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 MAN’YŃSHō

BOOK 18

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

ii
 iii

MAN’YƒSHƜ
˜
BOOK 18
˜
A NEW ENGLISH TRANSLATION CONTAINING THE ORIGINAL TEXT,
KANA TRANSLITERATION, ROMANIZATION, GLOSSING
AND COMMENTARY

by

Alexander Vovin
EHESS/CRLAO

LEIDEN | BOSTON
MAN’YŃSHō: BOOK 18
Translated by Alexander Vovin
Printed on acid-free paper by CPI Antony Rowe, Chippenham, Wilts

Library of Congress Cataloging- in-Publication Data

Man’yoshu : a new English translation containing the original text, kana transliteration,
romanization, glossing and commentary / by Alexander Vovin.
volumes cm
Began with book 15 (2009)--Publisher’s website.
English and Japanese.
Description based on book 14, ?2012.
Includes bibliographical references.
ISBN 978-1-906876-20-3 (book 5) — ISBN 978-90-04-23359-1 (book 14) — ISBN 978-1-
906876-03-6 (book 15) — ISBN 978-90-04-28496-8 (book 17) — ISBN 978-90-04-26198-3
(book 20) 1. Japanese poetry—To 794—Translations into English. 2. Japanese poetry—To 794.
I. Vovin, Alexander, translator, writer of added commentary. II. Man’yoshu. III. Man’yoshu. English.
PL758.15.A3 2009
895.6’11—dc23
2012017145

© 2016 Alexander Vovin

ISBN 978-90-04-32252-3 (hardback)

ISBN 978-90-04-31560-0 (e-book)

Published by Koninklijke Brill NV, Leiden, ɨe Netherlands.

Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill NijhoĊ, Brill Rodopi and Hotei
Publishing.
All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system,
or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise,
without prior written permission from the publisher.
Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill  provided that
the appropriate fees are paid directly to ɨe Copyright Clearance Center,  Rosewood Drive, Suite 910,
Danvers, MA 01923, USA. Fees are subject to change.
ɨis book is printed on acid-free paper and produced in a sustainable manner.
To Stefan Georg, friend, colleague, gentleman, and teacher
 CONTENTS

List of charts ix
Acknowledgments xi
Abbreviations xiii
Preface xvii
Introduction 1

Man’yōshū – Book 18 21
Bibliography 160
 LIST OF CHARTS

Chart 1: Poetic sequences in book eighteen 2-4

Chart 2: Man’yōgana phonographic signs used in the Man’yōshū 5-9
Chart 3: OJ words in the logographic spelling 10-18
Chart 4: OJ words in the quasi-logographic spelling 19
 ACKNOWLEDGMENTS

U nlike the translation of book seventeen of the Man’yōshū book eighteen

proved to be a swift process, and it probably took the shortest time to
complete, mainly because of the fact that book eighteen is relatively short and
does not present outstanding difficulties like other books that appeared up to
date. There are very few new biographies to comment on and comparatively
few new realia that require extensive commentaries.
First, and foremost I hasten to express my gratitude to the members of my
family: my mother Svetlana, my wife Sambi, and our two children, Yasha and
Masha, who helped in various ways.
I am extremely grateful to my former publisher at Global Oriental (now
part of Brill), Paul Norbury, who initiated this project back in 2009 and
frequently went out of his way to support it and improve my translation. Paul
is now happily retired, and I am also grateful to my new editor in Brill,
Patricia Radder for all her help. My gratitude also goes to my French
colleagues without whose help my move to France would be impossible: Irène
Tamba, Redouane Djamouri, Étienne de la Vaissière, Alain Peyraube, Jean-
Noël Robert, Michel de Fornel, Jean Claude Anscombre, Laurent Sagart,
Guillaume Jacques, Anton Antonov, and Thomas Pellard. As always, I am
grateful to my many colleagues and friends around the globe: Ross Bender,
John Whitman, Bjarke Frellesvig, Osada Toshiki ( 㛗 ⏣ ಇ ᶞ ), Kawasaki
Tamotsu (ᕝᓮಖ), Michael Pye, Ross King, David McCraw, Robert Blust,
Lyle Campbell, Ken Rehg, Murasaki Kyōko (ᮧᓮᜤᏊ), Evelyn Nakanishi,
Mehmet Ölmez, Volker Rybatzki, Shimabukuro Moriyo (ᓥ⿄┒ୡ), Suda
Jun’ichi (㡲⏣῟୍), Suzuki Sadami (㕥ᮌ㈆⨾), Takubo Yukinori (⏣❑⾜
๎). Ty Borders, Greg Brown, Anna Bugaeva, Stefan Georg, Hayata Teruhiro
(᪩⏣㍤ὒ), Kageyama Tarō (ᙳᒣኴ㑻), and Kibe Noriko (ᮌ㒊ᬸᏊ). No
lesser gratitude goes to many French people who helped us in many ways to
settle down in France: Patrick Charles-Messance, Vida Chikezie, Hervé
Autran, Sami and Stéphanie Saleh, Jean and Marguerite Chaise, Christiane
Babiak, and Augustin de Benoist, as well as many others too numerous to
mention here.
I am grateful to all the generations of students at the University of Hawai’i
at Mānoa who took my seminars on Western Old Japanese, Eastern Old
Japanese, and the Man’yōshū over the years: James Baskind, John Bentley,
James Canegata, Tom Dougherty, Blaine Erickson, Hamada Masumi, Timothy
Harris, Hino Sukenari, David Iannucci, Steven Ikier, John Kupchik, Lin
Chihkai, William Matsuda, Marc Miyake, Matthew McNicoll, Matthias
Nyitrai, Shimabukuro Moriyo, Adam Schuetzler, and Lina Terrell. It was this
experience in the classroom that finally led me to the decision to organize the
translation in the order in which it is presented in these volumes.
As always, my special gratitude goes to Sven Osterkamp (Bochum
University) for sharing with me his wonderful MYSearcher, a web-based
search engine for the Man’yōshū. Having it on my hard drive greatly
facilitated my work.
 MAN’YŌSHŪ xii

