E use, but sometimes suggesting something more of a break).
T h e R Y K short-form of pseudo-adjective /an• たり，namely,切と，normally

appears in classical texts in the locution to shite t L T , as a predicate with the
force of a verbal adjective used suspensively (e.g., #11 and #12). Use of to t
by itself occurs but rarely in early texts, becoming c o m m o n only in the late
period where it is adverbial (e.g., # 10 ).
For more about war/ なり，see Intro.10, ‘

War/ なり Headaches.”
Half of the examples below appear elsewhere in the Handbook (per the citation
after each quotation in Japanese, cross-referenced to further treatment in the
volume). Those that do not are followed by **. For more information about
them, see A p p e n d i x C: “
Notes: Other Translations of Citations in the Hand-
book.”
7V^/?/-t y p e P s e u d o - A d ^ ctives1
MZK
1.人の心すなほならねば、… M Z K .1 (zu )， #27
Hito no kokom sunao NARAneba,... (Tsurezuregusa 徒然草，S5:\5 名)
Since the h u m a n heart is not ingenuous,...
レ • 素直なり= ‘ to be honest, true; artless，ingenuous’
]
RYK
2• さこそ異樣なりけめ。 R Y K . 7 (kemu/ken)，# 1 2
Sa koso kotoydNARlkeme. (Tsurezuregusa 徒然草，53..\33)
[ たが •異樣なり = 4to be strange’
]
3 . まづ何事も細かに申したく候ふに、… RYK.8(tashi),#4
Mazu nanigoto mo komaka NI mdshitaku-saburau ni,...

«/たた/ 十六夜日記，3/27:377)
1 S e e also the e x a m p l e s cited in Intro. 10 . N R , #12-13.
61
Intro. 6
Pseudo-Adj ecti ves
First I wanted to tell you everything in detail, but...
[bwflた a war/ 細かなり = ‘ to be detailed，fine’ ]
4. やすくすなほにして、
姿もきよげに、あはれも深くみゆ。 Intro.4.SX,
#9
fasuku sunao ni shite; sugata mo kiyogeNI, aware mo fukaku miyu.

( 徒然草，14:101)
O n e feels that [what the ancients wrote] is plain and artless, that it is both
pure in rorm and profound in emotion.
が •清げなり = ‘ to be pure’]
5. やすくすなほに_ U X 、
姿もきよげに、あはれも深くみゆ。 IntroASX，
#9
Yasuku sunao NI shite; sugata mo kiyoge ni, aware mo fukaku miyu.

厂 egwsa 徒然草，14:101)
O n e feels that [what the ancients wrote] is plain and artless, that it is both
pure in rorm and profound in emotion.
war/ 素直なり = ‘
to be honest，true; artless, ingenuous’
]
SSK
6 ....、次におろかなり。 **
...なwg/ «/• 徒然草，38:120 twice)
... is next in being foolish.
[oroんa war/ 愚かなり = ‘ to be foolish’
]
RTK
7 . あだなるさまにもなるに侍るべし。 S S K . 3 ( m a j i ) ，# 3
Ada NARU sama ni mo naru ni haberubeshi.
(A/wmsaA： / m M z •紫式部日記，496)
They surely end up looking untrue (< end up even in an untrue state).
[ a J a •徒なり = ‘ to be insubstantial; useless; untrue’
]
IZK
8• 輕く、ほしきまゞにしてみだりなれば、… **
Karuku hoshiki mama ni shite midari NAREba,...
(rswrezwregw犯徒然草，171:229)
W h e n [a ruler] is arbitrary, taking things lightly and acting at whim,...
[w/ぬ W war/ 妄りなり = ‘ to be arbitrary’]
MRK
N il
62
Intro.6
Pseudo-Adjectives
T A R I- t y v e P s e u d o -A d j e c t i v e s
MZK
N il
RYK
9 . 凉風颯々たりし夜なか半に、… **
Rydju satsusatsu TARIshiyo-nakaba ni, ...
(/fefe w ⑽ oga/an•平家物語，7.18:2/l 08)
Late one night w h e n a cool breeze was soughing，
."
[似むwsa なm /an’ ® 女たり = 'for the wind) to be soughing’
]
10 . 茫然と見下ろすに、… **
Bozen TO mi-orosu ni,...
(K^da Rohan 幸田露伴 , 7b/ 對髑髏，1:MO)
Vacantly looking down,...
[缺⑼如厂/ 茫然たり = ‘
to be vague，uncertain; bewildered, dazed’
]
11. 王宮の林を見るに、
外郭渺々として、
其内曠々たり。 **
Ogu no tei o mini ni, gaikaku bydbyd TOshite, sono uchi koko tari.
(//の /^削 w 切^ ar/平家物語，6.9:1/4M)
Upon seeing the layout of the royal palace: its outer wall stretched arar
and its inner precincts spread wide.
[6ァ祐メ6 •渺々 fこり= ‘to be endlessly long; far o ff ]
12 . 「
凛々として水鋪けり」と… **
“RinHn TOshMe kdri shikeri,” to …
(MflAwra ⑽ 枕草子，302:313)
“It being piercingly cold, ice was spread out， ’…
[厂/謂《/aW ?禀々たり = ‘ to be piercingly cold’
]
SSK
13. 王宮の鉢を見るに、
外郭渺々として、
其内曠々たり。 # 1 1 above
Ogu no tei o mini ni, gaikaku bydbyd to shite, sono uchi koko TARI.
(//efe m ⑽ •平家物語，6.9:1/414)
Upon seeing the layout of the royal palace: its outer wall stretched afar
and its inner precincts spread wiae.
[たぶ:(5 /ar/ 曠々たり = ‘
to be wide, vast’
]
63
Intro. 6
Pseudo-Adjectives
RTK
14.峨々たる嶺のたかき … 嶮々たる谷のふかき … intro.4.SX,#34
Gaga TARU mine no takaki... kenken TARUtani no fukaki...
(Z/e/知 •平家物語，2.15:1/200)
The height of the soaring peaks.. the depth of the steep valleys...
[gaga •峨々たり = ‘ to be lofty, soaring’
;た⑼ん⑼加7•崎々たり =
‘to be precipitous, steep’]
IZK
N il
MRK
N il
64
7. Linking V\?i Kakari-musubi
心た a r Z - z m a w み/ 係り結び，“the tying together of related elements,”refers to the

linking that occurs in classical Japanese B E T W E E N certain particles (namely, zo
ぞ，ァa や，なむ/なん , か， and たoso こそ ) 1 w h e n they occur in the
middle of a sentence (or at the end, with ka t)^) A N D the final verb-suffix at the
end of the sentence. W h e n this linking occurs, the final verb ends in something
other than the S h u s h l k e i that one would otherwise expect.
There are t wo w a y s of looking at kakari-musubi particles.

I. O n e is to take them to be emphasizers (of the word or phrase that precedes
them) or emotive markers', particularly as the latter, they and their rough English
equivalents might be approximated by the following. (Several of the renderings
are in parentheses to indicate their w e a k or tentative quality.)
The mildly emphatic particles：
zo ぞ indeed, (indeed), must, (must)

少a や indeed, (indeed), indeed? in fact, (in fact), in fact?
namu/nan indeed, (indeed), in fact, (in fact)
The interrogative particles：
k a t、 [indicating a question]
アa や [indicating a question, often ironic; or indicating a
w e a k question, like the Canadian ‘
eh ? ’]2
The emphatic particle：
koso こて certainly, indeed [acting as an exclamation mark]
II. A second w a y of looking at kakari-musubi particles (at least the R E N T A I K E I

ones) is to view them as highlighting the text that precedes them in the
following ways .3 (This approach often works better.) Viewed in this light—
1 A particle is a grammatical unit that serves a particular function: to m a r k the text grammatically
(indicating a topic, direct object, doer o f an action, etc.— in Japanese, b y being placed after t h e m ) or
to m o d i f y the text's m e a n i n g (by c o m m u n i c a t i n g emphasis, questioning, irony, doubt, etc.).
T h e mildly emphatic アa や a n d the interrogative アa や are o n e a n d the same. Their use is
differentiated here to try to bring out both aspects o f its expression, w h i c h in fact covers a spectrum:
f r o m mild emphasis, to mild questioning, to gentle irony, to stronger irony, to m o r e general q u e s
tioning (often with a tinge o f doubt).
T h e a r g u m e n t in this section is b a s e d o n Charles J. Q u i n n , Jr.，“Point o f V i e w in the Clause: A
Rhetorical L o o k at Kakari-Musubi^' in The Distant Isle: Studies and Translations of J apanese
Literature in Honor of Robert H. Brower, T h o m a s Hare, Rob e r t Borgen, a n d Sharalyn O r b a u g h ,
eds. ( A n n Arbor: Center for Japanese Studies, University o f M i c h igan , 1996), pp. 371-407.
65
Intro.7
Linking via Kakari-m usubi
zo ぞ Lends identifyingfocus to the no un or phrase that precedes it. (The

“speaker”informs the “listener，”4 and the t wo are set apart from
each other.) For example (#2 below)—
“It is B Y T H E S O U N D O F T H E W I N D that I find myself startled [into
awareness that autumn has come].
namu/nan hy Gives confirmation about the noun or phrase preceding
it. (The speaker informs the listener, and there is an air of famili
arity between them.) For example (#5 below)一
“S U R E E N O U G H , it was INTO P A L A C E SERVICE W H E R E T H E Y W E R E
N O T r e m o v e d F R O M E A C H OT HE R, that the m a n and the w o m a n
both had entered.”
k a t、 Seeks an answer to something, the interrogative (and often what
precedes it) being highlighted. (The listener is to inform the
speaker about the point in doubt [at least theoretically, since the
question m a y be rhetorical]; no familiarity is involved.) For ex
ample (#8 below)—
“T H E M O U N T A I N C U C K O O , W H E N will it likely c o m e and sing?“
ya ^ Solicits confirmation of the preceding phrase, posed as a question.
(The listener is expected to confirm the speaker’ s tentatively stated
formulation;5 there is an air of familiarity between them.). For ex
ample (#3 below)—
“C ould 丨
T be A thousand years that s e e m to have passed? ...”
Arguably, most kakari-musubi particles take the R e n t a i k e i because the R e n -

TA1KEI is essentially a nominaiizing form (that is to say, it turns verb-phrases
into nouns; see the opening para, of IntroASX.IV). M a n y of its formulations
are of the type, “{Noun or Noun-phrase} is {Noun or Noun-phrase}.”S o m e of
the above examples already have strong characteristics of this.6
4 T h e “speaker” （ here a n d in w h a t follows) refers to the speaker, the author, or the implied
narrator. T h e “listener”refers to the listener, the reader, or a n i m a g i n e d addressee.
5 A formulation stated with the possible range outlined in n. 2 above.
6 For e xample—
“( A s for the m o u n t a i n c u c k o o ，
）{Its c o m i n g to sing} will likely b e { w h e n ? } . ”
‘‘{ A thous a n d years, y o u agree?} is {that w h i c h s e e m s to h a v e p a s s e d }.’
，
Alternatively, like other R entaikei formulations w h e r e a n implied n o u n is understood (Intro.4.
S X . D ) , o n e c a n v i e w entire sentences e n d i n g with the RENTAIKEI as being nomina l i z e d with a n
implied “It is/was the case that...”understood. For e x a m p l e (again with the a b ove)—
"(It is the case that) B y the s o u n d o f the w i n d I find m y s e l f startled [into a w a r e n e s s that
a u t u m n has c o m e ] . ’
’
“(It is the case that) A thousand years, w o u l d n ’
t y o u agree? s e e m to h a v e passed.”
“(It w a s the case that) Sure eno u g h , it w a s into Palace service w h e r e they w e r e not r e m o v e d
f r o m e a c h other, that the m a n a n d the w o m a n both h a d entered.”
66
Intro. 7
In terms of grammar, one must learn Kakari-musubi rules. IN A W O R D —

(A) W h e n 况ぞ , や， or waww/ziaw なむ/なん is used in the middle of a
sentence, the final verb ends in the R e n t a i k e i .
(B) W h e n ka is used, whether in the middle of a sentence or at the
end, the final verb ends in the R e n t a i k e i .
f O When 々 aso こそ is used in the middle of a sentence, the final verb
ends in the IZENKEI.
(D) W h e n the above particles are used at the end of a sentence, usage
becomes more complicated.
Most of the examples below appear in the B o d y o f t h e H a n d b o o k (per the

citation after each quotation in Japanese, cross-referenced to further treatment
in the volume). S o m e have been abbreviated from their citation there. Those
that do not are followed by **. For more information about them, see A p p e n d i x
C: “Notes: Other Translations of Citations in the Handbook.”
(A)
W h e n びぞ，や，or m i w w / m w なむ /なん 7 is used in the middle of a
sentence, the final verb ends in the R E N T A I K E I . In all of the following
examples (two for each of the three particles), the final verb-ending is in the
R entaikei：
1.「
長き御世にもあらなん」とぞ、思ひはベる。 M Z K .N IS .3 (nam u /nan )，
#6
“Nagaki on-yo ni mo ara-nan， ” to ZO omoi-HABERU.
(Gq// /wwoga/ar/ 源氏物語，34:3/293)
W h a t she thought was,“M a y she have long life (i.e., live longer than
me)!”
[/zaレ rw はべる is the R T K of the R A H E N verb k ゐen•侍り，here a
4polite, auxiliary verb (see Intro.13)]
2 • 風のをとにぞおどろかれぬる。 M Z K .P C H .l ([ra ]m ) , # l l
Kaze no oto ni ZO odorokareNURU. [Kokinshii 古今集 , 4/\69:\36)
ぬる is the R T K of-«w ぬ（ RYK.3)]
7 This namu/nan is not to be conflised with t w o other namu/nan constructions: the

p o s t - M Z K non-inflected verb-suffix 而/?なむ /なん（ M Z K . N I S . 3 ) ; a n d the “ftised”
なむ / なん，w h i c h joins な（ a form o f R Y K . 3 [nu]) + - w w む（ a form of M Z K . 3
[mu/n]). F or discussion o f the three, with examples (including kakari-musubi ones), see Intro.11,
なむ /なん Trouble.”N o t e that the can also appear at the e n d
o f a sentence, with a following verb ending in the R T K understood (e.g., Intro.11. N M , #14).
67
Intro. 7
3• 千とせやすぎにけん、… R Y l C 7 ( k e m u / k e n ) ，# 6
K4 swが/ ? ...（ Tbsa m •んんz•土佐日記 , 2 月 16 日:58)
Could it be a thousand years that seem to have passed?...
[-ん ⑼ けん here is the R T K of-Zreww/-ん⑼けむパナん（ RYK.7)]
4 •なきわたるかりの涙やおちつらん ..• R Y K .5(tsu )，
#12
Naki-wataru kari no namida YA ochitsuRAN,...
(KokinshU 古今集 , 4/221:145)
Aren^ they tears from wild geese crying out as they pass by that I take to
have xallen?...
[-ra« らん here is the R T K o f らむ/ らん（ SSK.5)]
5 . おとこも女も、あひはなれぬ宮づかへになむ出でにける。
R Y K .4 (n ikeri ,etc .),#6
Otoko mo onna mo, ai-hanarenu miya-zukae ni NAMU ideNlKERU.
(/此 wowoga/ar/ 伊勢物語 , 86:163)
Sure enough, it was into Palace service where tnev were not removed
rrom eacn other, that the m a n and the w o m a n both had enterea.
[-m•んerw にける is the R T K of-w•たm • にけり（ RYK.4]
6 . かの御琴の音なん、聞かまほしき。 M Z K .7(m ahoshi)，
#14
Kano mi-koto no ne nan, kikamahoshiki.
•源氏物語，35:3/338)
Sure enough, it's the strains of that koto (i.e., zither) that F d like to hear.
[-wa/zos/z/A：
/ is a R T K form of -wa/zoy/z/ まほし（ MZK.7)1
When か is used，whether before the final verb (as in #7-8)，or after the
final verb (as in #9-10), the final verb ends in the RENTAIKEI:
7•何によりてか目を喜ばしむる。 M Z B L P C H .3(shim u )，
#4
Nani ni yorite KA me 〇yorokobaSHIMURU. (Hdjdki 方丈記，A..24)
A n d for what reason do they delight their eyes?
しむる istheRTKof-s/z/ww しむ（ MZK.P C H. 3 ) ]
8 . 山霍公鳥いつか來鳴かむ。 M Z K .3(mu /n ),#5
Yama-hototogisu itsu KA ki-nakaMU.
(M7«’夕d s M 萬葉集，10/1940:3/79; X o ん/似加古今集，3/135:129)
The mountain cuckoo, w h e n will it likely c o m e and sing?
[-mw む here is the R T K of-ww/-« む /ん（ MZK.3)]
68
Intro. 7
Linking via K akari-m usubi
9•まいるまじい丨か。 S S K .3 (m aji )，

#1
A/a/rwA/A///(//e/んe mowogator/ 平家物語，1.6 :1/99-100)
Aren’t you going to come?
[-majii ^ C V M s a RTK form of-maji S C (SSK.3)]
10. 但(し)、當月、諸社の祭なき故に、この名ある |か。 **
Tadashi, togetsu shosha no matsuri nakiyue ni, kono na ARUKA.
ぬwr级奶a 徒然草，202:254)
But could it have this n a m e (i.e.，the “godless month”）because in that
month (i.e., the tenth lunar month) the various temples are without a
festival?
[arw ある is the RTK of the R a h e n verb ar/ 有り • 在り = ‘ to
exist, be’
；later, ‘
to be provided with, have’ ]
B y analogy with the preceding, in other interrogative sentences— e.g., where

there is /are たれ，‘w h o ?’
；いずく，‘ where?’；/zwre いずれ，‘which?’ ；/んa
みいかで，h o w ?’ ；etc.— the final verb usually ends in the R e n t a i k e i . The
following illustrate the point with still other “
question words”：
11. 「
誰がしつるぞ、見つや」と… R Y K .5(tsu )，
#7
Taga shiTSURUzo, m itsuya,” to." (Makum no sdshi 枚草子，27 名..2桃 )
“
W h o could have done it? Might you have seen him?”…
[-/swrw つる is the RTK of -なw つ（ RYK.5)]
12. 世間を何に譬へむ ..• R T K .l (gotoshi)， # l
Yo no naka o NANIni tatoeMU;… （

M an’ydshii 萬葉集 , 3/35\..\/Y19)
T o what might one compare this world?
[-mw む here is the RTK of-ww/-« む /ん（
MZK.3)]
(C )
When こそ is used in the middle of a sentence, the final verb ends in the
I Z E N K E I . In this usage, the evidential nature of a statement (i.e., something
evident to the speaker or listener) is both confirmed and emphasized. The
kakari-musubi combination functions as a virtual exclamation mark:
13•..•こそ、… ともおぼえね。 MZIC1.(zu)，
#28
... KOSO,... to mo oboeNE. (Makura no sdshi 枕草子，200:243)
O n e certainly does not think...!
ね here is the I Z K of -zw ず（
M Z K . 1)]
1 4 . これは龍のしわざにこそありけれ。 R Y K .2(keri)， # l l
Kore wa tatsu no shiwaza ni KOSO ariKERE.
69
Intro. 7
(7b ん欲?r /w o w o g a /a r /竹取物語，6:48)

For sure, this is the dragon’s doing!
[-鯰 ⑺ けれ is the IZK o f-た汾7• けり（ RYK.2)]
But by early-medieval times, kakari-musubi rules, though often followed,

began to fall out of use. The following example illustrates the point:
1 5 . はつゆきとこそいふべかるらん。 S S K .l (beshi )，
#17
Hatsu-yuki to KOSO iubekaruRAN.
( ’
ァJ 金葉和歌集，1/7:158)
One might well call it “first snow”！
[-raw らん is the SSK or RTK of らむ /らん（ SSK.5); if
kakari-musubi were in effect, the -ramul-ran form here would be
IZk -raw どらめ；for add’l. treatment of this passage, see Intro.9.EC.
VIII]
(D)
W h e n zo ぞ，ァa や， w a r n なむ/なん,んa か,a n d ん o s o こそ are used at the
end of a sentence rather than in the middle, usage becomes more complicated.
Let us treat each particle in turn.
The case oika is simple, having been dealt with above. Sentences that
end in ん a か require a final verb that ends in the R e n t a i k e i (e.g.， #9-10 above).
yVflww/ziflw なむ/なん should be easy， for the expression appears rarely, if
ever, after a final verb.8 But this namu/nan is easily confused with the verb-
suffix -namu-nan (MZK.NIS.3); for discussion and examples, see Intro.11,
4Wamw/肌w なむ /もん Trouble.”
As for the rest of the particles, S h u s h i k e i usage in the verb-final is most in
evidence with夕a や when it ends the sentence. This is illustrated by the follow-
ing:
16. 「
誰がしつるぞ、見つ丨や」と… R Y K .5(tsu )，
#7
Ta ga shitsuru zo, miTSU YA， ” to... (Makura no sdshi 饮草子，27 名..2桃 )
“Who could have done it? Might you have seen him?” …
0 w つ is the SSK of -加つ（ RYK.5)]
17. 濱名のはし見ざりき丨や。 M Z K .2 (zari ),#8

Hamana no hashi mizariKl YA. (Makum no sdshi 枚草子，？
》\6:322)
Haven’t you seen the bridge of Hamana?
[七•き is the SSK of-/b7-Mz•き /し（ RYK.6)]
8But it d oes appear at the end o f sen ten ces w ith no v e r b :e .g .,Intro .11.N M ,#13 and #14.
70
Intro. 7
W h e n z〇^ is used at the end of a sentence as a final particle of assertion, in the

vast majority of cases a R e n t a i k e i verb-final precedes it,9 as in the following:
18. 「
思ふこと、少し聞ゆべき Iぞ」とて、… **
Omou koto sukoshi kikoyuBEKI ZO， ” tote …
( G q / 7 •源氏物語，2:1/95)
“I must say s o m e of what I feel!”…
[-ゐe h •べき is a RTK form of -ゐes/z/ べし（ 8 8 〖.1 );仿犷 3(1〇 1’
1.
treatment of this passage (incl. discussion of the 'humble 5 full verb
众/たの;w 聞こゆ )，see Intro.13.R L ，#5]
1 9 . 「弓矢打物と (ツ ) て九州二嶋にならぶ者もあるまじき丨ぞ」と{ぞ }
いひける。 **
liYumiya uchimono totte Kyushu Jito ni narabu mono mo aruMAJIKI
ZO， ” to (zo) iikeru.
(//dレ •平家物語，8.3:2/l30-131)
“Certainly,”he said, “not witn b o w and arrow, nor with blade, will there
be anyone in the Nine Provinces or T w o Islands w h o matches him.”
[-wq//た/まじき is the RTK of -肢 {/z•まじ（ SSK.3)]
Finally，although 灸a w ? こそ is frequently used at the end of sentences to

express emphasis, it is seldom preceded by a verb. In the following more
unusual examples, an implied IZENKEI verb follows koso Cl-?:, so the verb-
form that precedes koso depends on its function in the fuller implied sentence:
2 0 . 現ともおぼえずこそ。 **
Utsutsu to mo oboezu KOSO. (Genji monogatari 源、氏物語，2..V96)
It is utterly unreal! (< It certainly is not to be thought of even as
real[ity]!)
[IZK /zaりe;ではベれ（ or something similar) is implied after the
こそ；-zw ず here is the R Y K of -zw f ( M Z K . l ) , u s e d “sus-
pensively”（ Intro.4.SX.II.E) with the implied and inter
vening た
2 1 • 同じ枝さしなどの、いと、艶なるこそ。**
Onaji edasashi nado no, ito emu-naru KOSO.
(G^«y7 wcwoga/flrz•源氏物語，50:5/180)
Thou g h [the hagi bush-clover here] has the same shape [as the other
one], it is quite charming.
S e e also Intro.4.SX ，n. 22; cf. S S K . 6 (nari/hearsay)，#7, w h e r e zo ぞ is p r e c e d e d b y the S S K .
71
Intro. 7
[IZK w ぬwros/nfe厂己めづらしけれ（ or something similar) is i m

plied after the 众oso こそ，resulting in the following fuller version:
u( H o w wonderful is the fact that,) T h o u g h this one has the same
shape (as the other)，it む quite charming”；e m w (= ert) Ifeなる
is the R T K of the pseudo-adjective (Intro.6 )，⑼ ran.鲍なり = ‘ to
be charming，engaging; fascinating; voluptuous’ ；the R T K is used
to nominalize the entire phrase up to た oso こそ（ cf. Intro.4.SX.
IV.D, and n. 6 above); edasashi ^ L refers to the w a y in which
the branches of a tree or bush protrude]
72
8. How to 'U n p ack 9 Bungo Verbs
This section explains h o w to “unpack” 一 that is, h o w to analyze, h o w to break

d o w n and m a k e sense of~the grammar of any verbal construction in the
Handbook. In Japanese, except for those verbal phrases that modify nouns or
pronouns (e.g., #8 below), verb constructions c o m e at the end of clauses (i.e.,
phrases containing a predicate) or at the end of sentences. 1
It is easy for a verb construction to be misconstrued, at least initially,
especially if its constituent elements are misidentified as to where one form in a
sequence ends and another begins. Ultimately, there is usually only one
plausible, allowable sequence of interpretation for a verb construction, as long
as no mistakes are m a d e while “ unpacking”it. But it is easy to go d o w n more
than one dead-end in the process.
All of the examples below appear in the B o d y o f t h e H a n d b o o k (per the
in the volume). S o m e have been abbreviated from their citation there. A s for the
nuances of the verb-suffixes used in examples cited in this section, they are
the focus of the B o d y o f t h e H a n d b o o k and can be referred to there via the
cross-referencing noted.
General 'U npacking9
The best w a y to understand a verbal construction (i.e., verb, verbal adjective,

pseudo-adjective, or verb-suffix— together with its suffixes, if any) is to take it
apart~~to ûnpack^ it, as it were. There are two ways of doing this: by begin
ning with the initial verb-form and working outward from it to the end of the
verbal phrase, or by beginning from the end of the verbal phrase and working
backward from it to the initial verb-form. In the Handbook, where texts are
printed horizontally, that means working either from left to right — ^ , or from
right to left . W e will attack the problem from both directions. Take the
following w/zw 見ず verb-construction for example, explained first one way,
then the other:
1.「
ゆめにだに見丨ず」と… M Z K .1㈣，
#19
“Yume ni dani MI/ZU， ” to.. • {Makura no sdshi 饮草子，？
)\&.322)
“I haven’
t seen [her] even in m y dreams,”...
1“
S en ten ce ”is d efin ed in ln tro .4.S X ，
n .17.
73
Intro. 8
How to 'U npack5 B ungo Verbs
— mz•見 here2 is the M Z K of m/rw 見る（他、上一：mi, mi, miru, miru,

mire, miyo) = “ to see, look at s.th.’
’；it is in the M Z K because it is
followed by -zw ず，a form of -zw ず（ M Z K . 1:[zu/na], zu/de/[ni], zu，
nu, ne, NIL), and -zu forms are preceded by the M Z K ; -zu ^ here is in
the S S K because it ends the sentence.
— -zw ず here is the SSK of -zw ず（ MZK.1:[zu/na]，zu/de/[ni], zu，nu,

ne, NIL); it is in the SSK because it ends the sentence; zw/ 見 here is
the MZK ofw/rw 見る（他、上一 :mi, mi, miru, miru, mire, miyo)=
“to see s.th.，look at s.th.”；it is in the MZK because it is followed by a
form of -zu 1 ,and -zu forms are preceded bv the MZK.
The following is a more complex example:
2 • 歌よま卜ほしかり丨けれ |ば、… MZK.7(mahoshi),#7
Ufa YOMA/MAHOSHIKARI/KERE/BA,...
膨 ⑽ ga/ar/ 源氏物語，22:2/337)
Because he wanted to compose a poem,...
— ► 少0肢 7 よま is the M Z K of ァ詠む（他、四：yoma, yomi，yomu,
yomu, yome, yome) = 4to compose (a poem); recite s.th/; it is in the
M Z K because it is followed by -ma/zos/n•たar/ まほしかり，a form
o f - w a みos/?/ まほし（
M Z K . 7 : mahoshikara，mahoshiku/mahoshi-
kari, m a h o sh i, m a h o sh ik i/m a h o sh ik a ru , m a h o sh ik ere, NIL), and
-w a/zos/n ’ form s are p r e c e d e d b y th e M Z K ; -w a/zos/z/ んarz•まほしか
り is in th e R Y K b e c a u se it is fo llo w e d b y - わre けれ， a form o f
-んe r / けり（ RYK.2: kera ，NIL，keri, keru, k ere ，NIL), and - f e r / form s
are p reced ed by the R Y K ; けれ is in the I Z K (and is not the
M Z K -んm ? けら） ; therefore the -6 a ば that fo llo w s it is the ‘b e c a u se /
w h e n ’ -Zw ば（ IZK.NIS.l) p reced ed b y the I Z K (a s o p p o se d to the
‘i f ば p reced ed b y the M Z K [MZK.NIS.l]).
— -ゐa ば here is the 4because/when’ ば（ IZK.NIS.1)，as opposed to

the ‘ if -ゐa ば ( M Z K . N I S . 1),because it is preceded by an I Z K (rather
than a M Z K ) form; specifically, -fere けれ is the I Z K (and not the
M Z K -んm ? けら）of- たm •けり（ RYK.2: kera，N I L , keri, kern, kere,
NIL); is preceded by -ma/zos■ み/たar/ まほしかり，a form of
-mahoshi ^ (5 L (MZK.7: mahoshikara, mahoshiku/mahoshikari,
mahoshi, mahoshiki/mahoshikaru, mahoshikere, N I L ) ; -maho-
M z •んar/ まほしかり is in the R Y K because it is followed by a form
of-たen•けり，and -々 er/ forms are preceded by the R Y K ;少よま
”see Intro.4.SX ，n. 4 a n d n.6.

2 F o r explanation o f “here，
74
Intro. 8
How to 'U npack5 B un g o Verbs
is the MZK of アoww 詠む（他、四：yoma, yomi, yomu，yomu，yome,
yome); it is in the MZK because it is followed by a form of
-mahoshi S (5 L , and -mahoshi forms are preceded by the MZK.
If one takes the last exam plenam ely, 少たere わa よまゞほし

かりければ一 and charts it, dividing it into its grammatical units and creating
two lines ot labels for them as rollows一
A) MZK.7 RYK.2 IZK.NIS.l

Text Y O M A MAHOSHIKARI KERE BA ‘b e c a u se /w h e n ’
Text よままほしかりければ
B) M ZK R YK IZ K
The following becomes apparent:

A) The part in bold in the A-line tells us w h a t v e rb -fo rm e a c h o f th e
(while the
ve rb -su ffix e s b e lo w it in th e te x t-lin e s m u s t FOLLOW
part after the bold completes its Handbook identification):
Specifically (going from le ft to r ig h t on the text-lines of the
chart, and skipping ァ⑽ a よま )，-ma/zos/z/んa n •まほしかり
(like all forms of FOLLOWS THE M Z K ; -たere けれ
(like all forms of -たm ) FOLLOWS THE R Y K ; and ば mean
ing 4because/when, FOLLOWS THE IZK.
B) Put differently, the part in bold in the A-line tells us w h ich o f th e
s ix v e rb -fo rm s m u st PRECEDE th e ve rb -su ffix e s in th e tex t-lin es:
Specifically (going from r ig h t to le ft on the text-lines of the
chart), ば meaning ‘because/when’ IS PRECEDED BY THE
I Z K ;-たere けれ（ like all forms of-A:en) IS PRECEDED BY THE
R Y K ; and -wa/zos/z/たar/ まほし》、D(likeallformsof-/wfl/w-
sh i) IS PRECEDED BY THE M Z K .
C) Use of the B-line labels一 identifying which of the six forms a
verb or verb-suffix in the text-lines is actually in—tells us w h a t
k in d o f v erb -su ffix m u s t FOLLOW th a tfo r m (unless it is sentence-
final):
Specifically (going from left to right on the text-lines of the
chart), よま，identified as being in the MZK, CAN ONLY
BE FOLLOWED BY POST-MZK VERB-SUFFIXES；3 -m a h o sh ik a ri
まほしかり，being in the RYK, CAN ONLY BE FOLLOWED BY
3 N a m e ly ,a n y o f the following: M Z K . 1 thru M Z K . 7 ; M Z K . P C H . l thru M Z K . P C H . 3 ; or M Z K .

NIS.1 thru M Z K . N I S . 3 .
75
Intro. 8
POST-RYK VERB-SUFFIXES;4 and -んけれ，as an I Z K form,
CAN ONLY BE FOLLOWED BY POST-IZK VERB-SUFFIXES.5
D) It should also be noted that, at a 45° angle ( / ) , the B- and
A-line entries in the above chart t4M A T C H U P ,5:
Specitically (going from left to right between the first entry on
the B-line chart and the first entry on the A-line chart, then the
second entry on each, and so on), B-line M Z K ALIGNS DIAGO
NALLY with A-line M Z K , B-line R Y K ALIGNS DIAGONALLY
with A-line R Y K , and B-line I Z K ALIGNS DIAGONALLY with
A-line IZK.
Any verb construction in classical Japanese can be charted in the above way.
The following subsections, arranged by the total number of elements in the verb
construction，offer sample “ unpackings.”There are two examples per section:
one treated the lefl-to-right w a y (— >), the other treated the right-to-left w a y
(<— ).(One-element examples automatically read both ways <-> .)
‘U npacking ’： One Elem ent
3 . 雨もぞふる。 RYK.5(tsu)， #21
d m e m o zo fYTKひ• （ Tiwrezwregw似徒然草，104:172)
It looks like rain (< Rain, indeed, is going to fall).
㈠• /wrw ふる here is the R T K of/wrw 降る（— 、四：flira，fliri, fliru,
fliru, flire，fiire) = ‘(for rain or snow) to fall’
；it is in the R T K be-
cause of たaた (Intro.7) with mid-sentence zo ぞ .
4 . 跡取らしき者も見えず。 SSK.2 (rashi)，
#9
Atotori RASHIKI mono mo miezu.
(Saikaku 西鶴，んw /c/n•ゴa/cwwfl 好色一代女，3.1:261)
[In the funeral procession] no one was in sight w h o even looked like the
heir [to the deceased] (< A n heir-resembling-person even was not visible).
㈠ -ms/z 汝/ らし ‘ is a R T K form of the verb-suffix -ms/z/ らし 6
(SSK.2: rashikara, rashiku, rashi, rashi/rashiki, rashi, NIL); it is in the
R T K because it modifies the noun, mono ^ = 4a person, 5 and nouns
are always modified by R T K forms.
4 N a m e l y , a n y o f the following: R Y K . 1 thru R Y K . 8 . ( M a n y R Y K forms c a n also b e followed b y
^S:Si_,1〇
6
r_ s.2.“a
S e e I n t r o A S X , n. 9, for explanation o f R T K f o r m o f [ X verb-suffix],”etc. In this instance,
the fact that both -rasA 汝/ らしき a ”ゴ-ms7?/•らし are R T K forms o f - m s ん •らし（
S S K . 2 ) is being
referred to.
76
Intro. 8
“U npacking ’： Two Elements
5 . その人、ほどなく失せ丨にけりと … RYK*6(ki/shi)，
#7
Sono hito hodonaku USE/NIKERIto... (Tsurezuregusa 32:117)
[I heard] that person soon passed away.
w從失せ here is the R Y K of w似失す（自、下二：use, use，usu,
usuru, usure, useyoj = 4to pass awav, die9; it is in the R Y k oecause it
is followed by -mfcn•にけり，a form of -ポfen• にけり（ RYK.4:
nikera, NIL, nikeri, nikeru NIL, NIL), and -nikeri forms are preceded by
the R Y K ; -«/んer/ にけり is in the S S K because it ends the sentence
(marked by the quotation particle to t ).7*
6. いにしへにあり | けむ人も … RYK.7 (kemu/ken)， #5
Inishie ni ARl/KEMUhito m o… （Man ’y dshii 萬葉集，
7/ \ \ \ 8..2/2Q9)
There must have been those in olden times who also...
•<— hito A is a noun = *a person9;it is preceded by -kemu b 1?, a form of
ん⑼けむパナん（ RYK.7: NIL, NIL, kemu/ken, kemu/ken，ke-
me, NIL);-んe w w けむ here is in the R T K because nouns are always
modified by R T K forms; is preceded by ar/•あり，a form of
aW 在り • 有り = ‘ to exist, be’（自、フ変：ara, ari，ari，am, are, are);
flW あり here is in the R Y K because -たeww/-ん forms are preceded
by the R Y K .
'U npacking9: Three Elements
7. 女は髪もさげ丨
ざり |けり。 MZK.l(zu)，
#4
Ona [sic をうな]'wa kami mo SAGE/ZARl/KERl.
(//e /ん
e 則平家物語 , 2•10:1/186)
N o r did the w o m e n let their hair down.
— > sage さげ here is the M Z K of sagw 下ぐ（他、下二 :sage, sage, sagu,
saguru, sagure, sageyo) = ‘ to lower s.th.’
；it is in the M Z K because it
is followed by -zar/ ざり，a form of -zar/ ざり（ M Z K . 2 : zara, zari,
NIL, zaru, zare, NIL), and -zari forms are preceded by the M Z K ; -zari
ざり is in the R Y K because it is followed by -たer/ けり，a form of
•けり（ RYK.2: kera，NIL，keri, keru, kere，NIL), and forms
are preceded by the R Y K ; •けり is in the S S K because it ends
the sentence.
er/ にけり is a a fUsion o f - m • に (the R Y K o f -/7w ぬ [ R Y K . 3 ] ) a n d -Arm• けり（

7 Since - w •ん the S S K
of -んe n • けり [ R Y K . 2 ] ) ，there are really three elements to this verb-ending a n d not just two.
C o m p o u n d verbs are treated in this section as having t w o elements.
77
Intro. 8
How to 4Unpack? B ungo Verbs
8 . 百は丨まほしから |むこと … M Z K . 7 ( m a h o s h i ) ，# 2
ひん • 源氏物語，2:1/86)
T h e things she might wish to say…
— ん〇如こと is the noun んが0 事 = ‘thing ， matter, affair ’ ；it is preceded
by -ww む，a form of-w w /-« む /ん（ M Z K . 3 : NIL， NIL，mu/n, mu/n,
me, NIL); -mw む here is in the R T K because nouns are always
modified by R T K forms; -mu is preceded by -mahoshikara S L
から，a form o f -洲7/2〇^ / まほし（ M Z K . 7 : mahoshikara ，maho-
shiku/mahoshikari, mahoshi, mahoshiki/mahoshikaru, mahoshike-
re，NIL); -wa/zos/n/rara まほしから is in the M Z K because -ww
forms are preceded by the M Z K ; /wa 言は is the M Z K o f /w 言ふ
(自、四：iwa，ii，iu，iu，ie，ie) = ‘ *to say s.th.’ ，
; itis in the M Z K because
-mahoshi forms are preceded by the M Z K .
‘Unpacking Four Elements

’ ：
9 . おか |れ丨ぬ|めり 0 M Z K . P C H . l ( [ r a ] r u ) ，# 7
m M z •土佐日記，1月 7 日:34)
It seems he set it d o w n (> transcribed it [i.e., the poem] to keep).
— おか is the M Z K of o h 置く（ here,他、四：oka, oki, oku，oku,
oke, oke) = ‘ to put or place s.th .’；it is in the M Z K because it is fol-
lowed by -re れ，a form of -(ra)n/ ( ら）る（ M Z K . P C H . 1 : [ra]re，
[rajre, [ra]ru, [ra]ruru, [ra]rure, [ra]reyo), and -{ra)ru forms are
preceded by the M Z K ; -re t l , here illustrating 'honorific5 usage, is in
the R Y K because it is followed by ぬ，a form of ぬ（ RYK.3:
na, ni, nu, nuru, nure, ne), and -nu forms are preceded by the R Y K ;
ぬ here is m the S S K because it is followed by -/wen•めり， a form
of -wen• めり（ SSK.4: NIL, meri，meri, meru，mere, NIL), and -wer/
forms are preceded by the SSK; - w m •めり here is in the S S K be
cause it ends the sentence.
10•見 |入れ丨っれ丨ば、… R Y I C 5 ( t s u ) ，# 1 6
ル!， … sdy/zz•枕草子，143:199)
W h e n I looked in,...
<— ば here is the ‘because/when’ ば（ IZK.NIS.1— as opposed to
the 4i f -ba (i, M Z K . N I S . 1),because it is preceded by an I Z K (rather
than a M Z K ) form; namely, つれ is the I Z K (rather than the
M Z K - 纪て） o f ■なw つ（ RYK.5: te, te, tsu, tsuru, tsure, te );- なwre is
preceded by 見入れ ,a form o f the compound verb, w/-/nz 見
入る (h e r e ,他、下一：mi-ire，mi-ire, mi-iru, m卜iruru, mi-irure,
78
Intro. 8
mi-ireyo) = ‘ to look in at s.th.’（
< ‘ seeing, to enter into s.th. [visua
lly]’)；所ん加見入れ here is in the R Y K because it is followed by a
-tsu 〇 form, and -tsu forms are preceded by the R Y K ; the first part
(i.e.，the w /-見 part) of the compound verb (w/-/rw 見入る）is in the
R Y K of its conjugation (wzrw 見 [他、上一 : mi, mi, miru, miru,
mire, miyo] = ‘ to see s.th.’
），since the nrst part of a c o m pound verb is
in the R Y K (see Intro.4.SX.II.D).
'Unpacking Five or More Elements

’ ：
11. 胸のうちに若干のことは入(り）
丨きIたら丨ざら丨まし。MZK. 6 (mashi)， #8
Mune no uchi ni jakkan no koto wa i r i - k i / t a r a / z a r a / m a s h i .
(71swrezwregwsa 徒然草 ,235:278)
All manner of [extraneous, mundane] things would not c o m e and enter the
breast.
— as in the preceding example, the first part of the c o m pound verb iri-
たw 入り來（ i.e., the />/•-入り part) is in the R Y K of its conjugation
(zrw 入る [自、四：ira, in，iru, iru，ire, ire])，because the first part of a
c o m p o u n d verb is in the R Y K (see Intro.4.SX.II.D); /rz’ -んz•入りき is
a form of zW-如入り來（自、力変：iri-ko, iri-ki，iri-ku，iri-kuru,
lri-kure, ire-koyo) = 4to c o m e and enter5 (< 'entering, to c o m e 5); iri-ki
入りき is in the R Y K because it is followed by -/ara たら，a form of
-/arz•たり（ R Y K . 1:tara，tari, tari, taru, tare, NIL), and -/ar/ forms are
preceded by the R Y K ; -/ara たら is in the M Z K because it is fol-
lowed by -zara ざら，a form of -zan• さり（ M Z K . 2 : zara，zari, NIL，
zaru，zare, NIL)，and -zarz’ forms are preceded by the M Z K ; -zara ざ
ら is in the M Z K because it is followed by -mos/z/ まし，a form of
■mos/zz• まし（ M Z K . 6 : mase/mashika，NIL，mashi, masm, mashika，
NIL)，and -was/z/ forms are preceded by the M Z K ; まし here
is in the S S K because it ends the sentence.
I2 • 昔、周の武王の船にこそ白魚は躍丨入丨たり|ける丨なれ。RYK.l(tari)， #5
Mukashi, Shu no Bu-d no June ni koso hakugyo wa O D O Ri-iRl/TARl/
KERU+NARE.
(//e/ん平家物語，1.3:1/90)
In fact, a w m t e fish in ancient times did j u m p into the boat of king W u oi
Zhou.
なれ here is a form of the ‘ explanation/affirmation’ •な
り(RTK.2: nara, NIL, nari，naru, nare， NIL); it is an ‘
explanation/affir-
mation’ なり form (as opposed to a ‘ hearsay/supposition’
なり form [SSK. 6 ])，because it is preceded by a R T K (as op-
79
Intro. 8
How to tUnpack, B ungo Verbs
posed to a S S K ) form :8 namely, ける，the R T K (as opposed to
the S S K -んe r / り）of-んm •けり（ RYK.2: kera, NIL, keri，keru， kere,
NIL); + n a r e is in the I Z K because of k a k a r i-m u s u b i (Intro.7)
with mid-sentence ん〇50 こそ；-/a n ’たり is a form of -/ar/ たり
( R Y K . 1:tara，tari，tari, tarn, tare, NIL); -/an•たり here is in the R Y K
because it is followed by a -んer/ けり form, and -んer/ forms are
preceded by the R Y K ; o d o r i- ir i IS A is a form of the c o m p o u n d
v e r b ，o d o r i-ir u 躍り入る [自、四：odori-ira，odori-iri，odori-iru，
odon-iru, odon-ire，odon-ire]) = ‘ to j u m p into’（ < ‘ jumping, to
enter’ )；0ふ r/-/>z 躍入 is in the R Y K because it is followed by a
-/ar/ たり form, and -/an. forms are preceded by the R Y K ; the first
part of the c o m p o u n d verb (i.e., the 0ゴor/-躍 part) is in the R Y K of
its conjugation (c?ゴorw 躍る [自、四：odora，odori, odoru, odoru,
odore, odore]), because the first part of a c o m p o u n d verb is in the
R Y K (see Intro.4.SX.II.D).
Verb constructions can be even longer. The longest in the Handbook has seven
elements. W h e n verbs having verb-suffixes are joined with respect-language
auxiliary verbs that, in turn, have their o w n verb-suffixes and/or auxiliary verbs,
the results can be daunting:
I3 •まことに、出家せ丨しめ丨たてまつり丨て丨し丨に丨侍(り）
。 MZK_PCH.3(shi-
mu), #2
M a k o to n i s u k e s e /s h i m e - t a t e m a t s u r i / t e /s h i / n i - h a b e r i .
ゾ/ 源氏物語 ,54:5/421)
I did in fact let ner become a nun (< leave [her] family).
See Intro.13, “Respect Language， ’’#15 (incl. reference to M Z K .
P C H . 3 [shimu]), for explanation of four of the seven elements; see
R Y K . 5 (tsu), R Y K .6 (ki/shi), and R Y K . 3 (nu) for treatment of the
other three.
ア in classical Japanese can and should be “unpacked”in

the w a y outlined above, until one gains real familiarity with verb-endings.
Problem passages must be approached in this way.
8 The texplanation/affnmation, + n a r i is identified in romanization by the plus (+) that precedes

it, as opposed to the hyphen (-) that precedes thearsay/supposition, - n a r i forms.
80
9. Item s E asily C onfused: A pparent A m biguity
“Items Easily Conflised”might alternatively be called “ Usages to Differenti

ate.”The majority of items treated in this section involve “apparent ambiguity.”
That is to say, they can seem ambiguous, or at least confusing; but in fact, there
is only one w a y to understand each passage.
A s noted earlier, it is easy for a verb construction to be misconstrued, at
least initially, especially if its constituent elements are misidentified as to where
one form ends and another begins in a sequence (see Intro.8 ,“H o w to ‘ Unpack’
触 go Verbs”).
Treatment below is mostly o f “easily confbsed items,” followed by a short
section on “real ambiguity.”
Problems similar to those dealt with here are also treated in Intro.10, "'Nari
なり Headaches,”Intro.11,“ TVaww/而なむ / なん Trouble,”and Intro.13,
“Respect Language.”
Almost all of the examples below appear in the B ody OF the Handbook
(per the citation after each quotation in Japanese, cross-referenced to further
treatment in the volume). S o m e have been abbreviated from their citation there.
Those that do not appear elsewhere are followed by **. For more information
about them, see A ppendix C: teNotes: Other Translations of Citations in the
Handbook.”
Easily C o nfused Items
I. Verb-endings that are the same in two (or more)

different verb-forms of the same ^verb91
There are numerous examples of h o m ophonous but different forms of the

same verbal element:
With verbs (Intro.1)一
Y o d a n : h んw 書く c o u l d b e S S K o r R T K .
Kami ichidan : ofa•起き could be M Z K or R Y K .
Etc.
With pseudo-adjectives (Intro.6 )—
wan•静かなり could be R Y K or SSK.
/arz•堂々たり could be R Y K or SSK.
Verb'' here refers to verbs, pseudo-adjectives, and inflected verb-suffixes. (Verbal adjectives
offer no examples of the same ending occuring in more than one verb-form.)
81
Intro. 9
Items Easily Confused
With inflected verb-suffixes—
M Z K .6 (mashi): まし could be S S K or R T K .
R Y K . 5 (tsu):ィe て could be M Z K , R Y K ，or M R K .
Etc.
Note the two forms of each verbal element highlighted in bold in the following.
Both #1 and #2 illustrate two contrasted pairs.
1 . 「ゆめにだに見丨ず」と . . • MZK.1(zu)， #19
“Yume ni dani Ml/ZU， ” to … （Makura no sdshi 饮草子，？ 322)
“I haven’ t seen [her] even in m y dreams,”…
[wz•見 here— is the MZK of the transitive K a m i ICH 1D A N verb, w/rw
兄る（ m i ，/m，miru, miru, mire, miyo) = “ to see s.th.，100k at s.th.，，; it
is in the M Z K because it is followed by -zw ず，a form of the
verb-suffix -zu 'T (MZK.l: [zu/na], zw/de/[ni], zu, nu, ne, NIL), and
-zw forms are preceded by the M Z K ; -zw ず here is in the SSK be
cause it ends the sentence]
In other words, mi ^ here is not in the R Y K , and z u 'T here is not
in the R Y K , for the reasons stated.
2. まゐれ丨りし使は、 … MRK.1 (ri),#5
MAIRE/Rlshi tsukai \m “. （ Genji monogatari 源、
氏物語，]3..2/6T)
T h e messenger w h o had c o m e (i.e., had c o m e and was still there)...
[ 肢まゐれ here is the MRK o f w がrw 參る，here an intransitive
f O D A N verb (maira, main, mairu, mairu, maire, maire) = 4to go,
come; ascend to' (hum.); it is in the M R K because it is followed by
-厂 / り，a form of the verb-suffix -r/ り（ M R K . 1 )，and -r/ forms are
preceded by the M R K ; ザ/り here is the R Y K of the verb-suffix -r/
り（ M R K . 1:ra，ri，r/，ru，re, re); it is in the R Y K because it is fol-
lowed by づ/?/ し，a form ( R T K ) of the verb-suffix き/し
( R Y K . 6 ), and -kil-shi forms are preceded by the R Y K ]
In other words, wa/’ re まゐれ here is in the IZK, and ザ/ り
here is not in the SSK, for the reasons stated.
Note that the verb 參 <> is identified as here being an in
transitive Y O D A N verb to distinguish it from the transitive Y 〇D A N
verb, mairu # - 5 = 4to offer; eat, drink; put on; board S-th/ (hum.).
2 For explanation of “here,” see Intro.4.SX, n. 4 and n. 6.

82
Intro.9
Items Easily Conflised
II. Verb-endings that are the same in two (or more)

verb-forms of different Werbs5
H o mophonous forms of verbs sharing the same dictionary main-heading are

especially easy to confuse. Note the following shared forms, highlighted in bold
and bold-italics, between /aなw 立つ ‘to be standing’（自、四：tata, tachi,如/
tatsu, tate, tate) and tatsu 4to stand s.th/ tate, tate, tatsu,
tatsuru, tatsure, tateyo). If one contrasted zrw 入る ‘ (for s.o. or s.th.) to enter’
(自、四）with /rw 入る ‘ to place s.th. in’（他、下二 )，the same forms would be
highlighted.3
A m o n g verb-suffixes, the homophonous but different forms, ぬ and
■•似ぬ，and -狀ね and -呢ね一 of verb-suffixes -zw ず（ M Z K . 1 ) and ぬ
(RYK.3)— are particularly prone to confusion:
3. 春は来ぬらし。 SSK . 2 ( r a s h i ) ，# 4
//arw ■ hVWms/z/. ンみ加萬葉集，1 0 / 1 8 1 4 : 3 / 5 5 )
[-似ぬ here is the SSK of the verb-suffix ぬ（ RYK.3: na, ni, nu,
nuru, nure, ne), as opposed to being the R T K of the verb-suffix -zu
す（ M Z K . 1:[zu/na], zu/de/[ni], zu, « w ，ne，NIL); ぬ has to be in
the S S K because it is followed by -ras/z/ らし，a form (here S S K ) of
the verb-suffix b し（ SSK.2), and -ras/z/’
forms are preceded
by the SSK]
4. .• . こそ、… ともおぼえね。 M Z K . l ( z u ) ，# 2 8
… んo s o , … to m o 0 わ〇ど7\五. （
A/aん wra 枕草子，2 0 0 : 2 4 3 )
O n e certainly does not think… ！
ね here is the IZK of the verb-suffix -zw ず（ M Z K . l : [[zu/na],
zu/de/[ni], zu, nu, ne, NIL), as opposed to being the M R K of the verb-
suffix -nu ^ (RYK.3: na, ni, nu, nuru, nure, ne); -ne is in the I Z K
because ot Kakari-musubi (lntro.7) with mid-sentence koso v_ •?： ]
T h e s e verbs w e r e cited in Intro.2, n. 2, a n d Intro.4.SX, n. 6. A s noted in the latter, it is best to think

of different conjugations o f the s a m e dictionary entry (e.g., ta ts u 5a 〇) as different verbs. T h e s a m e
is irue for different transitive a n d intransitive applications o f the s a m e conjugation: e.g., m a ir u #
^ , discussed at the e n d of # 2 above. Verb-forms of clearly different transitive a n d intransitive
verbs— ■ ones that h a v e n o verb-form in c o m m o n — can still be easily confused w h e n they share the
s a m e root: e.g., forms o f /ocfomarw 留まる ‘ to stay’（自、四）a n d /ocfoww 留む ‘ to m a k e s.th. stay’
(他、下二 )• Cf. discussion o f different conjugations and forms o f s/nrw 知る in Sect. V I a n d # 1 3
below.
83
Intro.9
III. -ba ^ -ba f i

Post-MZK ‘-ba’ は [meaning ‘if)
Andpost-IZK ‘-ba’ ば（ meaning ‘because’ or ‘when ’
、
are not to be confused
Post-MZK non-inflected ば（MZK.NIS.l) and post-lZK non-inflected -心

ば（ IZK.NIS.l) should never be conflised， because the MZK and IZK forms
that precede them are not the same in any verb form.4 (See the tables in Ap
pendix G ，‘“Verb'Endings: Summary Charts.’ ’
）Still, one must exercise care
whenever encountering -ba ( i.
5 . . . . 聞かませば .. • M Z K . 6 ( m a s h i ) ，#l
…た/たawos冰 4,… （ / 從 wcwoga/an•伊勢物語 , 58:143)
If I heard..., [then]...
[-肢脱ませ is a form of the verb-suffix まし（ MZK.6 :
mase/mashika ，NIL, mashi ，mashi, mashika, NIL); ませ is a
MZK form (and is notthe IZK discussed in n. 4); therefore the U i
that follows it is the ‘if -心ば preceded by the MZK (as opposed to
the ‘because/when’ ば preceded by the IZK)]
6 . 渡守に問ひければ、… R Y K . 2 ( k e r i ) ，# 1 2
Watashimori ni toikereBA， . . . （Jse monogatafi 伊勢物語 , 9.A \ 7)

When they asked the man in charge of the ferry,...
[••むre けれ is a form of the verb-suffix -んerz•けり（ RYK_2: kera，NIL,
keri，keru, kere，NIL);-んere けれ is in the IZK (and is not the MZK
-たe r a けら）；therefore the -ゐa ば that follows it is the ‘because/
when’ -如ば preceded by the IZK (as opposed to the ‘i f -ゐa ば
preceded by the MZK)]
IV. -Ai き / - Ai• き # -A，•き

The verb-suffix ending ‘-ki’ き，
The verbal-adjective ending ‘-hi’ さ，
And the ‘-k i’ き partial RTK-ending to ‘-tashi
4 T h e only exception to the rule is m o r e apparent than real: n a m ely, -mashika ^ w h i c h is

the I Z K of-was/;/ まし（ M Z K . 6 ) , is also o n e o f its t w o M Z K forms. Since -was/?/ まし often
expresses hypotheticals (and al w a y s does so in the M Z K ) , all instances o f ましか{ま
m e a n 'if...* IZK-mashika is reserved for sentence-final u s e w h e n there is kakari-musubi (Intro.
7) with mid-sentence たa s o こそ .
84
Intro.9
丁he -A7•き that is the SSK of -ん//-A/ き /し（ RYK.6) is sometimes confused with
the RTK -た/ き（ or -ん/ き part of -A/ た/ しき） of verbal adjectives (Intro.5). This
is most likely to happen in sentences (such as #7 below) where the SSK -/:z• さ is
preceded by a verbal adjective. Similarly, the -た/ き in ィa ん/ たき（the RTK of
the verb-suffix たし [RYK. 8]) is sometimes misidentified (as used in #8
below). For examples of the verbal-adjective forms -た/き and しき，see
lntro.5.VA, #9 and #11.
フ• かほよかりき。 RYK.6 (ki/shi), #6
ATao ァ0た (rasa m•んA7• 土佐日記，2 月 4 日:50)
Its face was lovely.
[-々/ き is the SSK of the verb-suffix -た/As/?/ き / し（RYK.6: se, NIL,
ki/shi, shi，shika, NIL));アo たar/ よかり is a RYK form of アos/z/ 良
し • 好し • 善し（ - くadi.) = ‘to be fine’ ；for add’l. treatment of this
passage, see Intro. 12.AD, #1]
8 . 家にありたき木は、松 • さくら。 RYK.8(tashi)，
#10
Ie ni aritaKlki wa，matsu，sakum. (Tsurezuregusa 徒然草，\39:201)
T h e trees one wants to have by o n e ’ s house are the pine and cherry.
[ィa/ri•たき is the RTK of the verb-suffix ィos/z/ たし（ RYK.8: taku/
takara, taku/takari, tashi, taki， takere, NIL); ar/ あり here is the RYK
of the intransitive R a h e n verb, ar/ 有り • 在り = ‘ to exist, be ’
；later，
4to be provided with’（）（
> 4to have’ ara，ari，ari, aru, are, are)]
V. に|て关《//纪に|て尹/!/なにて
The combination o f the RYK ‘n i’ {こo f the copula ‘nari,’plus ‘-te’ て，
The combination o f the RYK ‘n i’ [こo f ( ‘nari’-type) pseudo-adjectives,
plus f-te’ て ,
And the preposition ‘nite’ [こて
The first and third of these are illustrated in #9. The second is illustrated in #10.
9 . 青みたるやうに丨て、… 。すべて、月 • 花をば、さのみ目にて見るも
のかは。 **
Aomitaru y d NI/TE,... Subete, tsuki hana oba, sa nomi me NITE mini
mono ka wa.
徒然草，137:202)
[The moon] being of greenish hue,... Now then, the moon and cherry
blossoms, are they things only to be seen with the eyes?
85
Intro.9
[the first « シかにて is a combination of m •に（ a R Y K form of the
copula war/ なり [Intro.10: nara, nari/ni, nari，naru，nare，NIL]) + -/e
て（ the R Y K of the verb-suffix -びw つ [RYIC.5: te, te, tsu，tsuru,
tsure, te]); the second nite {C t is a preposition, in this context
meaning ‘ by means of, with’]
10.御位を去り、もの静かに丨て、...**
Mi-kurai o sari, mono shizuka NI/TE,...
•源氏物語，17:2/172)
Having resigned tne throne (< departed the position), and things being
[too] quiet,...
m •な静かにて is a combination of M / z w んa m •静かに（ a
R Y K form of the pseudo-adjective，M / z w んa war/•静かなり [Intro.
6: pseudo-adj. + nara, nari/ni, nari, naru, nare, NIL]) + -te X (the
R Y K of -むw つ（ RYK.5: te，te, tsu，tsuru, tsure，te)]
VI. れ尹/^れ
The MZK andRYK ‘-re’tlfo r m s o f ‘-(ra)ru’
And the IZK and MRK ‘-re’ tlfo r m s o f ‘-ri’
Theoretically there should be no confusion between these two distinct -re t l
usages, because the forms preceding them一 M Z K ones in the case of -{ra)ru
( ら）る（ M Z K . P C H . l ) ，and M R K ones in the case of-rz• り（ M R K . l ) — are not
the same for any verbal element.5 But still there is considerable r o o m for
confusion. For one thing, sometimes it is hard to k n o w what form the preceding
verb is in. After all, single entries in most dictionaries, like s/wrw 知る，often
comprise more than “ one verb”:从知る can refer to the transitive Y O D A N
verb (shira, shin, shiru, shiru, shire, shire) meaning 4to k n o w s.th./ or it can
refer to the the intransitive S h i m o NIDAN verb (shire, shire, shiru, shiruru,
shirure, shireyo) meaning ‘ (for s.th.) to be k n o w n (to s.o.).’So the form 知
れ could be the M Z K or R Y K of the S H I M O NIDAN verb Mzrw 知る，or the I Z K
or M R K of the Y O D A N verb M/rw 知る .
Moreover, sometimes it is hard to k n o w where one element stops and
another starts in a verbal sequence. In those cases especially, one should try to
do three things simultaneously: determine what possible suffixes might be in
use; ascertain whether the verb has a direct object (or at least an implied one)
and a corresponding transitive or intransitive conjugation; and examine the ex
pression in context.
5 T h e r e is o n e apparent exception :-纪て appears as the M Z K a n d M R K (as well as R Y K ) f o r m

of-Asw つ（ RYI^.5). B u t -r/•り f o r m s never follow -Asw つ ones; see R Y K . 1 (tari), n . 1.
86
Intro.9
11. 身を知り、世を知れれば、… MRK *1 (ri)， # 1 8
Mi 〇shiri， yo o shireREba， … （Hdjdki 方丈記，K.A\)
Since I k n o w myself (< [my] person) and k n o w the world,...
[shire 知れ here, like the shiri
sively (Intro.4.SX.II.C), is a form of the transitive Y O D A N verb, shiru
知る= ‘ to k n o w s.th.’；the transitive nature of both shire 知れ and
shiri 知り is confirmed by their respective direct objects, yo 世 and mi
身，each dearly marked by o を；shire 知れ here is in the M R K be-
cause it is followed by -re t l , a form of -ri V ( M R K . 1:ra, ri, ri, ru, re,
re), and -ri り forms are preceded by the M R K ; -re れ here cannot be a
form of -(ra)ru ( ら）る（ M Z K . P C H . l : [ra]re，[ra]re，[ra]ru，[ra]ruru，
[rajrure, [ra]reyo) because it is not preceded by a M Z K form—
inasmuch as the shire here with its direct object cannot be the
M Z K of S h i m o NIDAN M/rw 知る；-/^ れ is followed by
-ゐa ば ,which must be preceded by a M Z K or I Z K form; -re れ here is
the I Z K (and is not the M Z K -ra ら）of -r/ り（ M R K . 1);therefore the
-ba (i that follows it is the tbecause/when, -ba (i preceded by the
IZK, as opposed to the ‘ if -5a ば preceded by the M Z K — namely,
IZK.NIS.1,and not M Z K . N I S . 1]
Note the use of a -r/ り form in this passage to bring out the con
tinuing state or result of “knowing.”
12. 人にしられぬ花 .•• MZK.PCH.l([ra]m)， #4

Hito nishiraREnu hana... (KokinshU 古今集 , 2/94..\2\)
Flowers u n k n o w n to m a n …
しら is the M Z K of the transitive Y O D A N verb, M/rw 知る =
‘to k n o w s.th.’；it can only be the M Z K of this verb because there is
no other "shira" verb-form for any verb with the dictionary-entry
知る；-/^ れ here is the M Z K of -(ra)rw (ら）る（ M Z K . P C H . 1:
[ra]re, [rajre, [ra]ru, [rajruru, [ra]rure, [ra]reyo) (as opposed to being
the I Z K or M R K forms of -r/ り [MRK.l: ra, ri, ri, ru, re, re]), be-
cause -re t l is followed by -nu a form of -zu 'T ( M Z K . 1:[zu/na],
zu/de/[mj, zu, nu, ne, NIL), and -zu forms are preceded by the M Z K ;
ぬ here is the R T K of-zw ず（ and notthe S S K of-«w ぬ [RYK.3:
na, ni, nu, nuru, nure, ne]), because it is followed by a noun, hana
and nouns are always modified by R T K forms (and whereas the R T K
of-zw ず is ぬ，the RTIC of-仙ぬ would be ぬる )]
Note the use of a -(ra)rw (ら）る form (specifically, -rどれ）in
this passage to m a k e the expression potential (see M Z K. P C H. l ) .
87
Intro.9
VII. r a ら ^:/Y l ら关/YZら关#YIら

The ‘-ra’ ら at the end o f the MZK o f any R A H E N verb and o f some Y O D A N verbs
And the ‘- m ’ b that occurs In expressions with the verb-suffix ‘-raru’
Similarly, the MZK ‘- m ’ ら o f the verb-suffix ‘-ri’（when combined with ‘-m u ’ 、
And the ‘-ra ’ ら in the verb-sufflx ‘-ramu’
The syllable -ra ら can be especially troublesome (and misleading) whenever it

appears in a verb-ending. T w o sets of contrasting usages should be kept in
mind.
The -ra ら that ends the M Z K of any R A H E N verb, as well as the M Z K
ら of those Y O D A N verbs having a dictionary form that ends in -rw る（ e.g.,
wa/rw 參る ‘ to come, go; ascend to’（ hum.)，s/zかw 知る ‘ to k n o w s.th.，
’and
/orw 取る ‘ to take s.th.，
’which become かa 參ら， s/nra 知ら，and /ora 取ら
in the M Z K ) (see Intro.2)，should be distinguished from the -ra ら that appears
in any -rarw らる expression (MZK.PCH.l). Example #13 has a MZK
Y o d a n form (s/z/ra 知ら）a w / a -(ra)rw ( ら）る suffix (namely，-rw る），but not
a -ran/ り^) one. Example #14 offers a straightforward らる example.
13. 「
••.又、人には見え知らるべきにもあらず」と思ひて、. . . SSK.1 (be-
shi),#15
i(Mata hito m wa mie^hiRArubeki m mo a r a z u ,to omoite,...

( & « ゾ/則 / • 源氏物語，34:3/284)
A n d thimang，“… I w o n ’ t be seen nor [mv whereabouts] be k n o w n t>v
anyone,”…
見え知ら is the M Z K of the transitive Y O D A N verb，w /卜
s/z/rw見え知 (mie-shira， mie-shiri，mie-shiru,mie-shiru,mie-shire，
mie-shire) = ‘ (s.o.) being seen, to k n o w (his/her whereabouts)’ ；it is in
the M Z K because it is followed by -rw る，a form of -(ra)rw ( ら）る
( M Z K . PCH.l: [ra]re, [ra]re, [ra]ru, [ra]ruru, [ra]aire, [ra]reyo), and
-(ra)rw forms are preceded by the M Z K ; the -n/ る is in the S S K be-
cause it is followed by -ん众/ べき， a R T K form of •べし（ S S K . 1:
beku/bekara, beku/bekari, beshi, beki/bekaru, bekere, NIL), and -beshi
forms are preceded by the SSK]
Note the use of a -(ra)rw ( ら）O form (specifically, -rw る）in
this passage to m a k e the expression passive (see M Z K . P C H . 1).
14. 籠に入 (れ ) られて、… MZK.PCH.1 ([ra]ru),#2

… （徒然草，121:187)
88
Intro.9
[/re 入れ here is the M Z K of /rw 入る，here the transitive S H 1 M O
N I D A N verb /rw 入る（ ire, ire, iru，iruru，irure，ireyo) = ‘to put s.th.
in’ ；it is in the M Z K because it is followed by -rarどられ，the R Y K
of-(ra)rw ( ら）る（ !\421<^(1^.1:扣 ]比，[犷3]比，|^]1'11，[は]111111,|^]-
rure, [ra]reyo), and -(ra)ru forms are preceded by the M Z K ; the
-rare られ is in the R Y K because it is followed by -/e て，the R Y K
of -tsu 〇 (RYK.5: te, te, tsu, tsuru, tsure, te), and -tsu forms are
preceded by the R Y K ]
Note the use of a -(ra)rw (ら）る form (specifically, -rare られ）
in this passage to m a k e the expression passive (see M Z K. P C H . l ) .
W h e n the M Z K -rfl ら of the verb-suffix -rz• り（M R K . 1:ra, ri, ri, ru, re, re) is
followed by a form of -mu (MZK.3: N I L , N I L , mu/n, mu/n, me, NIL), it must be
distinguished from the verb-suffix -ramu らむ（ SSK.5: N I L , N I L , ramu/ran,
ramu/ran, rame, n i l ). The former combination is preceded by the M R K (as in
#15); the latter verb-suffix is preceded by the S S K (as in #16). Since M R K and
S S K forms are not the same for any verbal element, this should not be prob-
lematic (as long as one does not confuse this paired -ra ら usage with the paired
-ra ら usage discussed immediately above).
15.深く思ひ、深く知れち Jん人のためには、… MRK.1 (ri)， #2

Fukaku omoi,fukaku smreRA/n hito no tame ni wa,...
た/ 方丈記，K:49, alternate text for K:40)
For one w h o thinks deeply and is deeply knowledgable,...
[A/re 知れ here is the M R K of the transitive Y O D A N verb, 知
る（ shira，shin, shim, shiru，shire, shire) = ‘ to k n o w s.th.’
；it is in the
M R K because it is followed by ら，a form of the verb-suffix -r/
り（ M R K . 1:ra，ri，ri，ru, re，re), and -r/ forms are preceded by the
M R K ; -ra ら is in the M Z K because it is followed by ん，a form of
the verb-suffix む/ん（ M Z K . 3 : NIL，
NIL, mu/n, mu/n, me, NIL),
and -mul-n forms are preceded by the M Z K ; -n hj here is in the R T K ,
because it modities the noun hito A , and nouns are always modified
by R T K forms]6
Since shim is transitive, it has an implied direct object, pre-
sumably もの，‘ ‘
things”or “matters”：“For one w h o thinks
deeply and is deeply knowledgable [about matters],...5,
6 For additional discussion o f this passage, see Intro.4.SX, #14; for longer citation o f it, see M R K . l
(n), #2.
Intro.9
16 . 舟乘りすらむ撼蠕らが … S S K . 5 (ramu/ran)，# 7
ga, … （ M 7/7 萬葉集，1/40:1/33)

The young w o m e n probably n o w going aboard...
[•sw す is the S S K of the S A H E N verb，似爲（ se，shi, su，sum, sure,
se[yo]) = ‘ to d o ’（
here, ‘
to do boat-boarding’ ); since -raww らむ here
follows the S S K formsw す（ and not the M R K f o r m 此せ）o f 似爲，
the - m w w is a form of the verb-suffix らむ /らん（ SSK.5:
N I L , N I L , ramu/ran, ramu/ran, rame, N I L ) — and notthe M Z K o f -r/ り
( M R K . l : r a ，ri，ri，ru, re，re) followed by the R T K of む/ん

(MZK.3: N I L , N I L ，mu/n，mu/n，me, N I L ) ; -ra/ww らむ here is a R T K
form of-ramu/-ran because it modifies the noun otome (with the
plural suffix -ra b ), and nouns are always modified by R T K forms]
R eal A mbiguity
There are three kinds of “real ambiguity”in classical Japanese verb construe-
tions: the “purely academic,”the “well-enough resolved,”and the “ truly genu-
ine.”
VIII. ‘Purely academic’ ambiguity
A n example of “purely academic”（ but still real) ambiguity (at least g r a m

matically speaking) is provided by the following. Note the “or”in the expla-
nation in brackets.
17• はつゆきとこそいふべかるらん。 SSK*1 (beshi), # 1 7

Hatsu-yuki to koso iubekaruRAN.
金葉和歌集，1/7:158)
One might well call it “first snow”!
[-raww らむ is the S S K or R T K of らむ /らん（ SSK.5:
NIL, NIL, ramu/ran, ramu/ran, rame, N I L ) ]
Note that, if kakari-musubi were in effect (Intro.7), the -ramu!
-raw form here would be I Z K -rawe らめ，because of mid-sentence
kosoこそ.
O n e might ask: Is the -ran h here best thought of as being in
the SSK, because it ends the sentence? O r (what is more probable)
does it, like m a n y sentences from early-medieval times on (with
growing non-observation of kakari-musubi rules), end in the R T K ?
O r rather, is the problem not m o r e textual? A ppendix A (n. 1)
cites three editions of the ァJ w a ん
o s W 金葉和歌集 . In two of
90
Intro.9
them, the text reads bekarikere *9 if one depended solely
on these sources, there would be nothing problematic. But the exis
tence of the version quoted here prompts further questioning: Is the
text true in the sense that it reflects h o w the p o e m was understood at
least by some? O r rather (what seems more likely), is it a conflation
of two lines from Po e m s #7 and #8 in the Kin yd wakashii, as cited in
the other editions of the text? O r has わ^ : レ、ふべ力、るらん
been mistranscribed from the end of P o e m #8 to the end of P o e m
#7?
All of this is of academic interest. But the non-resolution of the
question does not affect understanding of the passage.
IX. ‘Well-enough resolved’ ambiguity
M a n y instances of ambiguity are “

well-enough resolved”by considering the
context in which they occur and/or by taking into account scholarly c o m m e n
tary on them. The following is an example where, given the context of the
poem-passage and the conventions of the genre, scholars agree on its inter
pretation.
18. 君が心はわれにとけなむ。MZK.N1S.3 (namu/ n a n ) ，# 2

Kimiga kokoro wa ware ni toke-NAMU. (Kokinshii 右今集 ,\\/5 4 2 ..2 \\)
H o w I wish your heart would melt towards me!
解く（自、下二） = ‘ [for s.th.] to loosen, melt’ ]
Tiie passage is ambiguous because ot the two different kinds ot
なむ that could be operative. (See Intro.l1，なむ
/なん Trouble.’ ’）One-/ifl/wtt なむ（ really afbsionof-«a な a n d- w w
む）means ‘ "will certainly, must surely,”and follows the RYK (see
R Y K . 3 [nu], #1-4). The other -mwii/ なむ，meaning ‘ H o w I wish
that (s.o. or s.th. else) might...!5 follows the M ZK (MZK.NIS.3).
With K a m i i c h i d a n , K a m i n i d a n , and S h i m o n i d a n verbs, the two
verb-forms，R Y K and M Z K , are the same; and the verb here, 解
く，is S H I M O N I D A N (both forms being toむ)•In the above translation，
the -namu is interpreted as being post-MZK. If it were understood to
be post-RYK, it would mean: 4tYour heart will surely melt towards
me!”But scholarly opinion agrees in taking it to mean, “H o w I wish
your heart would melt towards me!”
The point here is that a questioning reader might reasonably ask w h y the text
cannot m e a n “X,”w h e n there is no real grammatical reason (in s o m e cases)
Intro. 9
w h y it cannot. Yet in fact, that is not h o w the text has traditionally been under
stood! Better to point out the reality of this dimension to the learning of bungo
(or any language, for that matter). For additional examples of “ well-enough
resolved”ambiguity, see Intro.11.NM, #9, # 1 1 , and #12.
T h e treatment outlined here, of course, begs the question of possible
intentional authorial ambiguity for literary or other reasons, or the possibility
that received scholarly opinion is wrong. But one must at least start with h o w
a passage has generally been understood.
X. ‘Truly genuine’ ambiguity
Notwithstanding the above, instances of “

truly genuine”ambiguity remain. For
example, the following:
19.やすからずぞ人々いひなすなる。 S S K . 6 ( n a r i ) ，# 7
Yasukarazu zo hitobito ii-nasu-NARU.
(Mdwra み/7/ 枕草子，84:123)
[zo ぞ = here, a final particle of assertion; 言ひ爲す（他、
四）= 'to (complainingly) say s.th. directly or intentionally’ ]
Taking the ii-nasu to be in the SSK:
I understand that people pointedly said, “ That will not do!”
Taking the ii-nasu to be in the RTK:
So it is that people pointedly said, “ That will not do!”
W h e n a verb-suffix • なり follows a Y o d a n ，K a m i i c h i d a n ,
or S h i m o i c h i d a n verb, where the S S K and R T K are the same— or
w h e n it follows a R a h e n verb-ending (and the normally post-SSK
‘hearsay/supposition’ なり demands a preceding R T K form,
and so becomes indistinguishable from the 4explanation/affirmation,
+«ar/ なり that also follows the RTK)~~context (and scholarly c o m
mentary, w h e n available) must determine whether it is a 'hearsay/
supposition5 ^ *9 (SSK.6)oran 4explanation/affirmation,+nari
なら（ RTK.2). (See also Intro.10, ‘ War/ なり Headaches.”）But
sometimes both explanations seem equally plausible. In the first
rendering above，the なる is understood to be the former:
namely，post-SSK. In the second, the + ”arw なる is interpreted as
being the latter: namely, post-RTK. In either case, the naru ^ 5 it
self is in the R T K because of kakari-musubi (Intro.7) with mid
sentence zo
T w o modem-Japanese scholars c o m e d o w n on the side of taking
the なる in this passage to be a post-SSK ‘ hearsay/supposition’
92
Intro.9
verb-suffix. But interestingly enough, their modem-language trans
lation of the text leans more towards interpreting naru as a post-RTK
texplanation/affirmation, verb-suffix.7
Conclusion
Genuine ambiguity in classical Japanese is seldom operative at the level of

individual verb constructions (with the important exception of respect language,
a virtual world unto itself).8 Verb constructions are challenging to learn, but for
the most part ultimately clear. Rather, problems of ambiguity usually emerge
when trying to understand other closely related matters: W h o or what is the
implied subject of a verb, w h o or what is the indirect object, w h o is being shown
respect, deference, or politeness and by w h o m , w h o is acting in reference to
w h o m in causal constructions, h o w in fact are “
passive”contructions being used
(are they passive, potential, honorific, or expressive of spontaneity),9 w h o is
doing the thinking or saying in quoted speech or in narrative, and where do
speech, thought, and narration start and stop in extended passages?
7 M a t s u o Satoshi 松尾聪 a n d N a g a i K a z u k o 永井和子，c o m m e n t , a n d trans .， «〇•s^s/7/

枕草子（
Tokyo: Sh6gakkan 小学館，1974) ，p . 180— in the series referred to in the Preface ,
Sect. VIII ，E — N i h o n K o t e n B u n g a k u Z e n s h u , vol.l1.
S e e Intro.13, “Respect L a n g u a g e . ”
9 S e e discussion o f -(ra)rn ( ら）る（ MZK.PCH.l).
93
10. 餘 ”•なり Headaches
The use of war/ なり（ and なら，なる，and 而 re なれ）can be

confusing. This is largely because there are several narVs. First, there are the
different inflected kinds of the copula • なり，the pseudo-adjective
wan • なり， the post-SSK verb-suffix ‘ hearsay/supposition’-似， / なり， and the
post_RTK verb-suffix ‘ explanation/affirmation，+ « a n • なり； i this is not to
mention the noun nari ^ V , which of course is uninflected. Furthermore, there
are five なる verbs (including 成る）and their inflections that can easily
be confused with each other and with one or another of the previous narVs,.
This section will treat each of the above in turn, beginning with the copula nari
なり， contrasting it with the closely related verb, ar/ あら.
M o s t of the examples below appear in the B o d y o f t h e H a n d b o o k (per the

citation after each quotation in Japanese, cross-referenced to further treat
ment in the volume). S o m e have been abbreviated from their citation there.
Those that do not appear elsewhere are followed by **. For more information
about them, see A p p e n d i x C: “
Notes: Other Translations of Citations in the
Handbook.”
I. The Verb ar，

•あり Contrasted with the Copula war/ なり
The verb of existence a n •あり（ ‘A is [i.e”“exists”]，）and the copula war/ なり

indicating equivalence (4A is [i.e., t4is equivalent to5,J B') are not to be con
fused.
The verb of existence ar/ あり（在り • 有り）was introduced in Intro.2 as
the model Rahen verb ( 自：ara, ari, ari, aru, are, are). The copula •なり
belongs to the R a h e n conjugation, but like the war/ なり used with «ar/-type
pseudo-adjectives, with which it is closely related (see Intro.6 and n. 4 below),
has an additional R Y K form ( 自：nara，nari/Nl, nari, naru，nare, NIL).2
T h e first t w o o f these are treated b y m a n y g r a m m a r i a n s as being s u b s u m e d u n d e r the

explanation/affirmation’+ ⑽ rz• なり；see n. 4 below•
‘
- T h e R Y K w •に f o r m o f the copula • なり，like the R Y K に o f ; w / -type pseudo-adjectives,
can be hard to identify because it is so abbreviated a n d easily confused with the particle or prepo-
sition /«•に（or the preposition にて，or w h e n the R Y K に o f the pseudo-adjective or o f the
copula is followed b y the R Y K -/e て o f -tow つ [RYK.5]). F o r e x a m p l e s o f both kinds o f R Y K m
に，as well as the preposition m / e にて，see Intro.9.EC ，#9-10.
94
Intro.10
A^rn•なり Headaches
z4/7•あり indicates existence (‘ s.o. or s.th. “is”[in the sense of “exwな”]’ )；
used with m • に，it indicates location (‘ s.o. or s.th. “is”[i.e.，“exists”] some-
where’ ). Because a n •あり indicates existence for animate beings in-
animate objects，it differs from the modem-language arw 有る .Furthermore, it
is only in medieval times that an•あり develops the sense of ‘ to be provided
with’（ > ‘to have’).
B y contrast, the copula • なり（也）indicates equivalence (‘ s.o. or s.th.
[in the sense uis equivalent to''] s.th. else5). In other words, it is a copula
because it identifies the predicate of a clause or sentence with its subject (often
only an implied one).
The following examples illustrate both verbs: a n •あり，# 1-4, and •な
り， #5-8.
1• むかし、おとこ有（り）けり。 R Y K .2(keri)， #4
Afukashi ofoko /iRfkeri. (Jse monogafari 伊勢物語 , 2:111 and 84:161)
O n c e upon a time there was a young man.
2•消えずはありとも ..• M Z I C l (zu )，

#17
Kiezu wa ARI tomo...
(/從 wcwoga/arz•伊勢物語，17:122; 心ん /似 / ^ 古今集， 1/63:116)
Even if they’
re [still] there (i.e.，present)，not having melted away,…
3 . 家にありたき木は、松 •さくら。 R Y K .8(tashi)， #10
Ie ni ARltaki ki wa, matsu, sakura. (Tsurezuregusa 徒然草，\39.2Q1)
The trees one wants to have by one’ s house are the pine and cherry.
4. 「買はんとする人に利あり、賣らんとする人に損あり」と… MZ K .4
(m u z u /nzu )，
#7
t(Kawan to sum hito ni ri ARI, uran to sum hito ni son A R I,to ...
(Tsurezuregusa 徒然草，93:165)
“
The one w h o was going to buy has a gam, and the one w h o was going to
sell has a loss，
”…
5 . 智者のせざる處なり。 M Z K .2 (zari)，
#9
Chisha no sezam tokom NARJ. (Tsurezuregusa 徒然草，\4Q:2Q6)
[It] is what wise people do not do.
6 . 鬼のやうなるもの •.. M Z K .4 (m u z u /n z u )，
#3
ひ? ァ(5 … （7^ゎ/〇/ 7 - • 竹取物語，4:37)
Things with the appearance of demons... (< Things that are the appear
ance of demons...)
95
Intro.10
TVan•なり Headaches
7 . たゾ色を思ふがゆ灸なり。 SSICl (beshi)，
#10
Tada iro o omou gayue NAR1. (Tsurezuregusa 9:96)
[It] is simply because her mind is on love.
8 • いつはりのなき世なりせば … MZK. 6 (mashi),#ll
Itsuwari no nakiyo NARIseba， … [KokinshU 古今集 \4H \ 2.242)
If this were a world (OR If ours were a relationship) without lies,...
This is not to say that the distinction between ar/ あり and war/ なり is always
a clear-cut one. For one thing, «/ arw にめ <)，indicating location, is often con-
tracted to 似 rw なる（ e.g.，#9). For another, w h e n used with the ん口ん
particle んoso こそ， arz•に … あり can flinction virtually the same as •な
り（ e.g.，# 10 ).
Furthermore, the negative form of «ar/ なり is «/• arazw にあらず（ e.g.，
# 1 1 ).The -如くverbal adjective，肌 W なし（無し • 亡し）= ‘ to be lacking，
absent/ is generally used to indicate non-existence, serving as the de facto
negative of ari ^ /
9 • 駿河なる宇津の山べ ...**
Suruga NARU Utsu noyamabe... (Ise monogatari 伊勢物語，9A 17)
T h e Utsu mountainside in (くthat exists in) Suruga...
1 0 . これは龍のしわざに丨こそ|ありけれ。 RYK.2(keri)，
#ll
Kore wa tatsu no sniwaza NIKOSO ARlkere.
(7bん你W •竹取物語，6:48)
For sure, this is the dragon’
s doing!
[shiwaza t t M = 'act, deed, doine9]
11• 死を恐れざるにはあらず、… MZK.2(zari)，
#10
Shi o osorezaru Nl wa ARAZU， … （ Tsurezuregusa 徒然草，93'\66 、
It is not that they do not fear death, but that...
II. The Pseudo-Adjective wa/7•なり
A s outlined in Intro.6 (and illustrated there by examples # 1 -8 )，war/ なり is

used with one type of pseudo-adjective. The following are additional examples.
3 Negatives with the MZK form あら are found in the construction -Aeytwwo arazw ベくもあ
らず（ ‘there is no likelihood of..” ’ ‘there is no potential for..”，‘… shouldn’t be...，
：e.g” SSK.1
#8-10) and in the expression crrq// あらじ（ ‘not intend to be’
[beshi]，：e.g.，
MZK.5 [ji]， #1).
96
Intro.10
TVar/ なり Headaches
12. あまりにこの世のかりそめなる事を思ひて、… R Y K .2 (keri)，# 10
A m a r i n i k o n o y o n o k a riso m e NARU k o to o o m o ite , ...
( 徒然草，49:129)
Excessively conscious of the transiency of this world，...
[んor む仮初なり = ‘to be transitory，insubstantial’]
13. 何かはあはれならざらん。MZK.2 (zari)，# 5

Nani ka wa aware NARAzaran. (Tsurezuregusa 徒然草，2\ ..\Q1)
What will not be moving?
[aware war/ あわれなり = ‘to be pitiable, moving, touching， of pro-
found emotion’]
III. The Post-SSK ‘Hearsay/Supposition’ -mm•なり
The ‘hearsay/supposition’ -«ar/ なり， a post-SSK inflected verb-suffix (NIL,

NIL, nari, naru, nare,nil) that is treated more fully elsewhere (SSK.6), relates
(A) hearsay or (B) one’s general supposition (or impression) based on partial
(or imagined) sensory clues. It is signaled in the Handbook by a HYPHEN pre
ceding its romanized form. The following provide two examples oi its usage.
(See also n. 5 below.)
14. をとこもすなる日記といふものを、… S S K . 6 (nari/hearsay), # 4
Otoko mo su -N A R U niki to iu mono 〇,...

土佐日記，12月 2 1 日:27)
The things known as “diaries” which I take it men also keep” ..
1 5 . ほのかに、人のいふを聞けば、男といふ物は、空言をこそ、いとよ
くすなれ。 SSK.6(nari/hearsay)，# 9
Honoka ni hito no iu o kikeba, otoko to iu mono wa soragoto o koso ito
yoku su-NARE.
削 ⑽ が阶 /•源氏物語，47:4/439)
From what little I’ve heard from others, I gather those called“males” lie
an awflil lot (く ‘do’ lies to the flill).
め空言 = ‘lies, untruths’]IV .
IV. The Post-RTK ‘Explanation/Affirmation’ +wan•なり
The ‘explanation/affirmation’ +«似7• なり， a post-RTK inflected verb-suffix

(nara, nil, nari, naru, nare, NIL) that is treated more fully elsewhere (RTK.2),
means (often just implicitly), ‘It is that..” ’ ‘It is a fact that..” ， ‘The thing is..” ’
97
Intro.10
Mzr/ なり Headaches
and sometimes gives emphasis to a statement.4 In the Handbook a PLUS-SIGN
precedes its romanized form .5 The following are two examples.
I6*
*•死の近 (き)事を忘るゞなり。 MZK.2(zari),#10
Shi no chikaki koto 〇wasururu+NARI. (Tsurezuregusa 徒然草，93A66)
It is that they forget h o w near death is.
17. •.•をむなもしてみんとてするなり。 S S K . 6 (nari/hearsay)，# 4

... o m u n a o n n a ) m o s h ite m m to te suru+ N A R l.
(r〇sa 土佐日記，12月 2 1 日:27)
[This] w o m a n too will indeed try her hand at...
V. The N o u n war/ なり
The noun なり，meaning ‘ shape’or ‘ appearance，

’adds another dimension
to the discussion. The rollowing is an example.
1 8.なりは鹽尻のやふになんありける。 **
N a r i w a s h io jin n o y d n i n a n arikeru .
(/此 •伊勢物語，9:117)
[Re Mt. Fuji:] Its shape, sure enough, was of the appearance of a salt
tailing.
[n a r i = *shape, form1; a'salt tailing9 is a conical m o u n d of mate
rial from which salt has been extracted (cf. 'mine tailing9 in English)]
VI. The Verb war// なる成る，‘

to b e c o m e，
The verb 成る，‘ to become; c o m e to completion’（自、四：nara, nari, naru,

naru, nare, nare) is easily confused with one of the other n a ri's. Apart from its
use with a に following a noun to m e a n ‘ X (noun or pronoun— often only
implied) becomes Y (noun)’（ e.g.，#19-20)，成る is frequently used after
the R Y K plain-form of verbal adjectives to m e a n 4X (noun or pronoun— often
4 M a n y g ra m m a rs d o n o t d is tin g u is h b e tw e e n th e ‘e x p la n a tio n /a f f ir m a tio n ’ なり a n d th e

c o p u la なり tre a te d a b o v e (in w h ic h c a s e th e ‘e x p la n a tio n /a f f ir m a tio n ， is ta k e n to fo l-
lo w n o u n s , in c lu d in g p s e u d o -a d je c tiv e s te m s , a s w e ll a s R T K v e rb -e n d in g s ). P e d a g o g ic a lly , I h a v e
fo u n d it m o re e ffe c tiv e to s e p a ra te th e s e nari u sag e s.
5 N o te th a t w h e n a v e rb -s u ffix « a r / なり fo llo w s a YODAN， KAMnCHIDAN，
o r SH1MO 丨 CHIDAN v e rb
(w h e re th e S S K a n d R T K a re th e s a m e ), o r w h e n a v e rb -s u ffix w ar/ なり fo llo w s a RAHEN
v e rb -e n d in g (a n d th e n o rm a lly p o s t-S S K 'h e a r s a y /s u p p o s itio n ， •なり d e m a n d s a p re c e d in g
R T K fo rm a n d s o b e c o m e s in d is tin g u is h a b le fro m th e ‘e x p la n a tio n /a f f ir m a tio n ’ + « a r / •なり that
a ls o fo llo w s th e R T K ), c o n te x t a n d /o r th e w e ig h t o f re c e iv e d s c h o la rs h ip m u s t d e te r m in e w h e th e r
th e nari is o n e o f e x p la n a tio n /a ffirm a tio n o r o f h e a r s a y /s u p p o s itio n .
98
Intro.10
なり Headaches
only implied) becomes Y (adj.)5 (e.g., #21-22 ).6 Furthermore, these intransitive
uses of 成る should be distinguished from the verb’ s transitive “double,”
成す • 爲す， 41〇 make, do s.th.’（他、四：nasa, nashi，nasu, nasu, nase,
nase), also often used with m •に to m e a n ‘ to m a k e O R turn X (noun or pro-
noun— often only implied) into Y (noun ) 5 (e.g., #23-24).
1 9 . そのかへる正月に蔵人に Iなりぬ。 R Y K .3 ( n u ) ,# 7
Sono kaeru mutsuki ni kurabito NI NARInu.

(M/Awra m? •枕草子，266:275)
In the first month of the next year, he became a chamberlain.
2 0 . いにしへも夢に丨なりにし事なれば、… RYK.4(nikeri,etc.)，
#10
Inishie mo yume NI NARInishi koto nareba, . ..
(//e如贈平家物語，“Kanj 6 ”灌頂 .5:2/441)
Since the past, too, has bec o m e a dream (< Since the past is also some
thing that has turned into a dream),...
古へ= ‘ the past’]
2 1 . つめのいとながく |なりにたるをみて、… RYK.4(nikeri，
etc.),#18
Tsume no ito NAGAKUNARlnitaru o mite,...
(Tosa m •たん/ 土佐日記，1月 2 9 日:46)
2 2 . 世になくて久しく |なり侍りぬれば、… RYK.3(nu)，
#18
Yo ni nakute HISASHIKUNARI-haberinureba, ...
力•膨 ⑽ ga/an•源氏物語，5:1/189)
died,...
23• 「こよひのことを夢に丨なさばや」と… MZK.NIS.2 (baya)，

#7
Koyoi no koto o yume NI NASAbaya.
(/zww/ た/みw «/んた/ 和泉式部日記 ,439)
t4H o w I would like to turn last night (< the matter of this [past] night) into
a dream!”
[to ア今宵= u s u a l l y , ‘t h i s n i g h t ’ （
i . e . , ‘t o n i g h t ’) ; b u t h e r e , ‘t h i s n i g h t
(just past)’
]
24• 大將にもなさばやと … MZK.NIS.2 (baya)，

#11
Taishd NI mo NASAbaya to... (Tsurezuregusa 徒然草，\2 名:\9 \)
“I would like to m a k e him a general even,”...
6 See in tro .5 , fo r th e d is tin c tio n b e tw e e n “ p la in -fo rm s ” a n d んaW fo rm s ” o f v e rb a l a d je c tiv e s .
99
Intro.10
M7/7•なり Headaches
VII. Other なる Verbs
Further confusion is possible with other verbs that have endings homophonous
with war/なり，而 r e なれ，and w a r w なる：
馴る • 慣る，‘to become accustomed to, well familiar with, close to,
(自、下一 :nare, nare, naru, naruru, narure, nareyo)
鳴る，‘(for birds) to sing’（自、四：nara，nari，naru, naru, nare, nare)
生る，4to be b o m ，（自、四：nara, nari, naru, naru，nare, nare)
業る，‘to earn a living’（自、四：nara, nari, naru，naru，nare, nare)
There is little problem w h e n kanji are used, since they clarify the meaning .7 But
the following examples illustrate the potential difficulty w h e n only kana are
employed.
25•なれにしつましあれば … RYK.4(nikeri，
etc.)， # ll
NAREnishi tsuma shi areba...
( / y e •伊勢物語，9:116;心ん/似/^ 古今集，9/410: I8 5)
Since there is m y spouse [back in the capital] w h o is dear (< well familiar),
2 6 ■ なほ春のうちならましかば、… M Z K . 6 ( m a s h i ) ，# 1 0
Nao haru no uchi NARAmashikaba,...
( M ? 如ra ⑽ sds/z/ 枕草子 , 4 1 :90-91)
If [the warbler] only sang in spring,...
7 This is true with verbs (note the used in M RK 1 [ri]， #19,馴る， and in RYK.4 [nikeri，
etc.], #17, *5), and with the copula n a r i (note the k a n ji in RTK.1 [gotoshi], #10, -til).
100
11. 別なむ/なん Trouble
The use of 而なむ / なん can be problematic, because there are three

kinds of 似
(A) The particle なむ/なん，which is used in
constructions (Intro.7).
(B ) The p o s t-M Z K non-inflected verb-suffix なむ /なん
(MZK.NIS.3).
(C) T h e “fUsed”-肌而なむ /なん，which joins な（ a form of
R Y K . 3 [nu]) + inflected -ww む or -« ん（forms of M Z K . 3 [mu/n]).
They m e a n different things:

(A) = *Indeed’or ‘ in fact’（
weakly expressed), or gives confirmation
(stated familiarly) about a preceding word or phrase that is
highlighted, or gives stress to a preceding word or phrase.
(B ) = ‘H o w I wish that (s.o. or s.th. else) might".!，or ‘ W o u l d that
(s.o. or s.th. else) might."!’or ‘ D o please...!’一 used only in
reference to another person or thing.
(C) = W h e n in the affirmative，‘will certainly,’‘must surely， ’‘ proba
c y will， ’‘ indeed do,’"can surely， ’
；or w h e n in the negative,
‘should not， ’‘would be better not to，’or 'ought not to.’
Theoretically the three usages should be easy to distinguish. After all, (A) usu-
ally appears mid-sentence, and in most cases is “linked”with a sentence-final
RTK form. (B ) appears in sentence-final position, and must be preceded by a
MZK verb-form. A n d although (C) can appear mid-phrase (modifying a noun
or pronoun), at the end of a clause, or in sentence-final position, it must be
preceded by a RYK verb-form.
But there are complicating factors. For one, w h e n preceded by a K a m i
i c h i d a n ,K a m i n i d a n , or S h i m o n i d a n verb, the MZK form demanded by (B )
and the RYK form demanded by (C) are the same. Furthermore, mid-sentence
(A) not only can follow nouns, other particles, and adverbs, but even verbs. A n d
finally, this same particle (A) can appear at the end of a sentence, with a verb
after it understood.
T o help differentiate namu/nan's, these romanization conventions are followed

in the Handbook:
101
Intro.11
N am u/nan なむ/ なん Trouble
A、B
examples are r o m amzed as separate “words.”
—y \— /
C
examples have a HYPHEN between the M Z K and the -namu or -nan.
examples (like most other verb-suffixes in the Handbook) are at
—\
X
tached to the verb with no intervening punctuation.
M a n y of the examples below appear elsewhere in the H a n d b o o k (per the cita

tion after each quotation in Japanese, cross-referenced to further treatment in
the volume). Those that do not are followed by **. For m ore information
about them, see A p p e n d i x C: “
Notes: Other Translations of Citations in the
Handbook.”
(A)
T h e particle なむ/なん is used in wswろ， •constructions with
a sentence-final RTK form. It can function as an emotive marker c o m m u n i
cating a mild lindeed, or 'in fact.5 It can confirm something (in a familiar tone)
about the highlighted word or phrase that precedes it. O r it can lend emphasis to
the preceding word or phrase. See Sects. I and II (as well as Sect. A, incl. #5-6)
of Intro.7, "Linking y'x^Kakari-musubir The following are additional examples
of its use:
1 . なりは鹽尻のやふになんありける。 I n t r o .1 0 .N R ,# 1 8
Nati wa shiojiri no y d ni NAN arikeru. (Ise monogatari 伊勢物語 ,
[Re Mt. Fuji:] Its shape, sure enough, was of the appearance of a salt
tailing.
[A：
m / ける is the RTK of the verb-suffix -ん •けり（ RYK.2); a ‘ salt
tailing5 is a conical m o u n d of material trom which salt has been ex
tracted (cf. 'mine tailing5 in English)]
2. 「
思ふこともなし。物なん心ぼそくおぼゆる」と...**
Ômou koto mo nashi. Mono N A N kokorobosoku o h o yu ru , n to...
(TbftooW 竹取物語，9:59)
“I a m not worried aDout anything. But everything seems so depressing.”
[0 ゐ〇>ァ
w r w おぼゆる is the RTK of 0 ゐo•ァ w 覺ゆ（自、下二）= ‘ to
(spontaneously) think or feeF]
(B)
The p o s t - M Z K non-inflected verb-suffix -似 / 洲なむ /なん，meaning

‘H o w I wish that (s.o. or s.th. else) might".!，or ‘
W o u l d that (s.o. or s.th. else)
might."!’or ‘ D o please...!’一 used only in reference to another person or
thing— is discussed in MZK.NIS.3. The following are examples of its usage.
102
Intro.11
なむ/なん Trouble
3 . 人もあはなんと思ふに、… M Z K . N I S . 3 ( n a m u / n a n )，
料
Hito mo awa-NAN to omou ni， … [Makura no sdshi 枕草子，99.A5V)
W e were hoping someone would happen upon us [along the way], but...
[awa あは is the M Z K of aw 逢ふ • 會ふ（自、四）= ‘ to meet, happen
upon’ ]
4. 「
惟光、とく參らなん」とおぼす。 M Z K . N I S . 3 ( n a m u / n a n ) ，# 5
“Koremitsu toku maira-NAN， ” to obosu.
(G^ / 7 膨 • 源氏物語， 4 :1/151)
“If only Koremitsu would c o m e quickly,”he thought.
[ 如疾く = ‘ quickly’；參ら is the M Z K of ma/rw 參る（自、
四）= ‘ to come, go; ascend to’（ hum.)]
(C)
The “flised” なむ/ なん，which joins な（ the M Z K of-m/ ぬ
[RYK.3: na，ni, nu, nuru, nure, ne]) with -ww/-« む/ん（ the S S K or R T K of
-ww/-« む /ん [MZK.3: N I L , N I L , mu/n，mu/n，me, NIL]), must follow a RYK
form. It expresses supposition, intention, or suggestion. W h e n preceded by a
verb in the affirmative (e.g.，#5-6)，it means ‘ will certainly,’‘ must surely,’
'probably will/ 'indeed do/ 'can surely/ W h e n preceded by a negative con
struction (e.g., #7-8), it has the sense of'should not,5 'would be better not to/
“ought not to.’
5 . 世の限りにや戀ひ渡りな丨む。 **
Yo no kagiri ni ya, koi-waJtariNA/MU.
(Man ’夕み沾萬葉集，20/4441:4/451)
I will certainly go on loving you all m y lire.
[た戀ひ渡り is the RYK o f 知 /-， /a r w 戀ひ渡る（自、四）
= ‘to go on loving’]
6 . 「あしこに籠もりな丨む後、又、人には見え知らるべきにもあら
ず」と思ひて、… S S I C 1 (beshi),#l5
(tAshiko ni komoriNA/MU nochi, mata hito ni wa mie-shirarubeki ni mo
arazu， ’’ to omoite， ...
((7叫 7 • 源氏物語，34:3/284)
A n d thinking，“After I seclude myself there, I w o n ’
t be seen nor will [my
whereabouts] be k n o w n by anyone， ”…
[た 0膨 n • 籠もり i s t h e RYK of fa? 膨 r w 籠る •隠る（自、四） = ‘ to
act as a recluse5; nochi here, a noun; for addM. treatment of part
of this passage, see Intro.9.EC, #13]
103
Intro.11
版w なむ/なん Trouble
7 . 子といふものなくて丨ありな丨んn **
Ko to iu mono mukute rniNA/N. (Tsurezuregusa 徒然草，6:93)
Better not to have children.
[an•あり here is the R Y K of a n •在り • 有り（_ 、ラ変）= ‘
to be,
exist’
]
8 . 植袅ずともありな丨ん。 **
Uezu to mo aiiNA/N. {Tsurezuregusa 徒然草，\?>9:201)
Better not to plant it (i.e., the double-petaled cherrv).
[ar/ あり here is the R Y K of ar/ 在り •有り（自、ラ変）= ‘
to be,
exist’
]
C o m p l ic a t in g F a c t o r s
W h e n preceded by a K a m i i c h i d a n ,K a m i n t d a n , or S h i m o n t d a n verb, the

M ZK form demanded by (B) and the RYK form demanded bv (C) are the
same. In such cases, the context of the passage and/or scholarly opinion about it
usually clarify the matter. The following four examples of なむ/な
ん，two taken to be preceded by verbs in the MZK (#9-10) and two taken to be
preceded by verbs in the RYK (#11-12), are interpreted, respectively, to be (B)
and (C) kinds of -namul-nan. They illustrate instances of t4well-enough re-
solved”ambiguity (Intro.9.EC.IX).
9 . はや夜明けなんと思 (ひ )つ、… MZK.NIS.3 (namu/nan)，#1
Hayayo ake-NAN to omoi tsutsu". (Ise monogatari 伊勢物語，6.A \4)
While thinking，“If only night would d a w n soon!”...
w 明く（自、下一 : ake, ake, aku, akuru, akure, akeyo) = 4to
[aA：
become dawn, Decome bright’ ]
10. 君が心はわれにとけなむ。 MZK.NIS.3 (namu/nan)，#2

Kimiga kokoro ware ni toke-NAMU. (KokinshU 古今集，W 542:2 \\)
ド0 たw 解く（白、下二：切む，toke, toku ，tokuru, tokure，tokevo)=
(for s.th.) to loosen，melt ’
‘ ；for a d d ’
l. treatment of this passage, see
Intro.9.EC,#18]
1 1 . 「この山里にすみ果てな丨ん」とおぼいたり。 RYK.1 (tari),#9

Konoyamazato ni sumi-hatteNA/N, M to oboitari.
ゾ
•/woAwga/ar/ 源氏物語，39:4/133)
104
Intro.11
而 w なむ / なん Trouble
She was determined to live out her days in this mountain village (< She
thought， ‘‘1 will definitely live out m y days...’
，)•
[hatsu (S ^ T ^ ：hate, hate, hatsu, hatsuru, hatsure, hateyo)=
an auxiliary verb, ‘ to exhaust, do completely’ ；context makes it clear
that the quoted thought concerns the person doing the thinking and
not a third party; so the construction cannot be a (B), but rather is a
(C), kind of -namul-nan\
12 . 夜やう / \ 明けな丨むとするほどに、… **
Yoyoyo akeNA/M U to sum hodo ni,...
(/他則如办 7妨 7•伊勢物語，69:15 1)
At the time w h e n night gradually was about to dawn,...
[ ▲ 明く（自、下一：ake，士，aku，akuru，akure，akeyo) = ‘ to
become dawn, become brighf; the use of a -mu to su h 'ir form
( M Z K . 4 [muzu/nzu], #1-10) makes it clear that this must be a (C)
kind of -namu/-nan]
There are two other complicating factors, earlier noted. T h e particle namu Inan
なむ/なん一 i.e., (A), the kakari-musubi one— not only can follow nouns, other
particles, and adverbs, but also verbs in the R T K (e.g., #13). Moreover, it can
appear at the end of a sentence, with a following verb (usually aru do 〇 or naru
なる）understood (e.g.，#14).
1 3 . もののあはれも知らずなりゆくなん、淺ましき。 **
'Mono no aware ' mo shirazu naniyuku NAN, asamashiKi.
徒然草，7:95)
[And] sure enough, one becomes no longer aware of “the pathos of
things”even— h o w base!
[⑽ 成行く（自、四）= ‘ to develop，
take the natural course o f ]
14. 舞人を宿せる假屋より出で来たりけるとなん。 **
Maibito o yadoseru kariya yori ide-kitarikeru to NAN.
(//办说 7•方丈記，B:24)
(It is said that,) Sure enough, [the firej issued from temporary quarters
nousing the dancers.
[per the N K B T note, the sentence is understood to end: to NAN in .=
となんい各。]
12. A dditional Item s
Three items are treated in this section: (I) differentiation between topic and
subject, (II) g a が as an attributive marker, and (III) the auxiliary verb 得 .
All of the examples below appear in the B o d y o f t h e H a n d b o o k (per the

in the volume). S o m e have been abbreviated from their citation there.
I. Topic ^ Subject
The TOPIC o f a sentence and the SUBJECT o f a sentence
a r e not to be confused
T h e topic of a sentence is not the same as its subject. This becomes especially
clear w h e n both a topic and a subject appear in the same passage, as in the
following.
1• ししこ、かほよかりき。RYK.6(ki/shi),#6
Shis hi KO, KAOyokariki. (Tosa nikki 土佐M 記 , 2 月 4 B :5Q)
The dead child had a lovely face (< A s for the dead child, its face was
lovely).
[per the N K B T note, “
s/z/ww/z/ b 死にし子 > M / W 死んじ子〉
shishi ko 死し子 ”]
In this passage, “ child”is the topic, “face”is the subject, and “ was lovely”is the
predicate. It is as if, in the m o d e m language, there were a w a は after ん0 こ（子）
and a g a ^ after kao (M ) to specify what the topic is and what the subject
is. The “literal”rendering in parentheses clarities this: “ A s for the dead child, its
face was lovely.” ア，the sentence is saying, “ The dead child’ s
face was lovely,,5 as there is no possessive here. 1
1Nor, grammatically speaking, is the sentence saying, 4tThe dead child h a d a lovely face [em
phasis added]/' although ultimately it m ea n s either of these. The point is that, in trying to
understand a bungo passage, one should always focus on the phrasing o f the original (and try to let
it be one's guide, and not what seems to 4tmake sense55in the target-language o f discussion or trans
lation [i.e., English for many]). Theoretically, one should first understand a passage, then be
concerned with discussing or rendering it in another tongue (whether English, modem Japanese,
or any other language). But in learning b u n g o , one is necessarily performing both operations at
once, if only implicitly. All the more reason to focus on the structuring of the original, and to try
not to be misled by modem-language analogues (often including modem-Japanese ones).
106
Intro.12
Additional Items
In bungo, the particles wa (i, ga and o ^ are used m u c h less frequently
than in the m o d e m language to mark topics, highlighted subjects, and direct
objects. In fact, g a が is rarely used as a subject marker in main clauses before
the 1400’ s. In earlier texts its primary use is that discussed below (Sect. II).
Moreover, o を，in addition to sometimes following direct objects, can be used
at the end of clauses (to m e a n ‘ although’or ‘ because’）or as a marker (of
emphasis, mild surprise, etc.)— for both, see Intro.4.SX.IV.E and n. 23. A n d no
(D, in addition to its quite familiar uses in the m o d e m language, is also e m
ployed in bungo to mark the subject of a verb, as in the following:2
2 . 北の屋陰に消（え ) 殘りたる雪の、いたう凍（り）たるに、… RYK*1
(tari),#12
Kita no okukage ni kie-nokoritaruyuki NO, itd koritaru ni,...
( r s w r e z w r e g w s a 徒然草，1 0 5 : 1 7 3 )
T h e s n o w still left over m the snade north of the house really froze
[hard],...
Provisionally at least, it is useful to treat any bungo topic in English with the
phrase 4A s for. . . ’ 3 The following examples~~with ‘ A s for"•’renderings in
parentheses (for underlined bungo topics ending in wa (3.)— illustrate the point:
3 . 大かた、萬のしわざは止めて、暇あるこそ、めやすく、あらまほし
けれ。M Z K . 7 (maho s h i ) ，# 1 7
Okata, yororn no shiwaza WAyamete, itoma aru koso, meyasuku arama-
hoshikere.
( T l s w r e z w r e g w s a 徒然草，1 5 1 : 2 1 6 )
Generally speaking, [tor those w h o are old,] it is desirable as well as

seemly to cease one’ s countless doings and be at leisure. (< Generally
speaking, [regarding the old,] a s f o r [their] countless doings, being at
leisure having ceased them, is seemly and desirable too.)4
2 In fact, the use o f no (D to m a r k a main-clause subject, although not c o m m o n , also occurs in

m o d e m Japanese. T h e vast majority o f subject-marking go's ^ a n d no's (D in bungo a p p e a r in
subordinate clauses or in (at least implicitly) nominalized clauses— a c o m m o n function o f the
t w o particles in the m o d e m language as well. For e x a m p l e s o f g a が，see M Z K . N I S . 3 ( n a m u /
nan), #7, S S K . 1 (beshi) ，#10, a n d M R K . l (ri)，#7; f o r e x a m p l e s o f «〇の，see M Z K . 2 (zari)，#9,
M Z K . 4 ( m u z u / nzu), #11, a n d M Z K . 7 (mahoshi), #12. T h e subjects o f main-clause predicates,
h o w ever, are s e l d o m m a r k e d in the classical language.
F o r helpful discussion o f the distinction b e t w e e n topic a n d subject (in m o d e m Japanese, but
with application to the discussion here), see Jay Rubin, ^ W a a n d Ga: T h e A n s w e r s to U n a s k e d
Questions,M in Gone Fishin V N e w Angles on Perennial Problems (Tokyo: K o d a n s h a International,
j 992) (‘
P o w e r Japanese’Series), pp. 31 ~49, esp. pp. 38-39.
T h e topic in the a b o v e has b e e n turned into a direct object in the m o r e final English rendering
outside the parentheses— a step justified because アo m e r w 止める is transitive; for a similar
example, see R Y K . 5 (tsu), #8.
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Additional Items
4 . 法師ばかり羨ましからぬものはあらじ。M Z K . 1 (zu)，# 2 5
B o sh bakan m aycm m him rcm u mono WA araji.
ぬwregwsa 徒然草，1:90)
There is probaoly no one less enviable than a monk. (< a s f o r one who is
not enviable to the extent o f a monk, there probably is not [such a per
son].)
[ゐaんar/ ばかり = M J /zoJo ほど；wrqyawos/z/ 羨まし（
- しく adj.)=
‘to be enviable’
]
Throughout the Handbook, 4A s for. . . 9 renderings in parentheses clarify topics

that might otherwise be unclear. Most others are not glossed, 1 since it would be
cumbersome and unduly repetitive to do so.
II. GW が as an Attributive M arker
In bungo, ga ^ as well as no (D (and tsu 〇 — not treated here) can indicate

that a noun (or pronoun) is modirying another noun. T o clarify:
X (noun or pronoun) + + Y (noun)=
"an X kin d -o f\^ OR "a Y characterized by X ?;
OR often, ^X9s or ^the Y o f X 9
The construction, w h e n used with no (D, is quite familiar from the m o d e m
language. The following examples illustrate it with g a が：
5. うめがか [ = 梅が香 ] RYK.5(tsu)， # l
Ume GA ka (Kokinsha 古今孤，\/46:\\3)
The p l u m ’
s scent; the scent of the plum; a plum-kind-of scent; OR a scent
characterized by plums (or 'plumness5)
6 . 我が;]iM M Z K 5 〇i)， #8
阶 Gd w/c/z/ (hwrezwregw似徒然草，167:225)
M y art (くm y ‘
way’ ）
7 . 君が姿 M Z K . l ( z u ) ，# 1 6
GUwga/a ’
夕加/^ 萬葉集 ,20/4441:4/451)
Your shape (OR form)
5 For example, S S K . 4 (meri) ，#9, rendered as “It seems, s o o n I will b e g o n e without a trace”(わ
が身は今 "％えはてぬめる，灰'f lgam/ wcr / w f l z o [ / s e 界7/ar/伊勢物語，
24:128]), w o u l d b e glossed in parentheses, t4It s e e m s that, as for m y person, indeed s o o n it will
b e g o n e without a trace”；a n d M Z K . 4 (muzu/nzu), #5, translated there as “T h e thief is in this
field” （「この里！はぬす人あなり」とて，“
^，尺〇«〇 m ? vra /7奶《ゐz7c? ’’to纪 [/se w o w o g a t o r /，
12:119]), w o u l d b e glossed, for thisfield, a thief s e e m s to b e [in it].5*
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Intro.12
Additional Items
8 . たがへ [ = 他が邊 ] M Z K . 6 ( m a s h i ) ，# 1 3
Ta G4 e (幻 3が rd«/M:/ 蜻 ^^ 日記，下 :269)
Elsewhere (< Another [kind of] vicinity/area)
in. The Auxiliary Verb 得
When used as an び verZ?，得（generally having the reading e え ) is usu-

ally accompanied by a negative, and means ‘to not manage to (do s.th.)’ or ‘not
to succeed in (doing s.th.),5which melds into the potential,4not to be able to (do
s.th').’ As an auxiliary,得 can 为 "ow a main verb that is in the RYK (as in #9
below) or it can precede a verbal element (as in #10-12).6 In either case,
usually has the reading e え，because, of its six forms (他、下一 :e, e, u ，urn, ure,
eyo), it is most often in the MZK or RYK when following a main verb (de
pending on what verb-suffix follows it),7 and always in the RYK when pre
ceding a main verb (or verbal element)—and those forms are read e.
As a > // veA ，得 is read as w つ（ its SSK dictionary form) and—as a transitive
Sh i m o
n i d a n verb (e, e, u, uru, ure, eyo)—means ‘to obtain s.th.’
#12 illustrates わが/2 kinds of 得 , the fbll verb and the auxiliary.
9. 龍の頸の玉取りえずは、… MZK.l(zu),#18
Tatsu no kubi no tama tori-Ezu wa,...