The translation of book eighteen is dedicated to my friend and colleague

Stefan Georg. I owe Stefan many important insights and he was one of the
major moving forces in my scholarship. He also was the person who
persuaded me in the illusory nature of the ‘Altaic’ language family. This freed
significant amount of my time to do much more essential research in Japanese
Studies.
 ABBREVIATIONS

LANGUAGES

Chin. Chinese
EMC Early Middle Chinese
EOJ Eastern Old Japanese
LHC Later Han Chinese
LMC Late Middle Chinese
MdJ Modern Japanese
MC Middle Chinese
MJ Middle Japanese
MK Middle Korean
OJ Old Japanese
OK Old Korean
PAN proto-Austronesian
PJ proto-Japonic
PJN proto-Japanese
PMP proto-Malayo-Polynesian
PR proto-Ryūkyūan
Sk. Sanskrit
WOJ Western Old Japanese
TEXTS AND SOURCES

BS Bussoku seki no uta, 753 AD

FK Fudoki kayō, ca. 737 AD
GK Genryaku kōhon, mid-Heian period to 1184 AD
GM Genji monogatari, ca. 1008 AD
HB Hirose-bon, 18th century
HIB Heian ibun, 8th – 12th centuries
HM Hamamatsu chūnagon monogatari, ca. 1056 AD
IM Ise monogatari, late 9th or early 10th century
KGU Kagura uta, 9th – 10th centuries
KJK Kojiki, 712 AD
KJKD Kojiki den, 1798 AD
KK Kojiki kayō, 712 AD
KKS Kokin wakashū, 921 AD
KYS Kin’yō wakashū, 1124 AD
MYS Man’yōshū, ca. 771-785 AD
NHB Nishi Honganji-bon, late Kamakura period.
NK Nihonshoki kayō, 720 AD
NSK Nihonshoki, 720 AD
NKBT Nihon koten bungaku taikei
NR Nihon ryōiki, early 9th century
NT Norito, 7-9th centuries
OS Omoro sōshi, 16-17th centuries
 MAN’YŌSHŪ xiv

RGJ Okinawa go jiten

RK Ruijū koshū, end of Heian period
RMS Ruijū myōgi shō, 1081 AD
SKSK Samkwuk saki, 1145 AD
SM Senmyō, 7-8th centuries
SNK Shoku Nihongi kayō
SSI Shōsōin documents, 7-8th centuries
SSJ Shinsen jikyō, 898-901 AD
USM Uji shūi monogatari, 1213-21 AD
WMS Wamyōshō, 931-38 AD

GRAMMATICAL TERMS
ABS Absolutive
ADJ Adjectivizer
ASSER Assertive
ATTR Attributive
BEN Benefactive
CAUS Causative
CL Classifier
COM Comitative
COMP Comparative
CON Conjunctive gerund
CONC Concessive gerund
COND Conditional gerund
CONJ Conjunction
CONJC Conjectural
COOP Cooperative
COOR Coordinative gerund
COP Copula
DAT Dative
DEB Debitive
DES Desiderative
DIR Directive
DLF Directive-locative focus
DP Desiderative particle
DV Defective verb
EMPH Emphatic
EP Emphatic particle
EV Evidential
EXCL Exclamation
FIN Final verbal form
FP Focus particle
GEN Genitive
GER Gerund
HON Honorific
HUM Humble
INF Infinitive
INTER Interjection
IP Interrogative particle
LOC Locative
NEG Negative
xv MAN’YŌSHŪ

NML Nominalizer
OBJ Object marker
OSM Oblique stem marker
PAST Past tense
PEJ Pejorative
PERF Perfective
PLUR Plural
POL Polite
POSS Possessive
POT Potential
PREF Prefix
PREV Preverb
PROG Progressive
PT Particle
RA Reported action
REC Reciprocal
RP Restrictive particle
RETR Retrospective
SUB Subordinative gerund
SUBJ Subjunctive
SUP Suppositional
TENT Tentative
TERM Terminative
TOP Topic
VB Verbalizer
 PREFACE

W ith this volume (book eighteen) I continue the new English translation of
the Man’yōshū ( ⴙ ⴥ 㞟 ), the earliest and largest Japanese poetic
1
anthology (ca. between 759 and 785 AD) with detailed commentaries. The
first five volumes of this translation were books fifteen, five, fourteen, twenty,
and seventeen of the Man’yōshū, and have already appeared (Vovin 2009c,
2011a, 2012, 2013, 2016).
I provided the explanation to this seemingly eclectic order of translation in
the preface to the translation of book fifteen, so I will not repeat it here. The
order of translation after book eighteen will be: book nineteen, book one, book
sixteen, book nine, and starting from book two in numerical order.
This new translation is an academic one. There are several reasons for that.
First, the Man’yōshū is not only a work of literature; it is the most important
compendium of Japanese culture during the Asuka period (592-710 AD) and
most of the Nara period (710-784 AD). A literary translation will inevitably
call for poetically-sounding English at the expense of the Japanese text.
However, I want to present the Man’yōshū to the reader having preserved as
far as possible the actual flavor and semantics of the poems. That is, I want the
Japanese poets of that distant age to speak to the reader in their own words,
rather than according to English poetics. Consequently, I have endeavored to
make the translations as literal as possible without violating English usage.
Second, many realia of this distant era are absolutely alien not only to
Westerners, but also to modern Japanese. This requires an extensive
commentary, which has no place in a literary translation, because it may seem
an interruption of the general flow of the text. Third, I provide the original text,
kana transliteration, romanization, and glossing with morphemic analysis for
the benefit of the specialists and students of Old Japanese, who will be
interested in learning the language. Finally, like the previous translators
Pierson, Honda, and Suga, I am not a native speaker of English; ironically,
however, a native speaker of English has yet to complete a translation of the
Man’yōshū.
Book eighteen of the Man’yōshū is important for both the history of the
Japanese language, and the history of Japanese literature. Its main value is
twofold: first, it contains many poems written entirely or almost entirely in the
phonographic script. Second, it represents the second of the last four books of
the Man’yōshū collectively known as Opotömö-nö Yakamöti’s poetic diary.
In my translation I have kept notes on grammar to a minimum, as detailed
explanations would simply repeat my A Descriptive and Comparative
Grammar of Western Old Japanese, which also has sections on Eastern Old
Japanese (Vovin 2005a, 2009a). Since this is the most detailed grammar of
Western Old Japanese in any language, even including Japanese, those who
are specifically interested in grammatical issues are advised to consult it while
reading through the translation of poems written in Western Old Japanese. For