(7*aたetor/ mowoga/ar/ 竹取物語，6:46)
“If you don’t succeed in getting the jewel from the dragon’s neck (く Not
Having succeeded in getting.
10• え止むまじければ、… S S K . 3 ( m a j i ) ，# 1 4
E-tocbmumajikereba， … （ TaketoH monogatari 竹取物語 , 9:64)
Since she (i.e., the old woman) was unable to detain her (i.e., Kaguya-
hime)，."
1 1 .いへばえにいはねば ...MZKJ(zu),#2
五-«/, … （ /此 mowoga/ar/ 伊勢物語 , 34:132)
When I [would] speak, I cannot [manage to speak]; but because I do not
speak,...
6 W h e n e X. precedes a m a i n verb, the latter is always negative; s o m e t i m e s there is a n intervening

particle ( t e o こそ o r なむ /なん [lntro.7]) between the e え a n d the verb.
It is true that other f o r m s are used— e.g., the R T K in あり得る（ Maw ’ンd s M 萬葉集，
1 5 / 3 6 0 1 :4/59) a n d the S S K in *(全まる（幻/所⑽ひ < s w w a + (7^wrezwregw 如徒然草，
55:135)— but they are comparatively rare (in that is; ar/wrw あり得る is not u n c o m m o n
in early-modern writing).
109
Intro.12
Additional Items
[«/ に here is a vestigial early RYK form of the verb-suffix -zw ず
(MZK.1);‘to speak’ is understood]
l2 . 女のえ丨得まじかりけるを、… S S K . 3 ( m a j i ) ，# 5
Onna no E-Umajikarikeru 〇, … （Ise monogatari 伊勢物語 , 6.AM)
[A man courted] a woman who was impossible to win (< one among
women who was impossible to obtain)...
13. R espect Language
The special verbs, auxiliary verbs, and verb usages for “respect language” in
bungo—namely， for 奶尊敬（‘honorific’)，た巧/<5 謙譲（‘humble’)， and
teinei (cpolite,) expression—are sufficiently complex to warrant separate
book-length treatment.1 Such verbs are but listed in McCullough; and although
there is introductory (and quite helpful) treatment of them in the works by
Vovin, Shirane, Ikeda, and Lewin (and even in the bungo primer by O êill),
no Western-language study (with the exception of Vovin) treats the subject in
detail, giving numerous examples.2
This section will address the topic briefly. There are many complex and difficult
issues involved in mastering respect language. To keep treatment of the topic
manageable, several problem areas will be overlooked and others necessarily
oversimplified in the explanation offered here.
To distinguish the three kinds of respect-language verbs and auxiliary verbs—
A) H o n o r i f i c verbs or auxiliary verbs convey est e em or respec t
to w a r d a th ir d -p e r s o n f i g u r e (often implied) o r to w a r d a n a d d r e s s e e —
namely, toward someone o f higher social status than the speaker or nar
rator~~or convey respect toward a fictional character in a text:
'[The person being referred to] estimably does s.th/ Or, 'You esti-
mably do s.th.,J but often in the sense, c[The person/you] (of high so
cial status— or higher than mine) do(es) s.th/ Such examples might
more accurately be rendered, 'estimable as he/she is' or estimable as
you a re' Its usage can become formulaic.
B ) H u m b l e verbs and auxiliary verbs are self-deprecatory; that is to say,
they convey HUMBLE (i.e., lo w er ) social sta tu s o n th e p a r t o f th e

s p e a k e r o r n a r r a to r to w a r d a n o th e r f i g u r e (often implied) o f higher so
cial status, or in reference to a place of high social status (e.g., the Palace,
or a place of the gods or Buddha, namely a shrine or temple):
1 “R e s p e c t language”is used as a n umbrella term to e n c o m p a s s the three categories: honorific,

h u m b l e , a n d polite. N o t e the precedent for its use b y P.G. O ^ e i l l , A Programmed Course on
Respect Language in Modern Japanese (London: English Universities Press for the School o f
Oriental a n d African Studies, 1966; rpt. To k y o : Charles E. Tuttle Co., 1983).
1 S e e APPENDIX E, S e c t . 1,for full bibliographical citation: M c C u l l o u g h , pp. 73-75; V o v i n , pp.
3 3 8 - 3 6 8 a n d 390-406; Shirane, pp. 271- 3 0 7 ; Ikeda, p p . 145-187; Le w i n , 122-126; a n d O ^ e i l l ,
pp. 207-219.
T h e treatment that follows here is based in large part o n the t a x o n o m y provided b y Vovin.
Ill
Intro.13
Respect Language
4 [I, or s.o. or s.th.] humbly do(es) s.th. (vis-a-vis s.o. socially superior,
often an implied or specified t4you”).’Such examples (ifm a d e explicit
in translation) are often better rendered parenthetically as ' lowly as my
social status may be" or ' lowly as his/her/its station is/was.' With
6humble, verbs of coming/going and departing, their employ (if ren
dered literally) might best be translated as "{humbly) ascend to' or
'(humbly) descend from" 一 because the emphasis, even more than on
the social station of the doer, is on m o v e m e n t from a place of lower
social status to a place of higher social status (the Palace, or a shrine or
temple), or on leaving a place of high social status (esp. the Palace) for
a place of lower social status.
C) POLITE verbs and auxiliary verbs con vey A COURTEOUS, FORMAL
ATTITUDE to w a r d th e a d d re s se e :
' {Speaking politely between us, I/one might say) ...* Neither self-
abasing nor exalting of another, 'polite5 verbs and auxiliary verbs
convey a courteous, formal attitude, one that maintains a correct social
distance that insures that the speaker will not sound unduly direct or
presumptuous.
The three usages are differentiated in this section of the Handbook by the use of
‘estimably’w h e n translating ‘ honorific’verbs, ‘ humbly’w h e n translating
‘humble’verbs, and ‘ speaking politely between us’w h e n translating ‘ polite’
verbs— as well as the variants noted above.
For pedagogical purposes, serious consideration was given to including these

translation-tags— ‘ estimably，’‘ humbly,’and ‘ speaking politely between us’
(and variants)~~whenever respect-language usage appears a m o n g citations in
the Handbook. But to mechanically include such renderings at each and every
occurence a m o n g hundreds of citations would be to overtranslate the passages
unnecessarily.3 At the same time, to omit them completely would be to under
translate them— to ignore an important dimension to bungo, probably its most
intractable problem-area.4 So the decision was m a d e to include the tags in this
section— as well as in the treatment o f ‘ honorific’usage in M Z K . P C H . l thru
3 E v e n a s u s e d in a p a rtia l s e n te n c e , th e y c a n p a ll: k<T h e E m p r e s s most estimably p la c e d a Kokin-

shu n o te b o o k b e fo re h e r; a n d w h e n , h a v in g estimably re a d a lo u d th e b e g in n in g o f a p o e m , s h e
most estimably in q u ir e d , l W h a t is th e e n d in g o f th is ? ( M Z K .P C H .2 [ ( s a ) s u ] , # 5 ) . O n e c a n
im a g in e w h a t a lo n g p a ra g ra p h , to s a y n o th in g o f a n e x te n d e d p a s s a g e , w o u ld s o u n d lik e i f th is ,
s ty le w e re m a in ta in e d th ro u g h o u t.
4 In tr a n s la tin g a n e x te n d e d p a s s a g e , p re s u m a b ly o n e w o u ld occasionally e m p lo y s u c h lo c u tio n s
(a n d o th e r p h r a s in g fro m th e ta rg e t la n g u a g e ) to s e t th e to n e — r e s p e c tf u l, d e f e r e n tia l, a n d /o r
p o lite ly fo r m a l— w h ile s tr iv in g to m a in ta in b a la n c e .
S e e a ls o th e “ C o n c l u s io n ” to In tro .9 , “ Ite m s E a s ily C o n f lis e d : A p p a r e n t A m b ig u ity .”
•112
Intro.13
Respect Language
M Z K . P C H . 3 5— but to omit them elsewhere.
Note that respect-language auxiliary verbs are preceded b y the R e n 'y o k e i .
All but one of the examples that follow are taken (sometimes in abridged form)
from elsewhere in the Handbook (per the citation after each quotation in Japa
nese, cross-referenced to further treatment in the volume). For more about the
one not cited elsewhere, identified by a double-asterisk **, see A p p e n d i x C:
‘TMotes: Other Translations of Citations in the Handbook.”
T O S U M M A R IZ E U S A G E O F R E S P E C T - L A N G U A G E V E R B S A N D A U X IL IA R Y V E R B S ,
the following distinctions should be kept in mind:

I. There are 'honorific^nd thumble, respect-language verbs that func
tion only as Hill verbs— not as auxiliary verbs.
II. There are respect-language verbs that function both as full verbs and
as auxiliary verbs.
III. There are two respect-language auxiliary verbs that function both as
thonorific, and as thumble, auxiliary verbs: tamau and tatema-
tsuru 奉る .
IV. There is one respect-language auxiliary verb that functions both as a
thumble, auxiliary verb and as a tpolite, auxiliary verb: haberi *9 .
V. There are special points to keep in mind concerning the two 'polite5
auxiliary verbs: f寺り and sa わwraw 候ふ .
VI. O n e and the same verb construction can simultaneously belong to
more than one respect-language category: viz. verb constructions can
be both honorific* and "polite,? both thumble, and polite/ or both
4humble，ゴ‘ honorific.
Each of the above will be addressed in turn.
I. Respect-language verbs that function only as flill verbs (and not as auxiliary
verbs) are either ‘
honorific’or ‘
humble ’ ;6 there is no ‘
polite’flill verb that does
5 T h e “ P C H s u f f ix e s ” a re th e P a s s iv e , P o te n tia l, C a u s a tiv e ，H o n o r if ic , a n d /o r S p o n ta n e o u s
S u f fix e s : n a m e ly , -(ra)ru, -(sa)su, a n d -shimu. S o m e o f th e c o m p le x ity o f r e s p e c t la n g u a g e is a d
d re s s e d in th e ir tre a tm e n t.
6 V o v i n (pp. 3 9 0 - 4 0 6 ) lists the following verbs o f this kind (based o n the four Heian-period texts
he analyzes [listed in the entry for his w o r k in A ppendix E, S e c t . 1 ] ) . H a n d b o o k examples, if
any, are listed in parentheses at the e n d o f entries:
'H o n o r i f i c 5 fu ll v e rb s th a t d o n o t a ls o f u n c tio n a s a u x ilia r y v e r b s —
宣ふ（他、四 ) ， ‘( f o r s .o . s u p e r io r ) to s a y ， te ll s .t h . ’ （ #1 b e lo w )
召す（他、四）， ‘( f o r s .o . o f th e im p e ria 丨f a m ily ) to c a ll, s u m m o n , o r d e r s .o ./s .th .; w e a r
s.th.; eat s.th.; board s.th/
ん/•んo s んw esw 聞こし召す（
他、四 ) ， ‘( f o r s .o . e x a lte d ) to lis te n to , s a y s .th .; ru le s .t h . ; e a t s .t h . ’
113
Intro.13
Respect Language
not also function as an auxiliary verb. Both types are illustrated by the follow
ing: in # 1 ,by an chonorific, verb that ftjnctions only as a full verb; and in # 2 , by
a 'humble 5 verb that functions only as a full verb:
‘
Honorific’Full-verb Use Only
1 . . . •の給はすれば、… M Z K . P C H . 2 ( [ s a ] s u ) ，# 4
… 編心 swreAa,… （ /zww/ m M / 和泉式部日記， 442 twice)

W h e n he most estimably said,...
[notamau = notamau which functions as an 'honor
ific5 full verb meaning '(for s.o. superior) to say, tell s.th.*; the pas
sage is doubly 'hononfic5: (A) given the thonoritic, flill verb being
used 旦ふ )，and (B) given the ‘ honorific’use here of a
-(似)似（さ）す form (see M Z K . P C H . 2 ) — hence, ‘
most estimably’in
the translation; the verb and its ending convey the subject’ s high
social station]
‘
H u m b l e ’Full-verb Use Only
2 . まだまゐらざりしとき . . . MZK.2(zari),#6
Mada MAIRAzarishi toki... (Makum no sdshi 饮草子， \ 名4.232)
Before I entered Court service (< At the time w h e n I had yet humbly to
ascend to [the Palace, a place of higher social status than where I was
Deiore]),...
0ゐo s w 思す，（
他、四 )，‘
(for s.o. superior) to think s.th.，feel s.th.，b e f o n d o f s.o/ ( M Z K . N I S .
2 [baya], #6; M Z K . N I S . 2 [baya], #11; M Z K . N I S . 3 [namu/nan], #5)
0みos/z/wesw 思し召す（
他、四 )，’
(for s.o. o f the imperial family) to think s.th.，consider
s.th.，b e fond o f s.o.’
zVwoswkrz• 在すかり（ a n d variants, see Intro.2)( 白、ラ変 )，‘
(for s.o. superior) to exist，be;
(for s.th. estimably) to be'
御覧ず (他、夺変 )，‘ (for s.o. superior) to see, look at s.th.’
' H u m b l e ' full verbs that d o not also function as auxiliary verbs—
wfl/rw 參る ( 自、四 )，‘ to c o m e , g o (from a place o f lower status to a place o f higher status);
to visit (a shrine or temple)’ ；（他、四 )，‘ h u m b l y to offer s.th.; eat, drink s.th.; put o n s.th.;
board s.th.* (#2, #16, a n d n. 7 below)
w J z w 詣づ（自、下 — )，‘ to c o m e , g o (from a place o f lower status to a place o f higher status);
to visit (a shrine or te m p l e )，
承る（他、四 )，‘ to receive s.th. (from s.o. o f higher social status); to listen to,
hear, agree with s.th. (from s.o. o f higher social status)'
•sdsw 奏す（他、サ変 )，’
to address s.th. (to the e m p e r o r ) ’[also n o n - ‘
h u m b l e ’use: ‘
to p e r f o r m
(music)’
]
waんa r w 罷〇 ( 自、四 )，‘ to leave，depart (from a place o f high social status— esp. the Palace,
but also the capital— for o n e o f lower social status)5
S o m e o f the a b o v e verbs h a v e b e e n cited in g r a m m a r s (with o n e or t w o illustrative e x a m
ples) as being t u m b l e * or thonorific, auxiliary verbs, in addition to their function as full verbs.
‘‘[B]ut these occurrences are extremely rare, a n d in s o m e cases they m a y b e reanalysed as verbal
c o m p o u n d s ”；Vovin, p. 390.
114
Intro.13
Respect Language
[wa/rw 參る functions as a ‘ humble’fbll verb meaning ‘ to come, go
(from a place of lower status to a place of higher status)5]7
II. There are respect-language verbs that ftinction e ith e r as full verbs o r as aux
iliary verbs. They are here divided into 'honorific/ 'humble/ and 4polite, cate
gories.8 Each category is illustrated by two citations~~one a ftill verb, the other
an auxiliary one— in the following pairs: #3-4, ‘honorific’ ；#5-6, ‘ humble’ ；and
#7-8, ‘ polite’:
‘
Honorific’Full Verb and ‘
Honorific’Auxiliary Verb
3 . 大御酒たまひ、祿たまはむとて、つかはさざりけり。 **
O m ik i TAMAI, ro k u TAMA WAmu to te, tsu k a w a sa za rik e ri.
(/se 伊勢物語 ,83:160)
7 F o r a d d ’l. e x a m p le s o f th e u s e o f w fl/rw 參る（ o th e r th a n 2 h e re a n d # 1 6 b e lo w ), s e e M Z K .7
( m a h o s h i) , # 1 6 ; M Z K .N I S .2 (b a y a ), # 1 ; M Z K .N I S .3 (n a m u /n a n ) , # 5 ; R Y K .l ( ta r i) , # 7 ; S S K .3
( m a j i ) , # l ; M R K . l ( r i ) ,# 5 .
8 V o v in ( p p . 3 3 8 - 3 6 8 ) lis ts th e fo llo w in g v e r b s o f tin s k in d fro m th e te x ts h e tr e a ts . ( T h e r e a r e a
fe w o th e r s .) In e a c h e n tr y b e lo w , o n ly th e fu ll-v e rb d e n n itio n is g iv e n ( th e a u x ilia r y - v e r b s e n s e
b e in g , r e s p e c tiv e ly , ‘e s ti m a b ly ， ’ ‘h u m b ly ,’ o r ‘s p e a k in g p o lite ly b e tw e e n u s ’). H a n d b o o k
e x a m p le s , i f a n y ( e ith e r a s fu ll o r a u x ilia r y v e rb s ), a re lis te d in p a r e n th e s e s a t th e e n d o f e n tr ie s :
t H o n o r if ic , v e rb s th a t f u n c tio n b o th a s fu ll v e rb s a n d a s a u x ilia r y v e r b s 一
/awflw 給ふ • 賜ふ（他、四)， ‘(for s.o. superior) to grant, bestow s.th. (to/on an inferior)’
[when SHIMONIDAN, is in the following t u m b le ' category] (#3-4, #9, and n. 9 below)
給ぶ • 賜ぶ（他、四)， ‘(for s.o. superior) to grant, bestow s.th. (to/on an inferior)’
o 而御座す • 座す（自、四/[下二 / サ変 ])， 4(for s.o. superior) to exist, be; come, go’
dsw 仰 + ( 他、下二 ) ， 4(for s.o. superior) to say， tell s.th. (to an inferior)’ （ M Z K .P C H .1 [(ra)-
ru], # 9 ; M Z K .P C H .2 [(sa)su], # 5 )
/w a sw 座す（自、四）， ‘( f o r s.o . s u p e rio r) to e x is t, b e ; c o m e , g o ’
奉る（ fill、四)， ‘(for s.o. superior) to put on s.th.; eat s.th.’；（自、四)， ‘(for s.o.
superior) to get aboard7 ( n . 10 [cf. #10 and #15] below)
'H u m b l e 5 v e rb s th a t f u n c tio n b o th a s fu ll v e r b s a n d a s a u x ilia ry v e rb s —
/fl/ematewrw 奉る（他、四)， ‘to give, offer s.th. (to a superior)’( # 1 0 & # 1 5 [cf. n . 10] b e l o w )
仕うまつ ^ ) ( 自、四)， ‘to be in service (to s.o. superior)’ ；（
他、四)， ‘to h u m b l y
d o s .th .’
糸合ふ（
他、下！！ ) ， ‘to h u m b ly r e c e iv e s .th .; d r in k s .t h .’ [w h e n Y o d a n ， is in th e p r e c e d -
in g ‘H o n o r if ic ’ c a te g o ry ]
A:/んの似聞こゆ（他、下二 ) ， ‘to te ll, s a y s .th .; t o p re s e n t s .th . ( to a s u p e r io r ) ’ [ a ls o n o n -
‘h u m b le ’ u s e : ( 自、トニ) ， 4( f o r s .th .) to b e h e a r d , b e c o m e c le a r /u n d e r s to o d ， b e s p o k e n
o f ] (# 5 - 6 a n d n . 13 b e lo w )
級 oesasM 聞えさす（他、下二 )，‘ to tell, say s.th.; request s.th. (to/of a superior)’
wdsw 申す（他、四），‘ to say s.th. (to a superior)’ （ #i 1，#14, and n . 13 [incl. reference to
S S K . 3 (maji), # 1 ] below)
'P o l i t e ' v e rb s th a t ftin c tio n b o th a s fu ll v e rb s a n d a s a u x ilia r y v e r b s —
ゐe r / 侍り（自、ラ変 ) ， ‘to e x is t, b e ( a s re la te d c o u rte o u s ly t o a n a d d r e s s e e ) ’ [ h u m .: ‘to
s e r v e ( a s u p e rio r)* ] ( # 7 - 8 , # 1 1 - 1 2 ( = # 8 ) , # 1 5 , n . 1 1 , n . 1 3 , a n d S e c t. V b e lo w )
saburau NB9), [h u m . a s fu ll v e rb : lto s e rv e , b e n e a r ( a s u p e r io r ) ; to g o /c o m e (to a
s u p e r io r ) ’] p o l. a s a u x ilia r y v e rb (S e c t. V ，in c l. # 1 3 - 1 4 , b e lo w )
115
Intro.13
Respect Language
[The Prince,] saying he was going to bestow wine [upon his elderly
companion] and bestow a token of appreciation [upon him,] detained him
(< did not estimably send him away).
[/awaw 糸合ふ • 賜ふ here functions as an ‘ honorific’flill verb
meaning 4to bestow s.th.5 (i.e., to estimably give s.th. [from one of
higher status to one of lower status]);なw んo r w o s w 遺はす（他、四）is a
causative ‘honorific’verb (with the forms of M Z K . P C H . 2 [(sa)su])
meaning ‘ to estimably send八lispatch s.o./s.th.’ ]
4 . 腹をきらんとし給ひけるが、… MZK.4 (muzu/nzu), #4
Hara o kiran to shi-TAMAlkeruga,...
•平家物語，10.10:2/276_2 77)
Each was ready estimably to cut open m s belly, but...
[towaw 給ふ here functions as an ‘ honoriiic’auxiliary verb m /z/ し，
the R Y K of 4to do/ being the full verb); a tamau form is used
to s h o w respect on the part of the author/narrator for the characters
described]
‘ Humb丨
H u m b l e ’Full Verb and ‘ e’Auxiliary Verb
5.「
思ふこと、少し聞ゆべきぞ」とて、… Intro.7.K M ，
#18
“Omou koto sukoshi KlKOYUbeki zo ,” tote...
■ woga/ar/ 源氏物語 ,2:1/95)
UI must humbly say (i.e., from m y humble social station, I must tell those
above m e in tne social hierarcnv) s o m e or what I feel!”…
[A：z•ん
0アw 聞こゆ here functions as a ‘ humble’fli11 verb meaning ‘ to
tell, say s.th. (to a superior); to present (to a superior)5; kikoyu is
used m u c h more frequently as a full verb than as an auxiliary; note
also that in this and the following citation, there is no んこ in
the text being citedl
6 . 鬼などの、隠し聞ゆとも、… RTK.2 (nari/explan)， #6
Oni nado no kakushi-K lK O Y U tomo,...
⑽ ogatov•源氏物語，52:5/303)
Even ifa d e m o n or such— the damned thing— hid her,...
[た/んqyw 聞こゆ here functions as a ‘ humble’auxiliary verb: (A) to
reflect the low social station of the subject, and (B) to speak pejora
tively of it (see n . 13 below)]
‘
Polite’Full Verb and ‘
Polite’Auxiliary Verb
7 . 京極の屋の南むきに、今も二本侍るめり。 SSK.4(meri)，
#5
K y o g o k u n o y a n o m in a m i-m u k i ni, im a m o fu ta -m o to HABERUmeri.
116
Intro.13
Respect Language
(Tlswrezwregwsa 徒然草，139:207)
Speaking politely between us, evidently two [plum] trees are still there on
the south side of his K y o goku residence.
•侍り here flmctions as a ‘ polite’full verb meaning ‘
to exist，
be (as related courteously to an addressee)’ ]
8 . 世になくて久しくなり侍りぬれば、… R Y K . 3 ( n u ) ，# 1 8
Yo n i n a k u te h is a sh ik u n a ri-H A B E R In u reb a ,...

(G q/ / •源氏物語，5:1/189)
Speaking politely between us, since a long time has passed since he
died,...
[haberi f# ^ here flinctions as a 4polite9 auxiliary verb to convey an
attitude of courtesy toward the person being addressed; as is usually
the case, 'polite'-auxiliary haberi is here used in dialogue to refer to
the actions or doings of a third party]
III. There are two respect-language auxiliary verbs that ftmction both as 4hon-
and as 'humble5 auxiliary verbs: tamau and tatematsuru $ - 5 .
But the two usages of tamau are quite different, distinguished by
separate conjugations— Y O D A N for the ‘ honorific’auxiliary verb and S h i m o
N I D A N for the ‘
humble’auxiliary; and the use of the ‘ humble’auxiliary verb is
limited mostly to Heian-period examples•りMoreover, /a/ewaむwrw 奉る in the
vast majority of cases is used as a 'humble5 auxiliary.10
Examples follow of the two auxiliary verbs in their more c o m m o n usages:
Tamau as an 4Honorific5 Auxiliary Verb

9 . 「
寢給ひね」と… R Y K . 3 ( n u ) ，# 2 1
‘We-7MM/4/狀，”如" • （ M<3たwra 枕草子，134:187)

糸合ふ here functions as an 'honorinc^ auxiliary verb; a
lady-in-waitmg is addressing other ladies-in-waiting, fictively putting
them on a higher social plane— formulaicly expressed by the use of a
tamau form]
9 All tw e n t y e x a m p l e s in the H a n d b o o k o f /awflw 給ふ as an auxiliary verb are ‘

hononiic，
：
M Z K . 2 (zari), #6; M Z K . 4 (muzu/nzu), #2; M Z K . 4 (muzu/nzu), # 4 [= # 4 above]; M Z K . 5 (ji),
#2; M Z K . 5 (ji), #6; M Z K . P C H . 1 ([ra]ru), #12; M Z K . P C H . 2 ([sa]su), #5; M Z K . P C H . 3 (shimu),
# 1 ；M Z K . P C H . 3 (shimu), #6; M Z K . P C H . 3 (shimu), #7; M Z K . P C H . 3 (shimu), #8; R Y K . 2
(keri), #13; R Y K . 3 (nu), #20; R Y K . 3 (nu), # 2 1 = # 9 below]; R Y K . 5 (tsu), #20; S S K . 4 (meri),
# l l ; M R K . l (ri),#16; M R K . 1 (ri),#17; M R K . l (ri),#19; M R K . l (ri),#21.
T w o e x a m p l e s o f /fl/e/wcr/swrw 奉る as a n ‘ honorific’auxiliary are offered b y V o v i n (pp.
352-353), w h o points out that the usage d o e s not occur in the earlier o f the texts he treats.
117
Intro.13
Respect Language
Tatematsuru as a 4H u m b l e 9 Auxiliary Verb
10.「
かの殿には、我も / \ 、婿に取りたてまつらん」と.. . R T K .2 (n a r i/
e x p la n ), #11
'"Kano d o n o n i w a, w a r e m o w a r e m o, m u k o n i tori-TATEMATSURAn, n
to ...
( 力•wo/wgatov•源氏物語，50:5/141)
icl too, I too, d u ly a w a r e o f m y lo w e r s o c i a l s ta tio n , would like to take that
courtier as a son-in-law,...
[ta te m a tsu ru here functions as a thumble, auxiliary verb con
veying diffidence on the part of the speaker in hoping for a match
with such a social superior]
I V . 1’
here is one respect-language auxiliary verb, •侍り，that functions
b o th as a 4humble, auxiliary verb a n d
^ a 'polite5 auxiliary verb (as well as a
'polite9 full verb— see Sect. V below). The following illustrate both uses as an
auxiliary verb:11
Haberi as a tH u m b l e , Auxiliary Verb

11.「•••」と申（し)侍（り）しかば、… MZKJ>CH.l([ra]m)， #9
to mdshi-HABERfshikaba， … （ Tsurezuregusci 徒然草，158:22V)
W h e n I most humbly said,u.. .
[the expression is doubly ‘ humble’ ：（ A) given the ‘ humble’fUll
verb used (wdsw 甲す，‘ to say s.th. [to a superior]’)，and (B) given
the use here of haberi as a 'humble5 auxiliary verb— hence, ‘ most
hum b l y ’in the translation; as is usually the case，‘humble’-auxiliary
haberi is here used by a speaker to refer to him/herself]
Haberi as a 4Polite7 Auxiliary Verb

1 2 . 世になくて久しくなり侍りぬれば、… R Y K . 3 ( n u ) ，# 1 8
Yo n i n a k u te h is a sh ik u n ari-H A B E R In u reba , ...
ゾ
•/ •源氏物語，5:1/189)
Speaking politely between us, since a long time has passed since he
died,...
[see #8 above]
11 For a d d ’1.e x a m p l e s of the use o f •侍り（ other than # 1 1 - 1 2 here a n d # 1 5 below)—

A s a tpolite, full verb: see R Y K . 6 (ki/shi), #17; S S K . 6 (nari/hearsay), #8; R T K . 2 (nari/ explan),
#7; R T K . 2 (nari/explan), #11.
A s a t u m b l e 5 auxiliary verb: see M Z K . 5 〇i), #8; M Z K . P C H . 3 (shimu), #2; R Y K . 6 (ki/shi), #7;
R Y K . 6 (ki/shi), #15; R Y K . 6 (ki/shi), #17; R Y K . 7 (kemu/ken), #4.
A s a 'polite5 auxiliary verb: M Z K . N I S . 3 (namu/nan), #6; S S K . 3 (maji), #3;
118
Intro.13
Respect Language
V. There are special points to keep in mind concerning the two verbs that
function as ‘
polite’auxiliary verbs: /zofゐ侍り and ゐwraw 候ふ：
A ) Both/zaZ^n•侍り andsflゐwraw 候ふ alsoftmctionasfbllverbs. Examples

of /zaゐm •侍り（ as a ‘ polite’fiill verb, ‘ polite’auxiliary verb，and ‘ hum
ble’auxiliary verb) were presented above (#7, #8, and # 1 1，respectively).
But a s f u l l v e r b s , whereas h a b e r i is sa b u r a u is 'humble/
Contrast the following two uses of sa b u r a u
Saburau as a 'Humble5 Full Verb

13. 用意して、さぶらへ。 M Z K . P C H . 3 ( s h i m u ) , # 6
75/ A/ 於, ( ( 7 ⑼ゾ7 wowoga/ar/ 源氏物語，51:5/264)
B e careful and s e r v e l (— p u tt in g it in a w a y th a t r e fle c ts y o u r lo w e r s o c ia l
s ta tio n ).
[saburau here functions as a thumble, full verb meaning 4to
serve (a superior)’
]
Saburau as a cPolite, Auxiliary Verb

1 4 . まづ何事も細かに申したく候ふに、… RYK.8(tashi)， #4
M a z u n a n ig o to m o k o m a k a n i m dshitaku-SA B U R A U n i , ... RYK.8 (tashi), #4
m M / 十六夜日記 ,3/27:377)
First~ s p e a k in g p o li te l y b e tw e e n us 一 I wanted to tell you everything in
detail, but …
[s a b u ra u here functions as a tpolite, auxiliary verb conveying
courtesy toward the person being addressed]
B) A s a ‘ auxiliary verb ，
humble’ 侍り（
e.g.，in #11 above) is almost
exclusively used by a speaker to refer to his/her o w n actions, and c o m
m o n l y appears in dialogues or monologues. B y contrast, as a 4polite,
auxiliary verb, h a b e r i ^ (e.g., in #8) normally refers to the actions of a
third party; it too is likely to appear in dialogues or monologues.
C) In medieval times, • 侍り usage, both as a flill and auxiliary verb,

be co m es especially c o m m o n ; and in late-medieval times, the auxiliary-
verb use of ■saZjwraw 候ふ（ and in particular, its variants, そうらふ
and 仍 n ? そろ）b ec o m e s virtually formulaic，especially in epistolary style.
VI. O n e and the same verb construction can simultaneously be b o th 'honorific,

a n d polite,5 b o th t u m b l e 9 a n d polite/ or b o th t u m b l e 5a n d "honorific.5 Only
B u t see n . 13 below.
119
Intro.13
Respect Language
examples of the latter two will be offered here:
A Verb Construction Simultaneously ‘

H u m b l e ’and ‘
Polite’
1 5. まことに、出家せしめたてまつりてしに侍（り）。 M Z K . P C H . 3 (shi-
m u ),#2
Makoto ni suke seshime-TATEMATSURIteshini-HABERI.
((7伙ゾ7 ■ w oga/an•源氏物語，54:5/421)
SpeaKing politely between us, I, in my lowly station, did in fact let her
become a nun.
[tatematsuru $ 6 here functions as a "humble' auxiliary verb con
veying diffidence on the part of the speaker-priest vis-a-vis the
high-born w o m a n being referred to and the prestigious person he is
addressing; /zflゐerz•侍り here functions as a awxz/zaぴ verZ?
expressing courtesy toward the listener; the causative ‘ let’is treated
in M Z K . P C H . 3 (shimu); the proper sequence is observed for dual
respect-language auxiliary verbs: R Y K + ‘ humble’（ or ‘honorific’）
auxiliary + <polite, auxiliary (here with intervening affixes)]
A Verb Construction Simultaneously ‘

H u m b l e ’and ‘
Honorific’
1 6 . 早くまゐり丨給ひね。 R Y K . 3 (n u )，
#20
Hayaku MAfRJ-TAMAIne. (Genji monogatari 源、氏物語，35:3/365)

Quickly, estimaoie as you are, deferentially ascend [to that mgher
place, the Palace]! (> Please go quickly [back to the Palace]!)
[mairu # 6 is a "humble' M l verb meaning fcto come/go (trom a
place of lower status to a place of higher status, esp. the Palace);
tamau |p here is an 'honorificf auxiliary verb showing respect by
the speaker (Murasaki) to the addressee (Prince Genji), who, like
everyone in the realm, must thumbly, ascend to the Palace; the
proper sequence is followed: 4humble5 full verb + 4honorific, auxil
iary verb]
There are m a n y qualifying statements one might add to this presentation of

respect language.13 1
1’For example, strictly speaking, 侍り as a full verb can also be ‘ h u m b l e ，（‘ to serve [a supe-
rior]’)，a n d not just ‘
polite’（
‘to exist, be [as related courteously to an addressee]， ).
Also, as pointed out b y V o v i n (with three examples, pp. 3 5 6 a n d 361), w h e n auxiliary-verb
わん0 聞しゆ is used in reference ‘ "to other people’
s actions, [itl acquires a pejorative m e a n i n g ”
(as in # 6 above); a n d w d s w 申す “m a y acquire a pejorative m e a n i n g ”w h e n “used regarding other
people’ s actions”（ as is likely in S S K . 3 [maji],
120
Body of the Handbook
V er b -S u ffix es (Listed Alphabetically)
SUFFIX S E E (follows)— SUFFIX S E E (follows)—
-nari (hearsay/
-ba (*if) MZK.NIS.1
suppos . ) なり SSK.6
-ba (*when,
+nari (explan./
because ’
）ば IZK.NIS.1
affirm . ) なり RTK.2
-6aァa ばや MZK.NIS.2
-nikeri, -niki, -nitari
にけり/ にき/
-beshiべし SSK.1
にたり RYK.4
-dot-domo
-nuぬ RYK.3
IZK.NIS.2
-gotoshi -ramul-ran
SSK.5
RTK.1
-(ra)n/ ( ら)る MZK.PCH.1

プ• / じ MZK.5
-kemul-ken - m s み /らし SSK.2
けむ /けん RYK.7
ザ/り MRK.1
-Arm •けり RYK.2
-(帅 w ( さ)す MZK.PCH.2
-kil-shi
き/し RYK.6 -sni L: SQQ-ki/-shi
RYK.6
-mashi まし MZK.6
-sfiimu しむ MZK.PCH.3
-mahoshi
MZK.7 -tor/ たり RYK.1
-mq/i まじ SSK.3 -tashi it し RYK.8
- w e n •めり SSK.4 -tsu つ RYK.5
-ww/-« む/ん MZK.3 -zari ざ ^) MZK.2
-muzul-nzu -zwず MZK.1

MZK.4
NIS = Non-Inflected Suffix
-namu/-nan PCH = Passive, Potential, Causative, Honori
なむ /なん MZK.NIS.3 and/or Spontaneous Suffix
122
MZK.1
■ Z C /ず
-Zf/ ず（ irregular)
[-zu]/ -zu/-de/ -ZU -nu -ne NIL
[-na] [-ni]
[ず ]/ ず /で / ずぬね 00
[な] [に]
-Zひず：Indicates negation. See -zan• ざり（ M Z K . 2 ) for alternative negative

forms, esp. for the M Z K . Not to be confiised in its - ぬ and -狀ね forms with
the S S K and M R K , respectively, of post-RYK ぬ（ RYK.3), which are
homophonous. N o r is R Y K -みで to be confiised with the preposition みで
(‘at,’4by means of,’‘ because of，’‘ as’）of medieval and later times.
MZK
Rare. In most instances, -zwゐa ずば（‘ if… is not the case, [then]...’
）has
been edited in Nihon Koten Bungaku Taikei 日本古典女學夫系 edi
tions to be read as -zw w a ずは（ making it R Y K : not being the case，
[then] （For -zw 而ずは，see #16-18 below.) The vestigial R Y K form
な（ followed by the nominalizer -A:w く）m a y be carried over in the
expression («/)なく（に)，‘ without …-ing， ’‘though not …-ing， ’4m y ，
h o w not...!’（e.g.，M Z K . 2 [zari], #1). The early R Y K form -m•に follows
below. Use of-zw-form な and -m•に was already rare by Heian times.
RYK
R Y K - with vestigial early form -A7 に
1. 行方を知らに舍人はまとふ。
ルた收 0 M/raAT, wa ’夕dsto 萬葉氣 2/201:1/113)
Their bearings lost (< N o t knowing the direction [they are going]), his
attendants wander confused.
c? Mzraw/ 行方を知らに also appears in 15/
3627:4/67]
2 . いへばえにいはねば ...
… （ /见騰 wogatorz• 伊勢物語，34 :132)
W h e n I [would] speak, I cannot [manage to speak]; but because I do not
speak,...
123
MZK.1
-Zひず
[e え is the R Y K of the S h i m o NIDAN verb, w 得（ which, w h e n used
as an auxiliary verb, means 4to manage to...， ’4to succeed in...,’here
with ‘to speak’understood)— see Intro.12.AD.Ill]
R Y K — with-Zi/ ず
3 • 君こずて年はくれにき ...
Kimi koZUte, toshi wa kureniki...
而ん〇? / ^ 後撰和歌氣 3/137:31)
The year c a m e to an end without your coming...
[/:wrw 暮る（目、下一)= fc(for the season or year) to end, (for the sun)
to set’]
4 . 男は烏帽子もせず、女は髪もさげざりけり。
Otoko wa eboshi mo seZU, dna [sic をうな ' wa kami mo sagezarikeri.
(//の知平家物語，2.10:1/186)
The m e n did not wear ceremonial hats, nor did the w o m e n let their hair
down.
[Mos/z/•烏帽子 = “‘ crow (black)’’ceremonial hats， ;sagw 下ぐ（他、
下一）= ‘ to lower s.th.’
；for add’l. treatment of part of this passage,
see Intro.8.UP, #7]
5• おごれる人も久しからず、只春の夜の夢のごとし。
Ogoreru hito mo hisashikaraZU, tada haru no yo no yume no gotoshi.
(/fe•レ •平家物語，1.1:1/83)
The proud, too, do not last long; they are but like a dream on a spring
night.
[ogorw 驢る • 奢る（自、四）= ‘
to be pridefUl，arrogant’
]
6 . この人は下愚の性移るべからず、… 、假にも賢を學び )ベからず。
Kono mto wa Kagu no sho utsurubekaraZU ;kari ni mo ken o ma-
naoubeKarazu.
徒然草，85:158)
With this sort of person, his stupid nature does not change; ... not even
temporarily will he emulate the wise.
7 ••••起きもせず寢もせで夜をあかしては ...
Oki mo sezu ne mo sede, yoru o akashite wa,...
(/從 wcwoga/ar/ 伊勢物語，2:112;心ん/似/^ 古今集，13/616:224)
Spending all night neither nsing nor sleeping,...
124
MZK.l
-Zひず
[aんosw 明かす（他、四）= ‘ to brighten O R m a k e d a w n (the night)’（
〉
4to spend all night9); the Kokinshu text has the entire sequence in
kana]
NOTE: かずて（ = . [ R Y K of -zw] + -纪 [ R Y K of -むw]) = ‘ not …-ing， ’

‘without ...-ing.’But this -zw/e is often contracted to -ぬで（ see below), with
the same meaning. The expression -zw ⑽ ずは（ also below) has the same force,
but by extension can express a hypothetical negative (as in #18).
R Y K - w i t h - 2 I / r a ずて
8. ..•めには見えずて ...
...we m wa •..(心 Ai似/z夕古今集，
4/217:144)
... being invisiDie to the eye，
...
見ゆ（自、下二）= ‘ (for s.th.) to be taken in visually’
]
9. 君こずて年はくれにき…
Kimi koZUTE toshi wa kureniki...
w a ん後撰和歌集，3/137:31)
The year ended without your coming...
10. 戀に堪へずて死ぬべく思へば、…
K oin i taeZUTEshinubeku omoeba... (M an’ydshU 萬葉集，4n3S..\/3Q9)
When, finding love unbearable, I think Til surely die,...
[tow堪ふ • 耐ふ（自、下二 ) = ‘ tobear’ ]
R Y K — with-/)五で
1 1 . よろこびにたえで、…
Ybroた0わ/ ... (/纪肢 ?woga/an•伊勢物語，16:122)
Unable to bear the joy (> Being beside himself with joyj,...
12. おとこ、ひさしくをともせで、…
Otoko, hisashiku oto mo seDE， . . . （Ise monogatari 伊勢物語，U8: \ 78)
The man, sending no word for a long time,...
[0 如（
o) sw 音 (を)爲（他、サ変）‘ to communicate, send w o r d ’（ < ‘to
do/make a sound5) (usually in the negative); also cited in Intro.5.VA,
#18]
13. 起きもせず寢もせで夜をあかしては、…
Oki mo sezu ne mo seDE, yoru o akashite wa,...
(/從肢则 gatoW伊勢物語， 2:112;心ん/似/^古今集，13/616:224)
Spending all night neither nsing nor sleeping,...
125
MZK.1
-Z U ず
14. 二条の院にもあらで、…
Nijd no in ni mo araDE， … （ Genji monogatari 源、
氏物語，6A/24Q)
H e was not in the Nijo Palace, and...
15. 衣をだに脱ぎかへなで ...
Korvmo o chni nugi-kaenaDE". (Taketori monogatari 竹取物語，4..39)
Without even changing clothes,...
[«wg/-んaw 脱ぎ換ふ（他、下二）= ‘ to change clothes’（ < ‘taking off
[clotning]，to change [it]’ )；tor add’l. treatment of the compound
verb, see Intro.4.SX, #15]
R Y K - with -21/ 心ずは
16• 君が姿を忘れずは ...
g a s w g a / a 〇woswreZi/心 ,… （ M w ’ 夕み/^ 萬葉集 ,20/4441:4/451)
Not forgetting your shape (OR form)， …
[also partially cited in Intro.12.A D , #7]
17. 消えずはありとも ...
KieZU WA ari tomo...
(/從伊勢物語，17:122;心ん如沾古今集，1/63:116)
Even if they're [still] there, not having melted away,...
[the 心ん如/^ text has 有りとも；for add’
l. treatment of this passage,
see Intro.4.SX, #32]
18. 「
龍の頸の玉取りえずは、帰り來な」と…
i(Tatsu no kubi no tama tori-eZU WA, kaeri-ku n a ,to ...
(7bた欲?rz' •竹取物語，6:46)
“If you d o n ’
t succeed in getting the jewel from the dragon’
s neck (くNot
having succeeded in getting.")，d o n ’ t c o m e back!”…
[for addl. treatment of parts of this passage, see Intro.4.SX, #31,
and Intro.12.AD.Ill (inch #9)]
SSK
1 9 . 「ゆめにだに見ず」と…
“Yume ni dani mizu， ’’ to… （Makum no sdshi 枕草子，3\6322)
“I haven’ t seen [her] even in m y dreams,”…
[for addM. treatment of this passage, see Intro.8.UP, # 1 , and In-
tro.9.EC,#l]
20• おごる平家は久しからず。
Ogoru Heike wa hisashikaraZU. (Proverb W )
126
MZK.1
-Zひず
The proud (< the proud Heike) do not last long. [= Pride before the fall.]
[み/■sos/zz• 久し（
- しく adj.) = ‘
to be a long time’]
2 1 . この人は下愚の性移るべからず、… 、假にも賢を學 (ぶ)ベからず。
Kono hito wa kaû no sho u tsu ru bekarazu ;kari m mo ken o ma-
nabubekaraZU.
RTK
22....よからぬ事なり。
...yokaraNUkoto nari. {Tsurezuregusa 徒然 I , YHy.l2
It is not a good thing to...
[for addM. treatment of this passage, see Intro.4.SX, #2]
23. 見れど飽かぬ吉野の川の常滑の…
Miredo akaNU Yoshino no kawa no toko-name no...
(M?«’ ァ加/^ 萬葉集 , 1/37:1/31)
[Like] the ever-slippery [rocks or moss] of Yoshino River that I never
tire of gazing at (< that one does not get sick ot, even though one looks
at them/it),...
飽く（自、四）= ‘ to get one’s fill of, get sick o f ]
24. 變らぬ住家は人あらたまりぬ。
KawaraNU sumika wa hito aratamarinu.
徒然草，2 5 :110)
In a house that is unaltered, the people will have changed.
[たawarw 變はる（自、四）= ‘ to become transformed，altered’
；ara-
/awarw 改まる（自、四）= ‘ to change, become renewed’]
25. 法師ばかり羨ましからぬものはあらじ。
Hoshi bakari urayamashikaraNU mono wa araji.
徒然草，1:90)
There is probably no one less enviable than a monk. (< A s for one w h o is
not enviable to the extent of a monk, there probably is not [such a per
son].)
[わaん arz•ばかり = M J /zocfo ほど ; • 羨まし（ - しく adj.)=
；for add’l. treatment of passage，see Intro.12.A D ，#4]
2 6 . 京には見えぬ鳥なれば、…
Kyd ni wa mieNU tori nareba,...
127
MZK.1
-Z U ず
(/货 •伊勢物語，9:117)
Because they were birds not seen in the capital,...
IZK
2 7 . 人の心すなほならねば、…
Hito no kokoro sunao naraNEba,… (Tsurezuregusa 徒然草，S5..15名)
Since the h u m a n heart is not ingenuous,…
[also cited in Intro.6.PA, #1]
28. ..•こそ、… ともおぼえね。
... koso ••. to mo oboeNE. (Makura no sdshi 饮草子，
O n e certainly does not think...!
[for addM. treatment of this passage, see Intro.9.EC, #4; also cited in
Intro.7.KM,#13]
2 9 . あききぬとめにはさやかに見えねども ...
Aki kinu to me ni wa sayaka ni mieNEdomo,...
(心た/似/ ^ 古今集，4/169:136)
Although not dearly visible to the eye that fall has c o m e ”..
3 0 . いへばえにいはねば ...
(/此 w ⑽ oga/arz•伊勢物語 ,34:132)
W h e n I [would] speak, I cannot [manage to speak]; but because I do not
speak,...
[see #2 above]
M R K
NIL
FOR ADD’L EXAMPLES of -zw ず forms，see M Z K . 2 (zari), #2; M Z K . 2 (zari), #10; M Z K . 3

(mu/n), #3; M Z K . 3 (mu/n), #8; M Z K . 7 (mahoshi), # 1 ; M Z K . P C H . 1 ([ra]ru), #4; M Z K . P C H . 1
([ra]ru), #5; M Z K . P C H . 1 ([ra]ru), #6; M Z K . N I S . 2 (baya), # D ; R Y K . 1 (tari), # 1 ; R Y I C 1 (tari), #2;
R Y K . 2 (keri), # 1 ; R Y K . 2 (keri), #2; R Y K . 2 (keri), #3; R Y K . 4 (nikeri, etc.), #6; R Y K . 7
(kemuA:en), #4; R Y K . 8 (tashi), #2; R Y K . 8 (tashi), #6; S S K . 1 (beshi), #2; S S K . 1 (beshi), #8; S S K . 1
(beshi), #9; SS K . 1 (beshi), #10; S S K . 1 (beshi), #15; SS K . l (beshi), #21; S S K . 2 (rashi), # 1 ; S S K . 2
(rashi), #9; S S K . 5 (ramu/ran), #15; S S K . 6 (nari/hearsay), #7; S S K . 6 (nari/hearsay), #10; R T K . 1
(gotoshi), #7; R T K . 1 (gotoshi), #11; R T K . 1 (gotoshi), #13; R T K . 1 (gotoshi), #14; M R K . l (ri), #2;
lntro.7.KM, #20; Intro.1 l . N M , #8; Intro.1 l . N M , #13.
128
MZK.2
-Z A R I ざり
- Z 4 /? / ざり（
RAHENendings)
-zara -zari NIL -zaru -zare NIL
ざらざり 00 ざるざれ 00
ざり：Indicates negation. See -zw ず（

M Z K . 1 ) for alternative negative
forms (and a S S K one, nonexistent here).
M Z K
1. さ寢る夜の夢にも妹が見えざらなくに。
Sanuruyo no ime ni mo, imo ga mieZARAnaku ni.
萬葉集 , 15/3735:4/99)
Ah, even in dreams w h e n asleep, m y beloved is never invisible! (< my,
h o w she is not not-visible!).
[sa さ = an emotive or intensifying prefix; for m •なくに，see
the M Z K section of M Z K . 1 (zu)]
2 . おもふほどしらではかひやあらざらん ...
Omou hodo shirade wa, kaiya araZARAn,...
靖鈴日記 ,上 :158)
It doesn’t do any good, does it, ifthe extent of your regard isn’t k n o w n (く
the extent of your thinkine [your love/your care] not being k n o w n) ?...
[んポara z wかひあらザ 1= ん • かひなし = ‘ to be of no avail’ ]
3. いかが思もわざらんとおぼゆ。
Ikaga omowaZARAn to oboyu. (Makura no sdshi 枚草子，261:216)
O n e wonders h o w they could not love them (i.e., their children).
[for addM. treatment of this parage, see Intro.4.SX, #26]
4. 「
此一門にあらざらむ人は皆人非人なるべし」と…
<(Kono ichimon ni araZARAmu hito wa mina ninbinm narubeshi, f to...
(//e /ん
e w (麗 )g a 如n • 平家物語， 1 .4 : l / 9 〇_9 1 )
“Those w h o are not (くm a y not be) of this house will all be (> count for)
less than humans (くwill surely all be, as ‘ humans，，non-humans),”...
[/c/zzwcw 一門 = ‘ a house, clan’（ like the Capulets, M c C o y s ，or
Heike)]
129
MZK.2
-ZA R I ざ 10
5 . 折りにふれば、何かはあはれならざらん。
Ori ni fureba, nani ka wa aware naraZARAn.
徒然草，21:107)
In its due season (< If it befits its time), what will not be moving?
触る（自、下二）= here, ‘ to suit, be fitting’
；m v a r e 似 r/ あわれ
なり（形動ナリ）= ‘ to be moving, touching, of profound emotion’ ]
RYK
6 . まだまゐらざりしとき聞きおき給ひけることなど、...
Mada mairaZARIshi toki kiki-oki-tamaikeru koto nado,...
•yds/z/ 枕草子，184:232)
A s to the things he had heard about m e before I entered Court service (<
At the time w h e n I had yet to c o m e [to the Palace]), [he asked ifthey were
true].
[for addM. treatment of part of this passage, see Intro.13.RL, #2]
7• 男は烏帽子もせず、女は髪もさげざりけり。
Otoko wa eboshi mo sezu， dna [sic をうな ] wa kami mo sageZARlkerL
( / t o h w ⑽ ^ 加 r/ 平家物語 ,2 .10:1/186)
The m e n did not wear ceremonial hats, nor did the w o m e n let their hair
down.
[Aos1/?/ 烏帽子 = ‘
“crow (black)”ceremonial hats’
;似g m / 下げる
(他、下二）= ‘
to lower s.th.’
]
8. 濱名のはし見ざりきや。
Hamana no hashi miZARlkiya. [Makura no sdshi 饮草子 ,3>\&322 )
Haven’ t you seen the bridge of H a m a n a ?
[in the context of the p o e m being cited, probably also means: “
Haven’ t
you caught sight of (くcaught a glimpse of [/zos/z/ 端， ‘an edge o f ]，and
more, of) that w o m a n ( w h o m you claim never to have seen even in
your dreams)?”；also cited in Intro.7.KM，#17]
SSK
NIL
RTK
9 . 身死して財殘る事は、智者のせざる處なり。
Mi shi shite takara nokoru koto wa, chisha no seZARU tokoro nari.
徒然草，140:206)
T o die and have valuables left behind (< T h e b o d y dying, valuables left
behind)~~that is what wise people do not do.
130
-Z A R I ざり
10.人皆生を樂しまざるは、死を恐れざる故なり。死を恐れざるには
あらず、死の近 (き)事を忘るゞなり。
Hito mina shd o tanoshimaZARU wa, shi o osoreZARU yue nari. Shi o
osoreZARU ni wa arazu, shi no chikaki koto o wasururu+nari.
徒然草，93:166)
People s iailure to enjov life (< a s for people's all not enjoying life, it)
is because they do not fear death. [Rather,] it is not that they do not fear
death, but that they forget h o w near death is.
[for add’ l. treatment of part of this passage, see Intro.4.SX, #36; also
cited in Intro.5.V A , #9, and Intro. 10.NR, #11]
IZ1C
11. 所願を成ぜざれども、…
Shogcm o jdzeZAREdomo,... (Tsurezuregusa 徒•然草，2\T265)
Although one’ s desires are unfulfilled,…
[■s/zogaw 所願 = ‘ one’ s desires’（くthat which one wants);ゾ公w 成ず
(他、サ変）= ‘ to bring s.th. to completion’]
12. 人にまじはらざれば、すがたを恥ずる悔いもなし。
Hito ni majiwaraZAREba, sugata o hazuru kui mo nashi.
(//み欲/ 方丈記，M :43)
Since I do not socialize with others, I have no second thoughts of embar
rassment about m y appearance (< there are no being-ashamed-of-[my]-
appearance regrets).
交わる（自、四）= ‘ to have social intercourse’
]
13 •..•はざれど ...
… 也 . . . ’加/^ 夕萬葉集，15/3775:4/107)
... although w e do not meet”..
[aw 逢ふ • 會ふ（自、四）= ‘ to meet，；for add’ l. treatment of this
passage, see IntroASX, #45; also cited in the P r e f a c e , n. 20]
MRK
NIL
F o r ADD’L EXAMPLES o f - z a r /•ざり fo rm s, see M Z K . 6 ( m a s h i ) , #3; SSK.2(rashi) ，#l; Intro.

13.RL, #3.
131
M ZK.3
-M U む/ - N ん
-A/ひむ /-W ん（
Y O D A N endings)
NIL NIL -mu/-n -mu/-n -me NIL
〇〇 oo む/んむ/んめ〇
〇
-MU t$/-N kr. Usually expresses supposition, intention, or suggestion. In im

personal use, or when retemng to a third party, likely to be conjectural—the
action of the verb probably takes place, whether past, present, or future:
‘probably did,’ ‘probably..” ， ‘probably will.’ When referring to the speaker,
frequently expresses intention, and by extension can be hortative ('L e fs...!5).
Generally serves as suggestion when couched in terms of tentativeness (4How
would it be if...?’ [e.g.， #13 below]) or appropriateness (‘Better [not] to ...!’
[e.g., Intro.11.NM, #7-8]). Can also be part of a rhetorical question expecting a
negative reply (e.g., #7) or be used for hypothetical situations (e.g., #8). How
ever, -mu t^/-n h often serves simply to make a statement less direct and
definite: ‘may，’ ‘perhaps,’ ‘say.’ Cf. らむ /らん（ SSK.5).
For - M i / r o Si/ むとす（
and - # ア0 S ひんとす )一 ‘
to be about to，
’‘to be on
the verge of,’4to try to，
’4to intend to,’‘
to be determined to，
’‘ 一 see
probably’
MZK.4 (-/wwzw むず / - んず )，# 1-10.
See Intro.11，なむ/なん Trouble，’’ for discussion (with examples)

of the three kinds of なむ /なん，including the “flised” one， which
joins な（the MZK of-«w ぬ [RYK.3]) with む /ん（the SSK or RTK
of this む /ん [MZK.3]).
MZK
NIL
RYK
NIL
SSK
見えばわらはん」
1. 「 …
,(Mieba warawaN, {Makura no soshi 8:49)
“If I see him, I intend to kid h i m [about it]，
’，•••
132
MZK.3
-M U む I - N ん
2 . いざ事とはむ宮こ鳥 ...
Iza koto towaMU, miyako-dori...
(/se •伊勢物語，9:117; た/似/^ 古今集，9/411:186)
Well then, capital bird (i.e., gull),I will ask you,...
[tow 問ふ（自、四）= ‘ to ask, inquire’ ；the text has いざこ
ととはむ宮こどり]
3. 「
さる物を我も知らず。若あらましかば、この僧の顔に似てん」と
ぞ言ひける。
âru mono o ware mo smrazu. Moshi aramashikaba kono so no kao ni
niteN， ” to zo ukeru.
(Tlswrezwregw如徒然草 ,60:140)
He said: “I too know of no such thing. Ir it existed, it’d probably resemble
this priest’s face.”
RTK
4• 誰ぞ常ならむ …
Tare zo tsune namMU;... (Iroha utci 伊呂波歌 )
Who is likely to last forever?...
5. 山霍公鳥いつか來鳴かむ。
Yama-hototogisu itsu ka ki-nakaMU.
萬葉集，10/1940:3/79; AToん古今集 ,3/135:129)
The mountain cuckoo, when will it likely come and sing?
[Zw/0/0が sw 霍公鳥 etc. = ‘cuckoo’ ；the 心た/«5細 text has 山郭公い
tro.7.KM.II (incl.n. 6) and #8]
6. 「
此一門にあらざらむ人は皆人非人なるべし」と...
(,Kono ichimon ni arazaraMU hito wa mina ninbinin narubesm, n to...
(//の知 mcwogatorz•平家物語，1.4 :1/90-91)
“Those who are not (くmay not be) of this house will all be (〉count for)
less than humans (く will surelv all be， as ‘humans,’ non-humans)，’’ …
[ichimon = 4a house, clan, (like the Capulets, McCoys, or
Heike)]
7 . 折りにふれば、何かはあはれならざらん。
Ori ni fureba, nani ka wa aware narazaraN.
In its due season (< If it befits its time), what will not be moving?
133
MZK.3
- M U む卜N ん
触る（自、下二）= here，‘ to suit, be fitting’
；aware war/ あわれ
な（
形動ナリ）= 'to be moving，touching, of profound emotion’ ]
8 . いみじからん雨にさはらで、來たらんは、… 、かかるをりにしも
來んは、…
Imijikaran ame ni sawaraae kitaran wa,...; kakaru ori m shi mo kon
w a ,...
( M A w r a •枕草子，292:305)
Say he comes, unhindered by the aoubtless heavy (< extreme; rains,...; or
say he comes at such a time, but...
[•sawarw 障る（自、四）= ‘ to be hindered, obstructed’
]
9. いま秋風吹かむをりぞ來んとする。
Ima akikazefiikaMU ori zo kon to suru. (Makura no sdshi 牧草子， ..92)
Soon, w h e n (< at the time/juncture when) the autumn wind blows, I will
come.
10. 思ひ出でてしのぶ人あらんほどこそあらめ、そも又ほどなくう
せて、…
Omoi-idete shinobu hito araN hodo koso arame, so mo mata hodonaku
usete， ...
(rswrezwregw似徒然草，30:115)
Ifs all right as long as there are (< m a y De) those who, recalling [the de
parted], bear [their grief for them]; but these, too, will soon die, and...
思ひ出づ（他、下二）= ‘ to think of, recall s.th.; ゐw
忍ぶ（他、上二）= ‘ to bear s.th.’
； ara騰こそあらめ = here,
‘it’s all right that.(but...)’ ;仍そ = M J それ ;/^ ゴほど
なく = ‘ shortly’；wsw 失す（自、下二）= ‘ to pass away, die’ ]
IZK
1 1 . このたぐひのみこそあらめ。…
欠cwo /agw/ womz•ん (hwrezwregw似徒然草，2 4 1 :287)
This type m a y well be predominant. [But...]
[tagui M = 'type, sort5]
12. 思ひ出でてしのぶ人あらんほどこそあらめ、そも又ほどなくう
せて、…
Omoi-idete shinobu hito aran hodo koso araME, so mo mata hodonaku
usete,...
徒然草，30:115)
134
MZK.3
- M U む卜N h
It’
s all right as long as there are (くm a y be) those who, recalling [the de
parted], bear [their grief for them]; but these，too, will soon die，and...
[see #10 above]
1 3 . 「さて、この歌は、ここにてこそ詠まめ」…
,(Sate, kono uta wa koko nite kosoyomaME, n ...
5^57?/ 枕草子 ,99:150)
“
Well, what if w e compose these poems right here?”…
M R K
NIL
All e x a m p l e s o f - w w to sw/-/? むとす /んとす and むず / んず are also

illustrative o f -mu/-rr. see M Z K . 4 .
All e x a m p l e s o f なむ / なん w h e r e the M Z K o f -«w ぬ ( R Y K 3 : namely, -wo な）is

joined with the S S K or R T K o f む /ん (namely, - w w or -«) to f o r m なむ or な
h are also illustrative o f -mu/-n: see Intro.1 1 . N M , # 5 - 8 a n d #11-12; R Y K . 3 (nu), #3.
F o r STILL ADD’L EXAMPLES o f - w w む / ん forms, see M Z K . 2 (zari)，#2; M Z K . 2 (zari)，#3;

M Z K . 7 (mahoshi), #2; M Z K . 7 (mahoshi), #3; M Z K . 7 (mahoshi), #4; M Z K . 7 (mahoshi), #12;
M Z K . P C H . 1 ([ra]ru), #12; M Z K . P C H . 3 (shimu), #8; M Z K . N I S . 2 (baya), #4; M Z K . N I S . 2 (baya),
#6; M Z K . N I S . 2 (baya), #7; R Y K . 4 (nikeri, etc.), #16; R Y K . 5 (tsu), #2; R Y K . 5 (tsu), #3; S S K . 3
(maji), #2; S S K . 3 (maji), #13; S S K . 4 (meri), #10; S S I C 6 (nari/hearsay), #5; R T K . 1 (gotoshi), #1;
R T K . l (gotoshi), #6; R T K . l (gotoshi), #13; R T K . 2 (nari/explan), # 1 ; R T K . 2 (nari/explan), #11;
M R K . 1 (ri), #2; Intro. 13.RL, #3.
M ZK .4
-M 7 Z ひむず /-A/Zひんず
- 3 / ひ2 1 / むず /-7VZI7 んず（ SAHEN endings)

NIL NIL -muzu/ -muzuru/ -muzure/ NIL
-nzu -nzuru -nzure
00 00 むず/ むずる/ むずれ/ 00
んずんずるんずれ
-A/t/Zひむず /-A 「 Z ひんず：A contraction of -ww to 似むとす（ or -w to sw ん

とす)：‘ to be about to,’‘
to be on the verge of，
’4to try to,’6to intend to，’4to be
determined to/ 'Drobably/ Also with the meanings of -mul-n (MZK.3), but
slightly more emphatic. *
This section (MZK.4) will first treat -mu to su (and -n to su), then address
-muzu/-nzu.
-MU TO SU む }! す {or -N TO SU ん h す、 — ‘to be about to,’‘ to be on the

verge of,’‘ to try to，’4to intend to,’4to be determined to,’‘ probably’ 一 has the
following inflected forms of the S a h e n verb, su se, shi, su, sum, sure,
NIL. In the examples that follow, su verb-forms are underlined in Japanese and
printed in outline-italics in romanization, the verb-form being identified in bold:
1. 道にむかはんと宜ば、… M Z K
Michi ni mukawaN TOSEba， … （ Tsurezuregusa 徒然萆 , 24 \ :2S7)
If you try to direct yourself toward the Way,...
[mw たaw 向かふ • 對ふ（自、四）= ‘ to turn towards’
；cf. #11 below]
2 . 昔天照大神、天の岩戸に閉こもらんと宜させ給ひし時、… MZK
Mukashi, Tensho daijin, ama no iwato ni toji-komoraN TO SEsa-
se-tamaishi toki,...
( / / e / A g (加n •平家物語，11.14:2/354)
W h e n 10112 ago tne Sun Goddess decided to sequester herself in the
heavenly rock-cave,...
た0w o r w 南ぢ籠る • 閉ぢ隱る（自、四）= ‘ to lock oneself
away’ ]
3• 鬼のやうなるもの出（
で）來て殺さんとき。 R Y K
Oni no y d naru mono ide-kite korosaN TO SHIki.
136
MZK.4
-M U Z U むず /- N Z U A/ず
(7bレ/or/ 竹取物語，4:37)
Things with the appearance of demons came forth and tried to kill [us].
4 . おの / \ 腰の刀に手をかけて、腹をきらんと丄 ^ 合ひけるが、…
RYK
O n o -o n o k o sh i n o k a ta n a n i te o kakete, h a r a o k ira N TO SH I-tam aikeru
•••
(/fo’ん平家物語，10.10:2/276-277)
Each, putting his hand on the dagger at his waist, was reaay to cut open his
belly; but...
[for addM. treatment of part of this passage, see Intro.13.RL, #4]
5 . 道來る人、「この野はぬす人あなり」とて、火つけむと土。 S S K
M ic h i ku ru h ito, ‘‘K o n o n o w a n u su b ito a -n a r i，，
，to te, h i tsukeM U TO SU.
(/從 mowoga/ar/ 伊勢物語，12:119)
M e n coming along the w a y [in pursuit]，saying, “The thief is probably in
this field， ”were about to set fire to it.
あなり= of arw + あるなり， the -wan being the
S S K of the ‘
hearsay’-«arz•なり（ SSK.6); for add’
l. treatment of part
of this passage, see Intro.12.A D , n. 5]
6• 「
僞（り）
飾りて名をたてんと：
t 」と. . . S S K
“I tsu w a ri k a za r ite ， n a o ta te N TO SU， ’’ to …
徒然草，85:158)
“Adorning himseli in falsehood，he tries to establish a n a m e for him-
self，
’’".
[also partially cited in Intro.2, n. 2]
7. 「
買わんとする人に利あり、賣らんとする人に損あり」と. . . RTK
uK a w a N T O SU R U hito n i r i ari, uraN T O SU R U hito n i s o n ari, n to ...
徒然草 ,93:165)
“The one w h o was going to buy has a gain, and the one w h o was going to
sell has a loss，’
…
8 . はづかしき人にものいはんとするに、先に立つ。 RTK
H a zu k a sh ik i h ito n i m o n o iw a N TO SURU ni, s a k i n i tatsu.
枕草子，152:207)
O n e is about to say something to someone shy, but then [that person] goes
first.
[for add’ 1.treatment of this passage, see Intro.4.SX, #33]
137
MZK.4
-M 7Z ひむず /- iVZひんず
9 . かの岸につかむとすれば、浪たかくして … I Z K
Kano kishi ni tsukaMU TOSUREba, nami takaku shite...
(//ど如加 r/ 平家物語 ,ii.8:2/335)
W h e n they tried to reach the far shore, waves were high and...
10.念じて射んとすれども、… I Z K
Nenjite iN TO SUREdomo,… （ Taketori monogatari 竹取物語，9..6J)
Thougti tnev tried their damnest to shoot [arrows],...
-MUZU むず /-NZU A /T
MZK
NIL
RYK
NIL
SSK
1 1 . いづちもいづちも、足の向きたらん方へいなむ (ず)。
Izu c h i m o izu c h i m o a sh i n o m u k ita ra n k a ta e inaMUZU.
竹取物語，6:46)
Lefs just go off in whatever (< each and every) direction our legs might
head.
[wwA：
w 向く（自、四）= ‘ to head towards’；cf. #1 above]
12. 消え失せなむず。
l/zi/. (7bたe/or/ w o •竹取物語，8:55)
[Ifyou m a k e m e serve at Court,] I will definitely vanish away.
13.抑義仲近江國を經てこそ都へはいらむずるに、例の山僧共は防
事もやあらんずらん。
S o m o s o m o Y o sh in a k a O m i n o k u n i o h e te k o s o m iy a k o e h a ir a m u zu r u
ni, r e i n o s a n z o -d o m o w a f u s e k u -k o to m o y a araN Z U ran .
(/tofe 平家物語 ,7.10:2/84 )
N o w then, I，ゾosmnaka, a m determined to enter the capital, passing
through O m i Province; but those mountain-monks [of Enryakuji延暦
寺 on M o u n t Hiei 比數 ] are likely to resist.
138
MZK.4
-M U Z U むず / - N Z U んず
RTK
1 4. 平家ほろぼさむずるはかりことを廻らしける。
H e ik e h orobosaM U Z U R U h a k a r i-k o to o m e g u ra sh ik e ru .
wcwogatorz•平家物語，1.12:1 /123-124)
They pondered strategems to try to eliminate the Heike.
滅ぼす•亡ほす（他、四）= ‘ to wipe out’
；/zaんa n •-ん0/0
策 •謀 = ‘ plot, strategem’
;w e g w m s w 廻らす ,etc.(他、四）= here, ‘ to
ponder’]
15. 抑義仲近江國を經てこそ都へはいらむずるに、例の山僧共は防
事もやあらんずらん。
S o m o s o m o Y o sh in a k a O m i n o k u n i o h e te k o so m iy a k o e hairaM U ZU RU
ni, r e i n o s a n z d -d o m o w a fu s e k u -k o to m o y a a ra n zu ra n .
(//e/んe mowoga/ar/ 平家物語，7.10:2/84)
N o w then, I, Yoshinaka, a m determined to enter the capital, passing
through O m i Province; but those mountain-monks [of Enryakuji 延暦
寺 on M o u n t Hiei 比歙 ] are likely to resist.
[cf. # 13 above]
IZK
16. さこそはあらんずれ。
S a k o s o \ m am NZURE. (H e ik e m o n o g a ta r i 苹家物語，\0.5.2/25y)
It was bound to be thus.
1 7 . これをば副將軍せさせんずれば ...
K o r e o b a fu ku -sh ogu n sesa seN Z U R E b a ,...
(//e/A:e w c w o g 油 7/7•平家物語， 11.16:2/358)
Since I intend to m a k e this one Deputy Commander,...
[o b a is a direct-obiect marker i
MRK
NIL
F 〇R A D D ’ L EXAMPLES o f むず / んず f o r m s (all-ww to 似むとす e x a m p l e s ) ，see

S S K . 6 (nari/hearsay), #4; R T K . l (gotoshi), #10; Intro.1 l . N M , #12.
139
M ZK.5
-J / じ
- / / じ（irregular)
NIL NIL -ji -ji NIL ML
00 00 じじ 00 00
-J/ じ：The negative form of む/ ん（ MZK.4), indicating negative con-

jecture (‘probably not,’ ‘will [probably] not’)， negative suggestion (‘should
not，)， or negative intention, desire, or near-action (‘not intend to,’ ‘not wish to，’
‘try not to,’ ‘not be about to’） . In 仕le lattermost senses,ゴ/ ^ sw じとす is also
employed (e.g.， #6 below). When used only with めと，プ•/ can be adverbial.
Comes to be replaced by まじ（ SSK.3) in medieval times.
M ZK and RYK
NIL
SSK
1 . 京にはあらじ、 …
办 J m waara//,... (/此 •伊勢物語，9 :116)
I do not intend to stay (< be) in the capital;...
[for add’l. treatment of this passage， see lntro.4.SX, #1]
2 . さては、ものの哀は知り給はじ。
S a te w a , 'm ono n o a w a r e } w a sh in -ta m a w a J I.
(7^wrezwregwsa 徒然草，142:210)
Then you probably don’t know “the pathos of things.”
3 . 法師ばかり羨ましからぬものはあらじ。
H o s h i b a k a r i u ra y a m a sh ik a ra n u m o n o w a araJl.
(7^wrぬwregw 似徒然草，1:90)
There is probably no one less enviable than a monk. (< As for one who is
not enviable to tne extent or a monk, there probably is not [such a per
son].)
[M んo r / ばかり= MJ /zoゐほど； wrqyawos/n•羨まし（- しく adj_)=
；for add’l. treatment of this passage, see Intro.12. AD ，
#4]
140
MZK.5
-J/ じ
4 . まづこえじとて。
Mazu k o eJ I tote. (Kokinshii 古今集，\5H89:257)
I a m resolved not to cross over [the Mountain of Death] before you (<
Thinking, I do not intend to cross over first,...).
5 . よるはこえじとやどりとるべく。
Yoru w a koeJI toyadori torubeku. (Kokinshil 古今集，S/392..\名Q)
Unwilling to cross [the mountain-like hedge] at night, you might take
shelter [here].
6 . 病むことを、人に聞かせじとし給ひけれど、…
Yamu k o to o h ito n i k ik a seJ I to sh i-ta m a ik e r e d o , ...
(7bレton•肢竹取物語，7:53)
Although he tried not to let people hear (> know) he was ill,...
RTK
7 . 思はじ事なう ...a n d おもはじ事なう ...
O m o w a J I k o to n o ,...
(//の知 • 平家物語，2.4:1/156 and 5.10:1/365)
Without overlooking anytning (< There being nothing [i.e., no possibility]
that he nkeiy dia not consider),...
rn6 なう < naku なく ]
8. 「
哀、我が道ならましかば、かくよそに見侍らじものを」と...
A w a r e , w a g a m ic h i n a ra m a sh ik a b a , k a k u y o s o n i m i-h a b e ra J I m o n o o,
to ...
徒然草，167:225)
“Ah, if this were m y art (くm y ‘ way’ )，I certaimy wouldn’ t be looking on
like this from outside (i.e., as a mere bystander)!?,...
[a view attributed here by Kenk6 兼好 to artists w h e n they see ex
perts performing in fields other than their own; for w c w o o ものを，
see Intro.4.SX, n. 23; also partially cited in Intro.12.A D , #6]
9 . よもしなじものを。
▲•肌 // w c w o o. (ATaが rJ 蜻鈴日記，下 :285)
But my! I was by no means dying.
レよも = M J た從y/z/纪決して；for 0 ものを，see Intro.4.
SX, n. 23]
IZK and MRK

NIL
141
MZK.6
-M A SH I まし
-M45/7/まし（
irregular)
-mase/ NIL -mashi -mashi -mashika nil
-mashika
ませ/ 00 ましましましか 00
ましか
まし：A m o n g the inflected verb-suffixes of conjecture，-mas/z/ indi-

cates the greatest degree of doubt or uncertainty. Hence its frequent use in rhe
torical questions, often with an emotional charge. In a hypothetical sentence,
can be part or a conditional clause (meaning 4if), but is even more c o m m o n l v in
the complementary clause (meaning 'would5 or 'would have,). C a n express
(virtually hopeless) desire: ‘ I wish that."’or ‘
W o u l d that … !’ 一 i.e., hope both
contrary to actual fact and highly unlikely to be realized. M u c h like -麵む
(MZK.3) (as in #12-13 below), but more likely than -m u to refer to the past
(‘probably would have’ ). Used only with ば（ M Z K . N I S . 1)in the M Z K , and
たc w ? こそ（ Intro.7) in the IZK.
MZK
1... 聞かませば ...
… … （ Zse •伊勢物語，58:143)
If I heard..., [then]...
[for add5!, treatment of this passage, see Intro.9.EC, #5]
2. わが背子と二人見ませば幾許かこの降る雪の嬉しからまし。
Waga s e k o to f u t a r i m iM ASEba, iku baku k a k o n o f u r u y u k i n o u resh i-
k a ra m a sh i.
(她《’ 夕か/^ 萬葉集 ,8/1658:2/353)
If only I could watch it with you, m y love (male), h o w delightful this
falling s n o w would be!
[sek o etc. = affectionate term of address by a w o m a n to her
husbana or lover; for add’ 1.treatment of part of this mssage, see
IntroASX, #3]
3 . 鏡に色 •形あらましかば、うつらざらまし。...心にぬしあらまし
かば、胸のうちに若干のことは入（り）きたらざらまし。
142
MZK.6
-M 4SH I まし
Kagami ni iro katachi araMASHlKAba, utsurazaramashi.... Kokoro ni
nushi araMASHIKAba, mune no uchi ni jakkan no koto wa iri-kitarazara-
mashi.
徒然草，235:278)
If a mirror had [its own] color and shape, it would not reflect.... If the
heart had a master, all manner of [extraneous, mundane] things would not
c o m e and enter the breast.
[for add’
l. treatment of part of this passage, see Intro.8.UP, #11]
4.「
哀、我が道ならましかば、かくよそに見侍らじものを」と...
(>Aware, waga michi namMASHIKAba, kaku yoso ni mi-haberaji mono
〇， ” to...
徒然草，167:225)
“An, if this were m y art (くm y ‘ way’ 、，I certaimy wouldn’ t be looKing on
like this from outside (i.e., as a mere bystander)!,5...
[a view attributed here by Ke n k 6 兼好 to artists w h e n they see ex
perts performing in fields other than their own; for o ものを，
see Intro.4.SX, n. 23; also partially cited in Intro.12.A D , #6]
5....こそ ...この木なからましかばと覺えしか。
... koso... kono ki nakaraMASHIKAba, to oboeshika.
(Tiwrezwregwsa 徒然草 , 11:99)
••■
，and I thought, if only this tree weren’
t here!
RYK
NIL
SSK
6 . さらばをかしからまし。
Samba ，okashikaraMASHI. (Makura no sdshi 枚草子 ,]A2:\9^>)
If that were the case (> If they did that), it would be splendid.
7. 世中にたえてさくらのなかりせば春の心はのどけからまし。
Yo no naka ni taete sakura no nakariseba, ham no kokoro wa nodoke-
karaMASHL
{Kokinshu 1/53:114)
If there were no cherry blossoms at all m the world, the [humanj heart m
springtime would be untroubled.
[如己纪絶XLて = with negative, ‘ completely, at all’
；思/»•長閑
けし（ -くadj.) = ‘to be tranquil, untroubled’]
143
MZK.6
-M 4 S H J まし
8 . 鏡に色 •形あらましかば、うつらざらまし。...心にぬしあらまし
かば、胸のうちに若干のことは入（り）きたらざらまし。
Kagami ni iro katachi aramashikaba, utsurazaraMASHI.... Kokoro ni
nushi aramashikaba, mune no uchi m jakkan no koto wa m-kitarazara-
MASHI.
似徒然草 ,235:278)
If a mirror had color and shape, it would not reflect.... If the heart had a
master, all maimer of [extraneous, mundane] things would not c o m e and
enter the breast.
[see #3 below]
RTK
9.わが背子と二人見ませば幾許かこの降る雪の嬉しからまし。
Waga seko to futari mimaseba, ikubaku ka kono furu yuki no ureshi-
karaMASHl.
か/^ 萬葉集，8/1658:2/353)
Ii only I could watch it with you, m v love (male), h o w delightrul this
falling s n o w would be!
[see #2 above]
1 0 . なほ春のうちならましかば、いかにをかしからまし。
Nao haru no ucm naramashikaba, ika ni okashikaraMASHl.
•枕草子 ,4 1 :90-91)
If [the warbler] only sang in spring, h o w splendid that would be.
[wan/ 鳴る（自、四）= ‘ (ror birds) to s m g ’
；also partially cited in
Intro. 10.NR, #26]
11. いつはりのなき世なりせばいか許人の事の葉うれしからまし。
Itsuwari no naki yo nariseba, ika-bakari hito no koto-no-ha ureshika-
raMASHI.
(ぬわ•瓜/ ^ 古今集，14/7 12:242)
If this were a world (OR If ours were a relauonsnip) without lies, h o w de
lightful your (< a person's) words would be.
[ん0/0 事 is glossed as Ao 如言 in the N K B T ed. (cf•た言葉 )]
IZK
12.その聞きつらん所にて、きとこそはよまましか。
Sono kikitsuran tokoro nite, kito koso wa yomaMASHIKA.
sds/z/ 枕草子，99:152)
At the time you seemed to be listening so [to the cuckoo], I wish you’
d
dashed off a p o e m right then.
144
MZK.6
-M A S H Iまし
[た//o きと = M J 急に ; jw w w 詠む • 讀む（
他、四） = ‘
to com-
pose a p o e m ’
]
1 3 . 「さきこえたらましかばいかゞあるべかりける」とものすれば
「たがへこそはせましか」とあり。
Sa kikoetaramasmkaba， ikaga ambekarikeru， ” to monosureoa， “Ta ga
e koso wa seM A S H lK A ,” to ari.
«/版 • 蜻鈴日記 , 下 :269)
W h e n I said to him, “If y o u ’
d heard about it (i.e., the taboo direction for
the next day), what could you have done about it?”he said, “I’ d surely
have gone someplace else (く have ‘ done’[i.e.，gone to] another area).’ ’
物す（他、サ変）= ‘ to say’
；/a 他 = ‘ another’；e 邊 = ‘ vi
cinity，area’ ；also partially cited in Intro. 12.A D ，#8]
MRK
NIL
F o r AN ADD’L EXAMPLE o f a -way/?/ まし form , see MZK.3 (mu/n) ，

#3.
MZK.7
-M AH O SH I まほし
-M/4がまほし（ -SHIKU ADJ. endings)

-mahoshikara -mahoshiku/ -mahoshi -mahoshiki/ -mahoshikere NIL
-mahoshikari -mahoshikaru
まほしからまほしく/ まほしまほしき/まほしけれ 00
まほし力ゝりまほし力ゝる
-MAHOSHI 太ほし : Expresses desire in reierence to tne speaker or subject:

‘(one) wishes to,’‘ (one) would like to， ’‘(s.th.) is to De desired.，In medieval
times, begins to be displaced by -/as/z/ たし（ RYK.8). あらまほ
し，which derives from ara- (the M Z K of the R a h e n verb ar/ あり）+
-mahoshi, functions as a -shiku adjective (see Intro.5) meaning 'to be desiraole
or wanted， ’‘to be ideal or perfect.’
MZK
1....聞かまほしからず。
... kikaMAHOSHIKARAziL [Makura no sdshi 枕草子，2\S:25V)
O n e does not wish to hear...
2• 言はまほしからむこと …
IwaMAHOSHlKARAmu koto... (Genji monogatari jSftfefp, 2:1/86)
The things she might wish to say...
[for addl. treatment of tms passage, see Intro.4.SX, #4, and Intro.8.
UP, #8]
3 . されば、一生のうち、むねとあらまほしからん事の中に、いづれ
かまさるとよく思ひくらベて、…
Sareba, issho no uchi muneto araMAHOSHIKARAn koto no naka ni,
izure ka masaru to yoku omoi-kurabete, ...
(7^wrぬwregw⑽ 徒然草，188:243-244)
So (< T m s being tne case), a m o n g the generally desirable tilings [to do]
in a lifetime, having carefully weighed which has priority,...
[ww狀如宗徒 = M J M w - Zo-stoe主として ]
RYK
4 . 行かん方知らまほしくて、…
Yukan kata shiraMAHOSHIKUte,... {Tsurezuregusa 44:125)
146
MZK.7
-M AHOSHI まほし
Wanting to k n o w where he was headed (< the direction he was go
ing),...
5 . 宫このつてもきかまほしく、…
Miyako no tsute mo kikaMAHOSHIKU, . ..
(/tofe •平家物語，10.12:2/296)
Wanting also to hear news from the capital,...
[tsute = 'news, gossip^
6 . … こそ •••といはまほしかりしか。
... koso ...to iwaMAHOSHIKARIshika.
枕草子 ,38:85)
I certainly felt like saying,
7 . 歌よまゞほしかりければ、…
Ufa yomaMAHOSHlKARlkereba,...
(G^ /7 •論 r/ 源氏物語，22:2/337)
Because he wanted to compose a po e m ,…
[for addM. treatment of this passage, see Intro.8.UP, #2]
SSK
8 •.•.いとあらまほし。
•.. //〇徒然草，124:190)
H o w m u c h to be desired [is such a w a y of life]!
9.人に見せまほし。
Hito ni miseMAHOSHI. (Makura no sdshi 税草子， ^>3..\2\)
T d like to s h o w it to others.
1 0 . いかなる人なりけん、尋ね聞かまほし。
Ikanaru hito nariken, tazune-kikaMAHOSI.
徒然草，43:125)
T d like to find out (< inquire and hear) w h o that m a n was (< what sort of
person he likelv was).
RTK
1 1 . すこしのことにも、先達はあらまほしき事なり。
Sukoshi no koto ni mo, sendatsu wa araMAHOSHIKI koto nari.
徒然草，52:132)
Even in small matters, a guide is desirable (< a desirable thing).
147
MZK.7
-M A H O S H Iまほし
1 2. 人は、かたち •ありさまのすぐれたらんこそ、あらまほしかるべ
けれ。
Hito wa, katachi arisama no suguretaran koso araMAHOSHIKARUbe-
kere.
徒然草，1:90)
tôr men, a figure and a manner that excel are indeed ideal.
レre ベけれ，normally preceded by the S S K ，here follows the
R T K (-kari form) of (ara)mahoshi (see S S K . 1 [beshi], opening
N o t e , for clarification)]
1 3 . 心のうちには、「あらまほしかるべき御事どもを」と、思へど、…
K o k o r o n o u c h i n i wa, “AraM AH O SH IKARUbeki o n -k o to d o m o 〇， ” to
o m o e d o , ...
( G 巧/7 •源氏物語 ,47:4 /3 8 5)
Although in her heart she thought, “It (i.e., the proposed match) is just
what one would wish for (< a matter that is ideal)， ”but...
[-ゐeA：/ べき，normally preceded by the SSK, here follows the R T K
(-kari form) of (ara)mahoshi (see SSK.l [beshi], opening N o t e ,
for clarification)]; for o を，see Intro.4.SX, n. 23]
1 4 . かの御琴の音なん、聞かまほしき。、
Kano mi-koto no ne nan, kikaMAHOSHIKI.
•源氏物語，35:3/338)
Sure enough, ifs the strains of that koto (i.e., zither) that F d like to hear,
[also cited in Intro.7.K M , #6]
IZK
15. .••こそ、… いと知らまほしけれ。
... koso ... ito shiraMAHOSHlKERE.
( M a たwra m? sdy/z/ 枕草子，111:169)
I’
d certainly like to know...
1 6 . まいりこまほしけれど、…
Ma/r/-ん .•.(尺 m •たん/•蠕鈴日記，上 :125)
F d like to c o m e visit you, but...
[ん6> こ is the M Z K of h 來（自、力変）= ‘ to c o m e ’
]
1 7 . 大かた、萬のしわざは止めて、暇あるこそ、めやすく、あらまほし
けれ。
Okata, yorozu no shiwaza wa yamete, itoma aru koso, meyasuku ara-
MAHOSHIKERE.
徒然草，151:216)
148
MZK.7
-M A H O S H Iまほし
Generally speaking, [for those w h o are old,] it is desirable as well as
seemly to cease one’s countless doings and be at leisure.
[for addH. treatment of this passage, see Intro.4.SX, #10, and Intro.
12.A D , #3]
MRK
NIL
M ZK.PCH.1
-(RA)RU ( ら）る
-(/L4)及ひ（ら）る（
S H I M O N I D A N endings)
-(ra)re -(ra)re -(ra)ru -(ra)ruru -(ra)rure -(ra)reyo
( ら)れ（ら)れ（ら) る（ら) るる（ら ) るれ（ら)れょ
イ兄4) 及ひ（ら）
る ftmctions in FOUR ways, to make the verb it attaches to one
o f the following:
1 ) P A S S I V E , in reference to animate or inanimate subjects and/or agents.
2) P O T E N T I A L , occurring only with a following negative.
3) H O N O R I F I C , showing respect on the part of the writer or speaker
toward — swty'ec/ veA; cf.-(似)sw (さ）す（ M Z K . P C H . 2 ) and
-M/mw しむ（ MZK.PCH.3). (For ‘ honorific’verbs, see Intro.13, “ Re
spect Language.’ ’）
4) Expressive of natural, involuntary, or S P O N T A N E O U S A C T I O N (i.e.,
action devoid of conscious volition).
T h e same four uses of the “
passive”are also found in the m o d e m language.
No te: ひる is used after Y o d a n , N a h e n , and r L\h e n verbs. ひらる

is used after all other conjugations. But this is easy to determine. If the M Z K of
the verb that -(ra)rw attaches to ends in “-a， ”it is followed by -rw る forms;
otherwise, it is followed by -ran/ らる forms.
P A S S I V E usage
1. 鶯のなきつるこ袅にさそはれて…
Uguisu n o n a k itsu ru k o e ni sa so w a R E te , ...
w o た後撰和歌集，1/35:8)
Enticed by the sounds of the warbler that had been singing (< making its
cries),...
[廣 ⑽ 誘ふ（他、四）= ‘ to invite; entice’
]
2 . 籠に入 ( れ ) られて、…
心职 m /re 心!/?五纪 , … （ 7^wrぬ徒然草，121:187)
[for add’
l. treatment of this passage, see Intro.9.E C ，#14]
150
MZK.PCH.l
-(RA)RU ( ら）る
3 . 東山嶺に、西むきにたててうづまれけり。
H ig a s h iy a m a n o m in e ni, n ish i-m u k i n i ta te te uzum aRE keri.
•平家物語，5 .1:1/335)
Reportedly it (i.e., a clay statue) was buried on the summit of Higashi
yama, [having been] stood facing west.
[如/似立つ（他、下二）= ‘ to stand s.th.’
；w z w w w 埋づむ（他、四）=
‘to bury s.th.’ ；れ (けり）‘ drives’both verbs, making them
passive: 'was (reportedly) stood5 and 'was (reportedly) buried, (In
tro.4 .SX.II.B and C); for 'reportedly,9 see R Y K . 2 (keri)]
POTENTIAL usage (always followed by a negative; the agent, w h e n speci-

fied, is followed by fこ，as in #4)
4 • 人にしられぬ花 ...
Hito nishiraREmi hana… （KokinshQ 古今集 , 2/94:\2V)
Flowers unkn o w n to m a n . ..
[for addM. treatment of this passage, see Intro.9.EC, #12]
5.「
涙のこぼるゞに、目も見えず、物もいはれず」といふ。
(<Namida no koboruru ni, me mo miezu, mono mo iw aR E zu,to iu.
(/此 •伊勢物語，62:145)
She said, “Because [my] tears are overflowing, I can neither see nor speak
(< [my] eyes cannot see nor can anytning be said).95
[for m •に here, see Intro.4.SX.IV.E (incl.#42)]
6 • さながら人形とはおもはれず、…
S a n a g a ra , n in g y o to w a o m o w a R E z u ;...
(Saikaku 西鶴 ,尤か/?0たw 好色一代女 ,4.2:294)
This being the case (i.e., the erotic depiction was so realistic and in such
detail), [the m a n and w o m a n ] could not be thought to be [drawn i figures;
HONORIFIC usage (in the following, 4estimably, has been added to convey
something of the ‘
honorific’sense, and to help identity the suDiect being shown
respect)
7• おかれぬめり。
(7b5a «/んた/ 土佐日記，1月 7 日： 34)
It seems he estimably set it d o w n (> transcribed it [i.e., the poem] to
keep).
[for add5l. treatment of this passage, see Intro.8.UP, #9]
151
MZK.PCH.l
- _ R U ( ら、る
8 . 歌どもの本をおほせられて、…
Uta-domo no moto 〇dseRAREte， … （Makura no sdshi 枚草子，23:6\)
[T he E m p ress，] h aving estim ab ly read aloud (く said) th e ‘ro o t’ （i.e.， the
beg in n in g ) o f a poem , ...
[dsw 仰す（他、下二） = ‘to say; command’ （hon.); the ‘root’ of a
w aka poem is the first 17 of its 31 syllables (i.e., the first three of five
lines)]
9. 「
•••」と申（し)侍（り）しかば、[ 或人 ] 「
•••」とぞ仰せられし。
“ …， ” to m d s h i-h a b e r ish ik a b a ， [aru h ito ] “ ’ to z o dseRAREshi.
( rs w re z w re g w s a 徒然草，1 5 8 : 2 2 1)
When I said, u. " ，’’ [a certain person] estimably said,
[for add’l. treatment of part of this passage, see Intro.13, RL, #11]
SPONTANEOUS-ACTION usage
10. 筆を執れば物書かれ、…
Fude o toreba mono kakaRE， … (Tsurezuregusa 徒然草， \ 51:220)
I f y o u take up a b ru sh ， as a m atter o f co u rse y o u ’ll w rite (く w rite things);
11. 風のをとにぞおどろかれぬる。
Kaze no oto nizo odorokaREnuru. (KokinshU 古今集 ,4/\69..\?>6)
「〇ゴ驚く（§ 、四） = ‘to be surprised’ ；for add’1.treatment of
this passage, see Intro.7.KM.II (inch n. 6) and #2]
1 2 . 「いとほしう、いかやうなる事を、聞き給へるならむ」と、驚か
るゞに、…
“Itoosh U ， ik a y d n a ru k o to 〇k ik i-ta m a e ru + n a ra m u ， ” to odorokaR U R U
n i,...
m續吸加 r / 源氏物語 , 51:5/228)
Because she was startled [into thinking], uHow wretched! What in the
world had he heard?” …
[如os7n•いとほし（ -くadj.)= ‘
to be pitifUl, pathetic, wretched’
;for 0
を，see I n t r o A S X ，n. 23]
F o r ADD’L EXAMPLES o f-(m )rw ( ら）る form s， see RYK.4 (nikeri， etc.)， # 13; RYK.6 (ki/shi)，
#8; RYK.7 (kemu/ken), #9; SSK.1 (beshi), #15; RTK.1 (gotoshi), #14.
152
M ZK .PCH .2
-(M ) 从 / ( さ )す
-(5^ )5* ひ（さ）

す（ SHIMO NIDAN en d in gs)
-(sa)se -(sa)se -(sa)su -(sa)suru -(sa)sure -(sa)seyo
(さ)せ（さ)せ（さ)す（さ)する（さ)すれ（さ)せよ
-(似 )iSひ（さ)す functions in TWO main ways,丨to m a k e the verb it attaches to

one of the following:
1 ) C A U S A T I V E , witn a range or possible meaning trom 'make s.o. (or
s.th.) do s.th.,5 to "get OR cause s.o. (or s.th.) to do s.th./ to "let OR
a//ovv s.o. (or s.th.) do s.th.’
2) H O N O R I F I C , showing respect on the part of the writer or speaker
toward the subject o f the verb.
A s an H O N O R I F I C , -(sa)su—
a) Either attaches to an honorific verb, like notamau 4to (estima-
bly) say’；hence, wj/a/wawoyw 宣はす（ e.g.，#4 below);
b) is followed by a form of -/awaw 給ふ，which attaches to the R Y K ，
hence -( さ）せ糸合ふ（ e.g, #5-6); this forms a highly
'honorific5 verbal expression.
In ‘
honorific’usage,-(犯)sw is more respectflil than -(ra)rw (ら）る（ MZK.PCH.
1)and more c o m m o n than -s/z/ww しむ（
M Z K . P C H . 3). (For ‘
honorific，verbs，
see Intro.13, “Respect Language.”）
No t e : す is used after Y o d a n ,N a h e n ,and R a h e n verbs. -5/4$ひさす is

used after all other conjugations. But this is easy to determine. If the M Z K of the
verb that イ犯ノ似 attaches to ends in “-a，” it is followed by -似す forms;
otherwise, it is followed by -msw さす forms.
C A U S A T I V E usage (the person made/caused/allowed to do s.th., w h e n spe-

cified, is followed by m •に， 12 as in #2)
1 . これをば副將軍せさせんずれば ...
Kore oba fuku-shogun seSASEnzureba...
1 S e e I k e d a {Classical Japanese, p . 1 2 0 ) fo r p o s t-K a m a k u r a passive u s e o f -{sa)su ( ^ )~i~.

2 W ith r a r e e x c e p tio n s , w h e n m •(こ m a rk s th e s u b je c t; s e e V o v in ， G raw w fl/% p p . 6 3 -
MZK.PCH.2
-(似 )5 T / (さ）す
(/to•んe 平家物語，11.16:2/358)
2. 妻の女に預けて養はす。
M e n o o n n a n i a z m e te ya sh in a w a S U .
(raAre/orzmowogwton•竹取物語，1:29)
Entrusting [Kaguya-hime] to the woman who was his wife, he had her
onng her up.
[for add’
l. treatment of this passage, see IntroASX, #6]
3 . 病むことを、人に聞かせじとし給ひけれど、…
Yam u k o to o h ito n i kikaSE ji to s h i-ta m a ik e r e d o ,...
(T a k e to r i m o n o g a ta r i 7:53)
Although he tried not to let people hear (> know) he was ill,...
HONORIFIC usage (in the following, cestimably, or "most estimably5 has

been added to convey something of the 4honorific1 sense, and to help identify
the subject being shown respect)
4 ....の給はすれば、…
... ... (7z_/ 57»如加 m M z •和泉式部日記，442 twice)
W h e n he estimably said,...
[ 福の給ふ = «論歷 w 直ふ（ hon.); for add’
l. treatment of this
passage，see Intro.13 .RL，#1]
5 . 古今の草紙を御前におかせ給ひて、歌どもの本をおほせられて、
「これが末いかに」と問はせ給ふに、…
“K o k in ” n o s d s h i 〇 o -m a e n i o k a S E -ta m a ite ，u ta -d o m o n o m o to 〇 d se -
r a r e te ， ‘‘K o r e g a s u e ik a n i，，’ to to w a S E -ta m a u n i， …
(MaA：
wra ⑽ 枕草子 ,23:61)
「The Empress] most estimably placed a Abた/ / notebook before her;
and when, having read aloud (< said) the 'root5 (i.e., the beginning) of a
poem, she most estimably inquired,44What is the 4branch9 (i.e., the end
ing) of this??,...
[み w 仰す = ‘to say; command’ （ hon.); the ‘root’ of a wflたa poem is
the first 17 of its 31 syllables (i.e., the first three of five lines), and its
‘branch’ the remaining 10 syllables (the final two lines)]
6 . 昔天照大神、天の岩戸に閉こもらんとせさせ給ひし時、…
M u k a sh i， T en sh o d a ijin , a m a n o iw a to n i to ji-k o m o ra n to seSASE-
ta m a ish i to /a ,...
(/to•んe m (篇 )g a 伽 / 平家物語，11•14:2/354)
154
MZK.PCH.2
-(禅ひ（さ)す
W h e n long ago the Sun Goddess most estimably decided to sequester her
self in the heavenly rock-cave,...
閉ぢ籠る • 閉ぢ隱る（自、四）= ‘ to lock oneself
away’ ]
F O R ADD’L EXAMPLES o f ( さ）
す forms, see M Z K . P C H . 3 (shimu), # 1 ; R Y 1 C 5 (tsu),
#20; Intro.13.RL ，
#3.
M ZK .PCH .3
-S H IM U しむ
-5 ^ / A / ひしむ（
S H I M O N I D A N endings)
-shime -shime -shimu -shimuru -shimure -shimeyo
しめしめしむしむるしむれしめよ
-57//M / しむ is quite similar to, but stiffer and less common than,-(似 )sw ( さ）
す（ MZK.PCH.2). Its use becomes more frequent in medieval times, especially
in writing influenced by k a m b u n ' M X , such as ofticial documents and war
tales; often employed when ''parsing^ ka m b u n (viz., rewording Chinese or
Sino-Japanese texts into “Japanese”).
しむ functions in t w o ways, to m a k e the verb it attaches to one of the

following:
1 ) C A U S A T I V E , with a range of possible meaning from 'm a k e s.o. (or
s.th.) do s.th./ to "get O R c a u se s.o. (or s.th.) to do s.th./ to "let O R a llo w
s.o. (or s.th.) do s.th.5
2 ) H O N O R I F I C , showing respect on the part of the writer or speaker
toward vwZ?; cf. -(ra)rw ( ら）る（ M Z K . P C H . l ) and
-(•sa)sw ( さ）す（ MZK.PCH.2). (For ‘ honorific，verbs, see Intro.13,
“Respect Language.”）
In 'honorific9 usage, -sh im u L t ? usually appears as a compo u n d with -ta m a u

給ふ（ the latter attaching to the R Y K ，hence しめ給ふ）（ e.g.,
#6-9 below). This forms a highly 'honorific9 verbal expression.
N o t e ：This -sh im u is not to be confused (A) with the half-dozen independent

classical verbs whose dictionary form is sh im u , such as shim u S t ? (S ^_h 一 )，
4to freeze,;(B) with verbs that happen to end in a sh im u sound, like o to sh im u SJ
む（他、下二 )，‘ to disdain’ ；or (C) with the second part of c o m p o u n d verbs
ending in -•s/z/ww，such as owoAs/z/zww 思ひ染む (自、四)，‘ to feel s.th. deeply
(i.e.，as if dyed by it)’or ^7-5/zz/m/ 薫き染む •焚き _ む (他、下二 )，‘ to
impregnate [clothing] by burning incense.’
MZK.PCH.3
- S H I M U しむ
C A U S A T I V E usage (the person made/caused/allowed to do s.th. is generally

followed by して or os/z/Ze をして，as in #5 [twice])
1 . 「このぬさのちるかたに、みふねすみやかにこがしめたまへ。」
liK o n o n u sa n o ch iru k a ta ni, m ifu n e s u m iy a k a n i kogaS H IM E -tam ae . "
m •んた/ 土佐日記，1月 2 6 日:45)
"Please have the boat rowed swiftly in the direction these n u sa (prayer
strips) fall.”
[/rogw 漕ぐ（他、四）= ‘ to r o w ’
]
2 • まことに、出家せしめたてまつりてしに侍（り）
。
M a k o to n i su k e se S H lM E -ta tem a tsu ritesh in i-h a b eri.
w o ⑽ga/ar/ 源氏物語 ,54:5/421)
I did in fact let her become a nun (< leave [her] family).
[ror addM. treatment of this passage, see Intro.u.RL, #15; also cited
in Intro.8.UP,#13]
3• 夕されば潮を満たしめ明けされば潮を干しむ
Yu s a r e b a , s h io o mitaSH IM E; a k e s a r e b a , s h io o hiSHIMU ; ...
萬葉集，3/388:1/191)
W h e n evening comes, he (i.e., the god of the sea) brings the tide to full;
w h e n morning comes, he anes the tide awav.
4 • 假の宿り、誰が為にか心を悩まし、何によりてか目を喜ばしむる。
K a r i n o y a d o r i, t a g a ta m e n i k a k o k o ro o n a y a m a sh i, n a n i n iy o r it e k a m e
o yorokoba-SH IM U R U .
(Hdjdki 方丈記 , A:24)
As Tor their temporary dwellings, ior whom do they aggrieve (< make
aggrieved) their hearts, and for what reason do they delight (< make de
lighted) their eyes?
[for add’
l. treatment of this passage, see Intro.4.SX, #13]
5 . 既に親族をして羞を含ましめ、猶子孫をして垢を蒙らしむ、…
S u d e n i sh in zo k u o s h ite h a ji o fukum aSH IM E, n a o s h iso n o s h ite h a ji (sic)
o kom uraSH IM U ,...
(K6daRohan 幸田露伴，對髑髏，1:14 7 ] 4 8)
Having already brought (< caused to bear) shame upon their relatives,
they then cover (< cause to be covered) their descendants in disgrace (<
filth);…
157
MZK.PCH.3
- S H IM U しむ
H O N O R I F I C usage (in the following, 'most estimably5 or 'most estimable as
he is’has been added to convey something of the ‘ honorific’sense, and to help
identify the subject being shown respect)
6. 「
用意して、さぶらへ便なき事もあらば、重く勘當せしめ給ふべ
き」…
<lY di sh ite, sa b u ra e . B in n a k i k o to m o a ra b a , o m o k u k a n d o seSHIME-
ta m a u b e k i,, …
(Ge^/7 が /ar/ 源氏物語，5 1 :5/264)
[I was told,] B e careful and serve well; and if something untoward hap
pens, he— most estimable as he is~~will reprimand us severely.
[for add’l. treatment of part of this passage，see Intro.13.RL, #13]
7 . 去る十五日の夜、一院第二の王子、竊に入寺せしめ給ふ。
S an n u ru ju g o - n ic h i n o y o , ich i-in d a i-n i n o o ji h is o k a n i n yu ji seSHIME-
tam au .
(7/efe gator/ 平家物語 ,4.7:1/297)
O n the night of the previous fifteenth day, the secona prince of the retired
emperor most estimably entered [our] temple in secret.
8 . 今月十五日夜、一院第二の王子、不慮の難をのがれんがために、
にはかに入寺せしめ給ふ。
K o n g e ts u ju g o - n ic h i n o y o , ich i-in d a i-n i n o oji, f u r y o n o n an o n o g a re n
g a ta m e ni, n iw a k a n i n y u ji seSH IM E -tam au.
(//のfe •平家物語 ,4 .8:1だ99)
O n the fifteenth of this month, the second pnnce of the retired emperor, in
order to flee unforeseen disaster, most estimably entered [our] temple
posthaste.
遁る •逃る（自、下二 ) = ‘ to flee, evade’
]
9. 「
… 爰にてまづ瑞相を見せしめ給へ」と…
“ ...， k o k o n ite m a zu z u is d 〇m iseS H IM E -ta m a e,” to ...
•平家物語，2 .2 :1 /I4 5 )
“[If. ..，
] then please most estimably show us an o m e n here now!”…
M Z K .N IS .l
-凡4 ば‘
if
-Ba f^: a non-inflected suffix meaning 'if.* Functions as a hypothetical-condi

tional.
N o t e ：N o t to b e c o n fu s e d w ith the non-inflected suffix -b a (i after the IZEN-
KEI，meaning ‘ w h e n ’or ‘ because’(IZK.NIS.l).
1• 便なき事もあらば、…
B in n a k i k o to m o a r a b a ， … （ G e n ji m o n o g a ta r i 源、
氏物語， 5 \: 5 /2 6 4 )
And if something untoward happens (< And if there is something unto
ward),...
2 . . . . こそ ..•この木なからましかばと覺えしか。
... k o s o ... k o n o ki n akaram asm kaB A , to o b o e sh ik a .
(Zswrezwregw似徒然草，11:99)
and I thought, if only this tree weren’t here!
3• いつはりのなき世なりせばいか許人の事の葉うれしからまし。
I tsu w a ri n o n a/a y o nariseB A , ik a -b a k a ri h ito n o k o to -n o -h a u re sh ik a ra -
m ash i.
(ぬ hVwte 古今集，14/712:242)
If this were a world (O R If ours were a relationship without lies, h o w
delightful your (< a person's) words w o ul d be.
[ た事 is glossed as た0 め言 in the NKBT ed. (cf. ん言葉 )]
4• 「
•..そらにただすの神なかりせば」…
“ … s o r a n i T a d a su n o k a m i n akariseB A ， ’’ …
(Mzんwra 枕草子，184:234)
. if there were no god radasu in the sky,” •. •
5• とりのあと、ひさしくとゞ'まれらば、…
T o ri n o a to h isa sh ik u to d o m a re ra B A ,...
(ぬた /似沾古今集 ,ぬ而 Preface 仮名序，103)
If these bird tracks (> these poems) last a long time,...
留まる • 停まる • 止まる（自、四）‘ to stay/remain; be
stopped/halted,; cf. to d o m u in #(> (and reference to both in Intro.2, n.
2)]
159
MZK.NIS.l
-紹 i ( ‘
if)
6. うめがかを袖にうつしてとゞ'めてば …
Ume ga ka o socle ni utsushite-todometeBA,...
(仏心•似/ ^ 古今集，1/46:113)
If，transferring it to m y sleeve，I m a d e the plum blossom’ s scent stay”"
[w/msw 移す (他、四) = ‘ to transfer s.th.’
；toふ m w 留む • 停む • 止
む（他、下一）= ‘ to m a k e s.th. stay/remain; stop/halt s.th.’；cf. /〇-
domaru in #5]
7. いかなる色に摺りてば好けむ。
Ika naru iro nisuriteBAyokemu. (M an’ydshU 萬葉集，V\2S\..2/24V)
W h a t color would be best to dye it(< IfI dye it with what color will itthen
be all right)?
[似r w 摺る • 刷る（他、四）= ‘ to dye s.th.’ ；ァ0わよけ is an early
M Z K form of アos7w•よし]
F O R ADD’L EXAMPLES o f p O S t - M Z K ば（or w a は for 6 a ) ，see M Z K . 2 (zari)，#5; M Z K . 3

(mu/n), # 1 ; M Z K . 3 (mu/n), #3; M Z K . 4 (muzu/nzu), # 1 ; M Z K . 6 (mashi), # 1 ; M Z K . 6 (mashi), #2;
M Z K . 6 (mashi), #3; M Z K . 6 (mashi), #4; M Z K . 6 (mashi), #6; M Z K . 6 (mashi), #7; M Z K . 6 (mashi),
#10; M Z K . 6 (mashi), #13; M Z K . P C H . 3 (shimu), #6; R Y K . 8 (tashi), # 1 ; S S K . 1 (beshi), # 1 ; S S K . 1
(beshi), #2; S S K . 3 (maji), # 1 ; R T K . 1 (gotoshi), #2; R T K . l (gotoshi), #7; R T K . l (gotoshi), #9.
M ZK .N IS.2
-ル ^ ばや
-ル IK4 ばや：A non-inflected desiderative suffix. Used by a speaker or writer

in rejerence to him/herself, meaning 4H o w I wish that I might...!5 'If only I...!9
‘W o u l d that 1… ！
’一 for situations with little likelihood of realization. M a y
simply express the speaker’ s intent or desire, esp. in post-Heian usage. With
special exceptions (as in #5 below), occurs only at the end of a sentence.1
N o t e ：Not to be confused with the non-inflected suffix -ba (i after the IZENKEI
(IZK.NIS.l), followed by the interrogative や：
A) .••わたせば丨や…
... 而 /oseル1 K4...(尺古今集，4/175:137)
Might it be because it spans/ushers across...?
B) .•.すれば丨や...
•..swreルl K 4... ん/似/^ 古今集 ,4/194:140)
Might it be Decause it does...?
C) •••とおもへば|や …
"• to omoeBA YA". (Kokinsha 古今集 , S/372A75)
Might it be because I think...?
D) ••.みねば |や ...
…mineBA YA... ( K o k i n s 古今集，12/562:215)
Might it be because he doesn’t see."?
-BAYA
1.「
たゞ、
今參り來ばや」と…
“Tadaima mairi-JcoBAYA， ’’ to…
( / z w w / m M z •和泉式部日記，436)
“I’
d like to c o m e visit you tnis very moment.”
2• 郭公まだしき程のこ袅をきかばや。
Hototogisu madashiki hodo no koe o kikaBA YA.
(A^た/ / 古今集，3/138:130)
1 A s defined in Intro.4.SX, n . 17.
161
MZK.NIS.2
-似 } ^ ばや
If only I could hear the voice of the cuckoo still not in season!
[ma ゴos/z/ 未し（ -くadj.) = ‘ to not yet be (in season)’; 程 = here,
‘time, period’]
3....を聞かばやと思ふに、…
…〇kikaBAYA to omou ni， . . . （Makura no sdshi 枕草子，\06A66)
Although I wanted to hear... (< Although I thought,4W o u l d that I could
hear...，
’".）
4 . こころあらむ人にみせばや .••
Kokoro aramu hito ni miseBAYA,...
((7〇^/7か ■ た後拾遺和歌集，1/43:16)
I wish I could show it to a person of sensibility (< to one w h o might be of
a sensitive nature);...
5 . とりかへばや物語
TorikaeBAYA Monogatari
The How-I-Wish-I-Could-Switch-Them Story~~the title of a late-Heian
work of fiction about a m a n with an effeminate son and a tomboy
daughter.2
[如r/七 fw 取り替ふ（他、下二 ) = ‘ to exchange，trade’
]
6. 「
かゞる所に、思ふやうならむ人をす袅て住まばや」とのみ、なげ
かしうおぼしわたる。
fiKakaru tokoro ni, om ouyd naramu hito o suete-sumaBAYA, to nomi,
nagekashu oboshi-wataru.
(G^/7 がar/ 源氏物語，1:1/51)
tcln a place like this, if only I could install m y ideal person and live with
her!”[Genji] keptthinkingplaintively.
[ぬ/m / き居展る（他、下二）= ‘ to set up, install’；⑽がたos/z/ 嘆かし
(-しく adj.) = 'to be sad, plaintive, gloomy’ ；06 〇?/»•-w a 如rw 思、し渡
る（他、四）= ‘ to think about s.th. all the time’
；for add’ 1.treatment of
the c o m p o u n d verb， wmaZ?の^/ す灸て住まばや，see In-
tro.4.SX, n . 13]
(Literary-Style Japanese, p . 187). T h e Torikaebaya

2 This description o f the w o r k is b y O ^ e i l l
monogatari has b e e n translated into English b y Rosette R. Willig as The Changelings: A Clas
sical Japanese Court Tale (Stantord: Stanford University Press, 1983), a n d into G e r m a n b y
M i c h a e l Stein as Die vertauschten Geschwister: Ein nojischer R o m a n aus de m Japan des 12.
Jahrhunderts (Frankfurt a m M a i n : Insel, 1994); cf. M i c h a e l Stein, Das Torikaebaya-monoga-
tari: Ubersetzung undBearbeitung ( W i e s bade n : In K o m m i s s i o n bei Otto Harrossowitz, 1979).
162
MZK.NIS.2
-凡4 K 4 ばや
7 . 「うつゞにておもへばいはんかたもなしこよひのことを夢にな
さばや」と …
(<U tsu tsu n ite o m o e b a iw a n k a ta m o n ash i, k o y o i n o k o to o y u m e n i
nasaB A YA ， ” to ...
(/zww/ 和泉式部日記，439)
4tWhen I tmnk ot it as reality, there is no way to speak oi it. How I would
like to turn last night (< the matter of this [past] night) into a dream!”
「た(9v<9/ 今宵 = usually, ‘this night’ （ i.e.,‘tonight’); but here， ‘this night
(just past)5; also partially cited in Intro. 10.NR, #23]
8 . 筆も使ひはてて、これを書きはてばや。
Fude m o ts u k a i-h a te te , k o re o kaki-hateBAYA.
(Maたwra 枕草子，319 [Y〇h6d6 ed.])
My brush spent, if only I might finish writing this.
[to むw 果つ（自、ドー） = an auxiliary verb， 4to exnaust, do com-
pletely’]
9 • 「出家をせばやと思ふは … 」
Shukke o seBAYA to o m o u w a ...
(//ezfe が伽 7•平家物語，10.5 :2/254)
Fm thinking (< As for my thinking) that I want to become a monk,...
10. 戀しき物どもを今一度見もしみえばやと ...
Koishiki mono-domo o ima hito-tabi mi mo shi mieBAYA to...
•平家物語，10.9:2/271)
How I would like to be able to see my loved ones one more tim e!...
[-咖 mo ども = plural suffix]
11. 大將にもなさばやとおぼしける比、…
Taisho ni mo nasaBAYA to oboshikeru koro,...
(ア似厂ぬwregwsa徒然草，128:191-192)
When he thought he would like to make him a general even (< When he
thought， ‘I would like…
[also partially cited in Intro. 10.NR, #24]
M ZK .N IS.3
-N A M U なむ/-N A N なん
-7V/1/WI/ なむ A/Vy4iV なん：A non-inflected desiderative suffix. Used by a

speaker in reference to another person or thing, meaning 4H o w I wish that (s.o.
or s.th. else) might...!9 'Would that (s.o. or s.th. else) might...!9 or 'Do please
...!’Occurs only at the end of a sentence.1
There are two additional namulnan constructions that this verb-suffix might be
mistaken for: the particle なむ/なん that is used m b たa n - w w s M⑺
constructions (Intro.7)，and the ‘
‘flised’
’ なむ/なん (whereby
な，the M Z K of ‘ [RYK.3], joins with む/ん，the S S K or R T K of
む /ん [MZK.3], to form a fixture emphatic construction). For discussion
of the three namulnan'% with examples, see Intro.11, ^Namu/nan
Trouble.”
1 . はや夜明けなんと思 (ひ )つ、…
Hayayo ake-NAN to omoi tsutsu… （Jse monogatah 伊勢物語 , 6.A M)
While thinking, “
If only night would d a w n soon!”…
[tsutsu 〇 ^ = 'while ...ing?; for addU. treatment of this passage, see
Intro.ll.NM，#9]
2. 君が心はわれにとけなむ。
Kimi ga kokoro wa ware ni toke-NAMU. (Kokinshil 古今集，\ \/542..2 \ V)
[如如解く（自、下二）= ‘ (for s.th.) to loosen, melt’
；for add’
l. treat
ment of this passage，see Intro.9.EC，#18]
3. ゆふぐれのまがきは山と見えななむよるはこえじとやどりとる
ベく。
Yugure no magaki wa yama to miena-NAMU；yoru wa koeji to yadori
torubeku.
(ぬゎ•似/ ^ 古今集，8/392:180)
If only tne brush rence at dusk would appear mountain-like!— [tnen] you,
unwilling to cross it at night, might take shelter [here].
夕暮= ‘ dusk’ ；magaAv•籬 = ‘ brushwood fence’
]
1 A s defined in Intro.4.SX, n . 17.
164
MZK.NIS.3
なむ / - なん
4 • 人もあはなんと思ふに、…
Hito mo a w a -N A N to omou ni， . . . （Makura no sdshi 饮草子，99..\5\)
W e were hoping someone would happen upon us [along the way], but...
5.「
惟光、とく參らなん」とおぼす。
“Koremitsu toku m aira-N A N ， ” to obosu.
( •源氏物語 ,4:1 /151)
“If only Koremitsu would c o m e quickly，
”he thought.
[/(?ん“疾く = ‘ quickly’]
6• 「
長き御世にもあらなん」とぞ、思ひ侍る。
<(Nagaki mi-yo ni mo ara-NAN, n to zo omoi-haberu.
(G q // •源氏物語，34:3/293)
W h a t she thought was, " M a y she have long life (i.e., live longer than
m e )!，，
7 . 妹が見て後も鳴かなむ ...
Im o ga m ite n o c h i m o n aka-N A M U ;...
萬葉集，8/1509:2/309)
If only [the cuckoo] had cried a fte r m y love (fem.) had seen [the orange
blossoms |!…
RYK.1
-r 邏たり
-T X i? /たり（
RAHENendings)
-tara -tari -tari -tarn -tare NIL
たらたりたりたるたれ 00
たり：A s a progressive, denotes a continuing state or action (e.g., #8

and #10 below), or a continuing state resulting from an earlier action (e.g., #7
and #15). A s a perfective, conveys completion of an action or process (e.g.,
#5 and #12 [A:Jr"arw]). Similar to -r/ り（ M R K . I).1 C a n also be used for
simultaneity of action or mildly emphatic affirmation.
N o t e : All examples of にたり and -m/arw にたる also illustrate

ィar/ たり；see R Y K . 4 (nikeri，etc.)，#14-19.
MZK
1 . いささかはずかしとも思ひたらず聞え返し、...
Is a sa k a h a zu k a sh i to m o om oiTAR A zu k ik o e -k a e s m ,...
免/z/ 枕草子，184:231)
Having replied without the slightest embarrassment (< Having replied,
not thinking it even a little embarrassing), tnev...
2 . 女の目には見ゆる物から、おとこはある物かとも思 (ひ )たらず。
O n n a n o m e n i w a m iy u ru m o n o k a ra , o to k o w a a ru m o n o k a to m o
om oiTARAzu.
(/se 伊勢物語，19:1Z3)
Although he was visible to tne wom a n , he did not think of her as being
there (< Although he was visible to the eyes of the wom a n , the m a n did
not even think she might exist/be there).
[worn?たara 物から = ‘ although’ ]
3 . いづちもいづちも、足の向きたらん方へいなむ (ず）。
Izu c h i m o izu c h i m o a sh i n o mukiTARAn k a ta e inam uzu.
(7aんe/or/ ま r/ 竹取物語 ,6:46)
1 A s c o m p a r e d with -rz• り，w h i c h also functions as a perfective or progressive, -/arz•たり can

“b e preceded a n d followed b y a n u m b e r o f suffixes, w h e r e a s [-rz• り] only occurs directly after
verbal stems [including respect-language auxiliaries]，a n d c a n b e foilowed b y f ewer suffixes”;
Vovin, G r a w / w a r , pp. 3 1 8 a n a 314. T h e “f e w e r suffixes”with -r/ are listed o n p. 315.
166
RYK.1
-TARI た 10
Let’s just go off in whatever (< each and every) direction our legs might
head.
[wwA：w 向く（自、四）= ‘ to head towards’ ]
RYK
4 • 雪のおもしろう降りたりし朝、…
vuki no omoshirdfuriTARJshi ashita，.•. (Tsurezuregusa 徒然草 ,3 \ ，. \ \ 6)
[also cited in Intro.5.VA, #19]
5.「
昔、周の武王の船にこそ白魚は躍入たりけるなれ。是吉事なり」
とて、…
^Mukashi, Shu no Bu-d no June ni koso hakugyo wa odori-iriTARl-
keru+nare. Kore kicniji nari， ” tote."
(//e/たe w c w o g a 如n •平家物語，1.3:1/90)
ctin fact, a white fisn in ancient times aid j u m p into the boat of King W u of
Zhou. [Similarly,] this (i.e., a sea bass jumping into our boat) is something
auspicious.”
[for addU. treatment of part of this passage, see Intro.8.UP, #12]
6 . いさ、人のにくしとおもひたりしが、…
Isa, h ito n o n iku sn i to o m o iT A R lsh i ga ,...
( M a たwra 枕草子，143:200)
‘"No, since they find m e (くone) so dislikable”•
[also cited in Intro.5.V A , #7]
7. 御堂の方に法師ども参りたり。
Midd n o k a ta n i h d sh id o m o m airiTARI. (Tsurezuregusa 徒然草，44A26)
The bonzes had gone to the Buddhist hall (and were still there).
[k a ta = 'direction*]
8 . [… 對のほどに ]… 住まひたり。
. . . ta i n o h o d o n i ••• sum aiTARL (Makum n o s d s h i 饮草子， 3 \ 5 ，
32\)
.
H e has been living [in a wing of the house! •••
[swwaw 住まふ（自、四）= ‘ to live，reside (in)’ ]
9 . 「この山里にすみ果てなん」とおぼいたり。
,(K o n o y a m a z a to m su m i-h a ten a n , to oboiTARI.
wowoga/an•源氏物語，39:4/133)
167
RYK.1
-7M ^7 たり
She was determined to live out her days in this mountain village (< She
thought, “I will definitely live out m y days."’ ’).
[/zaなw 果つ（自、下一 j = an auxiliary verb, 4to exhaust，do c o m
pletely’；for add’ l. treatment of this passage, see Intro. 11 . N M ，# 1 1]
RTK
10. ..•うきたる戀 ...
… ukiT A R U koi ... (KokinshU 古今集 , 12/592:220)
...this love [of mine] which has been drifting...
浮く（自、四）= ‘ to float, drift’
]
11. 外に立てる人と内にゐたる人と ...
To n i ta te ru h ito to u ch i n i iT A R U h ito to ...
( M a t o r a •枕草子，76:111)
The one w h o is standing outside [the screen] and the one w h o is seated
insiae リ.e，tne m a n and wom a n , respectively)…
[/rw 居る（自、上一）= ‘ to be seated’；also partially cited in Intro.2, n.
2]
12. 北の屋陰に消 (え)殘りたる雪の、いたう凍 ( り）
たるに、…
Kita n o o k u k a g e n i k ie-n o k o riT A R U yu k i no, ito koriTARU n i,...
徒然草，105:173)
T h e s n o w still left over in the shade north of the house really froze
[hard],...
[for add’ l.treatment of this passage, see Intro.4.SX; #16; also cited in
Intro.12.A D , #2]
IZK
13••..ふしたれば、…
...fiishiTAREba， … （Murasaki Shikibu nikki 紫式部 B 記 , 476)
W h e n I was lying down,...
诉似臥す（自、四）= ‘ to be prostrate，be lying d o w n ’
])
1 4.陰陽師のもとなる小わらはベこそ、いみじう物は知りたれ。
On y o j i n o m o to n a ru k o -w a r a w a b e koso, im iju m o n o w a shiriTARE.
⑽ ^み/»'枕草子，300:311)
The young trainees under the Yin-yang [Ceremonial] Masters really k n o w
things tneir work) extremely well.
168
RYK.1
-TARlf こり
15.櫻のいみじうおもしろき枝の五尺ばかりなるを、いと多くさし
たれば、...
Sakura n o im iju o m o s h iro k i e d a no g o -s h a k u b a k a r i naru o, ito oku
sa sh iT A R E b a ,...
•枕草子，23:58-59)
Since a great m a n y fine spravs of cherrv, rive feet m length, had been put
into it (i.e.，the vase)”..
[msw 挿す（他、四）= ‘ to insert s.th.’
]
M R K
NIL
FOR A D D ’LEXAMPLES たり for m s , see M Z K . 3 ( m u / n )，

# 8 ; M Z K . 6 ( mashi )，#3; M Z K . 6
(mashi), #13; M Z K . 7 (mahoshi), #12; R Y K . 4 (nikeri, etc.), # 1 4 thru #19; R Y K . 5 (tsu), #19; S S K . 5
(ramu/ran), #3; R T K . 1 (gotoshi), #4; Intro.11 . N M , #14.
RYK.2
-K E R I けり
けり（ RAHEN en d in g s)
-k era NIL -k e ri -k eru -kere NIL
けら〇〇けりけるけれ oo
tアり：Generally denotes reported or recollected past action not k n o w n

through the speaker or writer’ s personal experience (in contrast with personally
expenenced past events, where -ki ^ l-shi し [RYK.6] is likely to be used);
hence, c o m m o n l y used in m o r e impersonal narrative prose. But also often
implicitly progressive: the recollected action or state 4was taking place5 or the
state resulting from the action 4is/was continuing, (unlike -kil-shi, which is less
likely to be progressive).
Also used to relate the discovery or realization of something hitherto un
k n o w n or unnoticed— with a phrase like ‘ (But) in fact… is/was...!’or ‘(But) it
(has) turned out that...9 understood (as in #11 below).
N o t e : All examples of-mfera にけら，-«z•ん erz•にけり，and にける

also illustrate -んer/ けり；see R Y K . 4 (nikeri，etc.), #3-7.
MZK
1..•.過ぎにけらずや。
… アa. ’
ンか/ ^ 萬葉集，2/221:1/125)
... is it [th e se a so n ] n o t p a st?
2 ••..咲きにけらずや。
…似ん ya. ’
夕萬葉集，6/912:2/135)
...will they not have [already] bloomed?
3 . 君に戀ひつつ生けらずは •••
m ん〇/-/似むw /ALE'iJAzw wa, •.. 萬葉集，10/2282:3/139)
Rather than go on living, being attracted to you (< Not going on living,
being attracted to you)，…
RYK
NIL
170
RYK.2
- K E R I けり
SSK
4 . むかし、おとこ有（り）けり。
M w んos/zz’ (/se •伊勢物語，2:111 and 84:161)
O n c e upon a time there was a young man.
[also cited in the PREFACE, n. 20]
5. 「 ...」とのゞしりけり。
”めの ?/. (7bたe / o r / •竹取物語 ,4:36)
It caused a stir [with people saying],
[wcwos/z/rw 馬る（自、四）= ‘ to publically cause a stir or hubbub’
]
6• 暮るれば露のやどりなりけり。
Kurureba tsuyu noyadorinariKERJ. (Ise monogatari 伊勢物語，5&.\42)
W h e n night falls, [my sleeve] is the lodging place of d e w (i.e., tears).
[for add’1.treatment of this passage, see Intro.4.S X ，#44]
7 . 東山嶺に、西むきにたててうづまれけり。
Higashiyama no mine ni, nishi-muki ni tatete uzum areKERI.
(//ezfe 平家物語 ,5.1:1/335)
Reportedly it (i.e., a clay statue) was buried on the summit of Higashi
yama, [having beenj stood racing west.
[/atew 立つ（他、下二）= ‘ to stand s.th.’；wz w m w 涅づむ（他、四）=
‘to bury s.th.’；-reんen•れけり ‘ drives，both verbs: 4was (reportedly)
stood’and ‘ was (reportedly) buried’（ see IntroASX.II.B and C); for
■re れ，see M Z K . P C H . 1 ([ra]ru)]
RTK
8• このうた、あめつちの、ひらけはじまりける時より、いできにけ
り。
Kono uta, ametsuchi no hirake-hajimariKERU tokiyori, ide-kinikeri.
Preface，古今集 ,假名序 ,93)
F r o m the time w h e n Heaven and t,arth nrst split open, these poe m s ap
peared.
[awぬ wc/z/天地 = ‘ Heaven and Earth’ ；z•み七 / 出で來（自、力変）=
-to emerge，c o m e into being’
]
9 . そこを八橋といひけるは、…
Soko o Yatsuhashi to iiKERU\m， … （Ise monogatari 伊勢物語，9:\A6)
The reason that place was called Yatsuhashi(< A s ror [the matter of] that
place’s being called Yatsuhashi)...
falso cited in Intro.4.SX, #39]
171
RYK.2
-k e r W A
10.心戒といひける聖は、あまりにこの世のかりそめなる事を思ひ
て、静かについゐけることだになぐ常はうずくまりてのみぞあ
りける。
S h in k a i to iiKERU h ijir i w a , a m a r i n i k o n o y o n o k a riso m e n a ru k o to o
o m o ite , s h izu k a n i tsui-iKERU k o to d a n i naku, tsu n e w a u zu k u m a rite n o m i
z o ariKERU.
徒然草，49:129)
There was even said to be the case of a holy m a n n a m e d Shinkai, who,
excessively conscious of the transiency of this world, would not even
get well seated [with knees joined], but m a d e it a practice only to squat.
[たa/isowe m 377•仮初なり = ‘ to be transitory，insubstantial’ ；む
突い居る（自、上一）= ‘ to be well seated’（ see also Intro.4.SX，n.
12); wzwfe/marw蹲る • 蹈る（自、四）= ‘ tocrouch，squat’ ]
IZK
11• これは龍のしわざにこそありけれ。
K o r e w a ta tsu n o s h iw a z a n i k o s o ariKERE.
(T a k e to r i m o n o g a ta r i 6:48)
For sure, tms is the dragon’ s doing!
[M/waza 仕業 = ‘ act，deed，doing’ ；also cited in Intro.7.K M ，#14,
and Intro. 10.NR, #10]
1 2. 渡守に問ひければ、…
Watashimori ni toiKEREba， … （Ise monogatari 伊勢物語， 9 A \ 7)
W h e n they asked the m a n in charge of the ferry,...
[for add’ l. treatment of this passage, see Intro.4.SX，#21，and
Intro.9.EC, #6]
13. 何事の儀式をも、もてなし給ひけれど、…
N a n ig o to n o g is h ik i o m o m o ten a sh i-ta m a iK E R E d o , ...
( G ^ / 7 源氏物語，1:l/28)
Although she (i.e”the mother) was attentive to her [daughter’ s] ceremo-
nial conduct in every matter,...
[肢^ もて成す（他、四）= ‘to handle or to treat s.th./s.o.’
]
MRK
NIL
Fo r ADD’ L E X A M P L E S o f -たer/ けり fo r m s , s e e M Z K . l (zu), #4; M Z K . 3 ( m u/n) ，#3; M Z F L 4

(muzu/nzu), #4; M Z K . 4 (muzu/nzu), #14; M Z K . 5 〇i), #6; M Z K . 6 (mashi), #13; M Z K . 7 (mahoshi),
#7; M Z K . N I S . 2 (baya), #11; R Y K . 1 (tari), #5; R Y K . 4 (nikeri, etc.), # 3 thru #7; R Y K . 4 (nikeri,
etc.), #15; RYK.6(ki/shi),#15; S S K . 3 (maji),#5; R T K . 1 (gotoshi), # 14; Intro.7.KM, #19; Intro.10.
N R , #18; Intro.1 l . N M , #14; Intro. 13.RL, #3.
172
RYK.3
-M 7 ぬ
-_/Vひぬ（ NAHEN endings)

-na -ni -nu -nuru -nure -ne
なにぬぬるぬれね
-NU Usually denotes completion of an action, whether past or future., Used

with transitive as well as intransitive verbs (contrary to generally held theory).1
Quite similar in function to -tsu 〇 (RYK.5); but unlike -tsu} can occur with
inanimate subjects (and intransitive verbs) to describe natural occurences
and/or gradual completion (as in #5-6 below, and R Y K . 4 [nikeri, etc.], #3 and
#19). Often used of natural processes that take place spontaneously, of their
o w n accord.
Or~~especially w h e n followed by the verb-suffixes, -beshi ^ L (SSK.l),
-■/-« む//^ ( M Z K. 3 )，らむ/らん (SSK.5), -ms/n• らし，(SSK.2),
or - w m • めり（ SSK.4)~~conveys certainty, affirmation, and/or emphasis. Can
also indicate simultaneity of action.123
The S S K o f ( n a m e l y -⑽ ぬ）is «が /o 〇?咖從ゴ with the R T K of-zw (also

ぬ )；for the latter, see M Z K . 1.
No t e : な， the M Z K of-«w ぬ ,joins with む/ん（ the S S K or R T K of

-mu/-n [MZK.3]) to form the fixture emphatic construction, -n a m u l-n a n
But there are two additional namu/nan constructions that this can
be mistaken for: the p o s t- M Z K non-inflected verb-suffix -namul-nan
ん（ MZK.NIS.3), and the particle なむ/なん used in たaたarZ-wwswZ?/
constructions (Intro.7). For discussion of the three namu/nan's, with examples,
see Intro.11，なむ/ なん Trouble.”
1 V o v i n cites several e x a m p l e s o f both: Reference Grammar, pp. 307-309.

2 Exceptions are treated in R Y K . 5 (tsu), n . 1.
3 F o r a list o f verbal elements that c a n precede, follow, or precede-or-follow -rtw ぬ forms, see
V o v i n , pp. 306-307. H e also notes (p. 3 0 5 ) that in the texts h e treats -A7W ぬ and-Asw つ “ are not
interchangeable because they are used with different verbs, although there is at least o n e e x
ception: irregular verb A : o - [ 來 ] ‘
to c o m e ’ can c o m b i n e with both.” Shirane notes other
exceptions: “B o t h a n d w w follow verbs s u c h as a/*/ (在り，to be), /zw (出づ，to leave), a n d
to sleep), but significantly, tsu follows the 4active, [verb-suffixes] su, sasu, a n d shimu [i.e.,
M Z K . P C H . 2 a n d M Z K . P C H . 3 ] , while rtw follows the ‘
passive’[ones] rw a n d rarw [ M Z K . P C H . 1 ] ”;
Classical Japanese, p. 81.
173
RYK.3
-M 7 ぬ
M Z K
1 . 花おもしろくなりなば、…
Hana omoshiroku nariNAba,... (Yamato monogatari
If the flowers have b e c o m e attractive (i.e., are at their peak),...
2 . 衣をだに脱ぎかへなで ...
Koromo o aam nugi-KaeNAde...
(7b んdor/ mcwoga/arz•竹取物語 ,4:39)
Without even changing clothes,...
[⑽ が -た似脱ぎ換ふ（他、下二）= ‘ to change clothes’（く‘ taking off
[clothing], to change [it]’)；for add’l. treatment of the c o m pound
verb, see Intro.4.SX, #15]
3. 消え失せなむず。
Kie-useNAmuzu. (Taketori monogatari 竹取物語，8:55)
[If you m a k e m e serve at Court,] I will definitely vanish away.
RYK
-■/V/ に（the R Y K of ぬ）is normally used with another suffix: spe-
cifically，with forms of ( A ) -んer/ けり，（
B ) -ん/ き/-s/z/ し，or (C) -/arz•た
り；see RYK.4.
SSK
4 . よふけぬ。
Yo fu keN U .
(rasa m M / 土佐日記，12月 2 1 日:2 7 , 1月 7 日:33, and 1月 7 日:34)
Night fell.
|/wA：w 更く（自、下二）= ‘(for night) to deepen’]
5 . しほみちぬ。
(rasa m M / 土佐日記，12月 27 日:30)
The tide has bec o m e full.
潮 = ‘ tide’ ；wz•むw 満つ • 充つ（自、四）= ‘ to b e c o m e fbll’
]
6. ねぶたければみなねぬ。
Nebutakereba， mina neNU. (Makura no sdshi 枕草子，名:5Q)
Since w e were very tired, w e all fell asleep.
•寢たし • 眠たし（ -くadj.) = ‘to be very tired’
]
7. そのかへる正月に蔵人になりぬ。
Sono kaeru mutsuki ni kurabito ni nariNU.
174
RYK.3
-M 7 ぬ
( M ? たwra wo ■sds’
/z/ 枕草子，266:275)
In the first month of the next year, he became a chamberlain.
[also cited in Intro. 10.NR, #19]
8. あききぬとめにはさやかに見えねども…
Aki kiNU to me ni wa sayaka ni mienedomo,...
(欠古今集 ,47169:136)
Although not clearly vismle to the eye that fall has come,...
9. 變らぬ住家は人あらたまりぬ。
Kawaranu sum i/ca w a h ito aratam ariN U .
徒然草，25:110)
In a house that is unaltered, the people will have changed.
[んovrarw 變はる（自、四）= ‘ to become transformed, altered’
；ara-
towarw 改まる（自、四）= ‘ to change, become renewed’ ]
10. 春立ちぬらし ...
//arw ... ( M m 萬葉集，10/1819:3/55)
Spring, it seems, has begun;...
11. かぜふきぬべし。
欠aze 为 (Jasa mttz•土佐日記，1月 17 日:40)
The wind will surely blow (> Ifs going to storm).
1 2. おかれぬめり。
(9んareTWweW. (Tbsa •土佐日記，1月 7 日:34)
It seems he set it d o w n (> transcribed it [i.e.，the poem] to keep).
RTK
1 3 . はる /、
、\ きぬる旅をしぞ思 (ふ）。
Harubaru kiNURU tabi o s h i z o om ou .
(/此 mowoga/arz•伊勢物語，9:116; 古今集 ,9/410:185)
I think of the journey on which I have c o m e stretched so far.
[the Kokinshu text nas the entire sequence in k a n a \
14. 花の散りぬるごときわご王 …
Hana no ch iriN U R U g o to k i wago d k im i...
萬葉集，3/477:1/223)
Our great prince w h o is like blossoms that have scattered...
[for add’1.treatment of this passage, see Intro.4. SX, #35]
175
RYK.3
-M7ぬ
15.風のをとにぞおどろかれぬる。
Kaze no oto nizo odorokareNURU. {Kokinshii 古今集 :，4 丨\(^..\2>6)
[for addM. treatment of this passage, see Intro.7.KM.II (incl.n. 6)
and #2]
IZK
16• 秋の初風吹ぬれば、…
Aki no hatsukaze fukiNUREba, ...
(/to f e w o w oが /ar/平家物語，1.6:1/104)
O n c e (< W h e n ) the first autumn winds had blown,...
1 7 . ちかく來ぬれど、…
Chikaku kiNUREdo,… (Makura no sdshi 炊草子，99..\5V)
[for a dd’
18 . 世になくて久しくなり侍りぬれば、...
Yo ni nakute hisashiku nari-haberiNUREba,...
(G^ /7 源氏物語，5:1/189)
died,...
[for a dd’
l. treatment of this passage, see Intro.13.R L ，#8; also cited
in Intro.5.VA, #5, and Intro. 10.NR, #22]
MRK
1 9 . はや、船出して、この浦を去りね。
Haya, fune dashite, kono ura o sariNE.
(Gq// 加 rz•源氏物語，13:2/62)
Quickly, take out your boat and leave this shore!
20. 早くまゐり給ひね。
//a夕d w ⑽ oga/ar/ 源氏物語，3 5 :3/365)
Please go quickly [back to the Palace]!
[for addM. treatment of this passage, see Intro.4.SX, #17, and Intro.
13.RL,#16]
21. 「
寢給ひね」と...
“Ne-tamaiNE， ” to… {Makura no sdshi 饮草子，
176
RYK.3
■M7 ぬ
M Z K な o f ぬ is also illustrated b y “fiised’
，-wamw/-/?a/7 なむ /なん examples: see Intro.
11.N M , # 5 - 8 a n d #11-12.
R Y K -«/ に o f ぬ is also illustrated b y examples o f -mAera にけら，- • にけり，-m•たerw

にける；-m•ん/ にき，-r t / A / にし，-« む/?/んa 丨こしか；and にたり（ twice) and -m7crrwにた
る：seeRYK .4 (nikeri, etc.).
FOR STILL OTHER EXAMPLES o f - « w ぬ forms, see M Z K . N I S . 3 ( n a m u / n a n ) ，#3; R Y K . 4 (nikeri，

etc.), # 1 6 ; R Y K . 7 (kemu/ken), #6; S S K . 1 (beshi), # 1 ; S S K . 1 (beshi), #21; S S K . 2 (rashi), #4;
S S K . 2 (rashi), #6; S S K . 4 (meri), #7; S S K . 4 (meri), #8; S S K . 4 (meri), #9; R T K . 2 (nari/explan), #1;
R T K . 2 (nari/explan), #4; Intro.4.SX, #49.
R Y K .4
-N IK E R Iに竹 A , -N IK I\こき， -NITARI \こ卞こり
-TV/ に，the R Y K form of the verb-suffix -«w ぬ（ R Y K . 3)，is normally used in

comoination witn other verb-sufnxes: namely, with three rorms each or (A)
•けり（ R Y K . 2 ) ，（
B) -A7•き/-M z • し（
R Y K . 6 ) ，and (C) - /a nたり（ 11丫〖.1).
The resultant combinations have the same range of functions noted earlier in
reference to each of these three verb-suffixes. Stated in general terms, as “ past”-
suffixes they can convey completion, continuation, pastness, a resultant state,
and/or affirmation or emphasis.1
-NIKERI fo r m s ( < -ni + -keri fo r m s [-kera, -keri, -keru]) (RAHEN e n d in g s )

-n ik e r a NIL -n ik e r i -n ik e r u NIL NIL
にけら oo にけりにける〇〇〇〇
-NIKI fo r m s (< -ni + -ki/shi fo r m s [-ki, -shi, -shi/ca]) (irr eg u la r )
NIL NIL -n ik i -n is h i - n is h ik a NIL
oo oo にきにしにし力、 oo
-NITARI fo r m s ( < -ni + -tari fo r m s [-tari, -tari, -taru]) (RAHEN e n d in g s )

NIL -m ta n -m ta n -n ita ru NIL NIL
oo にたりにたりにたる oo oo
Since these verb-suffix combinations are used with considerable frequency (and
are illustrated by comparatively few examples in earlier grammars and intro
ductions to the language), this separate section of the Handbook was devised.
-NIKERI Forms
-nikera, -nikeri, -nikem
Used in only three of th e s i x forms: -nikera, NIL, -nikeri, -nikeru, NIL, NIL.
In other words, there are M Z K (-m知 ra にけも )，S S K •にけり） ,
and R T K (-m•んm / にける）forms.
For general treatment of -たm •けり，see RYK.2.
1 . …過ぎにけらずや。 M Z K
… 夕a. ’ァ& / ^ 萬葉集，2/221:1/125)
...is it [the season] not past?
1 See Intro.4.SX.II.G, esp. n . 15.

178
RYK.4
-7V/A^/ にけり，etc.
2 •...咲きにけらずや。 M Z K
…似た/ 夕a. ( M w ’
夕ゐ7/5 萬葉集 ,6/912:2/135)
... will they not have [already] bloomed?
3. 雪降りにけり。 SSK
ルん/>r/A7A^/?7. (SenzaishG 千載集，6/460:131)
S n o w had fallen.
4. みな歸りにけり。 SSK
Afina kaeriNIKERl. (Makum no sdshi 枕草子，\Q 4:\6\)
They had all gone back.
5 . このうた、あめつちの、ひらけはじまりける時より、いできにけ
り。 S S K
Kono uta, ametsuchi no hirake-hajimarikeru toki yori, ide-kiNIKERI.
(ぬん/似沾，心 _ Preface,古今集，假名序，93)
F r o m the time w n e n Heaven and Earth first split open, these po e m s ap-
pearea.
6 . おとこも女も、あひはなれぬ宮づかへになむ出でにける。 R T K
Otoko mo onna mo, ai-nanarenu miya-zukae ni namu ideNlKERU.
(Ise monogatari ,86:163)
ûre enougn, it was into Palace service where thev were not removed
rrom each other, that the m a n and the w o m a n both had entered.
相離る（自、下一）= ‘ to be mutually separated’ ；for
addM. treatment of this passage, see Intro.7.KM.II (incl.n. 6) and
#5; also cited in Intro.4.SX, #38]
7 . 過ぎにける御乳母だつ人、... R T K
SugiNIKERUgo-menoto datsu hito,...
源氏物語，9:1/328)
People like her wetnurse, w h o were deceased,...
[ゴa/sw だつ = ‘ having the qualities o f ]
-NIKI Forms
-niki, -nishi, -nishika
Used in only three of the six forms: N I L , N I L , -niki, -nishi, -nishika, N I L .
In other words, there are S S K (-«/た/ にき），R T K (-«说 / にし )，and I Z K
(-«む/ にしか ) forms.
For general treatment of-A://-shi き/し，see RYK.6.
179
RYK.4
-7V/A：£7ひにけり，etc.
8 . 仁平三年正月十五日歳五十八にてうせにき。 SSK
N in p e i s a n n e n sh o g a tsu jiig o -n ic h i, to s h i g o jiih a c h i nite, useN lKl.
平家物語，1.3:1/89)
He [Tadamori 忠、盛 J died in the third year of the Ninpei reign-period
[1153]， on the fifteenth day of the first month, at the age of 58 (似，
• 歳 ).
[wsw 失す（自、下二） = ‘to pass away, die’]
9 . もとのようになりにき。 SSK
Moto n o y d n i nariNIKI. {Makura n o s d s h i 枕草子，9 ‘.55)
He returned to his original status [after being pardoned].
1 0.いにしへも夢になりにし事なれば、… R T K
In ish ie m o v u m e m nariNISHI k o to n a r e b a , ...
mowoga/ar/ 平家物語，“Kanj6” 灌頂 .5:2/441)
Since the past, too, has become a dream (< Since the past is also some
thing tnat has turned into a dream),...
古へ = ‘the past’ ；also cited in Intro. 10.NR，#20]
11• なれにしつましあれば、… R T K
N a reN lS H l tsu m a s h i a r e b a ,...
(/此 •伊勢物語，9:116; ん//w/zJ 古今集，9/410:185)
Since there is my spouse [back in the capital] who is dear (< well famil
iar),...
[肌 1貫る • 馴る（自、下二） = ‘to become well familiar with，accus
tomed to, close to ’
；also cited in Intro. 10.NR, #25]
12• めら / \ と燒けにしかば、… IZK
M e r a m e ra to ya k eN IS H IK A b a ,... ( T a k e to ri m o n o g a ta r i Y s p , 5:44)
Since it burnt in a D la z e ,…
[yaんw 燒く（自、下二）= ‘to bum, smoulder’]
1 3 .... こそ、をかしかりしにそへておどろかれにしか。 IZK
... k o so o k a sh ik a rish i n i s o e te odorokareN lSH lK A .
(MAwra •枕草子，134:187)
Certainly, in addition to feeling amused, we were surprised...
[•sow 添ふ • 副ふ（自、四）= ‘to be added to ’ ；also partially cited in
Intro.5.VA, #6]
RYK.4
にけり，etc.
-NITARI Forms
-nitari, -nitari, -nitaru
Used in only three of the six forms: NIL, -n ita ri, -n ita ri, -n ita ru , NIL, NIL.
In other words, there are RYK (-m/an•にたり）， SSK (-m/an•にたり），and
RTK にたる）forms.
For general treatment of -/ar/ たり，see RYK.1.
14. 紅葉もまだし、花もみなうせにたり、 … RYK

M o m iji m o m a d a shi, h a n a m o m in a useNITARI , ...
( A T a g e r J 蜻鈴日記，上 :166)
Red leaves weren't out yet and flowers had all faded;...
15. 疱瘡にて子供さはに失せにたりけり。 R Y K
H o s o n ite k o d o m o s a w a n i u seN IT A R lkerl
(RySkan 良寛，“Hito ni kawarite” 人にかはりて）
children in large numbers have died from smallpox.
[s a w a ^ = 4a la r g e n u m D e r']
1 6 . また、ほのかにも、聞こえむこと、難くなりぬるを、ゆかしう思ふ
ことは、そひにたり。 S S K
M a ta h o n o k a n i m o k ik o e m u k o to k a ta k u n a rin u ru o, y u k a s h u o m o u
k o to w a soiN lTA R l.
(G ⑼ mcwoga/arz•源氏物語 , 45:4/335)
Although again it had become difficult for him, even briefly, to get word
to her, his longing for her increased.
[ywんas7ゆかし（ - しく adj.) = M J w a むwんas7z//なつかしい；f o r o を，
see Intro.4.SX, n. 23; io r s o u , see #13 above]
17. 身をかへたる (が )ごと成（り）にたり。 S S K
Mi 〇kaetarugagoto nariMTARI. (Taketori monogatari 竹取物語 , 9:63)
Your lot has improved dramatically (< Things have developed— it is as if
you switched your person/station [for that of someone rich]).
[goto is the stem ofgo/as/zz•ごとし [RTK.l], here abbreviated from
gotoku ごヒく)
1 8. つめのいとながくなりにたるをみて、… R T K
Tsume no ito nagaku nariNITARU o mite, ...
(Tosa m M z •土佐日記，1月 29 日:46)
[for a d d ’
1.treatment of this passage, see I n t r o A S X ，#20]
R Y K .4
-NIKERI にけ ” ，ac.
1 9 . 日暮 ( れ ) にたる山中に、… RTK
Hi kureNITARU yamanaka ni … （ Tsurezuregusa 徒然草，^)1:\6Q)
[H e re ] in h ills w h e r e th e s u n h a s s e t . ..
F o r ADD’L EXAMPLES o f-m •ん • にけり（

etc.) forms, see MZK.1 (zu)，
#3; RYK.6 (ki/shi)，
#7;
RTK.2 (nari/explan), #1.
RYK.5
-TSU つ
F5I/ つ（ SHIMO NIDAN en dings)

-te -te -tsu -tsuru -tsure -te
ててつつるつれて
-TSU 〇 : Generally denotes completion of an action, whether past or future.

Quite similar in function to -nu (RYK.3); but unlike -nu, (with few excep
tions) cannot occur with inanimate subjects} Often used of deliberate, voli
tional action. Attaches to intransitive as well as transitive verbs.1
2
Or~especially w h e n followed by verb-suffixes like -ゐべし（ S S K . 1),
む /ん（ MZK.3), and らむ/らん（ SSK.5)~~conveys cer
tainty, affirmation, and/or emphasis. Can also indicate simultaneity of action.3*
N O T E : For the conjuntive particle -纪て，see the R Y K examples below (#4-6)，

the note that follows them, and Intro.4.SX.II.B (incl.n. 8). The listing of a
plethora of additional examples of -te concludes this section on -tsu 〇 .
MZK
1 . うめがかを袖にうっしてとゾめてば ...
Ume ga ka o sode ni utsushite-todomeTEba,...
(ぬん/似如古今集，1/46:113)
If, transferring it to m y sleeve, I m a d e the plum blossom's scent stay,...
[ w w e g a んa うめがか = 梅が香 (also cited in Intro.12.A D , #5); wむw-
sw移す（他、四）= ‘ to transfer s.th.’
；toゐ w w 止む • 留む • 停む (他、
下一）= ‘ to m a k e s.th. halt or stay’（see Intro.2, n. 2); for discussion
of the compo u n d verb, see Intro.4.SX, n . 13]
2• いかなる色に摺りてば好けむ。
Ika naru iw n isuriTEbayokemu. (M an’ydshU 萬葉集 , 1/\2 名\:2/24\)
W h a t color would be best to dye it(< If I dye it with what color will itthen
bel all right)?
1 T h e exceptions m a y b e m o r e apparent than real: perhaps *tears* in # 1 2 b e l o w ( a n d êars* in a n

e x a m p l e cited b y V o v i n [Rejerence Grammar, p. 314]),like the ^sea' in # 1 3 a n d b o u n d s 7 in # 1 4
below, are in fact being s p o k e n o f as if animate.
^ V o v i n (pp. 3 1 0 - 3 1 3 ) cites several e x a m p l e s of both.
3 S e e R Y K . 3 (nu) ，n. 3, for discussion o f the different verbs that -/7w ぬ a n d つ attach to, the
different P C H verb-suffixes they usually follow, a n d the f e w verbs that precede either.
183
RYK.5
-TSU つ
[似r w 摺る • 刷る（他、四）= ‘to dye s.th.’
；ァよけ is an early
M Z K form ofァos7z/ 良し • $子し• 善し（ -くadj.) = ‘
to be good, fine’
]
3....思ひなしてん。
... «.(心た/似沾古今集，10/4 4 3 :194)
Snail one consider it...?
RYK
4 . もろとんにしもわらひてき。
她，〇め《m 从 /m o ( X a g e w «汝ん/•靖鈴日記，下:263)
W e laughed together [about it].
[moro/owm•もろとんに = worato服 ? • 諸共に = M J ぬ / m •— 緒
に]
5. 舟に乗て送る。
Fime ni noriTE okuru. (Oku no hosomichi 奧の細道 , 7Q)
Boarding the boat, they saw [us] off.
[for addM. treatment of this passage, see Intro.4.SX, n. 8 and n . 10]
6 . はや、船出して、この浦を去りね。
Haya,fune dashiTE, kono ura o sarine.
(Gq/z•肌源氏物語，13:2/62)
Quickly, take out your boat and leave this shore!
-Th \ as a conjunctive particle develops out of this use ot the R Y K form:

whether appearing at the end of the first part of a c o m p o u n d verb (as in #1
above, utsushiTE-todometeba), or mid-sentence at the end of a Ususpen-
sive,5 fomi of a verbal (as in #6 above, dashiTE,...); see Intro.4.SX.II.B.
SSK
7. 「
誰がしつるぞ、見つや」と…
Taga shitsuru zo, miTSUya， ” to... (Makura no sdshi 饮草子，桃)
“W h o could have done it? Might you have seen him?”…
[also cited in Intro.7.K M , #11 and #16]
8. 戸は押し立てつ。
7b w a 纪 7^ひ. （
(7汾?/7 •源氏物語，8:1/306)
H e pushed the door shut (< A s for the door, he pushed it in place).
[〇y/w - / a 加/ 押し立つ = ( 他、下二）= ‘ to push s.th. in place’；for
discussion of a similar construction (topic + transitive verb), see
Intro.12.A D , #3, incl.n. 4]
184
RYK.5
-TSU つ
9.春の物とてながめ暮らしつ。
Haru no mono tote nagame-kurashiTSU.
(/此伊勢物語，2 : 1 1 2 ; 古今集，13/616:224)
1 have spent the day brooding— long rain一 so typical of spring.
[here, nagame is a kakekotoba 'pivot word/ meaning both 'to
gaze at s.th. while lost in thought,’w a g a m w 目兆む（他、下二：here,
R Y K nagame- as the first part of a c o m p o u n d verb), and 'long rain/
wflgawe 長雨；んwrosw 暮らす（他、四）= ‘ to expend the daylight
hours’ ]
1 0 . あきた、なよ竹のかぐや姫と [名を ]つけつ。
Akita, Nayotake no Kaguya-hime to [na o] tsukeTSU.
(77<3た灿； <7 >0«(^<7 妨 */竹取物語，1:3〇)
Akita n a m e d her Nayotake no Kaguya-hime (i.e., Radiant Princess of
Supple Bamboo).
[«a (9 加 A:w 名を付く etc•(他、下二）= ‘ to attach a n a m e ’（
> ‘
to
name’ )]
11. かしかましとて捨てつ。
Kashikamashi tote suteTSU. (Tsurezuregusa 徒然草， ]^ \\04)
Saying, “It’ s noisy，
’’he threw it away.
[te1/?认 awos/zz•囂まし（ ■•しく adj.) = ‘ to be noisy’
；sw 加捨つ • 棄
つ（他、下二）= ‘ to throw s.th. a w a y ’
]
12• なきわたるかりの涙やおちつらん ...
Naki-wataru kari no namidaya ochiTSUran,...
( ぬ古今集 ,4/221:14*5)
Aren’t they tears from wild geese crying out as they pass by that 1 take to
nave fallen?...
[«aん/-vva/arw 鳴き渡る（自、四）= ‘ to cross over (or cross by) while
crying out，；also cited in Intro.7.KM, #4]
RTK
1 3 . なごかりつる海 ...
NagokariTSURU umi... (Makura no soshi 306:315)
The sea that had been so calm,...
[«ag〇y/zz•甲口し(-くadj.) = 4to be calm, peaceful’]
14. 鶯のなきつるこ袅にさそはれて ...
Uguisu no nakiTSURUkoe ni sasowarete, ...
w a たos/zi?後撰和歌集，1/35:8)
185
RYK.5
-TSU つ
Enticed by the sounds of the warbler that had been singing (< making its
cries),...
[mww 誘ふ（他、四）= ‘ to invite; entice’
]
15. 「
誰がしつるぞ、見つや」と…
Taga shiTSURUzo, mitsu y a ,” to... [Makura no sdshi 饮草子，21 名:2 桃 )
“W h o could have done it? Might you have seen him?”"•
[see #7 above]
IZK
1 6 . 見入れつれば、…
sds/zz•枕草子，143:199)
[for add’l. treatment of this passage, see Intro.8.UP，#10]
17. まことに蓬萊の木かとこそ思ひつれ。
Makoto ni Horai no ki ka to koso omoiTSURE.
{Taketori monogatari 4:40)
I did indeed think, perhaps it was truly a tree-branch from Horai (i.e.,
Penglai).
[taking 枝 for 木 ;also cited in I n t r o A S X ，#47]
18. 年をへて君をのみこそねずみつれ ...
Toshi 〇hete, kimi o nomi koso ne-zumiTSURE,...
(见以 w a たos/zi?拾遺和歌集 ,7/421:77)
Through the years, I have only consorted with you,...
ぶw m w or 寢住び (自、四) = 4to sleep and live with s.o.’
(> ‘
to live as husband and wife for an extended period’
)]
M R K
1 9 . われ、物握りたり。いまは下してよ。
Ware mono nigiritari. Ima wa oroshiTEyo.
(TaA:故 )r/mcwogatov•竹取物語，7:52)
I got hold of it! N o w put m e down.
20. 尼になさせたまひてよ。
Ama ni nasase-famaiTEyo. (Genji monogatari 源氏物語，53:5/387)
D o be so kind as to m a k e m e a nun!
2 1 . 門よくさしてよ。雨もぞふる。
Kado voku sashiTEyo. Ame mo zo furu.
186
RYK.5
-TSU つ
(71swrezwregusa 徒然草，104:172)
Secure the gate well! It looks like rain (< Rain, indeed, is going to fall),
[for add5l. treatment of parts of this passage, see Intro.2, n. 2, and
Intro.8.UP, #3]
FOR ADD’L EXAMPLES o f -むw つ forms other than -re て， see MZK.6 (mashi), #12; RYK.8
(tashi), #5.
F o r e x a m p l e s o f RYK -纪て in the formulations, •佗にして and めとして，

see Intro.7.PA, #4; Intro.7.PA, #8; Intro.7.PA,11;Intro.7.PA, #12.
FOR OTHEREXAMPLES o f RYK て，seeMZK.l (zu), #3; MZK.1 (zu)，#7; MZK.1 (zu), #8;
MZK.1 (zu), #10; MZK.2 (zari), #9; MZK.3 (mu/n), #10; MZK.4 (muzu/nzu), #4; MZK.4
(muzu/nzu), #9; MZK.4 (muzu/nzu), #13; MZK.7 (mahoshi), #4; MZK.7 (mahoshi), #17;
MZK.PCH.1 ([ra]ru),#2;MZK.PCH.l ([ra]ru), #3; MZK.PCH.1 ([ra]ru),#8; MZK.PCH.2 ([sa]su),
#2; MZK.PCH.2 ([sa]su), #5; MZK.PCH.3 (shimu), #2; MZK.PCH.3 (shimu), #4; MZK.PCH.3
(shimu), #6; MZK.NIS.2 (baya), #6; MZK.NTS.2 (baya), #8; RYK.2 (keri), #10; RYK.3 (nu), #18;
RYK.3 (nu), #19; RYK.4 (nikeri, etc.), #13; RYK.4 (nikeri, etc.), #18; RYK.6 (ki/shi), #8; RYK.6
(ki/shi), #19; RYK.7 (kemu/ken), #4; RYK.8 (tashi), #2; RYK.8 (tashi), #3; SSK.1 (beshi), #2;
SSK.2 (rashi), # 1 ; SSK.2 (rashi), #2; SSK.2 (rashi), #10; SSK.6 (nari/hearsay), #6; RTK.1
(gotoshi), #5; RTK.l (gotoshi), #7; RTK.1 (gotoshi), #9; RTK.1 (gotoshi), #13; RTK.1 (gotoshi),
#14; RTK.2 (nari/explan), #4; MRK.1 (ri), #6; MRK.l (ri), #9; MRK.1 (ri), #14; MRK.1 (ri), #19;
Intro.8.KM, #19; Intro.9.AM, #9; Intro.9.AM, #10; Intro.1l.NM, #7.
R Y K .6
-n き/-shi し
-A/ き/-57// し（
irregular)
-se NIL -ki/-shi -shi -shika n il
せ oo き /しししか oo
-A7 さ/-57// し：uenerally denotes the recollection of past action personally

experienced by the speaker or writer (in contrast with reported oast events,
where - たm • けり [RYK.2] is likely to be used)— hence, c o m m o n l y used in
poetry, first-person narration, and dialogues or monologues. Also used w h e n
recollecting something k n o w n to be a fact.
In the M Z K construct, -SEba -iirfi, indicates a hypothical situation, often
one of affect (as in # 1-3 below). The use of づみ/ し（ instead of，
んz•き）in the S S K
starts to become c o m m o n in the fourteenth century.
See the N o t e toward the end of this section (and examples #18-24) for treat-
ment o f たw 來 a n d 似爲 w h e n used with -ん//づ/2/ き/ し.
NO T E : All examples o f •ん/ にき，-m ’ ▲ •にし，and -此 /?/たa にしか also illus

trate - ん
/As/z/ き/し；see R Y K . 4 (nikeri, etc.), #8-13.
M Z K
1. 世中にたえてさくらのなかりせば春の心はのどけからまし。
Yo no naka ni taete sakura no nakariSEba, haru no kokoro wa nodoke-
karamashi.
古今集，1/53:114)
If there were no cherry blossoms at all in the world, the [human I heart m
springtime would be untroubled.
[如e /e 絶えて = w ith n egative, ‘co m p letely ， at a ll’；ふんes/z/ 長閑
けし (-く adj.) = ‘to b e tran q u il ，u n tro u b le d ’]
2 . いつはりのなき世なりせばいか許人の事の葉うれしからまし。
ltsuwari no naki yo nariSEba, ika-bakari hito no koto-no-ha ureshika-
ramashi.
(AT— 6 古今集，14/712:242)
If this w ere a w o rld (OR If o u rs w ere a relatio n sh ip ) w ith o u t lies, w h at a
jo y y o u r (く a p e rso n ’s) w o rd s w o u ld be.
[ん0/0 事 is glossed as ん言 in the N K B T ed. (cf• た言葉 )]
188
RYK.6
•K 1き/-S H I l
3. 「
...そらにただすの神なかりせば」…
“ … s o r a n i T a d a su n o k a m i n akariS E ba， ’’ ...
m? •sds/z/ 枕草子，184:234)
“… ifthere were no god Tadasu in the sky，
’’
…
RYK
NIL
SSK
4 . もろとんにしもわらひてき。
m W w o wara 故 A / . (尺 m •んん /靖鈴日記，下 :263)
W e laughed together [about it].
[moroton ni もろとんに = morotomo ni 諸共に =MJ issho ni — 緒
に]
5. 濱名のはし見ざりきや。
Hamana no hashi mizariKIya. (Makura no sdshi 枕草子， 3 \&.322)
Haven’ t you seen the bridge of H a m a n a ?
[in the context of the p o e m being cited, probably also means:
“ Haven’ t vou caught sight ot (く caught a glimpse of [/zoy/zz v席，‘ an
edge of], and more, of) that w o m a n ( w h o m you claim never to have
seen even in your dreams)?”]
6 . ししこ、かほよかりき。
iSto/zz•た〇, んao ン〇たanA/. (7b似土佐日記，2 月 4 日 :50)
T h e dead child had a lovely face (< A s for the dead child, its face was
lovely).
[per the N K B T note, 死にし子〉ゾ•/んo 死んじ子〉
ぶ/zむ/z/ ん〇 5bl^-f"*”；foradd ， l.treatmentofthispassage,seeIn_
tro.9.EC, #7, and Intro.12.A D , #1]
7 . その人、ほどなく失せにけりと聞 (き)侍りし。
S o n o h ito h odon aK u u se n ik e ri to kiki-haberiSH I.
( h w r ぬ wregw 似徒然草，32:117)
I heard that person soon passed away.
[for adcH. treatment ot part of this passage, see Intro.8.UP, #5]
8 . 老女、忍笑て、「けふも又、我を訪はれし。… 」と …
“R d n y o h o h o e m ite ， “K y d m o m a ta ， w a r e 〇to w a r e S H l" ” ” to ...
(Kdshoku ichidai onna 奸色一代女， \ .\ :2Q5)
189
RYK.6
-K I 窆/-S H I し
The old lady, faintly smiling, said, “So y o u ’

ve c o m e to visit m e again
today....’
’
RTK
9 . 雪のおもしろう降りたりし朝、…
Fwh omos'/zzrd为 os/zto，
. . • 徒然草 ,3 1 :116)
[also cited in Intro.5.V A , #19]
10 . いにしへも夢になりにし事なれば、…
Inishie moyume m narimSHI koto nareba,...
(/fe•んe m 續平家物語 ,“Kanj6”灌頂 .5:2/441)
Since the past, too, has b e c o m e a dream (< Since the past is also some
thing that has turned into a dream),...
古へ= ‘ the past’ ；also cited in Intro. 1 0 . N R ，#20]
1 1 . ししこ、かほよかりき。
た0, ァ0 (Tosa •土佐日記 ,2 月 4 日:50)
The dead child had a lovely face (< A s for the dead child, its face was
lovely).
[see #6 above]
12. 宿れりし宇治の宮の仮廬 ...
YadoreriSHI Uji no miyako no kari-io … （Man ’y dshii 萬葉集 :， \ /I' \ / \ 3)
The temporary palace-hut in Uji (< Ujiimperial-residence temporary
[thatched] hut) where w e stayed...
[yaゐ rw 宿る（自、四）= ‘ to lodge, stay’
]
13. 所の者は、「
...」とぞいひし。
7bたora ⑽ mo/?。vra, to zo が/• 徒然草，34:118)
People of the locale said,
14 . 「
•••」と申（し)侍 ( り）しかば、[ 或人 ] 「
•..」とぞ仰せられし。
“ to moshi-haberishikaba, [aru hito] “ to zo dserareSHI.
似徒然草，158:221)
W h e n 1 said, [a certain person] said，‘ ‘…”
[for addM. treatment of the two respective parts of this passage, see
Intro. 13.RL, #11, and M Z K . P C H . l ([ra]ru), #91
RYK.6
-K 1 き/-S H I V
IZK
15. 恐れのなかに恐るベかりけるは、只地震なりけりとこそ覺えは
ベ（り）しか。
Osore n o n a k a n i o so r u b e k a rik e r u w a, ta d a n a i n a rik e ri to k o so o b o e -
haberiSH lKA .
(//み欲/方丈記，G:33)
I certainly came to realize, what is [most] to be reared a m o n g fears is none
other than earthquakes.
[for reference to 似 / 地震，see the P r e f a c e ，Sect. IV (at n . 15)]
16. 「
•••」と申（し)侍 ( り）しかば、[ 或人 ] 「
•••」とぞ仰せられし。
to m dsh i-h aberiS H IK A ba， [ a m h ito ] to z o d se ra re sh i.
( ぬw M g w s a 徒然草，158:221)
W h e n I said， [a certain person] said, “•••”
[see #14 above]
1 7. からうじて起きて侍りしかば、「
...」とはべりしかども、…
K a r d jite okite-h aberiS H IK A ba， to haberiS H IK A dom o， ".
( M a 如r a 5■ み/^•枕草子 ,83:120)
W h e n I finally got up，although he said, …
辛うじて= ‘ in the end，finally’
]
M R K
NIL
N o t e ：With the verb K U 5^, 4to come,5 and with the verb S U M , sto do' (and
other SAHEN verbs), phonological changes take place— respectively, in the
vowel of the stem and in the vowel of the suffix~~when さ/し is
attached.
狀來
In a word, 々/s/r/ きし（ = た/ [ R Y K of the verb んw] + -s/z/ [ R T K of -AiAs/n])
can become A：似/^•こし（ = ん0 [ M Z K of the verb h/] + -s/w’[ R T K of
-k i/-s h i])9 although both are used (e.g., #18-19 below); hence, k ish i h ito
and k o sh i h ito would both m e a n 4the person w h o came.9
Similarly, きしか can become/r 似/i/A： a こしか， although both are
found (e.g., #20-21 below).
But in both instances, the use of んこし forms predominates.
Nonetheless, the S S K ending -k i (of -k il-sh i) is never used with the verb ku.
191
RYK.6
-K1 爸/-SHI し
51 /爲
For su M — in contrast with A： w 來一 there is no " sh ish f form (= s h i [ R Y K
of the verb su ] + -sh i [ S S K of -k i/-sh i]). Instead, only the form seshi ii:
し（ = 從 [ M Z K of the verb sw] + -■ s/zz.[ S S K of-Ai/づみ/]) is used (e.g”#22
below).
Similarly, there is only the form sesA/A沿せし力、（e.g., #23).
But, sw (unlike 如）does employ the -ん/ S S K ending, forming sみ认 / しき
(e.g., #24).
18 • 來しかた行 (く）す袅、...
A Z S W たato アw たw swe, •.• ((7汾2ゾ/ tor/ 源氏物語，12:2/11)
...what had passed and what was to c o m e (< the direction [in life] by
which one has c o m e and the end to which one is going),...
19.年をへてすみこしさと ...
Toshi o hete sum i-K O SH l sato... (KokimhU 古今集，]^/97V.299)
The village where I have passed [so many] years living until n o w . ..
2 0 • しのびつゞよるこそきしか ...
Shinobi tsutsuyoru koso KISHIKA...
拾遺和歌集，19/1225:218)
[The following are intended to approximate the pun on •き（來 and
% ) and tne different meanings or shinoou (ft!lN -t— j]
Night, w h e n one goes on bearing [feelings of love], has com e ;...
Y o u wore it the night w e trysted (< hid [from the eyes of others]),...
2 1 . •..こしかども ...
. . ( 心た / 似如古今集，18/986:302)
Although I came [here to Nara],...
2 2 . 代々あるは伐、あるひは植継などせしと聞に、…
Yoyo aruwa kiri, aruiwa uetsugi nado SESHI to kiku ni,...
((9んw /zosowz’
c/z/ 奥の細道，79)
Hearing that, for generation after generation, first the felling, then the
continual(jeル lanting [of the tree], had been earned out (く done),",
[arwwa あ。 = arw/wfl あるひ fi]
2 3 • 淀のわたりといふものをせしかば、…
Yodo no watari to iu mono SESHIKAba,...
( M a たwra •枕草子，114:170)
192
RYK.6
-K I き/-S H I し
Because w e crossed on the Y o d o Ferry (< did the i4Y o d o [ferry-]cross-
ing，
，)”..
[for wfl/arz.渡り，see Intro.5.VA, n. 3]
24. 草の根をくひものとしき。
Kusa n o n e o k u im o n o to SHIKI.
w 議 9め加？ 7•竹取物語， 4:37-38)
W e m a d e the roots of herbs our food.
[part of a passage in parentheses in the N K B T ed.]
F O R ADD’L EXAMPLES o f -A7/-AZ•き/し in -wzh•にき f o r m s (i.e.，にき，-«/■?/?/ にし,a n d

-心 / にしか ),seeRYK.4(nikeri,etc.),# 8 - 9 a n d # 1 1 - 1 3 ; M Z K . 1 (zu),# 3 ; RTK.2(nari/explan),
# 1.
L E X A M P L E S o f -AiAs/z/ き / し fo r m s , see M Z K . 2 (zari)，#6; M Z K . 4 ( m u z u /

F o r S T I LL A D D ’
nzu), #2; M Z K . 4 (muzu/nzu), #3; M Z K . 6 (mashi), #5; M Z K . 7 (mahoshi), #6; R Y K . 1 (tari), #6;
R Y K . 8 (tashi), #7; S S K . 4 (meri), #2; S S K . 4 (meri), #3; R T K . 1 (gotoshi), # 1 ; M R K . 1 (ri), #3;
M R K . 1 (ri), #5; Intro.6.PA, #9.
RY K .7
-KEMU けむ /-K E N けん
けむ /-及ETV けん（
y o d a n endings)
NIL NIL -kemu/-ken -kemu/-ken -keme NIL
oo oo けむ/けんけむ/けんけめ oo
けむ /-^£7V けん：Denotes speculation or conjecture about the past,

especially the reasons behind earlier events. Also used to convey hearsay about
the past (e.g., #5 and #9 below). In origins, a contraction of • さ（ of -た/きAy/z/
し [RYK.6]) or -ter/ けり（ RYK.2) + ぬ（ RYK.3). C a n appear mid-sen-
tence as a quasi-parenthetical statement (e.g., #7).
MZK
NIL
RYK
NIL
1....領巾を振りけむ。
…み如 <9ル ’
ァみ/^ 萬葉集，5/872:2/91)
She probably waved her scarf [such that...].
2 . むかしのをとこは、… とはいひけん。
Mukashi no otoko wa,... to wa iiKEN.
土佐日記，1月 17 日:40)
It was probably [faced with such a scene] that a m a n of old said,...
3. 雪の摧けし其處に散りけむ。
Yuki no kudake s h i soko ni chiriKEMU.
’
夕萬葉集 ,2/104:1 /71)
Scraps of snow have probably already fallen there (i.e., where you are).
RTK
4 . 變化の者にて侍 ( り）
けん身とも知らず、…
H e n g e n o m o n o n ite-h a b eriK E N m i to m o s h ir a z u ,...
•竹取物語，2:31)
194
RYK.7
- K E M U けむんK E N けん
I k n o w nothing about m y perhaps being (< m y body/person perhaps being
that of) a transformed being (i.e., s.th. supernatural turned human);...
5 . いにしへにありけむ人もわが如か •••
In is h ie n i ariKEM U h ito m o w a g a g o to k a ...
’
夕み/^ 萬葉集 ,7/1118:2/209)
Is itthe case, that there must have been those in olden times w h o also, like
me, ...?
[for add’l. treatment of part of this passage, see Intro.8.UP, #6]
6 . 千とせやすぎにけん、…
67»7〇^ > ^ 似が>2/^^7\^"(71〇似/7/ん^7土佐日記 ,2月 1 6 日:58)
Could it be a thousand years that seem to have passed?...
[for addU. treatment of this passage, see Intro.7.KM.II (incl.n. 6)
and #3]
7 . 「こなたの人の心地、うち聞きはじめけむ、いかがにくかりけむ」
(<K o n a ta no h ito n o k o koch i, uchi-kiki-hajim eK E M U , ik a g a n ik u k a ri-

KEMU， ” ...
( M d w r a ⑽ sds/n•枕草子，143:203)
t4A s for the rrame oi mind of those on this side, probably the second they
heard [what he c a m e up with by w a y of a riddle], h o w really put out they
must have been!”
[wc/zz-うち = a verb-prefix expressive of lightness/quickness/tran-
science or thoroughness/completeness]
8 . まして、旅の空は、いかに御心つくしなる事多かりけん。
M a sh ite, ta o i n o s o r a w a, ik a n i o n -k o k o ro -tsu k u sh i n a ru k o to okariKEN.
( •源氏物語，10:1/375)
While traveling (< [under] travel siaes), h o w m u c h more numerous the
emotionally trying times must have been.
IZK
9 . 昔こそ難波田舍と言はれけめ ...
M u k a sh i k o so N a n iw a in a k a to iw areK E M E ...
(Maw’ 夕dsto 萬葉集，3/312:1/167)
In the old days indeed, Nan i w a was likely called hinterland, [but n o w ...].
1 0 . さこそはおぼえけめなど、…
S a k o s o w a oboeK EM E n a d o ,… (M a k u ra n o s d s h i 炊草子，
Although they surely must have felt like that,...
195
RYK.7
- K E M U けむ/-K E N けん
1 1 . 「あれはただ人にこそありけめ」と…
(iA r e w a ta d a b ito n i k o s o a r i K E M E ,t o ...
( M a んwra 5^ / 2/ 枕草子，94:145)
“A n d she，surely， was mst a commoner,” …
[ta d a b ito itA • A (also read ta d o to ) = 4a commoner,]
12. さこそ異樣なりけめ。
& たoso んがの^ war/iTjEA/f. ( wrezwr叹 ⑽ a 徒然草，53:133)
[also cited in Intro.4.SX, #48, and Intro.6.PA, #2]
M R K
NIL
FOR ADD’L EXAMPLES o f けむ / けん f o r m s , see M Z K _ 7 (mahoshi), #10; S S K . 1

(beshi), #9.
196
RY K.8
-TASH I i t し
たし（ -K U ADJ. e n d in g s )
-ta k u / -ta k u / -ta sh i -tak i -ta k e re NIL
-tak ara -tak ari
たく/ たく/ たしたきたけれ 00
たからたかり
-7M*S7// たし：Expresses a positive hope or desire in reference to—

(A) the speaker or writer (e.g., #2, #4-5, and #7 below)
(B) the addressee (e.g., #1)
(C) a third person (e.g., #11)
(D) a generalized person (e.g., #6 [with shitashi])
(E) a non-human subject prompting a h u m a n response (e.g., #3)
(F) an impersonally expressed non-human topic, with implied h u m a n
agency (e.g., #6 [tsukaitaki kingen], #8, and #10)
R o u g h English equivalents are as follows—
For A thru D: ‘ I-we/you/he-she-it-they/one want(s) to •..’or
‘I-we/you/he-she-it-they/one would like t o . ’
For E: ‘
the X [noun] that (brings one) to wish to Y [verb] ’
For F: ‘the X [noun] that one would want to Y [verb]’
Mostly medieval and later usage; comes to replace -ma/zos/z/ まほし（ MZK.7).
M Z K
1.八嶋へかへりたくは、…
Yashima e kaeriTAKU wa, ... {Heike monogatari 10.2:2/242)
If you want to return to Yashima,...
[wa は here has the force of ゐa ば，4if]
2 . 敵にあふてこそ死にたけれ、惡所におちては死 (に )たからず。
KataKi m ote koso snmitakere; akusho ni ochite wa shiniTAKARAzu.
wcwoga/an•平家物語，9.9:2/19フ）
W e want to die facing the enemy! W e d o n^ want to die falling in a bad
spot [of difficult terrain].
[かe あふて = form of a w 逢ふ • 會ふ（自、四 )，‘
to meet’+ イe
て， the R Y K of the verb-suffix -なw つ（R Y K . 5)]
197
RYK.8
-TASHI tこし
RYIC
3.蓑見ても旅したく成る春の雨。
Mino mite mo tabi shiTAKU naru haru no ame.
(Masaoka Shiki 正岡子規，“Harusame”春雨）
Besides the straw raincoat in view~~prompting the desire to be on the
road, spring rain.
[Written “ While sick，
”办病中 ]
4 • まづ何事も細かに申したく候ふに、…
Mazu nanigoto mo komaka ni moshiTAKU-saburau ni, ...
(/zaア •十六夜日記 ,3/27:377)
First I wanted to tell you everything in detail, but...
[for addU. treatment of this passage, see mtro.13.RL, #14, and tne
introductory section of Intro.6.PA (where the three uses of 川•に in
pseudo-adjectival constructions are explained, one [#3] illustrated
by b w i a m •細かに )]
5 . 入たかりつれども、…
IriTAKARltsuredomo … （Heike monogatari 平家物語，W.W..2/277)
I wanted to advance (< enter), but...
[for add’
SSK
6 . 若い時には遣ひたき金銀はま、ならず、せんじやうはしたし、我
も人もかならずする事ぞかし。
Wakai toki ni wa tsukaitaki kingin wa mama narazu, senjo wa shiTA-
SHI；ware mo hito mo kanarazu suru koto zo kashi.
(Saikaku 西鶴，好色一代女，5.2:322)
W h e n young, the m o n e y you’
d like to spend is not freelv available, so you
want to indulge in (< do) extravagances beyond your social status— this is
true of everyone (< a thing necessarily done both by oneself and others)!
[senjo = 'extravagance (< presumptuousness) beyond one5s
social status’
]
7. 故鄕の蓴鱸くひたしといひし人もありとか …
Furusato no senro kuiTASHI to nshi hito mo ari toka; ...
(Masaoka Shiki 正岡子規 ,“ Akikaze”秋風）
A n d there’re those w h o ’
ve spoken of wanting (くw h o ’
ve said，
“I want”）to
eat “‘ water-plant’and ‘ sea-bass’delicacies”（i.e.，
reure trom office and go
home);…
198
RYK.8
-TASH I すこし
[此《ん6 蓴羹，‘ water-plant gruel,’and rdaz•鱸膾，‘ sea-bass mince， ’
are edible delicacies traditionally associated with one’
s native region;
by convention, they are spoken of as things one must forgo until re
tirement]
RTK
8 . ありたき事は、まことしき文の道、作文、和歌、管絃の道、…
AriTAKI koto wa, makotoshiki fumi no michi, sakubun, waka, kangen no
michi,...
( 7 ^ 徒然草，1:91)
I’hat which is desirable (く I’hat which one wants to have) is the “w a y ”ot
orthodox letters (i.e., traditional Chinese learning) and the “ways’ ，of
[kambun composition, waka [wnting of 31-syllable poems], and
“pipes and strings”（ i.e.，music);…
[wotoos/z/ 實し（ - しく adj.)= lo be true，orthodox’ ]
9 . 若い時には遣ひたき金銀はまゞならず、せんじやうはしたし、我
も人もかならずする事ぞかし。
Wakai toki ni wa tsukaiTAKI kingin wa mama narazu, senjo wa shitashi;
ware mo hito mo kanarazu suru koto zo kashi.
(Saikaku 西鶴，たw zc/z/ゴa/ 肌z 好色一代女，5.2:322)
W h e n young, the m o n e y y o u M like to spend is not freely available, so you
want to indulge in (< do) extravagances beyond your social status— this is
true of everyone (< a thing necessarily done both by oneself and others)!
[see #6 above]
10.家にありたき木は、松 • さくら。
Ie ni ariTAKlki wa, matsu，sakura. (Tsurezuregusa 徒然萆，\39..207)
The trees one wants to have by one's house are the pine and cherry.
[for add’1.treatment of this passage, see Intro.4.SX，
#23; also cited in
Intro.9.EC, #81
IZK
1 1 . 歸りたければ、••.唾たければ、...
KaeriTAKEREba,neTAKEREba, ... {Tsurezuregusa 60:140)
[for add’1.treatment of tnis passage, see Intro.4.SX, #24]
12. 敵にあふてこそ死にたけれ、惡所におちては死 (に )たからず。
Kataki ni ote koso shiniTAKERE; akusho ni ochite wa shimtakarazu.
(Heike monogakiH 平家物語 , 9.9:2/197)
199
RYK.8
-TASHI t こし
W e want to die facing the enemy! W e d o n ’
t want to die falling in a bad
spot [of difficult terrain].
[see #2 above]
M R K
NIL
200
SSK.1
-B E S H I ベし
- 忍£ ^ が/ べし（
-K U a d j . e n d in g s )
-b e k u / -b e k u / -b e sh i - b e k i/ -b ek ere NIL
-b e k a r a -b e k a r i -b e k a r u
ベく/ ベく/ べしべき/ ベけれ 00
ベからベかりベかる
-5£*iS7// べし：Denotes supposition, conjecture, or expectation based either on

reason or definite evidence, or on what is d eemed natural, fitting, or proper.
Expresses likelihooa, intention, appropriateness, urging, or potential. Covers a
wiae range or meaning, including ‘ can/ ‘ will’f‘ is likelv to’ )，and may.’
Frequently simply underscores an assertion (based on implied evidence or ap
propriateness). Often means 'ought/ 'should/ or 'must,5 and as such can form
an implicit c o m mand: ‘ O n e ought to...’（ > ‘Do...!’ ). W h e n referring to the
speaker, generally has the firm sense of ‘ I shall/will’（ or ‘ Let’
s."’ ). Negative
forms m e a n 'cannot/ 'should not/ or 4D o not...!5 T h e locution -beku mo arazu
ベくもあらず means ‘ there is no likelihood of".， ’‘ there is no potential for
(i.e., no possibility of)."，’or shouldn’t be...’(e.g., #8-10 below).1
N o t e ：-beshi follows the R T K of R a h e n verbs (e.g., aru in #7 and #18, and

warw in #12); and it follows the R T K line”（ see Intro.5) both of verbal
adjectives (e.g., munashikaru in #2) and of a verb-suffix inflected like a verbal
adjective (such as -mahoshikaru in # 1 4 and #20 [part of the verbal adjective,
aramahoshi]). In other words, unless there is ombin (e.g., -bekameri [< -bekaru
+ -meri] in #18-19), -beshi is always preceded by an -u sound.2
It has been argued that, from its debitive sense (‘s.o./s.th. must...’ )， •べし developed its
extended functions: denotation of strong probability ('s.o./s.th. might well...5or 4s.o./s.th. must
have... *) and expression of potential (*s.o./s.th. can/could...5); Vovin, R e f e r e n c e G r a m m a r , pp.
287-288. (Ct. the quite different chart for the development of - b e s h i and its meanings provided
by Ikeda; C/aw/ca/ Japawese，p . 128.) By the same token, -w #/ まじ（ SSK.3)， the negative
counterpart to - b e s h i, is said to have the same three functions, meaning respectively 'should not
do，’ ‘probably would not do，’ and 4cannot do ’ ；Vovin, p. 292.
2 Strictly speaking, the -w was originally part of the suffix -ろ -wゐ烈/»• 宜し • The same is true
of the other post-SSK verb-suffixes—SSK.2 thru SSK.6—all of which are usually preceded by
an -w sound: -ms/z/ らし，-wq/z• まじ，-/wer/ めり，-raww/-ra« らむ / らん， and -war/ (hearsay/
supposition)なり . In each instance, an -w sound was an initial part of the verb-suffix.
201
SSK.1
-B E S H Iべし
M Z K
1• さりぬべくは、…
從" A I / … （ / z w m / m M ： / 和泉式部日記 ,442)
If ifs all right (< If it is so [i.e., If there is no problem]),...
[w<3 は here has the force of ぬば，‘ if]
2. 「
われ都にかへ (ツ)て、高雄の神護寺造立供養すべくは、死ぬベか
らず。其願空かるべくは、道にて死ぬべし」とて、…
"Ware miyako ni kaette, Takao no Jingoji zoryu kuyo suBEKU wa,
shinuBEKARAzu. Sono gan munashikaruBEKIJ wa, michi nite shinu-
beshi” tote...
•平家物語，5 .9:1/362-363)
t4If, returning to the capital,I a m to build and hold services in Jingo
Temple in Takao, then I will not die. [But] if such a desire is (> proves)
pointless, I shall die en route
[wa は here, in both cases, has the force of ば，‘if; べし,
normally preceded by the SSK, here follows the R T K {-kari form)
of munashi (see the N o t e above for clarification); also partially
cited in Intro.5.V A , #12]
3 . この人は下愚の性移るべからず、… 、假にも賢を學 (ぶ )ベからず。
Kono hito wa kagu no sho utsuruBEKARAzu; ni mo ken o ma-
nabuBEKARAzu.
徒然草 ,85:158)
RYK
4 . 戀に堪へずて死ぬべく思へば、…
Koi ni taezute shinuBEKU omoeba， ...（M an’ydshU 萬葉集，4/738: V3Q9)
Whe n , finding love unbearable，I think I’ll surely die,...
[/aw 堪ふ • 耐ふ（自、下二）= ‘ to bear’ ]
5. よるはこえじとやどりとるべく。
Yoru wa koeji toyadori toruBEKU. (KokinshU 古今集 , 名/392••WQ)
Unwilling to cross [the mountain-like hedge outside] at night, you might
take shelter [here].
6 . 恐れのなかに恐るベかりけるは、只地震なりけりとこそ覺えは
ベ ( り）しか。
Osore no naka ni osoruBEKARlkeru wa, tada nai narikeri to koso oboe-
haberishika.
202
SSK.l
-B E S H Iべし
(//み^:/方丈記，G:33)
I certainly c a m e to realize, what is [most] to be feared a m o n g fears is
none other than earthquakes.
[for reference to 地震，see the P reface , Sect. IV (at n . I 5)]
7 . 「さきこえたらましかばいかゞ'あるべかりける」とものすれば
「たがへこそはせましか」とあり。
Sa kikoetaramashikaba, ikaga aruBEKARlkeru,to monosureba, “Ta
ga e koso wa se m a sh ik a ,to ari.
(心职が m •たた/ 靖鈴日記，下 :269)
W h e n I said to him, 4tIf y o u M heard about it (i.e., the taboo direction for
the next day)，what could you have done about it?”he said, “ I’
d surely
have gone someplace else (くhave ‘ done’[i.e., gone to] another area).’ ’
[wowosw 物す（他、サ変）= here，‘ to say s.th.’ ；如他 = ‘ another’；e
邊 = ‘ vicinity, area’ ；also partially cited in Intro. 1 2 . A D ，#8]
8. 去年に似るべくもあらず。
火ozo m 五AI/wo arazw. (/se wowogator/•伊勢物語 ,4:113)
[But] it doesn’
t look at all like (< there is no likelihood/possibility of its
resembling) the year before.
9 . 森などいふべくもあらず、ただ一木あるを、なにごとにつけけ
む。
Mori nado iuBEKU mo arazu; tada hito-ki aru 0, nanigoto ni tsukekemu.
(MaA： wra ■sdsTz/ 枕草子，207:248)
It shouldn't be called a iorest— is it that one attached Ithe name, ‘iorest’
l
to just anything (くto whatever), in spite of there being just one tree?
[(«a 0) /似ん“(名を)付く etc. (f也、下二 ) = ‘ to attach (a name)’(〉‘ to
name’ )；for 0 を，see IntroASX.IV.E (incl.n. 23)]
10.堪ふべくもあらぬわざにもよく堪へしのぶは、たゞ色を思ふが
ゆ袅なり。
TauBEKU mo aranu waza ni moyoku tae-shinobu wa, tada iro 0 omou ga
yue nari.
徒然草，9:96)
Her enduring (< bearing and enduring) well even the unbearable (< things
w m c h it is not possible to bear) is simply because her mind (< her tmnk-
ing) is on love.
[/aw 堪ふ（自、> 一）= ‘ to bear’ ；waza 業 = ‘ 仕ling, matter’
;アwe 故 =
‘the reason (why or for)’ l
203
SSK.l
-B E S H Iべし
SSK
11. かぜふきぬべし。
Kaze fukinuBESH I. (Tosa n ik k i 土佐日記，1月 17 日:40)
The wind will surely blow (> Ifs going to storm).
12. 「
此一門にあらざらむ人は皆人非人なるべし」と...
^Kono ich im o n n i a ra z a r a m u h ito w a m in a n in b in in naruBESHI, to ...
(//efe w 猶が a n •平家物語，1.4 :l/9〇_9 l)
“Those w h o are not (く m a y not be) of this house will all be (> count for)
less than huma n s (く will surely all be, as ‘humans， ’non-humans)， ’
’ ...
[ichimon = ‘ a house, clan’（ like the Capulets，McCoys, or
Heike); -Aes/z/ へし，normally preceded by the SSK, here follows
the R T K of the copula nari (see the NOTE above for clarification)]
13. 「
われ都にかへ (ツ)て、高雄の神護寺造立供養すべくは、死ぬベか
らず。其願空かるべくは、道にて死ぬべし」とて、…
^Ware miyako ni kaette, Takao no Jingoji zoryii kuyd subeku wa,
sninubekarazu. Sono gan munashikarubeku wa, michi nite shinu-
B ESH I.”
•平家物語，5.9:l/362_363)
tcIf, returning to the capital,I a m to build and hold services in Jingo
Temple in Takao, then I will not die. [But] if such a desire is (> proves)
pointless, I shall die en route!,9
[see #2 above]
RTK
1 4 . 心のうちには、「あらまほしかるべき御事どもを」と、思へど、…
K o k o ro no uchi ni w a, “A ra m a h o s h ik a ru B E K l o n -k o to d o m o 〇， ” to
o m o e d o , ...
((7巧 // 源氏物語 ,47:4/385)
Although in her heart she thought, “It (i.e., the proposed match) is just
what one would wish for (く a matter that is ideal)， ”but...
[for o を，see Intro.4.SX, n. 23; た/ へさ，normally preceded by
the SSK, here follows the R T K {-k a r i form) of (a r a )m a h o s h i (see
the N o te above for clarification);]
1 5 . 「あしこに籠もりなむ後、又、人には見え知らるべきにもあらず」
と思ひて、...
(tA sh iK 〇m k o m o r in a m u n o c h i, m a ta h ito m w a m ie -sh ira ru B E K I m m o
a r a z u , to o m o i te ,...
•/
ノ加 r/ 源氏物語，34:3/284)
204
SSK.l
-B E S H Iべし
A n d thinking， “After I seclude myself there, I w o n ’
t be seen nor will [my
whereabouts] be k n o w n by anyone,”…
[ k w o r w 籠る • 隠る（§、四）= ‘ to act as a recluse’ ;⑽ :/n•後 here,
a noun; for add’ l. treatment of part of this passage, see Intro.9.EC,
#13]
16.. ..しるべかるらん。
... ( 尺《がたん/ 蜻鈴日記，下 :281)
I have a pretty good idea [how tinged your words are with flattery].
[-raww らむ/ - らん，normally preceded by the SSK, here fol
lows the R T K (-んan. form) of (see the M o t e at the beginning
o f S S k . 5 [ramu/ran] ror clarification)]
17.はつゆきとこそいふべかるらん。
Hatsu-yuki to koso iuBEKARUran.
HY7んos1/^ 金葉和歌集，1/7:158)
O n e might well call it “first snow”！
[for add’l. treatment of this passage, see Intro.9.EC.VIII]
18.. ..例ども、あるべかめり。
…rei-domo aruBEKAmeri. (Genji monogatari 源、氏物語 ,34.3/298)
There seem to be examples of...
[ombin change: -bekaru + -meri > -bekameri]
19. 人はおもふやうなりと思ふべかめり、…
Hito wa omou vo nari to omouBEKAmeri,...
(ATagerJ« / んん/ 蠕鈴日記 , 上 : 160)
People probaoly thought things had gone as I wished;...
[omoin change: -bekaru + -men > -bekameri\
2 0 . 人は、かたち •ありさまのすぐれたらんこそ、あらまほしかるべ
けれ。
Hito wa, katachi arisama no suguretaran koso aramahoshikaruBE-
KERE.
似徒然草，1:90)
to r men, a figure and a manner that excel are indeed ideal.
[-ゐeたere ベけれ，normally preceded by the SSK, here follows the
R T K (-kari form) of {ara)mahoshi (see the N O T E above for clari
fication)]
205
SSK.l
-B E S H Iべし
2 1 . もののはずかしきこと數知らず、涙も落ちぬベければ、…
Mono n o h a zu k a sh ik i k o to k a zu sh ira zu , n a m id a m o och inuB E K E R E ba,...
(A/a/rwra sか/z/ 枕草子，184:229)
Since I was on the verge of tears because of so m a n y embarrassing
things,... (< Because tears could well fall, the num b e r of embarrassing
things being unknowable [i.e., beyond count],...)
2 2 • 心憂く見ゆべけれど、…
Kokoro-uku m iyuB E K E R E cb,… （Makum no sdshi 枕草子，26 名•211、
Although presumably they looked on with grief(< in a heart-grieving kind
of way),...
[for add’l. treatment of this passage, see Intro.4.SX, #27]
M R K
NIL
F o r ADD’L EXAMPLES o f •べし f o r m s , s e e M Z K .P C H .3 (s h im u ) , # 6 ; S S K .3 (m a ji) , # 3 ;

R T K .1 (g o to s h i), # 7 ; M R K .1 (ri), # 2 ; In tro .7 .K M , # 1 8 .
SSK.2
-RASH I b し
らし（
-SHIKU ADJ. endings)
-rashikara -rashiku -rashi -rashi/-rashiKi -rashi NIL
らし 00
-ZM57// らし：In early texts, expresses conjecture about a situation (or about
the cause or degree of a given situation) based on objective circumstances, but
where clear proof or evidence is lacking. Hence, it is weaker than -beshi ^ L
(SSK.1),which expresses supposition based on definite evidence, but less sub-
jective than らむ /らん（SSK.5) (and stronger than M J -ms/z// らし
V ヽ)• In the Nara and Heian periods, used only in poetry (per the ’
ア s/zw
and Kokinshu citations below). In later usage (see the other citations), more
likely to indicate resemblance than conjecture. T h e んar/ line”inflection (see
Intro.5), -rashikara, appears only in the later language.
N o t e ：-rashi follows the R T K of R a h e n verbs (e.g., aru in #13) and of verb-

sufFixes with R a h e n endings (e.g., +naru [RTK.2] in #7); and it follows the
R T K んan. line”of verbal adjectives (e.g.， in #12). In other words,
unless there is ombin (e.g., +narashi [< -\-naru + -rashi] in #7 and samukarashi
[samukaru + -rashi] in # 12), -rashi is always preceded by an -u sound.1
N ote also that -rashi forms can follow nouns (e.g., #1-3 and #9-10).
M Z K
1 . 女の女らしからざる、男の男らしからざる、共に天然の道に背き
て醜き事の頂上なり。さりながら女の女らしからずして神らし
きと、男の男らしからずして神らしきは、共に尊き頂上ぞかし。
Onna no onna RASHIKARAzaru, otoko no otoko RASHIKARAzaru, tomo
ni tennen no michi m som m ite miniKuki koto no chojo nan. Sarinagara
onna no onna RASHlKARAzushite kami rashiki to, otoko no otoko
RASHlKARAzushite kami rashiki wa, tomo ni tattoki chojo zo kashi.
(Kada R o h a n 幸田露伴，7^/ ゐ對髑髏，2 :1 53)
A w o m a n not acting (< being) like a w o m a n and a m a n not acting like a
man, both going contrary to nature, are the zenith of repulsiveness (<
repulsive things). At the same time, a w o m a n w h o though she does not
act like a w o m a n is god-like, and a m a n w n o though he aoes not act like
1See S S K .1 (beshi ), n .2.
207
SSK.2
- R A S H I らし
a m a n is god-like, are both truly the zenith of venerableness (< being-
venerable [kind of] zenith).
[kashi L = final particle of strong emphasis]
RYK
2 . 白髪に添髪して後家らしく作りなして、…
Shiraga ni soegami shite goke RASHIKU tsukuri-nashite,...
(Saikaku 西鶴 , /c/n•ぬ / 好色一代女 , 6.3:355)
Adding some [dark] locks to m y white hair and dressing up to look like a
widow,...
3. 嘘らしくなく …
Uso RASHIKU naku."
(KGda Rohan 幸田露伴，7b/ 對髑髏，1:142)
It truly (< It not being lie-like)...
SSK
4. 春は來ぬらし。
//arw w a Aiww/L457//. ( M / « > み/^ 萬葉集，10/1814:3/55)
[for add?l. treatment of this passage, see Intro.9. EC, #3]
5 . 春立ちぬらし ...
/ac/z/mz/JAS///." 萬葉集，10/1819:3/55)
Spring, it seems, has begun;…
6 . よはふけぬらし ...
Yo wafiikemiRASHf;… （Kokinshil 古今集 , 4/192: MQ)
Night seems to have deepened;...
[also cited in Intro.2, n. 2]
RTK
7. 是に稲つみたるをやいな船といふならし。
Kore ni inatsumi taru o y a inaoune to m+naRASHL
(Bash6 色蕉， (9んw 奥の細道，87 )
Ones like this, loaded with nee sheaves, are perhaps what [once] was
meant by inabune ('rice boats,).
[ombin change: -\-naru + -rashi > narashi (see the N O T E above); the
term いな船 had appeared in the 古今集，2 0/
1092:328]
208
SSK.2
- R A S H I らし
8. うつせみも孀をあらそふらしき。
Utsusemi m o tsu m a 〇arasouRASH lKI. (Man’y dsha 萬葉 :集， ]JYy.VYl)
[Like the gods] w e mortals too, it seems, quarrel over our spouses.
9. 跡取らしき者も見えず。
A to to r i RASHIKI m o n o m o m iezu .
(Saikaku 西鶴，尺 zc/zzJa/ 好色一代女，3.1:261)
[In the funeral procession] no one was in sight w h o even looked like the
heir [to the deceased].
10. 仁体らしき人をつれきて、…
Jintai RASHIKI hito o tsure-kite,...
(Saikaku 西鶴 ,欠み好色一代女，6.3:356)
She c a m e along, a prepossessing-looking m a n in tow;...
11. 女の女らしからざる、男の男らしからざる、共に天然の道に背き
て醜き事の頂上なり。さりながら女の女らしからずして神らし
きと、男の男らしからずして神らしきは、共に尊き頂上ぞかし。
Onna no onna rashiKarazaru, otoko no otoko rashikarazaru, tomo ni
tennen no michi m somukite mimkuKi koto no chojo nari. Sarinagara
onna no onna rashiKarazushite kami RASHIKI to, otoko no otoko ras-
hikarazushite kami RASHIKI wa, tomo ni tattoki chojo zo kashi.
(K6da R o h a n 幸田露伴，:Ta/ゐんw r o 對髑髏 ,2:153)
A w o m a n not acting (< being) like a w o m a n and a m a n not acting like a
man, both going contrary to nature, are the zenith of repulsiveness (<
repulsive things). At the same time, a w o m a n w h o though she does not
act like a w o m a n is god-like, and a m a n w h o though he does not act like
a m a n is god-like, are both truly the zenith of venerableness (< being-
venerable [kind of] zenith).
[see # 1 above]
LZK
12.秋のよはつゆこそことにさむからし ...
Aki no y o w a tsu yu k o so k o to ni sam ukaR A SH l , ...
(心ん/似/^舍今集，
4/199:141)
It is on an a utumn night that d e w seems particularly cold;...
[om D in change: sa m u k a ru + - r a s h > sa m u k a ra sh i (see the N O T E
above)]
SSK.2
-RASH I らし
13••.•人こそあるらし、…
…hito koso aruRASHf,… （Kokinshii 古今集，17/923:288)
There must be someone [who]...
[see the N o t e above]
M R K
NIL
SSK.3
-M 4J/ まじ
-M 4 7 7 まじ（
-SH1KU ADJ. en d in gs)
-m ajiku/ -m ajiku/ -m aji/ -m ajiki/ -m ajik ere/ n il
-m ajikara -m ajikari -m ai -m ajii -m aikere
まじく/ まじく/ まじ / まじき/ まじけれ/ 00
まじからまじかりまいまじいまいけれ
-M4J/ まじ：The negative counterpart of -ゐey/z/ べし（ SSK.l). Apart from

negative conjecture (e.g., #9 and #15 below), negative hypothesis (e.g., #1),
negative certainty (e.g., #2), and negative intention (e.g., #11), can also exoress
prohibition (negative suitability) (e.g., #8 and #13) and impossibility (negative
probability) (e.g., #16).' Found only in prose. Although used in Heian times,
comes to replace プ•/ じ（ M Z K . 5 ) in the medieval period，w h e n S S K -ma/ まい
(the source of M J -wa/ まい ),R T K -wq/7/ まじい，and I Z K - w a //:のでまいけ
れ emerge.
N o t e : -w q/7 まじ fo llo w s the R T K o f R a h e n verbal e lem en ts (e .g . ， # 3 , # 8 -1 0 ,

and # 1 6 b e lo w ); in other w ord s, it is alw a y s p reced ed b y an -u so u n d .12
M Z K
1 . まいるまじいか。參るまじくはそのやうをまふせ。
Mairumajii ka. MairuMAJIKU wa, sono yd o mdse.
(//の知 wtwoga/an•平家物語，1.6:1/99-100)
Aren’t you going to come? If you aren’
t coming, say so!
[而は here has the force of ゐa ば，‘ if; for the likely pejorative force
of the ‘humble’verb w d s w 申す here (‘ to say [to a superior]’ )，see
Intro.13.RL，n . 13]
2 . およぶまじからむ際...
OyobuMAJlKARAmu kiwa••• (Makum no sdshi 枕草子，26 名..276)
[A w o m a n whose] status he cannot possibly approach...
[女/w a 際 = here, ‘status, so c ia l p o sitio n ’]
1 See also the end of SSK.l (beshi),