1
Inclusion of Munzasi province among Tōkaidō and not Tōsandō provinces may further narrow
this gap to 771-785 AD, because before 771 AD Munzasi province was a part of Tōsandō region.
xviii MAN’YŌSHŪ

those who are not, I hope that the glossing and morphemic analysis will
provide enough guidance.
Some readers may find my romanization of Old Japanese difficult to digest,
especially if they have no knowledge of the history of the Japanese language.
This romanization, which is essentially a mix of a transcription and a
transliteration of the Old Japanese original text, serves the dual purpose of
conveying both the phonology of Old Japanese and its writing. Thus, even if
the text contains unetymological spellings (like the confusion between kō-rui
/mô/ and otsu-rui /mö/, since the contrast between /ô/ and /ö/ after /m/ was
already lost in all the books of the Man’yōshū except book five, where it is
preserved to a certain extent), they are faithfully romanized according to the
spelling found in a given text. In the general Introduction the reader will find
the detailed explanation for this practice that might seem to be an idiosyncrasy.
In my romanization I have also tried to reflect the actual phonetics of the
language of the time, which was considerably different from that of modern
Japanese. Thus, for example, Modern Japanese fricative /h/ was Old Japanese
stop /p/, and Modern Japanese voiced stops /b/, /d/, /g/ were prenasalized stops
/mb/, /nd/, /ŋg/, transliterated as /Np/, /Nt/, and /Nk/ in the translation of books
five, fourteen, fifteen, and twenty. Starting from book seventeen I
transliterated /Np/, /Nt/, /Nk/, and /Ns/ as /mb/, /nd/, /ŋg/, and /nz/in order to
reflect phonetics rather than phonology for the benefit of readers who are not
linguists. In Classical philology it has already been known, starting from
Erasmus of Rotterdam, that one cannot read Ancient Greek in its Modern
Greek pronunciation, but the idea that the same is true for Old Japanese and
Modern Japanese seems to come very slowly to the minds of the majority of
Western Japanologists engaged in historical and literary studies. In any case,
for the benefit of those who do not like to bother with a romanization based on
the principles of historical linguistics, I have provided the kana transliteration,
since I cannot bring myself to romanize Old Japanese as if it were Modern
Japanese. The only minor deviation that I allowed myself with the kana
transliteration is to introduce subscripts 1 and 2 which denote kō-rui and otsu-
rui syllabic signs respectively. I hope that this deviation at least helps the
notion of kō and otsu vowels, already known for roughly one hundred years, to
find its way into the romanizations of Old Japanese in Western Japanological
literature.
Another change that is introduced starting from the book seventeen and
also maintained in book eighteen is the subdivision of all particles that were
before glossed as PT irrelevant to their function into four classes: interrogative
particles (IP), emphatic particles (EP), desiderative particles (DP), and
restrictive particles (RP). Please remember that I do not classify case markers,
diminutive suffixes, or plural suffixes as particles: these are treated on their
own. For the details on case markers, diminutive and plural suffixes please
consult the relevant pages of Vovin (2005a). I hope these changes in the
middle of the project are for the best, and should the earlier published volumes
be ever be reprinted, they will be brought into uniformity with all subsequent
volumes starting from book seventeen.
Alexander Vovin
Poligny
August 2015 – February 2016
 INTRODUCTION

T he general introduction to the translation of the Man’yōshū (ⴙⴥ㞟 )

‘Anthology of Myriad Leaves’ is located at the front of book fifteen
(Vovin 2009c: 1-31). Here, therefore, I provide only essential information as
well as the additions/revisions that concern book eighteen.

General information on book eighteen

By traditional count, book eighteen (18.4032-4138) comprises 107 poems with
unspecified genres: ninety-seven tanka, and ten chōka, by the traditional count.
However, the two variants of 18.4121 have sufficient discrepancy to consider
them different poems that I labeled as 18.4121a and 18.4121b in order not to
affect the traditional count. Among these 108 poems, seventy were composed
by Opotömö-nö Yakamöti, which constitutes almost two-thirds of the total
number of poems. The order of the poems is mostly chronological, from April
25, 748 AD to March 30, 750 AD, although there are some violations, mostly
due to the inclusion of poems that were composed earlier, but recited by other
people later during the period of time indicated above. Compared to the books
five, fourteen, fifteen, seventeen and twenty, book eighteen covers the shortest
span of time, which falls within Opotömö-nö Yakamöti’s appointment as the
Governor of Wettiu (MdJ Etchū) province. Book eighteen can be split into two
large sections: first section includes poems 18.4032 -- 18.4088, which has
many poetic exchanges and includes other authors besides Opotömö-nö
Yakamöti. Only twenty-seven poems belong to Opotömö-nö Yakamöti in this
section, almost a half, so he still dominates it. In contrast, the next frequent
poet in this section, Tanambë-nö Pukumarö, has only ten poems. The next
section that includes poems 18.4089-17.4138 is quite different. All poems in
this section, including all chōka, were composed by Opotömö-nö Yakamöti,
with the exception of six tanka poems by Opotömö-nö Ikënusi (18.4128-4133).
There are no poetic exchanges in this section either.
All ten chōka in book eighteen are found in the second part of this volume:
the first chōka is 18.4089, and all poems preceding it are tanka. This is quite
reminiscent of the similar situation in book seventeen, where all chōka except
one are also located in the second part of the volume. The longest chōka by
Opotömö-nö Yakamöti in the Man’yōshū (18.4094) consisting of 107 lines is
also found here.
The script is predominantly phonographic, with an occasional tendency to
use logographic writing, especially in Opotömö-nö Yakamöti’s poems can be
observed. Nevertheless, there are a number of poems written completely
phonographically or just with an occasional usage of logography. As a matter
of fact, book eighteen is the last of six books in the Man’yōshū in the
predominantly phonographic script that I published so far. Book nineteen and
to a lesser extent book one are transitional from the phonography to the
logography in this respect, and after book one we will enter considerably more
gray area of reading and interpreting poems. This is not to say that the
remaining books of the Man’yōshū are completely devoid of the phonographic
2 MAN’YŌSHŪ

writing: it is still present to varying degrees in different books of the anthology,

but logographic writing clearly dominates the scene.
The following chart presents all poetic sequences found in the two sections
mentioned above alongside with their authors and dates.

Chart 1: Poetic sequences in book eighteen

Poems Date Authors Poetic sequence

4032-4035 04.25.748 Tanambë-nö Pukumarö Four poems composed at
the banquet about his
feelings
4036-4051 04.26.748 - Tanambë-nö Pukumarö Sixteen poems on Puse
04.27.748 (4036, 4038-4042, 4046, lake
4049), Opotömö-nö
Yakamöti (4037, 4043-
4045, 4048, 4051),
courtesan Panisi (4047),
Kumë-nö Pîrönapa
(4050)
4052-4055 04.28.748 Tanambë-nö Pukumarö Four poems composed at
(4052), Kumë-nö the farewell banquet for
Pîrönapa (4053), Tanambë-nö pumbîtö
Opotömö-nö Yakamöti Pukumarö
(4054-4055)
4056-4062 composed Tatimbana-nö Möröye Seven poems composed
05.15.744 - (4056), Retired Empress when the Retired Empress
12.08.744, Genshō (4057, 4058), was residing in the
but recited in Princess Kaputi (4059), Nanipa palace
04.28.748 Princess Apata (4060),
anonymous (4061,
4062)
4063-4064 not before Opotömö-nö Yakamöti Two poems on mandarin
04.28.748 oranges
4065 unknown Yamanöupë-nö Okura A poem about longing for
(?) home
4066-4069 05.02.748 Opotömö-nö Yakamöti Four poems on a cuckoo
(4066, 4068), courtesan
Panisi (4067), Nötö-nö
Otömî (4069)
4070 autumn of Opotömö-nö Yakamöti A poem on a carnation
748 (?)
4071 early spring Opotömö-nö Yakamöti A poem about the merry
before meeting
04.06.749
4072 early spring Opotömö-nö Yakamöti A poem on the moonlight
before (?) and longing
04.06.749
4073-4075 04.06.749 Opotömö-nö Ikënusi Three poems on longing
for Opotömö-nö
Yakamöti
4076-4079 04.07.749 Opotömö-nö Yakamöti Four poems in response to
 BOOK EIGHTEEN 3

4073-4075
4080-4081 late spring - Opotömö-nö Saka-nö Two poems on longing
early upë-nö Iratumë for Opotömö-nö
summer of Yakamöti
749
4082-4084 04.24.749 Opotömö-nö Yakamöti Three poems in response
to 4080-4081
4085 05.25.749 Opotömö-nö Yakamöti A poem on unwillingness
to let monk Byōyō leave.
4086-4088 05.29.749 Opotömö-nö Yakamöti Three poems on lily
(4086, 4088), Kura-nö flowers
Napamarö (4087)
4089-4092 05.30.749 Opotömö-nö Yakamöti Four poems on a cuckoo
4093 05.31.749 Opotömö-nö Yakamöti A poem on Awo bay
4094-4097 01.06.749 Opotömö-nö Yakamöti Four congratulatory
poems on the imperial
edict on the discovery of
gold in Mîtinöku province
4098-4100 02.06.749 Opotömö-nö Yakamöti Three poems composed in
advance for the occasion
of the imperial outing to
the detached palace in
Yösinô
4001-4005 03.06.749 Opotömö-nö Yakamöti Five poems on the desire
for pearls
4006-4009 04.06.749 Opotömö-nö Yakamöti Four poems composed to
admonish Wopari-nö
Wokupî
4110 06.06.749 Opotömö-nö Yakamöti A poem on arrival of the
wife of Wopari-nö
Wokupî to Wettiu
4111-4112 12.07.749 Opotömö-nö Yakamöti Two poems on mandarin
oranges
4113-4115 15.07.749 Opotömö-nö Yakamöti Three poems on flowers
in the garden
4116-4118 16.07.749 Opotömö-nö Yakamöti Three poems
congratulating Kumë-nö
Pîrönapa on the
completion of his mission
to the capital
4119 16.07.749 or Opotömö-nö Yakamöti A poem on a cuckoo
17.07.749
4120- 17.07.749 Opotömö-nö Yakamöti Three poems addressed to
4121b a nobleman or to a
beautiful woman
4122-4123 19.07.749 Opotömö-nö Yakamöti Two poems on rainy
clouds
4124 19.07.749 Opotömö-nö Yakamöti A poem celebrating the
rain fall.
4125-4127 24.08.749 Opotömö-nö Yakamöti Three poems on
Tanambata
4 MAN’YŌSHŪ