2 See SSK.1 (beshi), n. 2.
211
SSK.3
- M 4 J I まじ
RY"IC
3 . おのづから、さるまじくあだなるさまにもなるに侍るべし。
Onozukara saruMAJIKU, ada naru sama ni mo naru ni haberubeshi.
(Murasaki Shi/cibu nikki 紫式部 B 記 , 496)
A s a matter ot course, not being at all like that (i.e., as superior as they
m a k e themselves out to be), they surely end up looking untrue (< end up
even in an untrue state).
[aJa war/ 徒なり（形動ナリ）= ‘ to be insubstantial; useless; untrue’
]
4 . ここにても、人は見るまじうやは。
Koko nite mo, hito wa miruMAJOya \m. (Makura no sdshi 枕草十，名A9)
Don’
t the people here see you as well?
レw わ change: wq/7んw まじく > まじう；夕a w a やは，ex
pressing irony, doubt，or a question, generally follows the R Y K oi
-maji]
5 . 女のえ得まじかりけるを、…
Onna no e-wMAJfKARfkeru 〇, • • • （Ise monogatan •伊勢物語，
6:U4)
[A m a n courted] a w o m a n w h o was impossible to win (< one a m o n g
w o m e n w h o was impossible to obtain)...
[for addi. treatment of this passage, see Intro.12.AD.Ill (incl. #12);
for o を，see Intro.4.SX，n. 23 (citing Intro.4.SX，#40)]
csk
6 . 唐の物は、藥の外は、なくとも事缺くまじ。
Kara no mono wa, kusuri no hoka wa, naku tomo kotokakuMAJl.
(TIswMzwregwsa 徒然草，120:186)
A s for goods from China (< the Tang), apart from medicine, even ifthere
weren’ t any, nothing would likelv be lacking.
[ん〇/(9んah / 事缺く（自、下二）= ‘for s.th.to be lacking’；r e んw /owe)
なくとも， see Intro.4.SX，n . 19]
7•..•、さもおぼゆまじ。
...,s a mo oboyuMAJl. (Makura no soshi 4 1 :90)
"• [it] certainly wouldn’ t be considered so.
[for add’ 1.treatment of this passage, see Intro.4.SX, #30]
8.すべてその儀あるまじ。
Subete sono gi aruMAJl.
平家物語，1.6 :1/98 and l.6 :1/101)
That w a y of handling things will not do!
212
SSK.3
-M4J/ まじ
[5W& 纪すべて = here, M J けっして；in the second e x a m

ple，scwo 其 is used instead of sow? その ]
9 . こなた、住吉の祭を見さしやった事が有まい。
Konata Sumiyoshi no matsuri o misashatta koto ga aruMAI.
(Saikaku 西鶴 , 尺 / W J a / ow7a 好色一代女 ,4.4:306)
I suppose you’ve never seen the Sumiyoshi Festival hereabouts.
[w/sw見す（他、四）= M J /«• ご覧になる1
10.弱いお方ではあるまいと存じたに、…
Yowai o-kata de wa aru M A I to zonjita ni,...
(Kada Rohan 幸田露伴 , 7b/ゐ yb/n?對髑髏 ,2:152)
Although I thought you weren’ t likely a w e a k person,…
PTF"
1 1 . まいるまじいか。參るまじくはそのやうをまふせ。
MairuMAJll ka. Mairumajiku wa, sono vo o mdse.
(//の知肢woga/an•平家物語，1.6:1/99-100)
Aren’t you going to come? If you aren’
t coming, say so!
[see #1 above |
12. うちとくまじきもの。
Uchi-tokuMAJlKl mono. (Makura no sdshi 枕草子，3Q5:3\A)
“Things one cannot be inattentive about” [Title of a section in the work]
[wc/z/-/0んw 打ち解く（自、下二）= ‘ to be negligent about, inattentive
about, not on one’s guard about’ ]
13• 後世を思はん者は、糂汰瓶 …(つ )も持つまじきことなり。
Gose 〇omowan mono wajinda-game hitotsu mo motsuMAJlKl koto nari.
徒然草，98:168)
For one thinking of the afterlife, even a single rice-bran miso-\)〇X is
something he shouldn’
t possess.
[/•/Wa-gawe 糂汰瓶 = ww/ra-w/so-gawe 糠味嗜瓶，‘ rice-bran w /奶-
pot’]
IZJK
14• え止むまじければ、…
E-todomuMAJIKEREba， • • • （ Taketori monogatari 竹取物語 , 9:64)
Since she (i.e., the old w o m a n ) was unable to detain her (i.e., Kaguya-
hime),…
[for add’ l. treatment of this passage, see Intro.12.AD.III (incl.#10)]
213
SSK.3
- U 4 J / まじ
1 5 . さて冬枯のけしきこそ、秋にはをさ / \ おとるまじけれ。
S ate, fu v u g a r e n o k e sh ik i k o so a k i n i w a o s a - o s a otoruMAJIKERE.
( 徒然草，19:106)
Well,a scene of winter decay is scarcely inferior (< hardly likely to be in
ferior) to one ot autumn!
[osa-osa をさ / \ + neg. = ‘ scarcely, hardly’ ]
1 6 . よもや思ふてゞ'は有まいけれど、…
Y o m o y a o m o te d e w a aniM A lK E R E do , ...
(む如み /zcw 仮名手本忠臣蔵，6:329)
Although it’
s most unlikely you thought [of doing that]，
".
[ y o w q y a よもや = M J んew /// 纪けつして ]
MRK
NIL
F o r ADD’L EXAMPLES o f -w q // まじ form s, see RTK.2 (nari/explan)，

#4; Intro.7.KM，
#19.
SSK.4
-M ER1め '0
- M E / ? / めり（ RAHEN e n d in g s )
NIL -m e r i -m e r i -m e r u -m e r e NIL
oo めりめりめるめれ oo
めり：Indicates tentative supposition about the nature of observed

phenomena (and by extension, of phenomena in general): something or s o m e
one 'seems.. Mooks as if.. or 'might be seen as../ Also used for polite indi
rection: 4It would appear that...5 or 4It seems that...5 Mostly Heian usage.
Found almost entirely in prose; cf. -ra sh i L (SSK.2), which is used in Nara
and Heian poetry.
N o t e : -wer/ めり follows the R T K of R a h e n verbal elements (e.g., #1-5, #8,

and #12 below). Except where there is o m b in , which is frequent with this verb-
suffix (e.g., -b e k a m e r i or -b e k a n m e ri [< -b e k a ru + -meri] in # 1 and #4; a m e r i [<
aru + -m e ri] in #2, #3, and #12; and +nameri or -^nanm eri [< -\-naru + -meri] in
#8), -m e n is otherwise preceded by an -u sound.1
MZK
NIL
RYK ( f o r a ll th r e e e x a m p l e s , s e e th e N ote above)

1.人はおもふやうなりと思ふべかめり、…
H ito w a o m o u y o n a r i to om ou bekaM E R l , ...
m M z •蜻鈴日記，上 :160)
People probably thought things had gone as I wished;...
[o m b in change: -beK aru + -m e ri > -b e k a m e ri \
2 • かくあめりき、…
ぬん“aA/£7?/A7;… （ X a g e r S m M / 蜻鈴日記，下 :263)
It went something like this:... (< There was, it seems, thus:...)
[o m b in change: a r u + -m e r i > a m e ri]
3. •••などあめりしほどに、…
••• ゴ0 aA/E/?/?/?/心ゐ《/,•••(尺agerJ w •んん/ 蠕鈴日記，下 :263)
1 S e e S S K . 1 (beshi), n. 2.
215
SSK.4
-M E R I 納
A n d so, like that, [they grew further apart and]...
[ombin change: aru + -meri > ameri]
SSIC
4. •••例ども、あるべかめり。
… ra •-ゴowe? ん (Ge が叹 a/ar/ 源氏物語，34:3/298)
There seem to be examples of...
[o m b in change: -b e k a ru + -m e ri > -b e k a m e ri (see the N O T E above)]
5 . 京極の屋の南むきに、今も二本侍るめり。
K y o g o k u n o y a n o m in a m i-m u k i ni, im a m o fu ta -m o to haberuM ERI.
徒然草，139:207)
Evidently two [plum] trees are still there on the south side of his Kyog o k u
residence.
[for addM. treatment of this passage, see Intro.13.RL, #7; see also the
N o t e above]
6.おかれぬめり。
(9ん及 /. (7b5*a 土佐日記，1月 7 日:34)
It seems he set it d o w n (> transcribed it [i.e., the poem] to keep).
[for add’ 1.treatment of this passage, see Intro.8.UP, #9]
7• 物のぞきの心もさめぬめり。
M o n o -n o zo k i n o k o k o ro m o sam enuM ERI.
ゾ/• 源氏物語，4 :1/134)
A n d her desire to peek [< mind for peeking at things] had apparently
cooled.
た/•視き = n. ‘peeping or peeking’(see Intro. 5.V A ，n. 3); sa-
w w 冷む（自、下二 ) = ‘ to cool’]
8.「忘れぬるなめり」と…
“W a s + «aA/£7?/, ”め… （ /從 •伊勢物語，36:132)
“It seems you have indeed forgotten [me],”…
[owZ?/>7 change: + -wer/〉 (see the N O T E above); for
explanation or the olus-sign preiix (+), see SSK..6 (nan/hearsay), n.
1]
RTK
9.わが身は今ぞ消えはてぬめる。
Wagami w a im a z o kie-hatenuM ERU.
(/se wcwoga/ar/•伊勢物語，24:128)
It seems, soon I will be gone without a trace.
216
SSK.4
-METひめり
[ ぬ -/?a/Sw 消え果つ（自、下二） = ‘to b e c o m e e x tin g u ish e d ’
；for
addM. treatment of this passage, see Intro.12.A D , n. 5]
1 0. あやしからん女だに、いみじう聞くめるものを。
Ayashikaran onna dani, imiju kikuMERU mono o.
枕草子，33:76)
Even w o m e n of low birth, it seems, listen intently [to Buddhist sermons],
[aアos7?/ 賤し（ - しく adj.) = ‘ to be of low (or humble) birth (or
station)’ ；f o r 0 ものを，see IntroASX, n. 23]
11. 人げなき恥を隠しつ、、交らひたまふめるを、…
Hitoge-naki haji o kakushi tsutsu, majirai-tamauMERU 〇,...
wowoga/ar/ 源氏物語，1:1/37)
Although she seemed to be interacting with them, all the while concealing
her shame at the inhuman treatment,...
[for addM. treatment of this passage, see Intro.4.SX, #41]
IZK
12• 「もののあはれは秋こそまされ」と、人ごとに言ふめれど、それも
さるものにて、今一きは心も浮きたつものは、春の景色にこそあ
めれ。
'Mono no aware ' wa aki koso m asare,to, hitogoto ni iuMEREdo, sore
mo saru mono nite, ima hito-kiwa koKoro mo uki-tatsu mono wa, naru no
keshiki ni koso aMERE.
徒然草，19:104)
Although it is generally held that “For the ‘ pathos of things， ’autumn is
supreme” 一 and that m a y well be the case一 what n o w makes the heart
go all aflutter (くpalpitate to another level), it seems, are spring scenes!”
[ombin change: aru + -mere > amere (see the N o t e above)]
13.我がともの人、わづかに、「•••」などいふめれば、…
Wagatomo no hito, wazuka ni " nado iuMEREba, ...
靖蛉日記 , 中 :2 0 1 )
W h e n m y men, it seems, had simply said, •
MRK
NIL
SSK.5
-RAMU らむ/-RAN h ん
-/L 4 ルf i / らむ/-兄47V らん（ YODAN en d in gs)

NIL NIL _ramu/-ran -ram u/-ran -ram e NIL
oo oo らむ/らんらむ/らんらめ〇〇
らむ/-/^TV らん：A verb-suffix of conjecture about the present, past，

or future, or about the cause or reason ror an observea situation or for a state al-
ready underway. Weaker than -ゐes/z/ べし（ SSK.l), which expresses suppos卜
tion based on definite evidence, and more subjective than ザらし（ SSk.2).
Similar to -mul-n (MZK.3); but whereas -mui-n can express intention or
an indirect request, -ramul-ran cannot. Often offers a conjectural answer to an
implied (ifonly rhetorical) question~~or poses a weak rhetorical question. Also
used for polite indirection and to relate secondhand information. In early texts,
primarily used in poetry.
N o t e ：-ramul-ran fo llo w s the R T K o f R a h e n verbal ele m en ts (e .g ., aru in # 2

[and fiv e other ex a m p les] b e lo w , and -bekaru [from the ^-kari o f a verb-
su ffix in flected lik e a verbal a d jective] in # 6 ); in other w ord s, it is a lw a y s pre
ced ed b y an -u so u n d .1
N o t e ALSO：This verb-suffix -ramul-ran, which follows the SSK (or the R T K

of R a h e n verbal elements), is not to be confused with the apparent verb-suffix,
-raww/-ra«, formed by combining -ra ら（ the M Z K of -r/ り [MRK.l])
+ -ww/-« む/ん（ the S S K or R T K of む/ん [MZK.3]); the latter follows
the MRK. See Intro.9.EC.VII, esp. #15-16, and the para, introducing them.
MZK
NIL
RYK
NIL
c s k
1.子泣くらむそを負ふ母も我を待つらむそ。
Ko nakuRAMU, so o ou haha mo wa o matsuRAMU so.
(Man ’
夕ゐ如萬葉集，3/337:1/177)
1 See SSK.1 (beshi), n. 2.

218
SSK.5
- R A M U らむ/-R A N らん
The child is probably crying, and the mother carrying it on her back
probably also waiting for me.
[final奶そ = here, zo ぞ ]
2 . 定謀反の心もあるらん、…
Sadamete muhon no kokoro mo amRAN,...
(//e/んe/w(胤 ^ fl/ar/ 平家物語，12.4:2/385)
[Yoritomo 頼朝 felt that Yoshitsune 義經 ] surely was plotting rebellion
(< for sure, he in all likelihood had a heart of rebellion);...
3 . 鐘の聲には、生死の眠をさますらんとも覚たり。
Kane no koe ni wa, shoji no neburi o samasuRAN to mo oboetari.
(//ez•たe •平家物語，10.10:2/2 フ3 )
H e felt that, with the sound of the bells [for early-morning Buddhist devo
tions], there might be an awakening (> he might be awakened) from the
slumber of life and death (i.e., samsara, the cycle of transmigration).
4 . たゞ'の時はかたきも用心すらん。
Tada no toki wa, kataki mo yojin suRAN.
(/fo知 •平家物語，11•1:2/306)
In normal weather, the e n e m y will likely be on guard.
5. 此邊にもあるらんぞ。
Kono hen ni mo aruRAN zo. (Heike monogatari 平家物語，9A:2/\17)
They must be around here.
6. •..しるべかるらん。
… (幻3がが《/从7•蠕鈴日記，下 :281)
I have a pretty good idea [how tinged your words are].
[a lso cited in In tro.5.V A , # 1 0 ; se e a lso the N o t e ab ove]
RTIC
7• 舟乘りすらむ撼燸らが ...
FunanorisuRAMUotome-raga,… （
Man’ydshU 萬葉集，\/4Q..\/33)
The young w o m e n probably n o w going aboard...
[otome = '(court) maidens' or 'young w o m e n f o r funanori
乘り，see Intro.5.VA, n. 3; for add’ l. treatment of this passage, see
Intro.9.EC,#16]
8 . その聞きつらん所にて、きとこそはよまましか。
Sono kikitsuRAN tokoro nite, kito koso wa yomamashika.
枕草子，99:152)
SSK.5
-R A M U らむ/-R A N らん
At the time you seemed to be listening so [to the cuckoo], I wish y o u ’
d
dashed off a p o e m right then.
[ t o o きも = M J m •急に ;少o/m/詠む •讀む（他、四）= ‘ to com-
pose a p o e m ’
]
9.此中にはなんぢぞあるらん。
Kono uchi ni wa nanji zo aruRAN.
(/to•たe w c w o g •がar/ 平家物語，6.10:1 /417)
Y o u seem to be the [only] one here!
[namely, the only one up to killing the ghost that nas appeared]
1 0 . 「あ(ッ)ぱれこの山の案内者やあるらん」と…
“Appare， kono yama no annaisha ya aruRAN,” to …
(//以知平家物語，9.9:2/197)
4tFor heaven5s sake, there must be s o m ebody w h o kn o w s these m o u n
tains !,9
天日青れ= ‘ for heaven’s sake ]
11• なきわたるかりの涙やおちつらん、…
Naki-wataru kari no namida ya ochitsuRAN, ...
{Kokinshu 4/221:145)
Aren’t they tears fi*om wild geese crying out as they pass by that I take to
nave fallen?…
[似 h-watorw 鳴き渡る（_ 、四）= ‘ to cross over (or cross by) while
crying out’ ]
IZK
12. さこそあるらめ。
ぬたoso wcwoga/an•平家物語，l2 _7 :2M 〇2 )
It’
d be just like that.
13. ふるさとは雪とのみこそ花はちるらめ。
Furusato wa yuki to norm koso hana wa chiruRAME.
(むん/瓜/ ^ 古今集，2/111:124)
In the old town, cherry blossoms are probably scattering like snow.
14. 忘 (れ )草生ふる野べとは見るらめど …
Wasure-gusa dru nobe to wa miruRAMEdo, ...
(/se •伊勢物語，100:170)
Although [I O R m y heart] m a y look like a field covered with “forgetting
grass,”…
[waswre-gwsa 忘れ草 = ‘ forgetting grass’= a kind of day-lily]
220
SSK.5
- R A M U らむ/-R A N らん
1 5 . しくしくに思はず人はあるらめど ...
Shiku-shiku ni omowazu hito wa aruRAMEdo,...
( M w > か/^ 萬葉集，13/3256:3/353)
Tnough I hazard she scarcely thinks [or me] (< Although there probably is
one who, not thinking rrequently [〇i me]),...
MRK
NIL
FOR ADD’LEXAMPLES o f らむ/らん form s, seeMZFL4 (muzu/nzu), #13; SSFL1

(beshi), #17.
221
L
SSK.6
-似 /?/ なり hearsay/supposition
なり（h earsay /su p p o sitio n ) (RAHEN endings)

NIL NIL -n a n -naru -n are NIL
oo oo なりなるなれ oo
-飽似なり：This is the ‘ hearsay/supposition’-war/ なり，which relates (A)

hearsay or (B) a general supposition or impression based on partial or imagined
sensory clues.
It is especially important to distinguish the "hearsay/supposition" -nari,
which follows the SHUSHIKEI,from the 'explanation!affirmation" -\-nari, which
follows the R e n t a i k e i (RTK.2).1 See Intro.10, “
A^rz•なり Headaches， ”for
discussion of the various nari's that the thearsay/supposition, -nari might be
confused with.
N o t e ：The thearsay/supposition, -nari follows the R T K of Ra h e n verbs (e.g.,

#8 and #10 below). In other words, unless there is ombin (e.g., a-nari or an-nari
[< aru + -nari]), this -nari is always preceded by an -u sound.12
M Z K and R Y K
NIL
1.明日香には千鳥鳴くなり …
Asuka ni wa chidori naku-NARI，• • • （M an’ydshii 萬葉集，3/268:1/155)
In Asuka, where 1 take it plovers are singing,...
1 N o te th e ro m a n iz a tio n c o n v e n tio n fo llo w e d in th e H a n d b o o k : p o s t-S S K (h e a rs a y /s u p p o s itio n )

-nari fo rm s a re p re c e d e d b y a hyphen p o s t-R T K ( e x p la n a tio n /a ffir m a tio n ) +nari ro rm s a re
p re c e d e d b y a p /w s «s/g/7 In o th e r w o rd s , all o f th e r o m a n iz e d q u o ta tio n s in th is s e c tio n (S S K -6 )
in c lu d e a h y p h e n , a n d all o f th e ro m a n iz e d q u o ta tio n s in R T K .2 in c lu d e a p lu s s ig n . ( # 4 b e lo w ,
w h ic h h a s b o th k in d s o f nari, e m p lo y s b o th ty p e s o f ro m a n iz a tio n .)
N o te a ls o th a t w h e n a v e rb -s u ffix « a r / なり fo llo w s a YODAN， K a m i ICH1DAN，
o r SHlMO KThH-
DAN v e rb (w h e re th e S S K a n d R T K a re th e s a m e ), o r w h e n it fo llo w s a RAHEN v e rb -e n d in g (a n d th e
n o rm a lly p o s t-S S K 'h e a rs a y /s u p p o s itio n ，なり d e m a n d s a p re c e d in g R T K fo rm a n d s o b e
c o m e s in d is tin g u is h a b le fro m th e ‘e x p la n a tio n /a f f ir m a tio n , + « a n •なり th a t a lso fo llo w s th e R T K ),
c o n te x t a n d /o r th e w e ig h t o f re c e iv e d s c h o la rs h ip m u s t d e te rm in e w h e th e r th e nari is o n e o f
h e a rs a y /s u p p o s itio n o r o f e x p la n a tio n /a ffirm a tio n ; e .g ., In tr o .9 .E C , # 1 9 (a ls o c ite d a s # 7 b e lo w ).
2 S e e S S K .1 ( b e s h i) , n . 2.
222
SSK.6
-ノ
V/4/?/ なり（
hearsay/supposition)
2 . 人 /''\、あかる、けはひなどすなり。
Hitobito a k a ru ru kewai nado su-NARI.
膨源氏物語，3:1/113)
It seemed that [the g a m e of ^ was overl from such indications as that
people u.e., the w o m e n oresent) were leaving.
離る •另ljる（自、下二）= ‘ to leave，separate，withdraw’ ;
む而/けはい= ‘ sign，indication’]
3• あきののに人松虫のこ袅すなり ...
Aki n o n o n i h ito -m a tsu -m u sh i n o koe su-NARI , ...
(A：— 古今集，4/202:142)
In autumn fields，lover-expectant “pining” crickets (< lover-waiting
crickets [< pine insects]) are likely singing,...
[k a k e k o to b a fe'S?! tpivot-word, puns: h ito m a tsu = 4to wait
for a lover’ ；and /wa/sw-wwA/ 松虫 = ‘ a cricket’(< .pine-insect’])
RTK
4 . をとこもすなる日記といふものを、をむなもしてみんとてする
なり。
Otoko mo su-N ARV niki to iu mono o, omuna (= onna) mo shite min tote
suru+nari.
(ァ〇5<7 «/歧/ 土佐日記，12月2 1 日:27)
The things k n o w n as “diaries”which I take it m e n also keep，[this |w o m a n
too will indeed try her hand at.
[for m c w o 0 ものを，see IntroASX, n. 23]
5• おいらくのこむといふなる道 ...
Oiraku no komu to iu-NARU m ic h i...
古今集，7/349:170;/se •伊勢物語，97:169)
The path it is said old age is approaching by...
老いらく = ‘ old age’ ；the /se が血 W has 老いらくの
來む]
6• 文を書きて、
火鼠の皮といふなる物買ひておこせよとて、…
Fumi 〇 kakite, “Hi-nezumi no kawa to iu-NARU mono kaite-okoseyo,”
tote,...
(7bむ/or/ wcwogaton•竹取物語，5:41)
H e wrote a letter, saying, “B u y what I have heard called a ‘
fire-rat fbr’and
send it to m e ”;…
7• やすからずぞ人々いひなすなる。
Y a su k a ra zu z o h ito b ito u-nasu-lSARU.
223
SSK.6
-AM穴/ なり（
hearsay/supposition)
•枕草子，84:123)
I understand that people pointedly said，“ That will not do!”
[zo ぞ = here, a final particle of assertion; //-故m / 言ひ爲す（他、四）
= ‘ to (complainingly) say s.th. intentionally or directly’
]
Cf. the same passage, with n -n a su interpreted as oeing R T K :
So it is that people pointedly said, “That will not do!”
[for adcH. treatment of this passage, see Intro.9.EC, #19]
IZK
8. それは于定國が事にこそ侍るなれ。
Sore wa U Teikoku ga koto ni koso haberu-NARE.
( M a んwranosds/n•枕草子，8:49)
It appears to be a matter of (> Y o u must be referring to) Y u Dingguo.
[see the N o te above]
9 . ほのかに、人のいふを聞けば、男といふ物は、空言をこそ、いとよ
くすなれ。
Honoka ni hito no iu 0 kikeba, otoko to iu mono wa soragoto 0 koso ito
yoku su-NARE.
(Gq// 贈 •源氏物語 ,47:4/439)
F r o m what little I’ve heard rrom others，I gather those called “
males”lie
an awfUl lot (< ‘ d o ’lies to the Hill).
[soragoto ^ 5 = Mies, untruths,]
10.「
凡(そ)珍しき禽、あやしき獸、國に育はず」とこそ、文にも侍るな
れ。
Ôyoso mezurashiki tori, ayashiki kedamono, kuni ni yashinawazu, M to
koso fum i ni mo haberu-NARE.
似徒然草，121:188)
I understand it is written, ''Generally, rare birds and strange beasts are not
to be raised in the state.”
[Kenk6 兼奸 here cites nearly verbatim (in translation) the “Lligou”
旅契 chapter (“O n the Liigou [Barbarians])”of the earliest Chinese
historical text, the 力>7g 書經（ Classic of Documents):珍禽奇獸、
不育于國，“ A s for rare birds and strange beasts, they are not to be
raised in the state”；see also the N O T E above]
M R K
NIL
F or AN ADD’L EXAMPLE of a ‘
hearsay/supposition’ なり， see MZK.4(muzu/nzu)，
#5.
224
RTK.1
-G O TO SH Iごとし
-GOraST// ごとし（
-K U A D J. e n d in g s )
NIL -g o t o k u -g o to sh i -g o to k i NIL NIL
00 ごとくごとしごとき 00 00
- G 0 7 1ひS7// 如し：Means ‘ to be like s.th.，

’and denotes similarity，resemblance,
or likeness— often figurative. Also used w h e n citing examples (as in #4 below).
Expressions with -gotoshi are formed in the F I V E ways listed below. Note that
in four of the five, -gotoshi follows a noun or nominalized phrase, and implicitly
does so in the fifth (#1) as well (hence the preceding R T K form). Relevant is the
discussion of the R e n t a i k e i at the beginning of Intro.4.SX.IV.
1 ) A verbal element1 in the R T K + a form of -gotoshi:

世間を何に譬へむ朝びらき漕ぎ去にし船の跡なきごと [し]。
Yo no naka o nani ni tatoemu; asabiraki koî-imshi June no ato na-
U-GOT〇[SHl\.
萬葉集 ,3/351:1/179)
r〇what might one compare this world? It is like a boat that，rowea away
at dawn, leaves no trace behind (< like a rowed-away-at-dawn boat5s be
ing without any traces [i.e., leaving no traces]).
[also partially cited in Intro.7.K M , #12]
2) A verbal element in the R T K + or «〇 + a form of gotoshi:

いはば、たきぎおへる山人の、花のかげにやすめるがごとし。
Iwaba, takigi oeru vamabito no hana no kaê ni yasumem ga GOTOSHI.
(心ん/瓜如古今集，ぬ如 Preface仮名序，101)
They (i.e.，the poems of O t o m o no Kuronushi 大伴のくろぬし [also,大
灰黒主 j) are, so to speak，like a mountain-rustic laden with brushwood,
resting in the shade of blossoms.
いはは= ‘ if one were to say，（ > 4as it were，
’‘so to speak’
);
ou 負ふ（他、四）= ‘ to carry s.th. (on one’s back)’]
3) A noun + g a or «〇 + a form of gotoshi:

おごれる人も久しからず、只春の夜の夢のごとし。
For clarification of what constitutes a “verbal element,” see the opening para, of Intro.1， “An
Overview of Verbs.”
225
RTK.l
-G 0 T 0 S H 1 ご t V
Ogoreru hito mo hisashikarazu, tada haru no yo no y u m e n o GOTOSHI.
•平家物語，1.1:1/83)
night.
[ogon/願る • 奢る（自、四) = ‘ tobepridefbl，arrogant’ ]
4) A noun + [optional]ga or no + gotoki + [optional] no + noun:

すなはち、和歌 •管絃 •性生要集ごときの抄物を入れたり。
S u n a w a c h i, w a k a , ka n g en , tsO j d y d s h u fi GOTOKI n o s h o m o tsu o ire ta ri.
(Hdjoki 方丈記 ,]:37)
Placed in [the baskets] are, namely, writings transcribed rrom [works on]
waka and music, the Oio ydshu (A Collection or Essentials on [Pure
Land] Rebirth), and the like.
[for ire cf. use of the same transitive verb in Intro.4.SX, #5 (in
ch n. 6)]
5) A noun + ga or no + gotoku + [optional]ni + verb:

犠の如くに集まりて、東西に急ぎ、南北に走る。
Ari no GOTOKU ni atmmarite, tdzai ni isogi, nanboku ni washiru (sic).
徒然草 ,74:150)
Gathering like ants, they rush east and west, hurry north and south.
[for reference to wos/z/rw 走る，see the PREFACE, Sect. I V fat n . 15)]
M Z K
NIL
RYK
6 . わがごとく我をおもはむ人も哉 ...
Waga GOTOKU ware o omowamu hito mo gana ,...
(心た ⑽ 敁古今集，15/750:251)
I wish someone (namely, you) loved m e the w a y I do [love you];...
[{mo) gana (b )Sc = a particle expressing aesire unlikely to be real
ized]
7 . 錢を奴のごとくしてつかひ用ゐる物としらば、ながく貧苦をま
ねかるべからず。君のごとく、神のごとく恐れたふとみて、從へ
もちゐることなかれ。
Zeni 〇yakko no GOTOKU shite tsukai-mochuru mono to shiraba, nagaku
hinku o manekarubekarazu. Kimi no GOTOKU, kami no GOTOKU, osore-
totomite, shitagae-mochuru koto nakare.
( 似徒然草，21 7 :264)
226
RTK.l
-G O T O SH I ご t V
Ifyou understand m o n e y to be something that is to be used and employed
like a servant, you will not escape long-term poverty. Fearing and hon
oring it like a master or like a god, do not use it according to w h i m (< do
not use it following [your wishes])!
[manekaru 免かる (自 • 他、下一） = ‘ to escape, avoid, evade’ ；
恐れ尊む（他、四）= ‘ to fear and honor s.th./s.o.’ ；also
partially cited in Intro.5.V A , #15]
8 . 身をかへたる (が)ごと成（り）
にたり。
Mi 〇kaetaru ga GOTO narinitari. (Taketori monogatari 竹取物語 , 9..6J)
Y o u r lot has improved dramatically (く I’
hings have developed— it is as if
you switched your person/station [for that of someone rich]).
[go/o is the stem of gCas/z/ ごとし，
here abbreviated from ご
と <]
Se e a l s o #5 above.
c s k
9 . たとへば、袅にかけるをうなを見て、いたづらに心をうごかす
がごとし。
Tatoeba, e ni kakeru dna (= onna) o mite, itazura ni kokoro o ugokasu ga
GOTOSHI.
(ぬた如沾古今集 , Preface仮名序，100)
Ii one were to m a k e a comparison, it is like pomtlessly falling in love (<
moving one’ s heart) upon seeing a w o m a n painted in a picture.
10. 夢にこそかゞる事はあれ、夢かと思ひなさんとすればうつ、也。
うつゞかと思へば又夢の如し。
Yume ni koso kakaru koto wa are; yume ka to omoi-nasan to sureba,
utsutsu nari. Utsutsu ka to omoeba, matayume no GOTOSHI.
(//e/んe •平家物語，3.2:1/214)
Such things are founa in dreams! W h e n they were aoout to m a k e tnem out
to be perhaps a dream, they were reality. A n d w h e n they thought they
might be reality，again they were like a dream.
1 1 . 日々に過 (ぎ)行くさま、兼 (ね )て思ひつるには似ず。一年の中も
かくの如し。一生の間もまたしかなり。
Hibi ni sugi-yuku sama kanete omoitsuru ni wa nizu. Hito-tose no uchi
mo kaku no GOTOSHI. Isshd no aida mo mata shika nari.
徒然草，189:246)
T h e passage of one dav after another is nothing like what w e earlier imag
ined. It is the same, too, with a full year. So also with an entire liietime.
227
RTK .l
-G O T O S H Iごとし
See also #1-3 above.
RTK
12. 花の散りぬるごときわご王 …
Hana n o chirinuru-G O TO KI wago o k im i...
萬葉集，3/477:1/223)
Our great prince w h o is like blossoms that have scattered …
[wago J たzm/ わご王 = •我が大君 ;for add’ l. treatment of
this passage, see Intro.4.SX, #35]
13. 目には見て手には取らえぬ月の内の楓のごとき妹をいかにせ
む。
Me n i w a m ite, te n i w a to ra e n u tsu k i n o u ch i n o k a ts u ra n o GOTOKI im o o
ik a n i sem u .
萬葉集 ,4/632:1/283)
W h a t shall I do about m y love (fern.), about her w h o is like the liquid-
amber tree in the m o o n that one sees with one5s eyes but cannot grasp
with one’ s hands?
[toW-aw 採り敢ふ（自、下二）= ‘ to be able to grasp, be able to get
ahold of]
14. 目には見て手にはとられぬ月のうちの桂のごとき君にぞありけ
る。
Me ni wa mite, te ni wa torarenu tsuki no uchi no katsura no GOTOKI kimi
ni zo arikeru.
(/此 mowoga/arz•伊勢物語，73:153)
Y o u are there, v o u w h o are like the cinnamon tree in the m o o n that eyes
can see but hands cannot grasp.
[/orw 取る etc.(他、四）= ‘
to grasp, get ahold o f ]
See also # 4 above.
IZK
NIL
M R K
NIL
228
RTK.2
+ H / ? / なり explanation/affirmation
+7V/4/?/ なり（
explanation/affirmation) ( R A H E N endings)
+nara NIL +nari +naru +nare NEL
なら〇〇なりなるなれ〇〇
+飽 /^/ なり：This is the ‘ explanation/affirmation’ A s explanation, it

means (often just implicitly), ‘ It is that..”’‘
It is a fact that…，，‘
The thing/fact
is...5 A s affirmation (about a matter, action, or state), it can be emphatic as part
of an assertion that sometimes clarifies the topic under discussion. Note its
ombin sound-contractions (e.g., -\-narashi [< -Vnaru + -rashi] in #7 below, and
+nameri [< ^naru + -meri] in #8)
This -\-nari, coming after verbal elements, is grammatically quite close to
the copula n a ri that follows nouns (see Intro. 10.NR, n. 4).
It is especially important to distinguish the " exp la n a tio n /a ffirm a tio n '
+«ar/，which follows the R E N T A 虹 I，from the 卿 /輝 ;?os7"cw，
which follows the S H O S H i m (SSK.6).i See Intro.10, ‘ Wfln•なり Headaches， ”
for discussion of the various n a rV s that the texplanation/affirmation, -\-nari
might be confused with.
M Z K
1. 思ひあまり出でにし魂のあるならん •••
O m o i a m a r i id e n ish i ta m a n o aru+N A R A n ; ...
(/從 •伊勢物語，1 10;175)
It must have been m y soul that ventured out in an excess of love;...
[a m a n is replying, in a poem, to a w o m a n w h o has told him she saw
him in a dream]
2 . 「いとほしう、いかやうなる事を、聞き給へるならむ」と、驚か
るゞに、…
(,Itooshu, ika yd naru koto o k ik i-ta m a e ru + N A R A m u ,to odorokaru ru n i,...
力 ga/arz•源氏物語，51:5/228)
Because she was startled [into thinking], uH o w wretched! W h a t in the
world had he heard?”…
T h e 4explanation/affirmation, +nari is identified in romanization b y the plus (+) that precedes it,
as o p p o s e d to the h y p h e n (-) that precedes 4hearsay/supposition, -nari forms. S e e S S K . 6 , n . 1,sec
o n d para., for enumeration o f potentially a m b i g u o u s verb-forms preceding the t w o suffixes.
229
RTK.2
なり（
explanation/affirmation)
[//oas/zz•いとほし（ "く adj.) = ‘
pitifUl, pathetic, wretched’
；for 0 を，
see Intro.4.SX, n. 23]
RYK
NIL
3 . 人皆生を樂しまざるは、死を恐れざる故なり。死を恐れざるには
あらず、死の近 (き)事を忘る、なり。
H ito m in a sn o o ta n o s h im a za ru w a, s h i o o so r e za ru y u e nari. S h i o
o s o r e z a r u n i w a a ra zu , sn i n o ch ik a k i k o to o w asururu+ N A R I.
⑽a 徒然草 ,93:166)
People’ s failure to enjoy lire (< A s ror people’
s all not enjoying life, it) is
because they do not fear death. [Rather,] it is not that they do not fear
death, but that they forget h o w near death is.
[for addM. treatment of part of this passage, see Intro.4.SX, # 30；also
cited in Intro.5.VA, #9, and Intro. 10.NR, #11]
4 . 人はたゞ'、無常の身に迫りぬる事を心にひしとかけて、束の間も
忘るまじきなり。
H ito w a ta d a m u jo n o m i n i s e m a r in u r u k o to o k o k o r o n i h is h ito k a k ete,
ts u k a n o m a m o w a su ru m a jik i+ N A R J .
(Zswrezwregwsa 徒然草 ,49:129)
Keeping nrmly in mind tne iact that death is pressing in upon them,
people should not forget that for an instant.
[mwゾJ 無常 = here，‘ death’ ；/zむ/zto ひしと = ‘ tight, firmly, fast’
;
む ⑽ wa 束の間= ‘ an instant’（く‘ a hand’
s breadth’ )]
5 . をとこもすなる日記といふものを、をむなもしてみんとてする
なり。
O to k o m o su -n a ru n ik i to iu m o n o o, o m u n a (= o n n a ) m o s h ite m in to te
suru+N A R I.
(rasa •土佐日記，12月 2 1 日:27)
fhe things k n o w n as “diaries”which I take it m e n also keep, [this] w o m a n
too will indeed try her hand at.
[for m t w o 0 ものを，see Intro.4.SX，n. 23]
RTK
6. 「
鬼などの、隠し聞ゆとも、いさゞか、残る所も侍るなるものを」
と…
tlO n i n a d o n o k a k u sh i-k ik o yu to m o , is a sa k a n o k o ru to k o r o m o haberu-\-
N A R U m o n o 〇， ’’ to ...
230
RTK.2
+層尺 / なり（
(G^// 腳 ⑽ ga/ar/ 源氏物語，52:5/303)
4tThe thing is, even if a damned d e m o n or such hid her, there would be a
little something left behind; [but there isn’t].’
’
[for the use of A7•たqyw 聞ゆ here, see Intro.13.R L ，#6 (and n.13 for its
pejorative use); ror m o n o o b ^ see Intro.4.SX, n. 23]
7. 是に稲つみたるをやいな船といふならし。
K o r e m in a tsu m i ta r n o y a in a b u n e to iu + N A rash i.
(Bash6 E 蕉，(9んw «〇 /zosow/c/z/ 奥の細道，87)
Ones like this, loaded with rice sheaves, are perhaps what [once] was
meant by in a b u n e f'nce boats9).
change: + -ms7z/ > -raか?/ らし，normally
preceded by the SSK, here follows the R T K form of +nari (see the
N O T E at the beginning of SSK.2 [rashi] for clarification); the term
わw狀いな船 had appeared in t h e ぬん/•似/ ^ 古今集，20/1092:
328]
8. 「忘れぬるなめり」と...
“ w r w w e r / ，” (/ye 伊勢物語，3 6 :132)
“It seems vou have indeed Torgotten [me]， ”…
change: + -w e n > どn; - w e n めり , normallv
preceded bv the SSK, here tollows the R T K form of + n a r i (see the
N o t e at the beginning of SSK.4 [ m e n | for clarification)]
9.やすからずぞ人々いひなすなる。
Y a su k a ra zu z o h ito b ito ii-nasu+N A R U .
(MaA： wra sみ/z/ 枕草子，84:123)
So it is that people pointedly said，“That will not do!”
[zo ぞ = here, a final particle of assertion; 言ひ爲す（他、四）
= ‘ to (complainingly) say s.th_ intentionally or directly’
]
Cf. the same passage, with ii-n a su interpreted as being SSK:
I understand that people pointedly said, “ That will not do!”
[tor add5l. treatment of this passage, see Intro.9.EC, #19]
IZK
1 0 . 山里は物のさびしき事こそあるなれども、…
Y a m a za to w a m o n o n o sa b ish ik i Koto k o s o a ru + N A R E d o m o ,...
(//e/んe wowoga/ar/ 平家物語，“Kanj6”灌頂 .2:2/427)
Although [the fact is] a mountain retreat is indeed lonely (< a sad thing),
231
RTK.2
+7\^ 似なり（
11. 「
かの殿には、我も / \ 、婿に取りたてまつらん」と、所 / \ 、侍る
なれば、…
(tK a n o d o n o n i w a, w a r e m o w a r e m o, m u k o n i t o r i - t a t e m a t s u r a n ,t o ,
to k o r o -d o k o r o h aberu + N A R E ba , ...
(Ge^/7 wcwogato*z•源氏物語，5 0:5/141)
The fact is, everywhere there are those [thinking], 4tI too, I too, would like
to take that courtier as a son-in-law,”...
[for add^. treatment of part of this passage, see Intro.4.SX, #18, and
Intro.13, RL, #10]
12. 「
昔、周の武王の船にこそ白魚は躍入たりけるなれ。是吉事なり」
とて、…
^M ukashi, S h u n o B u -d n o J u n e n i k o so h a k u g y o w a o d o r i-ir ita r i-
keru+N ARE. K o r e k ic h iji n ari, " to te ...
(//e/たe •平家物語，1.3:1/90)
t4In fact, a white fish in ancient times did j u m p into the boat of King W u of
Zhou. [Similarly,] this (i.e., s.th. else) is an auspicious event.”
[for add5l. treatment of part of this passage, see Intro.8.UP, #12]
MRK
NIL
IZK.NIS.1
•■凡4 ば ‘because，
when’
-BA fi: A non-inflected suffix meaning 'because5 or 'when.5
N o t e ：N o t to b e co n fu se d -w ith the non-inflected suffix -b a f i after the MlZEN-

KEI，meaning ‘
if (MZK.NIS.1).
1.京には見えぬ鳥なれば、…
分 J m wa /or/ … （ /此 •伊勢物語，9:117)
Because they were birds not seen in the capital,...
2 • これをば副將軍せさせんずれば ...
K o r e o b a ju k u -s h o g u n sesa sen zu reB A , ...
(/to •たe w t w 叹 a 如"/ 平家物語，11•16:2/358)
3 . 歌よまゞほしかりければ、…
U ta y o m a m a h o sh ik a rik e re B A ， …
源氏物語，22:2/337)
Because he wanted to compose a poem,...
4 • 渡守に問ひければ、…
Watashimori ni toikereBA， " • （Ise monogatati 伊勢物語，9:\\7)
W h e n they asked the m a n in charge of the ferry,...
5 . 見入れつれば、…
むwr级 4,… ⑽ sds/zz•枕草子，143:199)
6 . 淀のわたりといふものをせしかば、…
Y odo n o w a ta r i to iu m o n o sesh ik a B A ,...
( M a んwra wo 5■
み/z/ 枕草子 , 114:170)
Because w e crossed on the Y o d o Ferry (く did the “
Y o d o [ferry-]cross_
ing”),…
7 . 歸りたければ、… 睡たければ、…
60:140)
K a e r i t a k e r e B A , n e t a k e r e B A , ... {T su re zu re g u sa
233
IZK.NIS.l
■凡4 ば（ ‘
because, w h e n ’
）
8 . 身を知り、世を知れれば、…
Mi o shiri， yo 〇shirereBA， . . . （Hdjdki 方文記 , K..4V)
FOR ADD'L EXAMPLES o f p o s t - I Z K b a h i , see M Z K . 1 (zu), #2; M Z K . 1 (zu), # 10; M Z K . 1 (zu),

#27; M Z K . 2 (zari), #12; M Z K . 4 (muzu/nzu), #9; M Z K . 6 (mashi), #13; M Z K . 7 (mahoshi), #3;
M Z K . P C H . 1 ([ra]ru), #9; M Z K . P C H . 2 ([sa]su), #4; M Z K . P C H . 3 (shimu), #3; M Z K . N I S . 2
(baya), # A thru # D ; M Z K . N I S . 2 (baya), #7; R Y K . 1 (tari), #13; R Y K . 1 (tan), #15; R Y K . 2 (keri),
#6; R Y K . 3 (nu), #6; R Y K . 3 (nu), #16; R Y K . 3 (nu), #18; R Y K . 4 (nikeri, etc.), #10; R Y K . 4 (nikeri,
etc.), #11; R Y K . 4 (nikeri, etc.), #12; R Y K . 6 (ki/shi), #17; S S K . 1 (beshi), #21; S S K . 3 (maji), #14;
S S K . 4 (men), #13; S S K . 6 (nari/hearsay), #9; R T K . l (gotoshi), #10; R T K . 2 (nari/explan), #11;
M R K . 1 (ri), #8; M R K . 1 (ri), #19; Intro.6.PA, #8.
234
IZK .N IS.2
-/)(9(从 0)ど (も）
-/)6>び/6>ノど（も）
：A non-inflected suffix meaning ‘
although.’
1. あききぬとめにはさやかに見えねども ...
Aki kinu to me ni wa sayaka m mieneDOMO,...
古今集，4 / 1 6 9 : 1 3 6 )
Although not clearly visible to the eye that fall has come,...
2.. ..逢はざれど ...

… owflzareZW,... ( M m ’
ァ加如萬葉集，15/3775:4/l07)
Although w e do not meet,...
3 . 念じて射んとすれども、…
Nenjite in to sureDOMO,. . . （ Taketori monogatari 竹取物語，9..63、
Though they tried their damnest to shoot [arrows],...
4 . まいりこまほしけれど、…
たo w a / z o s / z f e r e 沉 … （
尺a g e r J • 靖虫令日記，上 :1 2 5 )
F d like to c o m e visit you, but...
5 . しくしくに思はず人はあるらめど ...
Shiku-shiku m omowazu hito wa arurameDO,...
(M anyoshu 13/3256:3/353)
Though I hazard she scarcely thinks [of me] (< Although there probably is
one who, not thinking frequently [of me]),...
6 . ちかく來ぬれど、...
Chikaku kinureDO,. . . （ Makura no sdshi 枕草子，99: \ 5\ )
Although w e had c o m e near,•••
7.. .. こしかども ...
KoshikaDOMO,. . . （Kokinshii 右今集 ,'[S/9 名6,302)
Although I came [here to Nara]，
."
8 . 心憂く見ゆべけれど、...
Kokoro-uku miyubekereDO,… （ Makum no sdshi 税草子，26 名:T77)
Although presumably they looked on with grief(< in a heart-grieving Kind
of way),...
235
IZK.NIS.2
- D 0 ( M 9 ) ど( も）
9 . 忘 ( れ ) 草生ふる野べとは見るらめど ...
Wasure-gusa dru nobe to wa mimrameDO,...
(/此卿 •伊勢物語，100:170)
Although [I O R m y heart] m a y look like a field covered with “forgetting
grass,”…
[wasure-gusa = 'forgetting grass5 = a kind of day-lily]
Fo r ADD’LEXAMPLES o f イf o ( m o ) ど（も），s e e M Z K . l (zu), #23; M Z K . 2 (zari)，#11; M Z K . 5

〇
'i), #6; M Z K . 7 (mahoshi), #13; R Y K . 2 (keri), #13; R Y K . 6 (ki/shi), #17; R Y K . 8 (tashi), #5;
S S K . 3 (maji), #16; S S K . 4 (meri), #12; R T K . 2 (nari/explan), #10; M R K . l (ri), #7; M R K . 1 (ri), #16;
Intro.5.VA,#16.
236
MRK.1
-R Iり
- / ? / り ( r a h e n e n d in g s )
_ra -ri -ri -ru -r e -re
ら V るれれ
-似り： As a progressive, denotes a continuing state or action (e.g.， #6 and #12

below), or a continuing state resulting from an earlier action (e.g., #7 [ireri] and
#8). As a perfective, indicates completion of an action or process (e.g., #7
[kakeri] and #9). Similar to -tari fc V (RYK.l).1But used only after Yodan
and SAHEN verbs (the -yo ct being dropped from SAHEN MRX forms).12 In
medieval times, -ri occasionally follows the RYK.
N o t e : The combination らむ/らん（ -ra [MZK of ザ/ (MRK.1)] +

-mul-n [SSK or RTK of -mul-n (MZK.3)]—e.g., #2 below), which follows the
MEIREIKEI, is not to be confused with the verb-suffix -ramul-ran t? / Ay,
which follows the S h u s h ik e i (SSK.5). See Intro.9.EC.VII, esp. #15-16, and the
para, introducing them.
M Z K
1 . とりのあと、ひさしくとゞ'まれらば、…
Tori no ato hisashiku todomareRAba, ...
(ぬん如沾古今集 , Preface 仮名序，103)
If these bird tracks (> these poems) last (< continue to remain) a long time,
[/〇ふ warw 留まる •止まる • 停まる（自、四） = ‘to stay/remain; be

stopped/halted, (see Intro.2, n. 2)]
2 . いはむや、深く思ひ、深く知れらん人のためには、これにしも限
るべからず。
Iwamu-ya, fukaku omoi, fukaku shireRAn hito no tame ni wa, kore ni
shimo kagirubekarazu.
(//^/ 说 7•方丈記 , K:49, alternate text for K:40)
1 The two verb-suffixes are contrastea inRYK.l (tan), n . 1.

2 As noted earlier, -/7•り has traditionally
been classified as an inflected suffix occuring after the
IZK of YODAN verbs and the MZK of SAHEN verbs. However, since those verb-forms are same
as the MRK in the two conjugations, it simplifies matters organizationally and pedagogically to
treat -W り as a post-MRK verb-suffix, as McCullough does /w
237
MRK.l
-R Iり
Still more, for one who thinks deeply and is deeply knowledgable, it
would not be limited to this (> Those who meditate more profoundly and
are more knowledgable [than me] will get even more out of it [i.e., con
templation of the mountains] than this [I have just described]).
レwaww-夕a いはむや = MJ wosMe まして；for add’l. treatment of
part of this passage, see Intro.4.SX, #14, and Intro.9.EC, #15]
RYK
3 . 御供に、昔も、かしこの案内、知れりし者二三人、...
On-tomo ni mukashi mo kashiko no annaishireRIshi mono ni-san-nin...
(G ^/7 •源氏物語，51:5/211)
Together with two or three men who were also familiar with the place
rrom before [having accompanied him there],...
[たo s /n to かしこ = MJ osoん0 あそこ ]
4 . 宿れりし宇治の宮の仮廬 ...
YadoreRIshi Uji no miyako no kari-io... (M an’ydshU 萬葉集，] . 八/\3 、
The temporary palace-hut in Li j i (< Uji imperial-residence temporary
[thatched] hut) where we stayed...
[yaJon/ 宿る（自、四）= ‘to lodge, stay’]
5 • まゐれりし使は、...
MaireRIshi tsukai wa … （ Genji monogatari 源、氏物語，'i3..2/67)
The messenger who had come (i.e., had come and was still there)...
[for add’L treatment of this passage, see Intro.9.EC, #2]
6.或は露落ちて花殘れり。
Aruiwa tsuyu ochite hana nokoreRJ. (Hdjdki 方丈記，A:24)
Sometimes, dew having fallen, blossoms remain.
7 • 此の文、清行が書けりといふ説あれど、高野大師の御作の目録に
入れり。
Kono fumi, Kiyoyuki ga kakeRl to iu setsu aredo, Kdya no Daishi no
on-saku no mokuroku m ireRI.
徒然草，173:231)
Althougn there is tne theory that this text was written bv kiyoyuki (i.e.,
Miyoshi Kiyoyuki 二善清行，847-918), it appears in (く is entered in)
the catalogue of esteemed works by K6ya no Daishi (= K6b6 Daishi 弘
法大師 = KUkai 空海 , 774-835).
238
MRK.1
-R 1 ”
[z>w 入る（自、四）= ‘ to be entered (into s.th.)’
；the reference here is
to a kambun w o r k about the famous early-Heian w o m a n poet,
O n o no K o m a c h i 小野小町 ]
8 . あかつきよりあめふれば、おなじところにとまれり。
Akatsuki yori ame fureba, onaji tokoro ni tomareRI.
(Josa •土佐日記，1月 14 日:3 8)
Because rain fell from break of day, w e stayed moored in the same place.
泊まる（自、四） = ‘1〇 5 6 〇1〇〇尺(1，&11(： 11〇比(1’ ；设 ^&(1(1’1.
treatment of part of this passage, see Intro.4.SX, #43]
9. 或は去年燒けて今年作れり。
Aruiwa kozo yakete kotoshi tsukureRl. (Hdjdki A:23)
In some cases, having burned d o w n last year, they (i.e., houses) have been
(rejbuilt this year.
[yah/ 燒く（自、下二）= ‘ (for s.th.) to b u m ’
；for add’1.treatment of
this passage, see Intro.4. SX, #51]
RTK
10. おごれる人も久しからず、只春の夜の夢のごとし。
OgoreRU hito mo hisashikarazu, tada haru no yo no yume no gotosni.
(//の知削 / ? • 平家物語，1.1:1/83)
night.
[ogorw 驢る • 奢る（自、四）= ‘ to be pridefbl, arrogant’
]
11. いはば、たきぎおへる山人の、花のかげにやすめるがごとし。
Iwaba, takigi oeRUyamabito no hana no kage ni yasumeRU ga gotoshi.
古今集 ,心 Preface 仮名序，101)
T h e y (i.e., the p o e m s of O t o m o no Kuronushi 大伴のくろぬし [also,
大友黒主 ])are, so to speak, like a mountain-rustic laden with brush
wood, resting in the shade of blossoms.
[/■ ろa いはば = ‘ if one were to say’（〉‘as it were，’‘
so to speak’
);
ow 負ふ（他、四）= ‘ to carry s.th. (on one’
s back)’ ]
12. 外に立てる人と内にゐたる人と ...
To ni tateRUhito to uchi ni itaru hito to...
sds/zz•枕草子，76:111)
The one w h o is standing outside [the screen] and the one w h o is seated
inside (i.e, the m a n and w o m a n , respectively)...
[/rw 倉る（自、上一）= ‘ to be seated’]
239
MRK.l
-R Iり
13.みよし野の山べにさけるさくら花 ...
Mi-Yoshino noyamabe ni sakeRUsakura-bana...
(火oん古今集，1/60:115)
T h e cherry blossoms n o w in bloom on lovely Mt. Yosnino...
[wz み = a prefix nere meaning ‘lovely，；咲く ( 自、四) = ‘to
blossom’]
14• 道知れる人もなくて、…
Michi shireRU hito mo nakute,… （Ise monogatati 伊勢物語 , 9:\ \6)
There not even being one [among them] w h o k n e w the way,...
15.宿れるすまひのほどを思ふに、…
\adoreRVsumai no hodo o omou m,...
(G^/7 例 ^zr/ 源氏物語，4:1/135)
Considering the condition of the dwelling she was living in,".
IZK
16• いかめしきことゞ'もは、このたび、とゾめたまへれど、…
Ikameshiki kotodomo wa, kono tabi todome-tamaeREdo,...
( G ”/7 •源氏物語，34:3/276)
Although this time he was trying to put a halt to anything pompous,...
•嚴めし（ - しく adj.) = here, ‘
pompous’ ；ふww 停む（他、
下二）= ‘ to stop s.th.’]
17• 「この頃こそ、すこし物 / \ しく、御衣の色も、深くなり給へれ」
と…
(<Kono goro koso, sukoshi monomonoshiku, on-zo no iro mo fukaku nari-
tamaeRE， ” to...
源氏物語，35:3/368)
“Only recently have you become somewhat more digniiied and the color
of your clothing darker [both reflecting your promotion],’’…
[monomonoshi L (- L <C adj.) = 4to be weighty, grave, digni-
fied，]
18. 身を知り、世を知れれば、…
Mi o shiri, yo o shireREba， . . . （Hdjdki 方丈記 , K/A\)
[for addM. treatment of this passage, see Intro.9.EC, #11]
19. 年ごろ、常のあつしさになり給へれば、御目馴れて、…
Nengoro, tsune no atsushisa ni nari-tamaeREba, on-me narete,...
(G%// •源氏物語，1:1/30)
240
MRK.l
-R Iり
Since it was the same illness she had had for years, the Emperor was (<
[his] esteemed eyes were) used to it; and so …
M R K
20• 持てれわが背子直に逢うまでに。
MoteRE, waga seko, tada ni au made ni.
萬葉集，15/3751:4/101)
Take [and keep this], m y love (male), until w e meet again in person.
[seko etc. = affectionate term of aadress by a w o m a n to her
husband or lover]
2 1 . いで、ただ、おのれにあづけ給へれ。
Ide, tada, onore ni azuke-tamaeRE. (piga monogatari
Well, do give it to m e at once.
FOR ADD’L EXAMPLES o f -r/ り forms, see MZK.PCH.1 ([ra]ru)，#12; RTK.1 (gotoshi), #9.
A ppendix A
Japanese Text-Sources for Citations in the H andbook,
and C onventions in Citation
M ost citations in the Handbook are from the Nihon Koten Bungaku Taikei (N K BT)
日本古典文學大系 series: Iwanami Shoten 岩波書店 , Tokyo, 1 9 5 7 -1 9 6 8 ,1 0 2 v o l
umes. For discussion, see the P r e f a c e , Sect. IV.
がar/ 源氏物語 , c a . 1010, by Murasaki Shikibu 紫式部，b. ca. 978: Nihon

Koten Bungaku Taikei series. Sample citation: “6:1/240.” The quotation appears
in Chapter 6 o f the work (o f a total 54 chapters); the text cited com es from vol . 1 (o f
a total 5 volum es), p. 240, in the N K BT edition (vols. 14-18 o f the series).
Gosert vvate/zi ?後撰知歌氣 951+: Izumi Koten SGsho 和泉古典叢書 series ( v o l.3):
Kud6 Shigenori エ藤重矩， ed. ，（
7〇5奶? 後撰和歌集（ Osaka: Izumi Shoin
和泉書院，1992). Sample citation: “3 バ3 7 : 3 1 The quotation com es from Poem
#137 (o f a to ta l1,425 poems), which appears in Book 3 (o f a total 20 books) in the
work; the text cited com es irom p. 31.
後拾遺和歌集，1086: Izumi Koten S6sho 和泉古典叢書 series (vol.
5): Kawakami Teruo 川上晃生， ed. ，而た仍祕後拾遺和 (Osaka: Izumi
Shoin 和泉書院，1 9 9 1 ). Sample citation: “ 1/43:16.” The quotation com es from
Poem #43 (o f a to ta l1,218 poems), which appears in B ook 1 (o f a total 20 books) in
the work; the text cited com es rrom p . 1b.
//e / たe • 平家物語，c a . 1230: Nihon Koten Bungaku Taikei series. Sample
citation: “2.10:1/186.” The quotation appears in B ook 2, Chapter 10, o f the work
(o f a total o f 12 books, plus the supplementary one entitled “Kanj6” 灌頂 ) ; the text
cited com es from v o l . 1 (o f a total 2 volumes), p . 186, in the NK BT edition (vols.
32-33 o f the series).
• 方丈記，c a .1 $ 1 2 , by Kamo no Ch6mei 鴨長明，1155-1216: Nihon Koten
Bungaku Taikei series. Sample citation: “J:37.” The quotation appears in section
J (o f sections A tliru Q), as the work is divided by the Japanese Text Initiative o f the
University o f Virginia Library (see p. 6 n . 12). The text cited com es from p. 37 o f the
NK BT edition o f the work (which comprises part [pp. 3-51] o f v o l .30 in the series).
Zse w ow ?於加rz• 伊勢物語， ca. 950 (but may predate tlie 心た//w /^ ): Nihon Koten Bun-
gaku Taikei series. Sample citation: t434: 132.?, The quotation appears in S ec
tion 34 (o f a t o t a l 143 sections) in the work; the text cited com es from p . 132 o f
the N K BT edition (comprising part [pp. 79-204] o f v o l . 9 in the series).
Tzaァ0/ • 十六夜日記，1280, by Abutsu-ni 阿仏尼，d . 1283: Takeda K6 武田孝，
ed., /za ァ〇 / 十六夜日記詳講（ Tokyo: M eiji Shoin 明治書院，1985).
Sample citation: “3/27:377.” The quotation com es from Chapter 3, Section 27
(o f a total 4 chapters in 41 sections) in the work; the text cited com es from p. 377.
/zww/ «/ 版和泉式部日記，1003+, by Izumi Shikibu 和泉式部，f l . 1003:
Nihon Koten Bungaku Taikei series. Sample citation: “4 39.” The text cited
com es from p. 439 o f the N K BT edition o f the work (com prising part [pp.
379-460] o f v o l . 20 in the series).
244
A ppendix A
Text-Sources / Citation
/7/fe• 蜻蛤日記，9 5 4 - 9 7 4 , b y F u j i w a r a M i c h i t s u n e n o h a h a 藤原道綱母，ca.
9 3 5 - 9 9 5 : N i h o n K o t e n B u n g a k u Taikei series. Sample citation: “上：1 6 6 . ” T h e
q u o t a t i o n a p p e a r s in B o o k 1 ( o f a total 3 b o o k s : 上，中，下）o f t h e w o r k ; t h e text
cited c o m e s f r o m p . 1 6 6 o f the N K B T edition ( c o m p r i s i n g part [pp. 8 3 - 3 7 8 ] o f
v o l . 2 0 in t h e series 入
尺ル /7¢?/? CTzi^/z/ 呢 w r a 仮名手本忠臣蔵 1 7 4 8 , b y T a k e d a I z u m o 竹田出雲，M i -
y o s h i S h 5 r a k u 三好松落 a n d N a m i k i S e n r y O 並木千柳：N i h o n K o t e n B u n g a k u
T a i k e i series. Sample citation: “6 : 3 2 9 . ” T h e q u o t a t i o n a p p e a r s in A c t 6 ( o f a
t o t a l 11 acts) in the w o r k ; t h e text cited c o m e s f r o m p. 3 2 9 o f t h e N K B T e d i t i o n
( c o m p r i s i n g part [pp. 2 9 1 - 3 8 2 ] o f v o l . 5 1 in t h e series).
ァJ
’ 金葉幸口歌集，1 1 2 4 - 1 1 2 7 : ’夕6 w a ん ’三秦本「金
寨和歌集」，i n 幼 /如 ⑼ 新編國歌大観（ Tokyo: K a d o w a k a Shoten
合川書唐，1 9 8 3 ) ，2 0 vols. (in 1 0 pts” 2 vols. ea c h ) , v o l . 1 , p t . 1 (pp. 1 5 8 - 1 7 3 ) .
Sample citation: “1/7:158.” T h e q u o t a t i o n c o m e s f r o m P o e m # 7 ( o f a total 6 5 0
p o e m s ) , w h i c h a p p e a r s in B o o k 1 (,of a t o t a l 1 0 b o o k s ; m t h e w o r k ; t h e text cited
c o m e s n o m p . 158.1
《— 6 古今氣 9 0 5 : N i h o n K o t e n B u n g a k u T a i k e i series. Sample citation: “12/
5 9 2 : 2 2 0 . ” T h e q u o t a t i o n c o m e s f r o m 戸o e m # 5 9 2 ( o f a t o t a l 1 ，
1 1 1 p o e m s ) ，w h i c h
a p p e a r s in B o o k l 2 ( o f a total 2 0 b o o k s ) in the w o r k ; t h e text cited a p p e a r s o n p. 2 2 0
in t he N K B T edition ( v o l . 8 o f the series).
/c/w•ぬ / 碎色一代女，1 6 8 6 , b y I h a r a S a i k a k u 井原西鶴，1 6 4 2 - 1 6 9 3 :
N i h o n n o K o t e n 日本の古典 series (vol.3 1 ) : H i g a s h i A k i m a s a 東明雅，ed. a n d tr.,
K d s h o k u gonin onna, K d s h o k u ichidai o n n a 奸色五人女、奸色一代女（
Tokyo:
S h 6 g a k k a n 小学館，1 9 8 5 ) . Sample citation: “4 . 2 : 2 9 4 . ” T h e quotation appears
in B o o k 4, C n a p t e r 2 ( o f a total 6 b o o k s , e a c h w i t h 4 chapters); t h e text cited c o m e s
f r o m p. 2 9 4 .
A / a んw r a ⑽ ■sds’
/z/• 枕草子，c a . 1 0 0 0 , b y Sei S h 6 n a g o n 清少納言，b. ca. 9 6 6 : N i h o n
K o t e n B u n g a k u Ta i k e i series. Sample citation: “9 4 : 1 4 5 •，’T h e quotation appears
in S e c t i o n 9 4 ( o f a total 3 1 9 sections) in t h e w o r k ; t h e text cited c o m e s f r o m p . 1 4 5
o f t he N K B T edition ( c o m p r i s i n g part [pp. 3 - 4 0 2 ] o f v o l . 1 9 in t h e series).
Manydshu 7 6 0 + : N i h o n K o t e n B u n g a k u T a i k e i series. Sample citation :
“4 / 7 3 8 : 1 / 3 0 9 . ” T h e q u o t a t i o n c o m e s f r o m P o e m # 7 3 8 ( o f a total 4 , 5 1 6 p o e m s )，
w h i c h a p p e a r s in B o o k 4 ( o f a total 2 0 b o o k s ) in the w o r k ; t h e text cited a p p e a r s in
v o l . 1 ( o f a total 4 v o l u m e s ) , p. 3 0 9 , in the N K B T edition (vols. 4 - 7 o f t h e series).
^ ^ ，
〇^ た/ 5 7 ^ / 如/ 爪たた/ 紫式部日記，1 0 0 8 - 1 0 1 0 , ゎン1^1 〇^ 3 1 ^ 8 1 1 丨
1 ^ 1 1 紫式部，1). 。8.
9 7 8 : N i h o n K o t e n B u n g a k u T a i k e i series. Sample citation: “4 7 6 . ”T h e citation is
f r o m p. 4 7 6 o f the N K B T edition o f the w o r k ( c o m p r i s i n g part [pp. 4 0 3 - 5 2 0 ] o f vol.
1 9 in the series).
んw /zasww/cA/• 奥の細道， 1 6 9 4 ( c o v e r i n g 16 8 9 ) , b y M a t s u o B a s h G 松尾色蕉，
1 6 4 4 - 1 6 9 4 : N i h o n K o t e n B u n g a l c u Tai k e i series. Sample citation : “7 9 . ” T h e
citation is f r o m p. 7 9 o f the N K B T edition o f t h e w o r k ( c o m p r i s i n g part [pp. 6 9 - 9 9 ]
o f v o l . 4 o in the series).
文//?’
1 N o t e that the Mc/o-Zzow ‘ 〆二度本「
金葉和歌集」（
pp. 1 4 1 - 1 5 8 , in the s a m e
v o l u m e ) has 7 1 6 p o e m s a n d a s o m e w h a t different text for the p o e m ( p . 1 4 1 ) . N o t e also the s a m e
different text (but as P o e m #8, a n d with a different poem-total, 7 6 5 ) in the following edition:
欠 / ⑽ w /?/伽レ /?‘ ，公夏筆本「
’ 金葉和歌集」（ O k a y a m a : N S t o r u D a m u Seishin
Joshi D a i g a k u K o t e n S 6 s h o K a n k O k a i ノートルダム清心女与 *大学古典叢書刊行会，1967)
(Notoru D a m u Seishin Joshi D a i g a k u K o t e n S o s h o series, vol.3), p. 2.
245
A ppendix A
Text-Sources/Citation
S m zaむ/ ^ 千載集，1188: Kasama SGsho 笠間叢書 series (vol. 17): Kubota Jun 久保田
?早 and Matsuno Y6ichi 松野陽一，eds., Sewza/ 千載和歌集（ Tokyo:
Kasama Shoin 笠間書院，1969). Sample citation: “6/460:131.” The quotation
comes from Poem #460 (o f a to ta l1,285 poem s), which appears in Book 6 (o f a total
20 books) in the worK；the text cited com es from p . 131.
57?反/ 拾遺和歌集，1 0 0 5 -1 0 1 1 :KyQsojin Hitaku 久曽神昇，ed.,
ァ( ^ 7 - / 7 / _ ‘5 7 ^ / ^ ^ 似/^7’ 价从^ « 藤原定家筆「拾遺和歌集」別备（丁〇1^〇:
Kyako Shoin 汲古書院，1990). Sample citation: “ 19/1225:218.” The quotation
comes from Poem #1225 (o f a to ta l1,351 poems), which appears in B ook 19 ( o f a
total 20 books) in the work; the text cited com es from p. 218.
7b/ ゐ知 w 對髑髏，1890, by K6da Rohan 幸田露伴，1867-1947:心 / z ms M 露伴
全集（ Tokyo: Iwanami Shoten 岩波書店，1949-58; rpt. 1978-80), 41 vols. (3
add5l. vols. with rpt.): v o l . 1 , p p . 135-168. Sample qtation : Ml:1 4 2 .,,rrhe quota
tion com es from Section 1 (o f a total 3 sections) o f the work; the text cited appears on
p . 142.
7b/:故 ?r/ 竹取物語，850-900: Nihon Koten Bungaku Taikei series. Sample
citation: “6:48.” The quotation com es from Section 6 (o f a to ta l 10 sections) in the
work; the text cited appears on p. 48 in the NK BT edition (comprising part [pp. 3-78]
o f v o l .9 o f the series).
Tosa mMz• 土佐日記，ca. 935, by Ki no Tsurayuki 紀貫之，ca. 868-945: Nihon Koten
Bungaku Taikei series. Sample citation: “ 1月 29 日： 4 6 .” The dates refer to entries
in the diary (for 935): here, the twenty-ninth day o f the first lunar month; the text
cited appears on p. 46 in the N K BT edition (comprising part [pp. 3-82] o f v o l .20 o f
the series).
ァ似厂微厂哪似徒然草，c a . 1335, by (Y oshida [no]) ICenk6 ( 吉田 )兼好，1283-1350:
Nihon Koten Bungaku Taikei series. Sample citation: “87:160.” The quotation
comes from Section 87 (o f a total 243 sections) o f the work; the text cited appears on
p . 160 in the N K BT edition (comprising part [pp. 53-290] o f v o l .30 o f the series).
A ppendix B
Japanese Texts Cited in the H andbook:
A Finding List
Appendix B lists all citations quoted in the Handbook o f individual bungo works, listed
alphabetically by their Japanese-language title.
Under each entry there are two columns. The left-hand column lists discrete quota-
tions from the original work. (For explanation o f the method o f citation, see the relevant
title in Appendix A.) The right-hand column indicates where the quotation is found in
the Handbook. (The method o f citation is explained in the Preface, Sect. VI, and in the
note at the foot o f p. vii.)
Instances o f more than one entry with the same set o f numbers in the left-hand
column indicate different citations from the same page (or poem or section). They are to
be differentiated from repeated citations o f the same passage, which are indicated by
multiple entries in the right-hand column.
Entries in brackets [ ] indicate passages referred to but not translated. Double
asterisks ** identify passages that are cited secondarily. UJTF, indicates a passage cited
directly from the Japanese Text Initiative (see the Preface, Sect. III).
A b u tsu -n i阿仏尼
see /zゅ〇/• ” /んた/十六夜日記
B a sh 6 苗蕉
see «〇 /zosom/c/z/ 奥の細道
C h U s h in g u m 忠臣蔵
s e e 仮名手本忠臣蔵
£7ga mowo於加 r/ 栄華物語
** M R K . 1 (ri),#21
Fujiwara Michitsune no haha 藤原道綱母

see •蜻蛉日記
ゾ/ 呀 ator/ 源氏物語 by Murasaki Shikibu 紫式部

1:1/28 RYK.2(keri),#13
1:1/30 M R K . 1 (ri),#19; [Intro. 10.NR, n7]
1:1/37 S S K . 4 (men), #11; Intro.4.SX, #41
1:1/51 M Z K . N I S . 2 (baya), #6; Intro.4.SX, n l 3
2:1/86 M Z K . 7 (mahoshi), #2; Intro.4.SX, #4; lntro.8.UP, # 8
2:1/95 Intro.7.KM, #18; Intro. 13.RL, # 5 ; [ I n t r o A S X , n22]
2:1/96 Intro.7.KM,#20
3:1/113 S S K . 6 (nari/hearsay), # 2
4:1/134 S S K . 4 (men), #7; Intro.5.VA, n3
4:1/135 M R K . 1 (ri)，# 1 5
247
A ppendix B
Texts Cited
4:1/151 M Z K . N I S . 3 (namu/nan), #5; Intro.11. N M , # 4
5:1/189 R Y K . 3 (nu), #18; Intro.5.VA, #5; Intro. 10.NR, #22; Intro. 13.RL, #8; In-
tro.13.RL，# 1 2
6:1/240 M Z K . 1 (zu),#14
8:1/306 R Y K . 5 (tsu), #8; [Intro.12.A D , n4]
9:1/328 R Y K . 4 (nikeri, etc.), # 7
9:1/331 Intro.5.VA,#16
10:1/375 R Y K . 7 (kemu/ken), # 8
12:2/11 R Y K . 6 (ki/shi),#18
13:2/62 R Y K . 3 (nu), #19; R Y K . 5 (tsu), # 6
13:2/67 M R K . 1 (ri),#5; Intro.4.SX, #52; Intro.9.EC, # 2
17:2/172 Intro.9.EC, #10; [Intro. 10.NR, n2]
22:2/337 M Z K . 7 (mahoshi), #7; IZK.NIS.l (ba, tbec./when,), #3; Intro.8.UP, # 2
34:3/276 M R K . 1 (ri),#16
34:3/284 S S K . 1 (beshi), #15; Intro.9.EC, #13; Intro.1l . N M , # 6
34:3/293 M Z K . N I S . 3 (namu/nan), #6; Intro.7.KM, #1
34:3/298 S S K . 1 (beshi), #18; S S K . 4 (men), # 4
35:3/338 M Z K . 7 (mahoshi), #14; Intro.7.KM, # 6
35:3/365 R Y K . 3 (nu), #20, Intro.4.SX, #17; Intro.13.RL, # 1 6
35:3/368 M R K . 1 (ri), # 1 7
39:4/133 R Y K . 1 (tari),#9; [Intro.9.EC.IX]; Intro.ll.NM,#ll
45:4/335 R Y K . 4 (nikeri, etc.), #16; lntro.5.VA, #20; [Intro.4.SX, n23]
47:4/385 M Z K . 7 (mahoshi), #13; S S K . 1 (beshi), #14; [ I n t roASX, n23]
47:4/439 S S K . 6 (nari/hearsay), #9; Intro. 10.NR, #15
50:5/141 R T K . 2 (nari/explan), #11, Intro.4.SX, #18; lntro.13.RL, # 1 0
50:5/180 Intro.7.KM,#21
51:5/211 M R K . 1 (ri),#3
51:5/228 M Z K . P C H . 1 ([ra]ru), #12; R T K . 2 (nari/explan), #2; [Intro.4.SX, n23]
51:5/264 M Z K . P C H . 3 (shimu), #6; M Z K . N I S . 1 (ba, 4if), #1;Intro.13.RL, # 1 3
52:5/303 R T K . 2 (nari/explan), #6; [Intro.4.SX, n23]; Intro.13.RL, #6; [Intro.13.RL, nl3]
52:5/304 Intro.5.V 人 # 21
53:5/387 R Y K . 5 (tsu), # 2 0
54:5/421 M Z K . P C H . 3 (shimu), #2; Intro.8.UP, #13; Intro.13.RL, # 1 5
Gosew waAoy/zi?後撰和歌集
1/35:8 M Z K . P C H . 1 ([ra]ru), # 1 ; R Y K . 5 (tsu), # 1 4
3/137:31 M Z K . 1 (zu), #3; M Z K . 1 (zu), # 9
後拾遺和歌集
1/43:16 M Z K . N I S . 2 (baya),#4
Heike monogatari 年家物語
1.1:1/83 M Z K . 1 (zu), #5; R T K . l (gotoshi), #3; M R K . 1 (ri), # 1 0
1.3:1/89 R Y K . 4 (nikeri,etc.),#8
1.3:1/90 R Y K . l (tari), #5; R T K . 2 (nari/explan), #12; Intro.8.UP, # 1 2
1.4:1/90-91 M Z K . 2 (zari), #4; M Z K . 3 (mu/n), #6; S S K . 1 (beshi), # 1 2
1.6:1/98 S S K . 3 (maji), # 8
1.6:1/99-100 S S K . 3 (maji), # 1 ; S S K . 3 (maji), # 1 1 ; Intro.7.KM, #9; [Intro. 13.RL, nl3]
1.6:1/101 S S K . 3 (maji), # 8
1.6:1/104 R Y K . 3 (nu), # 1 6
1.12:1/123-124 M Z K . 4 (muzu/nzu), # 1 4
2.2:1/145 M Z K . P C H . 3 (shimu),#9
2.4:1/156 M Z K . 5 〇i), # 7
248
A ppendix B
Texts Cited
2.10:1/186 M Z K . 1 (zu), #4; M Z K . 2 (zari), #7; Intro.8.UP, #7
2.15:1/200 Intro.4.SX, #34; Intro.5.VA, #22; Intro.6.PA, # 1 4
3.2:1/214 R T K . 1 (gotoshi), #10; [Intro. 10.NR, n7]
4.7:1/297 M Z K . P C H . 3 (shimu), # 7
4.8:1/299 M Z K . P C H . 3 (shimu), # 8
5.1:1/335 M Z K . P C H . 1 ([rajru), #3; R Y K . 2 (keri), #7
5.9:1/362-363 S S K . 1 (beshi), #2; S S K . 1 (beshi), #13; Intro.5.VA, # 1 2
5.10:1/365 M Z K . 5 (ji), # 7
6.9:1/414 Intro.6.PA, # 1 1 ; Intro.6.PA, #13
6.10:1/417 S S K . 5 (ramu/ran), # 9
7.10:2/84 M Z K . 4 (muzu/nzu), #13; M Z K . 4 (muzu/nzu), # 1 5
7.18:2/108 lntro.6.PA, # 9
8.3:2/130-131 Intro.7.KM, #19; [lntro.4.SX, n22]
9.4:2/177 S S K . 5 (ramu/ran), #5
9.9:2/197 R Y K . 8 (tashi), #2; R Y K . 8 (tashi), # 1 2
9.9:2/197 S S K . 5 (ramu/ran), # 1 0
10.2:2/242 R Y K . 8 (tashi), #1
10.5:2/253 M Z K . 4 (muzu/nzu), # 1 6
10.5:2/254 M Z K . N I S . 2 (baya), # 9
10.9:2/271 M Z K . N I S . 2 (baya),#10
10.10:2/273 S S K . 5 (ramu/ran), #3
10.10:2/276-277 M Z K . 4 (muzu/nzu), #4; Intro.13.RL, # 4
10.10:2/277 R Y K . 8 (tashi), # 5 ; lntro.4.SX, # 4 6
10.12:2/296 M Z K . 7 (mahoshi), #5
11.1:2/306 S S K . 5 (ramu/ran), # 4
11.8:2/335 M Z K . 4 (muzu/nzu), # 9 x
11.14:2/354 M Z K . 4 (muzu/nzu), #2; M Z K . P C H . 2 ([sa]su), # 6
11.16:2/358 M Z K . 4 (muzu/nzu), #17; M Z K . P C H . 2 ([sa]su), # 1 ; I Z K . N I S . 1 (ba, 4bec./
w h e n ,),#2
12.4:2/385 S S K . 5 (ramu/ran), # 2
12.7:2/402 S S K . 5 (ramu/ran), # 1 2
灌頂 .2:2/427 R T K . 2 (nari/explan), # 1 0
灌頂 .5:2/441 R Y K . 4 (nikeri, etc.), #10; R Y K . 6 (ki/shi), #10; Intro.10.NR, # 2 0
•方丈記 b y K a m o n o C h 6 m e i 鴨長明
A:23 M R K . 1 (ri), #9; Intro.4.SX, #51
A:24 M Z K . P C H . 3 (shimu), #4; Intro.4.SX, #13; Intro.7.KM, # 7
A:24 M R K . 1 (ri), #6; I n t r o A S X , # 1 2
B:24 Intro.1 l . N M , #14; [Intro.7.KM, n6]
G:33 R Y K . 6 (ki/shi), #15; S S K . 1 (beshi), #6; [Preface, nl5]
J:37 R T K . 1 (gotoshi), # 4
K : 4 0 [49] M R K . 1 (ri),#2; I n t r o A S X , #14; Intro.9.EC,#15
K:41 M R K . 1 (ri), #18; IZK.NIS.1 (ba, tbec./when,), #8; Intro.9.EC, #11
M:43 M Z K . 2 (zari), # 1 2
Ihara S a i k a k u 井原西鶴
s改 Kdshoku ichidai onna 奸色一代女
/roha ufa 伊呂波歌
M Z K . 3 (mu/n),#4
249
A ppendix B
Texts Cited
/se /wcwogator/ 伊勢物語
2:111 R Y K . 2 (keri), #4; Preface, n20; Intro. 10.NR, #1
2:112 M Z K . 1 (zu), #7; M Z K . 1 (zu), #13
2:112 R Y K . 5 (tsu), # 9
4:113 S S K . 1 (beshi), #8; [Intro.10 . N R , n3]
6:114 S S K . 3 (maji), #5; iiitroASXj 糾〇; [Intr〇.4.SX, n23]; Intro.12.AD, # 1 2
6:114 M Z K . N I S . 3 (namu/nan), # 1 ; [Intro.9.EC.IX]; Intro.11. N M , # 9
9:116 M Z K . 5 (ji), # 1 ; Intro.4.SX, # 1 ; [Intro.10 . N R , n3]
9:116 M R K . 1 (ri),#14
9:116 R Y K . 2 (keri), #9; Intro.4.SX, # 3 9
9:116 R Y K . 4 (nikeri, etc.), #11; Intro.10 . N R , # 2 5
9:116 R Y K . 3 (nu),#13
9:117 Intro.lO.NR,#9
9:117 Intro. 10.NR, #18; Intro.11,N M , #1
9:117 Intro.4.SX, # 4 9
9:117 M Z K . 1 (zu),#26; IZK.NIS.1 (ba, tbec./when,), #1
9:117 R Y K . 2 (keri), #12; IZK.NIS.1 (ba, tbec./when,), #4; Intro.4.SX, #21; In-
tro.9.EC, # 6
9:117 M Z K . 3 (mu/n),#2
12:119 M Z K . 4 (muzu/nzu), #5; Intro.12.A D , n 4
16:122 M Z K . 1 (zu)，#11
17:122 M Z K . 1 (zu), #17; I n t r o A S X , #32; Intro. 10.NR, # 2
19:123 R Y K . 1 (tari),#2
24:128 S S K . 4 (men), #9; Intro. 12.AD, n 4
34:132 M Z K . 1 (zu), #2; M Z K . 1 (zu), #30; Intro.12.A D , #11
36:132 S S K . 4 (meri), #8; R T K . 2 (nari/explan), # 8
56:142 R Y K . 2 (keri), #6; Intro.4.SX, # 4 4
58:143 M Z K . 6 (mashi), # 1 ; Intro.9.EC, # 5
62:145 M Z K . P C H . 1 ([ra]ru), #5; Intro.4.SX, # 4 2
69:151 Intro.1 l . N M , #12; [Intro.9.EC.DC]
73:153 R T K . 1 (gotoshi), # 1 4
83:160 Intro.13.RL, # 3
84:161 R Y K . 2 (keri), #4; Intro. 10.NR, #1
86:163 R Y K . 4 (nikeri, etc.), #6; Intro.4.SX, #38; Intro.7.KM.II (incl n6); Intro.7.KM,
#5
97:169 S S K . 6 (nari/hearsay), #5.
100:170 S S K . 5 (ramu/ran), #14; IZK.NIS.2 (do[mo]), # 9
110:175 R T K . 2 (nari/explan), #1
118:178 M Z K . 1 (zu), #12; Intro.5.VA, # 1 8
/zaァ m M / 十六夜日記 by Abutsu-ni阿仏尼
3/27:377 R Y K . 8 (tashi), #4; Intro.6.PA, #3; Intro. 13.RL, # 1 4
Izumi Shikibu和泉式部
s e e / z w w / m M /和泉式部日記
/zww/ w M / 和泉式部日記by Izumi Shikibu和泉式部

436 M Z K . N I S . 2 (baya),#l
439 M Z K . N I S . 2 (baya), #7; Intro. 10.NR, # 2 3
442 M Z K . P C H . 2 ([sa]su), #4; Intro. 13.RL, #1
442 S S K . 1 (beshi),#l
250
A ppendix B
Texts Cited
职 mM / 蜻鈴日記 by Fujiwara Michitsune no haha 藤原道綱母
上 :125 M Z K . 7 (mahoshi), #16; IZK.NIS.2 (do[mo]), #4; Intro.5.VA, # 1 4
上 :158 M Z K . 2 (zari),#2
上 :160 S S K . 1 (beshi), #19; S S K . 4 (men), #1
± :166 R Y K . 4 (nikeri, etc.), # 1 4
中 :201 S S K . 4 (men), # 1 3
下 :2 6 3 R Y K . 5 (tsu), #4; R Y K . 6 (ki/shi), # 4
下 :2 6 3 S S K . 4 (meri), # 2
下 :2 6 3 S S K . 4 (meri), # 3
下 :2 6 9 M Z K . 6 (mashi), #13; S S K . 1 (beshi), #7; Intro.12.AD, #8
下 :281 S S K . 1 (beshi), #16; S S K . 5 (ramu/ran), #6; Intro.5.VA, # 1 0
下 :2 8 5 MZK.5 〇 *i), #9; [Intro.4.SX, n23]
C7^/z/«gwra 仮名手本忠臣蔵 b y T a k e d a I z u m o 竹田出雲，M i y o s h i
S h O r a k u 三好松暴，a n d N a m i k i S e n r y O 並木千柳
6:329 S S K . 3 (maji), # 1 6
K e n k 6 兼好
see lsurezuregusa
K i n o T s u r a y u k i 紀負 :Z
see T asam M / 土佐日記 a n d 心ん / 似加古今集（
仮名序）
幻 >7 金葉和歌集
1/7:158 SSK.1 (beshi), #17; [Intro.4.SX, n22]; Intro.7.KM, #15; Intro.9.EC, #17;
[Intro.9.EC n7]
K5da R oh an 幸田露伴
see T a / 對髑髏
K o k i n s h U 古今集
仮名序，93 R Y K . 2 (keri), #8; R Y K . 4 (nikeri, etc.), # 5
仮名序，100 R T F L 1 (gotoshi), # 9
仮名序，101 R T K . 1 (gotoshi), #2; M R K . 1 (ri), #11
仮名序，103 M R K . 1 (ri), # 1 ; M Z K . N I S . 1 (ba, M f ), #5; [Intro.2, n2]; Intro.4.SX, # 7
1/46:113 R Y K . 5 (tsu), # 1 ; M Z K . N I S . 1 (ba, 4if), #6; [Intro.2, n2]; Intro.4.SX, n 13; In
tro. 12. A D , # 5
1/53:114 M Z K . 6 (mashi), #7; R Y K . 6 (ki/shi), #1
1/60:115 M R K . 1 (ri)，# 1 3
1/63:116 M Z K . 1 (zu), #17; Intro.4.SX, #32; Intro.10.NR, # 2
2/94:121 M Z K . P C H . 1 ([ra]ru), #4; Intro.9.EC, # 1 2
2/111:124 S S K . 5 (ramu/ran), #13; Intro.4.SX, # 2 9
3/135:129 M Z K . 3 (mu/n), #5; Intro.7.KM.II (incl n6); lntro.7.KM, #8
3/138:130 M Z K . N I S . 2 (baya), #2; Intro.4.SX, # 8
4/169:136 M Z K . 1 (zu), #29; R Y K . 3 (nu), #8; IZK.NIS.2 (do[mo]), #1
4/169:136 M Z K . P C H . 1 ([ra]ru), #11; R Y K . 3 (nu), #15; Intro.4.SX, #37; Intro.7.KM.II
(incl n6); Intro.7.KM, # 2
4/175:137 M Z K . N I S . 2 (baya), # A
4/192:140 S S K . 2 (rashi), #6; Intro.2, n2
4/194:140 M Z K . N I S . 2 (baya), # B
4/199:141 S S K . 2 (rashi), # 1 2
251
A ppendix B
Texts Cited
4/202:142 S S K . 6 (nari/hearsay), #3
4/217:144 M Z K . 1 (zu),#8 '
4/221:145 R Y K . 5 (tsu), #12; S S K . 5 (ramu/ran), #11; Intro.7.KM, # 4
7/349:170 S S K . 6 (nari/hearsay), # 5
8/372:175 M Z K . N I S . 2 (baya),#C
8/392:180 MZK.5 (ji), #5; M Z K . N I S . 3 (namu/nan), #3; S S K J (beshi), #5
9/410:185 RYK.4 (nikeri, etc.), #11; Intro. 10.NR, # 2 5
9/410:185 RYK.3 (nu), #13
9/411:186 MZK.3 (mu/n), # 2
10/443:194 RYK.5 (tsu), #3
11/542:211 M Z K . N I S . 3 (namu/nan),#2; Intro.9.EC,#18; Intro.1 l . N M , # 1 0
12/562:215 M Z K . N I S . 2 (baya), # D
12/592:220 R Y K . 1 (tari),#10
13/616:224 M Z K . 1 (zu), #7; M Z K . 1 (zu), # 13
13/616:224 R Y K . 5 (tsu), # 9
14/712:242 M Z K . 6 (mashi), #11; M Z K . N I S . 1 (ba, 4if), #3; R Y K . 6 (ki/shi), #2; In
tro. 10.NR, #8
15/750:251 R T K . 1 (gotoshi),#6
15/789:257 M Z K . 5 〇i), # 4
17/923:288 S S K . 2 (rashi),#13
18/971:299 R Y K . 6 (ki/shi),#19
18/986:302 R Y K . 6 (ki/shi), #21; IZK.NIS.2 (do[mo]), # 7
20/1092:328 [S S K . 2 (rashi), #7]; [ R T K . 2 (nari/explan), #4]
Koshoku ichidai 好色一代女 b y Ihara S a i k a k u 井原西鶴

1.1:205 R Y K . 6 (ki/shi), # 8
3.1:261 S S K . 2 (rashi), #9; Intro.8.UP, # 4
4.2:294 M Z K . P C H . 1 ([ra]ru),#6
4.4:306 S S K . 3 (maji), # 9
5.2:322 R Y K . 8 (tashi), #6; R Y K . 8 (tashi), # 9
6.3:355 S S K . 2 (rashi), # 2
6.3:356 S S K . 2 (rashi), # 1 0
w o •sds/z/ 枕草子 b y Sei S h 6 n a g o n 清少納言
8:49 S S K . 3 (maji), # 4
8:49 M Z K . 3 (mu/n), #1
8:49 S S K . 6 (nari/hearsay), # 8
8:50 R Y K . 3 (nu), #6; Intro.5.VA, # 1 3
9:55 R Y K . 4 (nikeri, etc.), # 9
23:58-59 R Y K . 1 (tari),#15
23:61 M Z K . P C H . 2 ([sa]su), #5; M Z K . P C H . 1 ([ra]ru), #8; Intro. 13.RL, n3
33:76 S S K . 4 (meri), #10; [Intro.4.SX, n23]
38:85 M Z K . 7 (mahoshi), # 6
41:90 S S K . 3 (maji), #7; Intro.4.SX, # 3 0
41:90-91 M Z K . 6 (mashi), #10; Intro. 10.NR, # 2 6
43:92 M Z K . 3 (mu/n),#9
76:111 R Y K . 1 (tari), #11; M R K . 1 (ri), #12; Intro.2, n 2
83:120 R Y K . 6 (ki/shi),#17
83:121 M Z K . 7 (mahoshi), # 9
84:123 S S K . 6 (nari/hearsay), #7; R T K . 2 (nari/explan), #9; [Intro.7.KM, n9]; In-
tro.9.EC, # 1 9
94:145 R Y K . 7 (kemu/ken), #11
99:150 M Z K . 3 (mu/n),#13
252
A ppendix B
Texts Cited
99:151 M Z K . N I S . 3 (namu/nan), #4; Intro.11. N M , #3
99:151 R Y K . 3 (nu), #17; IZK.NIS.2 (do[mo]), #6; I n t r o A S X , #19; Intro.5.VA, # 1 7
99:152 M Z K . 6 (mashi), #12; S S K . 5 (ramu/ran), # 8
104:161 R Y K . 4 (nikeri, etc.), # 4
106:166 M Z K . N I S . 2 (baya),#3
111:169 M Z K . 7 (mahoshi), # 1 5
114:170 R Y K . 6 (ki/shi), #23; IZK.NIS.1 (ba, tbec./when,), #6; Intro.5.VA, n3
134:187 R Y K . 3 (nu), #21; Intro.4.SX, #50; Intro. 13.RL, # 9
134:187 R Y K . 4 (nikeri, etc.), #13; Intro.5.VA, # 6
142:198 M Z K . 6 (mashi), # 6
143:199 R Y K . 5 (tsu)，#16; IZK.NIS.1 (ba, 4bec./when ，
)，# 5 ; lntro.8.UP，# 1 0
143:200 R Y K . 1 (tari), #6; Intro.5.VA, #7
143:203 R Y K . 7 (kemu/ken), #7
152:207 M Z K . 4 (muzu/nzu), #8; Intro.4.SX, #33; Intro.5.VA, #11
184:229 S S K . 1 (beshi),#21
184:231 R Y K . 1 (tari), #1
184:232 M Z K . 2 (zari), #6; Intro. 13.RL, #2
184:233 R Y K . 7 (kemu/ken), # 1 0
184:234 R Y K . 6 (ki/shi), #3; M Z K . N I S . 1 (ba, 4if), # 4
200:243 M Z K . 1 (zu), #28; Intro.7.KM, #13; Intro.9.EC, # 4
207:248 S S K . 1 (beshi), #9; [Intro.4.SX, n23]; [Intro.10 . N R , n3]
218:251 M Z K . 7 (malioshi), #1
266:275 R Y K . 3 (nu), #7; Intro.10.NR, # 1 9
267:276 M Z K . 2 (zari), #3; Intro.4.SX, # 2 6
268:276 S S K . 3 (maji), # 2
268:277 S S K . 1 (beshi), #22; I ZK.NIS.2 (do[mo]), # 8 ; lntro.4.SX, # 2 7
278:288 R Y K . 5 (tsu), #7; R Y K . 5 (tsu), #15; Intro.7.KM, # 1 1 ; Intro.7.KM, # 1 6
292:305 M Z K . 3 (mu/n),#8
300:311 R Y K . 1 (tari), # 1 4
302:313 Intro.6.PA, # 1 2
305:314 S S K . 3 (maji),#12
306:315 R Y K . 5 (tsu), #13; lntro.5.VA, # 4
315:321 R Y K . 1 (tari), # 8
316:322 M Z K . 1 (zu), #19; Intro.8.UP, # 1 ; Intro.9.EC, #1
316:322 M Z K . 2 (zari), #8; R Y K . 6 (ki/shi), #5; Intro.7.KM, # 1 7
p.319
[ Y u h o d o ed.] M Z K . N I S . 2 (baya), # 8
> み /7。萬葉集
1/7:1/13 R Y K . 6 (ki/shi), #12; M R K . 1 (ri), # 4
1/13:1/17 S S K . 2 (rashi), # 8
1/37:1/31 M Z K . 1 (zu),#23
1/40:1/33 S S K . 5 (ramu/ran), #7; Intxo.5.VA, n3; Intro.9.EC, # 1 6
2/104:1/71 R Y K . 7 (kemu/ken), #3
2/201:1/113 M Z K . 1 (zu),#l
2/221:1/125 R Y K . 2 (keri), # 1 ; R Y K . 4 (nikeri, etc.), #1
3/268:1/155 S S K . 6 (nari/hearsay), #1
3/312:1/167 R Y K . 7 (kemu/ken), # 9
3/337:1/177 S S K . 5 (ramu/ran), #1
3/351:1/179 R T K . 1 (gotoshi), # 1 ; Intro.7.kM, # 1 2
3/388:1/191 M Z K . P C H . 3 (shimu),#3
3/477:1/223 R Y K . 3 (nu), #14; R T K . 1 (gotoshi), #12; lntro.4.SX, # 3 5
4/632:1/283 R T K . 1 (gotoshi),#13
253
A ppendix B
Texts Cited
4/738:1/309 M Z K . 1 (zu), #10; S S K . 1 (beshi), # 4
5/872:2/91 R Y K . 7 (kemu/ken), #1
6/912:2/135 R Y K . 2 (keri), #2; R Y K . 4 (nikeri, etc.), # 2
7/1118:2/209 R Y K . 7 (kemu/ken), #5; Intro.8.UP, # 6
7/1281:2/241 R Y K . 5 (tsu), #2; M Z K . N I S . 1 (ba, 4if), # 7
8/1509:2/309 M Z K . N I S . 3 (namu/nan), #7; [Intro.12.A D , n2]
8/1658:2/353 M Z K . 6 (mashi), #2; M Z K . 6 (mashi), #9; Intro.4.SX, #3
10/1814:3/55 S S K . 2 (rashi), #4; Intro.4.SX, #28; Intro.9.EC, #3
10/1819:3/55 R Y K . 3 (nu), #10; S S K . 2 (rashi), # 5
10/1940:3/79 M Z K . 3 (mu/n), #5
10/2282:3/139 R Y K . 2 (keri), #3
13/3256:3/353 S S K . 5 (ramu/ran), #15; IZK.NIS.2 (do[mo]), #5
15/3601:4/59 [Intro.12.A D , n6]
[15/3627:4/67] M Z K . l (zu), #1
15/3735:4/99 M Z K . 2 (zari), # 1 ; [ M Z K . 1 (zu), under the M Z K heading]
15/3751:4/101 M R K . 1 (ri),#20
15/3775:4/107 M Z K . 2 (zari), #13; IZK.NIS.2 (do[mo]), #2; Preface, n20; Intro.4.SX, # 4 5
20/4441:4/451 M Z K . 1 (zu), #16; Intro. 12.AD, #7
20/4441:4/451 Intro.ll.NM,#5
Masaoka S h ik i正岡子規
JTI R Y K . 8 (tashi),#7
JTI R Y K . 8 (tashi), # 3
Matsuo B a sh 6 松尾色蕉
see «〇 /zosow/c/z/ 奥の細道
Murasaki Shikibu 紫式部
see w ow oga/ar/源氏物語 and Mwmsaた / 紫式部日記
M wrnsW n/M / 紫式部日記 by Murasaki Shikibu 紫式部

476 R Y K . 1 (tari),#13
496 S S K . 3 (maji), #3; Intro.6.PA, # 7
/zosow/'c/z/ 奥の細道 by Matsuo Bash6 松尾色蕉

70 R Y K . 5 (tsu), # 5 ; lntro.4.SX, # 1 1 ; Intro.4.SX, n 8 a n d n l O
79 R Y K . 6 (ki/shi),#22
87 S S K . 2 (rashi), #7; R T X . 2 (nari/explan), # 7
Proverb _
M Z K . 1 (zu), #20; Intro.5.VA, # 2
R oh an露伴
see 7b/ゴ對觸體
R y6k an 良寛
JTI RYK.4 (nikeri, etc.), #15
Saikaku 西鶴
see Kdshoku ichidai onrta 奸色^— 代女
254
Appen d ix B
Texts Cited
Sei Sh6nagon 清少納言
see M a k u r a no soshi
Senzaishu 千載集
6/460:131 R Y K . 4 (nikeri, etc.), #3
S h ik i 子規
see Masaoka Shiki 正岡子規
57而拾遺和歌集
7/421:77 R Y K . 5 (tsu),#18
19/1225:218 R Y K . 6 (ki/shi), # 2 0
ゴ〇んw r o 對觸體 b y K 6 d a R o h a n 幸田露伴
1:140 Intro.6.PA, # 1 0
1:142 S S K . 2 (rashi), #3
1:147-148 M Z K . P C H . 3 (shimu), #5
2:152 S S K . 3 (maji),#10
2:153 S S K . 2 (rashi), # 1 ; S S K . 2 (rashi), #11
Takeda Izumo 竹田出雲，et al.

s e e 尺(篇 7ゐ //0/7 仮名手本忠臣蔵
7bたW o r / w o w o g a / a r /'竹取物語
1:29 M Z K . P C H . 2 ([sa]su), #2; Intro.4.SX, # 6 , [lntro.4.SX, nlO]
1:30 R Y K . 5 (tsu), # 1 0
2:31 R Y K . 7 (kemu/ken), # 4
4:36 R Y K . 2 (keri),#5
4:37 M Z K . 4 (muzu/nzu), #3; Intro. 10.NR, # 6
4:37-38 R Y K . 6 (ki/shi), # 2 4
4:39 M Z K . 1 (zu), #15; R Y K . 3 (nu), #2; Intro.4.SX, # 1 5
4:40 R Y K . 5 (tsu), #17; Intro.4.SX, # 4 7
5:41 S S K . 6 (nari/hearsay), # 6
5:44 R Y K . 4 (nikeri, etc.), # 1 2
6:46 M Z K . 1 (zu), #18; Intro.4.SX, # 3 1 ; Intro. 12.AD, # 9
6:46 M Z K . 4 (muzu/nzu), #11; R Y K . 1 (tari), #3; [Intro. 12.AD, n2]
6:48 R Y K . 2 (keri), #11; Intro.7.KM, # 14; Intro.10 . N R , # 10
7:52 R Y K . 5 (tsu), # 1 9
7:53 M Z K . 5 (ji), #6; M Z K . P C H . 2 ([sa]su), #3
8:55 M Z K . 4 (muzu/nzu), #12; R Y K . 3 (nu), #3
9:59 Intro.11. N M , # 2
9:63 M Z K . 4 (muzu/nzu), #10; IZK.NIS.2 (do[mo]), #3
9:63 R Y K . 4 (nikeri, etc.), #17; R T K . 1 (gotoshi), #8; [Intro.10.NR, n7]
9:64 S S K . 3 (maji), #14; Intro.12.A D , # 1 0
Tori/caebaya mon o g a t a / i とりかへばや物語