4128-4131 25.12.749 Opotömö-nö Ikënusi Four joking poems

4132-4133 27.01.750 Opotömö-nö Ikënusi Two joking poems
4134 between Opotömö-nö Yakamöti A poem on snow, moon,
13.01.750 -- and plum blossoms
10.02.750
4135 between Opotömö-nö Yakamöti A poem on the playing
13.01.750 -- koto
10.02.750
4136 12.02.750 Opotömö-nö Yakamöti A poem composed at the
New Year banquet
4137 15.02.750 Opotömö-nö Yakamöti A poem composed at the
New Year banquet
4138 30.03.750 Opotömö-nö Yakamöti A poem on a forced stay
in Tônamî district due to
wind and rain

Ainu elements in book eighteen

The territory of Etchū must have been once Ainu-speaking; for details see
Vovin (2009b: 5-19). Since we have no texts composed by local people in
book eighteen, there is no way to tell, whether some portion of the population
was Ainu-speaking or bilingual at the time when Opotömö-nö Yakamöti was
the Governor, or it was already a thing of the past. Nevertheless, some Ainu
elements can be glimpsed in book eighteen.

WOJ pînemôsu ‘all day’ is a word with an obscure etymology. Initial

syllable is probably OJ pî ‘day’, but the rest is opaque. There is also
yomosuŋgara ‘all night’, attested phonetically only in very late WOJ, and
only in kana spelling in the NR (II.17). Omodaka et al. also cite yô
suŋgara as a variant (1967: 803), but do not provide any citations. There
is WOJ YÔ suŋgara, attested once in 17.3969. However, is appears that
pînemôsu ‘all day’ and YÔ suŋgara ‘all night’ are completely different
structures, because ne in pînemôsu is opaque. It is not impossible that we
are dealing here with a Japanese-Ainu hybrid compound: OJ pî ‘day’ +
Ainu ne, locative-instrumental case marker + Ainu mos ‘to be awake’.
Attested in 18.4037.
Taru pîmê ‘Lady Taru’ In spite of the fact that Lady Taru’s name is
rendered in commentaries as if it were taru (MdJ tareru, ᆶ) ‘to hang
down’, ‘to sag’, ‘to drip’, ‘to ooze’, it does not seem to be a befitting
name for a lady. Quite possibly, Sakhalin Ainu tara ‘to dream’, tarah
(-pihi) 2 ‘dream’ (Ōtsuka et al. 2008: 168), or Hokkaidō Ainu tarap 3
‘dream’ (Hattori 1964: 25) might offer a much better semantic fit: ‘Dream
Lady’. Regarding the difference in vocalism in the second syllable
between OJ and Ainu, it seems easy to assume that taru was borrowed
before the second syllable vowel was assimilated to the first syllable
vowel, or that were no such assimilation in the now extinct Ainu language
of Hokuriku. Attested in 18.4046.

2
Unlike Hokkaidō Ainu, Sakhalin Ainu does not have syllable-final obstruents: they are all
reflected as -h, but if a noun has a possessive form in -ihi or -uhu, the underlying final obstruent
is reflected in the surface form. Thus, tarah ‘dream’, but tarap-ihi ‘his/her dream’.
3
Ainu -p is a nominalizer: thus, tara ‘to dream’ + -p, nominalizer > tara-p ‘dream’.
 BOOK EIGHTEEN 5

Sapêkî clan (బ఑Ặ) is traditionally considered related to Opotömö clan

and traces its ancestry from the same deity Amë-no osipî-nö mîkötö. It
separated from the Opotömö clan during the reign of Emperor Yūryaku
(㞝␎ኳⓚ, traditional dates: 457-480 AD, but more probable: 457-490
AD). The name of Sapêkî is often derived from EMdJ safegi- ‘to block, to
obstruct (the enemy)’, but this is clearly impossible. EMdJ verb itself is a
secondary formation from OJ sapë-kï ‘tree blocking the road’, where OJ
sapë- is ‘to block’ and kï is ‘tree’, so the second and third vowels are
wrong. It does not seem to have a Japonic etymology. It is interesting that
the Hitati Fudoki sapêkî (written with the same characters బ఑) is used
as a name for local barbarian tribes that resist the central gouverment and
live mostly in pits (Akimoto 1958: 46, 54, 56, 62). There is a possibility
that sapêkî has an Ainu origin: Ainu sat-pet-ki ‘dry-river-reed’ >
*sappekki > WOJ sapêkî. Note that: 1) we cannot have Ainu *sapeki
[sabegi] as a prototype, because then WOJ *sambêŋgî or *sapêŋgi (if
Lymann’s law applies) would be expected; 2) there is a tendency to use
plant names in Japanese surnames. Attested in 18.4094.
Puse (p.n.) lake. Puse is meaningless in Japonic and certainly has no
connection to OJ puse- ‘to make lie down’. Meanwhile purse ‘to reach
gently the bottom with a pole’ occurs in Ainu placenames (Chiri 1956:
103). We would expect Ainu -rs- cluster to simplify just to -s- in WOJ.
This placename appeared in book seventeen in 17.3991-3992, 17.3991,
17.3992, the preface to the poems 17.3993-3994, and 17.3993. It is also
attested in 18.4036, 18.4038-40, 18.4043, and in the prefaces to the
poems 18.4036-4043 and 18.4044-4045.

Compiler of book eighteen

The compiler of book eighteen is undoubtedly Opotömö-nö Yakamöti. Book
eighteen is the second of four books (seventeen, eighteen, nineteen, and
twenty) that are traditionally believed to be his poetic diary. Book eighteen is
clearly dominated by poems composed by Opotömö-nö Yakamöti himself
(seventy out of 108 poems), with poems by Tanambë-nö Pukumarö (ten
poems) as well as his elder relative, and close friend Opotömö-nö Ikënusi
(nine poems) coming next.