Title M Z K . N I S . 2 (baya),#5
255
A ppendix B
Texts Cited
m M / •土佐日記 b y K J n o Tsurayuki 紀貫之
12 月 2 1 日:2 7 S S K . 6 (nari/hearsay), #4; R T K . 2 (nari/explan), #5; [Intro.4.SX, n23]; In-
tro.10.NR, #14; Intro. 10.NR, # 1 7
12 月 2 1 日:27 R Y K . 3 (nu), # 4
12 月 2 7 日:3 0 R Y K . 3 (nu), #5
1 月 7 日:33 R Y K . 3 (nu), # 4
1月 7 日:3 4 R Y K . 3 (nu), # 4
1 月 7 日:34 M Z K . P C H . 1 ([ra]ru), #7; R Y K . 3 (nu), #12; S S K . 4 (men), #6; Intro.8.UP, # 9
1 月 1 4 日3 8 M R K . 1 (ri), #8; Intro.4.SX, # 4 3
1 月 1 7 日:4 0 R Y K . 7 (kemu/ken), # 2
1 月 1 7 日:4 0 R Y K . 3 (nu), #11; S S K . 1 (beshi), #11
1 月 2 6 日:45 M Z K . P C H . 3 (shimu), #1
1 月 2 9 日:4 6 R Y K . 4 (nikeri, etc.), #18; Intro.4.SX, #20; lntro.5.VA, #3; Intro. 10.NR, #21
2 月 4 日:50 R Y K . 6 (ki/shi), #6; R Y K . 6 (ki/shi), #11; Intro.4.SX, #22; Intro.9.EC, #7; In
tro. 12. A D , #1
2 月 1 6 日:5 8 R Y K . 7 (kemu/ken), #6; Intro.7.KM.II (incl n6); Intro.7.KM, #3
似徒然草 b y ( Y o s h i d a [no]) K e n k 6 (吉田 )兼好
1:90 M Z K . 1 (zu), #25; M Z K . 5 (ji), #3; Intro.12.A D , #4; A p p e n d i x D, n l 8
1:90 M Z K . 7 (mahoshi),#12; SS K . 1 (beshi), #20; [Intro.12. A D , n2]
1:91 R Y K . 8 (tashi), # 8
6:93 Intro.ll.NM，# 7
7:95 Intro.ll.NM,#13
9:96 S S K . l (beshi), #10; Intro. 10.NR, #7; [Intro.10 . N R , n3]; [Intro.12.A D , n2]
11:99 M Z K . 6 (mashi), #5; M Z K . N I S . 1 (ba, if), # 2
14:101 Intro.4.SX, # 9 ; lntro.6.PA, #4; Intro.6.PA, #5
18:104 R Y K . 5 (tsu), #11; Intro.4.SX, #25; Intro.5.VA, # 8
19:104 S S K . 4 (meri), # 1 2
19:106 S S K . 3 (maji),#15
21:107 M Z K . 2 (zari), #5; M Z K . 3 (mu/n), #7; Intro. 10.NR, # 1 3
25:110 M Z K . 1 (zu), #24; R Y K . 3 (nu), # 9
30:115 M Z K . 3 (mu/n), #10; M Z K . 3 (mu/n), # 1 2
31:116 R Y K . 1 (tari), #4; R Y K . 6 (ki/shi), #9; Intro.5.VA, # 1 9
32:117 R Y K . 6 (ki/shi), #7; Intro.8.UP, #5
34:118 R Y K . 6 (ki/shi),#13
38:120 Intro.6.PA, # 6
43:125 M Z K . 7 (mahoshi),#10
44:125 M Z K . 7 (mahoshi), # 4
44:126 R Y K . 1 (tari), # 7
49:129 R T K . 2 (nari/explan), # 4
49:129 R Y K . 2 (keri), #10; [Intro.4.SX, nl2]; Intro. 10.NR, # 1 2
52:132 M Z K . 7 (mahoshi), #11
53:133 R Y K . 7 (kemu/ken), #12; Intro.4.SX, #48; Intro.6.PA, # 2
55:135 [Intro.12.A D , n6]
60:140 M Z K . 3 (mu/n), #3
60:140 R Y K . 8 (tashi), #11; 1 Z K . N I S . 1 (ba, 4bec./when,), #7; Intro.4.SX, # 2 4
74:150 R T K . 1 (gotoshi), #5; [Preface, nl5]
85:158 M Z K . l (zu), #27; Intro.6.PA, #1
85:158 M Z K . 4 (muzu/nzu), #6; Intro.2, n2
85:158 M Z K . 1 (zu), #6; M Z K . 1 (zu), #21; S S K . 1 (beshi), # 3
87:160 R Y K . 4 (nikeri, etc.), # 1 9
93:165 M Z K . 4 (muzu/nzu), #7; Intro. 10.NR, # 4
256
A ppendix B
Texts Cited
93:166 M Z K . 2 (zari), #10; R T K . 2 (nari/explan), #3; Intro.4.SX, #36; Intro.5.VA, #9;
Intro. 10.NR, #11; Intro. 10.NR, # 1 6
98:168 S S K . 3 (maji),#13
104:172 R Y K . 5 (tsu), #21; Intro.2, n2; Intro.8.UP, #3
105:173 R Y K . 1 (tari), #12; Intro.4.SX, #16; Intro.12.A D , #2
120:186 S S K . 3 (maji), #6; [Intro.4.SX, nl9]
121:187 M Z K . P C H . 1 ([ra]ru), #2; Intro.4.SX, # 5 ; lntro.9.EC, # 1 4
121:188 S S K . 6 (nari/hearsay), # 1 0
124:190 M Z K . 7 (mahoshi), #8
128:191-192 M Z K . N I S . 2 (baya), # 1 1 ; Intro. 10.NR, # 2 4
137:202 Intro.9.EC, #9; [Intro. 10.NR, n2]
139:207 R Y K . 8 (tashi), #10; Intro.4.SX, #23; Intro.9.EC, #8; Intro. 10.NR, #3
139:207 Intro. l l . N M , # 8
139:207 S S K . 4 (meri), #5; Intro.13.RL, # 7
140:206 M Z K . 2 (zari), #9; Intro. 10.NR, #5; [Intro.12.A D , n2]
142:210 MZK.5 〇 'i), # 2
151:216 M Z K . 7 (mahoshi), #17; [ R Y K . 5 (tsu), #8]; Intro.4.SX, #10; Intro.12.AD, #3
157:220 M Z K . P C H . 1 ([ra]ru),#10
158:221 M Z K . P C H . 1 ([ra]ru), #9; R Y K . 6 (ki/shi), #14; R Y K . 6 (ki/shi), #16; Intro.
13.RL , # 1 1
167:225 M Z K . 5 (ji), #8; M Z K . 6 (mashi), #4; [Intro.4.SX, n23]; Intro. 12.AD, # 6
170:227 M Z K . 1 (zu), #22; Intro.4.SX, #2; Intro.5.VA, #1
171:229 Intro.6.PA, # 8
173:231 M R K . 1 (ri), # 7 ; [Intro.12.A D , n2]
188:243-244 M Z K . 7 (mahoshi), #3
189:246 R T K . 1 (gotoshi),#ll
202:254 Intro.7.KM,#10
217:264 R T K . 1 (gotoshi), #7; Intro.5.VA, # 1 5
217:265 M Z K . 2 (zari)，#11
235:278 M Z K . 6 (mashi), #3; M Z K . 6 (mashi), #8; Intro.8.UP, #11
241:287 M Z K . 3 (mu/n),#ll
241:287 M Z K . 4 (muzu/nzu), #1
yicrwa/o wowogaton•大和物語
** R Y K . 3 (nu), #1
Yoshida [no] Kenk6 吉田兼好

see Tsurezuregusa
A p p e n d ix C
N otes: O ther Translations o f
C itations in the H andbook
Nearly 95% o f the translations in the Handbook are the author’s own. Those that are
not are identified below by an asterisk A ppendix C points to other translations
o f passages cited in the Handbook. For further discussion o f this aspect o f the
volum e, see the Preface, Sect. V.
A ppendix C is com plem ented by A ppendix D. The latter gives detailed infor
mation about the translations cited here in abbreviated form.
After identification o f where a passage is found in the Handbook, within indi
vidual entries first the source for the Japanese-language citation is given (follow ed
by a colon), then the follow in g information is provided: (A ) English-language trans
lations o f the work, arranged in reverse chronological order (namely, most recent
publication first); (B ) other W estern-language translations o f the work, in the order,
French, German, and Spanish (in reverse chronological order within each language-
category); and (C) citation o f those items that are treated by the three authors noted
in Sect. Ill o f the Preface, in the follow in g four works by them (cited below in
chronological order, preceded by the abbreviation used for each):
IM X = Ivan Morris, Dictionary of Selected Forms in Classical Japanese

Literature (N ew York: Columbia University Press, 1966).
PGO = P.G. O 'N e ill, A Programmed Introduction to Literary-Style Japanese
(London: School o f Oriental and African Studies, 1968).
IMZ = Ivan Morris, Dictionary of Selected Forms in Classical Japanese
Literature: Corrigenda, Addenda, Substituenda (N ew York: Colum
bia University Press, 1970).
IKE = ]keda Tadashi, Classical Japanese Grammar niustrated with Texts
(Tokyo: The Toho Gakkai, 1975; 2nd ed., 1980).
The surnames o f joint translators are linked by an ampersand (e.g., 4<Kitagawa

& Tsuchida”). Translations done “w ith” or “with the assistance o f ’ another person
are indicated by a “w .” join in g their last names (e.g.， “Rodd w. H enkenius”). And
the single instance o f a translation o f a translation is signaled by a slash mark be
tween the surnames o f the first and second translators (<tR enon deau/Solom onoff,).
For citations o f classical passages that are quoted in works by m odem Japanese
scholars translated into Western languages, the translator responsible for the
W estern-language rendering is cited, follow ed in parentheses by the author o f the
work in which tiie passage occurs: e .g .， “Chibbett (K ato).”
Where the expectation is that a cited passage is likely to, or “should，” appear in
the translation by a particular scholar— namely, with those titles identified in A p
pendix D as being either a “C om plete translation” or “Nearly com plete transla-
tion”一 the <?/认 e p ara g e is indicated in A ppendix C by The 1
1 W h e r e “slightly m o d i f i e d ”is a d d e d to a n asterisked entry, the punctuation and/or the capital-

ization has b e e n modified. S e e also the PREFACE, n . 19.
258
A ppendix C
Notes: Other Translations
translations o f Tsurezuregusa by G.B. Sansom and by Oscar Beni, for example,
contain 90-95% o f the work, as does the Arthur Waley rendering o f Genji m o n o g a -
tari. Hence, some passages cited in the Handbook are not translated by them, and
are so indicated by “Sansom, 〇〇，” “Beni, 〇〇，’’ and “Waley, When indi-
cates omission o f a passage in a “complete” translation (as opposed to the “nearly
complete” ones just noted), one o f the following can be assumed: the translator was
using an edition o f the original different from the one cited here (as happens with
passages not found in the full-length Sadler version o f the Heike monogatari)\ the
passage got paraphrased out o f existence when the translator rendered the general
context (as occurs in the Schwarz-Okuno translation o f Taketori monogatari); or the
quoted phrase or sentence got inadvertently left out (likely the case with the one
Tsurezuregusa passage cited in the Handbook that was omitted from the Rodriquez
translation).
In most instances, multiple publications by the same translator are easily differ
entiated by the headings that begin each entry. For example, the Sieffert citations
that follow the headings Tosa nikki, Genji monogatari, and Taketori monogatari
refer to different publications by the same translator, all clearly identified and
differentiated in A ppendix D under the respective listings for those titles. (When
there are multiple entries by the same translator under the same title-heading, they
are differentiated by date o f publication, which is supplied for each in parentheses.)
Given the abbreviated references that are used in Appendices C and D, one
should note that there are two people sumamed “Harris，” two sumamed “Levy,” two
with the last name “Sato，” and two with “Florenz.” But they appear under different
title-headings: Howard S. Levy (Kokinshu and Goshui wakashu) and Ian Hideo
Levy (Man'y6shu)\ H. Jay Harris (Ise monogatari) and Flora Best Harris {Tosa
nikki); Hiroaki Sato (Kokinshu and Man'ydshu) and Amalia Sato { M a k u r a no
soshi); Eduard Emmerich Florenz ( M a n yoshu) and Karl Florenz {Kokinshu). Note
also the two similarly-romanized surnames, Ishikawa and Itchikawa ^sic) under the
same title-heading (Hojoki), referring to Takeshi Ishikawa and Daiji Itchikawa (the
former also being listed under M a k u r a no soshi and Tsurezuregusa).
Introduction2
Intro.4.SX, #9 Tsurezuregusa, 14:101: K e e n e ,13; E b y ,14; Kurata, 30; Waka-

m ed a,14; Porter,19; Sansom, 9; Grobois & Yoshida, 54; Bemdt,
25; Berd, 17-18; Rodriquez, 33.
IntroASX， #34 Heike monogatari, 2.15:1/200: McCullough, 90; Kitagawa &
Tsuchida, 1:144; Sadler, 1:103; Sieffert, 112.
Intro.4.SX, #49 Ise monogatari, 9:117: Harris, 47; McCullough, 76; V o s , 1:173;
Renondeau, 30; Revon, 172; Schaarschm idt,16; Naumann &
2 T h e m a jo r ity o f J a p a n e s e - la n g u a g e bungo e x a m p le s c ite d in th e INTRODUCTION a r e d r a w n

(s o m e tim e s in a b b r e v ia te d fo r m ) fr o m th e BODY OF THE HANDBOOK; c ita tio n s in th e f o r m e r
a r e c r o s s - r e f e r e n c e d to tr e a tm e n t in th e la tte r. E n trie s lis te d im m e d ia te ly b e lo w a r e k e y e d to
c ita tio n s a p p e a r i n g o n ly in th e INTRODUCTION (w h e re th e y a re id e n tif ie d b y a d o u b le - a s t e r is k
**)•
259
A ppendix C
Naumann, 77; Beni (1958), 29; P fizm aier,16; Cabezas Garcia,
45; Renondeau/Solomonoff, 35.
Intro.5.VA, #16 Genji m onogatari, 9:1/331: Tyler, 1:173; McCullough, 140; Sei-
densticker, 1:167; Waley, 191; Sieffert, 1:186; Beni, 1:278.
Intro.5.VA, #21 Genji m onogatari, 52:5/304: Tyler, 2:1059; Seidensticker, 2:
1025; Waley, 1238; Sieffert, 2:601; Beni, 2:860.
Intro.6.PA, #6 Tsurezuregusa, 38:120, twice: Chance, 230, twice; Carter, 401,
twice; Switzer, 49 and 50; Keene, 35, twice; Kurata, 43, twice;
Wakameda, 34, twice; Porter, 35 and 36; S a n so m ,18, twice;
Grobois & Yoshida, 65, twice; Bemdt, 57, twice; B e n i,30 and
3 1 ; Rodriquez, 5 1 ,twice.
Intro.6.PA, #8 Tsurezuregusa, 171:229: Keene, 147; Wakameda, 152; Porter,
131; Sansom, 72; Grobois & Yoshida, 134; Bemdt, 194; Beni,
105; Rodriquez, 149.
Intro.6.PA, #9 Heike m onogatari, 7.18:2/108: McCullough, 249; Kitagawa &
Tsuchida, 2:444; Sadler, 2:61 (137); Sieffert, 314.
Intro.6.PA, #10 Tai dokuro (Koda Rohan), 1:140: Mulhem, 93; Miyamori, 395;
Donath,13.
Intro.6.PA,#ll Heike m onogatari, 6.9:1/414: McCullough, 214; Kitagawa &
Tsuchida, 1:374; Sadler, 2:4 (112); Sieffert, 265.
Intro.6.PA, #12 Makura no soshi, 302:313: Morris, 1:246 (and 2:182, n. #1079)
(245); Beaujard, 161.
Intro.7.KM,#10 Tsurezuregusa, 202:254: Carter, 417; Keene, 170; Wakameda,
179; Porter, 153; Sansom, 84; Grobois & Yoshida, 150; Bemdt,
223; Beni,oo; Rodriquez, 170.
Intro.7.KM, #18 Genji m onogatari, 2:1/95: Tyler, 1:39; Seidensticker, 1:42; Wa-
ley, 46; Sieffert,1:44; B e n i,1:66.
Intro.7.KM,#19 Heike m onogatari, 8.3:2/130-131: McCullough, 263; Kitagawa
& Tsuchida, 2:469; Sadler, 2:81; Sieffert, 332.
Intro.7.KM, #20 Genji m onogatari, 2:1/96: Tyler, 1:40; Seidensticker, 1:43; Wa-
ley, 47; SiefFert,1:44; B e n i,1:67; IKE, 228.
Intro.7.KM, #21 Genji m onogatari, 50:5/180: Tyler, 2:996; Seidensticker, 2:961;
W aley,1148; Sieffert, 2:524; Beni, 2:751.
Intro.9.EC, #9 Tsurezuregusa, 137:202: Chance, 206; Carter, 410-411; Switzer,
83; Kusajima w. Nakajima, 73; Keene, 118; Daniels, 95; Kurata,
80; Wakameda, 123; Porter, 106; Sansom, 58; Grobois & Yo-
shida, 116-117; Bemdt, 160-161; Naumann & Naumann, 288;
B en i,86; Rodriquez, 124.
Intro.9.EC, #10 G enji m onogatari, 17:2/172: Tyler, 1:322; Seidensticker, 1:308;
Waley, 383; Sieffert, 1:350; Beni, 1:507.
Intro.10.NR， #9 Ise m onogatari, 9:117: Harris, 47; McCullough, 75; Vos, 1:173;
Naumann, 77; Beni, (1958), 26; P fizm aier,14; Cabezas Garcia,
Intro. 10.NR, #18 Ise m onogatari, 9:117: Harris, 47; McCullough, 76; Vos, 1:173 ；
Naumann, 77; Beni (1958), 26; P fizm aier,15; Cabezas Garda,
260
A ppendix C
Intro.11.NM, #2 ra む /or/ 厂/，9:59: 298; Dickins (1906), 368;
Dickins (1888), 29; SiefFert, 182; Amold-Kanamori, 174; Nau-
mann & Naumann, 65; Matsubara, 52; Schwarz-Okuno, 56; Shi-
mada & Mohr, 157; Kuhnel,37; Lange, 315; Takagi, 231.
Intro.ll.NM ’ #5 M a n y d s h u , 20/4441:4/451: Suga, 3:402; Honda, 336; Pierson,
20:148; Sieffert, 5:351; PGO, 157; IMZ, 27 (and 50, for first half
o f poem).
Intro.ll.NM, #7 lsurezuregusa, 6:93: Switzer, 34; Keene, 6; Eby, 6; Kurata, 22;
Wakameda, 5; P orter,12; Sansom, 5; Grobois & Yoshida, 49;
Revon, 281; B em d t,12; B e n i,12; Rodriquez, 27.
Intro. ll.N M , #8 Tsurezuregusa, 139:207: Keene, 123; Wakameda, 129; Porter,
111; Sansom, 62; Grobois & Y oshida,119; Bemdt, 167; Beni, 90-
92; Rodriquez, 129; IMZ, 27.
Intro.ll.NM , #12 Ise monogatari, 69:151: H a r r is,110; McCullough, 117; Vos,
1:227; Renondeau, 111; Schaarschmidt, 68; Naumann & Nau-
mann, 83; Pfizmaier, 62; Cabezas G a r c ia ,100; Renondeau/
Solomonoff, 123.
Intro.ll.N M ,#13 Tsurezuregusa, 7:95: Chance, 202; Carter, 395; Switzer, 35;
Kusajima w. Nakajima, 47; Keene, 8; Eby, 7; Kurata, 24; Waka-
meda, 6; Porter,14; Sansom, 6; Grobois & Yoshida, 50; Revon,
282; B e m d t , 14; Naumann & Naumann, 269; B e n i , 13;
Rodriquez, 28.
Intro.ll.N M ,#14 Hojoki, B:24: Watson, 49; Moriguchi & Jenkins, 34; Muro, 6-7;
McCullough, 380; Rowe & Kerrigan,1 1 ;t4A man and a woman,^
6; Keene, 197; Itakura,13; Sadler, 2; Dickins, 2; Dixon, 206; So-
seki, 354; S ieffert,18; Nakamura & de Ceccatty, 135; Candau,
264; Revon, 248; Ishikawa, 107; Liscutin, 9; Naumann & Nau
mann, 2!)b; Chanoch, 182; Itchikawa,11;Alvarez Crespo, 39.
Intro.13.RL, #3 Ise monogatari, 83:xxx: Harris, 124; McCullough, 127; V o s , 1:
241; Renondeau, 131; Schaarschmidt, 80; Pfizmaier, 75; Ca
bezas G arcia,112; Renondeau/Solomonoff, 144.
MZK
MZK.1
1 M an ydsh u , 2/201:1/113: Duthie, 299; Cranston, 1:1:222-223; Suga, 1:116;
Sato & Watson, 33; Levy (1981), 130; Miner [& Brower], 44; Honda, 21;
Brower & M in er,138 and 207; Nippon Gakujutsu Shinkokai, 4 1 ; Pierson,
2:193; Dickins, 35; Sieffert,1:207; Renondeau, 27; IMX 78.
2 Ise m onogatari, 34:132: Harris, 75; McCullough, 94; Vos, 1:197; Renon
deau, 64; Schaarschmidt, 40; Pfizmaier, 36; Cabezas Garcia, 70; Renondeau/
SolomonofF, 7 1 ;IKE, 62-63.
3 Gosen wakashu, 3/137:31: IMX, 140; IKE, 63 and 90.
4 Heike m onogatari, 2.10:1/186: Watson, 35; McCullough, 82; Kitagawa &
Tsuchida, 127; Sadler, 1:90; Sieffert, 103; *PGO, 149; IMX, 49.
5 Heike m onogatari, 1.1:1/83: Watson, 9; McCullough, 23; Kitagawa & Tsu-
chida, 5; Sadler,1:1(22); Sieffert, 31; PGO, 169; IMZ, 8.
261
A ppendix C
6 Tsurezuregusa, 85:158: Switzer, 67; Keene, 72; Wakameda, 75; Porter, 69;
Sansom, 37; Grobois & Yoshida, 89; Bemdt, 105; B en i,58; Rodriquez, 86.
7 Ise m onogatari, 2:112; Kokinshu, 13/616:224. For the second part o f this poem,
see RYK.5 (tsu), #9.
Ise m onogatari, 2:112: Harris, 37; McCullough, 70; Vos, 1:165; Renondeau,
19; Schaarschmidt, 8; Beni (1 9 5 8 ),1 8 ; Cabezas Garcia, 37; Renondeau/
Solomonoff, 23.
Kokinshu, 13/616:224: Cranston, 2:62; Watson, 109; McCullough, 139;
Rodd w. Henkenius, 226; T e e le ,118 and 388; Levy, #36; Honda, 169; Miner
[& Brower], 86; Brower & Miner, 189-190 and 452; Wakameda, 163; Saito
(1909), 67; Amold-Kanamori, 161-162; Chanoch ( 1 9 3 0 ) ,1 1 ; Duthie, 113;
PGO, 150.
8 Kokinshu, 4/217:144: Cranston, 2:149; McCullough, 56; Rodd w. Henkenius,
110; Honda, 7 1 ; Wakameda, 58; Amold-Kanamori, 114; Ackermann &
Kretschmer, 129; Chanoch (1927), 337; IMZ, 50.
9 Gosen wakashu, 3 /1 3 7 :3 1 :same as #3 above.
10 4/738:1/309: Kojima，96-97 (two versions); Suga， 1:282; Levy
(1981), 325; Honda, 62; Pierson, 4:298; Sieffert, 2:137; Cabezas Garda, 180;
PGO,150; IMZ,5.
11 Ise m onogatari, 16:122: Harris, 55; McCullough, 82; Vos, 1:181; Renondeau,
40; Schaarschmidt, 24; Naumann & Naumann, 79; Pfizmaier, 23; Cabezas
Garcia, 54; Renondeau/Solomonoff, 46; PGO, 150; IMZ, 7.
deau, 174; Schaarschmidt, 103; Cabezas Garcia, 134; Renondeau/Solomonoff,
189; PGO, 150.
13 Ise m onogatari, 2:112, and Kokinshu, 13/olb:224: same as #7 above.
14 Genji m onogatari, 6:1/240: Tyler, 1:116; Seidensticker, 1:115; Waley, 130;
Sieffert, 1:130; Beni, 1:191; *IM X ,14.
15 Taketori m onogatari, 4:39: McCullough, 32; Keene, 283; Dickins (1906), 343;
Dickins (1 8 8 8 ),13; Sieffert, 156; Revon, 167; Amold-Kanamori, 7 1 ;Naumann
& Naumann, 52; Matsubara, 2 1 ; Schwarz-Okuno, 22; Shimada & M o lir,100;
K iihnel,15; Lange, 308; Takagi, 207.
16 M an ydsh u , 20/4441:4/451: this is the first half o f the poem cited as Intro.l1.
NM, #5, for which see for bibliograpnical citations.
17 Ise m onogatari, H :\2 2 ; Kokinshu, 1/63:116.
Ise m onogatari, 17:122: Harris, 56; McCullough, 82; Vos, 1:181; Renondeau,
4 1 ; Schaarschmidt, 24; Pfizmaier, 23; Cabezas Garcia, 54; Renondeau/
Solomonoff, 47.
Kokinshu, 1/63:116: Huey, 229; McCullough, 26; Rodd w. Henkenius, 66-67;
Honda, 32; Wakameda, lb; Amold-Kanamori, 74; Ackermann & Kretschmer,
44; Chanoch (1927) ，294; Lange (1884) ，46.
18 Taketori m onogatari, 6:46: Keene, 288; Dickins (1906), 354; Dickins (1888),
20; Sieffert, 165; Amold-Kanamori, 106; Naumann & Naumann, ^/; Matsu-
bara, 30; Schwarz-Okuno, 34; Shimada & Mohr, 145; Kuhnel,23; Lange, 310;
Takagi, 215.
19 M akura no soshi, 316:322: M orris,1:254; Beaujard, 269.
20 Proverb: cf. #5 above; P G O ,147 (he supplies the equivalent in brackets).
21 Tsurezuregusa, 85:158: same as #6 above.
262
A ppendix C
22 Tsurezuregusa, 170:227: Switzer, 94; Kusajima w. Nakajima, 75; Keene, 146;
Wakameda, 150; Porter, 130; Sansom, 7 1 ; Grobois & Yoshida, 133; Bemdt,
192; Beni, 104; Rodriquez, 147; IMX, 84.
23 M a n y o s h u , 1/37:1/31: Duthie, 234, 246, and 265; Cranston, 1:1:194; Suga,
1:46; Carter, 27; Sato & Watson, 29; Gatten & Teele, w. Miner (K o n ish i,1),
339; Levy (1984), 99; Levy (1981),57; Honda, 6; Yasuda (1949), 3 1 ; Nippon
Gakujutsu Shinkokai, 28; Pierson, 1:144; D ick in s,13; Sieffert, 1:83; Lorenzen,
10; Cabezas Garcia, 45; IMX, 84.
24 Tsurezuregusa, 25:110: C han ce,177 and 214; Carter, 398; Switzer, 45; Kusa
jima w. Nakajima, 5 1 ; Keene, 25; Eby, 22; Kurata, 36; Wakameda, 24; Porter,
27; S an som ,13; Grobois & Yoshida, 58-59; Bemdt, 44; B e n i,24; Rodriquez,
42; IMZ, 32.
25 Tsurezuregusa, 1:90: Chance, 143; Carter, 393; Switzer, 29; Kusajima w.
Nakajima, 45; Keene, 3; Eby, 3; K urata,19; Wakameda, 2; Porter, 9; San-
som, 3; Grobois & Yoshida, 47; Revon, 279; Ishikawa, 40; Bemdt, 7; Beni,
9; Rodriquez, 24; PGO, 162.
26 /se 砂 ân, 9:117 (I follow IKE [p. 321] in reading 京 here as 知 (5 rather
than miyako): Harris, 48; McCullough, 76; Vos, 1:173; Renondeau, 30;
Revon, 172; Schaarschm idt,16; Naumann & Naumann, 71-IS ; B e n i,29;
Pfizm aier,16; Cabezas Garcia, 47; Renondeau/Solomonoff, 35; IKE, 61.
Sansom, 37; Grobois & Yoshida, 89; Bemdt, 105; Beni (1958), 58; Rodriquez,
86; PGO, 147; IMZ,29.
28 M a k u r a no soshi, 200:243: Morris, 1:185 (194); Beaujard, 199; Amold-
Kanamori, 2:157 (and 159); IMX, 76.
29 Kokinshu, 4/169:136: Huey, 376; Gatten w. Miner (Konishi, 2), 226;
McCullough, 47; Rodd w. Henkenius, 97; Levy, #13; Honda, 60; Rexroth
(1955), 83; Miyamori, 1:247 (two versions); Wakameda, 49; Waley, 55;
Renondeau, 124; Am old-K anam ori,100; Ackermann & Kretschmer, 105;
Cranoch (1927), 322; Duthie, 65; P G O ,135 and 136; IKE, 62 and 113. For the
second part o f this poem, see MZK.PCH.l ([ra]ru), #11.
30 Ise monogatari, 34:132: same as #2 above.
MZK.2
1 Manyoshii, 15/3735:4/99: Cranston, 1:518; Suga, 3:44; Honda, 273; Pierson,
15:132; Sieffert, 5:94.
2 尺 m •んた/ ，上 1 5 8 : A m t z e n , 1 4 3 ; M c C u l l o u g h , 1 4 5 ; S e i d e n s t i c k e r ，6 2 ; T s u -
kakoshi w. Imaizumi (& Niehans), 69; IKE, 63-64.
3 M a k u r a n o soshi, 267:276: Morris, 1:214 (214); Waley, 56; Beaujard, 228;
Matsuo & Steinilber-Oberlin,116; Amold-Kanamori, 2:176; *IM X ,136 (modi
fied).
4 Heike monogatari, 1.4:1/90-91: McCullough, 28; Kitagawa & Tsuchida, 1:16;
Sadler,1:9 (25); Sieffert, 36; PGO, 154; IMZ, 49.
5 Tsurezuregusa^ 21:107: Switzer, 44; Keene, 22; Eby, 20; Kurata, 35; Waka-
meda, 20; Porter, 24; S ansora,12; Grobois & Yoshida, 57; Bemdt, 39; Nau
mann & Naumann, 272; B en i,22; Rodriquez, 39; IMZ, 49.
6 M a k u r a no soshi, 184:232: Morris, 1:180 (189); Kobayashi, 29; Beaujard, 194;
Amold-Kanamori, 2:140 (and 142); Naumann & Naumann, 120; IMX, 137.
263
A ppendix C
7 Heike monogatari, 2.10:1 /1 86: same as MZK.1 (zu), #4.
8 M a k u r a no soshi, 316:322: M orris,1:254; Beaujard, 269; IMX, 137.
9 Tsurezuregusa, 140:206: Carter, 411; Switzer, 86; Kusajima w. Nakajima, 73;
Keene, 126; Wakameda, 131; Porter, 112; Sansom, 62; Grobois & Yoshida,
121; Bemdt, 168; B en i,93; Rodriquez, 130; IMX, 138.
10 Tsurezuregusa, 93:166: Kusajima w. Nakajima, 67; Keene, 79; Wakameda, 84;
Porter, 76; Sansom, 4 1 ; Grobois & Yoshida, 93; Bemdt, 115; B e n i,64; Rodri
quez, 93; *PG O ,149 (slightly modified); IMZ, 49 and 28.
11 Tsurezuregusa, 217:265: Keene, 179; Wakameda, 191; Porter, 163; Sansom,
90; Grobois & Yoshida, 158; Bemdt, 236; Beni, 126; Rodriquez, 179.
12 Hojoki, M:43: Watson, 74; Moriguchi & Jenkins, 74; Muro, 108; McCullough,
391; Kusajima w. Nakajima, 34; Rowe & Kerrigan, 3 1 ;<4A man and a woman,
25; Keene, 211; Itakura, 54; Sadler,19; Dickins, 2 1 ; Dixon, 213; Soseki, 364;
Sieffert, 39; Nakamura & de Ceccatty, 143; Candau, 277; Revon, 264; Ishi-
kawa, 123; Liscutin, 42; Naumann & Naumann, 265; Chanoch, 194; Itchikawa,
35; Alvarez Crespo, 89; IMX, 137.
13 M a n y d s h u , 15/3775:4/107: Cranston, 1:528; Suga, 3:49-50; Honda, 275; Pier
son, 15:163; Sieffert, 5:100; IMX, 137.
MZK.3
1 M a k u r a no sdshi, 8:49: M orris,1:7 (27); Waley, 8 1 ; Purcell & Aston, 221;
Beaujard, 30; Matsuo & Steinilber-Oberlin, 3 1 ; Ishikawa, 153; Amold-
Kanamori, [1:43]; Watanabe, 40; Pfizmaier, 35-36; IMX, 61.
2 Ise, 9:117; Kokinshii, 9/411:186.
Ise monogatari, 9:117: Harris, 48; McCullough, 76; Vos, 1:173; Renondeau,
30; Revon, 172; Schaarschmidt,16; Naumann & Naumann, 78; Beni (1958),
29; Pfizm aier,16; Cabezas Garcia, 47; Renondeau/Solomonoff, 35; IKE, 70.
Kokinshu, 9/411:186: Cook, #135; McCullough, 98-99; Rodd w. Henkenius,
166; Levy, #78; Honda, 121; Miyamori, 1:189; Wakameda, 114; Waley, 59;
Renondeau,114; Amold-Kanamori, 149-150; Florenz, 119; Duthie, 97.
3 Tsurezuregusa, 60:140: Keene, 55; Kurata, 53; Wakameda, 56; Porter, 53; San-
som, 28; Grobois & Yoshida, 77; Bemdt, 82; Naumann & Naumann, 279; Beni,
46-47; Rodriquez, 69; PGO, 165.
4 “Irohauta”：IM X ,115.
5 M a n y o s h u , 10/1940:3/79; Kokinshii, 3/135:129.
M a n ydshu,\0/\940:3n9: Suga, 2:169; Honda, 161; Pierson, 10:125; Sief-
fert, 4:36.
K oidnshu, 3/135:129: Cranston, 2:142; McCullough, 40; Rodd w. Henken-
ius, 87; Levy, #85; Honda, 5 1 ; Wakameda, 39; Bonneau, 29; Amold-Kana-
mori, 88-89; Ackermann & Kretschmer, 85; Chanoch (1927), 314; Lange
(1891), 184; PGO, 154.
6 Heike monogatari, 1.4:1 /90-91 : same as MZK.2 (-zari), #4.
7 Tsurezuregusa, 21:140: same as MZK.2 (-zari), #5.
8 M a k u r a no soshi, 292:305: Morris, 1:238 (237); Waley, 59; Beaujard, 254;
Watanabe, 276; IMX, 61.
9 M a k u r a no 5〇shi, 43:92: Morris, 1:49 (70); Kobayashi, 90; Beaujard, 70;
Amold-Kanamori, 1:118; *IKE, 72 (slightly modified).
264
A ppendix C
10 Tsurezuregusa, 30:115: Kusajima w. Nakajima, 53; Keene, 3 1 ; Kurata, 40;
Wakameda, 29; Porter, 3 1 ; S ansom ,16; Grobois & Yoshida, 62; Bemdt, 51;
B eni,27; Rodriquez, 47.
11 Tsurezuregusa, 241:287: Switzer, 106; Keene, 200; Wakameda, 217; Porter,
183; Sansom, 99; Grobois & Yoshida, 173; Bemdt, 260; Beni, 140; Rodriquez,
199.
12 Tsurezuregusa, 30:115: same as #10 above
13 M a k u r a no sdshi, 99:150: Morris, 1:106 (120); Kobayashi, 7 1 ; Waley, 27;
Beaujard, 124; Amold-Kanamori, 2:26 (and 2:29); Watanabe, 161; B o d e ,19.
MZK.4
1 Tsurezuregusa, 241:287: Switzer, 106; Keene, 200; Wakameda, 217; Porter,
183; Sansom, 99; Grobois & Yoshida, 173; Bemdt, 260; Beni, 140-141; Rodri
quez, 200.
2 Heike monogatari, 11.14:2/354: ^McCullough 388 (modified); Kitagawa &
Tsuchida, 2:694; Sadler, oo; SiefFert, 482.
3 Taketori monogatari, 4:37: McCullough, 3 1 ;Keene, 282; Dickins (1906), 341;
Dickins (1888),12; Sieffert, 154; Revon, 166; Arnold-Kanamori, 65; Naumann
& Naumann, 5 1 ; Matsubara, 2 1 ; Schwarz-Okuno,19; Shimada & Mohr, 99;
K uhnel,14; Lange, 307; Takagi, 206; IMX, 42; P G O ,153 and 160.
4 Heike monogatari, 10.10:2/276-277: Watson, 117; McCullough, 346; Kita
gawa & Tsuchida, 2:619; Sadler, 2:203; Sieffert, 431.
5 Ise monogatarU 12:119: Harris, 50; McCullough, 78; Vos, 1:175; Renondeau,
33; Schaarschm idt,18; Naumann & Naumann, 78; Beni (1958), 30; Pfiz-
m aier,18; Cabezas Garcia, 49-50; Renondeau/Solomonoff, 38;
Sansom, 37; Grobois & Yoshida, 89; Bemdt, 105; B en i,58; Rodriquez, 86.
7 Tsurezuregusa, 93:165: Kusajima w. Nakajima, 67; Keene, 78; Wakameda, 83;
Porter, 75; Sansom, 40; Grobois & Yoshida, 93; B em d t,114; B e n i,64; Rodri
quez, 93.
8 M a k u r a no soshi, 152:207: Morris, 1:157 (170); Beaujard, 173; IMX, 125.
9 Heike monogatari, 11.8:2/335: Watson, 140; McCullough, 376; Kitagawa &
Tsuchida, 2:674-675; Sadler, 2:249 (214); Sieffert, 470.
10 Taketori monogatari, 9:63: McCullough, 35; Keene, 302; Dickins (1906), 373;
Dickins (1888), 33; SiefFert, 188; Amold-Kanamori, 198; Naumann & Nau
mann, 68; Matsubara, 57; Schwarz-Okuno, 62; Shimada & Mohr, 160-161;
Kuhnel,42; Lange, 316; Takagi, 235.
11 Taketori monogatari, 6:46: Keene, 288; Dickins (1906), 354; Dickins (1888),
20; Sieffert, 165; Amold-Kanamori, 106; Naumann & Naumann, 57; Matsu-
bara, 30; Schwarz-Okuno, 34; Shimada & Mohr, 145; Kiilinel,23; Lange, 310;
Takagi, 215; IMX, 62.
25; Sieffert, 175; Amold-Kanamori, 156; Naumann & Naumann, 63; Matsu-
bara, 45; Schwarz-Okuno, 50; Shimada & Mohr, 154; Klihnel,33; Lange, 314;
Takagi, 227; IKE, 94.
13 Heike monogatari, 7.10:2/84: McCullough, 236-237; Kitagawa & Tsuchida, 2:
420; Sadler, 2:40; SiefFert, 296.
265
A ppendix C
14 Heike m onogatari, 1.12:1/123-124: McCullough, 46; Kitagawa & Tsuchida,
1:53 Sadler, 1:39; Sieffert, 58.
15 H eike m onogatari, 7.10:2/84: same as #13 above.
16 Heike m onogatari, 10.5:2/253: W atson,1 0 1 ;McCullough, 333; Kitagawa &
17 H eike m o n o g a ta ri, 11.16:2/358: McCullough, 390-391; Kitagawa & Tsuchida,
2:698; Sadler, 2:263; Sieffert, 485.
MZK.5
1 /se 9:116 (I follow IKE [p. 320] in reading 京 here as rather
than m iya k o ): Harris, 45; McCullough, 74; Vos, 1:171; Renondeau, 28;
Revon, 170; Schaarschmidt,13; Naumann & Naumann, 76; Beni (1958), 25;
Pfizm aier,13; Cabezas Garcia, 44; Renondeau/Solomonoff, 33; IKE, 65.
2 Tsurezuregusa, 142:210: Keene, 128; Wakameda, 133; Porter, 114; Sansom,
63; Grobois & Yoshida, 122; Revon, 296; Ishikawa, 64; Bemdt, 170; B en i,94;
Rodriquez, 132.
3 Tsurezuregusa, 1:90: same as MZK.l (zu), #25
4 Kokinshu, 15/789:257: Cranston, 2:119; McCullough, 173; Rodd w. Henken-
ius, 275; Teele, 595; Honda, 205; Nakarai, 60-61; Wakameda, 200.
5 Kokinshu, 8/392:180: same as MZK.NIS.3 (namu), #3.
6 Taketori m onogatari, 7:53: Keene, 294; Dickins (1906), oo; Dickins (1888),
oo; Sieffert, 174; Amold-Kanamori, 144; Naumann & Naumann, 6 1 ; Matsu-
bara, 43; Schwarz-Okuno, oo; Shimada & Mohr, 151; Kiihnel,30; Lange, 313;
Takagi, 223; PGO, 163; IM Z ,13.
7 Heike m onogatari, 2.4:1/156; Heike monogatarU 5.10:1/365.
Heike m onogatari, 2.4:1/156: McCullough, 66; Kitagawa & Tsuchida, 1:95;
Sadler, 1:67; Sieffert, 83; PGO, 161; IM Z ,13.
Heike m onogatari, 5.10:1/365: McCullough, 184; Kitagawa & T suchid a,1:
324; Sadler, 1:243; Sieffert, 230.
8 Tsurezuregusa, 167:225: Switzer, 9 1 ; Keene, 144; Wakameda, 148; Porter,
127-128; Sansom, 70; Grobois & Yoshida, 132; Ishikawa, 54; Bemdt, 190;
Beni, 102-103; Rodriquez, 145-146.
9 K agerd nikki, T ： 285: Amtzen, 317; Seidensticker, 140; Tsukakoshi w. Ima-
izumi (& Niehans), 221.
MZK.6
deau, 94; Schaarschmidt, 55; Beni (1965), 27; Pfizmaier, 48; Cabezas Garda,
87; Renondeau/Solomonoff,103
2 M an ydsh u , 8/1658:2/353: Marra, 171; Kojima, 29; Suga, 2:63; Honda, 135;
Pierson, 8:265; Nippon Gakujutsu Shinkokai, 84; Sieffert, 3:285; Cabezas
Garda, 92; IM X,51.
3 Tsurezuregusa, 235:278: Chance, 210; Switzer, 105; Keene, 192; Kurata, 89;
Wakameda, 206; Porter, 175; Sansom, 94; Grobois & Yoshida, 167; Bemdt,
250; Beni, 132-133; Rodriquez, 191.
4 Tsurezuregusa, 167:225: same as MZK.5 (ji), #8.
5 Tsurezuregusa, 11:99: Carter, 397; Kusajima w. Nakajima, 48; K e e n e ,11；
Daniels, 87; E b y ,1 1 ; Kurata, 27; Wakameda, 10-11; Porter,17; Sansom, 7;
266
A ppendix C
Grobois & Yoshida, 52; Revon, 284; Bemdt, 22; Naumann & Naumann, 270;
B e n i,16; Rodriquez, 31.
6 M akura no sdshi, 142:198: Morris, 1.148 (162); Beaujard, 164.
7 K okinshu, 1/53:114: Mostow, 272; Carter, 77; Watson, 108; McCullough, 24;
Rodd w. Henkenius, 64; Levy, #58; Honda, 29; Miner [& Brower], 151;
Brower & Miner, 199; Miyamori, 1:188 (two versions); Wakameda,14; Saito
(1909), 45; Amold-Kanamori, 70-71; Ackermann & Kretschmer, 39; Bemdt,
102; Chanoch (1927), 281; Lange (1884), 39; Duthie, 5 1 ; IMX, 99; PGO,
117; IMZ, 38; IK E ,107 and 206.
8 Tsurezuregusa, 235:278: same as #3 above.
9 M an yo sh u , 8/1658:2/353: same as #2 above.
10 M akura no soshi, 41:90-91: Morris, 1:48 (68); Kobayashi, 9 1 ; Beaujard, 68;
Amold-Kanamori, 1:111; Watanabe, 104.
11 K okinshu, 14/712:242: Cranston, 2:93-94; Heldt, 173; Raud, 98; McCullough,
157; Rodd w. Henkenius, 254; Teele, 498; Levy, #62; Honda, 189; Wakameda,
183; Amold-Kanamori, 167; Chanoch (1930), 48; IMX, 99; PGO, 164; IKE,
124.
12 M akura no soshi, 99:152: Morris, 1:108 (122); Kobayashi, 73; Waley, 28;
Beaujard, 125; Arnold-Kanamori, 2:42; Watanabe, 166; IMX, 53.
13 心职が mMz•，下 :269: Amtzen, 295-297; Seidensticker, 130; Tsukakoshi w.
Imaizumi (& Niehans), 201.
MZK.7
1 M akura no so sh i, 218:251: M orris,1.190 (196); Beaujard, 205; Matsuo &
Steinilber-Oberlin, 89.
2 G enji m onogatari, 2:1/86: Tyler, 1:35; McCullough, 58; Seidensticker, 1:37-
38; Waley, 4 1 ; Sieffert, 1:39; Beni, 1:59; PGO, 167; IKE, 126.
3 Tsurezuregusa, 188:243-244: Keene, 160; Kurata, 86; Wakameda, 168; Por
ter, 144; Sansom, 79; Grobois & Yoshida, 144; Bemdt, 212; Beni, 114;
Rodriquez, 162.
4 Tsurezuregusa, 44:125: Chance, 85; Keene, 39; Kurata, 44; Wakameda, 39;
Porter, 40; Sansom, 20; Grobois & Yoshida, 68; Bemdt, 63; Naumann &
Naumann, 275; B e n i,34; Rodriquez, 56.
5 H eike m onogatari, 10.12:2/296: Watson, 118; McCullough, 348; Kitagawa
& Tsuchida, 2:623; Sadler, 2:206 (184-185); Sieffert, 433.
6 M akura no soshi, 38:85: M orris,1:43; Beaujard, 64; Pfizmaier, 54.
7 G enji m onogatari, 22:2/337: Tyler, 1:411; Seidensticker, 1:391; Waley, 512;
Sieffert, 1:452; Beni, 1:649.
8 Tsurezuregusa, 124:190: Keene, 106; W akam eda,110; Porter, 96; Sansom,
oo; Grobois & Yoshida, 108; Bemdt, 146; B e n i,79; Rodriquez,114.
9 M akura no soshi, 83:121: M orris,1:76 (94); Beaujard, 95; IMX, 47.
10 Tsurezuregusa, 43:125: Chance, 146; Carter, 402; Keene, 39; Kurata, 44;
Wakameda, 39; Porter, 39; Sansom, 20; Grobois & Yoshida, 68; Bemdt, 63;
Naumann & Naumann, 275; B e n i,34; Rodriquez, 55.
11 Tsurezuregusa, 52:132: Chance, 4 and 87; Carter, 403; Kusajima w. Naka-
jima, 56; Keene, 45; Kurata, 48; Wakameda, 46; Porter, 45; Sansom, 23;
Grobois & Yoshida, 72; Bemdt, 7 1 ; Naumann & Naumann, 277; B e n i,39;
Rodriquez, 6 1 ; PGO, 166.
267
A ppendix C
12 Tsurezuregusa, 1:90: C h a n c e , 143; Carter, 393; Switzer, 29-3 0; K u s a j i m a w .
N a k a j i m a , 45; K e e n e , 3-4; M a t s u m o t o , 2 3 6 ; E b y , 3; Kurata, 20; W a k a m e d a ,
2; P o r t e r , 10; S a n s o m , 3-4; G r o b o i s & Y o s h i d a , 47; R e v o n , 2 7 9 ; Ishikawa,
40; B e r n d t ，7; B e n i , 9; R o d r i q u e z , 24.
13 G enji m onogatari, 47:4/385: Tyler, 2:873; Seidensticker, 2:824; W a l e y , 982;
14 G enji m onogatari, 35:3/338: Tyler, 2:637; Seidensticker, 2:598; W a l e y , oo;
15 Makura no soshi, 111:169: Morris,1:123; Beaujard, 139; IMX, 47.
16 ATag e r J m M / ，上 :125: A r n tzen, 83; M c C u l l o u g h , 117; Seidensticker, 42-43;
T s u k a k o s h i w . I m a i z u m i ( & N i e hans), 29.
17 T surezuregusa, 151:216: K e e n e , 135; W a k a m e d a , 138; Porter, 119; S a n s o m ,
66; G r o b o i s & Y o s h i d a , 126; B e m d t , 177; B e n i , 98; Rodr i q u e z , 137.
MZK.PCH
MZK.PCH.1
1 Gosen wakashu, 1/35:8: Miyamori, 282.
2 Tsurezuregusa, 121:187: K e en e,10 1 ;Kurata, 73; Wakameda, 107; Porter, 93;
Sansom, 5 1 ; Grobois & Yoshida, 106; Revon, 295; Ishikawa, 50; Bemdt, 144;
Naumann & Naumann, 287; B en i,78; Rodriquez,112.
3 Heike monogatari, 5.1:1/335: McCullough, 167-168; Kitagawa & Tsuchida,
1:293; Sadler, 1:215; Sieffert, 209.
4 Kokinshu, 2/94:121: Raud, 117-118; Watson, 131; McCullough, 3 1 ; Rodd w.
Henkenius, 75; Levy, #53; Honda, 40; Wakameda, 26; Saito (1909), 37;
SiefFert, 70; Ackermann & Kretschmer, 6 1 ; Chanoch (1927), 303; Florenz, 49;
Lange (1884) ，64.
5 Ise monogatari, 62:145: Harris, 98; M cC ullough ,110; Vos, 1:217; Renon-
deau, 98; Schaarschmidt, 58; Pfizmaier, 5 1 ; Cabezas Garcia, 90; Renondeau/
SolomonofF, 109.
6 Koshoku ichidai onna (Saikaku), 4.2:294: Drake, 106; Morris, 177; Bonmar-
chand, 141; Tsukakoshi (w. N iehans),122
7 Tbsa «/んん/， 1月 7 0 :3 4 :M cC u llo u g h ,8 O ;M in er,6 6 ;P o rter ，39;H arris,58-
60; Sieffert, 24-25; Nakamura & de C eccatty,19; B o s s e ,12.
8 Makura no soshi, 23:61: same as MZK.PCH.2 ([sa]su), #5, where the passage
is cited at greater length.
9 Tsurezuregusa, 158:221: Keene, 140; Wakameda, 143-144; Porter, 124; San-
som, 68; Grobois & Yoshida, 129; Bemdt, 186; Beni,oo; Rodriquez, 142.
10 Tsurezuregusa, 157:220: Chance, 236; Carter, 414; Switzer, 88; Keene, 139;
Wakameda, 142; Porter, 123; Sansom, 68; Grobois & Yoshida, 128; Bemdt,
185; B e n i,100; Rodriquez, 141.
11 Kokinshii, 4/\69:\36: this is the second half o f the poem cited as MZK.l (zu),
#29, for which see for bibliograpnical citations.
12 Genji monogatari, 51:5/228: Tyler, 2:1021; Seidensticker, 2:986; W aley,1182;
268
A ppendix C
MZK.PCH.2
1 H eike m onogatari, 11.16:2/358: same as MZK.4 (muzu/nzu), #17.
Dickins (1888), 1-2; Sieffert, 140; Amold-Kanamori,14; Naumann & Nau-
mann, 45; Matsubara, 4; Schwarz-Okuno, 3; Shimada & Mohr, 92; K uhnel,3;
Lange, 304; Takagi, 193; PGO, 204; IMZ, 40.
3 Taketori m onogatari, 7:53: same as MZK.5 (ji), #6.
4 Izum i Shikibu nikki, 442, twice: Cranston, 187, twice; Miner, 149, twice; Omori
& Doi, 200 and 201; Sieffert, 92, twice; Nakamura & de Ceccatty, 57, twice;
B en i,95, twice; Pfizmaier, 491 and 493.
5 M akura no soshi, 23:61: Morris, 1:17 (36); Kobayashi, 4 1 ; Beaujard, 40; Wa-
tanabe, 62; Bode, 41.
6 H eike m o n o g a ta ri, 11.14:2/354: same as MZK.4 (muzu/nzu), #2.
MZK.PCH.3
1 ア〇^ た/，1 月 26 日 :45: McCullough, 89; Miner, 77; Sargent, 88; Porter, 79;
Harris, 98; Aston, < 1 14>; Sieffert, 40; Nakamura & de Ceccatty, 25; Bosse, 22.
2 G enji m onogatari, 54:5/421: Tyler, 2:1114; Seidensticker, 2:1082; Waley,
1318; Sieffert, 2:669; Beni, 2:956.
3 M a n y d s h u , 3/388:1/191: *Cranston, 1:646 (slightly modified); Suga, 1:185;
Sato & Watson, 76; Levy (1981), 202; Honda, 388; Nippon Gakujutsu Shinko-
kai, 289; Pierson, 3:213; Dickins, 64; Siefifert, 1:325; Amold-Kanamori, 52;
PGO, 205; IMZ, 39 and 40.
4 H djdki, A:24: Watson, 48; Moriguchi & Jenkins, 33; Muro, 4-5; McCul
lough, 380; Kusajima w. Nakajima, 22; Rowe & Kerrigan,10; man and a
w o m a n ,3; Keene, 197; Itakura,10; Bunting, 64; S a d le r ,1 ; D ic k in s ,1;
Dixon, 206; Soseki, 353-354; S ieffe rt,17; Nakamura & de Ceccatty, 135;
Candau, 263; Revon, 247; Liscutin, 8; Naumann & Naumann, 255; Chanoch,
182; Itchikawa,10; Alvarez Crespo, 35.
5 Tai dokuro (Koda Rohan), 1:147-148: Mulhem, 100-101; Donath, 23.
6 G enji m onogatari, 51:5/264: Tyler, 2:1038-1039; Seidensticker, 2:1005; Wa-
ley, 1208; Sieffert, 2:576; Beni, 2:825.
7 H eike m onogatari, 4.7:1/291: McCullough, 146; Kitagawa & Tsuchida, 1:252;
Sadler, 1:184; Sieffert, 182.
8 H eike m onogatari, 1299: McCullough, 147; Kitagawa & Tsuchida, 1:255;
9 H eike m onogatari, 2.2:1/145: McCullough, 60; Kitagawa & Tsuchida, 1:83;
MZK.NIS
MZK.NIS.1
1 Genji monogatari, 5 1:5/264: same as MZ K.P C H. 3 (shimu), #6.
2 Tsurezuregusa,11:99: same as MZ K. 6 (mashi), #5.
3 Kokinshu, 14/712:242: same as RYK.6 (ki/shi), #2.
269
A ppendix C
4 Makura no soshi, 184:234: same as RYK.6 (ki/shi), #3.
5 Kokinshu, Kana Preface, 103: same as MRK.l (ri), #1.
6 K o k in sh u , 1/46:113: same as RYK.5 (tsu), # 1.
7 Man ydsh u , 7/1281:2/241 : same as RYK.5 (tsu), #2.
MZK.NIS.2
A Kokinshu, 4/175:137: Cranston, 2:146; Gatten w. Miner (Konishi, 2), 227-
228; McCullough, 48; Rodd w. Henkenius, 98; Honda, 6 1 ; Wakameda, 50;
Ackermann & Kretschmer, 108; Chanoch (1927), 324.
B Kokinshu, 4/194:140: McCullough, 52; Rodd w. Henkenius, 104; Levy, #89;
Honda, 66; Wakameda, 54; Ackermann & Kretschmer, 117; Chanoch (1927),
330; Florenz, 60.
C Kokinshu, 8/372:175: *McCullough, 89; Rodd w. Henkenius, 154; Honda,
110; Wakameda, 102.
D Kokinshu, 12/562:215: Cranston, 2:45; McCullough, 128; Rodd w. Henkenius,
211; T e e le ,183 and 324; Honda, 158; Wakameda, 151.
1 Izumi Shikibu nikki, 436: Cranston, 179; Miner, 142; Omori & Doi, 194; Sief-
fert, 84; Nakamura & de Ceccatty, 54; B e n i,86; Pfizmaier, 480.
2 Kokinshu, 3/138:130: McCullough, 40-41; Rodd w. Henkenius, 88; Honda 51;
Wakameda, 39; Amold-Kanamori, 90-91; Ackermann & Kretschmer, 86;
Chanoch (1927), 314; F loren z,12 and 99 (two versions); Lange (1891), 187;
IKE, 207 and 233.
3 Makura no soshi, 106:166: Morris, 1:121 (135); Beaujard, 137; Ishikawa, 163;
IM X ,10.
4 Goshui wakashu, 1/43:16: Carter, 133; Levy, Poem #26; PGO, 188.
5 Torikaebaya monogatari^ title: P G O ,187.
6 Genji m onogatari, 1:1/51: Tyler, 1:18; McCullough, 40; Seidensticker,19;
Waley, 22; Sieffert,1:20; B e n i,1:30.
7 Izumi Shikibu nikki, 439: *Cranston, 288 (modified) (cf. also 183); Miner, 145;
Omori & Doi, 197; Sieffert, 88; Nakamura & de Ceccatty, 56; B e n i,91;
Pfizmaier, 486.
8 Makura no soshi, p. 319 (Yuhodo ed.): Morris, 1:267 (263); Beaujard, 280;
Matsuo & Steinilber-Oberlin, 160; Revon, 223; Ishikawa, 168; Watanabe,
296; Bode, 111.
9 Heike m onogatari, 10.5:2/254: Watson, 102; McCullough, 333; Kitagawa &
10 Heike m onogatari, 10.9:2/271: McCullough, 343; Kitagawa & Tsuchida, 2:
613; Sadler, 2:198 (177); Sieffert, 427.
11 Tsurezuregusa, 128:191-192: Keene, 107; Kurata, 75; Wakameda, 112; Por
ter, 97; Sansom, 53; Grobois & Yoshida, 109; Bemdt, 150; B e n i,80; Rodri
quez, 127; PGO, 187.
MZK.NIS.3
1 Ise m onogatari, 6:114: Harris, 43; McCullough, 73; V o s ,1:169; Renondeau,
24; Schaarschm idt,10; Naumann & Naumann, 76; Beni (1958), 22; Pfiz-
m aier,1 1 ;Cabezas Garcia, 4 1 ; Renondeau/Solomonoff, 29.
270
A ppendix C
2 K okinshu, 11/542:211: Cranston, 2:39; McCullough, 124; Rodd w. Henken-
ius, 204; Teele, 298; Honda, 153; Wakameda, 144; Waley, 62; PGO, 159.
3 K okinshu, 8/392:180: McCullough, 93; Rodd w. Henkenius, 160; Honda,
116; Nakarai, 43; Wakameda, 106; F loren z,14; P G O ,162 and 158.
4 M akura no soshi, 99:151: Morris, 1:107 (120); Kobayashi, 7 1 ; Waley, 27;
Beaujard, 124; Amold-Kanamori, 2:31 (and 2:33); Watanabe, 162; B o d e ,19.
5 G enji m onogatari, 4:1/151: Tyler, 1:69; McCullough, 74; Seidensticker,
1:73; Waley, 80; Sieffert, 1:78; Beni, 1:115; IKE, 234.
6 G enji m onogatari, 34:3/293: Tyler, 2:614; Seidensticker, 2:576; Waley, oo;
7 M a n y o sh u , 8/1509:2/309: Suga, 2:36; D o e , 100; Honda, 124; Pierson, 8:

103; Nippon Gakujutsu Shinkokai, 136; Sieffert, 3:205; Renondeau, 85;
Florenz, 661; Cabezas Garda, 143.
RYK
R Y K .1
1 Makura no 184:231: Morris 1:180 (188); Kobayashi, 28; Beaujard, 194;
Amold-Kanamori, 2:135 (and 2:138); Naumann & Naumann, 120; Watanabe,
231; Bode, 8; IMX, 115.
2 Ise m onogatari, 19:123: Harris, 57-59; McCullough, 83; Vos, 1:183; Renon-
deau, 43; Schaarschmidt，25; Pfizmaier，24; Cabezas Garcia, 55-57; Renon-
deau/Solomonoff, 50.
3 Taketori m onogatari, 6:46: same as MZK.4 (muzu/nzu), #11.
4 Tsurezuregusa, 31:116: Carter, 400; Keene, 3 1 ; Kurata, 4 1 ; Wakameda, 30;
Porter, 32; Sansom ,16; Grobois & Yoshida, 63; Ishikawa, 63; Bemdt, 52; Nau
mann & Naumann, 273; B en i,28; Rodriquez, 47; PGO, 133; IMZ, 42.
5 Heike m onogatari, 1.3:1/90: W a tso n ,14; McCullough, 27; Kitayama & Tsu-
chida, 1:14; Sadler,1:9 (24); Sieffert, 36.
6 M akura no soshi, 143:200: Morris 1:149 (163); Waley, 34; Beaujard, 165;
Amold-Kanamori, 2:87 (and 2:91).
7 Tsurezuregusa, 44:126: Chance, 85; Keene, 40; Kurata, 45; Wakameda, 40;
Porter, 40; Sansom, 20; Grobois & Yoshida, 68; Bemdt, 63; Naumann & Nau
mann, 275; B eni,34; Rodriquez, 56; PGO, 131; IMZ, 42.
8 M akura no soshi, 315:321: Morris 1:253 (252); Waley, 76; Beaujard, 268;
IMX, 116.
9 Genji m onogatari, 39:4/133: Tyler, 2:736; Seidensticker, 2:694; Waley, 830;
Sieffert, 2:209-210; Beni, 2:296.
10 Kokinshu, 12/592:220: Cranston, 2:53; Teele & Teele & Teele, 23 (except for
one minor orthographic variant, the same as the Teele entry that follows);
McCullough, 134; Rodd w. Henkenius, 219; Teele, 362; Honda, 164; Waka-
meda, 156; Renondeau, 141.
11 Makura no soshi, 7 6 :1 1 1 :McCullough, 169; M orris,1:67 (85); Beaujard, 86.
12 Tsurezuregusa, 105:173: Chance, 148; Carter, 408; Kusajima w. Nakajima, 68;
Keene, 88; Kurata, 66; Wakameda, 92; Porter, 82; Sansom, 44; Grobois &
Yoshida, 98; Bemdt, 125; Beni, 67-68; Rodriquez,100; PGO, 131.
13 M urasaki Shikibu nikki, 476: Bowring (1997), 36; Bowring (1982); Omori &
D o i,113; Sieffert, 44; IKE, 96.
271
A ppendix C
14 M akura no soshi, 300:311: Morris 1:243 (242); Kobayashi, 136; Waley, 57;
Beaujard, 259.
15 M akura no soshi, 23:58-59: Morris 1:15 (34); Kobayashi, 38; Beaujard, 38;
Matsuo & Steinilber-Oberlin, 4 1 ; Revon, 205; Ishikawa, 158; Watanabe, 57-58;
Bode, 38; PGO, 134.
R Y K .2
1 M an yosh u , 2/221:1/125: Commons, 52; Cranston, 1:233; Suga, 1:125; Car
ter, 34; Sato & Watson, 35; Levy (1981), 143; Miner [& Brower], 49; Honda,
23; Brower & Miner, 98; Nippon Gakujutsu Shinkokai, 47; Pierson, 2:249-
250; Dickins, 48; Sieffert, 1:229; Lorenzen, 39; Cabezas Garcia, 54.
2 M an ydsh u , 6/912:2/135: Cranston, 1:296; Suga, 1:382; Honda, 79; Pierson,
6:13; Sieffert, 2:273; IMX, 39.
3 M a n yd sh u , 10/2282:3/139: Suga, 2:218; Honda, 182; Pierson, 10:448; Sief-
fert, 4:103.
4 Ise m onogatari, 2:111 and 84:161: Harris, 37 and 125; McCullough, 70 and
128; Vos, 1:165 and 1:241; R enondeau,19 and 153; Schaarschmidt, 8 and
8 1 ; Cabezas Garcia, 37 and 113; Renondeau/Solomonoff, 23 and 146. And for
I s e 2 : \ \ \ only: Beni (1958),18; PGO, 123; IM Z ,17; IKE, 109.
Dickins (1 8 8 8 ),1 1 ;Sieffert, 152; Amold-Kanamori, 57; Naumann & Naumann,
50; Matsubara, 20; Schwarz-Okuno,16; Shimada & Mohr, 98; K iih n el,12;
Lange, 307; Takagi, 204.
6 Ise m onogatari, 56:142: Harris, 93; McCullough, 106; Vos, 1:213; Renon-
deau, 9 1 ; Schaarschmidt, 54; Cabezas Garcia, 86; Renondeau/Solomonoff,
100.
7 Heike m onogatari, 5.1:1/335: same as MZK.PCH.1 ([ra]ru), #3.
8 Kokinshu, Kana Preface, 93: Teele & Teele & Teele, 221; McCullough, 3;
Rodd w. Henkenius, 35; Wakameda, vn; Dickins, 380; Aston, 64; Bonneau,
29; Revon, 140; A m old-K anam ori,15; B e n i,20; Lange, vi; Duthie, 153;
IM X,41.
9 Ise m onogatari, 9:116: Harris, 45; McCullough, 74-75; Vos, 1:171; Renon-
deau, 28; Revon, 170; Schaarschmidt,13; Naumann & Naumann, 76; Beni
(1958), 25; P fizm aier,13; Cabezas Garcia, 44; Renondeau/Solomonoff, 33;
IKE, 109.
10 Tsurezuregusa, 49:129: Switzer, 5 1 ; Keene, 43; Kurata, 47; Wakameda, 43;
Porter, 43; Sansom, 22; Grobois & Yoshida, 70-71; Bemdt, 67; B e n i,37;
Rodriquez, 59.
11 Taketori m onogatari, 6:48: Keene, 290; Dickins (1906), 357; Dickins (1888),
22; Sieffert, 168; Amold-Kanamori, 115; Naumann & Naumann, 58;
Matsubara, 32; Schwarz-Okuno, 38; Shimada & Mohr, 147; Kuhnel,25; Lange,
311; Takagi, 217; *IMX, 40 (slightly modified).
12 Ise m onogatari, 9:117: Harris, 48; McCullough, 76; Vos, 1:173; Renondeau,
30; Revon, 172; Schaarschmidt,16; Naumann & Naumann, 78; Beni (1958),
29; Pfizm aier,16; Cabezas Garcia, 47; Renondeau/Solomonoff, 35; IKE, 109.
13 Genji m onogatari, 1:1/28: Tyler, 1:3; McCullough, 25-26; Seidensticker, 1:3;
Waley, 8; Sieffert, 1:3; Beni, 1:7; IKE, 109.
272
A ppendix C
RYK.3
1 Yamato monogatari (as cited by the following): IMZ, 25.
2 Taketori monogatari, 4:39: same as MZK.l (zu), #15.
3 Taketori monogatari, 8:55: same as MZK.4 (muzu/nzu), #12.
4 Tosa «/Mz，12月2 1 白:2 7 , 1 月 7 日:33, and 1月7 日:34: McCullough, 74, 79,
and 79; Miner, 59, 65, and 65; Sargent, 82 (for the first example); Porter,15,
37, and 37; Harris, 32, 54, and oo; S ieffert,15, 24, and 24; Nakamura & de
C eccatty,15,18, and 19; R ev o n ,153 (for the first example); Bosse, 5 , 1 1 , and
11;IMX, 83 (for the middle example).
5 Tosa m M /,12 月27 日： 30: McCullough, 76; Miner, 62; Sargent, 84; Porter,
25; Harris, 42; Aston, < 1 1 1 > ;S ie ffe r t,19; Nakamura & de C ecca tty ,17;
Revon, 156; Bosse, 8; PGO, 136.
6 Makura no soshi, 8:50: M orris,1:7 (28); Waley, 82; Beaujard, 30; Ishikawa,
154; Watanabe, 41-42; Pfizmaier, 37.
7 Makura no soshi, 266:275: Morris, 1:213 (213); Beaujard, 228; IMX, 83.
8 Kokinshu, 4/169:136: same as MZK.l (-zw), #29; see #15 below, for the rest
o f the poem.
9 Tsurezuregusa, 25:110: same as MZK.1 (zu), #24.
10 Manyoshu, 10/1819:3/55: Suga, 2:152; Honda, 153; Pierson, 10:10; Sieffert,
4:10.
11 m•たた/ , 1月 17 日 :40: McCullough, 85; Miner, 72; Sargent, 87; Porter, 65;
Harris, 82; Aston, < 1 13>; Sieffert, 33; Nakamura & de Ceccatty, 22; B o sse ,18.
12 Tosa w W , 1月 7 白： 34: same as MZK.PCH.l ([ra]ru)，#7.
13 he monogatari, 9:116; Kokinshu, 9/410:185.
lse monogatari, 9:116: Harris, 45; McCullough, 75; Vos, 1:171; Renondeau,
28; Revon, 170-171; Schaarschm idt,15; Naumann & Naumann, 77; Beni
(1958), 25; P fizm aier,14; Cabezas Garcia, 44; Renondeau/Solomonoff, 33;
*PG O ,136 (modified); IMZ, 33; IKE, 107.
Kokinshu, 9/410:185: LaMarre, 5 1 ; McCullough, 98; Rodd w. Henkenius,
165; Levy, #83; Honda, 121; Wakameda, 114; Araold-Kanamori, 148-149;
Duthie, 96.
14 Man'ydshu, 3/477:1/223: Kojima, 7 1 ; Suga, 1:206; Carter, 65; Doe, 113; Levy
(1981), 237; Honda, 42; Nippon Gakujutsu Shinkokai, 132; Pierson, 3:354;
Dickins, 74; SiefFert,1:381; Florenz, 652; Pfizmaier, 189.
15 Kokinshu, 4/169:136: same as MZK.PCH.l ([ra]ru), #11; see MZK.l (-zw),
#29 for biblio. info. For the beginning o f the same poem, see #8 above.
16 Heike monogatari, 1.6:1/104: Watson, 24; McCullough, 35; Kitagawa &
Tsuchida, 1:28; Sadler, 1:21 (38); Sieffert, 45; *IMX, 84 (modified).
17 Makura no soshi, 99:151: Morris, 1:107 (120); Kobayashi, 7 1 ; Waley, 27;
Beaujard, 124; Amold-Kanamori, 2:31; Watanabe, 162.
18 Genji monogatari, 5:1/189: Tyler, 1:88; McCullough, 90; Seidensticker, 1:90;
W aley,101;SiefFert, 1:100; Beni, 1:147.
19 Genji monogatari^ 13:2/62: Tyler, 1:259; McCullough, 193; Seidensticker,1:
250; Waley, 300; Sieffert, 1:282; Beni, 1:413; * P G O ,139 (slightly modified);
IKE, 92.
20 Genji monogatari, 35:3/365: Tyler 2:648; McCullough, 224; Seidensticker,
2:610; Waley, 762; SiefFert, 2:104; Beni, 2:144.
273
A ppendix C
21 Makura no soshi, 134:187: Morris, 1:138 (151); Beaujard, 155; *IMX, 75
(slightly modified).
RYK.4
1 Manyoshu, 2/221:1/125: same as RYK.2 (keri), #1.
2 Man yoshu, 6/912:2/135: same as RYK.2 (keri), #2.
3 Senzaishu 6/460:131.
4 Makura no sdshi, 104:161: M orris,1:116 (131); Beaujard, 133.
5 Kokinshu, Kana Preface, 93: same as RYK.2 (keri), #8.
6 Ise monogatari, 86:163: Harris, 127; McCullough, 130; Vos, 1:245; Renon-
deau, 135; Schaarschmidt, 83; Cabezas Garcia, 115; Renondeau/SolomonofiF,
148.
7 Genji monogatari, 9:1/328: Tyler, 1:172; McCullough, 138; Seidensticker,
1:165; Waley, 189; Sieffert, 1:185; Beni, 1:275.
8 Heike monogatari, 1.3:1/89: W atson,14; McCullough, 27; Kitagawa & Tsu-
chida, 1:13; Sadler, 1:7; Sieffert, 35.
9 Makura no soshi, 9:55: McCullough, 161; Morris, 1:12 (33); Kobayashi, 65;
Beaujard, 34; Matsuo & Steinilber-Oberlin, 5 1 ; Ishikawa, 158; Amold-Kana-
mori, [1:64]; Naumann & Naumann, 113; Watanabe, 54; Bode, 35; Pfiz-
maier, 48; IMX, 80.
10 Heike monogatari, Kanjo.5, 2/441: Watson, 166; McCullough, 437; Kitagawa
& Tsuchida, 2:780; Sadler, 2:322 (259); Sieffert, 545; PGO, 137; IMZ, 31.
11 Ise monogatari, 9:116; Kokinshu, 9/410:185. This is from the same poem cited
in RYK.3 (nu), #13, for which see for bibliographical references.
19; Sieffert, 163; Amold-Kanamori, 97; Naumann & Naumann, 55; Matsubara,
28; Schwarz-Okuno, 50; Shimada & Mohr, 105; K u h n el,2 1 ; Lange, 310;
Takagi, 212; PGO, 137; IKE, 107.
13 Makura no soshi, 134:187: Morris, 1:138 (151); Beaujard, 155; IMX, 80.
14 ATaが rJ mM/，上 :166: Amtzen, 157; M cCullough,15^ Seidensticker，67; Tsu-
kakoshi w. Imaizumi (& Niehans), 79.
15 “Hito ni kawarite，’’ Ry6kan: cited from the Japanese Text Initiative, University
o f Virginia.
16 Genji monogatari, 45:4/335: Tyler, 2:846; Seidensticker, 2:798; Waley, 947;
17 Taketori monogatari, 9:63: McCullough, 35; Keene, 302; Dickins (1906),
373; Dickins (1888), 33; Sieffert, 189; Amold-Kanamori, 198; Naumann &
Naumann, 68; Matsubara, 58; Schwarz-Okuno, 62; Shimada & Mohr, 161;
Klihnel,42; Lange, 317; Takagi, 235.
18 Tosa 1月 29 日：46: McCullough, 9 1 ; Miner, 78; Porter, 85; Harris, 104;
Sieffert, 42; Nakamura & de Ceccatty, 26; Bosse, 24.
19 Tsurezuregusa, 87:160: Keene, 74; Wakameda, 77; Porter, 7 1 ; Sansom, 38;
Grobois & Yoshida, 90; Bemdt, 108; Naumann & Naumann, 283; B e n i,59;
Rodriquez, 88.
RYK.5
1 Kokinshu, 1/46:113: McCullough, 22-23; Rodd w. Henkenius, 62; Honda,
27; W akameda,12; Amold-Kanamori, 68-69; Ackermann & Kretschmer, 35;
274
A ppendix C
Chanoch (1927) ，289; Florenz, 165; Lange (1884) ，34; IMX， 8 and 119; IKE，
86.
M a n yd sh u , 7/1281:2/241: Kojima, 44; Suga, 1:476; Sato & Watson, 72;
Honda, 106; Pierson, 7:229; Nippon Gakujutsu Shinkokai, 54; Sieffert, 3:93;
Amold-Kanamori, 98.
Kokinshu, 10/443:194: McCullough, 106; Rodd w. Henkenius, 175; Honda,
131; Nakarai, 49; Wakameda, 123; Florenz, 171.
K a g erd /?/M /,T ： 263: Amtzen, 287; Seidensticker, 12o; 1'sukakoshi w. Ima-
izumi (& Niehans), 193.
Oku no hosom ichi (Basho), 70: Barnhill,50; Shirane, 212; H am ill,4; Sato,
43; Keene, 23; McCullough, 523; C am pbell,8; Britton, 28; K erkham ,173
and 207; Miner, 158; Corman & Kam aike,19; Yuasa, 98; Hayashi, 46; Isobe,
3; Sieffert, 70; Dombrady, 49; Ueberschaar, 21-22 (and 53-54); Cabezas, 29;
Paz & Hayashiya, 56; PGO, 128.
Genji m onogatari, 13:2/62: same as RYK.3 (-n u \ #19.
M akura no soshi, 278:288: McCullough, 189; Morris, 1:222 (223); Beaujard,
237; IMX, 127.
Genji m onogatari, 8:1/306: Tyler, 1:156; Seidensticker, 1:152; Waley, 173;
Ise m onogatari, 2:112; Kokinshu, 13/616:224. This is the second part o f the
poem cited in MZK.1 (zu), #7, for which see for bibliographical references.
Taketori m onogatari, 1:30: McCullough, 29; Keene, 276; Dickins (1906),
3 2 5 -3 2 6 ; Dickins (1888), 2; Sieffert, 142; Amold-Kanamori, 20; Naumann &
Naumann, 45; Matsubara, 5; Schwarz-Okuno, 4-5; Shimada & Mohr, 92;
Kuhnel,4; Lange, 304; Takagi, 194; PGO, 125.
1
n
Tsurezuregusa, 18:104: Switzer, 40; K e e n e ,18; E b y ,15; Kurata, 3 1 ; Waka

meda, 16; Porter, 2 1 ; Sansom, 9-10; Grobois & Yoshida, 55; Ishikawa, 47;
Bemdt, 30; Naumann & Naumann, 270; B e n i,19; Rodriquez, 35; PGO, 125.
2
1
Kokinshu, 4/221:145: McCullough, 56; Rodd w. Henkenius, 111; Honda,

72; Wakameda, 59; Ackermann & Kletschmer, 131; Chanoch (1927), 338;
PGO, 126; IMZ, 46.
3
1
M akura no sdshi, 306:315: Morris, 1:247 (246); Waley, 60; Beaujard, 262;
Watanabe, 280.
4 5 6
1
Gosen wakashu, 1/35:8: same as MZK.PCH.l ([ra]ru), #1.

n
Makura no soshi, 278:288: same as #7 above.

1
M akura no soshi, 143:199: Morris, 1:149 (163); Beaujard, 165; Amold-Kana

mori, 2:86; *IM X ,128 (slightly modified).
7
1
Taketori m onogatari, 4:40: McCullough, 33; Keene, 284; Dickins (1906),

344; Dickins (1 8 8 8 ),1 5 ; Sieffert, 158; Revon, 169; Amold-Kanamori, 75;
Naumann & Naumann, 53; Matsubara, 24; Schwarz-Okuno, 24; Shimada &
M oh r,1 0 1 ;K iihnel,17; Lange, 308; Takagi, 208; *P G O ,126 (modified).
8 9
11
Shui wakashii, 7/421:77: Richardson,1:102; IM X ,128.

Taketori m onogatari, 7:52: Keene, 293; Dickins (1906), oo; Dickins (1888),
oo; Sieffert, 173; Amoid-Kanamori, 139; Naumann & Naumann, 61;
Matsubara, 40; Schwarz-Okuno, 44; Shimada & Mohr, 151; K u h n el,29;
Lange, 313; Takagi, 222; IKE, 86.
Genji, 53:5/387: Tyler, 2:1098; Seidensticker, 2:1067; Waley, 1298; Sieffert,
2:649; Beni, 2:929.
275
A ppendix C
21 Tsurezuregusa, 104:172: Chance, 147; Carter, 407; Keene, 85; Kurata, 65;
Wakameda, 9 1 ; Porter, 8 1 ; Sansom, 44; Grobois & Yoshida, 97; Bemdt, 124;
B en i,67; Rodriquez, 99.
RYK.6
1 Kokinshu, 1/53:114: same as MZK.6 (mashi), #7.
2 Kokinshu, 14/712:242: same as MZK.6 (mashi), #11.
3 M akura no sdshi, 184:234: Morris, 1:182 (191); Kobayashi, 3 1 ; Waley, 22;
Beaujard, 196; Amold-Kanamori, 2:152; Naumann & Naumann, 121; IMX,
99.
4 尺agerJ m•たた/，下 :263: same as RYK.5 (tsu), #4.
5 M akura no soshi, 316:322: same as MZK.2 (zari), #8.
6 Tosa «/ん权 2 月 4 日 :50: McCullough, 94; Miner, 8 1 ;Porter, 97-99; Harris,118;
Sieffert, 48; Nakamura & de Ceccatty, 28; Bosse, 27; P G O ,117; IMZ, 38 and
17.
7 Tsurezuregusa, 32:117: Chance, 152; Carter, 401; Keene, 32; Wakameda, 31;
Porter, 33; Sansom ,16; Grobois & Yoshida, 63; Bemdt, 53; Naumann & Nau
mann, 273; B eni,29; Rodriquez, 48.
8 Koshoku ichidai onna (Saikaku), 1.1:205: Drake, 84; Morris, 123; Hibbett,
155; Bonmarchand, 58; Revon, 353; Tsukakoshi (w. N iehans),15.
9 Tsurezuregusa, 31:116: same as RYK.1 (tari), #4.
10 //e / を Kanj6.5,2 /4 4 1 : same as RYK.4 (nikeri), #10.
11 Tosa mMz’，2 月 4 日： 50: same as #6 above.
12 M an ydsh u , 1/7:1/13: D u th ie,15, 2 0 ,1 8 4 ,1 8 9 (and a different version on p.
19, reflecting a different manuscript text); Cranston, 1:173; Suga, 1:36; Levy
(1984), 3 1 ; Levy ( 1 9 8 1 ) ,4 1 ; Honda, 3; Yasuda (1949), 9; Pierson, 1:90;
Sieffert, 1:59; Cabezas Garda, 35.
13 Tsurezuregusa, 34:118: Keene, 33; Wakameda, 32; Porter, 33; Sansom, oo;
Grobois & Yoshida, 64; Bemdt, 54; Beni,oo; Rodriquez, 49.
14 Tsurezuregusa, 158:221:same as MZK.PCH.l ([ra]ru), #9.
15 Hojoki, G:33: Watson, 6 1 ; Moriguchi & Jenkins, 52; Muro, 52-53; McCul
lough, 386; Rowe & Kerrigan, oo; t4A man and a w o m a n ,13; Keene, 204;
Itakura, 33; Sadler, 9; Dickins, 1-2; Sieffert, 28; Nakamura & de Ceccatty, 139;
Candau, 270; Revon, 255; Ishikawa,114; Liscutin, 2 1 ;Naumann & Naumann,
260; Chanoch, 187; Itchikawa, 22; Alvarez Crespo, 61.
16 T surezu regu sa, 158:221:same as # 14 above.
17 M akura no soshi, 83:120: M orris,1:75-76 (93); Kobayashi, 60; Beaujard, 94.
18 G enji m onogatari, 12:2/11: Tyler, 1:229; McCullough, 160; Seidensticker,1:
219; Waley, 265; Sieffert, 1:247; Beni, 1:363; *IK E,104 (modified).
19 Kokinshii, 18/971:299: H u e y ,175 and 210; McCullough, 212; Rodd w. Hen-
kenius, 328; Honda, 248; Miner [& Brower], 25; Brower & Miner, 298; Waka
meda, 242.
20 Shiii wakashii, 19/1225:218: Richardson, 2:287.
21 Kokinshu, 18/986:302: McCullough, 215; Rodd w. Henkenius, 333; Honda,
252; Nakarai, 78; Wakameda, 244.
22 Oku no hosom ichi (Basho), 79: Barnhill,58; H am ill,13; Sato, 69-71; Keene,
67; McCullough, 532; C am pbell,22; Britton, 40; Miner, 169; Corman &
Kamaike, 65; Yuasa, 111; Hayashi, 58; Isobe, 22; Sieffert, 79; Dombrady,
276
A ppendix C
1 2 1 ;Cabezas, 54; Paz & Hayashiya, 74.
23 Makura no soshi, 114:170: Morris, 1:123 (137); Beaujard, 139; * I M X ,103
(modified).
24 Taketori monogatari, 4:37-38: M cCullough, 3 1 ; Keene, 282; Dickins (1906),
341; Dickins (1 8 8 8 ),1 2 ; Sieffert, 154; Revon, 166; Amold-Kanamori, 65;
Naumann & Naumann, 50; Matsubara, 2 1 ; Schw arz-O kun o,18; Shimada &
Mohr, oo; K uhnel,oo; Lange, oo; Takagi, 206; P G O ,119; * IM Z ,17; IKE, 104.
RYK.7
1 Manydshu, 5/872:2/91: Suga, 1:337; Levy (1981), 380; Honda, 73; Pierson,
5:131; Sieffert, 2:221.
2 «z•んん/•，1月 1 7 日:40: McCullough, 85; Miner, 7 1 ; Sargent, 87; Porter, 61;
Harris, 80; Sieffert, 32; Nakamura & de Ceccatty, 22; Revon, 159; B o s s e ,17;
PGO, 122.
3 Manydshu, 2/104:1/71: Cranston, 1:490; Suga, 1:87-88; Sato & Watson, 22;
Levy (1 9 8 1 ),8 8 ; H o n d a ,14; Nippon Galcujutsu S h in k o k a i,17; Pierson, 2:30;
Sieffert, 1:133.
4 Taketori monogatari, 2:31: Keene, 277-278; Dickins (1906), 330; Dickins
(1888), 5; Sieffert, 145; Amold-Kanamori, 30; Naumann & Naumann, 47;
M atsub ara,10; Schwarz-Okuno, 8; Shimada & Mohr, 94; K u h n e l,6; Lange,
305; Takagi, 198; PGO, 122; I M Z ,16.
5 Man'ydshu, 7/1118:2/209: Duthie, 327; Suga, 1:452; Honda, 95; Pierson, 7:52;
Sieifert, 3: 29; Peronny, 65; Cabezas Garcia, 75; IKE, 77.
6 ル似《/んん/， 2 月 16 日:58: M c C u llo u g h ,1 0 1 ; Miner, 90; Sargent, 9 1 ; Porter，
129; Harris, oo; Aston, 116; Sieffert, 60; Nakamura & de Ceccatty, 32-33;
Revon, 163; Bosse, 36.
7 Makura no soshi, 143:203: Morris, 1:152 (166); Beaujard, 168; Amold-Kana-
mori, 2:100 (and 2:106).
8 Genji monogatari, 10/1:375: Tyler 1:198; Seidensticker, 1:190; Waley, 228;
9 Man'ydshu, 3/312:1/167: Suga, 1:168; Levy (1981), 176; Honda, 31; Pierson,
3:107; Sieffert, 1:281; PGO, 123; IM Z ,16.
10 Makura no soshi, 184:233: M o r r is ,1.182 (190); Kobayashi, 30; Beaujard,
196; Am old-Kanamori, 2:146 (and 2:149); Naumann & Naumann, 121;
Watanabe, 233; *IM X, 39 (m odified).
11 Makura no sdshi, 94:145: Morris, 1.99 (113); Beaujard,117; Watanabe, 148.
12 Tsurezuregusa, 53:133: Carter, 403; Kusajima w. Nakajima, 58; Keene, 46;
Kurata, 49; Wakameda, 47; Porter, 46; Sansom, 24; Grobois & Yoshida, 73;
Revon, 291; Ishikawa, 60; Bemdt, 74; Naumann & Naumann, 278; B e n i,40;
Rodriquez, 62; PGO, 123.
RYK.8
1 Heike, 10.2:2/242: M cCullough, 328; Kitagawa & Tsuchida, 2:583; Sadler, 2:
174; Sieffert, 408.
2 Heike, 9.9:2/197: Watson, 9 1 ; McCullough, 303; Kitagawa & Tsuchida, 2:539;
Sadler, 2:138 (145); Sieffert, 378; PGO, 116; IM Z ,41;IK E , 144.
3 “Harusame,” Masaoka Shiki: cited from the Japanese Text Initiative， University
o f Virginia; see pp. 6-7 ( in c l.n .12).
277
A ppendix C
4 Izayoi nikki, 3 / 2 7 : 3 7 7 : M c C u l l o u g h , 3 6 2 ; R e i s c h a u e r , 92.
5 Heike, 1 0 . 1 0 :2/277: W a t s o n , 117 ; M c C u l l o u g h , 3 4 6 ; Kitagawa & T s u c h i d a , 2:
6 1 9 , Sadler, 2 : 2 0 3 ; Sieffert, 4 3 1 .
6 Koshoku ichidai onna (Saikaku) , 5.2:322: M o r r i s , 189; B o n m a r c h a n d , 167;
T s u k a k o s h i w . N i e h a n s , 155.
7 “A k i k a z e , ” M a s a o k a Shiki: cited f r o m the J a p a n e s e T e x t Initiative, U n i v e r s i t y
o f Virginia; see pp. 6 - 7 ( i n c l . n . 12).
8 Tsurezuregusa, 1:91: C h a n c e , 1 4 J ；Carter, 3 9 4 ; Switzer, 3 0 ; K u s a j i m a w .
N a k a j i m a , 4 5 ; K e e n e , 4; E b y , 3; K u r a t a , 2 0 ; W a k a m e d a , 3; P o r t e r , 10; S a n s o m ,
4; G r o b o i s & Y o s h i d a , 4 8 ; R e v o n , 2 7 9 ; B e m d t , 9; B e n i , 10; R o d r i q u e z , 2 4 - 2 5 .
9 Koshoku ichidai onna (Saikaicu;, 5.2:322: sam e as # 6 a b o v e .
10 Tsurezuregusa, 1 3 9 : 2 0 7 : K e e n e , 1 2 3 ; W a k a m e d a , 1 2 9 ; Porter, 111; S a n s o m ,
62; G r o b o i s & Y o s h i d a , 1 1 9 ; B e m d t , 1 6 7 ; B e n i , 9 0 ; R o d r i q u e z , 1 2 9 ; I M X , 111
( a n d I M Z , 41); P G O , 116; I K E , 144.
11 Tsurezuregusa, 6 0 : 1 4 0 : K e e n e , 5 5 ; K u r a t a , 5 4 ; W a k a m e d a , 5 6 - 5 7 ; Porter, 5 3 -
54; S a n s o m , 2 8 ; G r o b o i s & Y o s h i d a , 7 7 - 7 8 ; B e m d t , 82; N a u m a n n & Naumann,
2 7 9 ; B e n i , 4 7 ; R o d r i q u e z , 70.
12 Heike, 9.9:2/197: sam e as # 2 above.
SSK
SSK.1
1 lzumi Shikibu nikki, 442: Cranston, 187; M i n e r , 149; O m o r i & Doi, 200;
Sieffert, 92 ; N a k a m u r a & d e C e c c a t t y , 5 7 ; B e n i , 9 5 ; Pf i z m a i e r , 4 9 1 .
2 H eike m onogatari, 5.9:1/362-363: M c C u l l o u g h , 183; K i t a g a w a & Tsuchida,
1 : 3 2 1 ; Sadler, 1 : 2 4 0 - 2 4 1 ; Sieffert, 2 2 8 .
3 Tsurezuregusa, 8 5 : 1 5 8 : same as M Z K . l (zu), # 6 .
4 Man ydsh u , 4 / 7 3 8 : 1 / 3 0 9 : same as M Z K . l (zu), # 1 0 .
5 K okinshii, 8 / 3 9 2 : 1 8 0 : same as M Z K . 5 (ji), # 5 .
6 H ojoki, G : 3 3 : same as R Y K . 6 (ki/shi), # 1 5 .
7 m •たわ•，下 :2 6 9 : same as M Z K . 6 (mashi), # 1 3 .
8 Ise m onogatari, 4:113: Harris, 4 0 ; M c C u l l o u g h , 7 1 ; V o s , 1 : 1 6 7 ; R e n o n d e a u ,
2 2 ; S c h a a r s c h m i d t , 9; N a u m a n n & N a u m a n n , 7 5 ; P f i z m a i e r , 9; C a b e z a s G a r -
cia, 3 8 ; R e n o n d e a u / S o l o m o n o f f , 25.
9 M akura no sdshi, 2 0 7 : 2 4 8 : M o r r i s , 1 : 1 2 3 ; B e a u j a r d , 139;
10 Tsurezuregusa, 9:96: Swit z e r , 3 6 ; K e e n e , 9; M a t s u m o t o , 2 8 8 ; E b y , 9; K u r a -
ta, 2 4 - 2 5 ; W a k a m e d a , 7; P o r t e r , 14; S a n s o m , 6; G r o b o i s & Y o s h i d a , 51;
R e v o n , 2 8 3 ; B e m d t , 18; B e n i , 14; R o d r i q u e z , 2 9 ; P G O , 148.
11 Tosa «/んん，
，1 月 1 7 日：
4 0 : same as R Y K . 3 (nu), # 1 1 .
12 H eike m o n o g a ta r i, 1 . 4 : 1 / 9 0 - 9 1 : same as M Z K . 2 (zari), #4.
13 H eike m onogatari, 5 . 9 : 1 / 3 6 2 - 3 6 3 : same as # 2 a b o v e .
14 G enji m onogatari, 4 7 : 4 / 3 8 5 : same as M Z K . 7 ( m a h o s h i ) , # 1 3 .
15 G enji m onogatari, 3 4 : 3 / 2 8 4 : Tyler, 2 : 6 1 0 ; Seiden s t i c k e r , 5 7 2 ; W a l e y , oo;
Sieffert, 2: 5 5 ; B e n i , 2 : 7 5 ; I M X , 68.
lb K a g e rd nikki, T:281: A m t z e n , 3 1 1 ; Seiden s t i c k e r , 1 3 8 ; T s u k a k o s h i w . I m a -
izu m i ( & Niehans), 217.
17 K in 'yd wakashu, 1 / 7 : 1 5 8 (see In tro.9.EC, # 1 7 , a n d Appendix A , n . 1 , for dis
c u s s i o n o f this citation): R i c h a r d s o n , 2.
278
A ppendix C
18 G enji m onogatari, 34:3/298: T y l e r 2 : 6 1 6 ; Seidensticker , 2 : 5 7 9 ; W a l e y , o o ;
Sieffert, 2 : 6 3 ; Be n i , 2:87.
19 职ポm’
M z •，上 :160: A m t z e n , 147; M c C u l l o u g h , 147; Seidensticker, 6 3 ; T s u -
k a k o s h i w . I m a i z u m i ( & N i e h a n s ) ，72.
20 Tsurezuregusa, 1:90: sam e as M Z K . 7 ( m a h o s h i ) , # 1 2 .
21 M akura no sdshi, 1 8 4 : 2 2 9 : Mor r i s , 1 : 1 7 8 (186); K o b a y a s h i , 2 5 ; W a l e y , 18;
Beaujard, 192; Ishikawa, 171; A m o l d - K a n a m o r i , 2:121 (and 2:122); N a u -
mann & N a u m a n n , 1 1 8 ; W a t a n a b e , 2 2 7 ; B o d e , 5; I M X , 1 1 ; I K E , 130.
22 M akura no soshi, 2 6 8 : 2 7 7 : M o r r i s , 1 : 2 1 4 (215); B e a u j a r d , 2 2 9 ; B o d e , 51.
SSK.2
1 Tai dokuro ( K o d a R o h a n ) , 2 : 1 5 3 : M u l h e m , 1 0 6 ; D o n a t h , 3 0 - 3 1 .
2 Koshoku ichidai onna (Saikaku), 6.3:355: M o r r i s , 2 0 1 - 2 0 2 ; Bonmarchand,
2 0 2 ; T s u k a k o s h i (w. N i e h a n s ) , 199.
3 Tai dokuro ( K o d a Rohan), 1:142: M u l h e m , 95; M i y a m o r i , 3 9 8 (truncated);
D o n a t h , 16.
4 M an ydsh u , 1 0 / 1 8 1 4 : 3 / 5 5 : S u g a , 2: 1 5 1 ; H o n d a , 153; Pierson, 10:5; N i p p o n
G a k u j u t s u S h i n k o k a i , 54; Sieffert, 4:9; P e r o n n y , 151; V e r g e z , 69; C a b e z a s
G a rcia, 77.
5 Man yoshu, 1 0 / 1 8 1 9 : 3 / 5 5 : sam e as R Y K . 3 (nu), # 1 0 .
6 Kokinshu, 4 / 1 9 2 : 1 4 0 : M c C u l l o u g h , 5 1 ; R o d d w . H e n k e n i u s , 1 0 3 ; H o n d a , 65;
W a k a m e d a , 53; A c k e r m a n n & K r e t s c h m e r , 1 1 6 ; C h a n o c h ( 1 9 2 7 ) , 3 2 9 ; I K E , 79.
7 Oku no hosom ichi ( B a s h o ) , 87: B a r n h i l l , 6 5 ; S h i r a n e , 2 2 4 ; H a m i l l , 2 2 ; Sato,
9 5 ; K e e n e , 1 0 3 ; M c C u l l o u g h , 5 4 0 ; C a m p b e l l , 3 9 ; Britton, 5 0 ; M i n e r , 1 8 0 ;
Corman & K a m a i k e , 1 0 1 ; Y u a s a , 123; H a y a s h i , 6 8 ; Isobe, 4 0 ; Sieffert, 8 7 ;
D o m b r a d y , 1 9 1 ; U e b e r s c h a a r , 3 5 ( a n d 105); C a b e z a s , 7 8 ; P a z & Hayashiya,
89.
8 M an ydsh u , 1/13:1/17: * C r a n s t o n , 1:171 (modified); S u g a , 1:38; L e v y ( 1 9 8 4 ) ,
45; L e v y (1981),45; Y a s u d a (1949),13; N i p p o n G a k u j u t s u S h i n k o k a i , 5;
Pierson, 1:99; Dickins, 7; Sieffert, 1:63; C a b e z a s G a r d a , 34 ; I M X , 91.
9 Koshoku ichidai onna (Saikaku), 3.1:261: M o r r i s , 158; Hibbett, 1 9 8 ; B o n m a r
c h a n d , 111; T s u k a k o s h i (w. N i e h a n s ) , 81.
10 Koshoku ichidai onna (Saikaku), 6.3:356: M o r r i s , 2 0 2 ; B o n m a r c h a n d , 2 0 2 ;
T s u k a k o s h i (w. N i e h a n s ) , 2 0 0 .
11 Tai dokuro ( K o d a R o h a n ) , 2 : 1 5 3 : sam e as # 1 a b o v e .
12 Kokinshu, 4 / 1 9 9 : 1 4 1 : M c C u l l o u g h , 52; R o d d w . H e n k e n i u s , 105; H o n d a , 67;
W a k a m e d a , 55; A m o l d - K a n a m o r i ，1 0 7 - 1 0 8 ; A c k e r m a n n & K r e t s c h m e r , 120;
C h a n o c h (19 2 7 ) , 3 3 1 ; P G O , 88; I K E , 79.
13 Kokinshu, 17/923:288: W a t s o n , 108; M c C u l l o u g h , 2 0 2 ; R o d d w . H e n k e n i u s ,
3 1 5 ; H o n d a , 2 3 7 ; N a k a r a i , 73; W a k a m e d a , 2 2 9 .
SSK.3
1 H eike m onogatari, 1.6:1/99-100: W a t s o n , 2 0 ; M c C u l l o u g h , 3 3 ; K i t a y a m a &
T s u c h i d a , 1:25; Sadler, 1:17 (33); Sieffert, 4 2 ; P G O , 9 6 ; I M Z , 20.
2 Makura no soshi, 2 6 8 : 2 7 6 : M o r r i s , 1 : 2 1 4 (214); B e a u j a r d , 6 8 ; W a t a n a b e 2 6 4 -
2 6 5 ; B o d e , 51.
3 M urasaki Shikibn nikki, 4 9 6 : B o w r i n g (19 9 7 ) , 54; B o w r i n g ( 1 9 8 2 ) , 1 3 1 - 1 3 3 ;
Omori & D o i , 135; Sieffert, 6 7 ; N a u m a n n & N a u m a n n , 134.
279
A ppendix C
4 M a h i r a no soshi, 8:49: M o r r i s , 1:6 (27); W a l e y , 8 1 ; P u rcell & Aston, 221;
Beaujard, 30; M a t s u o & Steinilber-Oberlin, 3 1 ; R e v o n , 2 0 2 ; I s h i k a w a , 1 5 3 ;
A m o l d - K a n a m o r i , 1:43; W a t a n a b e , 3 9 ; P f i z m a i e r , 3 5 ; I M X , 50.
5 Ise monogatari, 6: 1 1 4 : Harris, 4 1 ; M c C u l l o u g h , 72; V o s , 1:169; R e n o n d e a u ,
2 4 ; S c h a a r s c h m i d t , 10; N a u m a n n & N a u m a n n , 76; B e n i ( 1 9 5 8 ) , 2 2 ; Pfizmaier,
1 1 ; C a b e z a s Garcia, 4 1 ; R e n o n d e a u / S o l o m o n o f f , 29.
6 Tsurezuregusa, 1 2 0 : 1 8 6 : Switzer, 7 6 ; K e e n e , 1 0 1 ; K u r a t a , 72; W a k a m e d a , 106;
Porter, 93; S a n s o m , 50; G r o b o i s & Y o s h i d a , 1 0 6 ; R e v o n , 2 9 5 ; I s h i k a w a , 66;
B e m d t , 142; N a u m a n n & N a u m a n n , 2 8 6 - 2 8 7 ; B e n i , 76; Rod r i q u e z , 111; I M X ,
49.
7 M a k u r a no soshi, 41:90: Morris, 1 : 4 8 (60); K o b a y a s h i , 9 1 ; B e a u j a r d , 6 8 ;
A m o l d - K a n a m o r i , 1:111; W a t a n a b e , 104.
8 Heike monogatari, 1.6:1/98 a n d 1.6:1/ 1 0 1 : W a t s o n , 1 9 a n d 2 1 ; M c C u l l o u g h ,
3 2 a n d 34; K i t a g a w a & T s u c h i d a , 1 : 2 4 a n d 1:16; Sadler, 1 : 1 6 ( 3 1 ) a n d 1:19
(35); Sieffert, 4 1 a n d 43.
9 Kdshoku ichidai onna (Saikaku), 4 . 4 :306: D r a k e , 1 1 2 ; M o r r i s , 185; B o n m a r -
c h a n d , 150; T s u k a k o s h i w . N i e h a n s , 139.
10 Tai dokuro ( K o d a R o h a n ) , 2 : 1 5 2 : M u l h e m , 1 0 5 ; D o n a t h , 29.
11 Heike monogatari, 1.6:1/99-100: s a m e a s # 1 a b o v e .
12 M a k u r a no soshi, 3 0 5 : 3 1 4 : M o r r i s , 1 : 2 4 7 (246); B e a u j a r d , 2 6 2 ; W a t a n a b e , 282.
13 Tsurezuregusa, 9 8 : 1 6 8 : C h a n c e , 1 7 1 ; Switzer, 6 9 ; K e e n e , 8 1 ; K u r a t a , 6 3 - 6 4 ;
W a k a m e d a , 86; Porter, 78; S a n s o m , 4 2 ; G r o b o i s & Y o s h i d a , 9 5 ; B e m d t , 118;
B e n i , 65; R o d r i q u e z , 95.
14 Taketori monogatari, 9:64: M c C u l l o u g h , 3 6 ; K e e n e , 3 0 3 ; D i c k i n s ( 1 9 0 6 ) , 3 7 4 ;
Dickins (1888), 34; Sieffert, 189; Amold-Kanamori, 200; Naumann &
Naumann, 6 9 ; M a t s u b a r a , 58; S c h w a r z - O k u n o , 6 3 ; S h i m a d a & Mohr, 161;
Kiihnel,43; L a n g e , 3 1 7 ; Takagi, 236.
15 Tsurezuregusa, 19: 1 0 6 : C h a n c e , 1 5 7 ; Switzer, 4 2 ; K u s a j i m a w . N a k a j i m a , 50;
K e e n e , 2 0 ; M a t s u m o t o , 2 9 0 ; E b y , 18; K u r a t a , 3 3 ; W a k a m e d a , 18; Porter, 22;
S a n s o m , 1 1 ; Grobois & Y o s h i d a , 5 6 ; R e v o n , 2 8 7 ; l s h i k a w a , 5 7 ; B e m d t , 33;
N a u m a n n & N a u m a n n , 2 7 1 ; B e n i , 2 0 ; R o d r i q u e z , 3 7 ; P G O , 9 6 ; I M Z , 20.
16 K a n a d e h o n Chushingura, 6:329: Gerstle, 3 9 8 ; K e e n e , 9 1 ; S h i o y a , 1 5 4 ; I n o -
u y e , 1 1 3 - 1 1 4 ; D i c k i n s , 58.
SSK.4
1 A T a g e r J «/ んん/，上 :160: same as S S K . 1 (beshi)，# 19.
2 Kagero nikki, ~ F ' 2 6 3 : A m t z e n , 2 8 7 ; Seidensticker, 1 2 6 ; T s u k a k o s h i w . I m a -
i z u m i ( & N i e h a n s ) , 194.
3 Kagero nikki, T:263: * A m t z e n , 2 8 7 ; Seidensticker, 1 2 6 ; T s u k a k o s h i w . I m a -
i z u m i ( & N i e h a n s ) , 194.
4 Genji monogatari, 3 4 : 3 / 2 9 8 : same as S S K . l (beshi), # 1 8 .
5 Tsurezuregusa, 1 3 9 : 2 0 7 : K e e n e , 1 2 3 ; W a k a m e d a , 130; Porter, 111-112; San-
s o m , 62; G r o b o i s & Y o s h i d a , 1 2 0 ; B e m d t , 167; B e n i , 9 2 ; R o d r i q u e z , 130.
6 Tosa 1 月7 日：
34: s a m e a s M Z K . P C H . 1 ([ra]ru) ，#7.
7 Genji monogatari, 4:1/134: Tyler, 1:61; M c C u l l o u g h , 6 5 ; Seidensticker, 1:64;
W a l e y , 6 9 ; Sieffert, 1:68; B e n i , 1:100.
8 Ise monogatari, 3 6 : 1 3 2 : M c C u l l o u g h , 9 5 ; Harris, 7 5 - 7 6 ; Narihira, 7 3 ; C a b e z a s
Garcia, 71.
280
A ppendix C
9 Ise monogatari, 2 4 : 1 2 8 : Harris, 69; M c C u l l o u g h , 9 0 ; V o s , 1 : 1 9 1 ; R e n o n d e a u ,
2 5 ; S c h a a r s c h m i d t , 3 4 ; B e n i ( 1 9 6 5 ) , 1 9 ; P f i z m a i e r , 3 3 ; C a b e z a s G a r c i a , 66;
R e n o n d e a u / S o l o m o n o f f , 61.
10 M a k u r a no soshi, 33: 7 6 : M c C u l l o u g h , 167; Mor r i s , 1:35 (55); B e a u j a r d , 5 5 - 5 6 .
11 Genji monogatari, 1:1/37: Tyler, 1:9; M c C u l l o u g h , 3 1 ; Seidensticker, 1:9; W a -
ley, 13;Sieffert, 1:10; B e n i , 1:15.
12 Tsurezuregusa, 19:104: C h a n c e , 155; Switzer, 4 1 ; K u s a j i m a w . N a k a j i m a , 4 8 ;
K e e n e , 18-19; M a t s u m o t o , 2 8 8 ; E b y , 16; Kur a t a , 3 1 - 3 2 ; W a k a m e d a , 16; Porter,
2 1 ; S a n s o m , 10; G r o b o i s & Y o s h i d a , 55; R e v o n , 2 8 5 - 2 8 6 ; I s h i k a w a , 5 4 - 5 5 ;
B e m d t , 32; N a u m a r m & N a u m a n n , 2 7 0 ; B e n i , 19; R o d r i q u e z , 3 5 - 3 6 ; P G O , 98.
13 尺a g e r J m •んん/，中 :2 0 1 : A r n t z e n , 2 0 9 ; Seidensticker, 89; T s u k a k o s h i w . I m a i z u m i
( & N i e h a n s ) , 121.
SSK.5
1 Manydshu, 3 / 3 3 7 : 1 / 1 7 7 : K o j i m a , 66; C r a n s t o n , 1:351; S u g a , 1:175; S a t o &
W a t s o n , 4 4 ; L e v y (1981), 186; C h i b b e t t (Kato), 76; H o n d a , 3 3 ; T a k e t o m o , 5;
Nippon Gakujutsu Shinkokai, 198; M i y a m o r i , 83; Pierson, 3 : 1 4 7 ; Sieffert,
1:297; A m o l d - K a n a m o r i , 4 7 ; B e m d t , 4 2 ; C a b e z a s Garcia, 108; P G O , 100.
2 Heike monogatari, 12.4:2/385: M c C u l l o u g h , 4 0 5 ; K i t a g a w a & T s u c h i d a , 2:
7 2 6 ; Sadler, 2 : 2 8 5 ; Sieffert, 5 0 5 .
3 Heike monogatari, 10.10:2/273: W a t s o n , 114; M c C u l l o u g h , 3 4 4 ; K i t a g a w a &
T s u c h i d a , 2 : 6 1 6 ; Sadler, 2 : 2 0 0 (179); Sieffert, 4 2 9 .
4 Heike monogatari, 11.1:2/306: M c C u l l o u g h , 360; Kitagawa & Tsuchida,
2 : 6 4 8 ; Sadler, 2 : 2 2 4 (192); Sieffert, 4 5 3 .
5 Heike monogatari, 9.4:2/177: W a t s o n , 84; M c C u l l o u g h , 2 9 1 ; K i t a g a w a & Tsu-
chida, 2 : 5 2 0 ; Sadler, 2 : 1 2 2 (139); Sieffert, 3 6 5 .
6 が / ^ « / M / ，下 :2 8 1 : same as S S K . 1 (beshi)，# 16.
7 Manydshu, 1/40:1/33: D u t h i e , 3 5 3 ; C r a n s t o n , 1:201; S u g a , 1:47; L e v y ( 1 981),
5 9; H o n d a , 6; Y a s u d a (19 4 9 ) , 35; N i p p o n G a k u j u t s u S h i n k o k a i , 3 0 ; Pierson,
1 :151; Sieffert,1 :87; L o r e n z e n , 1 1 ; P G O , 1 0 1 ; I M Z , 34.
8 M a k u r a no soshi, 9 9 : 1 5 2 : same as M Z K . 6 (mashi), #12.
9 Heike monogatari, 6 . 1 0 : 1/417: M c C u l l o u g h , 2 1 5 ; Kitagawa & T s u c h i d a , 2:
3 7 7 ; Sadler, 2:7; Sieffert, 2 6 7 .
10 Heike monogatari, 9.9:2/197: W a t s o n , 9 1 ; M c C u l l o u g h , 3 0 3 ; K i t a g a w a & Tsu-
chida, 2 : 5 3 9 ; Sadler, 2 : 1 3 8 (145); Sieffert, 3 7 8 .
11 Kokinshu, 4 / 2 2 1 : 1 4 5 : same as R Y K . 5 (tsu), # 1 2 .
12 Heike monogatari, 12.7:2/402: M c C u l l o u g h , 4 1 3 ; Kitagawa & T s u c h i d a , 2:
7 4 1 ; Sadler, 2 : 2 9 9 ; Sieffert, 5 1 6 .
13 Kokinshu, 2 / 1 1 1 : 1 2 4 : M c C u l l o u g h , 34; R o d d w . H e n k e n i u s , 8 0 ; H o n d a , 4 4 ;
Miyamori, 1:208; W a k a m e d a , 30; A c k e r m a n n & K r e t s c h m e r , 70; C h a n o c h
( 1927), 3 0 7 ; L a n g e (18 8 4 ) , 73; P G O , 102; I K E , 75.
14 Ise monogatari, 1 0 0 : 1 7 0 : Harris, 140; M c C u l l o u g h , 138; V o s , 1 : 2 5 5 ; R e n o n -
d e a u , 1 5 3 ; S c h a a r s c h m i d t , 9 3 ; C a b e z a s Garc i a , 125; R e n o n d e a u / S o l o m o n o f f ,
167.
15 M a n yoshu, 1 3 / 3 2 5 6 : 3 / 3 5 3 : S u g a , 2 : 4 2 8 - 4 2 9 ; Teele, 4 8 9 ; H o n d a , 2 4 2 ; Pierson,
13:62; N i p p o n G a k u j u t s u S h i n k o k a i , 3 0 8 ; Sieffert, 4: 3 0 0 .
281
A ppendix C
SSK.6
1 Manydshu, 3/268:1/155: S u g a , 1:160; L e v y ( 1 9 8 1 ) , 1 6 3 ; H o n d a , 2 9 ; Pierson,
3:50; Sieffert,1 :259; P G O , 1 0 2 ; I M Z , 29.
2 Genji monogatari, 3:1/113: Tyler, 1:49; Seidensticker, 1:52; W a l e y , 5 7 ; Sief-
fert, 1:56; B e n i , 1:81; P G O , 103.
3 Kokinshu, 4/2 0 2 : 1 4 2 : Cranston, 2 : 1 4 7 ; L a C u r e , 67; M c C u l l o u g h , 53; R o d d w.
Henkenius, 106; Honda, 68; Wakameda, 55; Amold-Kanamori, 108-109;
Ackermann & K r e t s c h m e r , 121; C h a n o c h (1927), 3 3 2 ; I K E , 136-137.
4 ん权 1 2 月 2 1 日 :27: M c C u l l o u g h , 7 3 ; M i n e r , 5 9 ; S a r g e n t ，8 2 ; P o r t e r , 13;
Harris, 30; A s t o n , < 1 1 0 > ; Sieffert,15; N a k a m u r a & d e C e c c a t t y , 15; R e v o n ,
153; B o s s e , 5; I M X , 72; P G O , 104; I M Z , 29.
5 Kokinshu, 7/349:170; Ise monogatari, 97:169.
Kokinshu, 7/349:170: L e n t o & L e n t o ( O o k a ) , 1 0 2 ; W a t s o n , 109; M c C u l l o u g h ,
84; R o d d w . H e n k e n i u s , 147; L e v y , # 1 6 ; H o n d a , 1 0 4 ; W a k a m e d a , 9 4 ; R e n o n -
d e a u , 114; A m o l d - K a n a m o r i , 1 3 8 - 1 3 9 ; Flore n z , 2 6 ; D u t h i e , 88.
Ise monogatari, 9 7 : 1 6 9 : Harris, 1 3 8 ; M c C u l l o u g h , 1 3 7 ; V o s , 1 : 2 5 3 ; R e n o n -
de a u , 150 ; S c h a a r s c h m i d t , 9 1 ; C a b e z a s Garcia, 124; R e n o n d e a u / S o l o m o n o l f ,
163.
6 Taketori monogatari, 5:41: K e e n e , 2 8 5 ; D i c k i n s ( 1 9 0 6 ) , 3 4 7 ; D i c k i n s ( 1 888),
16; SiefFert,159; A m o l d - K a n a m o r i , 84; N a u m a n n & N a u m a n n , 54; M a t s u b a r a ,
25; S c h w a r z - O k u n o , 26; S h i m a d a & Mohr, 1 0 2 ; K i i h n e l , 18; L a n g e , 3 0 9 ;
Takagi,210.
7 M a k u r a no soshi, 84:123: Morris, 1 : 7 8 (96); K o b a y a s h i , 109; W a l e y , 42;
B e a u j a r d , 96; W a t a n a b e , 131.
8 M a k u r a no soshi, 8:49: M o r r i s , 1:7 (27); W a l e y , 8 1 ; P u r c e l l & Aston, 221;
Beaujard, 30; M a t s u o & Steinilber-Oberlin, 3 2 ; R e v o n , 2 0 3 ; I s h i k a w a , 1 5 3 ;
A m o l d - K a n a m o r i , [1:44]; W a t a n a b e , 4 0 ; P f i z m a i e r , 3 6 ; I M X , 7 1 ; I M Z , 28.
9 Genji monogatari, 4 7 : 4 / 4 3 9 : Tyler, 2 : 8 9 8 ; Seidensticker, 2 : 8 5 5 ; W a l e y , 1 0 2 0 ;
SiefFert, 2 : 3 9 9 ; B e n i , 2 : 5 7 4 ; I K E , 136.
10 Tsurezuregusa, 1 2 1 : 1 8 8 : K e e n e , 1 0 4 ; K u r a t a , 7 4 ; W a k a m e d a , 107; Porter, 94;
Sansom, 5 1 ; Grobois & Y o s h i d a , 107; B e m d t , 144; N a u m a n n & Naumann,
2 8 7 ; B e n i , 78; R o d r i q u e z , 112.
F o r m o r e o n the Snujing p a s s a g e cited in t h e n o t e ( i n c l u d i n g a n o t h e r transla
The Chinese Classics, 5 vols. (rev. ed., O x f o r d , 1 8 9 3 -
tion), s e e J a m e s L e g g e ,
1 8 9 5 ; rpt. Taipei: W e n x i n g S h u d i a n , n.d. [ c a . 1965]), v o l . 3, The Shoo King, or
the B o o k of Historical Documents, p. 3 4 9 .
RTK
RTK.1
1 M an'ydshu, 3/351:1/179: Cranston, 1:340-341; Teele & Teele & Teele, 49;
S u g a , 1 :177; Carter, 5 1 ; W i l s o n , 36; Sato & W a t s o n , 69; D o e , 29; L e v y (1981),
189; H o n d a , 34; N i p p o n G a k u j u t s u Shinkokai, 237; M i y a m o r i , 143; Pierson,
3:161; Sieffert,1:303; R e n o n d e a u , 3 1 ; C a b e z a s G a r d a , 85; I M X , 21.
2 K okinshu, K a n a P r e f a c e , 1 0 1 : R a u d , 73-74; M c C u l l o u g h , 7; R o d d w . H e n -
kenius, 46; W a k a m e d a , x; Dickins, 3 8 8 ; Aston, 67; B o n n e a u , 7 1 ; R e v o n , 149;
A m o l d - K a n a m o r i , 35; B e n i , 22; L a n g e , xi; Duthie, 163; P G O , 169.
3 H eike m o n o g a ta r i, 1.1:1/83: same as M Z K . 1 (zu), #5.
282
A ppendix C
4 HojokU J：
37: W a t s o n , 6 7 ; M o r i g u c h i & Jenkins, 63; M u r o , 7 7 - 7 8 ; M c C u l
l ough, 3 8 8 ; K u s a j i m a w . N a K a j i m a , 2 8 ; R o w e & Kerri g a n , 2 4 ; UA m a n and a
w o m a n , ,5 19; K e e n e , 2 0 7 ; Itakura, 44; B u n t i n g , 68; S a d l e r , 13; D i c k i n s , 14;
D i x o n , 2 0 9 ; Soseki, 3 5 9 ; Sieffert, 33; N a k a m u r a & d e C e c c atty, 141; C a n d a u ,
2 7 3 ; R e v o n , 2 5 8 ; I s h i k a w a , 1 1 7 - 1 1 8 ; Liscutin, 3 1 ; N a u m a n n & N a u m a n n , 2 6 2 ;
C h a n o c h , 190; Itchikawa, 28; A l v a r e z C r e s p o , 75; I K E , 141.
5 Tsurezuregusa, 74:150: C h a n c e , 192; Carter, 4 0 5 ; Keene, 6 6 ; K u r a t a , 58;
W a k a m e d a , 67; Porter, 62; S a n s o m , 3 4 ; G r o b o i s & Y o s h i d a , 84; B e m d t , 74;
N a u m a n n & N a u m a n n , 2 8 1 ; B e n i , 53; R o d r i q u e z , 79; P G O , 1 0 8 ; I M Z , 10.
6 Kokinshu, 15/750:251: Cranston, 2:107; M c C u l l o u g h , 166; R o d d w. H e n -
k enius, 2 6 5 ; Teele, 5 4 7 ; H o n d a , 197; W a k a m e d a , 194.
7 Tsurezuregusa, 2 1 7 : 2 6 4 : K e e n e , 179; W a k a m e d a , 191; Porter, 1 6 2 ; S a n s o m ,
89-90; G r o b o i s & Y o s h i d a , 157; Ishik a w a , 4 9 ; B e m d t , 2 3 6 ; B e n i , 1 2 5 ; R o d r i
q u e z , 179.
8 Taketori monogatari, 9:63: same as R Y K . 4 (nikeri, etc.), # 1 7 .
9 Kokinshu, K a n a P r e f a c e , 100: R a u d , 73; M c C u l l o u g h , 7; R o d d w. Henkenius,
43; Wakameda, ix; D i c k i n s , 387; Aston, 67; Bonneau, 69; R e v o n , 148;
A m o l d - K a n a m o r i , 3 3 ; B e n i , 2 1 ; L a n g e , x; D u t h i e , 1 6 2 ; P G O , 107; I M Z , 10;
I K E , 139.
10 Heike monogatari, 3.2:1/214: M c C u l l o u g h , 99; K i t a g a w a & Tsu c h i d a , 1:162-
163; Sadler, 1:114; Sieffert, 1 2 4 ; I M X , 21.
11 Tsurezuregusa, 1 8 9 : 2 4 6 : C h a n c e , 2 2 7 ; Carter, 4 1 6 ; K e e n e , 163; W a k a m e d a ,
171; Porter, 147; S a n s o m , 8 1 ; G r o b o i s & Y o s h i d a , 145; R e v o n , 3 0 0 ; I s h i k a w a ,
5 1 ; B e m d t , 2 1 5 ; B e n i , 117; R o d r i q u e z , oo.
12 Man'ydshu, 3 / 4 7 7 : 1 / 2 2 3 : s a m e a s R Y K . 3 (nu), # 1 4 .
13 Manyoshu, 4 / 6 3 2 : 1 / 2 8 3 : K o j i m a , 33; C r a n s t o n , 1: 5 0 0 ; S u g a , 1 :266; W r i g h t ,
2 4; L e v y ( 1 9 8 1 ) , 2 9 4 ; H o n d a , 5 6 ; N i p p o n G a k u j u t s u S h i n k o k a i , 8 6 ; M i y a -
m o r i , 1 4 8 ( t w o versions); Pier s o n , 4 : 1 8 7 ; W a l e y (191 9 ) , 3 1 ; Sieffert, 2 : 8 9 ;
Pfizmaier, 153.
14 h e monogatari, 73:153: Harris, 112-113; McCullough, 119; V o s , 1:231;
Renondeau, 115; S c h a a r s c h m i d t , 70; P f i z m a i e r , 6 5 ; C a b e z a s G a r c i a , 103;
R e n o n d e a u / S o l o m o n o f f , 127.
RTK.2
1 Ise monogatari, 1 1 0 : 1 7 5 : Harris, 147; M c C u l l o u g h , 14 3 ; V o s , 1 : 2 6 3 ; R e n o n -
deau, 165; S c h a a r s c h m i d t , 99; C a b e z a s Garcia, 131; R e n o n d e a u / S o l o m o n o f f ,
179.
2 Genji monogatari, 5 1 : 5 / 2 2 8 : same as M Z K . P C H . l ([ra]ru), # 1 2 .
3 Tsurezuregusa, 9 3 : 1 6 6 : s a m e a s M Z K . 2 (zari), # 1 0 .
4 Tsurezuregusa, 4 9 : 1 2 9 : Switzer, 5 1 ; K e e n e , 4 3 ; M a t s u m o t o , 2 9 2 ; Wakameda,
4 3 ; Porter, 4 3 ; S a n s o m , 2 2 ; G r o b o i s & Y o s h i d a , 70; R e v o n , 2 9 1 ; B e m d t , 67;
B e n i , 37; R o d r i q u e z , 59.
5 T o s a /?/“ •，1 2 月 2 1 自：
27: same as S S K . 6 (nari/hearsay), #4.
6 Genji monogatari, 5 2 : 5 / 3 0 3 : Tyler, 2 : 1 0 5 8 ; Seidensticker, 2:1024; Waley,
1 2 3 7 ; Sieffert, 2 : 6 0 0 ; B e n i , 2:858.
7 O k u no hosomichi ( B a s h o ) , 87: s a m e a s S S K . 2 (rashi), #7.
8 Ise monogatari^ 3 6 : 1 3 2 : same as S S K . 4 (meri), #8.
9 M a k u r a no soshi, 8 4 : 1 2 3 : same as S S K . 6 (nari/hearsay), #7.
283
A ppendix C
10 Heike m onogatari, Kanjo.2, 2/427: M c C u l l o u g h , 42 8 ; K i t a y a m a & Tsuchida,