Man’yōgana script
Man’yōgana script was discussed in detail in the introduction to the translation
of book fifteen. Book eighteen is interesting in the respect that for the first
time new phonograms that did not make it into the list in Omodaka et al.
(1967: 891-903) and also to my own lists of the man’yōgana phonograms in
the Man’yōshū (Vovin 2009c: 22-25; 2011: 2-5, 2012: 16-20, 2013: 18-21)
have not come to light. Thus, the list below is identical to the one that can be
found in the edition of book seventeen (Vovin 2016: 5-9).

Chart 2: Man’yōgana phonographic signs used in the Man’yōshū

Transcription Man’yōgana signs

a ࠶ ongana: 㜿 Ᏻ
kungana: ㊊ ࿃ 㬆࿧
disyllabic: ⱥ[aŋga]
i ࠸ ongana: ఀ ዀ ௨ ᛱ ␗ ⛣ ᅉ ༳ ኍ
6 MAN’YŌSHŪ

kungana: ᑕ ஬༑ 㤿ኌ
disyllabic: ᅉ[ina] ༳[ina] ኍ[iti]
u ࠺ ongana: ன Ở Ᏹ ᭷ ⩚ ⅲ 㞼
kungana: ặ ⳱ ༲ ᚓ
disyllabic: 㞼[una] 㨚[utu]
e ࠼㸯 ongana: ⾰ ឡ ౫
kungana: ᚓ ᴮ ⲥ
o ࠾ ongana: ព ᪊ ᛂ எ ᠈ 㣡
disyllabic: எ[otu] 㑚[opî, opu, opo]
ka ࠿ ongana: ຍ ㏑ ྍ ㈡ ⌃ ⟠ ᯫ ჆ ⏥ ⏑ ᩒ
kungana: 㮵 㤶 ⺅ ⰾ ṃ ᡤ
disyllabic: ⏑ [kamu] ᩒ [kamu] ₎ [kani] ᖸ [kani] ⴱ
[katu] ⏥[kapî] 㤶[kaŋgu] ྛ[kaku]
kî ࡁ㸯 ongana: ᨭ ఄ ྜྷ ᒱ Რ ᯨ ௻
kungana: ᑍ ᯂ ౗
kï ࡁ㸰 ongana: ⣖ ᗄ ㈗ ወ 㥽 ⥡ ᐤ グ
kungana: ᇛ ᮌ ᶞ
ku ࡃ ongana: ஂ ⋪ ཱྀ ⩌ ⱞ ୣ ஑ 㬀 ྩ
kungana: ౗
disyllabic: ྩ[kuni]
kê ࡅ㸯 ongana: ♮ ᐙ ィ 㭜 ௓ ዖ ㇈ ౯ ಀ ⤖
kungana: ␗
disyllabic: ව[kêmu] ┘[kêmu] 㝤[kêmu]
kë ࡅ㸰 ongana: Ẽ ᪤
kungana: ẟ 㣗 㣫 ᾘ
kô ࡇ㸯 ongana: ྂ ᨾ ᗜ ⚂ ේ ጡ Ꮩ ᯤ
kungana: Ꮚ ඣ ⡲ ᑠ ⢊
kö ࡇ㸰 ongana: ᕫ チ ᕧ ᒃ ཤ ⹫ ᚷ ⯆
kungana: ᮌ
disyllabic: 㔠 [kömu] ௒ [kömu] ㏆ [könö] ஒ [köti] ⯆
[köŋgö]
ŋ
ga ࡀ ongana: ఱ ᡃ ㈡ Ἑ ⻍
ŋ
gî ࡂ㸯 ongana: ⱁ ♲ ᒱ ఄ
ŋ
gï ࡂ㸰 ongana: ␲ ᐅ ⩏
ŋ
gu ࡄ ongana: ල 㐝 ồ 㝮 ⩌
disyllabic: ⩌[ŋguni/ŋguri] ᬌ[ŋgura]
ŋ
gê ࡆ㸯 ongana: ∳ 㞞 ኟ
ŋ
gë ࡆ㸰 ongana: ⩏ ᐅ Ộ
ŋ
gô ࡈ㸯 ongana: ⬌ ࿋ ೃ ᚋ ⹯ ࿃
ŋ
gö ࡈ㸰 ongana: ඼ ᮇ ◻ จ
sa ࡉ ongana: బ Ἃ స ᕥ ⪅ ᰘ ⣪ ⲡ ໳ ㆭ ᩓ ᑻ ✚
kungana: ⊃ ⊤ ⨶
disyllabic: ୕[samu] 㞯[sapa/sapî] ໳[sapî] 㣁[sapu] ㆭ
[sanu] ᩓ [sani] ⸃[sati, satu] ┦ [saŋga/saŋgu] ᑻ[saka] స
[saka/saku] ✚[saka]
si ࡋ ongana: ᪁ ᚿ அ ᖌ ⣸ ᪂ ᅄ Ꮚ ᛮ ྖ Ⱚ リ ᪨ ᑎ ᫬ ᣦ
Ṉ⮳ḟṚം஦モಙ
kungana: ∔ ☾
disyllabic: ಙ[sina] 㙂 [siŋgu] Ⰽ[sikî/sikö] 㤂 [sika] ᘧ
[sikî] ᣔ[sikî] ུ[siku]
su ࡍ ongana: ‛ 㡲 ࿘ 㓇 Ὢ ⌔ ᩘ
 BOOK EIGHTEEN 7