2 : 7 6 6 ; Sadler, 2 : 3 1 0 (242); Sieffert, 5 3 5 .
11 Genji m onogatari, 5 0 : 5 / 1 4 1 : Tyler, 2 : 9 7 9 ; Seidensticker, 2 : 9 4 1 ; W a l e y , 1 1 2 4 ;
Sieffert, 2 : 5 0 1 ; B e n i , 2:716.
12 Heike m onogatari, 1.3:1/90: same as R Y K . l (tari), #5.
IZK
IZK.NIS.1
1 h e monogatari, 9:117: s a m e a s M Z K . 1 (zu), #26.
2 Heike monogatari, 11.16:2/358: s a m e a s M Z K . 4 ( m u z u / n z u ) , #17.
3 Genji monogatari, 22:2/337: s a m e a s M Z K . 7 (mahoshi), #7.
4 Ise monogatari, 9:117: s a m e a s R Y K . 2 (keri), #12.
5 M a k u r a no soshi, 143:199: s a m e a s R Y K . 5 (tsu), #16.
6 M a k u r a no soshi,114:170: s a m e a s R Y K . 6 (ki/shi), #23.
7 Tsurezuregusa, 60:140: s a m e a s R Y K . 8 (tashi), #11.
8 Hojoki, K:41: s a m e a s M R K . l (ri), #18.
IZK.NIS.2
1 Kokinshii, 4/169:136: s a m e a s M Z K . l (zu), #29.
2 M a n yoshu, 15/3775:4/107: s a m e a s M Z K . 2 (zari), # 1 3
3 Taketori monogatari, 9:63: s a m e a s M Z K . 4 (muzu /nzu), # 1 0
4 K a g e r d nikki, Ji:125: s a m e a s M Z K . 7 (mahoshi), # 1 6
5 M a n y o s h u , 13/3256:3/353: s a m e a s S S K . 5 (ramu/ran), # 1 5
6 M a k u r a no soshi, 9 9 : 1 5 1 : s a m e a s R Y K . 3 (nu), # 1 7
7 Kokinshu, 18 /986:302: s a m e a s R Y K . 6 (ki/shi), # 2 1
8 M a k u r a no sdshi, 2 6 8 : 2 7 7 : s a m e a s S S K . 1 (beshi), # 2 2
9 Ise monogatari, 100:170: s a m e a s S S K . 5 (ramu/ran), # 1 4
MRK
M R K .1
1 Kokinshu, K a n a Preface, 103: M c C u l l o u g h , 8; R o d d w . H e n k e n i u s , 4 7 ; W a k a -
m e d a , xi; D i c k i n s , 3 9 0 - 3 9 1 ; B o n n e a u , 9 1 ; R e v o n , 1 5 1 ; A m o l d - K a n a m o r i , 4 2 ;
L a n g e , x m ; D u t h i e , 166.
2 H djdki, K : 4 9 , alternate text for K : 4 0 : W a t s o n , 7 1 ; M o r i g u c h i & Jenkins, 69;
M u r o , 96; M c C u l l o u g h , 390 ; K u s a j i m a w . N a k a j i m a , 32; R o w e & K e r r i g a n , 27;
t4A m a n a n d a w o m a n , ^ 2 3 ; K e e n e , 2 0 9 ; Itakura, 5 0 - 5 1 ; B u n t i n g , 7 0 ; S a d l e r , 17;
Dickins, 18-19; D i x o n , 2 1 2 ; Soseki, 3 6 2 ; Sieffert, 3 6 ; N a k a m u r a & d e Ceccatty,
142; C a n d a u , 2 7 5 ; R e v o n , 2 6 2 ; I s h i k a w a , 121; Liscutin, 3 8 ; N a u m a n n & Nau-
m a n n , 2 6 4 ; C h a n o c h , 192; Itchik a w a , o o ; A l v a r e z C r e s p o , 83; P G O , 1 6 9 ; I M Z ,
8.
3 Genji m onogatari, 5 1 : 5 / 2 1 1 : Tyler, 2 : 1 0 1 3 - 1 0 1 4 ; Seidensticker, 2 : 9 7 7 ; W a l e y ,
1 1 6 9 ; Sieffert, 2 : 5 4 3 ; Beni, 2:776.
4 Man 'ydshu, 1/7:1/13: same as R Y K . 6 (ki/shi), # 1 2 .
284
A ppendix C
5 G enji m onogatari, 13:2/67: Tyler, 1:261; M c C u l l o u g h , 1 9 5 ; S e i d e n s t i c k e r , 1:
2 5 3 ; W a l e y , 3 0 4 ; Siefifert, 1:285; B e n i , 1:418.
6 H ojoki, A:24: W a t s o n , 48; M o r i g u c h i & Jenki n s , 3 3 ; M u r o , 4 - 5 ; M c C u l
lough, 3 8 0 ; K u s a j i m a w . N a k a j i m a , 23; R o w e & K e r r i g a n , 10; t4A m a n and a
w o m a n , ^ 3; K e e n e , 1 9 7 ; Itakura, 1 0 - 1 1 ; B u n t i n g , 63 ; S a d l e r , 1 ; D i c k i n s , 1-2;
D i x o n , 2 0 6 ; Sos e k i , 3 5 4 ; S i e f f e r t , 18; N a k a m u r a & d e Ceccatty, 135; C a n -
dau, 263; R e v o n , 247; Ishikawa, 1 0 6 ; Liscutin, 8; N a u m a n n & Naumann,
2 5 5 ; C h a n o c h , 1 8 2 ; I t c h i k a w a , 10; A l v a r e z C r e s p o , 35.
7 Tsurezuregusa, 173:231: K e e n e , 1 4 9 ; W a k a m e d a , 1 5 4 ; Porter, 1 3 3 ; S a n s o m ,
73; G r o b o i s & Y o s h i d a , 135; B e m d t , 196; B e n i , o o ; R o d r i q u e z , 151.
8 ア〇似ん权 1 月 1 4 日:38: M c C u l l o u g h , 84; M i n e r , 70; Porter, 5 5 ; Harris, 74;
Sieffert, 30; N a k a m u r a & d e Ceccatty, 2 1 ; B o s s e , 16; P G O , 168; I M Z , 8 a n d 13.
9 H djdki, A:23: W a t s o n , 48; M o r i g u c h i & Jenkins, 3 2 ; M u r o , 2-3; M c C u l
lough, 3 8 0 ; K u s a j i m a w . N a k a j i m a , 23; R o w e & K e r r i g a n , 10; M A m a n and a
w o m a n , 3; K e e n e , 1 9 7 ; I t a k u r a , 10; B u n t i n g , 6 4 ; S a d l e r , 1 ; D i c k i n s , 1 ; D i x
o n , 2 0 6 ; Sos e k i , 3 5 3 ; S i e f f e r t , 17; N a k a m u r a & d e Ceccatty, 135; C a n d a u ,
2 63; R e v o n , 247; Ishikawa, 105; Liscutin, 7; N a u m a n n & N a u m a n n , 255;
C h a n o c h , 1 8 1 ; I t c h i k a w a , 9 - 1 0 ; A l v a r e z C r e s p o , 33.
10 H eike m onogatari, 1.1:1 /83: s a m e as M Z K . 1 (zu), #5.
11 K okinshu, K a n a P r e f a c e , 1 0 1 : s a m e as R T K . 1 (gotoshi), #2.
12 M akura no soshi, 7 6 : 1 1 1 : s a m e as R Y K . 1 (tari), # 1 1 .
13 K okinsh H , 1/60:115: M c C u l l o u g h , 2 5 ; R o d d w . H e n k e n i u s , 6 6 ; H o n d a , 31;
W a k a m e d a , 15; A m o l d - K a n a m o r i , 72-73; Ackermann & Kretschmer, 42;
C h a n o c h (1 9 2 7 ) , 2 9 3 ; L a n g e ( 1 8 8 4 ) , 4 4 ; I K E , 102.
14 Ise m onogatari, 9: 1 1 6 : Harris, 45; M c C u l l o u g h , 74; V o s , 1 : 1 7 1 ; R e n o n d e a u ,
2 8 ; R e v o n , 1 7 0 ; S c h a a r s c h m i d t , 13; N a u m a n n & N a u m a n n , 76; B e n i (1958),
2 5 ; P f i z m a i e r , 13; C a b e z a s Garcia, 4 4 ; R e n o n d e a u / S o l o m o n o f f , 3 3 ; I K E , 102.
15 G enji m onogatari, 4:1/ 1 3 5 : Tyler, 1:61; M c C u l l o u g h , 6 5 ; Seidensticker, 1:65;
W a l e y , 70; Sieffert, 1:69; B e n i , 1:101.
16 G enji m onogatari, 3 4 : 3 / 2 7 6 : Tyler, 2 : 6 0 6 ; Seidensticker, 2 : 5 6 9 ; W a l e y , oo;
Sieffert, 2:50; B e n i , 2:67.
17 G enji m onogatari, 3 5 : 3 / 3 6 8 : Tyler, 2 : 6 4 9 ; Seidensticker, 2 : 6 1 2 ; W a l e y , 7 6 4 ;
Sieffert, 2 : 1 0 6 - 1 0 7 ; Beni, 2:147.
18 H ojoki, K : 4 1 : W a t s o n , 72; M o r i g u c h i & Jenkins, 7 1 ; M u r o , 1 0 0 ; M c C u l l o u g h ,
3 9 1 ; K u s a j i m a w . N a k a j i m a , 33; R o w e & Kerri g a n , 2 9 ; “A m a n a n d a w o m a n , ”
2 4 ; K e e n e , 2 1 0 ; Itakura, 52; B u n t i n g , 7 0; S a d l e r , 18; D i c k i n s , 19; D i x o n , 2 1 2 ;
Soseki, 3 6 3 ; Sieffert, 37; N a k a m u r a & d e Ceccatty, 14 2 ; C a n d a u , 2 7 5 ; R e v o n ,
2 6 3 ; Ishik a w a , 122; Liscutin, 4 0 ; N a u m a n n & N a u m a n n , 2 6 4 ; C h a n o c h , 193;
Itchikawa, 3 4 ; 人Ivarez C r e s p o , 85; * I M X , 1 6 (modified).
19 G enji m onogatari, 1:1/30: Tyler, 1:4; M c C u l l o u g h , 2 7 ; Seidensticker, 1:5; W a -
ley, 9; Sieffert, 1:5; B e n i , 1:8; I K E , 102.
20 M an y d sh u , 15/3751:4/101: K o j i m a , 8 1 ; C r a n s t o n , 1:521; S u g a , 3:46; H o n
da, 2 7 4 ; Pierson, 1 5 : 1 4 4 ; Sieffert, 5:96.
21 E ig a m onogatari: * I K E , 1 0 2 ( m o d i f i e d ) ( a n d J a p a n e s e t e x t , 101).
A p p e n d ix D
A Text-by-Text Listing o f the
‘O ther Translations’ Cited in the N otes
A ppendix D is k e y e d to A ppendix C a n d lists all o f t h e “O t h e r T r a n s l a t i o n s ” cited

there. ( N o t e d i s c u s s i o n o f this a s p e c t o f t h e H a n d b o o k in t h e Preface, Sect. V.)
Individual bungo w o r k s are listed alphabetically b y their J a p a n e s e - l a n g u a g e title.
Titles within entries a p p e a r in the f o l l o w i n g order: ( A ) E n g l i s h - l a n g u a g e translations
o f the w o r k (or o f significant p o r t i o n s o f t h e w o r k ) , a r r a n g e d in r e v e r s e c h r o n o l o g i
cal o r d e r ( n a m e l y , m o s t recent p u b l i c a t i o n first); a n d ( B ) o t h e r W e s t e r n - l a n g u a g e
translations o f t h e w o r k , in the order, F r e n c h , G e r m a n , S p a n i s h (in r e v e r s e - c h r o n o
logical o r d e r w i t h i n e a c h l a n g u a g e - c a t e g o r y ) . A s h o r t r e d divider-line s e p a r a t e s lan
g u a g e - s e c t i o n s : ----- .
C o n v en tio n s in citation for the initial parts o f ind ividu al entries (n am ely, up to
the first c o lo n ) are ou tlin ed in th e m aterial introducing Ap p e n d ix C.
A s m u c h as possible, n a m e s , book-titles, etc., a r e cited e x a c t l y a s t h e y a p p e a r
o n the title-pages o f w o r k s cited ( w i t h o n e m i n o r e x c e p t i o n ) . O n those pages, au-
t h o r s h i p is s o m e t i m e s a c c o m p a n i e d b y t h e p r e p o s i t i o n “b y ” （
o r “v o n , ” “par,” o r
ttd e ,,)J s o m e t i m e s not. F o r the s a k e o f clarification, it is often a d d e d here, u n b r a c k
eted. Similarly, the first w o r d o f publishers5 n a m e s is consis t e n t l y capitalized
( n o t w i t h s t a n d i n g the fact that s o m e u s u a l l y a p p e a r in l o w e r - c a s e o n title- a n d
c o p y r i g h t - p a g e s : “edition q,” “i u d i c i u m , ” a n d “a u x editions d e la d i f f e r e n c e ’
’).
All o f the translations listed h e r e u n d e r a title h a v e b e e n “a n a l y z e d ” （e x c e p t
those totally e n c l o s e d in b r a c k e t s — a b o u t w h i c h b e l o w ) , 1 a n d if a cited p a s s a g e in
the Introduction o r in the Body of the Handbook a p p e a r s in a n y o f t h e s e w o r k s ,
it is listed in Appendix C. In o t h e r w o r d s , if a w o r k listed b e l o w is not cited in the
n o t e s to a specific e n t r y in A ppendix C, t h e r e a d e r c a n k n o w that t h e p a s s a g e in
q u e s t i o n is not translated in that w o r k .
S o m e entries are listed in A ppendix D , e v e n t h o u g h t h e y d o n o t i n c l u d e trans
lated w o r k that o v e r l a p s w i t h a n y q u o t a t i o n s in t h e H a n d b o o k ( a n d h e n c e a r e n o t
cited in Appendix C): for e x a m p l e , th e R a h d e r translation o f o n e b o o k ( o f a total o f
six) o f S a i k a k u ' s K o s h o k u ichidai onna, a n d the C o r m a n booklet o f Man'ydshu
translations. A t t h e e n d o f s u c h entries o n e finds either t4N o p a s s a g e in t h e H a n d -
b o o k ” o r “N o n e [i.e. N o p o e m ] in the H a n d b o o k . ” S u c h titles a r e i n c l u d e d for t w o
reasons: o n e , to alert r e a d e r s to their e xistence; a n d t w o , to c o n f i r m that t h e w o r k
w a s i n d e e d c h e c k e d as a p o s s i b l e s o u r c e for additional translation o f i t e m s cited in
the H a n d b o o k .
As a c o m p l e m e n t to this (bibliographically s p e a k i n g ) , a f e w entries a r e in
c l u d e d that w e r e not available to b e c h e c k e d for t h e H a n d b o o k . T h e s e are s o identi
fied b y b e i n g e n c l o s e d totally in brackets: e.g., t h e A o y a m a & S c h u t z G e r m a n -
language translation o f Hojoki. S i n c e t h e y w e r e n o t e x a m i n e d , b i b l i ographical
1 T h a t is to s a y , tr a n s la te d s e le c tio n s h a d to b e id e n tif ie d a s to w h e r e th e y c a m e fr o m in th e
o rig in a l w o rk , a n d th e n c ro s s -c h e c k e d to s e e in w h ic h in s ta n c e s ( i f a n y ) th e y c o in c id e d w ith
q u o ta tio n s in th e H a n d b o o k .
286
A ppendix D
Other Translations: Titles
i n f o r m a t i o n a b o u t t h e m is ne c e s s a r i l y tentative. A g a i n , it w a s c o n s i d e r e d i m p o r t a n t
to let r e a d e r s k n o w o f material that s o v e r y m u c h c o m p l e m e n t s o t h e r i t e m s b e i n g
cited in A p p e n d ix D.2
W h e r e i t e m s are listed as either h a v i n g b e e n p u b l i s h e d in m u l t i p l e ( s o m e t i m e s
s i m u l t a n e o u s ) editions, o r as h a v i n g b e e n reprinted, the edition ( a n d p a g e n u m b e r s )
cited in the H a n d b o o k c o m e f r o m the last o n e listed ( e x c e p t for still later editions o r
reprints cited in brackets)— to repeat, the last one cited (other t h a n a n y t h i n g a d d e d
in b r a c k e t s ) w a s the o n e available in c o m p i l i n g the H a n d b o o k . ( P a g i n a t i o n can, o f
c o u r s e , differ b e t w e e n editions. A special w a r n i n g to this effect is m a d e r e g a r d i n g
different M o d e m L i b r a r y editions o f the A r t h u r W a l e y translation o f t h e Genji
monogatari.)
A reprint is a s s u m e d to b e substantially, if n o t w h o l l y , t h e s a m e a s a n earlier
edition, e x c e p t for p agination. W h e r e a translation is p r e s e n t e d a s b e i n g “r e v i s e d ”
(or a “n e w edition” o r t h e like), the w o r k is s o identified here. B u t s o m e later
e d i tions o f a translation i n c o r p o r a t e c h a n g e s (often m i n o r ) w i t h o u t their b e i n g s o
identified. A n d c o n v e r s e l y , s o m e “rev i s e d editions” i n c o r p o r a t e o n l y perflinctory
c h a n g e s . S i n c e m a n y o f the b o o k s cited h e r e are difficult to o b t a i n in any edition, no
a t t e m p t h a s b e e n m a d e to c h e c k m u l t i p l e editions o f a n indivi d u a l title, o n e a g ainst
t h e other. A n y o n e f o c u s i n g o n a particular text, h o w e v e r , w o u l d b e a d v i s e d to g o
t h r o u g h all editions o f a n y translation o f t h e w o r k to c h e c k for p o s s i b l e c h a n g e s .
A b r i d g e d v e r s i o n s o f c o m p l e t e translations (e.g., o f Genji monogatari by E d
ward S eide n s t i c k e r ) are n o t cited e x c e p t in t w o instances. F o r t h e A . L . Sadler
translation o f the Heike monogatari, the a b r i d g e d v e r s i o n is readily a v a i lable in
b o o k f o r m , b u t the c o m p l e t e translation a p p e a r s o n l y in rare j o u r n a l issues (treated
in s o m e library cata l o g s as a separate t w o - v o l u m e book-title). A s for t h e I v a n
M o r r i s translation o f t h e M a k u r a no soshi, the a b r i d g e d v e r s i o n h a s b e e n readily
a v a i lable in p a p e r b a c k editions b y P e n g u i n B o o k s a n d C o l u m b i a U n i v e r s i t y Press,
w h i l e t h e c o m p l e t e translation (part o f a t w o - v o l u m e h a r d b o u n d set) h a s n e v e r h a d
w i d e circulation. S o p a g e n u m b e r s for both v e r s i o n s o f the t w o titles a r e cited ( t h o s e
for t h e a b r i d g e m e n t b e i n g a d d e d in p a r e n t h e s e s for p a s s a g e s i n c l u d e d there).
Similarly, b e c a u s e b o t h o f the p u b l i s h e d translations o f Taketori monogatari by
F . V . D i c k i n s are h a r d to obtain, a n d b e c a u s e t h e y substantially differ f r o m e a c h
o t h e r in t e r m s o f b o t h the E n g l i s h r e n d e r i n g s a n d the m a n n e r o f p r e s e n t a t i o n (the
1 8 8 8 o n e c o n t a i n s e x t e n s i v e annotatation, the 1 9 0 6 o n e h a s n o notes), both a r e cited.
Also, both B o w r i n g translations o f Murasaki Shikibu nikki are cited, a s t h e y are
different e n o u g h to p r o m p t interest f r o m the p o i n t o f v i e w o f a p p l i e d translation
practice, a n d b e c a u s e o f the limited n u m b e r o f W e s t e r n - l a n g u a g e rendi t i o n s avail
able o f Murasaki Shikibu nikki.
kanji ( a n d
W h e r e possible, fuller citation) h a v e b e e n a d d e d in b r a c k e t s for the
n a m e s o f J a p a n e s e translators a n d editors n o r m a l l y identified o n l y b y r o m a n i z e d
n a m e in book-titles (e.g. “T . W a k a m e d a [ W a k a m e d a T a k e j i 若目田武次 ]’
’) . S o as
to a v o i d u n n e c e s s a r y repetition, n o indication is g i v e n that, a s a result, s u r n a m e s are
s o m e t i m e s r e v e r s e d (e.g.，“T e r u o S u g a [須賀照錐 ]”）a n d / o r t h e r o m a n i z e d n a m e in
2 O n ly th o s e ite m s a re lis te d th e e x is te n c e o f w h ic h is c o n f ir m e d b y th e ir b e in g in c lu d e d in o n e
o f th e f o llo w in g o n lin e c a ta lo g s : W o rld C a t, R e s e a r c h L ib ra rie s G ro u p , o r D e u ts c h e B ib lio th e k
(s e e th e PREFACE, n . 2 7 , fo r fu lle r id e n tific a tio n o f th e fir s t tw o ).
287
A ppendix D
a different con tex t w o u ld dem and a long-m ark (e .g . ，Sat6 in “Hiroaki Sato [佐藤紘
彰] T o repeat， n am es are transcribed e x a ctly as th ey appear on the title-p age.
T h e K e e n e , M c C u l l o u g h , a n d C a r t e r a n t h o l o g i e s o f p r e - m o d e m literature are
cited ( u n d e r w h a t e v e r discrete J a p a n e s e - l a n g u a g e title is b e i n g treated) for several
reas o n s , o n e o f w h i c h is tneir w i d e s p r e a d availability. B u t w h e r e selections in t h e s e
a n t h o l o g i e s are t a k e n f r o m c o m p l e t e (or at least fuller) translations o f t h e w o r k b y
t h e s a m e p e r s o n , o r h a v e b e e n s u p e r s e d e d b y a c o m p l e t e translation o f t h e w o r k b y
the s a m e p e r s o n (e.g., t h o s e in the K e e n e - e d i t e d v o l u m e b y V o s , S eiden s t i c k e r , a n d
V/a\ey，of Ise monogatafi，K a g e r d nikki，and M a k u m no soshi, respectivoly.，and
Ise monogatari b y M c C u l l o u g h in h e r a n t h o l o g y ) , t h e a n t h o l o g i e s , w i t h their
that o f
selected p a s s a g e s , are n o t cited ( a l t h o u g h interested parties m a y w i s h to s e e w h a t
revisions o r e m e n d a t i o n s , if a n y , h a v e b e e n i n c o r p o r a t e d in w h i c h e v e r is t h e later
publication). In o t h e r w o r d s , t h e translations b y V o s ( a n d o t h e r s just m e n t i o n e d ) are
o f c o u r s e cited, b u t in their fuller versions. T h e t h r e e a n t h o l o g i e s a r e also cited for
partial translations that d o no t a p p e a r elsewhere: those b y L a n e , Sargent, a n d K e e n e
in the Keene-edited volume, from Ise monogatari, Kokinshu, a n d Tosa nikki,
respectively; t h o s e b y M c C u l l o u g h from Taketori monogatari^ K a g e r d nikki, a n d
M a k u r a no soshi, as w e l l as b y C a r t e r f r o m Tsurezuregusa, in h e r a n t h o l o g y ; a n d
the C a r t e r translations f r o m M a n y o s h u , Kokinshu^ a n d K i n y o w akashu in his
v o l u m e . T h e a n t h o l o g i e s i n c l u d e complete translations, respectively, o f Hdjdki b y
K e e n e a n d o f Izayoi nikki a n d Hdjdki b y M c C u l l o u g h , w h i c h are flilly refer e n c e d .
M c C u l l o u g h ^ c o m p l e t e Tosa nikki translation, p u b l i s h e d earlier, is cited in t h e later
u n a b r i d g e d a n t h o l o g y version.
Traditional Japanese Literature: A n Anthology, Beginnings to 1600 (New
Y o r k : C o l u m b i a U n i v e r s i t y Press, 2 0 0 6 ) , e d i t e d b y H a r u o S h i r a n e , a p p e a r e d t o o late
for inclusion in the H a n d b o o k .
T h e anthology, Bliitenmond: Japanisches Lesebuch, 1650-1900, Herausgege-
ben von Ekkhard M a y u n d M a r t i n a S h o n b e i n ( M u n c h e n , Piper, 1 9 9 0 ) , w a s c o n
sulted. B u t for t h o s e w o r k s q u o t e d in th e H a n d b o o k , o n l y earlier translations a l r e a d y
cited h e r e are reprinted in a b r i d g e d f o r m : n a m e l y , t h e D o m b r a d y v e r s i o n o f B a s h o ^
O k u no hosomichi, a n d the T s u k a k o s h i rendering (with N i e h a n s ) o f Saikaku's
Kos h o k u ichidai onna. S o the a n t h o l o g y is n o t cited.
T h e f o l l o w i n g f o u r t y p e s o f w o r k w e r e i n c l u d e d for t h e M a n ydshu and Kokin
shu entr i e s : ( 1 ) book-length translations o f t h e w o r k s into E n g l i s h , F r e n c h , G e r m a n ,
a n d S p a n i s h ( i n c l u d i n g s o m e titles that, t h o u g h s e p a r a t e b o o k s , are n e v e r t h e l e s s
quite short— shorter t h a n m a n y p u b l i s h e d article-length translations); (2) translated
selections in ^ s t a n d a r d ^ a n t h o l o g i e s d e v o t e d to classical J a p a n e s e p o e t r y o r a n t h o l o
gies that i n c l u d e substantial p o r t i o n s d e v o t e d to classical J a p a n e s e p o e t r y ( n a m e l y ,
t h o s e b y Carter, S a t o & W a t s o n , a n d K e e n e in E n g l i s h , a n d t h e s e p a r a t e o n e s b y
R e n o n d e a u a n d R e v o n in F r e n c h ) ; (3) W e s t e r n - l a n g u a g e b o o k s a n d articles listed b y
B r u n o L e w i n in his 1 9 6 5 Japanische Chrestomathie^ a n d (4) o t h e r b o o k s o r m o n o -
3 In addition to English- a n d French-language material, L e w i n m a k e s copious reference to

G e r m a n - l a n g u a g e scholarship o n the w o r k s h e treats. (Also, L e w i n is virtually the only
W e s t e r n literary scholar o f Japanese literature w h o cites Russian-language titles.) B u t for m o r e
updated bibliographical information o n G e r m a n - l a n g u a g e treatment o f Japanese poetry, includ
ing articles about (and article-length translations of) the M a n ydshu a n d Kokinshu as well as
other w o r k s cited in the H a n d b o o k , see A n d r e a s Wittbrodt, Deutschsprachige Lyrik in tradi-
tionellenjapanischen Gattungen: Bibliographie der Ubersetzungen, Adaptationen, auf deutsch
288
A ppendix D
g r a p h s that i n c l u d e several (i.e., five or m o r e ) M a n ydshu or Kokinshu translated
p o e m s . 4 M u c h material r e m a i n s uncited. T h e last criterion for inclusion, for e x a m
ple, is c o m p a r a t i v e l y o p e n - e n d e d . T o a v o i d u n d u e proliferation o f titles ( a n d the
n e v e r - e n d i n g w o r k o f co m p i l a t i o n ) , n o j o u r n a l articles (o t h e r t h a n t h o s e cited b y
L e w i n ) o r b o o k - c h a p t e r s are cited for translations. A n d n o a t t e m p t w a s m a d e to
i n c l u d e t h e E n g l i s h - l a n g u a g e p o e m - r e n d e r i n g s b y t h o s e active at t h e e n d o f the
n i n e t e e n t h c e n t u r y ( b y A s t o n , C h a m b e r l a i n , a n d others), w h i c h w o u l d b e h e lpful for
illustrating t h e history o f translation practice.5 M o r e o v e r , s i n c e n o n e o f t h e p a s s a g e s
i n c l u d e d in t he H a n d b o o k c o m e s f r o m p o e m s f o u n d in the Hyakunin isshu
t he many additional sepa r a t e translations o f that a n t h o l o g y into W e s t e r n l a n
g u a g e s a r e n o t cited.
F o r classical p r o s e w o r k s , as w e l l 一 to a v o i d i m p o s s i b l e w i d e n i n g o f biblio
g r a p h i c a l c o v e r a g e — j o u r n a l articles a n d sepa r a t e b o o k - c h a p t e r s a b o u t a w o r k are
n o t cited, u n l e s s d e v o t e d to translation o f it.
For Genji monogatari, the translations b y Tyler, Seiden s t i c k e r , a n d W a l e y are
all cited, as is the M c C u l l o u g h v o l u m e ( w h i c h r e n d e r s a significant p o r t i o n o f the
w o r k ) , as w e l l as the c o m p l e t e translations into F r e n c h and G e r m a n from the
J a p a n e s e original. T h e r e are m a n y o t h e r translations (especially E n g l i s h - l a n g u a g e
ones) o f selections o f the w o r k that are n o t cited here, w h i c h w o u l d b e w o r t h e x a m
i n i n g in o t h e r contexts.
S i m i l a r l y for Heike monogatari, o n l y the c o m p l e t e translations b y M c C u l
lough, K i t a g a w a & T s u c h i d a , Sadler, a n d Sieffert are cited ( a n d t h e a b r i d g e m e n t o f
t h e S a d l e r version, as n o t e d a b o v e ) , t o g e t h e r w i t h t h e re c e n t v o l u m e o f selections b y
verfafiten Gedichte sowie der wissenschajlichen und essayistischen Darstellungen (1849-

1998), H rs g . v . G e r m a n is tis c h e n S e m in a r d e r F a c u lty o f L e tte r s , P r e f e c tu r a l U n iv e r s ity o f
K u m a m o to (A a c h e n : S h a k e r V e rla g , 1 9 9 9 ), b e in g s u re to c o n s u lt th e f o llo w in g two s e c tio n s o f
th e in d e x , p p . 1 0 4 -1 0 5 a n d 1 1 0 -1 1 2 .
4 In th e M a n 'ydshu a n d Kokinshu s e c tio n s , th e n u m b e r o f tra n s la te d p o e m s ( o r p a r tia l p o e m s )
fr o m e ith e r a n th o lo g y is s u p p lie d in b r a c k e ts a f te r e v e r y e n try . F o r e n tr ie s d e v o te d s o le ly to th e
M a n 'ydshu o r Kokinshu (u s u a lly c le a r fr o m th e e n try -title ), th e to ta l is s im p ly g iv e n (e .g ., fo r
th e N a k a r a i b o o k o n th e AToん “ 1 6 0 心た//757^ p o e m s ” ). F o r e n tr ie s th a t in c lu d e tr a n s la -
tio n s o f o th e r w o rk s , th e w o rd “ I n c lu d e s ” is a d d e d ( e .g .， fo r th e C a r te r a n th o lo g y : “ I n c lu d e s
1 0 2 M a n ydshu p o e m s ,*).
5 T h e e n trie s u n d e r M iy a m o ri a n d G r a m a tz k y (in th e s e c tio n o n th e Kokinshu) a r e u s e f u l f o r
f u r th e r p u r s u it o f th e to p ic ; b o th c ite th e e a r lie r tr a n s la to r s j u s t m e n tio n e d , th e la tte r s u p p ly in g
b ib lio g r a p h ic a l re fe re n c e s .
N o te a ls o th e n u m e ro u s title s o f W e s te rn -la n g u a g e m a te ria l o n J a p a n e s e p o e tr y , in c lu d in g
m a n y r a r e ly - c ite d ite m s , lis te d b y K e n n e th R e x r o th in h is One Hundred Poems from the Japa
nese (p p . 1 3 2 -1 4 0 ), a s w e ll a s m a n y in te re s tin g ite m s o n tr a n s la tio n q u o te d b y J o s h u a A .
M o s to w in C h a p t e r 3 , “ PFoん p p . 5 8 - 8 6 a n d 4 5 6 - 4 5 8 )，
a in T r a n s la tio n ” （ in h is P/c/w r& s 0/ / む
Heart v o lu m e (fu ll c ita tio n o f b o th in th e s e c tio n o n th e Kokinshu).
T h e m o s t e x te n s iv e lis tin g o f a rtic le s o n tr a n s la tio n fr o m J a p a n e s e ( th e m a jo r ity o f th e m in
English) is the following: R i c h m o d Bollinger, “Auswahlbibliographie deutscher，englischer
u n d f r a n z o s is c h e r P u b lik a tio n e n z u m T h e m a U b e rs e tz e n : J a p a n is c h - D e u ts c h /E n g lis c h /F r a n -
z 6 s is c h - J a p a n is c h ，’’ in 扮み r Frew洲た女/e ゴes 沉扮況 /沈似 •/crpamic/?-
Deutsch-Japanisch, Irm e la H ijiy a -K ir s c h n e re it, e d . (M u n c h e n : I u d ic iu m , 2 0 0 1 ) (M o n o -
g r a p h ie n a u s d e m D e u ts c h e n I n s titu t flir J a p a n s tu d ie n d e r P h ilip p F r a n z v o n S ie b o ld S tiflu n g ,
B a n d 2 8 ), p p . 2 8 9 - 3 1 4 .
289
A ppendix D
B u r t o n W a t s o n . A g a i n , there are several translations o f sections o f t h e w o r k that are
n o t referred to.
E s p e c i a l l y full bibliographical i n f o r m a t i o n h a s b e e n g i v e n in t w o i n s t a n c e s to
a v o i d the c o n f u s i o n that c a n arise f r o m d e p e n d i n g o n l y o n b i b l i o g r a p h i e s o r lists o f
translations. In t h e i n f o r m a t i o n for the K o b a y a s h i partial translation into E n g l i s h o f
M a k u r a no soshi, the series that it a p p e a r s in ( T h e W i s d o m o f t h e E a s t ) a n d its
editors (し C r a n m e r - B y n g a n d Dr. S .ん K a p a d i a ) a r e also g i v e n ，s i n c e C r a n m e r -
B y n g h a s m i s t a k e n l y b e e n listed as a translator o f t h e w o r k ( b y t h e s a m e translated
title as that o f t h e K o b a y a s h i renditon).6 Similarly, i n f o r m a t i o n o n t h e translation
into F r e n c h b y N i c h o l a s B o u v i e r o f t h e E n g l i s h - l a n g u a g e v e r s i o n o f O k u no ho-
somichi b y D o r o t h y Britton is i n c l u d e d u n d e r h e r entry, s i n c e t h e F r e n c h - l a n g u a g e
title h a s b e e n listed b i b l i ographically in a w a y that m i g h t m i s t a k e n l y s u g g e s t that his
is a direct translation f r o m t h e J a p a n e s e . 7
T r a n s l a t i o n s b y the n i n e t e e n t h - c e n t u r y A u s t r i a n p o l y m a t h , A u g u s t P f i z m a i e r ,
are cited for t h e f o l l o w i n g w o r k s : h e monogatari, Izumi Shikibu nikki, M a k u r a no
soshi, and M a n ydshu. A l t h o u g h as h a s b e e n p o i n t e d o u t b y others, P f i z m a i e r d o e s
m a k e m i s t a k e s , it is a m a z i n g w h a t h e d i d a c c o m p l i s h , g i v e n t h e l a c k o f dictionaries,
a n n o t a t e d editions, a n d o t h e r s u p p o r t at t h e t i m e h e w a s active.8 S e v e r a l w o r k s a b o u t
his s c h o l a r s h i p s h o u l d b e noted:
T h e bibliography: August Pfizmaier: Sinologe, Japanologe u n d Sprachwissen-

schaftler, E i n e Bibliographie z u s a m m e n g e s t e l l t v o n H a r t m u t W a l r a v e n s ( H a m
b u r g : C . B e l l V e r l a g , 1984).
T w o articles o f particular r e l e v a n c e in a c o n f e r e n c e - v o l u m e ( o f f o u r t e e n c h a p
August Pfizmaier (1808-1887) u n d seine Bedeu-
ters) d e v o t e d to the scholar:
tung fur die Ostasienwissenschaften, H e r a u s g e g e b e n v o n O t t o L a d s t a t t e r u n d
Sepp Linhart (Wien: Verlag der Osterreichischen Akademie der Wissen-
s c h a f l e n , 1 9 9 0 ) (Osterreichische A k a d e m i e d e r W i s s e n s c h a f l e n , Philosophisch-
6 B y F r a n p in e H e ra il in h e r b ib lio g r a p h y ( p . 1 4 6 ), p e r h a p s d r a w in g o n B ru n o L e w in (Ja
pan ische Chrestomathie, 1 :1 5 3 )— ra re s lip s b y b o th s c h o la r s (s e e , r e s p e c tiv e ly , th e PREFACE,
n . 2 3 , a n d APPENDIX E , S e c t. 3 , f o r fu ll c ita tio n o f th e ir w o rk s ).
7 In th e 1 9 9 7 J a p a n P .E .N . C lu b b ib lio g r a p h y ( p . 1 1 0 ) (s e e th e PREFACE, n . 2 3 , f o r f u ll c ita
tio n ).
8 W a lk e r, p . 2 1 7 (c ite d w ith a p p ro v a l b y L e w in , p . 2 6 0 ) ; W a lr a v e n s , p p . 1-2; a n d L e w in , p p .
2 5 3 - 2 d 4 a n d 2t>3. F o r fu ll b ib lio g r a p h ic a l in f o r m a tio n o n c ita tio n s in th is f o o tn o te , s e e th e
title s th a t fo llo w a b o v e .
A r th u r W ale y * s d is m is s iv e r e f e r e n c e to P f iz m a ie r 's s c h o la r s h ip (Japanese Poetry: The
'Ufa', p . 19 [fu ll p u b lis h in g in fo , in th e s e c tio n o n th e Man'ydshu], s o g r o s s ly u n f a ir th a t it
w o u ld b e a d is s e r v ic e to r e p e a t it) q u ite r ig h tly h a s b e e n s e v e r e ly c r itic iz e d b y R o y A n d r e w
M ille r, p p . 1 8 7 -1 8 8 (“ n ic h ts k a n n … w e ite r v o n d e r W a h r h e it e n tf e m t s e in ” ） a n d im p lic itly
re je c te d b y th e o th e r s c ite d h e re .
It is a m u s in g (a n d s a lu ta r y ) to s e e R o y A n d r e w M ille r p u t M a n 'ydshu r e n d e r in g s b y s p e
c if ic tw e n tie th - c e n t u r y J a p a n o lo g is ts a lo n g s id e th o s e o f P f iz m a ie r , o n ly to fin d la tte r - d a y
s c h o la rs w a n tin g (p p . 2 1 7 -2 2 1 ) . (S o m e o f W a l e y 's s in o lo g ic a l w o r k is g iv e n th e s a m e tr e a t
m e n t, u n fla tte rin g ly p u t s id e - b y - s id e th e e a r lie r c o n tr ib u tio n o f P f iz m a ie r ; p p . 2 2 3 - 2 2 5 .)
It is w o rth n o tin g b y w a y o f e x a m p le th a t P f iz m a ie r 's r e n d e r in g o f Kokinshu P o e m # 0 0 6 3 ,
(a s it a p p e a rs in Ise monogatari, s e c t . 17) s ta n d s u p q u ite w e ll lin g u is tic a lly a n d lite ra rily
a m o n g th e tr a n s la tio n s b y s ix te e n s c h o la rs c ite d in APPENDIX C (M Z K .1 [z u ], # 1 7 ).
290
A ppendix D
Historische Kla s s e , Sitzungs b e r i c h t e , !>b2. Band. Beitrage z ur Kultur- und
G e i s t e s g e s c h i c h t e A s i e n s , N r . 3):
“P f i z m a i e r s F o r s c h u n g e n iiber d a s J a p a n i s c h e , ” v o n R o y A n d r e w Miller,
Ubersetzung aus d e m A m e r i k a n i s c h e n v o n Dr. P e t e r G e t r e u e r , pp. 1 8 5 -
228.
“P f i z m a i e r s O b e r s e t z u n g e n klassischer j a p a n i s c h e r Literatur,” v o n B r u n o
L e w i n , pp. 2 4 5 - 2 6 3 .
The exhibition catalog: August Pfizmaier, 1808-1887, von Peter Pantzer

( [ W i e n : ] Literas U n i v e r s i t a t s v e r l a g , [ 1 9 8 7 ] ) Subtitle: t4K a t a l o g z u r A u s s t e l l u n g
a n l a B l i c h d e s 100. T o d e s t a g e s d e s o s t e r reichischen S i n o l o g e n u n d J a p a n o l o g e n ;
Osterreichische Nationalbibliothek, 1 8 - 2 9 . M a i 1 9 8 7 . ” N o t e t h e h e lpfUl c o m -
m e rits b y P a n t z e r o n individual scholarly c o n t r i b u t i o n s b y P f i z m a i e r in the
categories: “T u r k o l o g i s c h e A r b e i t e n , ” pp. 2 6 - 3 0 ; “S i n o l o g i s c h e A r b e i t e n , ” pp.
3 0 - 3 9 ; a n d “J a p a n o l o g i s c h e A r b e i t e n ，
” pp. 3 9 - 5 2 .
A n d brief d i s c u s s i o n o f the m a n a n d his w o r k in Engl i s h : “A u g u s t P f i z m a i e r ’

s
Translations f r o m the Chinese,M b y R i c h a r d W a l k e r , Journal of the American
Oriental Society 6 9 . 4 ( O c t . - D e c . 1949), pp. 2 1 5 - 2 2 3 .
N u m e r o u s v o l u m e s o f W e s t e r n - l a n g u a g e translations w e r e c h e c k e d for t h e f e w
q u o t a t i o n s b y R y o k a n a n d M a s a o k a S h i k i i n c l u d e d in the H a n d b o o k . A s n o o t h e r
r e n d e r i n g s o f t h e p a s s a g e s w e r e f o u n d a n d b e c a u s e it m i g h t s e e m p e d a n t i c to list all
o f t h e w o r k s co n s u l t e d , t h e y are n o t included.
T h e line b e t w e e n translation a n d adaptation, w h i l e s o m e t i m e s clear-cut, c a n
p r o v e p r o b l e m a t i c . W h e n a n a d a p t a t i o n p r o v e d t o o far r e m o v e d f r o m t h e original
( a n d t o o a b r i d g e d ) to s e r v e as a r e a s o n a b l e a n a l o g u e o f the original— a s is t h e c a s e
w i t h several r e n d e r i n g s o f Taketori monogatari a n d with t w o versions o f Kanade-
ho n Chiishingiira— the w o r k s are listed in the f o o t n o t e s u n d e r t h o s e h e a d i n g s (to
alert r e a d e r s to their existence, to c o n f i r m that t h e y w e r e c h e c k e d , a n d to s u g g e s t
that t h e y n o t b e c o n s u l t e d for translation p u r p o s e s [ but c o u l d b e o f interest for o t h e r
reasons]). W h e n a n a d a p t a t i o n w a s close e n o u g h to the original to still p r o v e a
translation— as is true with the Waley version of Genji monogatari and the
S c h w a r z - O k u n o rendering o f Taketori monogatari — the w o r k is cited in t h e n o r m a l
fashion. T h e versions b y Kenneth Rexroth of p o e m s from the M a n ydshu and
Kokinshu, a l t h o u g h refracted t h r o u g h others* translations a n d insights, a r e r e c o g n i z
a b l e e n o u g h a n a l o g u e s o f t h e original, a n d interesting e n o u g h a s e x a m p l e s o f a
certain k i n d o f “creative translation/adaptation,” to cite here.9 T h e p o e t i c p a r a p h r a s e
o f the Hdjoki b y Basil B u n t i n g offers a n o t h e r c a s e in point.
Translations into o t h e r W e s t e r n languages o f a l r e a d y existing v e r s i o n s in
E n g l i s h , F r e n c h , o r G e r m a n (e.g., the M a k u r a no soshi selections b y G e r h a r t H a u g )
are listed a n d identified as s u c h in A ppendix D (s o that r e a d e r s k n o w a b o u t t h e m ,
b u t d o n o t e x p e n d effort t rying to o b t a i n t h e m t h i n k i n g t h e y a r e direct translations
9 Reference is here m a d e to Rexroth's One Hundred Poems from the Japanese a n d One H u n
dred More Poems from the Japanese (full citation o f both in the M a n 'ydshu a n d Kokinshu
sections below). Tlie v o l u m e o f Rex r o t h translations d o n e with A t s u m i I k u k o [渥美育子 ]，7 % e
Burning Heart: W o m e n Poets of Japan (also listed in the t w o sections), p r e s u m a b l y b e c a u s e o f
the collaboration, provides renderings that are m o r e recognizable as direct translations.
291
A ppendix D
f r o m the original, e v e n t h o u g h t h e y c o u l d b e u s e f u l in o t h e r contexts). T h e y are n o t
cited in Appendix C. T h e r e is o n e e x c e p t i o n to this， t h e S o l o m o n o f f S p a n i s h -
l a n g u a g e translation o f the F r e n c h r e n d e r i n g o f h e monogatari b y G. Renondeau.
The rationale for its inclusion is t w o f o l d : t h e quality o f t h e F r e n c h source a n d
S p a n i s h translation far s u r p a s s e s that f o u n d in t h e H a u g v o l u m e , a n d s o m e potential
readers m i g h t k n o w S p a n i s h b u t no t French.
Chflshingura 忠臣蔵
see K a n a d e h o n Chiishingura 仮名手本忠臣蔵
G enjimonogatar i l()源氏物語 ca.1010

by Murasaki Shikibu 紫式部 b. ca. 978
Tyler: The Tale of Genji, b y M u r a s a k i Shikibu, T r a n s l a t e d b y R o y a l l T y l e r ( N e w

Y o r k : V i k i n g P e n g u i n , 2 0 0 1 ) , 2 vols. [ C o m p l e t e translation]
McCullough: Genji & Heike: Selections f r o m T h e Tale of Genji'a n d 'The Tale of the
Heike\ Translated, w i t h Introductions, b y H e l e n C r a i g M c C u l l o u g h (Stanford:
S t a n f o r d U n i v e r s i t y P r e s s , 1994). [Partial translation]
Seidensticker: The Tale of Genji, b y M u r a s a k i Shikibu, Translated w i t h a n Introduc
tion b y E d w a r d G . S e i d e nsticker ( N e w Y o r k : A l f r e d A . K n o p f , 1 9 7 6 ) , 2 vols.
[ C o m p l e t e translation]
Waley: The Tale of Genji, b y L a d y M u r a s a k i , T r a n s l a t e d a n d w i t h a n introduction b y
Arthur W a l e y (1935; N e w York: T h e M o d e m Library, 1993). [Note: T h e 1993
M o d e m L i b r a r y edition, cited in the H a n d b o o k , h a s p a g i n a t i o n different f r o m that
o f the 1960 M o d e m L i b r a r y edition] [ N e a r l y c o m p l e t e translation]
Sieffert: L e Dit du Genji, p ar M u r a s a k i Shikibu, Traduction d u japonais pa r R e n e

Sieffert (Paris: P u b l i c a t i o n s Orientalistes d e F r a n c e , 1 9 8 8 ) , 2 v o l u m e s : v o l . 1,
M a g n i f i c e n c e ; v o l . 2, I m p e r m a n e n c e . [ C o m p l e t e translation]
Beni: (Genji-Monogatari,'Die Gescmchte v o m Prinzen Lrenji: Altjapanischer Lie-

besroman aus d e m 1 1 . Jahrhundert, verfafit von der H o f d a m e Murasaki, V o l l -
standige A u s g a b e a u s d e m O n g i n a l ubersetzt v o n O s c a r B e n i ( Z u r i c h : M a n e s s e
V e r l a g , 1 9 6 6 ) , 2 v o l u m e s . [ C o m p l e t e translation]
N o t e the f o l l o w i n g French-, G e r m a n - , a n d S p a n i s h - l a n g u a g e versions o f Genji, none
cited in the H a n d b o o k b e c a u s e t h e y are all b a s e d o n t h e W a l e y translation:
Le ゴe G e w ゾ/，p a r M o u r a s a k i S h i k i b o u , T r a d u i t p a r K i k o u Y a m a t a [山田
菊] d ’ap r e s la v e r s i o n a n g l a i s e d e A . W a l e y , et le texte original a n c i e n (Paris:
P l o n ，1928).
Die Geschichte v o m Prinzen Genji, wie sie geschrieben w u r d e u m das Jahr Ein-
tausend unserer Zeitrechnung, N a c h d e r e n g l i s c h e n U b e r t r a g u n g v o n W a l e y ,
10 N o te a ls o th e C h in e s e - la n g u a g e tr a n s la tio n s o f Genji monogatari c ite d in th e PREFACE, n.

26.
292
A ppendix D
D e u t s c h v o n H e r b e r t h E. H e r l i t s c h k a ( W i e s b a d e n : Insel V e r l a g , 1 9 5 4 ; rpt.
F r a n k f u r t a m M a i n : Insel V e r l a g , 1965), 2 vols.
L a novela de Genji, de Murasaki Shikibu, V ersion, c o m e n t a r i o s y notas d e
X a v i e r R o c a - F e r r e r ( B a r c e l o n a : E d i c i o n e s D e s t i n o , 2 0 0 5 a n d 2 0 0 6 ) . 2 vols.
Genji Monogatari ( R o m a n c e de Genji), de Murasaki Shikibu, T r a d u c c i o n d e
F e r n a n d o G u t i e r r e z ( B a r c e l o n a : Editorial J u v e n t u d , [ 1 9 4 1 ] 1992 [2000 &
2 0 0 2 ; P a l m a d e M a l l o r c a : J o s e J. d e O l a n e t a , Editor, 2 0 0 4 ] . (<4E s t a t r a d u c
c i o n c o r r e s p o n d e a los n u e v e p r i m e r o s capitulos del G e n j i M o n o g a t a r i , y el
titulo q u e e n r ealidad le p e r t e n e c e - s e g u n el original, la v e r s i o n i n glesa d e A .
W a l e y , d e la q u e h e u s a d o , y la f r a n c e s a d e K i k u [5/c] Y a m a t a , c u y a a y u d a
R e l a t o d e G e n j i ”’
tan val i o s a m e h a s i d o - d e b i e r a ser ‘ ；“P r e f a c i o , ”p . 10).
N o t e also t h e f o l l o w i n g S p a n i s h - l a n g u a g e v e r s i o n o f Genji, n o t cited in t h e H a n d
b o o k s i n c e it is a r e n d e r i n g o f t h e T y l e r translation:
L a historia de Genji, d e M u r a s a k i S h i k i b u , T r a d u c c i o n d e Jordi F i b l a ( V i -
latir, G i r o n a : E d i c i o n e s Atala n t a , 2 0 0 5 a n d 2 0 0 6 ) . 2 vols.
Gosenwakashii 後撰和歌集 951 +
Miyamori: M w /の q / ’J a p a w e s e P o e め；メ M oゴ (古今名歌集),

T r a n s l a t e d a n d A n n o t a t e d b y M i y a m o r i A s a t a r 6 ( 宮森麻太郞）（
Tokyo: Maruzen
C o m p a n y Ltd., 1 9 3 6 ; rpt. W e s t p o r t , C o n n . : G r e e n w o o d Press, P u blishers, 1 9 70).
2 vols. Vo\. passim. [Partial translation]
GoshCiiwakashil 後拾遺和歌集 1086
Carter: Traditional Japanese Poetry: A n Anthology, T r a n s late d , w i t h a n I n t r o d u c

tion, b y S t e v e n D . C a r t e r (Stanf o r d : S t a n f o r d U n i v e r s i t y Press, 1 9 9 1 ) , passim.
[Partial translation]
Levy: 100 Selections j r o m Lesser K n o w n Japanese Poetrv Classic [sic], Translated b y
H o w a r d S. L e v y , Illustrated b y Y o k o N o m a ( S o u t h P a s a d e n a , Calif.: L a n g s t a f f
Publications, \911\passim. [ L i m i t e d edition, 3 0 0 copies] [Partial translation]
Heike monogatari 平家物語 ca.1230
Watson: Tne Tales of the Heike, Translated b y B u r t o n W a t s o n ; Edited, w i t h a n

Introd uction, b y H a r u o S h i r a n e ( N e w Y o r k : C o l u m D i a U n i v e r s i t y Press, 2 0 0 6 ) .
McCullough: The Tale of the Heike, Translated, w i t h a n Introduction, b y H e l e n
Craig McCullough, (Stanford: Stanford University Press, 1988). [Complete
translation]
Kitagawa & Tsuchida: The Tale o f the Heike: 'Heike Monogatari \ Translated b y
K i t a g a w a Hiroshi [北川弘] a n d B r u c e T. T s u c h i d a , W i t h a f o r e w o r d b y E d w a r d
Seidensticker ( T o k y o : University o f T o k y o Press, 19 7 7 ) . 2 vols. [ C o m p l e t e
translation]
293
A ppendix D
Sadler (1928): The Ten F o o t S q u a re H u t a n d Tales o f th e H eike: B e in g tw o thir
teenth-century Ja p a n ese classics, the 'H o jo k i' a n d selections fr o m th e 'H eike
M o n ogatari \ Translated by A.L. Sadler (Sydney: Angus & Robertson Ltd.,
1928; rpt. Westport, Conn.: Greeenwood Press, 1970; Rutland, Vermont & To
kyo, Japan: Charles E. Tuttle Company, 1972 [2 0 0 6 ]).[In the Handbook, page-
numbers to this volume are cited in parentheses, after citation o f the complete
translation (see the following entry), if the selection was included in this
abridgment] [Partial translation]
['The selections from the Heike Monogatari are taken from my translation o f
the whole in the Transactions o f the Asiatic Societry o f Japan, Vols. XLVI
and XLIX, somewhat revised ”；p. xii]
Sadler (1918-1921): t4The Heike Monogatari,Translated by A.L. Sadler, Transac
tions o f the A sia tic S o ciety o f Japan: [P t.1]46.2 (1918), pp. i-xiv and 1-278; and
[Pt. 2] 49.1 (1 9 2 1 ),pp. i-ii and 1-354, plus Appendix (Sanskrit References and
Chinese R eferen ces,11 pp.) and Corrigenda to V o l . 1 (1 pg.). [Cited in the
Handbook without parentheses or dates o f publication] [Complete translation]
Sieffert: L e d it des HeiKe: L e cycle epique des Taira e t des M inam oto, Traduction
integrale par Rene Sieffert (Paris: Publications Orientalistes de France, 1978).
[Complete translation]
方丈記 1212
by K a m o no C h 5 m e i 鴨長明 1155-1216
Watson: ^Record o f the Ten-Foot-Square Hut,^ in F o u r H uts: A sia n W ritings on

the S im p le L ife, Translated by Burton Watson, Illustrated by Stephen Addiss
(Boston: Shambala, 2002 [© 1994]), pp. 39-84. [Complete translation]
Moriguchi & Jenkins: H ojoki: Visions o f a Torn W orld, Text by Kamo-no-Chomei,
Translated by Yasuhiko Moriguchi [森口靖彦 ] and David Jenkins, With illus-
trations by Michael Hofmann (Berkeley, Calif.: Stone Bridge Press, 1996).
Muro: h o jo k i: Ten F o o t S q u a re H o u se by Kamono Choumei, Put into
Basic English by Muro Masaru [室勝] (Tokyo: lii e Hokuseido Press [北星堂書
)5 ], 1990). [Gives three different Basic English renderings o f each passage in
the work] [Complete translations]
McCullough: 41An Account o f My Hermitage,5, in C lassical Ja p a n ese P rose: A n
A n th o lo g y, Compiled and Edited by Helen Craig McCullough (Stanford: Stan
ford University Press, 1990), pp. 379-392. [Complete translation]
Kusajima w. Nakajima: 欲 / ⑽ゴ ( 方丈記 • 徒然草)，Supervised
by Dr. Fumio hakajima [中島文雄]，Translated by Dr. Tokisuke Kusajima [草
島時介 ] (Tokyo: Shubun International C o . [ 秀文インターナショナル ] ，
[© 1 9 8 2 ]1 9 8 3 ). [H djdki, pp. 19-37; T surezuregusa, pp. 39-85] [Partial
translation]
R o w e & K ^ rr ig a rr .方文記， N o teb o o k o f a Ten S q u a re R ush-m at S iz e d World: A
fu g itiv e essa y w ritten in th e y e a r 1212 by the B u d d h ist recluse K am o no C hom ei,
Adapted from the Japanese by Thomas Rowe and Anthony Kerrigan (Dublin:
294
A ppendix D
The Dolmen Press, in association with Humanities Press, Atlantic Highland,
N.J., 1979). [Complete translation]
“A man and a w o m a n ”：//句说 / 方丈 H己，Translated by a man and a w o m a n (Tokyo:
Universal A d Co., 1976).
[Publisher^ note (p. 32): t4The person from afar who rendered this transla
tion with the occasional assistance of a w o m a n living here wishes to remain
anonymous. His reasons are his own. He accepted many of the interpreta
tions chosen by the woman. Ariko in the epigraph ('an intimate translation
for Ariko, 26 August，1975’ ）is her daughter” ] [Complete translation]
Keene: “ A n Account oi* M y Hut [//^/说 /] by K a m o no Ch5mei， ’’Translated by
Donald Keene, in A n th o lo g y o f Ja p a n ese Literature, fr o m the earliest era to the
m id-nineteenth century, Compiled and edited by Donald Keene (New York:
Grove Press, 1955), pp.197-212. [Complete translation]
[Rpt. A n A cco u n t o f M y H ut: The H o jo ki o f K am o no Chomei, Translated
by Donald Keene (Pawlet, Vt.: The Banyan Press, 1976). Limited edition,
Itakura: The H o-jo-ki: P riva te P apers o f K am o-no-C hom ei o f the Ten F o o t Square
//wらTranslated from the Japanese by Junji Itakura [板倉Jl頃治] (Tokyo: Nippon
Press, 1935 [Tokyo: Daiky6-D6, 1935; Tokyo: Maruzen 丸善， 1935; London:
Luzac, Paul,1935]). [Complete translation]
Bunting: uChomei at Toyama,5 [1932], C ollected P oem s, by Basil Bunting (Oxford:
Oxford University Press, 1978), pp. 63-72. [Partial translation (rearranged in
places): a poetic paraphrase]
Seidkr: The Ten F o o t Sq u a re H u t a n d Tales o f the H eike: B ein g two thirteenth-
cen tu ry Ja p a n ese classics, th e 'H o jo k i' a n d selectio n s fr o m th e (H eike M onoga-
tor/’，Translated by A 丄. Sadler (Sydney: Angus & Robertson Ltd., 1928; rpt.
Rutland, Vermont & Tokyo, Japan: Charles E. Tuttle Company, 1972), pp. 1-21.
Dickins: H o -jo -ki (N otes fr o m a Ten F eet Sq u a re H ut), fr o m the Ja p a n ese o f K am o
no C hom ei, Translated by F. Victor Dickins (London: Gowans and Gray, 1907;
rpt. Tokyo: San Kaku Sha [三角社]， 1933). [(Complete translation]
[Rpt. in Translations, II, in the series, C o llected W orks by F re d e ric k Victor
D ickins (Tokyo: Ganesha,1999)]
Dixon: 4tA Description of M y Hut,55 B y J.M. Dixon, Transactions o f the A sia tic
S o ciety o f J a p a n 20.2 (January 1893), pp. 205-215. [Partial translation]
Soseki: "A Translation of Hojio^d, with a Short Essay on It,59 by Natsume Soseki
夏目漱石， in ん/ 況似加漱古全集（ Tokyo: Iwanami Shoten, 1967), vol.12,
pp. 343-366. [Dated 1891] [Partial translation]
Sieffert: 'Les notes de l 'e rm ita g e 9su iv i de 'H istoires d e conversion \ par K a m o no
Chomei, Presentes et traduits du japonais par Rene Sieffert (Paris: Publications
Orientalistes de France, 1995). [H ojoki, pp. 15-41; H osshinshu, pp. 43-92]
Nakamura & de Ceccatty: t4Ecrit de Termitage (H ojoki),'' in M ille ans d e litterature
ja p o n a is: Une anthologie du V llle au X V IIIe siecle, par Nakamura Ryoji and
Rene de Ceccatty, ([Paris]: A u x editions de la difference, 1982), pp. 133-144.
295
A ppendix D
Candau: 'Les heures o is iv e s' (Tsurezure-gusa), p a r U rabe K enko, suivi d e 'Notes
de m a ca b a n e d e m o in e ' (h o jo -k i), p a r K am o no Chomei: [Tsurezuregusa] Tra
duction et commentaires de Charles Grosbois et Tomiko Yoshida, pp. 9-258;
[Hojoki] Traduction du R.P. Sauveur Candau, pp. 259-281 (Paris: Gallimard,
1968). [Complete translation]
ん/: “ Introduction,”ミhigeo Kawamoto (川本茂雄 )，pp. 261-262]
[Presumably a rpt. of H o jo ki, par Sauveur Candau (Tokyo: Nichi-Futsu
Gakuin, 1957) (Les manuels de Hnstitut franco-japonais de Tokyo, 5)]
Revon: uLe Hojoki,in A nthologie d e la L ittera tu re J a p o n a ise des O rigines au XXe
siecle, par Michel Revon (Paris: Librairie Delagrave, 1910; 6th ed., 1928), pp.
245-266. [Complete translation]
Ishikawa: 4<Tchomei et le Hojoki,,7 in E tu d e su r la litterature im pressionniste au
•/a/w”，par Tak さshi Ishikawa [石川剛 ] (Paris: A. Pedone，1909)，pp. 97-132.
[These pour le doctorat de TUniversite de Pansj [Partial translation]
Liscutin: A ufzeichnungen aus m ein er H iitte, von K a m o no Chomei, Aus d e m Ja-
panischen ubertragen und mit einem Nachwort versehen von Nicola Liscutin
(Frankturt a m Main: Insel Verlag, 1997). [Complete translation]
Naumann & Naumann: 4tK a m o no Chomei: Aufzeichnungen aus den zehn Fuss im
Geviert meiner Htitte， ’’in D/e vow Le ゐ
p a n isc h e r D am en, M onche, H erren u n d K nechte, Ausgewahlt und aus dem Ja-
panischen iibersetz von Nelly und Wolfram Naumann (Munchen: Carl Hanser
Verlag, 1973), pp. 253-266 and 403-406. [Complete translation]
[Aoyama & Schutz: H ojoki: D ie H iitter d e r B etrachtungen, von K a m o no Chome,
Obersetzt von Hideo Aoyama und しH. Schutz (ToGo: Asahi，1962). Unavail-
able for inclusion in Handbook]
Chanoch: 4tK a m o no Chomei, Aufzeichnungen in einer kieinen Hiitte (Hojoki),
Aus dem Japanischen iibersetzt und erlautert von Alexander Chanoch, O stasi-
a tisch e Z eitsch rift (Neue Folge) 6 (1930), pp.177-203. [Complete translation]
Itchikawa: L in e kieine H iitte, H o J o K i: L eben sa n sch a u u n g von K am o no C hom ei,
Ubersetzt von Dr. Daiji Itchikawa (Berlin: C.A. Schwetschke und Sohn, 1902).
Alvarez Crespo: Un relato desde m i ch o za (H oojooki), de K a m o no Choomei,

Traduccion, introduccion y notas de Jesus Carlos Alvarez Crespo (Madrid: Hi-
perion, 1998). [Complete translation]
Ise monogatari 伊勢物語 ca. 950 (but perhaps 50 yrs. earlier)
Harris: The Tales o f Ise, Translated from the classical Japanese by H. Jay Harris
(Rutland, Vt. & Tokyo, Japan: Charles E. Tuttle Company, 1972). [Complete
translation]
McCullough: la le s o fl s e : L yrica l E pisodes fr o m Tenth-C entury Ja p a n , Translated,
with an Introduction and Notes, by Helen Craig McCullough (Stanford: Stanford
University Press, 1968 [Tokyo: University of Tokyo Press,1968]). [Complete
translation]
Lane: uThe Tales of Ise [Ise M onogatari]," Translated by Richard Lane and F. Vos,
in A n th o lo g y o f Ja p a n ese Literature, fr o m the ea rliest era to the m id-nineteenth
296
A ppendix D
c e n tw y , Compiled and edited by Donald Keene (New York: Grove Press, 1955),
pp. 67-75. [Partial translation. Only the Lane contribution is cited here; for Vos,
see the following]
Vos: A Study o f the Ise-m onogatari, w ith the text accordin g to the D en-teika-hippon
a n d an an n otated translation, by Frits Vos (^-Gravenhage: Mouton & Co.,
1957), 2 vols. Volume 1 : Introduction, Text, Translation; Volume 2: Notes and
Indices. [Complete translation: v o l . 1 ,pp. 163-271]
Renondeau: Contes d 'lse , Traduction, preface et commentaires de G. Renondeau

(Paris: Gallimard, 1969). [Complete translation]
Revon: “Ise monogatari,” in ル /a ム/7/e’ra/wre •/apowa/se cfes aw
XXe siecle, par Michel Revon (Paris: Librairie Delagrave, 1910; 6th ed., 1928),
pp. 169-172. [Partial translation. Sect. 9 only]
Schaarschmidt: D as Ise-m onogatari: K avaliersgeschichten aus dem alten Japan,

Aus dem Original tibertragen und kommentiert von Siegfried Schaarschmidt,
Mit Erlauterungen zu den Illustrationen von Irmtraud Schaarschmidt-Richter
(Frankfurt am Main: Insel Verlag, 1981). [Complete translation]
Naumann & Naumann: "Geschichten aus Ise,55 in D ie Zauberschale: Erzahlungen
vom Leben ja p a n isc h e r D am en, Monche, H erren und Knechte, Ausgewahlt und
aus dem Japanischen iibersetz von Nelly und Wolfram Naumann (Munchen:
Carl Hanser V erlag,1973), pp. 73-84 and 393-394. [Partial translation]
Beni (1965): “Ise-monogatari,” in 入7广％/7ろ/沿の?zwe/gv L/eゐの？
aus tau sen d Jahren^ Herausgegeben una ubersetzt von Oscar Beni (Miinchen:
Nymphenburger Verlagshandlung, 1965), pp. 15-27 and 445. [Partial translation.
None o f the selections overlap with B en i(1958)]
Beni (1958): Liebesgeschichten des japan isch en K avaliers N arihira, aus dem Ise-
m onogatari, Herausgegeben und vom Japanischen iibertragen von Oscar Beni,
Mit einer kunsthistorischen Einleitung von Dietrich Seckel, Mit 14 farbigen
Wiedergaben nach den Sotatsu zugescnnebenen Bildem (Munchen: Carl Hanser
Verlag, 1958 [©1957]). [Partial translation. None o f the selections overlap with
B en i(1965)]
Pfizmaier: “Aufzeichnungen aus dem Reiche 1-se,” von Dr. August Pfizmaier,
Sitzungsberichte d e r K aiserlichen Akadem ie d e r Wissenschaften, Philosophisch-
H istorische C lasse (Wien) 83.1 (April 1876 [Wien: K. Gerold's Sohn, 1876;
microfiche rpt” Woodoridge, Conn.: Research Publications International,1995]),
pp. 7-86. [7 add’l. selections in “ZusStze zu dem I-se mono-gatari,” in /み/ゴ.
92 (1878), pp. 622-626] [Partial translation]
Cabezas Garcia: Cantares de Ise: O bra anonima ja p o n esa d el siglo IX, Traduccion,
presentacion y epilogo de Antonio Cabezas Garcia (Madrid: Poesia Hiperion, Eai-
ciones Peralta, 1979 [& 1988]). [Complete translation]
Renondeau/Solomonoff: Cuentos de Ise {Ise M onogatari), de A.N. Narihira y otros,
Prefacio y comentarios de G. Renondeau, Traduccion [de la version francesa] de
Jorge N. Solomonoff, Supervision de Osvaldo Svanascim (Barcelona y Buenos
Aires: Ediciones Paidos, 1980). [Complete translation]
[Translation into Spanish o f the 1969 French-language rendering by G. Renon
deau, Contes d'Ise (cited above)]
297
A ppendix D
Izayoinikki十六夜日記 1280
byAbutsu-ni 阿仏尼 d . 1283
McCullough: “The Journal o f the Sixteenth-Night Moon,” in C/ow/cof/

Prose: An Anthology, Compiled and Edited by Helen Craig McCullough (Stan
ford: Stanford University Press, 1990), pp. 340-376. [Complete translation]
Reischauer: “ The /zaン〇/ • 十六夜日記（1277-1280),”by Edwin O. Reischauer,
H a z a r d Journal o f Asiatic Studies 10 (1947), pp. 255-387; rpt., Translations from
及 /r/夕 Jhpawぬ:e (Cambridge, Mass.: Harvard University Press，1951;
2nd ed., abridged, 1972), pp. 3-135. [Complete translation]
Izumi Shikibu nikki 和泉式部日記 1003+

bylzumiShikibu 和泉式部 fl.1003
Cranston: The Izum i Shikibu D iary: A R om ance o f the H eian Courts Translated with
an Introduction by Edwin A. Cranston (Cambridge, Mass.: Harvard University
Press, 1969). [Complete translation]
Miner: "The Diary of Izumi Shikibu (Izumi Shikibu Nikki) attributed to Izumi
Shikibu/5in Japanese P o etic D iaries, Selected and Translated, with an Introduc
tion, by Earl Miner (Berkeley: University of California Press, 1969), pp. 93-153.
Omori & Doi: uThe Diary of Izumi Shikibu,in D iaries o f C ourt L adies o f O ld
Translated by 乂nnie Shepley Omori and Kochi Doi [土居光知 ],With an
Introduction by A m y Lowell (Boston: Houghton Mifflin, 1920; rpts. London:
Constable & Co., 1921; Tokyo: Kenkyusha Ltd., 1935; N e w York: A M S Press,
1970; Mineola, N.Y.: Dover Publications, 2003; rpt. with corrections, Tokyo:
Kenkyusha Ltd., 1961[& 1963]), pp. 151-204. [Complete translation]
[Translated into French as part of Journaux intim es des dam es d e la cou r dn
vieux Japon (Paris: Plon, 1925; rpt.? Paris: Le Club franâis du livre, 1954).
Unavailable for consultation]
Sieffert: “Journal,”in Jowrwa/ が par Izumi-shikibu, Traduit du japonais

par Rene Sieffert (Paris: Publications Orientalistes de France, 1989), pp. 37-95
and 199-202. [Complete translation]
Nakamura & de Ceccatty: ''Journal d5Izumi shikibu (Izumi shikibu nikki),^ in M ille
ans d e litteratu re ja p o n a is: Une anth ologie du VUIe au XVIIIe siecle, par Naka
mura Ryoji et Rene de Ceccatty, ([Paris]: Aux editions de la difference, 1982),
pp. 35-59. [Complete translation]
Beni: "Izumi Shikibu: Das Tagebuch der Izumi Shikibu/1 in K irschblutenzw eig: Ja-
pan isch e L iebesgeschicten aus tausend Jahren, Herausgegeben und iibersetzt
von Oscar Beni (Miinchen: Nymphenburger Verlagshandlung, 1965), pp. 28-100
and 445-447. [Complete translation]
Pfizmaier: “ Erklarung des Tagebuches Idzm 卜siki-bu,”von Dr. August Pfizmaier,
D enkschriften d e r K aiserlichen A kadem ie d e r W issenschaften, P hilosophisch-
H istorisch e C lasse (Wien) 35 (1885), pp. 403-498. [Complete translation]
298
A ppendix D
KagerG nikki 蜻鈴日記 954-974

b y Fujiwara Michitsune n o haha 藤原道綱母 ca. 935-995
Amtzen: The K a g erd D iary: A W om an’s A u tobiograph ical Text fr o m Tenth-

Century Japan, Translated with an Introduction and Notes by Sonja Amtzen
(Ann Arbor: Center for Japanese Studies, The University of Michigan,1997).
McCullough: t4The Gossamer Journal,in C lassical Japanese Prose: An A nthology,
Compiled and Edited by Helen Craig McCullough (Stanford: Stanford Univer
sity Press, 1990), p p. 102-155. [Partial translation. B o o k 1 of 3]
Seidensticker: The G ossam er Years (K agerd Nikki)'. The D iary o f a N oblewom an o f
Heian Japan, Translated by Edward Seidensticker ([1955]; rev. ed. Tokyo, Japan
& Rutland, Vt.: Charles E. Tuttle Company, 1964, 1973 [& 2001). [Complete
translation]
[In the Introduction (p. 7), Seidensticker comments on the nature of the
revisions made from the 1955 version: t4The K agerd nikki: Journal of a 10th
Century Noblewoman,Translated by Edward Seidensticker, Transactions o f
the A siatic Society o f Japan^ Third Series, 4 (1955), pp. [vii,] 1-243. Note that
only the 1955 edition contains an Index (pp. 233-243)]
Tsukakosm w. Imaizumi ( & Niehans): K agero nikki: Tagebuch ein er japan isch en
Edelfrau urns Jahr 980, Erstmals aus d e m Altjapanischen libertragen von Sato-
shi Tsukakoshi [塚越敏],Unter Mitarbeit von Tadayoshi Imaizumi [今泉忠義]，
Deutsche Fassung der Gedichte von M a x Niehans (Zurich: M a x Niehans Verlag,
1955 [rpt. Zurich: Verlag der Arche, 1972; FrankfUrt a m Main: Ullstein,1981]).
K anadehonC hiishingura11仮名手本忠臣蔵 1748

b y T a k e d a I z u m o 竹田出雲，Miyoshi ShOraku 三好松落，and Na m i k i
もenryii並木千柳
Gerstle: 4CChusmngura: The Storehouse of Loyal Retainers (Kanadehon Chushin-

gu ra, 1748),55 Translated by C. Andrew Gerstle, in E arly M odern Japan ese L it
erature: An Anthology, 1600-1900, Edited with Introductions and Commentary
11 The following works are not cited, because tftey are so abridged and adaptated from the
original as not to serve as translations:
D ie V e r s c h w o r im g d e r 4 7 S a m u ra i: E in e ja p a n i s c h e H e ld e n g e s c h ic h te , v o n H a n n s M a r i a
Lux, M i t e i n e m N a c h w o r t des Verfassers (Leipzig: Philipp R e c l a m , 1942). [In the
N a c h w o r t (p. 80), L u x refers to the first G e r m a n version b y F.A. J u n k e r in 1880]
t4D i e Getreuen ( K a n a -dehon Chushingura) nach der Tragodie des T a k e d a I z u m o (1688-
1765),,5 in J a p a n is c h e D ra m en , Fiir die deutsche Biihne bearbeitet v o n W o l f g a n g v o n
Gersdorff (Jena: E u g e n Diederichs Verlag, 1926), pp. 99-151. [Also published as a sepa
rate title: D ie G e treu en {K a n a -d eh o n C h u sh in gu ra) n a c h d e r T r a g o d ie d e s T a k e d a I zu m o
( 1 6 8 8 - 1 7 6 5 ) , v o n W o l f g a n g v o n Gersdorff (Berlin: Biihnen-Verlag A i m & Simro c k ,
1926)]
299
A ppendix D
by Haruo Shirane ( N e w York: Columbia University Press, 2002), pp. 392-410.
Keene: Chushingura {The Treasury o f L oyal R etainers): A P uppet P la y by Takeda
Izumo, M iyoshi Shoraku a n d N am iki Senryii, Translated by Donald Keene ( N e w
York: Columbia University Press, 1 9 7 1 [& 1997] [rpt. Tokyo: Charles E. Tuttle,
1981]).[Complete translation]
Shioya: Chushingura: An E xposition, by Sakae Shioya (Tokyo: The
Hokuseido Press [北星堂書店]，1940 [1949 & 1956]). [Complete translation]
Inouye: Chushingura, o r the Treasury o f L o ya l R etainers, by Takeda Izumo,
IVliyoshi Shoraku，and Namiki Senryu, 亍 ranslated by Jukichi Inouye [井上十吉1
(Tokyo: Nakanishi-ya [ 中西屋書店 ]，1910 [4th ed. rev.，Tokyo: Maruzen ，
1937]). [Complete translation]
Dickins: F.V., Chiushingura, o r the L o ya l League, A Japanese Rom ance, Trans
lated by Frederick V. Dickins ( N e w York: Putnam's Sons, 1876; n e w ed., Lo n
don: Allen & Co., 1880 [3rd ed. rev., Yokohama: Z.P. Maruya, 1885; rpt. Lon-
don: G o w a n s and Gray, 1910). [Complete translation]
[R pt. in Trans!ations，I， in the series， C o llected fVorks by F rederick Victor
D ickins (Tokyo: Ganesha,1999)]
Kin’yOwakashfl 金葉和歌集 1124-1127
Richardson: The Golden L e a f A nthology o f Japanese Poetry^ Compiled by Mina-

moto Toshiyori [源俊頼],Translated by Donald M . Richardson (Winchester,
Va.: [D.M. Richardson], 1996). [Complete translation]
KokinshG12 古今集 905

[for the Kana Preface, see the next entry]
Cranston: A Waka Anthology, Volume Two: G rasses o f Remem brance, Translated,

with Commentary, Appendices, and Notes, by Edwin A. Cranston (Stanford:
Stanford University Press, 2006), 2 vols. (paginated as one). [Includes 527 Kokin-
shii poems; cited as ''Cranston, T']
Cook: t4Selected Poems from K okin w akash u ^ by Lewis C o o k (Charlottesville,
Va.: Japanese Text Initiative, University of Virginia Library, 2003): http://etext.
lib.virginia.edu/japanese (under Kokin wakashu shoyaku). [52 Kokinshu poems]
[From the introduction: 4tThe following selection of poems in translation...
is designed to convey some sense of h o w the anthology was read during the
six or seven centuries throughout which it was regarded by Japanese poets as
the primary canon of waka poetry. The emphasis is on poems which were
most often quoted and re-cited， ".”
]
Huey: The M aking o f tShinkokinshu\ by Robert N. Hu ey (Cambridge, Mass.:
Harvard University Asia Center, 2002). [Includes 39 Kokinshu poems]
12 All are partial translations, except for the four (by M c C u l l o u g h , R o d d w. H e n k e n i u s , H o n d a ,

a n d W a k a m e d a ) identified as being complete.
300
A ppendix D
Heldt: ^Composing Courtiers: Ki no Tsurayuki's Poetic Visions o f Gender, Writ
ing, and Ritual at the Heian Court,Mby Gustav Heldt, Unpublished Ph.D. diss.,
Columbia University, 2000. [Includes 26 KokinshU poems (plus poems cited in
the 尺 Preface to illustrate the niwgz• 六義， ‘six principles’)]
LaMarre: U ncovering H eian Japan: An A rchaeology o f Sensation a n d Inscription,
by Thomas LaMarre (Durham, N.C.: Duke University Press, 2000). [Includes 9
Kokinshu poems]
LaCure: R h etorical D evices o f the Kokinshu: A Structural A nalysis o f Japanese
,W aka, P oetry, by Jon W. LaCure (Lewiston, N.Y.: The Edwin Mellen Press,
1997). [Includes 78 Kokinshu poems]
[6tIn my translations I have tried to translate each poem line by line. This can
result in some strange English syntax. However, it does maintain the order o f
the images which is important for a structural analysis”；p . 10]
Kamens: 'U tam akura,' Allusion, a n d Intertextuality in Traditional Japanese
P oetry, by Edward Kamens (New Haven: Yale University Press, 1997). [In
cludes 9 Kokinshu poems (4 o f which use or adapt the McCullough translations
cited below). None in the Handbook]
Mostow: P ictu res o f the H eart: The 'Hyakunin isshu' in W ord a n d Im age, by
Joshua A. Mostow (Honolulu: University o f H aw aii Press, 1996). [Includes 36
Kokinshu poems translated by him (including the 23 poems that appear in the
Hyakunin isshu 召人一首 )]
Raud: The R ole o f P o etry in C lassical Japanese L iterature: A C ode a n d D iscu rsiv-
ity A nalysis, by Rein Raud (Tallinn, Estonia: Eesti Humanitaarinstitut, 1994).
[Includes 47 Kokinshu poems (plus poems cited in the K ana Preface to illustrate
the / ヽ義， •six principles’)]
[t4I am fully aware that some o f my readings are quite unorthodox and do not
follow the traditional lines o f interpretation.... The translations remain with
in the borders o f grammatical plausibility...5,; p . 15]
Beichman (Ooka): A P o et's A nthology: The R ange o f Japanese P o etry by Ooka
Makoto [ 大 ^ ！信 ]， Translated by Janine Beichman, Preface by Donald Keene
(Santa Fe, N.M.: Katydid Books, 1994). [Includes 5 Kokinshu poems. None in
the Handbook]
T eele & 丁eele & Teele: 尺o/wac/zた S/orzes, Translated by
Roy E. Teele, Nicholas J. Teele, [and] H. Rebecca Teele (New York: Garland
Publishing, Inc., 1993). [Includes 24 Kokinshu poems]
Carter: Traditional Japanese P oetry: An Anthology, Translated, with an Introduc
tion, by Steven D. Carter (Stanford: Stanford University Press, 1 9 9 1 ),pp. 76-
116. [Includes 106 Kokinshu poems, most o f which are reprinted (identified by
an asterisk) from the McCullough volume listed below (which is the text cited in
the Handbook; only Carter translations are cited from this anthology)]
Lento & Lento (Ooka): The C olors o f Poetry: E ssays in C lassic J apanese Verse, by
0 0 ka Makoto [ 大岡信 ] , Translated by Takako U. Lento [and] Thomas V. Lento,
Preface by Donald Keene (Rochester, Mich.: Katydid Books, Oakland Univer
sity, 1991). [Includes 9 K okinshu poems]
Gatten & Harbison, w. Miner (Konishi, 3): A H istory o f Japanese Literature,
Volume Three: The H igh M iddle A ges, by JinMchi Konishi Trans
lated by Aileen Gatten and Mark Harbison, Edited by Earl Miner (Princeton:
301
A ppendix D
Princeton University Press, 1991). [Includes 7 K okinshu poems. None in the
Handbook]
Hirshfield w. Aratani: The In k D a rk M oon: L ove P oem s by O no no K o m a ch i &
Izu m i Shikibu, W omen o f the A n c ie n t C ourt o f Ja p a n , Translated by Jane
Hirshfield with Mariko Aratani (New York: Charles Scribner's Sons, 1988).
[Includes 13 K okinshu poems by Ono no Komachi (pp. \-3S^ p a ssim ). None in
the Handbook]
Watson: F ro m th e C ountry o f E ig h t Islands: A n A n th o lo g y o f J a p a n e se Poetry^
Edited and Translated by Hiroaki Sato [佐藤紘彰] and Burton Vâtson, With an
Introduction by Thomas Rimer (New York: Columbia University Press, 1986),
pp. 108-120 and 127-136. [Watson was the sole translator o f the K okinshu selec
tions (see p. xm)] [Includes 99 K okinshu poems]
Gatten w. Miner (Konishi, 2): A H istory o f Ja p a n ese L iterature, Volume Two: The
五a /•か MWJ/e d が ■?， by Jin’ichi Konishi [小西甚一 ]， Translated by Aileen Gat-
ten, Edited by Earl Miner (Princeton: Princeton University Press, 1986). [In
cludes 38 K okinshu poems]
McCullough: K okin W akashu: The F irst Im p eria l A n th o lo g y o f Ja p a n ese Poetry,
w ith T o s a N ik k i' a n d 'Shinsen W a k a \ Translated and Annotated by Helen
Craig McCullough (Stanford: Stanford University Press, 1985). [Complete
translation. All 1,111 K okinshu poems (plus 29 variant-text poems)]
[Cf. B ro ca d e b y N ight: 1K okin w a k a sh u ' a n d the C ourt S tyle in Ja p a n ese
C lassical Poetry^ by Helen Craig McCullough (Stanford: Stanford Univer
sity Press, 1985)]
Rodd w. Henkenius: K okinshu: A C ollection o f P oem s A n cien t a n d M odern,
Translated and annotated by Laurel Rasplica Rodd with Mary Catherine Hen-
kenius (Princeton: Princeton University Press, 1984 [rpt. Boston: Cheng and
Tsui C om pany,1996]). [Complete translation. A l l 1,111 K okinshu poem s]
[Also on title-page: ''Including a study o f Chinese Influences on the Kokin
shu Prefaces by John Timothy Wixted and an Annotated Translation o f the
Chinese Preface by Leonard Grzanka”]
Teele: MThe Love Poems o f the K okinshu: A translation, with commentary, and
study o f the influence o f Cmnese and earlier Japanese poetry,” by Nicholas John
Teele, Unpublished Ph.D. diss., The University o f Texas at Austin, 1980. [360
K okinshu poems. Books Eleven thru Fifteen: #0469-0828]
Chibbett (Kato): A H isto ry o f Ja p a n ese L iterature: The F irst T housand Years, by
Shuiclii Kato [加藤周一 ]， Translated by David Chibbett, Foreword by Ronald
Dore (London: The Macmillan Press Ltd., 1979). [Includes 10 K okinshu poems.
None in the Handbook]
Rexroth & Atsumi: The B u rn in g H eart: W om en P oets o f Ja p a n , Translated and
Edited by Kenneth Rexroth and Ikuko Atsumi [渥美育子] (New York: The Se-
abury Press, 1977). [Includes 12 K okinshu poems. None in the Handbook]
Rexroth (1976): O ne H u n d re d M ore P oem s fr o m the Ja p a n ese^ by Kenneth Rexroth
(New York: New Directions, 1976). [Includes 9 K okinshu poems. None in the
Handbook]
L e v y : 100 K okinshu Selections, Translated by Howard S. Levy (South Pasadena,
Calif.: Langstaff Publications, 1976). [Limited edition, 300 copies. No pagina
tion; citation is by poem num ber][100 K okinshu poems]
302
A ppendix D
Honda: The Kokin Waka-shu: The 10th-Century A nthology E d ited b y The Im perial
Translated by H.H. Honda [Honda Heihachiro 未多平八郎 ] (Tokyo: The
Hokuseido Press [北星堂書店 ],A e Eirinsha Press [英林社 ]，1970$. [Complete
translation. All 1,111 Kokinshu poems]
[Cf. the partial translation: Stray L eaves fro m the M anyoshu: Two H undred
P oem s fr o m the M anyoshu, Books 1-7, Selected and translated by H.H.
Honda (Tokyo: The Hokuseido Press,1965)]
Miner [& Brower]: An Introduction to Japanese C ourt P oetry, by Earl Miner, With
translations by the author and Robert H. Brower (Stanford: Stanford University
Press, 1968). [Includes 28 K okinshu poems]
Brower & Miner: Japanese C ou rt P oetry, by Robert H. Brower and Earl Miner
(Stanford: Stanford University Press, 1961). [Includes 50 K okinshu poems]
Rexroth (1955): O ne H undred P oem s fro m the Japanese, by Kenneth Rexroth
(New York: N e w Directions, 1955; rpt. 1964). Calligraphy by Ukai Uchiyama
(内山雨海 )][Includes 22 poems]
Keene: “ Kokinslifl， ”Translated by Donald Keene, in メ祕 ▲
ture, fr o m the ea rliest era to the m id-nineteenth century, Compiled and edited by
Donald Keene (New York: Grove Press, 1955), pp. 76-81.[19 Kokinshu poems:
12 translated by Keene,1 by Kenneth Rexroth, and 6 reprinted from Waley (see
below). None in the Handbook (except one by Waley that is cited per below)]
Miyamori.. M asterpieces o f Japan ese P oetry A ncient a n d M odern ( 古今名歌集')，
Translated and Annotated by Miyamori Asatar6 (宮森麻太郞）（ Tokyo: Maruzen
Company Ltd., 1936; rpt. Westport, Conn.: Greenwood Press, Publishers, 1970),
2 vols., 1:172-288. [Includes 98 Kokinshu poems]
[Also cites, in full, numerous earlier translations of individual poems into
English by Wakameda, Porter, Dickins, Waley, Chamberlain, and Aston, as
well as others; into French by Bonneau; and into German by Julius Kurth
and by Karl Florenz— but with no bibliographical information as to sources
(such information is supplied below about the translations by Wakameda,
Waley, Bonneau, and Florenz)]
Nakarai: A Study o f the Im pact o f Buddhism upon Japan ese Life as R evea led in the
O des o f the Kokin-shu, by Toyozo W[ada] Nakarai (Greenfield, Ind.: W m .
Mitchell Printing Co., 1931). [160 Kokinshu poems]
[Also on title page: UA dissertation...for the degree of Doctor of Philosopy
in the University of Michigan. February 20,1929.” ]
Wakameda: E arly Japanese P oets: C om plete T nm slation o f the Kokinshiu, by T.
Wakameda [Wakameda Takeji 若目甶武次 ],1血〇(111(^〇11ゎソ1[〇11丨ぬ] に(士3ヅ3-
shi (London: The Eastern Press Ltd”1922; rev. ed”Tokyo: The Yuhodo [有朋
堂 ],1929). [Complete translation. All1， 111 心た/ / poems]
Waley: 4tPoems from the K okin shu and Minor Collections,in Japan ese P oetry:
The 'U ta 1, by Arthur Waley, Introduction to the N e w Edition by Carmen
Blacker (Oxford: Clarendon Press, 1919; rpt. with new introd., Honolulu: The
University Press of Hawaii, 1976), pp. 52-104. [Includes 35 K okinshu poems
(pp. 53-71)]
Saito (1909): L ove a n d Spring: Selections fr o m the 'Kokinshu \ Translated Line for
Line by H[idesabur6] Saito [齋藤秀三郎 ] (Tokyo: Kobunsha [興文社 ]，1909).
[From the Preface: “ The present work consists for the most part of selections
303
L
A ppendix D
f r o m the ^ o g i n - s h u / [Includes 7 5 Kokinshu p o e m s (and 28 p o e m s f r o m
o t h e r anthologies)]
[Saito (early 190 0 s ) : Love a n d S u m m e r : Selections f r o m the 'Kokinshu', Translated
b y H ( i みe s a b u r 5 ) Saito ( 齋藤秀三郞）（ Tokyo?: n . p ” n.d. [early 1900s]).
U n a v a i l a b l e for inclusion in H a n d b o o k ]
Sieffert: 如 /み 7 b 5 a , [以] J w ATo ん p a r K i n o 丁s u r a y u k i ，P r さ-

sentes et traduits d u j a p o n a i s p a r R e n e Sieffert ( [ C e r g y : ] P u b l i c a t i o n s Orientali-
stes d e F r a n c e , 1993). [Tosa nikki, p p . 12-61; Kokinshu p o e m s ( by Tsurayuki),
pp. 6 3 - 9 5 ] [ I n c l u d e s 8 9 p o e m s attributed to K i n o T s u r a y u k i 紀貫之
Kokinshu author)]
(plus o n e p o e m b y a n o t h e r
Renondeau: Anthologie de la poesie japonaise classique, T r a d u c t i o n , p r e f a c e s et
c o m m e n t a i r e s d e G . R e n o n d e a u (Paris: G a l l i m a r d , 1 9 7 1 ) , p p . 1 0 1 - 1 4 6 . [ I n c l u d e s
104 Kokinshu p o e m s ]
Bonneau: L e m o n u m e n t poetique de Heian: L e Kokinshu, V o l u m e Deuxieme:
Chefs-d'oeuvre, p a r G e o r g e s B o n n e a u (Paris: Librairie Orientaliste Paul Geuth-
ner, 1933). [Yoshino, T o m e s i x i e m e ] [ 6 6 Kokinshu p o e m s ]
Revon: “Le Kokinnshou,” in •どみ /a ■ ^ ゴes
a u X X e siecle, par M i c h e l R e v o n (Paris: Librairie D e l a g r a v e , 1 9 1 0 ; 6 t h ed.,
1928), pp. 1 0 0 - 1 1 1 . [ 2 5 Kokinshu p o e m s . N o n e in t h e H a n d b o o k ]
A m o l d - K a n a m o r i : w w ゴTVewe Z/Wer/ £7/76 d w s w a /?/,古今和歌集要