kungana: 㓑 ⠯ ᰨ ῵ ∔
disyllabic: 㥴[suru] ᐟ[suka, suku]
se ࡏ ongana: ໃ ୡ す ᩧ
kungana: ℩ ’ ⫼ ⬨ ㏕
disyllabic: ▚[semî]
sô ࡑ㸯 ongana: ⸽ ᐀ ♽ ⣲
kungana: ༑ 㯞
sö ࡑ㸰 ongana: ᭯ ᡤ ൔ ቑ ๎
kungana: ⾰ ⫼ ඼ ⱌ
n
za ࡊ ongana: ᑕ ⶶ 㑧 ♫ ㅰ ᗙ
n
zi ࡌ ongana: ⮬ ኈ ឿ ᑾ ᫬ ᑎ ௙
n
zu ࡎ ongana: ཷ ᤵ ⪹ Ṧ Ὢ4
n
ze ࡐ ongana: ᫝
n
zô ࡒ㸯 ongana: ಑
n
zö ࡒ㸰 ongana: ླྀ ᗎ ㈫5
ta ࡓ ongana: ከ ኴ ௚ ୹
kungana: ⏣ ᡭ
disyllabic: ୹[tani] ሪ[tapu] ణ[tani, tandi] ᙜ[taŋgî]
ti ࡕ ongana: ▱ ᬛ ᜝ 㝞 ⌋ 㑀
kungana: 㐨 ༓ ங ㊰ ⾑ ⱴ
disyllabic:⌋[tinu]
tu ࡘ ongana: 㒔 ㇋ ㏻ ㏣ ᕝ
kungana: ὠ 㰻
disyllabic: ⟃[tukî, tuku] ᑞ[tusi]
te ࡚ ongana: ᘭ ặ ᥦ ኳ ᖇ ᗏ ሐ ௦
kungana: ᡭ ౯ ┤
disyllabic: Ⅼ[temu]
tô ࡜㸯 ongana: ย ᩯ 㒔 ᅵ ᗘ
kungana: ᡞ 㛛 ฼ ♞ ㏿
tö ࡜㸰 ongana: Ṇ ➼ Ⓩ 㦐 ᚓ
kungana: 㫽 ༑ ㊧ ㏠ ᖖ
disyllabic:ᚨ[tökö] ᚓ[tökö]
n
da ࡔ ongana: 㝁 ኴ ኱
disyllabic: ᙎ[ndani]
n
di ࡖ ongana: 㑀 ἞ ᆅ
n
du ࡙ ongana: ㇋ 㢌 㒔
disyllabic: ᭎ [ndumî]
n
de ࡛ ongana: ᥦ ಪ ௦ ⏣ ప Ἶ ᇻ
n
dô ࡝㸯 ongana: ᗘ Ώ ᅵ
n
dö ࡝㸰 ongana: ᯆ 㦐 ⸨ ≉
na ࡞ ongana: 㑣 ዉ ᑀ 㞴 ༡

4
In placenames only.
5
The phonogram ㈫ as a sign for /nzö/ is attested only in the Man’yōshū (Omodaka et al. 1967:
896). However, it appears as a phonogram in the Man’yōshū just once, in the word kînzö (ఄ㈫)
‘last night’ (MYS 2.150). This is the only phonographic attestation of this word in the Western
Old Japanese part of the Man’yōshū. Interestingly enough, Omodaka et al. transcribe this word
in the same poem as kîsö in the entry on kîsö ‘last night’ (1967: 241). In addition, the same word
is attested in Eastern Old Japanese four times in 14.3505, 14.3522, 14.3550, and 14.3563
written as ఄ᭯ /kîsö/ with a voiceless /s/. Thus, I believe that the phonogram ㈫ was read /sö/
and I think that this word should be read as kîsö in Western Old Japanese as well.
8 MAN’YŌSHŪ

kungana: ྡ 㨶 ୰ ⳯ ୐ Ⳙ
disyllabic: ༡[namî, namu] 㞴[nani]
ni ࡟ ongana: ∞ ㏓ ோ ᪥ ஧ ⪋ ᑽ ⪥ ே ᰂ
kungana: ୹ Ⲵ ఝ ↻
disyllabic: ᰂ[nikî]
nu ࡠ ongana: ያ ᛣ ດ ⃰ ㎰
kungana: ἟ ᐟ ᐷ Ό
ne ࡡ ongana: ᑽ ⚲ Ἶ ᇻ ᖺ
kungana: ᰿ ᐟ
disyllabic: ᛕ[nemu]
nô ࡢ㸯 ongana: ດ ᛣ ᘾ ያ
kungana: 㔝
nö ࡢ㸰 ongana: ஀ ⬟
kungana: Ⲵ ➱ ⟟
pa ࡣ ongana: Ἴ ᧛ ᖭ ⰾ ፠ ◚ ᪉ 㜵 ඵ ᡣ ༙ ᾤ ⷧ క Ἡ ྒྷ
kungana: ⩚ ⴥ ṑ ⪅
pî ࡦ㸯 ongana: ẚ ༝ ᚲ ⮎ Ꮋ ౙ
kungana: ᪥ ᷓ ị
pï ࡦ㸰 ongana: 㠀 ᩫ ᝒ 㣕
kungana: ⅆ ᖸ ஝
pu ࡩ ongana: ᕸ ୙ ᩜ ᗓ ㈿ ྰ ㈇ ⚟
kungana: ⥂ Ṕ
disyllabic: ⢊[puni] ⚟[puku]
pê ࡬㸯 ongana: ᖹ ᘢ 㟥 ᖯ ᩎ 㝎 㐢 ㏉ ཯ ᘚ
kungana: 㒊 ㎶ 㔜 㝸
disyllabic: ఑[pêkî]
pë ࡬㸰 ongana: 㛠 ಸ ᣏ
kungana: ᡞ ら⥈ ⥂
po ࡯ ongana: ಖ ᐩ ᐆ ᭸ ಸ ᢪ ᪉ ซ ရ
kungana: ᕹ ✑
disyllabic: ซ[pomu] ရ[pomu]
m
ba ࡤ ongana: ፠ ఆ
m
bî ࡧ㸯 ongana: ẝ ẜ 㰯 ጅ ፩
m
bï ࡧ㸰 ongana: ഛ ⫧
m
bu ࡪ ongana: ኵ ∗ 㒊 ᢇ
m
bê ࡭㸯 ongana: ㎪ ౽ ู
m
bë ࡭㸰 ongana: ಸ
m
bo ࡰ ongana: ↹
ma ࡲ ongana: 㯞 ☻ ୓ ⴙ 㤿 ᮎ ‶ ᦶ
kungana: ┿ 㛫 ┠ ಙ 㨣
disyllabic: ᮃ[maŋga, maŋgu] Ⳙ[maku] ᖥ[maku]
mî ࡳ㸯 ongana: ᘺ ⨾ Ẹ
kungana: ୕ ᚚ ぢ Ỉ ཧ ど
disyllabic: ᩄ[mînu]
mï ࡳ㸰 ongana: ᚤ ᮍ ࿡ ᑿ
kungana: ㌟ ᐇ ⟪
mu ࡴ ongana: ∹ Ṋ ᪢ ᶍ ົ ↓ ㅛ 㭁 ൺ
kungana: භ
disyllabic: ┠[muku]
mê ࡵ㸯 ongana: ㈽ ᕄ 㤿 㠃
 BOOK EIGHTEEN 9

kungana: ዪ ፬
më ࡵ㸰 ongana: ⡿ ᱵ ㏞ ᫕ ᬌ
kungana: ┠ ║
mô ࡶ㸯 ongana: ẟ
mö ࡶ㸰 ongana: ẕ
mo ࡶ ongana: ẟ ẕ ⱱ ᩥ ⪺ ᛀ ⵚ ␇ ၥ 㛛 ໚ ᮌ ≀
kungana: ⸴ူ႙⿳
disyllabic: ≀[moti]
ya ࡸ ongana: ኪ ⛣ 㝧 ⪨ ┈ 㔝 ᳿ ஓ
kungana: ᒇ ඵ ▮
yu ࡺ ongana: ⏤ ႘ 㐟 Ἔ
kungana: ᘪ ‫‮‬
ye ࠼㸰 ongana: ᘏ ཿ ᭥ 㐭 せ
kungana: ඗ Ụ ᯞ ྜྷ
yô ࡼ㸯 ongana: ⏝ ḧ ᐜ
kungana: ኪ
yö ࡼ㸰 ongana: వ ୚ ண 㣾 ㄃
kungana: ୡ ྜྷ ᅄ ௦
ra ࡽ ongana: ⨶ Ⰻ ᾉ ᴦ
disyllabic: ⸛ [ramu] ℃ [ramu] ぴ [ramu] ⮞ [rapu] ᴦ
[raku] ⴠ[raku]
ri ࡾ ongana: ⌮ ฼ 㔛 㞄
ru ࡿ ongana: ␃ ὶ 㢮
re ࢀ ongana: ⚰ ♩ ౛ ิ Ⅿ 㐃
disyllabic: ᗮ[remu]
rô ࢁ㸯 ongana: ₃ ㊰
rö ࢁ㸰 ongana: ࿅ ౶ 㔛
wa ࢃ ongana: ࿴ ୸
kungana: ㍯
disyllabic: ୸[wani]
wi ࢄ ongana: ∔ ఩ ㅝ
kungana: ஭ ⊦ ᒃ
we ࢅ ongana: ᝴ ᘔ ្ ీ
kungana: ⏬ ᗙ ဏ
wo ࢆ ongana: இ ⿁ ⅲ 㐲 ᛷ ࿧ ㉺
kungana: ᑠ ᑿ ᑡ 㯞 ⏨ 㞝 ⥴ ⥓ ⇲
disyllabic: ㉺[woti]

Logographic spellings in the phonographic books of the Man’yōshū

Since this book concludes the translation of the section of the Man’yōshū,
written in a predominantly phonographic spelling, I believe it is appropriate to
offer a survey in two charts of all the words that may also be written in books
five, fourteen, fifteen, seventeen, eighteen and twenty not just in phonographic,
but also in logographic and quasi-logographic spelling. 6 This not only
demonstrates what words could be written both logographically and
phonographically, but also better prepares a student of Old Japanese for
different graphic possibilities while reading the texts.

6
On quasi-logographic spelling see Vovin (2016: 10-12). I exclude all personal names and
placenames.
10 MAN’YŌSHŪ

Chart 3: OJ words in the logographic spelling in the phonographic section

of the Man’yōshū
OJ word Gloss Logographic spelling
a, are I ᡁ, ੮
aka bright ᰾
aka red 䎔
akë- to be bright, to dawn ᰾, 䮻
akî autumn ⿻
ama fisher, fisherman, fisherwoman ⎧ཛ
amata many ཊ
-amba conditional gerund 㘵
amë ~ ama- heaven ཙ
amë ~ ama- rain 䴘
andusa catalpa ể
-anz-, -an- negative suffix н
ap- to meet ⴨
apî- reciprocal preverb ⴨
apînda interval 䯃
apuŋg- to look up Ԡ
ar- exist ൘, ᴹ
ara rough 咱
aratasi- to be new ᯠ
asa hemp 哫
asa morning ᵍ
asi foot, leg 䏣
asi reed 㰶
asômb- to amuse oneself 䙺
asu tomorrow ᰾ᰕ
atö foot 䏣
awa foam ⋛
awo blue, green 䶂
ayu east, eastern wind ᶡ付
erap- to choose ᫠
ikî breath, sigh ᚟
ikusa warrior 䓽ং
ima now Ӻ
imas- to exist (honorific) ඀
imô younger sister, beloved ࿩
inde- to go out, to exit ࠪ
inöti life ભ
ip- to say, to tell Ӂ
ipa rock ⸣
ipê house, home ᇦ
ipî cooked rice 伟
ita- to be painful Ⰻ
itandak- to receive (humble) ᡤ
itu five ӄ
itu when օᱲ
ka fragrance, scent 俉
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