解，von Horst Arnold-Kanamori (Hamburg: Verlag Dr. Kovad ，2002). [Klas-
sisches Japanisch IV-Kokinwakashu; Ulmer Sprachstudien, Band 9][197 K o
kinshu poems (notwithstanding the 189 referred to in the Preface)]
[ I n c l u d e s original a n d r o m a n i z e d texts, G e r m a n - l a n g u a g e translation, a n d
notes]
Ackermann & Kretschmer: Die vier Jahreszeiten: Gedichte aus d e m Kokin Waka-
shu, A u s g e w a h l t , a u s d e m J a p a n i s c h e n iibertragen u n d k o m m e n t i e r t v o n P e t e r
A c k e r m a n n u n d A n g e l i k a K r e t s c h m e r ( F r a n k f u r t a m M a i n : Insel V e r l a g , 2 0 0 0 ) .
[342 Kokinshu p o e m s . B o o k s O n e t h r u Six: # 0 0 0 1 - 0 3 4 2 ]
Bemdt: Rotes Laub: Altjapanische Lyrik, A u s d e m J a p a n i s c h e n u b e r t r a g e n u n d her-
a u s g e g e b e n v o n J u r g e n B e m d t (Leipzig: Insel-Verlag, 1 972). [Subtitle: 44M i t vier
Dichterportrats a u s Bildrollen d e s 13. J a h r h u n d e r t s ”] [ I n c l u d e s 4 5 A T o た//757?反 p o -
e m s (pp. 8 5 - 1 1 3 ) ]
C h a n o c h (1930): 44A l t j a p a n i s c h e L i e b e s p o e s i e a u s d e m Kokinshu,Ubersetzt und
erlautert v o n A l e x a n d e r C h a n o c h , Asia M a j o r 6 ( 1 9 3 0 ) , p p . 1-66. [ 1 5 7 Kokinshu
p o e m s . S e l e c t e d f r o m B o o k s E l e v e n thru Fifteenl
C h a n o c h (19 2 7 ) : 4tD i e altjapanische J a h r e s z e i t e n p o e s i e a u s d e m K o k i n s h u , ,5 v o n
Alexander Chanoch, Asia M a j o r 4 (1927), pp. 2 4 0 - 3 7 6 . [ 3 4 2 Kokinshu poems.
B o o k s O n e thru Six: # 0 0 0 1 - 0 3 4 2 ]
[Rpt. a s sepa r a t e v o l u m e w i t h s a m e title in t h e series, V e r o f f e n t l i c h u n g e n d e s
S e m i n a r s h r S p r a c h e u n d K u l t u r J a p a n s a n d e r H a m b u r g i s c h e n Universitat,
N r . 2 (Leipzig: A s i a M a j o r , 1 9 2 8 ) ]
Florenz: Worterbuch zur altjapanischen Liedersammlung Kokinshu^ von Dr. Karl
Florenz (Hamburg: Kommissionsverlag し Friederichsen & C o ” 1 925).
[Includes 2 5 2 complete Kokinshu poems, and a few thousand Kokinshu poem-
phrases (only the former being referenced in the Handbook)]
304
A ppendix D
Gramatzky: “A l t j a p a n i s c h e Winterlieder aus dem KokinwakashQ，
，’von August
Gramatzky, T'oung P a o 3 ( 1 8 9 2 ) , pp. 3 2 3 - 3 7 9 . [ 2 9 Kokinshu p o e m s . B o o k Six:
# 0 3 1 4 - 0 3 4 2 . N o n e in the H a n d b o o k ]
[ A l s o cites, in full, earlier translations o f certain o f t h e p o e m s b y D i c k i n s , d e
Rosny, and Chamberlain, supplying b i b l iographical information as to
s o ur c e s ]
L a n g e ( 1 8 9 1 ) : “S o m m e r g e d i c h t e a u s d e r S a m m l u n g K o k i n w a k a s h u , ” v o n Prof. Dr.
R[udolf] L a n g e , T'oung P a o 2 ( 1 8 9 1 ) , pp. 1 7 9 - 2 0 7 . [ 4 0 Kokinshu poems. B o o k
T h r e e : # 0 1 3 5 - 0 1 6 8 (plus 6 a d d M . p o e m s ) ]
Lange (1884): Altjapanische Friihlingslieder aus der S a m m l u n g Kokinwakashu,
Ubersetzt und erlautert von Dr. Rfudolf] Lange (Berlin: Weidmannsche
B u c h h a n d l u n g , 188 4 ) . [ 1 3 4 Kokinshu poems. B o o k s O n e and T w o : #0001-0134]
Duthie: P o e s / a CAis/ea A b た/ 丁r a d u c c i 6 n del j a p o n るs y e d i c i 6 n

d e T o r q u i l D u t h i e ( M a d r i d : Editorial Trotta, 2 0 0 5 ) . [ 1 0 0 Kokinshu poems]
Kokinshii，/itoiflPreface13 古今集、仮名序 905

by Ki no Tsurayuki 紀貫之 ca. 868-945
Heldt: ^Reading Yamato Verse in the Kana Preface to the Kokinshu''1 Chapter
Three in “Composing Courtiers: Ki no Tsurayuki’ s Poetic Visions of Gender ，
Writing, and Ritual at the Heian Court,”by Gustav Heldt，U 叩 ublished Ph.D.
diss., Columbia University, 2000, pp. 140-203. [Partial translation (includes pas
sages, but none cited in the Handbook)]
Raud: 'The Japanese Preface to the Kokinshu^ and t4The Six Poetic Principles,M in
The Role of Poetry in Classical Japanese Literature: A C o d e a n d Discursivity
13 Note also the following four complete translations of the Mmq/o 真名序（Chinese Preface)
to the 尺 by FCi no Yoshimochi 紀淑望（ d. 919):
McCullough: “Mana (Chinese) Preface, by Ki no Yoshimochi，” in 尺〇众/" 77ze
First Imperial Anthology of Japanese Poetry, with 'Tosa Nikki'and 'Shinsen Waka \
Translated and Annotated by Helen Craig McCullough (Stanford: Stanford University
Press,1985), pp. 256-259.
Grzanka: “Manajo: The Chinese Preface, by Ki no Yoshimochi，” Translated by Leonard
Grzanka, in Kokinshu: A Collection of Poems Ancient and Modern, Translated and anno
tated by Laurel Rasplica Rodd with Mary Catherine Henkenius (Princeton: Princeton
University Press, 1984 [rpt. Boston: Cheng and Tsui Company,1996]), pp. 379-385.
Bonneau: Le monument poetique de Heian: Le Kokinshu^ Supplement au Volume
Premier: Preface chinoise de Ki no Tsurayuki, par Georges Bonneau (Paris: Librairie
Orientaliste Paul Geuthner, 1935). 31 pp. [7 〇5/7/'«〇, Supplement au tome cinquieme]
Amold-Kanamori: t4Chinesisches Vorwort zum Kokinwakashu^' in A lie und Neue Japan-
wc/ze Zz/ecfer: dwswa/?/，古今和歌集要解，von Horst Amold-Kanamori (riam-
burg: Verlag Dr. Kovac, 2002), pp. 204-226. [Klassisches Japanisch IV—Kokin-
wakashu; Ulmer Sprachstudien, Band 9]
[In addition to the German-language translation, includes original text, modem-
Japanese translation (with romanization), and notes. The modem-Japanese render-
ing is by Inamura Tadashi 稲村徳一 reprinted from the latter's Kokin Wakashu yo-
枕草子要解（ Tokyo: YGseid6 有精堂，ca. 1959; rev. ed” 1969)—a volume in
the Bunpo Kaimei Sosho series cited in the PREFACE, Sect. VIII.D]
305
A ppendix D
Analysis, b y R e i n R a u d (Tallinn, E s t onia: Eesti H u m a n i t a a r i n s t i t u t , 1 9 9 4 ) , pp.
5 6 - 9 1 a n d 9 2 - 1 0 3 . [Partial translation ( i n c l u d e s p a s s a g e s , n o t a b l y [pp. 9 5 - 1 0 0 ]
the six p o e m s cited to illustrate th e 六義，‘S i x P r i n c i p l e s ’)]
Teele & Teele & Te e l e : ctT w o selections f r o m t h e J a p a n e s e p r e f a c e o f t h e Kokin-
w ashu,^ in O n o no Komachi: Poems, Stories, N o Plays, T r a n s l a t e d b y R o y E.
Te e l e , N i c h o l a s J. Teele, [and] H . R e b e c c a T e e l e ( N e w Y o r k : G a r l a n d P u b l i s h
ing, Inc., 19 9 3 ) , pp. 2 2 1 - 2 2 3 . [ T h e t w o selections: ' T h e first f e w p a r a g r a p h s ,5
a n d “T h e lines referring to O n o n o f C o m a c h i ”] [Partial translation]
W a t s o n : “P r e f a c e to the 心た /；
wZ/G, the o p e n i n g part,” in F r a w //ze C b w w /び
Islands: A n Anthology o f Japanese Poetry^ Edited a n d Translated b y Hiroaki Sato [
佐藤紘彰 ] a n d B u r t o n W a t s o n , W i t h a n Introd u c t i o n b y T h o m a s R i m e r ( N e w
Y o r k : C o l u m b i a U n i v e r s i t y Press, 1 986), p . 107. [ W a t s o n w a s t h e sole translator o f
the p a s s a g e (see p. xiii)] [Partial Translation. N o p a s s a g e i n c l u d e d in the H a n d
book]
McCullough: 4tK a n a Preface,,s in Kokin Wakashu: The First Imperial Anthology of
Japanese Poetry, with ‘ Tosa Nikki’a n d ‘Shinsen W a k a ’
，Translated and A n n o -
tated b y H e l e n C r a i g M c C u l l o u g h (Stanf o r d : S t a n f o r d U n i v e r s i t y Press, 1 985),
pp. 3 - 1 3 . [ C o m p l e t e translation]
R o d d w . H e n k e n i u s : “K a n a j o : T h e J a p a n e s e Preface, b y K i n o T s u r a y u k i ，
’’in 如 7-
shu: A Collection of P o e m s Ancient a n d M o d e m , Translated a n d a n notated b y
L a u r e l R a s p l i c a R o d d w i t h M a r y C a t h e r i n e H e n k e n i u s (Princeton: P r i n c e t o n U n i
versity Press, 1 9 8 4 [rpt. B o s t o n : C h e n g a n d T s u i C o m p a n y , 1996]), pp. 3 5 - 4 7 .
Wakameda: “Preface,” in E a / V 夕 J a p a n e s e P o ぬ 7>*(ms/a// 〇A7 q/z/ze
ん/似 /7/w, b y T. W a k a m e d a [ W a k a m e d a T a k e j i 若目田武次 ]， I n t r o d u c t i o n b y
I[chiro] K o b a y a s h i ( L o n d o n : T h e E a s t e r n P r e s s Ltd., 1 9 2 2 ; rev. ed., T o k y o : T h e
Y u h o d o [有朋堂 ] , 1 9 2 9 ) ，pp. vii-xi. [Partial translation]
D i c k i n s : “T h e P r e f a c e to the K o k i n s h i u ， o r G a m e r of Japanese Verse Ol d and
N e w / ' in Primitive & Mediaeval Japanese Texts: Translated into English with
Introduction, Notes a n d Glossaries^ b y F r e d e r i c k V i c t o r D i c k i n s ( O x f o r d : C l a r
e n d o n Press, 1906), pp. 3 7 8 - 3 9 1 . Cf. t h e c o m p a n i o n v o l u m e subtitled Translit-
eratea into R o m a n with Introductions, Notes a n d Glossaries. [ C o m p l e t e transla
tion]
[Rpt. in Primitive a n d Mediaeval Japanese Texts, /, in t h e series, Collected
Works by Frederick Victor Dickins ( T o k y o : G a n e s h a , 1 9 9 9 ) ]
Aston: 4tT h e ' K o k i n s h i u ' P r e f a c e , i n A History of Japanese Literature, b y W . G .
Aston (London: William Heinemann, 1 8 9 9 ; rpt” “w i t h a n i n t r o d u c t i o n to the
n e w edition b y T e r e n c e B a r l o w , M R u t l a n d , Vt. & T o k y o , J a p a n : C h a r l e s E. T u t
tle C o m p a n y , 1 9 7 2 ) , pp. 6 4 - 6 7 . [Partial translation]
Bonneau: L e m o n u m e n t poetique de Heian: L e Kokinshu, V o l u m e P r e m i e r : Preface

de Ki no Tsurayuki, p a r G e o r g e s B o n n e a u (Paris: Librairie Orientaliste P a u l
G e u t h n e r , 1933). [Yoshino, T o m e c i n q u i e m e ] [ C o m p l e t e translation]
[Rpt. as 'Deffence et illustration' de la poesie japonaise: Ki no Tsurayuki,
Preface a u Kokinshu, Ed i t i o n critique, p a r G e o r g e B o n n e a u , Annales d u M u -
see Guimet ( B i b l i o t h e q u e d ' e t u d e s ) 4 5 ( 1 9 3 3 ) , 9 3 pp.]
306
A ppendix D
Hevon: “P r e f a c e d u I C o k i r m s h o u ，
’’in & /a cfes
Origines a u X X e siecle, p a r M i c h e l R e v o n (Paris: Librairie D e l a g r a v e , 1 9 1 0 ; 6 th
ed., 19 2 8 ) , p p . 1 3 8 - 1 5 1 . [ C o m p l e t e translation]
Amold-Kanamori: 4tJ a p a n i s c h e s V o r w o r t z u m K o k i n w a k a s h u ^ Alte u n d N e u e Ja-

p a w h c / z e L z W e r / £ 7 泥メw s w a / 7/ , 古今和歌集要解，v o n H o r s t A m o l d - K a n a m o r i
(Hamburg: V e r l a g Dr. K o v a c , 2 0 0 2 ) , pp. 12-45. [ K l a s s i s c h e s J a p a n i s c h I V -
K o k i n w a k a s h u ; U l m e r S p r a c h s t u d i e n , B a n d 9] [ C o m p l e t e translation]
notes]
B e n i : “T s u r a y u k i ’
s Vorwort z u m KokinshQ，
’’in Z)/e £>7/w/c/:/wwg 也广ノ
Poetik bis z u m 16. Jahrhunc/ert, v o n O s c a r B e n i ( H a m b u r g : C r a m d e Gruyter,
1 9 5 1 ) , pp. 1 7 - 2 3 (Universitat H a m b u r g , A b h a n d l u n g e n a u s d e m G e b i e t d e r A u s -
landskunde, B a n d 5 6 — R e i h e B. V o l k e r k u n d e , K u l t u r g e s c h i c h t e u n d S p r a c h e n ,
B a n d 3 1 ) [Partial translation ( a n d para p h r a s e ) ]
Lange: In the “Einleitung,” d /ぴ Friihlingslieder aus der S a m m l u n g
Kokinwakashu, U b e r s e t z t u n d erlautert v o n Dr. R [ u d o l f ] L a n g e (Berlin: W e i d -
m a n n s s c h e B u c h h a n d l u n g , 188 4 ) , pp. v i - x m . [ N e a r l y c o m p l e t e translation, n o t
w i t h s t a n d i n g the f o l l o w i n g : t4Ich g e b e d a h e r i m F o l g e n d e n e i n e U e b e r s e t z u n g
d e r s e l b e n (Kritik v o n T s u r a y u k i ) n a c h M o t o o r i s U m s c h r e i b u n g , lasse a b e r die
v i e len Z u s a t z e v o n f r e m d e r H a n d , d u r c h w e l c h e sie in spaterer Z e i t erweitert
w o r d e n ist, w e g ”；p. vi]
D u t h i e : t4P r e f a c i o e n Kana,^ Poesia Clasica Japonesa: Kokinwakashu, Traduccion

del j a p o n e s y edicion de Torquil Duthie (Madrid: Editorial Trotta, 2 0 0 5 ) ,
p p . 1 5 3 - 1 6 6 . [ C o m p l e t e translation]
K d s h o k u ichidai onna 好色一代女 1686

by Ihara Saikaku 井原西鶴 1642-1693
D r a k e : tsL i f e o f a S e n s u o u s W o m a n (Koshoku ichidai onna, 1 6 8 6 ) , 55 T r a n s l a t e d b y

C h r i s D r a k e , in Early M o d e r n Japanese Literature: A n Anthology, 1600-1900,
Ed i t e d w i t h Introductions a n d C o m m e n t a r y b y H a r u o S h i r a n e ( N e w Y o r k : C o
l u m b i a U n i v e r s i t y Press, 2 0 0 2 ) , pp. 8 2 - 1 2 0 . [Partial translation. 9 o f 2 4 chapters,
s o m e excerpted]
Morris: " T h e Life o f a n A m o r o u s W o m a n , '' in The Life of an A m o r o u s W o m a n a n d
Other Writings, b y I h a r a S a i k a k u , E d i t e d a n d translated b y I v a n M o r r i s ( N o r f o l k ,
C o n n . : J. L a u g h l i n , 1963; L o n d o n : C h a p m a n & Hall, 1 9 6 3 ; N e w York: N e w
Directions, 19 6 3 ) , pp. 1 1 9 - 2 0 8 , 2 7 3 - 2 7 6 , a n d 3 2 6 - 3 7 1 . [Partial transl a t i o n . 1 4 o f
2 4 chapters]
The W o m a n W h o Spent H e r Life in Love, b y
H i b bett: 4<F r o m I h a r a S a i k a k u / * in The
Floating World in Japanese Fiction^ b y H o w a r d H i b b e t t (Oxford: O x f o r d U n i
versity Press, 1 9 5 9 ; N e w Y o r k : G r o v e Press, 19 6 0 ) , pp. 1 5 3 - 2 1 7 a n d 2 2 6 - 2 2 9 .
[Partial translation.1 0 o f 2 4 chapters]
R a h d e r : “S a i k a k u ’
s ‘ ” b y J. R a h d e r , ズc/a
Life o f a v o l u p t u o u s w o m a n , ’S e c o n d B o o k ，
Orientalia ( B a t a v i a [E.J. Brill])13 (1935), pp. 2 9 2 - 3 1 8 . [Partial translation. B o o k
2 ( o f 6 B o o k s , 4 c h a p t e r s each). N o p a s s a g e i n c l u d e d in t h e H a n d b o o k ]
307
A ppendix D
Bonmarchand: Vie d'une amie de la volupte: R o m a n de moeurs paru en 1686 (3e

annee de Vere Jokyo), p a r Ih a r a S a i k a k u , T r a d u i t d u j a p o n a i s , p r e f a c e et a n n o t e ,
p a r G e o r g e s B o n m a r c h a n d (Paris: G a l l i m a r d , 1 9 7 5 ) . [ C o m p l e t e translation]
[ B o o k 1 is reprinted f r o m “K 6 s h o k u - I c h i d a i - O n n a (好色一代女 ) ，v i e d ’
une
a m i e d e la volup t e , R o m a n d e m o e u r s p a r u e n 1 6 3 6 [sic] (3-ieme a n nee de
T e r e J o k y o ) , p a r Ibara S a i k a k u , T r a d u i t et a n n o t e p a r G e o r g e s B o n m a r c h a n d ,
Livre P r e m i e r , i n Jubilaumsband, H e r a u s g e g e b e n v o n der D e u t s c h e n G e -
sellschaft flir N a t u r - u n d V o l k e r k u n d e O s t a s i e n s , a n l a B l i c h ihres 6 0 jaftrigen
Bestehens, 1873-1933 (Tokyo, 1 9 3 3 ) , 2 vols., 2 : 2 7 0 - 3 0 4 ; w i t h a n n o t a t i o n
s o m e w h a t ftiller t h a n in the 1 9 7 5 v e r sion, a n d w i t h s o m e kanji]
Revon: “‘
La Retraite d e la vieille f e m m e ’ [par S a ' i k a k o u ] ，
’’ in ル /a
Litterature Japonaise des Origines a u X X e siecle, p a r M i c h e l R e v o n (Paris: Li-
brairie D e l a g r a v e , 1 9 1 0 ; 6th ed., 1 9 2 8 ) , p p . 3 5 1 - 3 5 3 . [Partial translation. F r o m
B o o k 1 , C h a p t e r 1]
T s u k a k o s h i (w. N i e hans): K O S H O K U M O N O ：Japanische Kurtisanengeschichten aus

d e m i /. Jahrhundert, v o n Ibara S a ikaku, A u s d e m J a p a n i s c h e n u b e rtragen v o n
Satoshi T s u k a k o s h i , U n t e r Mitarbeit v o n M a x N i e h a n s , M i t Holzschnitten v o n
Yoshida Hambei, 1686 (Zurich: M a x Niehans Verlag, 1957 [rpt. M u n c h e n :
L i c h t e n b e r g - V e r l a g , 1967]). [ C o m p l e t e translation]
[ G o n z a l e z Vallarino: Vida de un a cortesana, T r a d u c c i o n d e Jose G o n z a l e z Valla-
rino ( M a d r i d : F e l m a r , 1977). U n a v a i l a b l e for i n c l u s i o n in H a n d b o o k ]
Makura no sOshi 枕草子 ca.1000

by Sei Sh6nagon 清少納言 b. ca. 966
McCullough: “T h e P i l l o w B o o k o f Sei S h ^ n a g o n , ” in C / o w / c a / P r o s e : d/7

Anthology, C o m p i l e d a n d E d i t e d b y H e l e n C r a i g M c C u l l o u g h (Stanf o r d : S t a n
ford U n i v e r s i t y Press, 1 9 9 0 ) , pp. 1 5 8 - 1 9 9 . [Partial translation]
Morris: The Pillow B o o k o f Sei Shonagon, T r a n s l a t e d a n d e dited b y I v a n M o r r i s
( N e w Y o r k : C o l u m b i a U n i v e r s i t y Press, 1 9 6 7 ) , 2 vols. [ C o m p l e t e translation]
[Cf. t he a b r i d g e d v e r s i o n b y the s a m e title ( L o n d o n : T h e F o l i o S o c iety, 1 9 7 9 ;
H a r m o n d s w o r t h , Middlesex: Penguin Books, 1984; N e w York: Columbia
U n i v e r s i t y Press, 1991). In the H a n d b o o k , p a g e - n u m b e r s to t h e a b r i d g e d
v o l u m e are cited in p a r e n t h e s e s (if t h e selection w a s inclu d e d ) , after citation
o f the c o m p l e t e translation]
Kobayashi: The Sketch-Book of the L a d y Sei Shonagon, Translated from the
Japanese b y N o b u k o Kobayashi [小林信子 ]，W i t h Introduction b y し A d a m s
B e c k ( L o n d o n : J o h n M u r r a y , 1 9 3 0 ; N e w Y o r k : E.P. D u t t o n a n d C o m p a n y , 1 9 3 0
[(?rpt. F o r e s t Hills, N . Y . : Transatl a n t i c Arts, 1 9 4 7 ) ; rpt. K y o t o : Seiza Sha,
1977]). [ T h e W i s d o m o f t h e E a s t S e r i e s ，L C r a n m e r - B y n g a n d D r . S . A . K a -
padia, eds.] [Partial translation]
Waley: The Pillow-Book of Sei Shonagon, Translated b y A r t h u r W a l e y ( L o n d o n :
G e o r g e Allen & U n w i n , 1 9 2 8 ; rpt. L o n d o n : U n w i n B o o k s , 1 9 6 0 ) . [Partial trans
lation]
308
A ppendix D
Purcell & A s t o n : “A Literary L a d y o f O l d J a p a n ，
” b y the L a t e Dr. T . A . Purcell a n d
W . G . Aston, Transactions of the Asiatic Society of Japan 16.3 ( 1 8 8 9 ) , p p . 2 1 5 -
2 2 4 . [Partial translation]
Beaujard: Notes de chevet p a r Sei Shdnagon, Traduction et c o m m e n t a i r e s par

A n d r e B e a u j a r d (Paris: G. - P . M a i s o n n e u v e , 1 9 3 4 ; rpt. Paris: G a l l i m a r d , 1 9 66).
[Cf. Sei Shdna g o n\ son temps et son oeuvre ( U n e F e m m e de Lettres de
I'Ancien Japon), p a r A n d r e B e a u j a r d , A v e c u n e p r e f a c e d e M o n s i e u r M i c h e l
R e v o n (Paris: G. - P . M a i s o n n e u v e , 1934)]
Matsuo & Steinilber-Oberlin: Les notes de I'oreiller (M a k u r a no soshi), p a r Sei-
S h o n a g o n , P r e m i e r e tr a d u c t i o n integrale d u j a p o n a i s p a r K u n i [ n o s u k e ] M a t s u o [
松尾邦之介 ] et [E.] Steinilber-Oberlin (Paris: Librairie S t o c k , 1 9 2 $ ) . [Partial
translation]
Revon: ‘
‘しe M a k o u r a no s6shi,” in ゴe /a
Origines au X X e siecle, p a r M i c h e l R e v o n (Paris: Librairie D e l a g r a v e , 1 9 1 0 ; 6 t h
ed., 1 9 2 8 ) , pp. 1 9 4 - 2 2 4 . [Partial translation]
Ishikawa: “Sei Shonagon et le M a k o u r a n o S o s h i , ” in 左/w ル /〇 ///だr a / w r e
impressionniste au Japon, par Takeshi Ishikawa (Paris: A . P e d o n e ,
1 9 0 9 ) , pp. 1 3 3 - 1 8 3 . [ T h e s e p o u r le doctorat d e l ^ n i v e r s i t e d e Paris] [Partial
translation]
Amold-Kanamori，1 : Di e iKopJkissenhefte, der Sei Shonagon: Aufzeichnungen

einer japanischen H o f d a m e u m das Jahr W O O , 枕草子要概，\. Tei\, vo n Horst
Amold-Kanamori (Munchen: Satyr Verlag, 1 9 9 9 ; rpt. H a m b u r g : V e r l a g Dr.
K o v a c , 2 0 0 1 ) . [ K l a s s i s c h e s J a p a n i s c h II; U l m e r S p r a c h s t u d i e n , B a n d 5] [Partial
translation]
[ F o r p a s s a g e s treated, i n c l u d e s o n g i n a l a n d r o m a n i z e d texts, s e l e c t e d earlier
G e r m a n - l a n g u a g e translations, a d d e d c o m m e n t s a n d / o r n e w r e n d e r i n g s , a n d
reprint o f t h e m o d e m - J a p a n e s e r e n d e r i n g b y B a n K u m i 伴久美一 f r o m t h e
s M a んw r a
latter’ 成/?/'ァ JAaz• 枕草子要解 ( T o k y o : Y d s e i d 6 肴精堂 , 1 9 5 9 ;
rev. e d ” 1 9 7 4 ) — a v o l u m e in the B u n p o K a i m e i S o s h o series cited in the
P r e f a c e , Sect. V I I I . D . M u c h o f the v o l u m e consists o f q u o t a t i o n s o i earlier
renderings b v N a u m a n n & N a u m a n n , W a t a n a b e , a n a B o d e (all cited b e l o w ) ,
followed by 4tN e u - und v o r allem Erstubersetzungen, komgierenae An-
m e r k u n g e n , witzige, bissige, b o s i g e s o w i e w e i t a u s h o l d e n d e K o m m e n t a r e
des Autors” （
p . 15)— n a m e l y , the a u t h o r ’
s own translations a n d / o r o f t e n
trenchant comments about the aforementioned scholars’ w o r k . Brackets
a r o u n d a n e n t r y in the H a n d b o o k indicate p a s s a g e s h a v i n g s u c h c o m m e n t a r y
( o r s i m p l y q u o t e d translations w i t h u n d e r l i n e d p h r a s e s to indicate p r o b l e m
areas), b u t w h e r e n o n e w translation is a d d e d ]
Die 'Kopjkissenhefte' der Sei Shonagon: Aufzeichnungen
A r a o l d - I C a n a m o r i ， 2:
einer japanischen Uofdcmie u m das Jahr W O O , 枕草子要解（
第二巻)，2. Teil,
v o n H o r s t A m o l d - K a n a m o r i ( H a m b u r g : V e r l a g Dr. K o v a c , 2002). [Klassisches
J a p a n i s c h V - M a k u r a n o s o s h i II; U l m e r S p r a c h s t u d i e n , B a n d 10] [Partial transla
tion]
[ S i m i l a r to t h e p r e c e d i n g entry, b u t (per t h e a u t h o r ’
s n o t e o n p . 1 0 ) w i t h less
e m p h a s i s o n earlier translations b y the s c h o l a r s cited there ( a l t h o u g h t h e y are
a g a i n q u o t e d , w i t h p r o b l e m p h r a s i n g u n d e r l i n e d ) a n d w i t h n e w translations
309
A ppendix D
( a n d m a n y not e s ) s u p p l i e d for all p a s s a g e s cited. M o d e m - J a p a n e s e trans
lations f r o m the s a m e s o u r c e are also p r o v i d e d , b u t at t h e e n d o f t h e v o l u m e ]
Naumann & Naumann: “S e i S h 5 n a g o n : ” in Z)/e Z a w ゐ
Kopfkissenhefte，
Erzahlungen vom L eben ja p a n isc h e r Damen, M dnche, H erren u n d Knechte,
Ausgewahlt und aus dem Japanischen tibersetz von Nelly und Wolfram
Naumann ( M iinchen: Carl H a n s e r Verlag, 1973), p p . 1 0 7 - 1 2 7 a n d 395-397.
Watanabg: D a s K op/kissenbuch d e r Hofc/ame Sei Shonagon, A us dem Japanischen
tibertragen u n d h e r a u s g e g e b e n v o n M a m o r u W a t a n a b d [渡辺護 ]，M i t Illustra-
t i o n e n v o n M a s a m i I w a t a (Zurich: M a n e s s e V e r l a g , 1 9 5 2 ) . [Partial translation]
Haug: D ie K opfkissenhefte d e r Sei Short agon: Aiifzeichnungen ein er japan isch en
H ofdam e um d a s Jah r 1000, A u s g e w a h l t u n d h e r a u s g e g e b e n v o n G e r h a r t H a u g
( M i i n c h e n : D r e i F i c h t e n V e r l a g , 1948). [Partial translation]
[As acknowledged by the a u t h o r ( o n the b o o k ’
s p e n u l t i m a t e p a g e ) , the
v o l u m e m o s t l y d r a w s o n the w o r k o f others: n a m e l y , e x c e r p t s translated into
German b y K a r l F l o r e n z (in m s 1 9 0 6 h i s t o r y o f J a p a n e s e literature), into
F r e n c h b y M i c h e l R e v o n , a n d into E n g l i s h b y A r t h u r W a l e y (the latter t w o
w o r k s are cited a b o v e ) . H e n c e ，n o t w i t h s t a n d i n g t h e a d d e d line, “A n d e r e ein-
schiagige W e r k e w u r d e n b e i g e z o g e n ，
’’p a g e - c i t a t i o n s are n o t i n c l u d e d in t h e
Handbook]
Bode: D as K opjkissensbuch d e r D am e Sei Shonagon, N a c h d e m u m das Jahr 1 0 0 0
v o n der japanischen H o f d a m e S e i S h o n a g o n verfas s t e n “S k i z z e n b u c h u n t e r m
K o p f k i s s e n ” in freier A u s w a h l u n d A n o r d n u n g h e r a u s g e g e b e n v o n H e l m u t B o d e
illustriert m i t j a p a n i s c h e n O m a m e n t e n ( M u n c h e n : E r n s t H e i m e r a n V e r l a g , 1 9 4 4 ;
rev. a n d e x p a n d e d e d . 1 9 6 1 [rpt. Insel V e r l a g , 1 9 7 5 & 1 9 9 5 ] ; rpt. Z u r i c h : p e n d o -
verlag, 1 9 8 4 ) . [Partial translation]
P f i z m a i e r : “D i e A u f z e i c h n u n g e n d e r j a p a n i s c h e n D i c h t e r i n S e i S e 6 - n a - g o n ，
’’v o n
Dr. A[\xgxisi\Pf\zmaieT， Sitzungsberichte d e r P nilosophisch-H istorischen C lasse
d e r K aiserlischen A kadem ie d er W issenschaften ( W i e n ) 8 1 . 1 ( O c t o b e r 1 875),
pp. 7-78. [Partial translation]
Sato: E l L ibro d e la A lm ohada, d e Sei S h o n a g o n , T r a d u c c i o n , p r o l o g o y no t a s d e

A m a l i a S a t o ( B u e n o s Aires: A d r i a n a H i d a l g o editora, 2 0 0 1 ) . [Partial translation
( s a m e selection as M o r r i s a b r i d g e m e n t ) ]
[ M o s t l y f o l l o w s I v a n M o r r i s ( w h o s e h e l p is a c k n o w l e d g e d o n p. 7), s o p a g e -
citations n o t i n c l u d e d in t h e H a n d b o o k ]
Man’
yGshil14 萬葉集 760+
D u t h i e : “P o e t r y a n d K i n g s h i p in A n c i e n t J a p a n , ” b y T o r q u i l D u t h i e ，U n p u b l i s h e d
P h . D . diss., C o l u m b i a University, 2 0 0 5 . [ 6 6 M an'ydshu poems]
Robinson: uT h e Tsukushi M a n yd sh u P o e t s a n d th e I n v e n t i o n o f J a p a n e s e Po e t r y , ^
b y J e r e m y R . R o b i n s o n , U n p u b l i s h e d P h . D . diss., U n i v e r s i t y o f M i c h i g a n , 2 0 0 4 .
14 A ll a re p a rtia l tr a n s la tio n s , e x c e p t f o r th e f o u r ( b y S u g a , H o n d a , P ie rs o n , a n d S ie f f e r t) id e n ti

fie d a s b e in g c o m p le te . T o ta l fig u r e s g iv e n in c lu d e Man ydshu p o e m s tr a n s la te d o n ly in p a rt.
310
A ppendix D
[Focuses o n Y a m a n o u e O k u r a 山上憶良 and O t o m o Tabito 大伴旅人] [74
Manydshu p o e m s . F r o m B o o k Five: # 0 7 9 3 - 0 8 0 5 a n d # 0 8 1 5 - 0 8 7 0 (plus 4 a d d M .
p o e m s ) . N o n e in the H a n d b o o k ]
Marra: Kuki Shuzo: A Philosopher's Poetry and Poetics, Translated a n d Edited b y
M i c h a e l F. M a r r a ( H o n o l u l u : U n i v e r s i t y o f H a w a i i Press, 2 0 0 4 ) . [ I n c l u d e s 1 4
Man yushii translations b y Marra]
Commons: “T h e C a n o n i z a t i o n o f H i t o m a r o : P a r a d i g m o f t he P o e t A s God,” by
A n n e E l i s a b e t h C o m m o n s , U n p u b l i s h e d P h . D . diss., C o l u m b i a U n i v e r s i t y , 2 0 0 3 .
[33 Man 'ydshu p o e m s ]
Huey: The Making of ,Shinkokinshu\ by Robert N. Huey (Cambridge, Mass.:
H a r v a r d U n i v e r s i t y A s i a C e n t e r , 2 0 0 2 ) . [Incl u d e s 1 2 Man'ydshu p o e m s . N o n e in
the H a n d b o o k ]
Levy (2000): Love Songs from the 'Manydshu': Selections from a Japanese
C / o s ^ / c 分葉恋歌，Illustrations b y M i y a t a M a s a y u k i 宮田雅之，C o m m e n t a r y by
O o k a M a k o t o 夫岡信，T r a n s l a t i o n b y Ian H i d e 。 L e v y
リービ英雄，W i t h a n
essay b y D o n a l d K e e n e ドナノレド •キーン（T o k y o : K o d a n s h a International ，
2000). [42 Man voshii p o e m s . N o n e in the H a n d b o o k ]
[Only 10 poems overlap with Levy (1981), a n d all a p p e a r m different
translation]
Mostow: Pictures of the Heart: The 'Hyakunin isshu' in Word and Image, by
J o s h u a A . M o s t o w ( H o n o l u l u : U n i v e r s i t y o f H a w a i i Press, 1 996). [ I n c l u d e s 1 4
Man ydshu p o e m s translated b y M o s t o w . N o n e in t h e H a n d b o o k ]
Kojima: Written on Water: Five Hundred Poems from the Manydshu, Translated
b y Takashi K o j i m a [ 小島嶽 ] , S k e t c h e s b y M i d o r i T o d a ( R u t l a n d , Vt . & Tokyo,
Man ydshu p o e m s ]
J a p a n : C h a r l e s E. Tuttle C o m p a n y , 19 9 5 ) . [ 5 0 0
B e i c h m a n (Ooka): A Poet's Anthology: The Range of Japanese Poetry, by Ooka
M a k o t o [大岡信 ] , T r a n s l a t e d b y J a n i n e B e i d i m a n , P r e f a c e b y D o n a l d K e e n e
( S a n t a Fe, N . M . : K a t y d i d B o o k s , 199 4 ) . [ I n c ludes 5 Man'ydshu p o e m s . N o n e in
Cranston: A Waka Anthology^ V o l u m e One: The Gem-Glistening Cup, Translated,
w i t h a C o m m e n t a r y a n d N o t e s , b y E d w i n A . C r a n s t o n ( Stanf o r d : S t a n f o r d U n i
versity Press, 1993). [ I n c l u d e s 1 , 3 1 3Manydshu p o e m s ; cited a s " C r a n s t o n , T*]
Teele & Teele & Te e l e : Ono no Komachi: Poems, Stories, No Plays, T r a n s l a t e d b y
R o y E. T e e l e , N i c h o l a s J. Te e l e , [and] H . R e b e c c a T e e l e ( N e w Y o r k : G a r l a n d
P u b l i s h i n g , Inc., 1993). [ I n c l u d e s 8 Manydshu poems]
Suga: The Man’yo-shu: A Complete English Translation in 5-7 Rhythm,萬集集， by
Teruo Suga [須賀照雄 ] ( T o k y o : K a n d a E d u c a t i o n a l F o u n d a t i o n , K a n d a Insti
tute o f F o r e i g n L a n g u a g e s ; C h i b a City: K a n d a U n i v e r s i t y o f International S t u d -
ies, 1 9 9 1 ) , 3 vols. [ C o m p l e t e translation. All 4 , 5 1 6 Man ydshu p o e m s ]
[ A l s o i n c l u d e s t h e f o l l o w i n g series o f translations: ( A ) ''Poetry in th e Nihon-
ん/ (the A n n a l s o f J a p a n ) . ” P t . 1 ，3 : 5 7 - 6 1 ，a n d Pt. 2, 3 : 1 2 4 - 1 2 8 ; ( B ) “P o
etry in t h e F w ゴo ん/ (the L o c a l D o c u m e n t s ) , ’ ’3 : 1 2 9 - 1 3 1 ; a n d ( C ) “P o e t r y in
theKojiki (the O l d C h r o n i c l e ) , 5, 3 : 2 6 6 - 2 8 0 ]
Carter: Traditional Japanese Poetry: An Anthology^ Tra n s l a t e d , with an Introduc
tion, b y S t e v e n D . C a r t e r (Stanford: S t a n f o r d U n i v e r s i t y Press, 1 9 9 1 ) . [ I n c l u d e s
102 Man 'ydshu p o e m s ]
311
A ppendix D
Wilson: From the Morning of the World: Poems from the Manyoshu, The First
Anthology of Japanese Poetry, T r a n s l a t e d b y G r a e m e W i l s o n ( L o n d o n : Harvill,
1 9 9 1 ) . [ 7 9 Manyoshii p o e m s ]
L e n t o & L e n t o ( O o k a ) : The Colors of Poetry: Essays in Classic Japanese Verse^ b y
0 0 k a M a k o t o [大岡信 ]，T r a n s l a t e d b y T a k a k o U . L e n t o [and] T h o m a s V . L e n t o ,
Preface b y D o n a l d K e e n e (Rochester, Mi c h . : K a t y d i d B o o k s , O a k l a n d U n i v e r
Man ydshu p o e m s . N o n e in t h e H a n d b o o k ]
sity, 19 9 1 ) . [ I n c l u d e s 1 4
Eberso\e: Ritual Poetry and the Politics of Death in Early Japan, by Gary L. Eberso\e
(Princeton: P r i n c e t o n U n i v e r s i t y Press, 1989). [ I n c ludes 1 2 0 Manyoshii p o e m s , the
m a j o r i t y b e i n g cited (or a d a p t e d ) f r o m L e v y ( 1 9 8 1 ) ; n o n e o f t h o s e b y E b e r s o l e is
cited in the H a n d b o o k ]
Sato & W a t s o n : ' T o e m s f r o m the Man yoshu^ in From the Country of Eight Islands:
メw / Z w / o g y P o e / び，E d i t e d a n d T r a n s l a t e d b y H i r o a k i S a t o [佐藤紘
彰 ] a n d B u r t o n W a t s o n , W i t h a n In troduction b y T h o m a s R i m e r ( N e w Y o r k : C o -
l u m b i a U n i v e r s i t y Press, 1986), p p . 1 1 - 1 0 4 . [ 3 2 0
Gatten & Te e l e , w . M i n e r ( K o n i s h i , 1 ) : A History of Japanese Literature^ V o l u m e
O n e : 77/e drc/ z a / c ゴ ichi K o n i s h i [小西甚一 ]，T r a n s l a t e d
b y Jin’
b y A i l e e n G a t t e n a n d N i c h o l a s T ee l e , E d i t e d b y E a r l M i n e r (Princeton: P r i n c e
t o n U n i v e r s i t y Press, 19 8 4 ) . [ I n c l u d e s 1 1 9Man 'ydshu p o e m s ]
L e v y (1984): Hitomaro and the Birth of Japanese Lyricism^ b y I a n H i d e o L e v y
(Princeton: P r i n c e t o n U n i v e r s i t y Press, 1 9 8 4 ) . [ I n c l u d e s 7 8 Man yoshii p o e m s ]
D o e : A Warbler's Song in the Dusk: The Life and Work of Otomo Yakamochi (718-
785), b y P a u l a D o e ( B e r k e l e y : U n i v e r s i t y o f C a l i f o r n i a Press, 1 9 8 2 ) . [Includes
3 9 8 Man 'ydshu p o e m s ]
L e v y ( 1 9 8 1 ) : The Ten Thousand Leaves: A Translation of the (Man 'ydshu,'Japan's
Premier Anthology of Classical Poetry, V o l u m e O n e , b y I a n H i d e o L e v y
(Princeton: P r i n c e t o n U n i v e r s i t y Press, 1 9 8 1 ) . [ 9 0 6 Manyoshii p o e m s . B o o k s
O n e thru Five: # 0 0 0 1 - 0 9 0 6 ]
Corman: Peer/ew M m ? r [ 清鏡] ：加 w M w アos/rn, Translated
a n d annotated b y C i d C o r m a n , C o v e r design b y W a n g H u i M i n g ( C a m b r i d g e ,
M a s s . : Firefly Press, 1981). [ L i m i t e d edition, 5 0 0 co pies] [ 2 0 Manydshu p o e m s .
N o n e in t h e H a n d b o o k ]
Teele: ' T h e L o v e P o e m s o f the Kokinshu: A translation, w i t h c o m m e n t a r y , a n d
s t u d y o f t h e i n f l u e n c e o f C n i n e s e a n d earlier J a p a n e s e p o e t r y , b y N i c h o l a s J o h n
Te e l e , U n p u b l i s h e d P h . D . diss., T h e U n i v e r s i t y o f T e x a s at A u s t i n , 1 9 8 0 . [In
cludes 153 Man 'ydshu p o e m s ]
Wright: Ten Thousand Leaves: Love Poems from the 'Manydshu', T r a n s l a t e d from
the Japanese by Harold Wright (Boulder, Colo.: Shambhala, 1979). [136
C h i b b e t t (Ka t o ) : 4tT h e A g e o f t h e Manyoshii^ in A History of Japanese Literature:
ァ心 F / r W b y Shuichi K a t o [加藤周一]，T r a n s l a t e d by David
Chibb e t t , F o r e w o r d b y R o n a l d D o r e ( L o n d o n : T h e M a c m i l l a n P r e s s Ltd., 1 979),
Man yoshii p o e m s ]
pp. 2 7 - 8 7 . [ I n c l u d e s 3 4
Rexroth & Atsumi: The Burning Heart: Women Poets of Japan, Translated a n d
E d i t e d b y K e n n e t h R e x r o t h a n d I k u k o A t s u m i [渥美育子 ] ( N e w Y o r k : T h e S e -
a b u r y Press, 197 7 ) . [ I n c l u d e s 1 8 Man ydshu p o e m s . N o n e in t h e H a n d b o o k ]
312
A ppendix D
R e x r o t h (1976): O n e H u n d r e d M o r e P o e m s f r o m the Japanese, b y K e n n e t h Rexroth
( N e w York: N e w Directions, 1976). [ I n c l u d e s 2 6 M anyoshii p o e m s . None in
Chu: "Structural A n a l y s i s o f E l e v e n L o n g P o e m s in the M a n 'yoshu^ b y Harold
S u n g C h u , U n p u b l i s h e d P h . D . diss., U n i v e r s i t y o f M i n n e s o t a , 1 9 7 4 .
[ N o t cited in the H a n d b o o k b e c a u s e “T h e E n g l i s h translation o f t h e e l e v e n
l o n g s o n g s , their titles, a n d C h i n e s e i n t r o d u c t i o n s a r e t a k e n f r o m J.L. P i e r
son, Manyosu,...^ (p. 58). T h e total n u m b e r o f p o e m s a n a l y z e d in t h e disser
hanka
tation, i n c l u d i n g is 3 8 (still o t h e r p o e m s a n d p o e m - e x c e r p t s b e -
i n g cited f r o m the P i e r s o n translation in the chapter, “T h e P o e t i c D e v i c e s , ”
pp. 3 7 - 5 7 ) . T h e f o l l o w i n g e l e v e n series are treated: # 0 7 9 4 - 0 7 9 9 , 0 8 0 0 - 0 8 0 1 ,
0802-0803, 0804-0805, 0813-0814, 0886-0891, 0892-0893, 0894-0896,
0 8 9 7 - 0 9 0 3 , 0 9 0 4 - 0 9 0 6 , a n d 1 5 2 0 - 1 5 2 2 . “E a c h analysis ( o f a p o e m - s e r i e s ) is
g i v e n in t he f o l l o w i n g s e q u e n c e : script, m e t e r , p h r a s i n g , p i l l o w - w o r d s , r e p e
tition, parallelism, a n d r h y m e ^ (p. 59)]
Oshima: "Translations from The Manyoshii and Other Poems,in Poems, by
S h o t a r o O s h i m a [尾島庄太 S B ] ( T o k y o : T h e H o k u s e i d o P r e s s [北星堂書店 ] ，
1 9 7 3 ) , pp. 8 1 - 1 0 8 . [ L i m i t e d edition, 5 0 0 copies] [ I n c l u d e s 1 6 Manyo s h i i poems
(pp. 8 3 - 9 8 ) . N o n e in the H a n d b o o k ]
Y a s u d a (1972): L a n d of the R e e d Plains: Ancient Japanese Lyrics f r o m the MANYO-
SHU, Translation & c o m m e n t a r y b y K e n n e t h Y a s u d a (Rutland, Vt. & Tokyo,
J a p a n : C h a r l e s E . Tuttle C o m p a n y , 1 9 7 2 ) . [ 1 0 0 Manyo s h i i p o e m s . N o n e in the
H a n d b o o k . Cf. Y a s u d a ( 1 9 4 9 ) b e l o w ]
M i n e r [ & Brower]: A n Introduction to Japanese Court Poetry, b y Earl M i n e r , W i t h
translations b y the a u t h o r a n d R o b e r t H . B r o w e r (Stanfo r d : S t a n f o r d U n i v e r s i t y
M a n ydshu p o e m s ]
Press, 19 6 8 ) . [ I n c l u d e s 3 9
Honda: The Manyoshii: A N e w a n d Complete Translation, by H.H. H o n d a [Honda
H e i h a c h i r 6 本多平八郎 ] ( T o k y o : T h e H o k u s e i d o P r e s s [北星堂書店 ] ，1 967).
M a n ydshu p o e m s ]
[ C o m p l e t e translation. A l l 4 , 5 1 6
[Cf. t h e partial translation:Stray Leaves f r o m the Manyoshu: T w o H u n d r e d
P o e m s f r o m the Manyoshu, Books I-VII, S e l e c t e d a n d T r a n s l a t e d b y H . H .
H o n d a ( T o k y o : T h e H o k u s e i d o P r e s s , 1965)]
Brower & Miner: Japanese Court Poetry, b y R o b e r t H . B r o w e r a n d Earl M i n e r
M anyoshii p o e m s ]
( S tanford: S t a n f o r d U n i v e r s i t y P r e s s , 1 9 6 1 ) . [ I n c l u d e s 4 8
Rexroth (1955): O n e H u n d r e d P o e m s f r o m the Japanese^ b y K e n n e t h R e x r o t h
( N e w Y o r k : N e w Directions, 1 9 5 5 ; rpt. 1964). [ C a l l i g r a p h y b y U k a i U c h i y a m a
(内山雨海 ) ] [Includes 3 7 M s r « ’
アみ p o e m s . N o n e in th e H a n d b o o k ]
M y r i a d Leaves (The Manyoshii): Complete English Translation in
Y a s u d a (1949):
Twenty Books in Original Metre with Text in M a n y d Characters a n d Rdmaji 英
譯萬 _ 集，B o o k O n e , b y K e n n e t h Y a s u d a ケネス安田，F o r e w o r d b y D r . M o k i -
chi Sait6 [斎藤茂吉 ]，I n t r o d u c t i o n b y Dr. N o b u t s u n a S a s a k i [佐佐未信綱 ] ( T o -
kyo: H o s o k a w a S h o t e n 細川書店，1949). [ 8 4 y d s 1//反 p o e m s . B o o k O n e :
#0001-0084]
[Later v o l u m e s n e v e r p u b l i s h e d . Cf. Y a s u d a ( 1 9 7 2 ) , w h e r e t h e 1 1 p o e m s ( o f
1 0 0 translated there) that o v e r l a p w i t h o n e s in this 1 9 4 9 v o l u m e a p p e a r in
quite different E n g l i s h versions]
Taketomo: The T a n k a 'in English Translation, with Fifty P o e m s f r o m the 'Manyo-
，b y T o r a o T a k e t o m o [竹友虎雄 ] ( [ N i s h i n o m i y a ] : K w a n s e i G a k u i n U n i v e r -
■sto’
313
A ppendix D
sity, 19 4 2 ) . [ K w a n s e i G a k u i n U n i v e r s i t y P u b l i c a t i o n s in t h e C u l t u r a l S c i e n c e ,
N u m b e r 1 ( J a n u a r y , 1942)] [50 Man ydshii p o e m s . P a g e - n u m b e r s cited in t h e
H a n d b o o k refer to t h e 10-pp. section in t h e f o l l o w i n g : 1,111,1,1,33,1,10,9,1 pp.]
Nippon Gakujutsu ShinkGkai [ 日本学術振興会 ] : 77ze か /^7..
Gakujutsu Shinkokai iranslation of One Thousand Poems, W i t h a F o r e w o r d b y
D o n a l d K e e n e ( [ T o k y o : I w a n a m i S h o t e n , 1 9 4 0 , a s The Manydshu\\ rpt. w i t h the
foreword, N e w Y o r k : C o l u m b i a U n i v e r s i t y Press, 1 9 6 5 ; p b k . ed., N e w York:
C o l u m b i a University P r e s s , 1 9 6 9 ) . [ 1 ,000 Man 'ydshii p o e m s ]
[ T h e 1 9 6 5 C o l u m b i a U n i v e r s i t y P r e s s edition, u n l i k e t h e 1 9 6 9 o n e , i n c l u d e s
r o m a n i z a t i o n o f t h e J a p a n e s e p o e m - t e x t s (pp. 3 1 7 - 4 5 3 ) ]
Pierson: The Manyosu, Transl a t e d a n d a n n o t a t e d b y J a n L o d e w i j k Pi e r s o n , Jr. ( L e i
d e n : E.J. Brill),2 0 vols., 1 9 2 9 - 1 9 6 3 . [ C o m p l e t e translation. A l l 4 , 5 1 6 Manyd-
shu p o e m s ]
vol.1 1929 vol.8 1954 v o l . 15 1963
vol.2 1931 vol.9 1956 v o l . 16 1963
vol.3 1933 v o l . 10 1958 v o l . 17 1963
vol.4 1936 v o l . 11 1960 v o l . 18 1963
vol.5 1938 v o l . 12 1961 v o l . 19 1963
vol.6 1941 v o l . 13 1961 vol.20 1963
vol.7 1949 v o l . 14 1961
[Cf. t h e partial translation: Selection of Japanese Poems Taken from the
Manydsu, b y J.L. P i e r s o n ( L e i d e n : E.J. B r i l l , 1 9 6 6 ) ]
Miyamori: Masterpieces of Japanese Poetry Ancient and Modem (古今名歌集)，
T r a n s l a t e d a n d A n n o t a t e d b y M i y a m o r i 入satar6 ( 宮森麻太郎）（
Tokyo: Maruzen
C o m p a n y Ltd., 1 9 3 6 ; rpt. W e s t p o r t , C o n n . : G r e e n w o o d Press, Publis h e r s , 1 9 7 0 ) ,
Man ydshii p o e m s ]
2 v o l s . , 1 :53- 1 7 1 . [ I n c l u d e s 1 2 6
[Okada: Three Hundred Poems from the Manyoshu: Poetical Collection of Early
Jゆ S e l e c t e d a n d translated b y T e t s u z 6 6 k a d a ( 岡田哲蔵）（
T o k y o : Saikanso,
1 9 3 5 ; T o k y o : K y o b u n d o , 1938). U n a v a i l a b l e for i n c l u s i o n in H a n d b o o k ]
W a u g h w. Rand: Crumpled Leaves from Old Japan, T r a n s l a t e d from T he M a n y o s h u
b y D a n F. W a u g h a n d d o n e into E n g l i s h v e r s e b y F r a n k P r e n t i c e R a n d ( N o r t h
a m p t o n [Mass.]: T h e K i n g s b u r y Print, 1 9 2 2 ) . [ A l s o o n title-page: 4<A compli
m e n t a r y book l e t , A m h e r s t , 1 9 2 2 ,5] [ 2 5 Manydshu poems. N o n e in t h e H a n d -
book]
W a l e y (1921): “S o m e P o e m s f r o m the M a n y o s h u a n d R y 6 j i n - h i s s h 6 ，
’’B y A [ r t h u r ] D .
Waley, Journal of the Royal Asiatic Society of Great Britain and Ireland, 1 9 2 1 ,
pp. 193-203. [ I n c l u d e s 3 6 Manydshu p o e m s (pp. 1 9 3 - 1 9 9 ) . N o n e in the
Handbook]
W a l e y (1919): Japanese Poetry, The 'Uta, b y A r t h u r W a l e y , I n t r o d u c t i o n to the
N e w E d i t i o n b y C a r m e n B l a c k e r ( [ O x f o r d : C l a r e n d o n P r e s s , 1 9 1 9 ] ; rpt. w i t h the
new introd., H o n o l u l u : T h e U n i v e r s i t y P r e s s o f H a w a i i , 1976). [Includes 5 8
Man 'ydshii p o e m s ]
Primitive & Mediaeval Japanese Texts: Translated into
Dickins: ttM a n y 6 s h i u , ,^ in
English with Introduction, Notes and Glossaries, b y F r e d e r i c k V i c t o r D i c k i n s
( O x f o r d : C l a r e n d o n Press, 19 0 6 ) , pp. 1 - 3 0 3 . Cf. t h e c o m p a n i o n v o l u m e , subti
tledTransliterated into Roman with Introductions, Notes and Glossaries. [361
Man 'ydshii p o e m s ]
314
A ppendix D
[Mostly naga-uta, as s u g g e s t e d b y the alternating p a g e - h e a d e r , 4<T h e L o n g
Lays.” N o t e the l e n g t h y “I n t r o d u c t i o n to the M a n y 6 s n l u , , p p . x x v - c i v , w h i c h
^ M a k u r a kotoba o r P i l l o w - w o r d s , p p . lxxxiii-lxxxix]
i n c l u d e s the section,
Primitive a n d Mediaeval Japanese Texts, /, in t h e series, Collected
[Rpt. in
Works by Frederick Victor Dickins ( T o k y o : G a n e s h a , 1 9 9 9 ) ]
Sieffert: Man.ydshu, Presente, traduit et c o m m e n t e p a r R e n e Sieffert (Paris: P u b l i c a

tions Orientalistes d e F r a n c e , E d i t i o n s U N E S C O , 1 9 9 7 - 2 0 0 3 ) , 5 v o l u m e s , [ v o l . 1]
L i v r e s I, II et m ( 1 9 9 7 ) ; [ v o l . 2] L i v r e s IV, V et V I ( 1 9 9 8 ) ; [ v o l . 3] L i v r e s V U , v m
et I X ( 2 0 0 1 ) ; [ vol.4] Liv r e s X , XI, XII et xm ( 2 0 0 3 ) ; [ v o l . 5] L i v r e s X I V , X V , X V I ,
X V I I , XVIII, X I X et X X (2003). [ C o m p l e t e translation. Al l 4 , 5 1 6 Manydshu po
ems]
[Cf. the partial translation: P o e m e s d ' a m o u r du 1 Manyo-shu \ Traduits d u
j a p o n a i s p a r R e n e Sieffert (Paris: Pr e s s e s Orientalistes d e F r a n c e , 1 9 7 5 ) ]
Peronny: Les Plantes du Man.yd-shu, p a r C l a u d e P e r o n n y (Paris: M a i s o n n e u v e &
Larose, 1993. [ 1 7 9 Manydshu poems]
[ A s n o t e d o n the c o p y r i g h t p a g e , tcL e s dessins d e plantes illustrant c e livre sont
tirds d ’
u n des ouvrages cdl さ [牧野富太良 |3]
b r e botaniste M A K I N O T o m i t a r o
M/zow むw ゴ [ 日本植物大図鑑 - 学生版 ] ( F l o r e illustrde d u
J a p o n , Edition scolaire [ H o k u r y U k a n 北隆館 ] , 1 9 5 3 ) ’
’]
R e n o n d e a u : Anthologie de la poesie japonaise classique, T r a d u c t i o n , p r e f a c e s et
c o m m e n t a i r e s d e G . R e n o n d e a u (Paris: G a l l i m a r d , 1 9 7 1 ) , p p . 2 1 - 9 8 . [Includes
91 M a n y d s h u p 〇Qms\
Vergez: Anthologie du Manydshyu, Selection de poemes traduits par Robert
V e r g e z , A v e c u n e intr o d u c t i o n p a r J a c q u e s C h a z e l l e ( T o k y o : L a M a i s o n f r a n c o -
japonaise a T o k y o , 1 9 4 9 ) . [100 M a n ydshii p o e m s ]
Revon: “L e M a n y 6 s h o u , ” i n d w / Z z o / o g / e み /a J a p o w a w e ゴes1 aw
X X e siecle, p a r M i c h e l R e v o n (Paris: Librairie D e l a g r a v e , 1 9 1 0 ; 6 t h ed., 1 9 2 8 ) ,
pp. 8 4 - 9 9 . [23 M a n ydshii p o e m s . N o n e in the H a n d b o o k ]
Amold-Kanamori: M w 夕み祕万葉集要解，
von Horst A m o l d - K a n a m o r i ( H a m b u r g :
Verlag Dr. Kovac, 2001). [ K l a s s i s c h e s J a p a n i s c h III; U l m e r Sprachstudien,
B a n d 7][193 M a n ydshii p o e m s ]
notes]
Berndt: Rotes Laub: Altjapanische Lyrik, A u s d e m J a p a n i s c h e n libertragen u n d her-
a u s g e g e b e n v o n J u r g e n B e m d t (Leipzig: Insel-Verlag, 1972). [Subtitle: 4tM i t vier
Dichterportrats a u s Bildrollen d e s 13. J a h r h u n d e r t s ”] [ I n c l u d e s 1 0 8
p o e m s (pp. 5-83)]
Wedemeyer (19 5 4 ) : " H i t o m a r o s L e t z t e Li e b e : Eine Deutung altjap a n i s c h e r G e -
d i c h t e a u s d e m M a n y o s h u , v o n A n d r e W e d e m e y e r , in Asiatica: Festschrift F.
Weller, Z u m 65. Geburtstag g e w i d m e t von seinen Freunden, Kollegen und
S c h u l e m (Leipzig: O t t o H a r r a s s o w i t z , 1 9 5 4 ) , pp. 8 2 9 - 8 9 1 . [ 2 5 Man' y o s h u po
e m s . N o n e in the H a n d b o o k ]
[Fujishiro T e i s u k e : G 1汉 /zc/z/e a w s J e w 5. J四 Obersetz aus d e m
j a p a n i s c h e n v o n T e i s u k e Fujishiro ( T o k i o : J a p a n i s c h - D e u t s c h e s Kultur-Institut,
[1938]). U n a v a i l a b l e for inclu s i o n in H a n d b o o k ]
W e j e m e y e r ( 1933): “E r l S u t e r u n g z u einer D i c h t u n g v o n H i t o m a r o ，
” v o n Prof. D r .
A. W e d e m e y e r , in Jubilaumsband, H e r a u s g e g e b e n v o n d er D e u t s c h e n Gesell-
315
A ppendix D
schaft flir N a t u r - u n d V o l k e r k u n d e O s t a s i e n s , a n l a B l i c h ihres 6 0 j a h r i g e n B e s t e -
hens, 1873-1933 (Tokyo, 19 3 3 ) , 2 vols., 2 : 1 3 4 - 1 5 0 . [5 Man'ydshu poems
( # 0 0 4 5 - 0 0 4 9 ) . N o n e in the H a n d b o o k ]
Flor e n z : “D i e L a n g e g e d i c h t e Y a k a m o c h i ’
s a u s d e m M a n y 6 s h 0 in T e x t u n d fiber-
setzung mit Erlauterungen，
”v o n E d u a r d E m m e r i c h Florenz, A/q/or, [ P t . 1]
8 ( 1 9 3 3 ) ，pp. 6 0 1 - 6 7 6 ; [Pt. 2] “F o r t s e t z u n g ，
”ル /a A/q/or, 9 ( 1 9 3 3 [sic]), p p . 3 8 -
125. [Subtitle ( b o t h parts): “E i n l e i t u n g u n d Naga-uta Buch III ， V I I I , X V II，
X V I i r ,] [ 8 7 Man yoshu p o e m s ; s o m e (in t h e ^ E i n l e i t u n g / ' pp. 6 0 5 - 6 4 1 ) ar e f r o m
o t h e r t h a n the b o o k s indicated in the subtitle]
[ N o t e : “Liste d e r M a k u r a - k o t o b a in d e n N a g a - u t a Y a k a m o c h i ’
s,” p p . 6 4 1 -
645]
Lorenzen: Die Gedichte Hitomaro fs aus dem Manydshu in Text und Ubersetzung
mit Erlauterungen, v o n A l f r e d L o r e n z e n ( H a m b u r g : L. F r i e d e r i c h s e n & Co.,
1927). [ V e r o f f e n t l i c h u n g e n d e s S e m i n a r s fiir S p r a c h e u n d K u l t u r J a p a n s a n d e r
H a m b u r g i s c h e n Universitat, H e f t 1 ] [ 8 4 Manydshu p o e m s ]
Pfizmaier: " G e d i c h t e a u s d e r S a m m l u n g d e r Z e h n t a u s a n d B l a t t e r , v o n D r . A [ u g u s t ]
Pfizmaier, Denkschriften der Kaiserlichen Akademie der Wissenschaften, Phi-
losophisch-Historische Classe ( W i e n ) 2 1 ( 1 8 7 2 ) , p p . 1 0 7 - 1 9 6 . [ 2 1 5 Manydshu
p o e m s 15]
C a b e z a s Garcia: Manioshu: Coleccion para diez mil generaciones (Antologia poeti-

ca), T r a d u c c i o n , pres e n t a c i o n y n o t a s d e A n t o n i o C a b e z a s G a r c i a ( M a d r i d : H i p e -
rion, 1980). [ 7 4 2 Man 'yoshu p o e m s ]
M urasakiShikibunikkl 紫式部日記 1008-1010
by Murasaki Shikibu 紫式部 b. ca. 978
Bowring (1997): The Diary of Lady Murasaki, Translated and introduced by

R i c h a r d B o w r i n g ( L o n d o n : P e n g u i n B o o k s , 1 9 9 7 ) . [ C o m p l e t e translation]
[“T h i s b o o k is a re-edited a n d r e v i s e d v e r s i o n o f t h e a u t h o r ’
s earlier w o r k
Murasaki Shikibu: Her Diary and Poetic Memoirs (Princeton: Princeton
U n i v e r s i t y Press, 1 9 8 2 ) M (i.e., t h e f o l l o w i n g entry); p. ix]
B o w r i n g (1 9 8 2 ) : Murasaki Shikibu: Her Diary and Poetic Memoirs, A Translation
a n d S t u d y b y R i c h a r d B o w r i n g (Princ e t o n : P r i n c e t o n U n i v e r s i t y Press, 1982).
Omori & Doi: 4tT h e D i a r y o f M u r a s a k i S h i k i b u , M in Diaries of Court Ladies of Old
Translated b y A n n i e O m o r i a n d K o c h i D o i [土居光知].W i t h a n Intro-
duction b y A m y L o w e l l ( B o s t o n : H o u g h t o n Mifflin, 1 9 2 0 ; q^ts. L o n d o n : C o n
stable & Co., 1921; T o k y o : Kenkyusha Ltd., 1 9 3 5 ; N e w York: A M S Press,
1 9 7 0 ; M i n e o l a , N . Y . : D o v e r Publications, 2 0 0 3 ; rpt. w i t h corrections, T o k y o :
K e n k y u s h a Ltd., 1 9 6 1 [ & 1963]), p p . 7 1 - 1 4 9 . [ C o m p l e t e translation]
15 T h e W a lra v e n s b ib lio g r a p h y (c ite d a t th e e n d o f th e in tr o d u c to r y m a te r ia l f o r Appendix D ),

w h ic h lis ts (p . 4 8 ) th e s p e c ific n u m b e r s o f Man 'ydshu p o e m s tr a n s la te d b y P f iz m a ie r , s h o u ld
b e e m e n d e d a s fo llo w s ( th e p o e m - n u m b e r s th a t fo llo w a r e lis te d in th e o r d e r th e p o e m s a p p e a r
in h is tra n s la tio n ): # 0 4 8 5 - 5 4 2 , 0 5 5 2 - 0 5 6 5 , 0 5 6 8 - 0 5 7 5 , 0 5 8 1 - 0 5 8 5 , 0 5 8 7 - 0 6 1 0 , 0 6 1 3 - 6 2 0 ,
0 6 2 3 -0 6 2 4 , 0 6 2 6 , 0 6 3 1 -0 6 4 1 , 0 6 4 3 - 0 6 4 5 , 0 6 5 0 - 0 6 5 2 , 0 6 6 8 - 0 6 7 1 , 0 6 9 0 , 0 7 1 1 - 0 7 1 3 , 0 7 0 9 ,
0 4 1 5 -0 4 8 3 .
316
A ppendix D
[ T r a n s l a t e d into F r e n c h as part o f Journaux intimes des dames de la cour du
vieu x J a p o n (Paris: P l o n , 1 9 2 5 ; rpt.? Paris: L e C l u b franâis d u livre, 1 9 5 4 ) .
U n a v a i l a b l e for consultation]
Sieffert: Journal (Murasaki-shikibu nikki), d e Murasaki-shikibu, Traduit d u japo-

n a is p a r R e n e Sieffert (Paris: P u b l i c a t i o n s Orientalistes d e F r a n c e , 1 9 7 8 ) . [ C o m
plete translation]
Naumann & Naumann: “M u r a s a k i S h i k i b u : T a g e b u c h , ” in D / e £r-
zahlungen vom Leben japanischer Damen, Monche, Herren und Knechte, Aus-
g e w a h l t u n d a u s d e m J a p a n i s c h e n iibersetz v o n N e l l y u n d W o l f r a m N a u m a n n
( M l i n c h e n : C a r l H a n s e r V e r l a g , 19 7 3 ) , pp. 1 2 9 - 1 3 4 a n d 3 9 8 - 3 9 9 . [Partial trans
lation]
O k u no hosomichi 奥の細道 1694 (covering 1689)

b y M a t s u o B a s h 6 16 松尾色蕉 1 6 4 4 - 1 6 9 4
Barnhill: ' T h e N a r r o w R o a d to the D e e p N o r t h : Oku no hosomichi^ in Basho's

Journey: The Literary Prose of Matsuo Basho, T r a nslated w i t h a n Introduction
b y D a v i d L a n d i s Barnhill ( A l b a n y : State U n i v e r s i t y o f N e w Y o r k Press, 2 0 0 5 ) ,
pp. 4 9 - 7 7 .
(Oku no hosomichi, 1 6 9 4 ) , M T r a n s l a t e d
S h i r a n e : t4N a r r o w R o a d to the D e e p N o r t h
b y H a r u o Shir a n e , in Early Modern Japanese Literature: An Anthology, 1600-
1900, E d i t e d w i t h Intro d u c t i o n s a n d C o m m e n t a r y b y H a r u o S h i r a n e ( N e w Y o r k :
C o l u m b i a U n i v e r s i t y Press, 2 0 0 2 ) , pp. 2 0 9 - 2 3 3 . [Partial translation]
[Cf. " ' R e m a p p i n g t he Past: N a r r o w R o a d to the I n t e r i o r , C h a p t e r 8, Traces
o f D ream s: Landscape, C ultural M em ory a n d the P o etry o f B a sh d ， b y \l3nxo
S h i r a n e (Stanford: S t a n f o r d U n i v e r s i t y Press, 19 9 8 ) , pp. 2 1 2 - 2 5 3 ]
Hamill: 4<N a r r o w R o a d to the Interior,^ in Narrow Road to the Interior and Other
Writings, b y M a t s u o B a s h o , Tr a n s l a t e d f r o m the J a p a n e s e b y S a m H a m i l l ( B o s
ton: S h a m b h a l a , 2 0 0 0 [ © 1998]), pp. 1-36. [ C o m p l e t e translation]
Sato: Basho's Narrow Road, Spring & Autumn Passages: 'Narrow Road to the
Interior' and the renga sequence 'A Farewell Gift to the Sea Two Works by
Matsuo Bashd, T r a n s l a t e d f r o m t h e J a p a n e s e , w i t h A n n o t a t i o n s , b y H i r o a k i S a t o
[佐藤紘彰 ]，F o r e w o r d b y C o r v a n d e n H e u v e l ( B e r k e l e y , Calif.: S t o n e B r i d g e
Press, 19 9 6 ) . [ C o m p l e t e translation]
Keene: 77^ T V a m w to おくのほそ道，b y M a t s u o B a s h 6 松尾巴蒸，
Translated b y D o n a l d K e e n e ドナノレド • キ — ン，Illustrated b y M i y a t a M a s a -
yuki 宮田雅之（
T o k y o : K o d a n s h a International, 1996). [ C o m p l e t e translation]
McCullough: 4tT h e N a r r o w R o a d o f the Interior,M in Classical Japanese Prose: An
Anthology, C o m p i l e d a n d E d i t e d b y H e l e n C r a i g M c C u l l o u g h (Stanf o r d : S t a n
f o r d U n i v e r s i t y Press, 1 9 9 0 ) , pp. 5 2 2 - 5 5 1 . [ C o m p l e t e translation]
16 T h e r e a r e s e v e ra l W e s te r n - la n g u a g e b o o k s o n B a s h o th a t a re n o t lis te d h e re . E ith e r th e y d o
n o t in c lu d e tr a n s la tio n s fro m O k u n o h o s o m ic h i, o r (a s in th e fo llo w in g tw o e x a m p le s ) th e
tr a n s la te d p a s s a g e s a re b o th fe w a n d s h o rt, a n d in n o c a s e o v e rla p w ith c ita tio n s in th e H a n d -
b o o k : U e d a M a k o to [上田真 ] , M ? むwo (T o k y o : K o d a n s h a In te r n a tio n a l, 1 9 8 2 ), a n d Q iu
P e ip e i B a s h o a n d th e 'D a o ': T h e 'Z h u a n g z i' a n d th e T r a n s fo r m a tio n o f 'H a ik a i'
(H o n o lu lu : U n iv e r s ity o f H a w a i i P re s s , 2 0 0 5 ).
317
A ppendix D
Campbell: To a F a r Province with Basho, by Liberty Campbell (Pittsburgh, Pa.: J.
Pohl Associates, 1983). [Complete translation]
Britton: A Haiku Journey: Bashd's 'The N a r r o w R o a d to the F a r North' a n d
Selected Haiku, Photographs by Dennis Stock, Translated and introduced by
Dorothy Britton (Tokyo: Kodansha International Ltd., 1974 [rpt. 1980, 1986,
2002]). [Introduction by “ Dorothy Guyver Britton (Lady BoucAier)” ] [Complete
translation]
[Translated into French as Voyage poetique a travers le J apon autrefois:
L a route etroite vers les Districts du N o r d et Haiku choisis, p a r Basho, Tra
duction franâise, Nicolas Bouvier; Introduction, Dorothy Britton (Fribourg,
Suisse: Office du Livre, 1976; Paris: Bibliotheque des Arts,1976)]
Kerkham: 4<Matsuo Basho's O k u n o hosomichi: A Critical S t u d y , b y Eleanor
Kerkham ，U 叩 ublished Ph.D. diss.，University of Indiana, 1974. [Partial transla-
tion (includes passages)]
Miner: 4tThe Narrow Road Through the Provinces (Oku no Hosomichi) by Matsuo
Basho ,*5 in Japanese Poetic Diaries, Selected and Translated, with an Introduc
tion, by Earl Miner (Berkeley: University of California Press, 1969), p p . 155-
197. [Complete translation]
Corman & Kamaike: B a c k R oads to F a r Towns: Basho's 'Oku-no-hosomichi'^
With a translation and notes by Cid Corman and Kamaike Susumu [签池進 ]，
Illustrated by Hayakawa Ikutada [早川幾忠 ]，（ N e w York: Grossman Publishers，
1968; rpt. Hopewell, N.J.: The Ecco Press, 1996). [Introduction to the 1996 edi
tion by Robert Hass] [Complete translation]
[Rpt. (of the translation) with the same title: Fredonia, N.Y.: White Pine
Press, 1986; Illustrated by Hide Oshiro]
Yuasa: 4tThe Narrow Road to the Deep North,M in The N a r r o w R o a d to the D e e p
North a n d Other Travel Sketches, by Basho, Translated from the Japanese with
an introduction by Nobuyuki Yuasa [湯浅信之 ] (Harmondsworth, Middlesex:
Penguin Books, 1966), pp. 97-143 and 158-167. [Complete translation]
Hayashi: ""Oku N o Hosomichi by Basho Matsuo,^ Translated by Eiichi Hayashi,
The Reeds (The Faculty of the English Department, Osaka University of Foreign
Studies) 7 (1961), pp. 39-84. [Complete translation]
Isobe: O k u no hosomichi, or The Poetical Journey in O l d J apan by B a s h o ^ Trans-
latpd from the Japanese by Yaichiro Isobe [磯 S 彌一郎 ] (Tokyo: San Kaku Sha
[三角社 ]，1933). [Complete translation]
Sieffert: “
La Sente Etroite du Bout-du-Monde，，，in Jowrwawjc ゴe Fqyage, par Bash6 ,
Traduction integrale par Rene Sieffert (Paris: Publications Orientalistes de
France, 1957), pp. 69-99. [Complete translation]
Dombrady: A u f schmalen Pfaden durchs Hinterland^ von Basho, Aus dem Ja-
panischen ubertragen sowie mit einer Enfiihrung und Annotationen versehen
von G[eza] S[iegfried] Dombrady, Strichzeichnungen von Eva Hasperg (Mainz:
Dieterich^che Verlagsbuchhandlung, 1985 [2. Aufl.,2001]).[Complete trans
lation]
Ueberschaar: “ Bash 6 (1644-1694) und sein Tagebuch ‘ Oku no Hosomichi， ’’
’von
H a n s Ueberschaar, Mitteilungen der Deutschen GeseHschaft fiir Nafur- u n d
Volkerkunde Ostasiens 29.A (Tokyo 1935 [rpt. N e w York: Johnson Reprint,
1965]), pp. 1-140, plus one pg. [Partial translation]
318
A ppendix D
[Includes extensive annotation for the passages treated, as well as original
and romanized text]
Cabezas: S enda hacia tierras hondas (Senda de Oku), de Matsuo Basho, Version
espanola de Antonio Cabezas (Madrid: Hiperion, 1993 [& 1998]). [Complete
translation]
Paz & Hayashiya: Sendas de Oku, por Matsuo Basho, Version castellana de
Octavio Paz y Eikichi Hayashiya [林屋永吉 ]，Introducci6 n de Octavio Paz
(Mexico: Universidad Nacional Autonoma de Mexico, 1957; rev. ed. Barcelona:
Barral, 1970; rpt. Barcelona: Seix Barral, 1981 [rpt. Tokyo: Shinto Tsushin (0f
東通信 )，1992]). [Complete translation]
[In the revised version (p. 27), the nature of the changes from the 19d /
version is discussed]
S enzaishil千載集 1188
Richardson: The Anthology of a T h o usand Years of Japanese Poetry {Senzai W a k a

说め千載和歌集，Compiled by Fujiwara Shunzei [藤原俊成 ]，translated by
Donald M. Richardson (Winchester, Va.: [Donald M. Richardson], ©1997).
ShiiiwakashCl拾遺和歌集 1005-1011
Richardson: A Collection of Rescued Japanese Poetry (Shu 7 W a k a S h u \ Translated

by Donald M. Richardson (Winchester, Va.: [Donald M. Richardson], ©2002), 2
vols. [Complete translation]
T a i d o k u r o 對髑髏 1890
by K 5 d a Rohan 幸田露伴 1867-1947
Mulhem: ''Encounter with a Skull (Tai dokuro, in Pagoda, Skull a n d

Samurai: Three Stories by K d d a Rohan, Translated from the Japanese with an
Introduction and Notes by Chieko Irie Mulhem (Ithaca, N.Y.: China-Japan
Program, Cornell University, 1982), pp. 90-118. [Complete translation]
[Rpt. as Pagoda, Skull & Samurai: 3 Stories by R o h a n Koda, Translated by
Chieko Irie Mulhem (Rutland, Vt. & Tokyo, Japan: Charles E. Tuttle C o m
pany, 1985)]
Miyamori: 44A Lodging for a Night,M by Rohan Koda,^ in Representative Tales of
Japan: Little Masterpieces f r o m Present D a y Japanese Writers, Translated by
Miyamori AsatarG [宮森麻太郎 ]，Revised by Edward Clarke (Tokyo: Sanseido
[三省堂書店 ] , 19 丨4)，pp. 392-422. [Partial translation (conみensed and para
phrased)]
Donath: “Begegnung mit einem TotenschSdel，，’in K d d a Rohan, 'Begegnung mit
einem T o t e n s c h a d e l Z w e i Novellen aus d e m Japan der Jahrhundertwende, Aus
319
A ppendix D
dem Japanishen ubersetzt und mit einem Nachwort versehen von Diana Donath
(Berlin: Edition q,1999), pp. 7-45. [Complete translation]
T a k e t o r i m o n o g a t a r i 17 竹取物語 850-900
McCullough: 4tThe Tale of the Bamb o o Cutter,in Classical Japanese Prose: A n

Anthology, Compiled and Edited by Helen Craig McCullough (Stanford: Stan
ford University Press, 1990), pp. 28-37. [Partial translation]
Keene: "Taketori monogatari (The Tale of the Bamboo Cutter),Translated by
Donald Keene, in M o d e r n Japanese Fiction a n d Its Traditions: A n Introduction,
by J. Thomas Rimer (Princeton: Princeton University Press, 1978), as Appendix
I, pp. 275-305. [Complete translation]
[Rev. ed. of “
The Tale of the Bamb o o Cutter,”Translated by Donald Keene,
の?/a 11.4 (Jan.1956)，pp. 1-27, without the one-page “ In-
troduction”to the earlier version that contains brief comments on the transla-
tions by Dickins, Sieffert, and Shimada & Mohr (for all of which, see be
low)]
Taketori Monogatari ，竹取物語 ,
[Rpt. as The Tale of the B a m b o o Cutter: ‘
M o d e m rewriting by Yasunari Kawabata 川端康成，Translation by Donald
Keene ドナルド • キーン，Illustrations by Masayuki Miyata 宮田雅之
(Tokyo: Kodansha International, 1998). O n p . 11,one of the differences be-
17 R e Taketori monogatari, citation is not included o f the following: The Tale of the Shining
Princess, A d a p t e d b y Sally Fisher f r o m a Translation o f the Story b y D o n a l d K e e n e ( N e w
Y o r k : T h e Metropolitan M u s e u m o f Art a n d T h e V i k i n g Press, 1981) (with illustrations
reproduced f r o m a late 18th-century illustrated edition o f the original in the Metropolitan
M u s e u m o f Art).
N o r are citations given for the following five works, all children’
s b o o k s — not b e cause
they are children’ s books, but because they are so adapted a n d abridged f r o m the original as
not to serve as translations:
M ? ⑽ / V / c e w , Illustrations b y K a n c h o O d a [織田観潮]，Retold b y R a l p h F. M c C a r t h y
(Tokyo: K o d a n s h a International, 1993).
Kaguya Hime: The Shimmering Princess, Illustrated b y G e o r g e S u y e o k a , A d a p t e d b y
Robert B. G o o d m a n a n d Robert A. Spicer, Edited b y Victor J o h n s o n (Norfolk Island,
Australia: Island Heritage, 1974).
The Child in the Bamboo Grove, b y R o s e m a r y Harris, Illustrated b y Errol L e C a i n ( N e w
York: S.G. Phillips, 1971 [Lon d o n : F a b e r & F a b e r , 1971]).
777e 7b/e 〇 / / 〜瓜/”/” 客 /V/A7C&M，b y H i s a k o M a t s u b a r a [松原久子]，W i t h w o o d c u t s b y
N a o k o M a t s u b a r a [松原直子] (publ. jointly b y L o n d o n : W a r d L o c k & C o ” a n d T o -
kyo: K o d a n s h a International Ltd., 1966). [ T h e Introduction (p. 4) states: t4In m y ver
sion, w h i c h is neither a translation o f the original narrative n o r a free fiction o f m y
o w n , I h a v e r e m o l d e d the old story, stressing w h a t I feel w a s the true intention o f its
u n k n o w n author.” Cf. the G e r m a n - l a n g u a g e version b y the s a m e author, cited below,
w h i c h follows the original text quite closely]
Kaguyahime, The M o o n Child: A Story of Old Japan, Original story: u Taketori m o n o g a -
tari,' ( T h e Tale o f the B a m b o o Cutter), A d a p t e d b y T a dashi K a w a g u c h i , Translated b y
T a m a k o N i w a [and] Maranell Terry, D r a w i n g s b y K a n c h o O d a [織田観潮 ] ( T okyo:
Fuji Pub. Co”1959).
In the t w o v o l u m e s listed a b o v e with d r a w i n g s b y K a n c h o O d a , the illustrations are not the
same.
320
A ppendix D
tween the 1956 and later versions is noted: “1 had omitted the puns with
which most sections of the work conclude”]
Dickins (1906): 4T h e Story of the Old Bamboo Wicker-worker,M in Primitive &
Mediaeval Japanese Texts: Translated into English with Introduction, Notes a n d
Glossaries, by Frederick Victor Dickins (Oxford: Clarendon Press, 1906), pp.
314-378. Cf. the companion volume, subtitled Transliterated into R o m a n with
Introductions, Notes a n d Glossaries. [Complete translation. Differs from the
following (1888) entry]
[Rpt. in Primitive a n d Mediaeval Japanese Texts, I , in the series, Collected
Works by Frederick Victor Dickins (Tokyo: Ganesha,1999)]
Dickins (1888): The O l d B a m b o o - H e w e r ' s Story (Taketori no okina no mo n o g a -
tari): The earliest of the Japanese romances, written in the tenth century^ Trans
lated, with observations and notes, by F. Victor Dickins, with three chromo-
lithographic illustrations taken from Japanese makimono (London: Triibner &
Co., 1888). [Also on title-page: 4tTo which is added the original text in Roman,
with grammar, analytical notes, and vocabulary’ ’] [Complete translation. Differs
from the preceding (1906) entry]
[Rpt. in Translations, II, in the series, Collected Works by Frederick Victor
Dickins (Tokyo: Ganesha,1999)]
Sieffert: “Le Conte du Coupeur de Bambous (Traduction)， ”par Rene Sieffert,

Bulletin de la Maison Franco-Japonaise, Nouvelle Serie 2 (1952), pp. 123-199
[Journal-issue title: Etudes d'ethnographie japonaise]. [Includes (pp. 195-199)
translation of the Konjaku monogatari version of the story: ^Konjaku m o n o g a -
tor/ 今昔物語，chap. XXXI ，30’ ’] [Complete translation]
[Rpt. as L e conte du coupeur de bambous^ par Rene Sieffert (Paris: Publica
tions Orientalistes de France,1992)]
[Motono: L a legende de la demoiselle de lumiere, Adaptation d'un vieux conte
japonais suivie de notes，est l’ oeuvre de S(eiichi) Motono (本野盛一），Illustra-
tion a ete composee et gravee par K(iyoshi) Hasegawa (Paris: So-
ciete du livre d'art, 1933). Unavailable for inclusion in Handbook]
Revon: MTaketori monogatari,” in Anthologie de la Litterature Japonaise des
Origines au X X e siecle, par Michel Revon (Paris: Librairie Delagrave, 1910; 6 th
ed., 1928), pp. 165-169. [Partial translation]
Amold-Kanamori: D/e vow 忍a w ゐi/Maww/er,竹取物語要角军，von Horst
Amold-Kanamori (Hamburg: Verlag Dr. Kovac, 2003). [Klassisches Japanisch
VI— Taketorimonogatari; Ulmer Sprachstudien, Band 12] [Complete translation]
[In addition to the German-language translation, includes original and
romanized texts, notes, and modem-Japanese translation by Mitani Eiichi 二
谷栄一 from the latter’ s 7bんe/or/ Awowoga/ar/夕J たa/•竹取杨語要解（
Tokyo:
Y 〇seid5 有精堂，1954)— a volume in the Bunpo Kaimei Sosho series cited
in the P r e f a c e ，Sect. VIII.D]
Naumann & Naumann: “Die Geschichte v o m BamDussammler,”in D/e Zaw ゐer-
schale: Erzahlunên v o m Leben lapamscher D a m e n , Monche, Herren u n d
Knechte, Ausgewahlt und aus dem Japanischen ubersetzt von Nelly und Wolf
ram Naumann (Munchen: Carl Hanser Verlag, 1973), pp. 43-71 and 393. [Com
plete translation]
321
A ppendix D
Matsubara: Di e Geschichte v o m B a m b u s s a m m l e r u n d d e m M d d c h e n K a g u y a
(Taketori Monogatari, eine alte japanische Erzahlung), Neu ins Deutsche iiber-
tragen und mit einem Nachwort versehen von Hisako Matsubara [松原久子 ]，
Illustriert von Naoko Matsubara [松原直子 ] (Ebenhausen bei Miinchen: Verlag
Langewiesche-Brandt,1968). [No pagination; page-numbers are cited as if they
were consecutive from the title-page on] [Nearly complete translation]
[“ Zur Obersetzung”（ p. 69) explains what omissions and modifications have
been made. Has a useful extended 'tNachworf, (pp. 63-69, in small print)
that interprets the work. Cf. the English-language version of Taketori
monogatari by the same author pelted in the footnote to this section), which
differs considerably]
[Putscher & It6 : D/e vcw TateoAV• 独訳竹取物語，Obersetzt von
Chlothilde Putscherund Tutomu Ito (Koti, Kagoshima: Dr. Ch. Putscher, 1936).
Unavailable for inclusion in Handbook]
Schwarz-Okuno: Die Jungfrau v o m geschmeidigen B a m b u s (Taketori monogatari):
Altjapamsches Marchen, Nacn der Ubersetzung von Johanna-Maria Schwarz-
Okuno, Herausgegeben und mit einem Nachwort von Hanns Maria Lux (Stutt
gart: Reclam-Verlag, 1957 [©1953]). [Complete translation]
Shimada & Mohr: 4tDer Bambussammler: Marchen aus Alt-Japan (Taketori
Monogatari),Ubersetzt von Uto Masazo Shimada und Dr. F.W. Mohr, in Ni p
pon: Zeitschriftjur Japanologie, [Pt.1]1.2 (April 1935), pp. 91-106; [Pt. 2]1.3
(Juli 1935), pp. 145-164. [Complete translation]
Kiihnel: <4Das Taketori Monogatari,in Asobi: Altjapanische Novellen, Deutsch
von Paul Ktihnel (Mtinchen: Georg Muller, 1923), pp. 1-46, 201-217, and xvii-
xix. [Meisterwerke Orientalischer Literaturen, Sechster Band] [Complete trans
lation]
Lange: uDas Taketori monogatari,[Ubersetzt von] Dr. R. Lange, Mitteilungen der
Deutschen Gesellschaft fur Natur- u n d Volkerkunde Ostasiens 2 (Yokohama,
1876-1880), pp. 303-318. [Early issues of the journal such as this one actually
have archaic Mittheilungen, instead of Mitteilungen, in title] [Complete transla
tion]
Takagi: El cuento del cortador de bambu^ Edicion de Kayoko Takagi, Traduccion

de Kayoko Takagi, Prologo de Mario Vargas Llosa ([Madrid: U N E S C O , Trotta,
1998 & 2002, without the prologue]; Madrid: Catedra, 2004). [Complete transla
tion (pp. 191-240)]
[Note the extensive “Introducci6 n，
”pp. 11-189，and the “ A p さndice，
’’pp.
241-263, which contains translations from classical texts of several excerpts
bearing on Taketori monogatari]
Tosa nikki 土佐日記 ca. 935

by K i n o T s u r a y u k i 紀貫之 ca. 868-945
McCullough: 4tA Tosa Journal,in Classical Japanese Prose: A n Anthology, C o m

piled and Edited by Helen Craig McCullough (Stanford: Stanford University
Press, 1990), pp. 73-102. [Complete translation]
322
A ppendix D
[Cf. the earlier version at the back of the McCullough Kokin W a k a s h u
volume (pp. 263-291), cited above under the Kokinshu]
Miner: 'The Tosa Diary (Tosa Nikki) by Ki no Tsurajoiki,^ in Japanese Poetic
Diaries, Selected and Translated, with an Introduction, by Earl Miner (Berkeley:
University of California Press, 1969), pp. 57-91.[Complete translation]
Sargent: “ The Tosa Diary [Tosa M んん/] liy Ki no Tsurayuki,”Translated by G.W.
Sargent, in Anthology of Japanese Literature, f r o m the earliest era to the m i d
nineteenth century, Compiled and edited by Donald Keene (New York: Grove
Press, 1955), pp. 82-91. [Partial translation]
Porter: The Tosa Diary, Translated from the Japanese by William N. Porter (Lon
don: Henry Frowde, 1912; rpt. N e w York: A M S Press, 1976; Rutland, Vt. &
Tokyo, Japan: Charles E. Tuttle Co., 1981). [Complete translation]
Harris: L o g of a Japanese Journey f r o m the Province of Tosa to the Capital^ by
Tsurayuki, With illustrations by Toshio Aoki, [Translated by] Flora Best Harris
(Meadville, Pa.: Flood & Vincent, 1891) [rpt. Tokyo: Kyobunwan,1910]; rpt.,
as Harisufujin yaku Tosa nikki (Aru Nihonjin ryokdkf) ハ ') ス夫人訊 :h 佐M 記
(或る日本人旅行紀 )，with modem-Japanese translation of the m M / by
Araya Takeshiro新谷武四郎現代語訳付（ Hirosaki-shi弘前市：Araya Take-
shirG 新谷武四郎，1973).[Includes photo-reproduction of the original Harris
text (unpaginated); page-numbers in the Handbook follow those added in this
rpt.] [Complete translation]
Aston: “ A n Ancient Jaoanese Classic (The Tosa nikki,’or Tosa Diary),”by W.G.
Aston, Transactions of the Asiatic Society of J apan 3.2 (1875), pp. 109-117.
[Partial translation (includes passages); paraphrases are indicated by pointed
brackets < >]
Sieffert: L e journal de Tosa [et] P o e m e s du Kokin-shu, par Ki no Tsurayuki, Pre-
sentes et traduits du japonais par Rene Sieffert ([Cergy:] Publications Oriental-
istes de France, 1993). [Tosa nikki, pp. 12-61; Kokinshu poems (by Tsurayuki),
pp. 63-95] [Complete translation]
Nakamura & de Ceccatty: <4Joumal de Tosa (Tosa nikki),^ in M i lie ans de littera-
ture japonais: U n e anthologie du VIIIe a u X V I lie siecle, par Nakamura Ryoji
and Rene de Ceccatty, ([Paris]: A u x editions de la difference, 1982), pp. 13-33.
Revon: u T 〇9a n i k k i , i n Anthologie de la Litterature Japonaise des Origines au
X X e siecle, p a r M i c h e l R e v o n (Paris: Librairie D e l a g r a v e , 1 9 1 0 ; 6 t h ed., 1 9 28),
p p . 1 5 2 - 1 6 3 . [Partial translation]
Bosse: D a s Tosa Nikki, Herausgegeben von Mirok Li [Yi Mi-ruk], Ubertragen von
A. von Bosse (Potsdam: Muller, 1923; rpt. [Bergen:] Muller & Kiepenheuer,
1948). [Complete translation]
T s u r e z u r e g u s a 徒然草 ca. 1335
by(Yoshida[no])Kenk6 (吉田 )兼好 1283-1350
Chance: Formless in F o rm: Kenko, 'Tsurezuregusa \ a n d the Rhetoric of Japanese

Fragmentary Prose by Linda H. Chance (Stanford: Stanford University Press,
1997). [Partial translation (includes passages)]
323
A ppendix D
Carter: "Essays in Idleness,[Translated by Steven D. Carter,] in Classical J a p a
nese Prose: A n Anthology, Compiled and Edited by Helen Craig McCullough
(Stanford: Stanford University Press, 1990), pp. 393-421. [Carter’ s contribution
is acknowledged on p. viii] [Partial translation]
Switzer: Idle Jottings: Ze n Reflections f r o m the Tsure-zure G u s a of Yoshida Kenko,
Selected, Translated and Adapted by A. Irwin Switzer III, Introduction by John
Snelling (Totnes, South Devon: Empty Circle Press, 1988). [Partial translation]
[4tThe present work does not set out to be a literal English rendering of
Yoshida Kenko’ s prose classic•••• He (Irwin Switzer) accordingly selected
various items from Tsure-zure G u s a and translated them, at the same time
making subtle changes and adaptations to suit his own purpose.’ ’ ; 18 Editor’ s
Introduction, p . 11]
Kusajima w. Nakajima: Hdjdki a n d Tsurezuregusa Supervised
by Dr. Fumio Nakajima [中島文雄]，Translated by Dr. Tokisuke FCusajima [草
A 時介 ] (Tokyo: Shubun Inemational C o . [秀文インターナショナル ] ，
[©1982]1983). [Hdjdki^ pp. 19-37; Tsurezuregusa, pp. 39-85] [Partial transla
tion]
Keene: Essays in Idleness: The 'Tsurezuregusa9 of Kenko, Translated by Donald
Keene (New York: Columbia University Press, 1967 [& 1998] [rpt. Tokyo:
Charles E. Tuttle,1981]).[Complete translation]
Matsumoto: ''Quotations from the Gleanings f r o m M y Leisure H o urs (Tsure-zure-
gwsめ by Kenk 6 -Hoshi，，
’in 0/¢/，by Jun-ichir6
Tanizaki et al.，Edited and translated by Ry 6 z6 Matsumoto [松本良三] (©1961;
enlarged and rev. ed.，Tokyo: The Hokuseido Press [北星堂書 /^],1966)，pp.
285-294. [Partial translation]
Daniels: “ Extracts from the Turezure-gusa,” in ZVoye/ Texts a n d
Translations, Selected and made by F.J. Daniels (London: Lund Humphries &
Company, Ltd., 1944), pp. 86-97. [Partial translation],
Eby: The Tsure-dzure-gusa: Meditations of a Recluse, Translated by Reverend C.S.
Eby (Tokyo: San Kaku Sha [三角社 ] , 1934). [Partial translation (and para
phrase). The first 25 (of 243) sections]
Kurata: The Harvest of Leisure, Translated f r o m the 'Tsure-Zure G u s a \ by Ryu-
kichi Kurata, Introduction by L. Adams Beck (London: Murray, 1931; rpt. N e w
York: Grove Press, 1960). [Partial translation]
G o wen: The Journal of Kenko: Musings of a Japanese Qoheleth in the Fourteenth
Century, by Herbert H. G o w e n (Seattle: University of Washington Book Store,
1927). [38-pp. chapbook] [Partial translation (includes passages, but none cited
in the Handbook because the Sansom translation is used throughout)]
[uThis essay appeared originally in The O p e n Courf'; p. 6 ]
|A For example, the passage rendered in the H a n d b o o k as ' T h e r e is probably n o o n e less enviable
than a m o n k ”（
MZK.l [zu], # 2 5 ) is translated b y Switzer as ‘
W o - o n e envies a b u m . ” Switzer,
w h o s e b o o k is dedicated to Harold G o u l d H e n d e r s o n , states ( p . 19) that h e w a s “inspired b y
Henderson’ s early efforts,”having “stum b l e d u p o n a partial translation in manuscript f o r m ”b y
the earlier scholar. T h e editor o f this p o s t h u m o u s l y published v o l u m e , J o h n Snelling, thanks
both J o h n Stevens a n d D o n a l d K e e n e for their assistance ( p . 18).
324
A ppendix D
Wakameda: The Idle Thoughts of a Recluse: Being a Translation of the Tsurezure
6ァ Fos/n•ぬた o, Translated by T. Wakameda [Wakameda Takeji 若目
田武次 ] (Tokyo: The Taiheikwan [泰举館 ],1914). [Complete translation]
Porter: The Miscellany of a Japanese Priest: Being a Translation of 'Tsure-zure
Gusa' by K e n k o Yoshida, Translated from the Japanese by William N. Porter,
With an Introduction by Sanki Ichikawa (London: Humphrey Milford, 1914; rpt.
Rutland, Vermont & Tokyo, Japan: Charles E. Tuttle Company, 1974). [Com
plete translation]
Sansom: Kenko, Essays in Idleness, Translated by G.B. Sanson, Edited, and with an
Introduction, by Noel Pinnington (Ware, Hertfordshire: Wordsworth Editions
Limited, 1998). [Nearly complete translation]
[Originally published by the Asiatic Society of Japan in 1911 as The Tsure-
dzure gusa of Yoshida no Kaneyoshi, being the meditations of a recluse in
the 14th century]
Grosbois & Yoshida: 'Les heures oisives' surezure-gusa), pa r U r a b e Kenxo,

suivi de 'Notes de m a cabane de moine' (Hojo-ki), p a r K a m o no Chomei:
[Tsurezuregusa] Traduction et commentaires de Charles Grosbois et Tomiko
Yoshida, pp. 9-258; [Hdjoki] Traduction du R.P. Sauveur Candau, pp. 259-281
(Paris: Gallimard,1968). [Complete translation]
Revon: ‘ ‘
Le Tsourさ-zour卜gou?a,”in 如 //70/0抑み /a Japowa/se 如
Origines a u X X e siecle, par Michel Revon (Paris: Librairie Delagrave, 1910; 6th
ed., 1928), pp. 275-301. [Partial translation]
Ishikawa: 4<Kenko et le Tsoure-Zoure-Gouga， ” in Etude sur la litterature
impressionniste au Japon, par Takeshi Ishikawa (Paris: A. Pedone, 1909), pp.
17-95. [These pour le doctorat de TUniversite de Paris] [Partial translation]
Bemdt: Draufien in der Stille: Klassische Erzahlungen, Anekdoten i m d Aphorismen,
von Kenko, Aus dem Japanischen von Jurgen Bemdt (Berlin: Edition q , 1993).
Naumann & Naumann: “ Yoshida Kenk6: Allerlei aus Mussestunden， ”in D/e Zaw-
berschale: Erzahlungen v o m Leben japanischer D a m e n , Monche, Herren u n d
Knechte, Ausgewahlt und aus dem Japanischen ubersetz von Nelly und Wolfram
Naumann (Mlinchen: Carl Hanser Verlag, 1973), pp. 267-294 and 406-409.
Beni: Betrachtungen aus der Stille, Tsurezuregusa^ von Yoshida Kenko, Aus dem
Japanischen iibertragen, erlautert und mit einem Nachwort versehen von Oscar
Beni,Mit zehn Holzschnitten ([1940]; Frankfurt a m Main: Insel Verlag, 1963,
1978, 1 9 9 1 [& 2003] [Hamburg: Otto-Rohse-Presse, 1982; Frankiurt:
Suhrkamp,1985]). [Nearly complete translation]
[Originally published as Tsurezuregusa; oder, Aufzeichnungen aus Musse-
stunden (Tokyo: Japanisch-Deutsches Kultur-Institut, 1940), 2 vols.; rpt. as
Tsurezuregusa: Aufzeichnungen in Mussestunden (Bergen: Muller &
Kiepenhauer,1948)]
[Gundert: “ Aphorismen aus dem Tsurezuregusa des Yoshika Kenk6,”W. Gundert,
Yamato 1(1929). Unavailable for inclusion in Handbook]
[Regarding this journal, note Hartmut Walravens, Yamato, A G e r m a n Jour
nal on J apan {1929-1932): Bibliography a n d Index (Hamburg: C. Bell,
1983)]
325
A ppendix D
Rodriquez: Tsurezuregusa: Ocurrencias de un ocioso, de Kenko Yoshida, Traduc-

cion, presentacion y notas: Justino Rodriquez (Madrid: Hiperion, 1986 [&
1996]). [Complete translation]
A p p e n d ix E
Studies R elated to C lassical Japanese (Bungo)
in W estern Languages (except Russian):
Individual B ook-Titles O nly
1 ) Grammars, Introductions
2) Related Studies
A General Studies— Works (at least in significant part) Related to Classical
Japanese
B Specialized Studies— Classical Japanese
C Kamb u n
D Sorobun
3) Annotated Texts— For Further Study
1 ) G r a m m a rs , I n tr o d u c tio n s
Aston, W.G., A G r a m m a r of the Japanese Written L a n g u a g e (London: Royal Asi
atic Society, 1877; 3rd ed., London: Luzac, 1904).
Chamberlain, Basil Hall,A Simplified G r a m m a r of the Japanese L a n g u a g e (Modern
Written Style), revised edition by Colonel James Garfield Mcllroy (Chicago:
The University of Chicago Press, 1924). [Treats some elements of bungo]
Gardner, Elizabeth F., Introduction to Literary Japanese (New Haven, Conn.: Far
Eastern Publications, Yale University, 1954). [This pamphlet uses translations
of the Bible, as well as of well-known proverbs, into bungo-sXy\Q Japanese to
illustrate classical constructions]
Henderson, Harold G., H a n d b o o k of Japanese G r a m m a r (Cambridge, Mass.: The
Riverside Press, Houghton Mifflin Company, 1943; rev. ed., 1948). [Treats
classical a n d m o d e m Japanese]
Ikeda Tadashi, Classical Japanese G r a m m a r Illustrated with Texts (Tokyo: The
Toho Gakkai, 1975; 2nd ed., 1980). [Abbreviated as in the Handbook;
see the P r e f a c e , Sect. Ill] [Traditional approach. Good for reference. Gives
details on some of the less-commonly used grammatical constructions]
Komai Akira, A G r a m m a r of Classical Japanese (Chicago: Culver Publishing,
1979). N.B. Cf. the following entry—
Komai Akira and Thomas H. Rohlich, A n Introduction to Classical Japanese
(Tokyo: Bonjinsha, 1991). [Basically, the same as the preceding (except that
the later work does not supply readings of sample phrases). T w o major draw
backs to the volumes: most of the b ungo examples are made up (i.e., are not
from real texts), and much of the vocabulary and many grammatical items ap
pear in the sample and practice sentences before they are treated in the work
(without being cross-referenced)]
Lehmann, W.P., and Lloyd Faust，d GVa/wwar o/Formof/ 灰r"/⑼ (Cam-
bridge, Mass.: Harvard University Press, 1951). Includes ^Supplement: Ko-
(31 pp., paginated separately) by R.P. Alexander. [Not a grammar of clas
sical Japanese, but includes treatment of certain constructions in the m o d e m
327
A ppendix E
Western-Language B ungo Studies
l a n g u a g e that are h i g h l y i n f l u e n c e d b y b ungo (especially o n e s w e l l in u s e until
i m m e d i a t e l y after W o r l d W a r II)]
Lewin, B r u n o , Abriss der japanischen G r a m m a t i k a u f der Grundlage der klas-
sischen Schriftsprache ( W i e s b a d e n : O t t o H a r r a s s o w i t z , 1 9 5 9 ; 2 n d ed., 1 9 7 5 ) .
[Treats classical a n d m o d e r n J a p a n e s e . Still q u i t e u seful a s a n overall g r a m m a r
o f t h e l a n g u a g e . N o t e the helpful list ( w i t h kanji, r o m a n i z e d r e a d i n g s , a n d G e r
man translation) o f m o s t l y clas s i c a l - l a n g u a g e " G r a m m a t i s c h e T e r m i n i , ^ pp.
Abrifi...)]
2 2 8 - 2 3 8 . ( O r t h o g r a p h y o f first-ed. title:
M c C u l l o u g h , H e l e n Craig, B u n g o Manual: Selected Reference Materials for Students
of Classical Japanese (Ithaca, N . Y . : C o r n e l l U n i v e r s i t y E a s t A s i a P r o g r a m , 1 9 8 8 ;
i n d e x b y J o h n R . W a l l a c e a d d e d to the third p r i n t i n g , 1993). [ Q u i t e helpful for
reference. T h e l o n g e r p o e t r y citations c a n b e difficult, especially since o n l y ro-
m a n i z a t i o n is p r o v i d e d ]
M a r k u s , A n d r e w , “I n t r o d u c t i o n to Classical J a p a n e s e G r a m m a r . ” U n p u b l i s h e d m a n -
uscript. [ ^ C o m p i l e d 1 9 8 8 ; revised 1 9 8 9 . M U s e d for the bungo c o u r s e at t h e
U n i v e r s i t y o f W a s h i n g t o n b e f o r e t h e a u t h o r 5s d e a t h in 1 9 9 5 . Difficult r o m a n i -
zation s y s t e m ]
M o r r i s , I van, Dictionary of Selected F o r m s in Classical Japanese Literature (New
Y o r k : C o l u m b i a U n i v e r s i t y Press, 1 9 6 6 ) . [ A b b r e v i a t e d as in t h e H a n d
b o o k ; s e e t h e P r e f a c e , Sect. I ll] N . B . M u s t b e u s e d w i t h t h e f o l l o w i n g , w h i c h
corrects n u m e r o u s m i s t a k e s in t h e v o l u m e —
Morris, Ivan, Dictionary of Selected F o r m s in Classical Japanese Literature:
Corrigenda, Addenda, Substituenda ( N e w Y o r k : C o l u m b i a U n i v e r s i t y Press,
1 9 7 0 ) . [ A b b r e v i a t e d as “I M Z ” in t h e l i a n d b o o k ; s e e t h e P r e f a c e , Sect. Ill]
O ^ e i l l , P.G., A P r o g r a m m e d Introduction to Literary-Style Japanese (London:
S c h o o l o f Orie n t a l a n d A f r i c a n S t u d i e s , 1 9 6 8 ) . [ A b b r e v i a t e d a s “P g 6 ” in t h e
H a n d b o o k ; s e e the P r e f a c e , Sect. Ill] [Excellent. R e a l l y n e e d s m o r e s a m p l e
s e n t e n c e s a n d m o r e e x a m p l e s o f inflected t e r m s in f o r m s o t h e r t h a n t h o s e illus
trated. B u t v e r y g o o d o n its o w n t e r m s a s a n introduction]
M a n u e l de japonais classique: Initiation au 'bungo' (Paris:
Pigeot, J a c q u eline,
Langues & Shin kokinshu e x a m p l e s ]
M o n d e s / L ^ s i a t h e q u e , 1998). [ F a v o r s
Pierson, J.L., K e y to Classical Japanese: A List of Inflected a n d Un-Inflected
Suffixes a n d Particles of the 7th a n d 8th Century ( L e i d e n : E.J. Brill, 1 9 5 6 ) .
[Basically, a s m a l l v o l u m e (in q u i t e b i g f o r m a t ) o f charts. S h o r t illustrative
phra s e s , m a n y f r o m theM a n ry dshu. M o d e r a t e l y u seful for reference]
R i c k m e y e r , Jens, Einfuhrung in das Klassische Japanisch, a n h a n d der Gedicht-
ん百人一首で学ぶ日本古典文学入門（1 9 8 5 ; 1 9 9 1 ;
3., v e r b e s s e r t e u n d erweiterte A u f l a g e , M u n c h e n : I u d i c i u m , 2 0 0 4 ) .
Sansom, G.B., A n Historical G r a m m a r of Japanese (Oxford: C l a r e n d o n Press,
1 9 2 8 ; rpt., R i c h m o n d , Sur r e y : C u r z o n Press, 1 9 9 5 ) . [Treats classical and mod
e m Japanese]
Seidel, A [ u g u s t ] , G r a m m a t i k der japanischen Schriftsprache (Wien: Hartleben,
[1904]).
Shirane, H a r u o , Classical Japanese: A G r a m m a r ( N e w Y o r k : C o l u m b i a University
bunô\
Press, 2 0 0 5 ) . [ T h e m o s t r e c e n t a n d a c c e s s i b l e g r a m m a r o f
Vovin, Alexander, A Reference G r a m m a r o f Classical Japanese Prose (London:
R o u t l e d g e C u r z o n , 2 0 0 3 ) . [ G o o d at s u m m a r i z i n g earlier J a p a n e s e a n d W e s t e r n
s c h o l a r s h i p o n g r a m m a t i c a l i t e m s treated; d r a w s o n f o u r H e i a n - p e r i o d texts
328
A ppendix E
(Taketori monogatari, Ise monogatari, H a m a m a t s u C h U n a g o n monogatari,
and Sarashina nikki) w h e n citing h u n d r e d s o f e x a m p l e s to substantiate p o i n t s
m a d e ; difficult r o m a n i z a t i o n s y s t e m a n d i n a d e q u a t e i n d e x e s ; initial p r i nting
p l a g u e d b y m i s p r i n t s (later said to h a v e b e e n corrected)]
2) R e l a t e d S t u d ie s
A) G e n e r a l S t u d ie s — W o r k s ( a t lea st in s ig n if ic a n t part) Re
lated to C l a s s i c a l Ja p a n e s e
Chibbett, D a v i d , The History o f Japanese Printing a n d B o o k Illustration (Tokyo:
K o d a n s h a International, 1 9 7 7 ) . [ F o r t r e a t m e n t until t h e e n d o f t h e sixteenth
c e ntury, s e e pp. 2 9 - 3 3 a n d 3 9 - 6 0 ]
Habein, Yaeko Sato, The History of the Japanese Written L a n g u a g e (Tokyo:
U n i v e r s i t y o f T o k y o Press, 1 9 8 4 ) . [Really, o n l y 1 0 0 p p . o f text, p l u s biblio.
a n d index. T h e 1 0 0 p p . o f m o s t l y p r e m o d e m texts that a r e t a c k e d o n t o t h e b a c k
o f t h e w o r k , m e a n t to illustrate s o m e o f t h e po i n t s the a u t h o r m a k e s , a r e o f l i m
ited u s e f u l n e s s as t h e y are u n a n n o t a t e d ]
K a n a Classic: A n Electronic Guide to Learning Classical Japanese K a n a Writing,
X. Jie Y a n g , w i t h S a d a k o O h k i a n d S o n j a A m t z e n ; E - m e i W a n g , c a l ligrapher
( C a l g a r y : U T I , U n i v e r s i t y o f C a l g a r y , 1998).
The B o o k in Japan: A Cultural History f r o m the Beginnings to the
K o m i c k i , Peter,
Nineteenth Century ( L e i d e n : Brill, 1 9 9 8 ; rpt. H o n o l u l u : U n i v e r s i t y o f H a w a i i
Press, 2 0 0 1 ) . [ N o t e t h e c h a p t e r s o n “M a n u s c r i p t C u l t u r e , ” “P r i n t e d B o o k s , ”
a n d “T r a n s m i s i o n , ” esp. p p • 今8 - 9 9 , 1 1 2 - 1 2 5 , a n d 2 7 7 - 3 0 0 , respectively]
Miller, R o y Andrew, The Japanese L a n g u a g e (Chicago: University o f C h i c a g o
Press, 19 6 7 ) . [Still the best i n t r o d u c t i o n to t h e l a n g u a g e a n d its history]
Shibatani M a s a y o s h i , Che L anguages of J a p a n ( C a m b r i d g e : C a m b r i d g e University
Press, 19 9 0 ) . [ I n c l u d e s a section o n the “H i s t o r y ” o f t h e l a n g u a g e (pp. 1 1 9 -
139), w h i c h i n c l u d e s a s u b s e c t i o n o n “T h e O l d J a p a n e s e V o w e l S y s t e m ” （
pp.
131-139)]
Tsujimura Natsuko, A n Introduction to Japanese Linguistics (Oxford: Blackwell
P u b l i s h e r s , 19 9 6 ) . [ I n c l u d e s a short section o n “Historical L i n g u i s t i c s ” （
pp.
352-362)]
B) S p e c ia l iz e d S t u d ie s — C l a s s i c a l J a p a n e s e
Im portant Note: M a n y stu d ies (and som e tran slation s) o f in d ivid u al prem odern
tex ts d iscu ss the langu age u sed in the w ork b ein g treated; se e the item s referred
to in the P r e f a c e , Sect. VIII, B and C. T h e fo llo w in g stu d ies are sp ec ific a lly
related to th e c la ssica l lan gu age 一
A k i b a K a t s u e , “A Historical S t u d y o f O l d J a p a n e s e S y n t a x , ” U n p u b l i s h e d P h . D .
diss., U n i v e r s i t y o f C a l i f o r n i a at L o s A n g e l e s , 1 9 7 8 .
B e c k w i t h , C h r i s t o p h e r 1., Koguryo: The L a n g u a g e of Japan's Continental Relatives
( L e i d e n : Brill, 2 0 0 4 ) . [Subtitle: tcA n I n t r o d u c t i o n to th e H i s t o r i c a l - C o m p a r a
tive S t u d y o f the J a p a n e s e - K o g u r y o i c L a n g u a g e s , w i t h a P r e l i m i n a r y D e s c r i p
tion o f A r c h a i c N o r t h e a s t e r n M i d d l e C h i n e s e 55]
B e n t l e y , J o h n R., A Descriptive G r a m m a r of Early O la Japanese Prose (Leiden:
Brill, 2 0 0 1 ) . [Treats the g r a m m a r o f v e r y e arly ( s e v e n t h - a n d e i g h t h - c e n t u r y )
329
A ppendix E
Western-Language B u n g o Studies
texts: m o s t l y norito prayers, w i t h c o r r o b o r a t i n g d a t a f r o m senmyd
early imperial-edicts: t4T h e m a i n g o a l o f this r e s e a r c h is to d e s c r i b e t h e lan
g u a g e o f a single text, t h e liturgies o f A s u k a - N a r a J a p a n ,5 (p. 2). Difficult ro-
m a nization system]
C a s e , T e r e s a L e y d e n , 4tK a n a in t h e E i g h t h C e n t u r y : A n Ancient Japanese Writing
S y s t e m , s, U n p u b l i s h e d P h . D . diss., C o r n e l l U n i v e r s i t y , 2 0 0 0 .
The Action-Qualifying Particles ''no" a n d ,lg a f, in the Subordi
Ellegiers, D a n i e l ,
nate Clauses of Classical Japanese ( T o k y o : T h e J a p a n S o c i e t y for t h e P r o m o
tion o f S c i e n c e , [1954]).
Frellesvig, B j a r k e ,A Case Study in Diachronic Phonology: The Japanese fO n b in1
S o u n d C hanges ( A a r h u s : A a r h u s U n i v e r s i t y Press, 1 9 9 5 ) .
F u j n N o r i k o , 4tA D i a c h r o n i c S t u d y o f G r a m m a t i c a l S u b j e c t in J a p a n e s e ( D i s c o u r s e ,
Topic Marker, T h e T a l e o f G e n j i J, L a n g u a g e C h a n g e ) , U n p u b l i s h e d P h . D .
diss., U n i v e r s i t y o f M i c h i g a n , 1 9 8 5 .
H e n d r i k s , Peter, “A d v e r b i a l a n d A d n o m i n a l M o d i f i c a t i o n in O l d J a p a n e s e : C o p u l a r
Particles a n d P r e d i c a t i o n s , U n p u b l i s h e d P h . D . diss., Y a l e U n i v e r s i t y , 1 9 9 2 .
H s i e h K u e i - L a n , “A S t u d y o f N o m i n a l C o m p o u n d s in S i n o - J a p a n e s e ，
”U n p u b l i s h e d
P h . D . diss., U n i v e r s i t y o f Illinois at U r b a n a - C h a m p a i g n , 1 9 9 6 .
Kaiser, Stefan, Circumnominal Relative Clauses in Classical Japanese: A n Histori
cal Study ( W i e s b a d e n : O t t o H a r r a ssowitz, 1991). [ N o t e o n pp. 2 2 - 2 3 ( u n h e l p
fully p l a c e d a n d n o t identified in t h e table o f contents), a list o f t h e a b b r e v i a -
tions for a n d s o u r c e s o f texts cited in t h e s tudy]
tCamei Takashi, 及o r r o v W w g s ZVe/z / s / o n ’
c Japawese (Tokyo: Y o s h i k a w a
K o b u n k a n , 19 5 4 ) . [ N o t e t h e " R e s u m e in J a p a n e s e , p p . 5 9 - 6 1 ]
ICiyose, G i s a b u r O N ” J a p a n e s e L / w g w / W / c s ゴメ/な7/c L f l w g w a g e s ( T o k y o : M e i j i
S h o i n , 1991).
L a n g e , R o l a n d A.,The Phonology of Eighth-Century Japanese: A Reconstruction
B a s e d U p o n Written Records ( T o k y o : S o p h i a U n i v e r s i t y Press, 1 9 7 5 ) .
Lurie, D a v i d Barnett, “T h e O r i g i n s o f W r i t i n g in E a r l y J a p a n : F r o m t h e 1st to t h e
8 t h C e n t u r y C . E . , M U n p u b l i s h e d P h . D . diss., C o l u m b i a U n i v e r s i t y , 2 0 0 2 . [ E x
cellent; i n c l u d e s m o r e r e c e n t t r e a t m e n t o f e arly textual J fragments d i s c u s s e d in
t h e S e e l e y w o r k cited b e l o w ]
Martin, Samuel E., The Japanese L a n g u a g e through Time (New Haven: Yale
U n i v e r s i t y Press, 198 7 ) . [ A h i g h l y techn i c a l study. N o t e t h e f o l l o w i n g , h o w -
ever: “C h r o n o l o g y o f D a t a S o u r c e s for Earlier J a p a n e s e ” （
p. 78); “List o f V e r b
Stems” （
pp. 6 7 4 - 7 8 9 ) ; “List o f A d j e c t i v e S t e m s ” （
p p . 8 土5 - 8 4 5 ) a n d “N e w e r
A d j e c t i v e S t e m s 5' (pp. 8 4 6 - 8 5 9 ) . Difficult r o m a n i z a t i o n s y s t e m ]
M a t h i a s , G e r a l d B., Ojilexico, U n p u b l i s h e d c o m p u t e r d a t a b a s e o f the lexicon o f O l d
J a p a n e s e , 1 9 9 3 (cited in t h e M a r c H i d e o M i y a k e w o r k [p. 2 8 0 ] listed b e l o w ) .
Matsumoto N o b u h i r o , L e Japonais et les langues Austroasiatiques: Etudes de
vocabulaire com p a r e (Paris: L i b r a i n e Orientaliste P a u l G e u t h n e r , 1 9 2 8 ) .
[ A u s t ro-Asiatica, D o c u m e n t s et t r a v a u x , T o m e I]
T h e Footprints o f the B u d d h a V A n Eighth-Century O l d J a p a
Miller, R o y A n d r e w ,
nese Poetic Sequence ( N e w H a v e n , C o n n . : A m e r i c a n O r i e n t a l S o c iety, 1 9 7 5 ) .
[ B o o k - l e n g t h t r e a t m e n t o f t h e “t w e n t y - o n e J a p a n e s e p o e m s , w r i t t e n in C h i n e s e
，(p. 2 ) ，f o u n d o n a slate stele at t h e Y a k u s h i j i in
c h a r acters u s e d as p h o n o g r a m s ’
N a r a . F o r m o r e re c e n t t r e a t m e n t o f t h e s a m e p o e m - s e r i e s ( w i t h e m p h a s i s o n its
literary aspect), s e e E d w i n A . C r a n s t o n , tr., A W a k a Anthology, V o l u m e One:
330
A ppendix E
W estern-Language B ungo Studies
The Gem-Glistening C u p (Stanford: S t a n f o r d U n i v e r s i t y Press, 1 9 9 3 ) , p p . 7 6 5 -
7 7 7 . N o t e also the earlier s t u d y b y D o u g l a s E. Mills, “T h e B u d d h a ’
s Footprint
Stone P o e m s , Journal of the American Oriental Society 8 0 (1960), pp. 2 2 9 -
242]
Miller, R o y A n d r e w , Japanese a n d Other Altaic Languages (Chicago: University o f
C h i c a g o Press, 19 7 1 ) .
Miller, R o y Andrew, Origins of the Japanese L a n g u a g e (Seattle: U n i v e r s i t y o f
W a s h i n g t o n Press, 198 0 ) .
Mills, D a v i d Otis, **A Historical Lingui s t i c S t u d y o f t h e C o p u l a in t h e J a p a n e s e
L a n g u a g e , ” U n p u b l i s h e d P h . D . diss.，U n i v e r s i t y o f M i c h i g a n , 1 9 7 4 .
Miyake, M a r c Hideo, O l d Japanese: A Phonetic Reconstruction (London: Rout-
l e d g e C u r z o n , 2 0 0 3 ).
Muccioli, Marcello, Morfologia della lingua giapponese scritta: C o n particolare
riguardo alio stile classico ( N a p o l i : C y m b a , 197 0 ) .
Noguchi S a c h i e ，“A s s e s s i n g U s e r s a n d U s e s o f E l e c t r o n i c T e x t : In C a s e o f t h e
J a p a n e s e T e x t Iniative, J a p a n e s e Classics E l e c t r o n i c T e x t o n t h e W o r l d W i d e
W e b ，
” U n p u b l i s h e d P h . D . diss., U n i v e r s i t y o f Pittsburgh, 2 0 0 1 .
O g a w a K u n i h i k o , ''Japanese Interrogatives: A Synchronic a n d Diachronic A n a l y
sis,^ U n p u b l i s h e d P h . D . diss., U n i v e r s i t y o f C a l i f o r n i a at S a n D i e g o , 1 9 7 6 .
O g a w a N o b u o , t4T h e M e a n i n g a n d F u n c t i o n o f t h e S u f f i x e d -ki, -keri, -tu, -nu, -tari,
a n d -ri in ‘
Genzi monogatari，
’” U n p u b l i s h e d P h . D . diss.，U n i v e r s i t y o f P e n n -
syl vania, 1 9 8 3 .
Ohno Susumu, The Origin of the Japanese L a n g u a g e (Tokyo: Kokusai Bunka
Shinkokai ( J a p a n Cult u r a l Society), 1 9 7 0 ) . [ C o m p r i s e d o f f o u r chapters: I,
“T h e J a p a n e s e a n d the A i n u , ”p p . 1-33; II，“E a s t J a p a n a n d W e s t J a p a n , p p . 3 4 -
5 5 ; III, “C a n W e F i n d A n y L a n g u a g e s R e l a t e d to J a p a n e s e in S o u t h e a s t 人sia?”
p p . 5 6 - 7 9 ; I V , “O l d J a p a n e s e , Altaic a n d K o r e a n ，
”pp. 8 0 - 1 4 4 ]
O h t a K a o r u , “V e r b a l N o u n s in J a p a n e s e , ” U n p u b l i s h e d P h . D . diss.，U n i v e r s i t y o f
Ca l i f o r n i a at L o s A n g e l e s , 1 9 9 4 . [ A b o u t t h e R en ^ okei]
Quinn, C h a r l e s J o s e p h , Jr., UA F u n c t i o n a l G r a m m a r o f P r e d i c a t i o n in Classical
J a p a n e s e / * U n p u b l i s h e d P h . D . diss., U n i v e r s i t y o f M i c h i g a n , 1 9 8 7 .
R o b b e e t s , M a r t i n e Irma, Is Japanese Related to Korean, Tungusic, Mongolic a n d
Turkic? ( W i e s b a d e n : Harrassowitz, 2005).
S a n d n e s s , K a r e n E., The Evolution of the Japanese Past a n d Perfective Suffixes
( A n n A r b o r : C e n t e r for J a p a n e s e Studies, U n i v e r s i t y o f M i c h i g a n , 1 9 9 9 ) .
S e e l e y, C h r i s t o p h e r , A History of Writing in J a p a n ( L e i d e n : E J . Brill, 1 9 9 1 ) . [ A
detailed s t u d y o f t h e earliest text f r a g m e n t s in J a p a n . F o r m o r e r e c e n t t r e a t m e n t
o f m u c h o f t h e s a m e material, s e e the L u r i e w o r k listed a b o v e ]
Shim a b u k u r o Morio, The Accentual History of the Japanese a n d R y u k u a n L a n
guages: A Reconstruction ( F o l k e s t o n e , K e n t : G l o b a l Oriental, 2 0 0 5 ) .
Street, J o h n , Altaic Elements in O l d Japanese, Pt. 2 ( M a d i s o n , W i s e . , 1 9 7 8 ) (cited
in the N . A . S y r o m i a t n i k o v w o r k [ p . 1 4 5 ] listed b e l o w ) .
Street, J o h n , O n the Lexicon of Proto-Altaic: A Partial Index to Reconstructions
( M a d i s o n , Wise., 1974). ‘
Street, J o h n , a n d R o y A n d r e w Miller, Altaic Elements in O l d Japanese, P t . 1 (Draft
V e r s i o n ) , ( M a d i s o n , W i s e . : J o h n Street a n d R o y A n d r e w Miller, 1 9 7 5 ) .
S y r o m i a t n i k o v , N[iko l a i ] A [ l e k s a n d r o v i c h ] , The Ancient Japanese L a n g u a g e (Mos
c o w : ^ N a u k a ^ P u b l i s h i n g H o u s e , Cen t r a l D e p a r t m e n t o f O r i e n t a l Literature,
331
A ppendix E
19 8 1 ) . [Treats the e i g h t h - c e n t u r y l a n g u a g e . D r a w s m o s t l y o n p o e t r y e x a m p l e s .
I n c l u d e s a useful listing ( p p . 1 4 2 a n d 1 4 4 - 1 4 5 ) o f p r e - 1 9 8 1 R u s s i a n - l a n g u a g e
w o r k s related to a n c i e n t J a p a n e s e 1]
T a k e u c h i , L [ o n e ] L., The Structure a n d History of Japanese: F r o m Yamatokotoba
to Ni h o n g o ( L o n d o n : L o n g m a n s , 1999).
Takeuchi, Lone, A Study of Classical Japanese Tense a n d Aspect (Copenhagen:
A k a d e m i s k Forlag, 19 8 7 ) . N . B . N o t e also t h e f o l l o w i n g —
Takeuchi, Lone, Supplement to UA Study of Classical Japanese Tense a n d Aspect'1
( C o p e n h a g e n : A k a d e m i s k Forlag, 1 9 8 7 ) .
U n g e r , J. M a r s h a l l , Studies in Early Japanese Mo r p h o p h o n e m i c s ( 2 n d ed., B l o o m
ington: I n d i a n a U n i v e r s i t y Lingui s t i c s C l u b , 1 9 9 3 ) . [ N o t to b e c o n f u s e d w i t h
the 1st ed., B l o o m i n g t o n : I n d i a n a U n i v e r s i t y Lingu i s t i c s C l u b , 1 9 7 7 , w h i c h in
turn w a s a reprint o f the a u t h o r ^ Y a l e U n i v e r s i t y P h . D . diss. o f t h e s a m e title,
1975. A h i g h l y technical study. N o t e t h e u s e f u l contra s t i v e tables o f L a n g e 9s
r e c o n s t r u c t i o n s for t h e syllables o f O l d J a p a n e s e (pp. 1 9 - 2 0 ) w i t h t h o s e o f the
a u t h o r (p. 22). N o t e also the “List o f V e r b s ” o f O l d J a p a n e s e (pp. 8 7 - 1 4 2 ) a n d
a n “I n d e x o f p J R o o t s ” （
p p . 1 4 3 - 1 5 2 ) ( p J = p r o t o J a p a n e s e ) ; b o t h e m p l o y diffi-
cult r o m a n i z a t i o n ]
Vovin, Alexander, A Descriptive a n d Comparative G r a m m a r of Western O l d J a p a
nese, Part 1: Phonology, Script, Lexicon a n d Nominals ( F o l k e s t o n e , K e n t :
G l o b a l Oriental, 2 0 0 6 ) .
W e n c k , Gunther, Japanische Phonetik ( W i e s b a d e n : O. Harrossowitz, 1954-59), 4
vols.
W h i t m a n , J o h n B r a d f o r d , “T h e P h o n o l o g i c a l B a s i s for t h e C o m p a r i s o n o f J a p a n e s e
a n d K o r e a n , " U n p u b l i s h e d P h . D . diss., H a r v a r d U n i v e r s i t y , 1 9 8 5 .
Wrona, Janick, The O l d Japanese C o m p l e m e n t System: A Synchronic a n d D i a
chronic Study ( F o l k e s t o n e , K e n t : G l o b a l Oriental, 2 0 0 6 ) .
Y o k o y a m a M a s a k o , The Inflections o f 8th-Century Japanese ( B a l t i m o r e : Lingui s t i c
S o c i e t y o f A m e r i c a , 1 9 5 0 ) . [ A c c o r d i n g to R o y A n d r e w M i l l e r (Journal of the
American Oriental Society 1 2 3 . 4 [ O c t . - D e c . 2 0 0 3 ] , p. 8 5 0 ) , t4t h e m a j o r existing
descriptive t r e a t m e n t o f O l d J a p a n e s e ’
’]
Yoshitake, S[aburo], The Phonetic System o f Ancient Japanese (London: T h e Royal
Asiatic Society, 1934).
C) Kambun
Crawcour, Sydney, A n Introduction to K a m b u n ( A n n A r b o r : C e n t e r for J a p a n e s e
Studies, T h e U n i v e r s i t y o f M i c h i g a n , 1 9 6 5 ) .
K o m a i Ak i r a a n d T h o m a s H. Rohlich, A n Introduction to Japanese K a m b u n (Nago
ya: T h e U n i v e r s i t y o f N a g o y a Press, 1 9 8 8 ) .
Robert, Jean-Noel, Lectures elementaires en style sino-japonais (kanbun) (Paris:
U n i v e r s i t e Paris VII, 19 8 6 ) . [ N o t e also t h e f o l l o w i n g b o o k b y t h e s a m e author:
ジャンノエルロべ'ール，NijiUsseiki no kanbun: Shigo no shdhLi 二十一世紀
の漢文 :死語の将来（
Kyoto: K o kusai N i h o n B u n k a K e n k y Q Sentaa 国際日本
1 F o r a d d itio n a l R u s s ia n - la n g u a g e w o rk s o n J a p a n e s e la n g u a g e , s e e th e N o r b e r t R . A d a m i b ib -
lio g r a p h y (p p . 7 7 - 8 2 ) fo r 1 9 8 0 - 1 9 9 0 title s , a n d th e “ L in g u is tic s ” c h a p t e r in th e E . S tu a r t K irb y
w o rk ( p p . 115-124) — b o th c ite d in th e PREFACE, n . 25. N o te in p a r tic u la r th a t A le x a n d e r
V o v in in h is tw o w o rk s (b o th c ite d in th is a p p e n d i x ) c ite s R u s s ia n - la n g u a g e s c h o la r s h ip .
332
A ppendix E
文化研究センター，2001)(A ddedtitleinE nglish:A ^r«6w /7>/^//7eA !A 7s^C e«-
turv: The t uture oj D e a d Languages)]
S e e also the entries a b o v e u n d e r H s i e h K u e 卜L a n a n d K a m e i l’
akashi.
D) SOROBUN
L a m e r s , J e r o e n Pieter, ireatise on epistolary Style: Joao Roariguez on the Noble
Art of Writing Japanese Letters ( A n n A r b o r : C e n t e r for J a p a n e s e Studies, U n i
versity o f M i c h i g a n , 2 0 0 2 ) . [ N o t e the G l o s s a r y o f sdrdbun-rdatQd t e r m s (pp.
9 1 - 9 4 ) , the v a l u e o f w m c h is c o n s i d e r a b l y d i m i n i s h e d b y t h e l a c k o f kanji
(there a n d e l s e w h e r e ) in the v o l u m e ]
3) A n n o t a t e d T e x t s — F o r F u r t h e r S t u d y
D a n i e l s , F.J., ed., Selections f r o m Japanese Literature (12th to 19th Centuries)

( L o n d o n : L u n d H u m p h r i e s , 1958). [ Q u i t e useful]
I k e d a Tadashi, Classical Japanese G r a m m a r Illustrated with Texts ^cited in S e c t . 1
a b o v e ) . [ I n c l u d e s r e a d i n g s at t h e b a c k o f t h e w o r k , pp . 2 9 7 - 3 2 8 ]
Lewin, Bruno, Japanische Chrestomathie, von der Nara-Zeit bis zur Edo-Zeit, vol.
1: K o mmentar, v o l . 2: Texte ( W i e s b a d e n : O t t o H a r r a s s o w i t z , 1 9 6 5 ) . [ G o o d
c o m m e n t a r y , helpful b i b l i o g r a p h y , a n d reliable e x p l a n a t i o n s ]
Shirane, H a r u o , Classical Japanese Reader a n d Essential Dictionary ( N e w York:
C o l u m b i a U n i v e r s i t y Press, f o r t h c o m i n g ) .
334
A ppendix F
Western-Language Bungo Grammars: An Analytical Chart
S e e A p p e n d i x E , S e c t . 1 , fo r fu ll c ita tio n s
Verb-Suffix Hand Shira- Vovin McCul Ikeda O ’

Neill Lewin Pigeot Pier Komai/ Hen San-
book ne lough son Rohlich derson som
MZK.1 123- 64-68, 247-249, 7,8 60-64 143- 186- 33-38 16, 127- 358-360, 190-
-zu 128 396- 237-240
151 187, 27 130
233-235, 192，
397 116 76,196 176-177
MZK.2 129- 66-67 240- 7-8 60-64 143- 187 37 16 127- 355- 213-
-zari 131 241 151 130 356 214
MZK.3 132- 94-99, 389, 273- 2-4 68-71 151- 172-173, 39-43 16 133- 172- 144
-mul-n 135 282
177, 174,
394-396 158 138
182,161 158
MZK.4 136- 99- 184， 5 71-72 160- 178-179, 44 00 138- OO OO
-muzul-nzu 139 100 276 161， 161-162,
140
153
182-183
MZK.5 140- 123- 292- 8 64-65 161- 187- 44 29 145- 115 192
-ji 141 125 295 163 188 146
MZK.6 142- 109- 221- 4-5 122- 163- 175-176, 119- 15 156- 156- 190
-mashi 145 112 223
178,180
125 166 120 157 157
MZK.7 146- 132- 285- 6 125- 166- 180, 122- 15 225- 153 OO
-mahoshi 149 134 287 126 167 9 123 228
Verb-Suffix Hand Shira- Vovin McCul Ikeda 0 ，

MZK.PCH.1 150- 141- 323- 9 111- 1 9 6 -2 01 , 150-1 5 4, 48-49 16 114- 238- 158-
-(ra)ru 152 146， 331 116
2 0 3 -2 0 4 1 5 7 -1 5 8
122 239 163
285
MZK.PCH.2 153- 1 4 7 -1 5 0 ， 331- 10 1 1 7 -1 2 0 ， 203- 154- 52-54 16 94- 255- 164-
-{sa)su 2 8 5 -2 8 6 150 ，
155 337 204 158 104 256 173
152-1 5 3
MZK.PCH.3 156- 147-1 50 , 407 10-11 120- 204- 154- OO 16 110- 263 164-
-shimu 2 8 5 -2 8 6
158 nl9 122 207 158 111 173
MZK.NIS.1 159- 178 252- 6-7 205- 177 85 113， 27 25-27 49-50 273-
-ba *if 160 255 206 117 275
MZK.NIS.2 161- 246- 223- 5-6 206- 185- 100 115- 27 105- 59 274
-baya 163 247 224 207, 188 116 107
233
MZK.NIS.3 164- 245- OO 7 234 158- 100 123- 28 104- 185 266
-namul-nan 165 246 159 127 105，
219
RYK.l 166- 82-85, 318- 13-14 95-98 130- 169- 57-62 18 221- 276- 177-179,
394- 277, 2 1 1 -2 1 2
-tori 169 323 134 170 224
2 7 4 -2 7 5
396
RYK.2 n o - 7 1 -7 5 ， 301- 15-16 108- 123- 162- 77-79 17 210- 138 185-
3 8 7 -3 8 8 , 213,
-keri 172 305 111 124 163 187
3 9 5 -3 9 6
77-78
A p p e n d i x F
335 Bungo G r a m m a r s : Chart

336 A ppendix F
B ungo Grammars: Chart
V erb -S u ffix H and Shira- Vovin McCul Ikeda O ’

Neill L ew in P ig eo t P ier Komai/ H en San-
b o ok ne lough son Rohlich derson som
RYK.3 173- 7 7 -7 9 , 305- 12 90-94 1 3 5 -1 40 , 166- 65-69, 18 214- 23 4 - 179-

-nu 177
8 1 -8 2 ,
310
1 5 7-158 235，
169 63 218 182
3 9 0 -3 9 3 178 ，
RYK.4 178- 391， ditto ditto ditto ditto ditto ditto ditto ditto ditto ditto,
-nikeri/Qtc. 182 392 183
RYK.5 183- 79-81, 310- 12-13, 85-90 125- 166- 63-65 18-19 214- 320- 174-
-tsu 187 387- 314, 60-61 130 169 218 321 ， 177
390 242-247 287-88
RYK.6 188- 6 8 -7 1 , 224- 14-15 103- 117- 162- 71-72 140,
17-18 205- 182-
-kH-shi 193
7 3 -7 5 ,
228 260，
107 121 163 209 185
388, 397 2 6 1 -2 6 2
RYK.7 194- 100- 225 16-17 76-78 122- 173- 76 17 193- 136- 184
-kemul-ken 196 103， 123 174 196 137
107
RYK.8 197- n o - 00 00 143- 116- 1 7 9 -1 8 1, 121- 18 225- 279- 110 ，
-tashi 200 183-1 8 4
132 144 117 122 227 280 113-
114
SSK.1 201- 1 1 2 -1 1 6 ， 287- 18-19 128- 88-94 174-17 5, 91-94 12 1 5 3 -1 6 0 ’ 60-64 n o -
3 8 9 -3 9 0 , 1 7 7 -17 8,
-beshi 206 292 133 1 7 1-17 2 ,
112
3 9 2 -3 9 3 1 8 2 ,1 8 3 1 6 5 ,3 8
Verb-Suffix Hand- Shira- Vovin McCul- Ikeda O ’

Neill Lewin Pigeot Pier- Komai/ Hen- San-
SSK.2 207- 107-109， 2 2 8 19-20 78-79 86-88 195 97-98 13 182- 241 189
399-400 185,
-rashi 210
175
SSK.3 211- 125- 292- 22-23 65-67 95-97 188- 94-96 12-13 165- 155- 112-
-maji 214 130 295 189 171 156 113,
no
SSK.4 215- 117- 295- 20-21 80-84 97-99 174 102- 13 186- 158- 188
-meri 217 118 299 103 189 ， 159
175
SSK.5 218- 103- 282- 21-22 73-76 100- 173 101 13 175- 237- 189
-ramul-ran 221 107 285 102 182 238
SSK.6 -nari 222- 118-121， 299- 22 134- 102- 191- 98- 13 235- 00 208-
393, 394，
hearsay/ 224 301 138 105 192 100 238 209
397-398
supposition
RTK.1 225- 134-136, 00 24-25 139- 105- 193- 111 14 239- 103- 114-
138-139 115，
-gotoshi 228 141 109 194 240 104
110
RTK.2 +nari 229- 88-91, 368- 25 134- 103- 191 84 14 229- (194- 208-
explanation/ 232 398- 370 138 105 232 195) 209
affirmation 399
IZK.NIS.1 233- 179- 256- 26-28 205- 177 85 45 26 21-22, 49-51 275
ba 'when, 234 180 259 207 25-27
because'
A p p e n d ix F
337 Bungo Grammars: Chart
338 A ppendix F
B ungo Grammars: Chart
Verb-Suffix Hand Shira- Vovin McCul Ikeda O ’

IZK.NIS.2 235- 182- 260- 26 208- 179- 86 42 26 2 2 , 29- 85-86 127,

-do{mo) 236 184 261 209 181 30 273,
276
MRK.1 237- 85-87, 314- 29 100- 167- 165-166, 105-106, 14 63-64, 248 00
-ri 241 396- 318 103
169-171 108-109 221-224
nO
39フ
N o t e that all entries for v e r b -suffixes in t h e M o r r i s d i c t i o n a r y o f g r a m m a t i c a l f o r m s a n d its s u p p l e m e n t ( a b b r e v i a t e d a s I M X a n d

I M Z in t h e H a n d b o o k ; s e e A ppendix alphabetically u n d e r their discrete
E , S e c t . 1 , for full citation) a r e listed forms (sometimes
w i t h affixes). T h a t is to say, there are separ a t e entries for -bekarazu, -bekere, -beki, -beku, -bekuba, -beshi, etc.
The 一
m o r ea out V e r b丨 S u f f i x e s , see the B o d y o f t h e h a n d b o o k .
A d j e c t i v e s , see Intro.5. F o r m o r e about PS E § o-A DJ EC TI VE S, see Intro.6. A n d for
material about verbs, verDal adjectives, pseudo-aajecuves, and verb-suftlxes.

T h e charts are ordered as lollows:
F"or m o r ea out V e r b s , see Intro.1 thru Intro. 3. F o r m o r e a o u t v E U B A L
:0110
cr
winc artsare intended lor quick—reference purposes. T h e y summarize
3 i
仁
き
私
私
3
3
344
3
342
3
6
3
5
OQ
cr cr
V
V
V
Suffixes after the R e n t a i k e i
Suffixes after the S h C s h i k e i
SufBxes after the R E N j Y
Suffixes after the M
erb
erbal
erb
-S u f f i x e s
CON5GATIONS
A
d je c t iv e s
。
SUMMARYnaARTS
VERB,"En d i n g s :
Appendix G
(Listed Alphabetically)
iz e n k e i
and
339
o'
PSEUD?A
KEI
Iz e n
k e i,
d je c t iv e s
andM e ir e ik e i
cr
Appendix G
Summary Charts
V erb C onjugations
M Z K R Y K SSK R T K IZK M R K
R eg u la r V erbs
Y o dan 四書く ‘to write’)

kakA kkl kakLI kakU kakE kakE
かかかきかくかくかけかけ
K a m iic h id a n 上一 (w/rw 見る ‘to s e e , 1 0 0 k a t ’
）
ml ml mIRU mIRU mIRE mIYO
みみみるみるみれみよ
K a m in id a n 上二 (oAi/ 起く ‘to rise, get up ’
）
okl okl okU okURU okURE oklYO
おきおきおくおくるおくれおきよ
SHIMO ICHIDAN 下一嗽る ‘to kick ’
）
kE kE kERU kERU kERE kEYO
けけけるけるけれけよ
SHIMO nidan > _ (tasuku 助く ‘to help ’
）
tasukE tasukE tasukU tasuku RU tasukU RE tasukE YO
たすけたすけたすくたすくるたすくれたすけよ
Irreg u la r V erbs
Ra h en ラ変 (ar/ 在り • 有り ‘to exist)

arA arl arl arU arE arE
あらありありあるあれあれ
S A H E N サ変 (5W 爲 ‘to d o ’
）
sE shl sU sURU SURE sEYO
せしすするすれせよ
N a h e n ナ変 ⑽ /⑽ 死ぬ ‘
ぬ此’
）
shinA shinl shinl) shinURU shinURE shinE
しなしにしぬしぬるしぬれしね
Ka hen 力変 (如來 ‘
to com e ’
）
kO kl kU kURU kURE kOYO
こぎ < くるくれこ上
340
A ppendix G
Summary Charts
V erbal A djectives
“-AI/ くADJS.’’： • 寒し ‘1to be cold”
Plain: NIL samuKU samuSHi samuKi samuKERE samuKARE

00 寒く寒し寒き寒けれ寒かれ
-karv. samuKARA samuKARl NIL samuKARU NIL NIL

寒から寒かり 00 寒かる OO 00
^-SHIKU L < ADas.'': ureshi M L “to be happy; to be delightilil”
Plain: NIL ureSHlKU ureSHl ureSHiKi ureSHIKERE ureSHIKARE

oo 嬉しく嬉し嬉しき嬉しけれ嬉しかれ
-/cari: ureSHUCARA ureSHIKARI NIL ureSHIKARU NIL NIL

嬉しから嬉しかり 00 嬉しかる oo OO
• P s e u d o -A d je c t iv e s
“yv他 /-type なり PSEUDO~ADJS.”： war/ 静かなり “to be still，

quiet”
shizuka nara narilni nari naru nare nil
静かならなりパこなりなるなれ〇
〇
“7>i/f/-tvpe たり PSEUDOADJS.”
：亦ぬ /ar/• 堂々たり ‘4to be imposing, grand; to be flourishing”
dodo NIL tari / to tari taru NIL
堂々 00 たり/とたりたる 00
Both tyoes o f PSEUDO-ADJECTIVE have RAHEN endings.
341
Appendix G
Summary Charts
V erb-S uffixes (Listed Alphabetically)
SUFFIX S E E (follows)— SUFFIX S E E (follows)—
-nari (hearsay/
-み if)ば
a (‘ MZK.NIS.1
s u p p o s .)なり SSK.6
-ba (*when,
+nari (explan./
because ’
）ば IZK.NIS.1
RTK.2
-ゐの^ばや MZK.NIS.2
-nikeri, -niki, -nitari
-beshi ベ ]^ SSK.1
にたり RYK.4
-dol-domo
-/7W ぬ RYK.3
IZK.NIS.2
-ramul-ran
-gotoshi
SSK.5
RTK.1
-(ra)rw ( ら)る MZK.PCH.1

プ•/じ MZK.5
-rashiらし SSK.2
-kemui-ken
RYK.7
-rz•り MRK.1
-レn •けり RYK.2

-(■sa)sw (さ才 MZK.PCH.2
-kil-shi
-shi し：see -ki/shi
き/し RYK.6
RYK.6
まし MZK.6
-shimu しむ MZK.PCH.3
-manoshi
摘たり RYK.1
MZK.7
-maji まじ -tashi it し RYK.8

SSK.3
-werz•めり SSK.4
-tsu つ RYK.5
-ww/-« む/ん
-zariざり MZK.2
MZK.3
-muzul-nzu マ "ず MZK.1
MZK.4
NIS = Non-Inflected Suffix
PCH = Passive, Potential, Causative,
-namu/-nan
Honorific, and/or Spontaneous Suffix
MZK.N1S.3
342
Appendix G
Summary Charts
Suffixes after the M IZ E N K E I
MZK RYK SSK RTK IZK MRK

Inflected Suffixes
1. -Z ひず（ irregular)
[-zu /-n a] -zu /-d e/[-n i] -zu -nu -n e NIL
[ず /な ] ず A C / [に ] ずぬね〇〇
2. -Z 4 /? / ざり（ RAHEN en d in g s)
-zara -zari NIL -zaru -zare NIL
ざらざり 00 ざるざれ OO
3. -M 7 む / - ん（ YODAN en d in g s)
NIL NIL -m u /-n -m u /-n -m e NIL
OO 00 む/んむ/んめ oo
4. - M 7 Z ひむず /- ；
VZひんず（ SAHEN en d in gs)
NIL NIL -m u zu /-n zu -m u zu ru / -m u zu re/ NIL
-nzuru -n zu re
00 00 むず/ むずる/ むずれ/ 00
んずんずるんずれ
5. じ（
irregular)
NIL NIL -ji ■ji NIL NIL
00 OO じじ 00 oo
6. まし（
irregular)
-m ase/-m ash ik aN lL -m ash i -m ash i -m a sn ik a NIL
ませ / oo ましましましか oo
ましか
7. まほし（ -SHIKU ADJ_ en d in gs)
-m ah osh ik ara -m a h o sh ik u / -m ah osh i -m a h o sh ik i/ -m a h o sh ik ere NIL
-m ah osh ik ari -m ah osh ik aru
まほしからまほしく/ まほしまほしき/ まほしけれ oo
まほしかりまほしかる
P C H Inflected Suffixes ( P C H = Passive, Potential, Causative, Honorific, and/or Spontaneous)
1 . -( 兄4ノ)/? ひ（ら）る（ SHIMON1DAN en d in gs)

-(ra)re -(ra)re -(ra)ru -(ra)niru -(ra)rure -(ra)reyo
(ら扒 (ら私 ( ら)る ( ら)るる ( ら)るれ (ら貧1 よ
5 ひ（さ）す（ SHIMO NIDAN en d in g s)
イ5 ^ 、
-(s a )se -(sa )se -(sa )su -(sa)su ru -(sa )su re -(s a )se y o
( さ）せ ( さ）せ ( さ）す ( さ）する ( さ )すれ ( さ）せよ
-SHIMU しむ（
SHIMON 丨
DAN en d in g s)
-sn im e -sh im e -sh im u -shim uru -snim ure -sh im e y o
しめしめしむしむるしむれしめよ
NIS N o n - I n f l e c t e d Suffixes ( N I S = Non-Inflected Suffixes)
1 . -R4 ば（
‘Ifc”）
2. Z4 ばや（‘
H o w 1 w i s h that I might … !’
）
3. なむ/ - なん（‘
H o w I w i s h that [s.o. or s.th. else] m i g h t "•!’
）
343
Appendix G
Summary Charts
Suffixes after the R EN ，

Y 〇K EI
1. - 7 X /?/ たり（
RAHENendings)
-tara -tari -tari -taru -tare NIL
たらたりたりたるたれ 00
2. -KEK M ナり（RAHEN endings)

-kera NIL -keri -kern -kere NIL
けら 00 けりけるけれ 00
3. -W / ぬ（NAHEN endings)
-na -ni -nu -nuru -nure -ne
なにぬぬるぬれね
4. -N IK E R I \こ竹 \)，-N IK I \こき，-N IT A R I K i t ”
-nikeri (< -ni [RYK] + -keri form [RYK.2]) (RAHEN endings)

-nikera NIL -nikeri -nikeru NIL NIL
にけら 00 にけりにける〇〇 00
-nishi (< -ni [RYK] + -ki/-shi form [RYK.6]) (irregular)
NIL NIL -niki -nishi -nishika NIL
00 00 にきにしにし：^ 00
-nitari (< -ni [ R Y K ] + ■■tari form [RYK.1]) (RAHEN endings)
NIL -nitari -nitari -nitaru NIL NIL
00 にたりにたりにたる 00 00
5. -7^ びつ（
SHIMONIDANendings)
-te -te -tsu -tsuru -tsure -te
ててつつるつれて
6. -A7 き / -5"/// し（ irregular)

-se NIL -ki/-shi - shi -shika NIL
〇
〇き/しししか 00
7. -KEM 1/ けむ / - けん ( yodan endings)

NIL NIL -kemuAken -kemu/-ken -keme NIL
00 00 けむ/けんけむ/けんけめ oo
8. たし（ -KUADJ.endings)
-taku/-takara -taku/-takari -tashi -taki -takere NIL
たく / たからたく / たかりたしたきたけれ oo
344
A ppendix G
Summary Charts
Suffixes after the SHUSH1KEI
1. べし（
-KUADJ.endings)
-beku/ -beku/ -beshi -beki/ -bekere NIL
-bekara -bekari -bekaru
ベく/ ベく/ べしべき/ ベけれ 00
ベからベかりベかる
2. -兄らし（
-SHIKUADJ.endings)
-rashikara -rashiku -rashi -rashi/ -rashi NIL
-rashiki
らしかららしくらしらし / らし 00
らしき
3. -M 4J/ まじ（
-SHIKUADJ.endings)
-majiku/ -majiku/ -maji/ -majiki/ -majikere/ NIL
-majikara -majikari -mai -majii -maikere
まじく/ まじく/ まじ/ まじき/ まじけれ/ 00
まじからまじからまいまじいまいけれ
4. -MERI め '0 (RAHEN endings)

NIL -men -men -mem -mere NIL
00 めりめりめるめれ 00
5. らむ /- 兄47V らん（
YODANendings)
NIL NIL -ramu/-ran -ramu/-ran -rame NIL
00 00 らむ/らんらむ/らんらめ 00
6. なり（
hearsay/supposition) (RAHEN endings)
NIL NIL -nari -naru -nare NIL
00 00 なりなるなれ 00
345
A p p e n d ix G
Sum mary Charts
Suffixes after the RENTA1KEI
-GOrQST// ごとし（-KU ADJ. endings)

NIL -gotoku -gotoshi -gotoki NIL NIL
00 ごとくごとしごとき 00 00
なり (explanation/affirmation) ( rahen endings)

+nara NIL +nari +naru +nare NIL
なら oo なりなるなれ〇〇
Suffixes after the IZENKEI
N IS N o n -In fle c te d S u ffix e s
1 . -ル i ば（
‘W h e n . . . ’ 〇R ‘B e c a u s e /S in c e ...’
）
2. -D O ど/ - D O A /O ども（‘A lth o u g h ...’

）
Suffix after the MEIREIKEI
1_ り（RAHEN endings)
-ra -ri -ri -ru -re -re
らりりるれれ
346
Index
-a (MZK ‘bare form’ of Yodan verbs) 28,26

adverbial use of ni 61-62
adverbial use of pseudo-adjs. 60,61
adverbial use of verbal adjs. 55,58
agglutinative language 24
ambiguity, apparent 81-90
ambiguity, real 90-93
ameri {ombin of aru + -meri) 215
a-nari {ombin of aru + -nari) 137,222
an-nari {ombin of aru + -nari) 222
ara (MZK of err/ 在り • 有り） 30-31,94-96,146
aramahosni 146-149
arazu 96
are(IZKofcT7• 在り • 有り） 30-31,94-96
a a (MRK of an•在り • 有り） 30-31,94-96
forms:在り • 有り（自、ラ変） 30-31,94-96, 54,146
aW (RYKofar/ 在り • 有り） 30-31,94-96
flr/(SSKofcrrz•在り • 有り） 930-31,4-96
ariuru , 109 n7
arw(RTKof£//7•在り • 有り） 30-31,94-96
auxiliary verbs 43,109-110, 111-120, 127-128
-ゐa (‘because/when,’ non-inflected suffix: IZK.NIS.1) 233-234, 84,161
-ba (Mf/ non-inflected suffix: MZK.NIS.1) 159-160, 84,142
-baya (IZK.NIS.1 + interrogative) 161;cf. -baya
bakan 127
-baya (non-inflected suffix: MZK.NIS.2) 161-163; cf. -baya
-bekameri {ombin of -bekaru + -meri) 201,215
-bekanmeri {ombin of -bekaru + -meri) 215
-bekara (MZK of SSK.1 [beshi]) 201-202
-驗 r/(RYKofSSK.l [beshi]) 201-203
-bekaru (RTK of SSK.1 [beshi]) 201,204-205
-bekere (IZK of SSK.1 [beshi]) 201,205-206
* The index includes ‘verb’-endings (see the Preface, n. 5), grammatical features, and selected
lexical and other items. There are separate entries for the following: all endings of the verb-
suffixes treated in the Handbook; all endings for verbal adjectives and pseudo-adjectives; all
forms of h 來，似爲，狀 / 在り • 有り， and w 得；each of the separate ‘bare forms’ (see Intro.2)
of the more common conjugations, Y odan , Kami ichidan , K ami nidan , and Shimo nidan ；
and verb-forms easily confused with the above (the dictionary forms力/ and mw， and all forms of
ini).
347
Index
-b e k i(RTK of SSK.1 [beshi]) 201,204-205

-ゐ咖（ MZKofSSK.l [beshi]) 201-202
-b e k u (RYK of SSK.1 [beshi]) 201-203
-b e k u m o a r a z u 201，203,96 n3
forms (SSK.1)
-b e s h i 201-206, 173,183,207,218
(SSK of SSK.1 [beshi])
-b e s h i 201,204
tcausative, usage 153-154, 156-157
compound verbs 42
consonant-stem verbs 24 nl
d a ts u 179
de (preposition) 123
- ^ ( R Y K o f M Z K . l [zu]) 123, 125-126
-d o (non-inflected suffix: IZK.NIS.2) 235-236
-d o m o (non-inflected suffix: IZK.NIS.2) 235-236
-d o m o (plural suffix) 163
e(M ZK ofw得 [(他 )下二 ]) 30,109
e (RYK of w得 [(他 ) 下二 ]) 30,109-110
-e (IZK ‘bare form’ o f Y odan verbs) 28,26
そ（MRK ‘bare form’ of YODAN verbs) 28,26
-e (MZK ‘bare form’ o f SHIMONIDAN verbs) 30.26
そ（RYK ‘bare form, o f Sh丨 MO NIDAN verbs) 30.26
etc. (with single expression in k a n ji) 81117
(MRK of w 得 [(他 ) 下二 ]) 30
-e y o (MRX 'bare form5 o f SHIMONIDAN verbs) 30.26
ル forms ( 經 )， ‘(for time) to pass; pass through， 30
-fu (verb-suffix) 14n32
ruli verbs 109-110, 111-120
J u r ig a n a
g a (attributive marker) 108-109
g a (subject marker) 107
gana 226
go- (prefix,御） 8 (incl nl6)
go ra n zu 114n6
-g o to k i (RTK of RTK.1 [gotoshi]) 225-226, 228
-g o to k u (RYK of RTK.1 [gotoshi]) 225-227
-g o to s h i forms (RTK.1) 225-228
-g o to s h i (SSK of RTK.1 [gotoshi]) 225-228
gyo- (prefix,御） 8 (incl n 16)
h aberi 113,115n8,116-117,118-120 (incl nl3)
h a ts u (auxiliary verb) 127-128
‘
historical present’ 40nl0
h ito A , implied 50-51
hodonaku 134
'honorific' usage 111-120, 150-152, 153-155, 156-158
‘
h u m b l e , usage 111-120
/ (MZK o f the five ‘/rw verbs,’ in c l居る） 29
/ (RYK of the five ‘/n/ verbs,’ incl 居る） 29
-/ (MZK ‘bare form’ of Kami 1CHIDAN verbs) 28-29,26
-/ (MZK ‘bare form’ o f Kami NIDAN verbs) 29.26
348
Index
々（ R Y K ‘bare fo rm ’ o f K a m i 1CHIDAN verbs) 2 8 -2 9 , 2 6

-i ( R Y K 4bare fo rm , o f K a m i NlDAN verbs) 29, 26
- / (R Y K ‘bare form ’ o f YODAN verb s) 2 8 ,26
ikade 69
IKE 6 n 9 , 2 5 8 , 3 3 4 -3 3 8
imo 165
imasu 115 n 8
imasukari (and variants) 114n6
IMX 5 n 9 ,2 58, 338
IMZ 6 n 9 ,2 5 8 , 338
intransitive verbs 2 7 (in c l n 2 ), 3 8 n 6 , 8 3 n3
/re (IZK o f the five ‘/rw verbs,’ in c l 居る） 29
-ire (IZK 4bare form5 o f KAMI ICHIDAN verbs) 2 8 - 2 9 ,2 6
irregular verbs 2 4 n l,2 6
/rw forms o f the five ‘かw verbs,’ （ in c l 居る，‘to be in a
place; sit ’
） 29
/rw (SSK o f the five ‘/n/ verbs，’ in c l 居る） 29
/rw (RTK o f the five ‘/rw verbs,’ in c l 居る） 29
■/rw (RTK ‘bare form’ o f Kami ICHIDAN verbs) 2 8 -2 9 , 2 6
-iru (SSK 4bare form, o f Kami ICHIDAN verbs) 2 8 -2 9 , 2 6
iwamu-ya 238
かo (MRK o f the five ‘/rw verbs,’ in c l 居る） 29
-iyo (MRX 4bare form, o f Kami ICHIDAN verbs) 2 8 -2 9 , 2 6
-iyo (MRK 'bare form5 o f KAMINIDAN verbs) 2 9 ,2 6
IZENKEI (IZK) 2 5 , 5 0 - 5 2 , 6 7 , 6 9 - 7 2 ,2 3 7 n2
IZENKEI, post-: verb-suffixes 2 3 3 -2 3 6
IZK see “IZENKEI”
izuku 69
izure 69
-ji forms (MZK.5) 1 4 0 -1 4 1， 211
-y7(RTKofMZK.5 [ji]) 1 4 0 -1 4 1
プ7 (SSK of MZK.5 [ji]) 140-1 4 1
-Jl to su 140
jiddshi s e e “in tran sitive verbs”
JTI (Japanese Text Initiative) 6 -7 , 2 4 7
ka (kakari-musubi particle) 6 5 -7 0
Kahen conjugation 2 6 , 3 2 , 33
kai arazu 129
kai nashi 129
kakari-musubi 6 5 -7 2
kakekotoba 1 8 5 ,2 2 3
kambun 8 n l 7 , 1 5 6 , 1 9 9 , 2 3 8 - 2 3 9 , 3 3 2 -3 3 3
Kami ichidan conjugation 2 6 , 2 8 -2 9 , 33
Kami nidan conjugation 26, 29, 34
-kara (MZK o f -ku verbal adjs.) 5 5 ,5 6
-/care (MRK of -ku verbal adjs.) 5 5 ,5 8
-kari forms (of verbal adjs.) 54
-kari forms (of verbal adjs.: contraction of-^w + ari, etc.) 54
-kari (RYK of -ku verbal adjs.) 55, 56
349
Index
kardjite 191
-karu (RTK of -ku verbal adjs.) 55.57
kashiko 238
keiyd ddshi see “pseudo-adjectives”
keiyoshi see ‘Verbal adjectives”
-kerne (IZK of RYK.7 [kemu/ken]) 194-196
-kemu forms (RYK.7) 194-196
-kemu (RTK of RYK.7 [kemu/ken]) 194-195
-kemu (SSK of RYK.7 [kemu/ken]) 194
-ken forms (RYK.7) 194-196, 178-179,194
-ken (RTK of RYK.7 [kemu/ken]) 194-195
-ken (SSK of RYK.7 [kemu/ken]) 194
kenjd usage see “‘humble’ usage”
-kera (MZK of RYK.2 [keri]) 170, 178-179
-kere (IZK of -ku verbal adjs.) 55.57
-kere (IZK of RYK.2 [keri]) 170,172
-keri forms (RYK.2) 170-172,188
-keri (SSK of RYK.2 [keri]) 170-171,179
-kern (RTK of RYK.2 [keri]) 170-172,179
ん/(RYKofAi/來） 32.191
-ki forms (RYK.6) 188-193, 170, 178-180,194
-ki (partial RTK ending of RYK.8 [tashi]) 84-85
-ki (RTK oi-ku verbal adjs.) 55, 57, 59, 84-85
-ki (SSK of RYK.6 [ki/shi]) 188-190, 191-193, 84-85, 178-180
kikoesasu 115118
kikoshimesu 113-114 n6
kikoyu 115n8, 116,120 n 13, 230-231
kito 144
ん 0 (MZK o f 如来） 32.191
koso {kakari-m usubi particle) 65, 67,69-72,109 n 6 ,142
koso aram e 134
たo/o 事， implied 49 (incl n22)
•ァ
0 (MRK o f h 來） 32
b forms:來（自、力変） 32.191
h (SSK o f h 來） 32
-ku adjs. see ‘"verbal adjectives”
-ku {-ku verbal adjs. used adverbially) 55, 58
-ku (nominalizer) 123
-ku (RYK of -ku verbal adjs.) 55, 56, 58, 98-99
(IZK of h 來） 32
kuru (RTK of ku 5fe) 32
-mahoshi forms (MZK.7) 146-149,197
-mahoshi (SSK of MZK.7 [mahoshi]) 146-147
-mahoshikara (MZK of MZK.7 [mahoshi]) 146
-mahoshikari (RYK of MZK.7 [mahoshi]) 146-147
-mahoshikaru (RTK of MZK.7 [mahoshi]) 146-148
-mahoshikere (IZK of MZK.7 [mahoshi]) 146, 148-149
-mahoshiki (RTK of MZK.7 [mahoshi]) 146-148
-mahoshiku (RYK of MZK.7 [mahoshi]) 146-147
350
Index
■顧 (SSKofSSK.3 [maji]) 211，213

-maikere (IZK of SSK.3 [maji]) 211,214
mairu 114-115 (incl n6 and n7 [and the pas
sages cited in the latter]), 82
-maji forms (SSK.3) 211-214,140,201 n2
-/wa//(SSK of SSK.3 [maji]) 211-213
-majii (RTK of SSK.3 [maji]) 211.213
-majikara (MZK of SSK.3 [maji]) 211
-majikari (RYX of SSK.3 [maji]) 211-212
-majikere (\ZK of SSK.3 [maji]) 211,213-214
-majiki (RTK of SSK.3 [maji]) 211.213
-majiku (MZK of SSK.3 [maji]) 211-212
-majiku (RYK of SSK.3 [maji]) 211-212
makaru 114116
-mase (MZK of MZK.6 [mashi]) 142-143
-mashi forms (MZK.6) 142-145
-mashi (RTK of MZK.6 [mashi]) 142,144
-mashi (SSK of MZK.6 [mashi]) 142-144
-mashika (IZK of MZK.6 [mashi]) 142,144-145,84 n4
-mashika (MZK of MZK.6 [mashi]) 142-143, 84 n4
-me (IZK of MZK.3 [mu/n]) 132, 134-135
M eireikei (MRK) 25, 52-53,237 n2
M eireikei, post-: verb-suffix 237-241
-mere (IZK o f SSK.4 [meri]) 215,217
-meri forms (SSFL4) 215-217,173,201 n2
-meri (RYK of SSK.4 [meri]) 215-216
-meri (SSK of SSK.4 [meri]) 215-216
-meru (RTK of SSK.4 [meri]) 215-217
mesu 113116
w/- (prefix,み） 240
w/- (prefix,御） 8 (incl n 16)
MIZENKEI (MZK) 25, 36-39, 237 n2
M izenkei, post-: verb-suffixes 123-165,121130
mo gana • 226
worn?者， implied 49-50
mono o ('although, because,) 50 (incl n23)
mono o (direct obj.) 501123
mono o (emphasis, surprise, etc.) 50 n23
-mdshi (verb-suffix) 141132
mdsu 115 n 8 ,118, 119,120 n l3,211
mozu 114116
MRK see ‘TVIeireikei”
-mu forms (MZK.3) 132-135, 136, 173,183,218
-mu (RTK of MZK.3 [mu/n]) 132-134
-mu (SSK of MZK.3 [mu/n]) 132-133
-mu to su forms 136-138
muneto 146
-muzu forms (MZK.4) 136-139
-muzu (SSK of MZK.4 [muzu/nzu]) 136,138
351
Index
-muzure (IZK of MZK.4 [muzu/nzu]) 136.139

-muzuru (RTK of MZK.4 [muzu/nzu]) 136.139
MZK see “M izenkei”
-n forms (MZK.3) 132-135,136,173,183,218
-«(RTK ofMZK.3 [mu/n]) 132-134
-n (SSK of MZK.3 [mu/n]) 132-133
-n to su forms 136-138
na (neg. command) 46-47
-na (MZK [vestigial] of MZK.1 [zu]) 123
-naku ni 123,129
-«cr(MZKofRYIC3 [nu]) 173-174; see also ^-namu (fusion.. .)v
-na (MZK [vestigial] of MZK.1 [zu]) 123
N ahen conjugation 26, 32, 33
+nameri {ombin of+naru + -meri) 215,229
n a m u /n a n — the gen’I. categories:
ftision of-na (MZK of RYK.3 [nu]) + inflected
form of MZK.3 [mu/n]) 101-102, 103-105
kakari-musubi particles 65-68, 70,101-102,109 n6
non-inflected suffix (MZK.NIS.3) 164-165, 101-104
overview of namu!nan's 101-105
namu {kakari-musubi particle) 65-68,70, 101-102,109 n6
-namu (ftision of -na [MZK of RYK.3 (nu)] + inflected
form of -mul-n [MZK.3]) 101-102, 103-105
-namu (non-inflected suffix: MZK.NIS.3) 164-165, 101-104
nan {kakari-musubi particle) 65-68, 7 0 ,101-102,109 n6
-nan (fusion of -na [MZK of RYK.3 (nu)] + inflected
form ofMZK.3 [mu/n]) 101-102, 103-105
-nan (non-inflected suffix: MZK.NIS.3) 164-165, 101-104
nani (interrogative) 69
+nanmeri {ombin of+naru + -meri) 215
warfl (MZK of copula war/ 也） 94-96
wara (MZK of 成る） 98-99
(MZK o f 鳴る，生る，業る） 100
nara (MZK w. nari-type pseudo-adjs.) 60-62, 96-97
+nara (M Z K o f R T K .2 [+nari: e x p la n ./a ffirm .] ) 229-230, 97-98
+narashi {ombin o f +naru + -rashi) 207,229
w a re (IZ K o f c o p u la w a r/ 也） 94-96
w a re (I Z K o f w a n / 成る） 98-99
w a re (IZ K o f 鳴る，生る，業る） 100
nare (IZK w. nan-type pseudo-adjs.) 60-62, 96-97
ware (MRK of 成る） 98-99
ware (MRK of wcrrw鳴る，生る，業る） 100
(MZKof 馴る • 慣る） 100
«are(RY Kof 馴る • 慣る） 100
+nare (IZ K o f R T K .2 [+nari: e x p la n ./a ffirm .] ) 229,231-232,97-98
-nare (IZ K o f S S K .6 [-nari: h e a rs a y /s u p p o s .]) 222,224, 97
(M RKof 馴る • 慣る） 100
352
Index
n ari — th e gen’1.categories:
c o n tra s te d w . o r / (在り • 有り） 94-96
” a r / ( 也 ) : c o p u la 94-96, 98 n4
w a r/ ( 形 ) ： n o u n 98
だ
/ ( なり )：w . w a n -ty p e p s e u d o -a d js . 60-62, 96-97
+wcrn• ( なり）
：‘e x p la n a tio n /a f firm a tio n ，（
p o s t-R T K ) 97- 98,229-232,222 nl
-w a r/ ( なり）： ‘h e a r s a y /s u p p o s itio n ’ （
p o s t-S S K ) 97,98 n5,222-224,201 n2
( 成る ) ， 4to b e c o m e ’ 98-99
verbs，other(馴る • 慣る，鳴る，生る，業る） 100
rtosw (成す • 爲 i^)， ‘to make [X into Y]’ 99
overview of nari's 94-100
rterr/ forms:也 copula ( 自、ラ変） 94-96

nari forms (w. nari-type pseudo-adjs.) 60-62, 96-97
-Vnari forms (RTK.2 [+nari: explan./affirm.]) 229-232, 97-98,222 nl
-nari forms (SSK.6 [-nari: hearsay/suppos.]) 222-224, 97, 98 n5,201 n2
(RYK of copula wan•也） 94-96
(SSK of copula war/ 也） 94-96
rtflW(RYK of 成る） 98-99
w/r/ (RYK of werrw鳴る，生る，業る） 100
nari (RYK w. nari-type pseudo-adjs.) 60-62, 96-97
nari (SSK w. nari-type pseudo-adjs.) 60-62, 96-97
+nari (SSK of RTK.2 [+nari\ explan./affirm.]) 229-230, 97-98
-nari (SSK of SSK.6 [-nari: hearsay/suppos.]) 222-223, 97
wan/ forms (成る )， ‘to become’ 43, 98-99
warw forms (other verbs:酬る • 慣る，鳴る，生る，業る） 100
rtorw (RTK of copula war/ 也） 94-96
«arw (RTK of rtarw 成る） 98-99
rtcrrw (RTK ofAiarw 鳴る，生る，業る） 100
(SSK of rtarw 成る） 98-99
/jarw (SSK of rtarw 鳴る，生る，業る） 100
(SSKof 馴る • 慣る） 100
naru (RTK w. nari-type pseudo-adjs.) 60-62, 96-97
naru (contraction of m + aru) 96
+naru (RTK of RTK.2 [+nari: explan./affirm.]) 229-231,97-98
-naru (RTK of^SSK.6 [-nari: hearsay/suppos.]) 222-224, 97
warwre(IZKof酬る • 慣る ) 100
warwrw(RTKof馴る • 慣る） 100
nashi 96
msw (成す • 爲す )， ‘to make [X into Y]’ 99
-we (IZK of MZK.1 [zu]) 123,128
-ne (MRX of RYK.3 [nu]) 173,176
negation 36-37,123-128,129-131,132,140-141,
143,150-151，201，211-214
negative command 46-47, 58
w/ (particle: 4on/in [doing]，’ ‘when/because/although’) 50.94 n2
w/ (particle identifying agent in ‘potential’ usage
[neg. constructions] of -[ra]ru [MZK.PCH.1]) 151.94 n2
ni (particle identifying person caused to do s.th.
in ^causative' usage of [MZK.PCH.2]) 153.94 n2
353
Index
ni (particle [rare] identifying subject causing others to do

s.th. in 'causative5usage of ~[sa]su [M ZK.PCH.21)157 n2, 94 n2
ni (preposition) 94 n2, 95-96
(w. a form of 成る or 成す） 98-99
(RYK of copula war/ 也） 85-85, 94-96
ni (RYK w. nari-type pseudo-adjs.) 60- 62, 85-85, 94 n2, 96-97
ni koso ari 96
-m(RYKofRYK.3 [nu]) 173-174, 178-182
-ni (RYK [vestigial] ofMZK.l [zu]) 123-124
ni arazu 96
ni aru 96
ni shite (w. nari-type pseudo-adjs.) 61- 62
-nikera (MZK of RYK.4 [nikeri, etc.]) 178-179
-nikeri forms (RYK.4) 178-179
-nikeri (SSK of RYK.4 [nikeri, etc.]) 178-179
-nikeru (RTK of RYK.4 [nikeri, etc.]) 178-179
-niki forms (RYK.4) 178-180
-niki (SSK of RYK.4 [niki, etc.]) 178-180
NIL 141133
NIS suffixes 12 n20,38-39,51-52,159-165,233-236
-nishi (RTK of RYK.4 [niki, etc.]) 178-180
-nishika (IZK of RYK.4 [niki, etc.]) 178-180
-nitari forms (RYK.4) 178, 181-182
-nitari (RYK of RYK.4 [nitari, etc.]) 178.181
-nitari (SSK of RYK.4 [nitari, etc.]) 178.181
-nitaru (RTK of RYK.4 [nitari, etc.]) 178, 181-182
nite (preposition) 85-86, 94 n2
ni/te (RYK of copula nari + -te) 85-86, 94 n2
ni/te (RYK of pseudo-adj. nari + -te) 85-86, 94 n2
NKBT (Nihon Koten Bungaku Taikei) 7-8,244-246
no (particle) 107,108
no ( < naku) 141
nominalization (w. RTK) 47, 49 (incl n22), 66 (incl n6); see also
“nouns”
notamau 113 n 6 ,114,153
nouns (from plain-form RTK of verbal adjs.) 55, 59
nouns (from RYK of verbs) 59 n3
nouns/noun phrases see “nominalization”
-nu forms (RYK.3) 173-177, 178-182, 183,194
-«w(RTKofMZK.l [zu]) 123,127-128
-nu (SSK of RYK.3 [nu]) 173-175
-nure (IZK of RYK.3 [nu]) 173,176
-nuru (RTK of RYK.3 [nu]) 173, 175-176
-nzu forms (MZK.4) 136-139
-nzu (SSK of MZK.4 [muzu/nzu]) 136.138
-nzure (IZK of MZK.4 [muzu/nzu]) 136.139
-nzuru (RTK of MZK.4 [muzu/nzu]) 136.139
o (‘although, because’) 50 (incl #41 and n23)
o (direct-object marker) 5 0 n 2 3 ,107
354
Index
〇 (emphasis, surprise, etc.) 50 n23

o-(prefix, 御） 8(inclnl6)
-o (ombin w. -ku verbal adjs.) 55, 58
o-on- (prefix, t®) 8 (incl nl6)
o shite (identifies person caused to do s.th. in 'causa-
tive， usage of A/ww [MZK.PCH.3]) 157
oba 139
oboshimesu 114116
obosu 114 n6 (and the passages cited)
dkare 55111
dkaru 55111
omom (elision) 8 nl7, 42 nl2, 54, 55, 58-59, 96,137,
197, 2 0 1 (incl n2), 207,212, 215, 222,
229
dmi- (prefix, W ) 8 (incl n 16)
(prefix,御） 8 (incl n 16)
orthography 17-22
osa-osa 214
dsu 115 n8 (and the passages cited)
ote 198
owasu 115118
passive5usage (w. -[rd\ru [MZK.PCH.1]) 150-151
'passive5usage (w. -\sd\su [MZK.PCH.2]) 153 nl
‘past, verb-suffixes 44-45 (incl n 15-16)
PCH suffixes 12 n30,37-38, 112-113, 150-158
PGO 5 n9,258, 334-338
pivot word 185,223
plain forms (of verbal adjs.) 54
'polite5 usage 111-120
‘potential’ usage 150-151
pseudo-adj ectives 60-64,98 n4
quotation particles 45 (nl7 and #25)， 77
Rahen conjugation 26,30-31， 33
-ra (in any -raru expression [MZK.PCH.1]) 88-89, 150-152
-ra (MZK of MRX.1 [ri]) 237-238, 89-90
-ra (MZK of Rahen verbs) 88-89
-ra (MZK of some Yodan verbs) 88-89
-ra (plural suffix) 90
-rame (IZK of SSK.5 [ramu/ran]) 218,220
-ramu forms (SSK.5) 218-221, 173,183,201 n2,207
-ramu (MZK of -ri [MRK.1]+ a -mul-n form [MZK.3]) 89- 90
-ramu (RTK of SSK.5 [ramu/ran]) 218-219, 89-90
-ramu (SSK of SSK.5 [ramu/ran]) 218-219, 89-90
-ran forms (SSK.5) 218-221，173,183,201 n2,207
-ran (MZK of -ri [MRK.1]+ a -mul-n form [MZK.3]) 89-90
-ran (RTK of SSK.5 [ramu/ran]) 218-220, 89-90
-ran (SSK of SSK.5 [ramu/ran]) 218-219, 89-90
-rare (MZK of MZK.PCH.1 [(ra)ru]) 150-152, 88-89
-rare (RYK of MZK.PCH.1 [(ra)ru]) 150-152, 88-89
355
Index
-rareyo(MRKofMZK.PCH.l [(ra)ru]) 1 5 0 -1 5 2 , 8 8 -8 9
-rarw forms (MZK.PCH.1 [(ra)ru]) 1 5 0 -1 5 2 , 8 8 - 8 9 ,1 5 3
-rarw(SSKofMZK.PCH.l [(ra)ru]) 1 5 0 -1 5 2 , 8 8 -8 9
-rarure (IZK of MZK.PCH.1 [(ra)ru]) 1 5 0 -1 5 2 , 8 8 -8 9
-rarwrw(RTKofMZK.PCH.l [(ra)ru]) 1 5 0 -1 5 2 , 8 8 -8 9
-rashi forms (SSK.2) 2 0 7 - 2 1 0 , 1 7 3 ,2 0 1 n 2 , 2 1 5 , 2 1 8
-rashi (IZK of SSK.2 [rashi]) 2 0 7 ,2 0 9 -2 1 0
-rashi (RTK of SSK.2 [rashi]) 2 0 7 -2 0 9
-rashi (SSK of SSK.2 [rashi]) 2 0 7 -2 0 8
-rashikara (MZK of SSK.2 [rashi]) 2 0 7 -2 0 8
-ms/z汝/(RTK of SSK.2 [rashi]) 2 0 7 -2 0 9
-rashiku (RYK of SSK.2 [rashi]) 2 0 7 -2 0 8
-rayu (verb-suffix) 141132
-re(IZKofMRK.l [ri]) 2 3 7 , 2 4 0 - 2 4 1 ，8 6 -8 7
-re(MRKofMRK.l [ri]) 2 3 7 , 2 4 1 ,8 6 - 8 7
-re(MZKofMZK.PCH.l [(ra)ru]) 1 5 0 -1 5 2 , 8 6 -8 7
-re(RYKofMZK.PCH.l [(ra)ru]) 1 5 0 -1 5 2 , 8 6 -8 7
R e n t a k e i (RTK) 2 5 ,4 7 - 5 0 ,5 5 ,5 9 ,6 5 - 7 1 ,1 0 5 ,2 2 5
R entaikei, post-: verb-suffixes 2 2 5 -2 3 2
R e n ' y Okei (RYK) 2 5 ,3 9 - 4 4 ,4 6 n l 9 , 5 9 n 3 , 6 1 ,2 1 2 ,2 3 7
Ren ’yOkei，post-: verb-suffixes 1 6 6 -2 0 0
romanization conventions 8 -9 (in c l n l 8 ) , 2 2 , 1 0 1 - 1 0 2 , 2 2 2 n l
respect language 1 1 1 -1 2 0 , 1 5 0 -1 5 8
-reyo (MRK of MZK.PCH.1 [(ra)ru]) 1 5 0 -1 5 2
-ri forms (MRK.1) 2 3 7 -2 4 1 ,8 6 n 5 , 166 n l
-r/(RYKofMRK.l [ri]) 2 3 7 -2 3 8
ザ/ (SSK of MRK.1 [ri]) 2 3 7 -2 3 9
RTK see “R entaikei”
-awforms (MZK.PCH.1 [(ra)ru]) 1 5 0 - 1 5 2 ,1 5 3
-rw(RTKofMRK.l [ri]) 2 3 7 ,2 3 9 -2 4 0
-rw(SSKofMZK.PCH.l [(ra)ru]) 1 5 0 -1 5 2
-rure (IZK of MZK.PCH.1 [(ra)ru]) 1 5 0 -1 5 2
-r u ru (RTK of MZK.PCH.1 [(ra)ru]) 1 5 0 -1 5 2
RYK see “R e n ’y Okei”
sa 129
saburau 1 1 3 , 1 1 5 n 8 , 119
Sahen conjugation 2 6 , 3 1 -3 2 , 3 3 - 3 4 , 2 3 7 (in c l n 2 )
samukarashi {omoin of samukaru + -rashi) 207
-sase (MZK of MZK.PCH.2 [(sa)su]) 1 5 3 -1 5 5
-sase (RYK of MZK.PCH.2 [(sa)su]) 1 5 3 -1 5 5
-saseyo (MRK of MZK.PCH.2 [(sa)su]) 1 5 3 -1 5 5
-sasu forms (MZK.PCH.2 [(sa)su]) 1 5 3 - 1 5 5 ,1 5 6
-sasu (SSK of MZK.PCH.2 [(sa)su]) 1 5 3 -1 5 5
-犯麵 (IZK of MZK.PCH.2 [(sa)su]) 1 5 3 -1 5 5
-sasuru (RTK of MZK.PCH.2 [(sa)su]) 1 5 3 -1 5 5
je (MZK of 似爲） 3 1 -3 2 ,1 9 2
-se (MZK of MZK.PCH.2 [(sa)su]) 1 5 3 -1 5 5
(MZK of RYK.6 [ki/shi]) 1 8 8 -1 8 9 , 1 9 1 -1 9 2
-se (RYX of MZK.PCH.2 [(sa)su]) 1 5 3 -1 5 5
356
Index
1s e n te n c e ' d e fin e d 451117

seko 142
5ヴ 0 ( M R K o f •«/ 爲） 3 1 -3 2
-seyo (M R K o f M Z K .P C H .2 [(sa )s u ]) 1 5 3 -1 5 5
姑 / ( R Y K o f\s w 爲） 3 1 -3 2
-shi fo rm s (R Y K . 6) 1 8 8 -1 9 3 , 1 7 0 , 1 7 8 - 1 8 0 ,1 9 4
-shi (R T K o f R Y K .6 [k i/sh i]) 1 88 , 1 90, 1 9 1 - 1 9 2 , 1 7 8 ,1 8 0
-shi (S S K o f R Y K .6 [k i/s h i]) 1 8 8 -1 9 0 , 1 9 1 -1 9 2
-shi (S S K o f -ku v e rb a l a d js.) 5 5 , 5 6 -5 7
-shi ( S S K o f -shiku v e rb a l a d js.) 5 5 ,5 7
-shika (IZ K o f R Y K .6 [k i/sh i]) 1 8 8 ,1 9 1 - 1 9 3 , 1 7 8 ,1 8 0
-shikara (M Z K o f -shiku v e rb a l a d js .) 5 5 ,5 6
-shi/care (M R K o f -shiku v e rb a l a d js .) 5 5 ,5 8
-shikari (R Y K . o f -shiku v e rb a l a d js .) 5 5 ,5 6
-shikaru (R T K o f -shiku v e rb a l a d js .) 5 5 ,5 7
-shikere (IZ K o f -shiku v e rb a l a d js .) 5 5 , 5 7 -5 8
-shiki (R T K o f -shiku v e rb a l a d js.) 55,57
-shiku a d js. s e e ‘V e rb a l a d je c tiv e s ”
-shiku (R Y K o f -shiku v e rb a l a d js .) 5 5 , 5 6 ,5 8 - 5 9 , 9 8 - 9 9
-shiku {-shiku v e rb a l a d js. u s e d a d v e rb ia lly ) 5 5 ,5 8
-shime (M Z K o f M Z K .P C H .3 [s h im u ]) 1 5 6 -1 5 8
-shime (R Y K o f M Z K .P C H .3 [s h im u ]) 1 5 6 -1 5 8
-shimeyo (M R K o f M Z K .P C H .3 [s h im u ]) 1 5 6 -1 5 8
SHIMOICH1DAN c o n ju g a tio n 2 6 ,2 9 - 3 0 , 3 3
SHIMO NIDAN c o n ju g a tio n 26 , 30, 34
-shimu fo rm s (M Z K .P C H .3 [s h im u ]) 1 5 6 - 1 5 8 ,1 5 3
-shimu-form h o m o p h o n e s 156
-shimu (S S K o f M Z K .P C H .3 [s h im u ]) 1 5 6 -1 5 8
-shimure (IZ K o f M Z K .P C H .3 [s h im u ]) 1 5 6 -1 5 8
-shimuru (R T K o f M Z K .P C H .3 [s h im u ]) 1 5 6 -1 5 8
shite see “ni sfiife” and “to shite”
shite (p a rtic le id e n tify in g p e rs o n c a u s e d to d o s.th . in
'c a u s a tiv e 5 u s a g e o f shimu [M Z K .P C H .3 ]) 157
S h u s h i k e i (S S K ) 2 5 ,4 5 - 4 7 (in c l n 2 0 ), 6 5 , 7 0
SHUSHIKEI, p o s t-: v e rb -s u ffix e s 2 0 1 -2 2 4
so ( = M J sore) 134
so ( = zo) 219
sonkei usage s e e 。，
11〇11〇116ど u s a g e ”
soro 119
sord 119
sordbun 3 3 3 ,1 1 9
sosu 114 n 6
‘s p o n ta n e o u s -a c tio n ’ u s a g e 1 5 0 -1 5 2
SSK s e e “ S h Os h k e i ”
•sw f o r m s : 爲（
他、サ変） 3 1 -3 2
■sw ( S S K o f s w 爲） 3 1 - 3 2 , 1 9 1 -1 9 2
-su fo rm s (M Z K .P C H .2 [(sa )s u ]) 1 5 3 - 1 5 5 ,1 5 6
-su ( S S K o f M Z K .P C H .2 [(sa )s u ]) 1 5 3 -1 5 5
subete 213
357
Index
s u b je c t (c o n tra s te d w . to p ic ) 1 0 6 -1 0 8
■swre (IZ K o f sw 爲） 3 1 -3 2
-sure (IZ K o f M Z K .P C H .2 [(sa )s u ]) 1 5 3 -1 5 5
■swrw (R T K o f sw 爲） 3 1 -3 2
-suru (R T K o f M Z 1 C P C H .2 [(sa )s u ]) 1 5 3 -1 5 5
's u s p e n s iv e * u s e o f R Y K 3 9 - 4 2 ,6 1
tabu 115118
tadosm s e e ‘"tra n sitiv e v e rb s ”
taete (w . n e g .) 143
taga (in te rro g a tiv e ) 69
-takara (M Z K o f R Y K .8 [ta s h i]) 197
-takari (R Y K o f R Y K .8 [ta s h i]) 1 9 7 -1 9 8
-takere (IZ K o f R Y K .8 [ta s h i]) 1 9 7 , 1 9 9 -2 0 0
-taki (R T K o f R Y K .8 [ta s h i]) 1 9 7 ,1 9 9
-taku (M Z K o f R Y K .8 [ta s h i]) 197
-taku (R Y K o f R Y K .8 [ta s h i]) 1 9 7 -1 9 8
tamau 1 1 3 ,1 1 5 - 1 1 6 (in c l n 8 [tw o e n t r i e s ] ) , 117
n 9 (a n d th e p a s s a g e s c i t e d ) , 1 d 3
-tara (M Z K o f R Y K .1 [ta ri]) 1 6 6 -1 6 7
tare (in te rro g a tiv e ) 69
-tare (IZ K o f R Y K . 1 [ta ri]) 1 6 6 ,1 6 8 - 1 6 9
tari fo rm s (w . tari-type p s e u d o -a d js .) 6 0 - 6 1 ,6 3 - 6 4
tari (R Y K w . tari-type p s e u d o - a d js .) 6 0 -6 1 ， 63
tari (S S K w . tari-type p s e u d o -a d js .) 6 0 -6 1 ， 63
-tari fo rm s (R Y K .1 ) 1 6 6 -1 6 9 , 178, 1 8 1 -1 8 2
-tari (R Y K o f R Y K .1 [ta ri]) 1 6 6 -1 6 7 , 1 7 8 ,1 8 1
- t o r / ( S S K o f R Y K .1 [ta ri]) 1 6 6 -1 6 8 , 1 7 8 ,1 8 1
taru (R T K w . tari-type p s e u d o -a d js .) 6 0 -6 1 ,6 4
-taru (R T K o f R Y K .1 [ta ri]) 1 6 6 , 1 6 8 , 1 7 8 , 1 8 1 -1 8 2
-tashi fo rm s (R Y K .8 ) 1 9 7 -2 0 0 ’ 146
-tashi (S S K o f R Y K .8 [ta s h i]) 1 9 7 -1 9 9
tatematsuru 1 1 3 ,1 1 5 n 8 (tw o e n trie s ), 1 1 7 - 1 1 8 ,1 2 0
- f e ( M R K o f R Y K .5 [ts u ]) 1 8 3 , 1 8 6 -1 8 7 , 8 6 n 5
- / e ( M Z K o f R Y K . 5 [ts u ]) 1 8 3 -1 8 4 , 8 6 n 5
-te (R Y K o f R Y K .5 [ts u ], in c l ts u s p e n s iv e , use) 1 8 3 - 1 8 4 ,4 0 - 4 1 ,4 2 n 1 3 , 5 4 ,8 6 n 5 , 9 4 n 2
teinei usage s e e “ ‘p o lite ，u s a g e ”
to (q u o ta tio n p a rtic le ) 45 n l 7 ,7 7
to (R Y K w . tari-type p s e u d o -a d js .) 6 0 ,6 1 ， 63
to (w.y'z) 140
to shite (w . t o n - t y p e p s e u d o -a d js .) 6 1 ， 63
tomo 4 6 -4 7
to p ic (c o n tra s te d w . s u b je c t) 1 0 6 -1 0 8
tote (q u o ta tio n p a rtic le ) 4 5 (n 17 a n d # 2 5 )
tra n s itiv e v e rb s 2 7 (in c l n 2 ), 3 8 n 6 , 8 3 n3
tsu (a ttr ib u tiv e m a rk e r) 108
-tsu fo rm s (R Y K .5 ) 1 8 3 -1 8 7 , 8 6 n 5 , 173
-tsu (S S K o f R Y K .5 [ts u ]) 1 8 3 -1 8 5
tsukdmatsuru 115n8
-tsure (IZ K o f R Y K .5 [ts u ]) 1 8 3 , 186
358
f
Index
-tsuru (RTK o f R Y K .5 [tsu]) 1 83 , 1 8 5 -1 8 6

tsutsu 164
w fo rm s: 得 ([ 他] 下二） 3 0 .1 0 9 - 110
W( S S K o f w 得 [( 他) 下二]) 3 0 .1 0 9 - 110
-u (RTK 'bare form, o f Y odan verbs) 2 8 ,2 6
-u (S S K 4bare form5 o f K ami NIDAN verbs) 2 9 .2 6
-u (SSK 'bare form 5 o f S h im o n id a n verbs) 3 0 .2 6
-w ( S S K ‘bare form ， o f YODAN verbs) 2 8 .2 6
-u (ombin w. -shiku verbal adjs.) 5 5 ,5 8
-ubeshi 201 n 2
uchi- (verb prefix) 195
uketamawaru 114116
m m (IZ K o f w 得 [(他 ) 下二]) 30
-ure (LZK 'bare form 5 o f Ka m i NIDAN verbs) 2 9 .2 6
-ure (IZK 'bare form , o f Shim o NIDAN verbs) 3 0 .2 6
w/i/ (R T K o f m 得 [(他) 下二]) 3 0 , 1 0 9 n7
-uni (RTK 'bare form ' o f KAMI NIDAN verbs) 2 9 .2 6
-uru (RTK 'bare form, o f SHIMONIDAN verbs) 3 0 .2 6
'unpacking* o f verb constructions 7 3 -8 0
ww forms ( 植う、饑う • 飢う • 餓う） ‘to plant’ and
starve* 30
verbal adjectives 5 4 - 5 9 , 9 8 -9 9
vowel-stem verbs 24 nl
w a (topic marker) 1 0 6 -1 0 8
wa (w. the force o f ba, *if ) 1 9 7 ,2 0 2 ,2 1 1
ya (incl kakari-musubi particle) 6 5 -6 8 (in c l 6 5 n 2 ), 7 0
ya wa 212
Y odan conjugation 2 6 , 2 8 , 3 4 , 2 3 7 (in c l n 2 )
yoke 160
yomoiya) 1 4 1 ,2 1 4
-yu (verb-suffix) 141132
-zara (M Z K o f M Z K .2 [z a ri]) 1 2 9 -1 3 0
-zare (IZ K o f M Z K .2 [z a ri]) 1 2 9 ,1 3 1
-zari fo r m s (M Z K .2 ) 12 9 -1 3 1
-zari (R Y K o f M Z K .2 [z a ri]) 1 2 9 , 130
-zaru ( R T K o f M Z K .2 [z a ri]) 1 2 9 ,1 3 0 - 1 3 1
zo (final particle) 71， 224
zo {kakari-musubi particle) 6 5 -6 7 , 70-71
-zu forms ( M Z K .1) 1 2 3 -1 2 8
-zu (M Z K [rare] o f M Z K .1 [z u ]) 123
- z w ( R Y K o f M Z K .l [z u ]) 1 2 3 -1 2 6
- z w ( S S K o f M Z K .l [z u ]) 1 23, 1 2 6 -1 2 7
-zuba 123
-zute 125
-zu wa 123, 1 2 5 ,1 2 6
359
A bout the A uthor
J o h n T im o t h y W ix t e d is Professor Emeritus of Asian Languages at Ari
zona State University, where he taught Chinese and Japanese languages and
literatures for more than twenty-five years.
T h e author of a classic article on the ぬん/ / prefaces (古今集の序）
{Harvard Journal o f Asiatic Studies, 1983), Wixted has written three other
books and translated a fourth:
Japanese Scholars o f China: A Bibliographical Handbook 本のキ
国学専門家ハンドブック ) ，Lewiston, N.Y., 1992.
Poems on Poetry: Literary Criticism by Yuan Hao-wen (1190-1257)
(元好問的文學批評 ),Wiesbaden, G e r m a n y ，1982.
77^ 沉 /ぴ q/* C/zwa叹 A D . ) (韋莊之詞 )，Tempe,
Ariz., 1979.
Five Hundred Years o f Chinese Poetry, 1150-1650: The Chin, Yuan,
(元明詩概説 )，by Yoshikawa K^jirO (吉川幸
次郎 )，Princeton, N.J., 1989.
C O R N E L L E A S T A S IA S E R IE S
4 Fredrick Teiwes, Provincial Leadership in China: T he Cultural Revolution a n d

Its Aftermath
8 C o r n e l ius C . Kubler, Vocabulary a n d Notes to BaJinsJia: A n Aid for Reading the Novel
16 M o n i c a B e t h e & K a r e n Brazell,N o as Performance: A n Analysis o f the K u s e
S c ene o f Y a m a m b a
1 7 R o y all Tyler, tr., Pining Wind: A Cycle o f N o Plays
18 R o y all Ty l e r , tr., G r a n n y Mountains: A S e c o n d Cycle o f No Plays
2 3 K n i g h t Biggerstaff, N a n k i n g Letters, 1 9 4 9
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117 Yang Hi Choe-Wall, Vision o f a Phoenix: T h e P o e m s o f H o N a n s o r h d n
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120 Richard F. Calichman, Takeuchi Yoshimi: Displacing the West
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122 S. Yumiko Hulvey, S a c r e d Rites in Moonlight: B e n n o Naishi Nikki
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S B / 1 1 - 0 6 / . 5 M p b / . 2 M he

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A Handbook to Classical Japanese

East Asia Program

@ T h e p a p e r in this b o o k m e e t s the r e q u i r e m e n t s for p e r m a n e n c e o f I S O 9 7 0 6 : 1 9 9 4 .

C A U T I O N : E x c e p t for brief q u o t a t i o n s in a r e v i e w , n o part o f this b o o k m a y b e re­

Body of t h e Handbook ................................................................................121

P o s t - M I Z E N K E I P C H Suffixes (Passive, Potential, Causat i v e ,

Post-IZENKEI NIS N o n - I n f l e c t e d Suffixes

adj ⑻ . = adjective ⑻ s e e n., b o t t o m o f p. v n

affirm. = affirmation IZK = Iz e n k e i

a ux. = auxiliary v e r b JTI = s e e pp. 2 4 7 a n d 6 - 7

b. = bom -如く a d j . == see pp. 5 4 - 5 5

bee. = because M J = m o d e m Japanese

biblio. = bibliography M R K = M eireikei

ca. = approximately ( < cir­ M Z K = M izenkei

ca in Latin) n. = n o t e (i.e., footnote)

cf. = c o m p a r e (< confer in N.B. = N o t e well! (<Nota be­

comp. = compiler neg. = negative

d. = died NIS = N o n - I n f l e c t e d Suffix

ed(s). = editor(s)/edited N K B T = s e e pp. 7 - 8

for e x a m p l e ( < exem­ P . / P P . = page/ pages

esp. = especially P C H Passive, Potential,

etc. = et cetera: see p. 8 n . 1 7 Causa t i v e , Honori f i c , a n d / o r S p o n ­

explan.= explanation t a n e o u s inflected suffix

ff. = a n d following pol. = 'polite5 u s a g e ; s e e pp.

fl. = flourished (< floruit 111-113

in Latin) rpt. = reprint/reprinted

hon. = thonorific, u s a g e ; see rpts. = reprints

p p . 111-113 Sect. = Section

i.e. = that is (<id est in L a t ­ -s h i k u しく adj. = s e e pp. 5 4 - 5 5

in) s.o. = someone

IKE = see p. 6 n. 9 „ 2 5 8 SSK = Shushikei

I M X = see p. 5 n. 9, 2 5 8 s.th. = something

IMZ = s e e p. 6 n. 9 , 2 5 8 suppos.— supposition

incl. = i n c l uding viz. = na m e l y (< videlicet in

00 = n o t treated/not in text; s e e pp. 2 5 8 - 2 5 9

ハ . = repetition o f the p r e c e d i n g t w o - o r three-syllable unit, in kana and/or

kanji (e.g.,め b / \ ，memMERA.， 物 / \ しく，monoMONOshiku;

ハ = repetition o f the p r e c e d i n g t w o - o r three-syllable unit (in kana and/or

kanji), w i t h the initial c o n s o n a n t in the r e p e a t e d syllable v o i c e d (e.g.,

はる卜' \ ，haruBARii\ X t' \ ，hitoBiTO)

I am most grateful for the library facilities made available to me in recent

years, especially while in Japan: in 1966 in Kyoto, 1970-72 in Wakayama and

This is being written in southwest Michigan, in Harbert near Lake Michi­

This book is called A Handbook to Classical Japanese. Theoretically, it could

As an Introduction to Classical Japanese

H A N D B O O K ， with its hundreds o f examples o f verb-suffix usage, serves as a

1 T h e studies referred to here are listed in S e c t . 1 ，“G r a m m a r s , Introductions,”o f A ppendix E:

As a Grammar o f Classical Japanese

2 Reference is m a d e here to m o s t w o r k s treated in A p p e n d ix F: “W e s t e r n - L a n g u a g e B u n g o G r a m -

o f grammar. Yet they are quite capable o f learning classical-language material

between individual texts and between larger time-frames.7

In compiling the Handbook, I have built on the work o f others as regards

highlights suffixes in capitalized romanization, and when supplying more literal

IMZ = Ivan Morris, Dictionary o f Selected Forms in Classical Japanese Literature:

the technical director is M a t t h e w Gibson, a n d the co-directors are K e n d o n S t u b b s a n d N o g u c h i

15 R T K . 1 (gotoshi), #5, a n d R Y K . 6 (ki/shi), #15, respectively. F o r explanation o f this m a n n e r o f

late ( 尺み/^ んw zc/z/•ゴa/' 好色一代女，7b/ ふんwro 對髑髏 )• Second, those

Ouvrages tmduifs au japonais， Etudes en hngues occidenfaies (Paris: Pub\icaticms Orientsdistes

25 F o r a c o m p r e h e n s i v e listing o f translations into Italian, see A d r i a n a Boscaro, Narrativa

The Handbook is organized into three main divisions, in addition to the

' H e r e I d r a w o n m y experience teaching bungo to address areas f o u n d to b e consistently

The third main division o f the Handbook consists o f seven A ppendices ,

All o f the major verb-suffixes are represented in the B ody OF THE

C A U T I O N : E x c e p t for brief q u o t a t i o n s in a r e v i e w , n o part o f this b o o k m a y b e re

ca. = approximately ( < cir M Z K = M izenkei

cf. = c o m p a r e (< confer in N.B. = N o t e well! (<Nota be

for e x a m p l e ( < exem P . / P P . = page/ pages

etc. = et cetera: see p. 8 n . 1 7 Causa t i v e , Honori f i c , a n d / o r S p o n

i.e. = that is (<id est in L a t -s h i k u しく adj. = s e e pp. 5 4 - 5 5

kanji (e.g.,め b / \ ，memMERA.，物 / \ しく，monoMONOshiku;

This is being written in southwest Michigan, in Harbert near Lake Michi

32 T h e rarer p o s t - M l Z E N K E l verb-suffixes ，まうし，-/ w ふ，a n d -(ra)yw ( ら）ゆ，are not

Two Additionalむ如：ゐ and 灸

Y odan 四書く ‘to write’

たすけたすけたすくたすくるたすくれたすけよ

Ra h en ラ変 (ar/ 在り • 有り ‘to exist ’

A ) The M izenkei precedes three o f the four verb-suffixes expressing nega

exist， be ’； -力 •じ here4 is the SSK of the verb-suffix プソ• じ（

3.. ..幾許かこの降る雪の嬉しからまし。 MZK.6 (mashi), #2

[-ra ら is the M Z K of the verb-suffix -r/•り（M R K. l ) ; - 6 a ば here is

15•衣をだに脱ぎかへなで … MZK.1 (zu),#15

ス■ 殘る（自、四）= ‘ becoming extinguished, t o「 still] be left over’

18.「かの殿には、我も / \ 、婿に取りたてまつらん」と. . . RTK.2 (nari/

2 0 . つめのいとながくなりにたるをみて、… RYK.4 (nikeri, etc.),#18

2 4 . 歸りたければ、… 睡たければ、...R Y K .8 (tashi), #11

16 T h e “past”verb-suffix that does follow the R Y K is -r/ り（ MRK.1^

30. .••、さもおぼ吵まじ。 S S K . 3 (maji), # 7

It h a s b een argu ed th at th e RENTAIKEI is m o re lik e ly to b e u se d than th e SHUSHIKEI to en d s e n

3 6 • 死の近 (き)事を忘る、なり。 M Z K .2 (za ri), # 1 0