’ THE OLD BAMBOO -HEWER S STORY

' Lkwua A K ! A) M O N O GA T A R I (T ET O R I N O KIN NO ) .

T HE E A R L IES T O F T HE J A PA NESE R O M A N CES , R ITTEN IN T HE TENTH CENT R Y W U .

V TRANSLATED , WITH OBSER ATIONS AND NOTES ,

F. V ICT O R D IC KIN S .

WITH THREE CHROMO - LITHO GRAPHIC ILLU STRATIONS TAKEN

FROM JAPANES E MAKIMONO .

H G W TO WHIC IS ADDED THE ORI INAL TEXT IN ROMAN , ITH

G Y V A U Y . RAMMAR , ANAL TICAL NOTES , AND OC B LAR

L O ND O N R L UD T UB NE R O . A T C , G E HIL L . HER TFO R D

PR I T ED B Y STEP E A STI A N D S O S N H N U N N . IL L S T R A T IO S U N .

T O F A C E P A C E T HE HAUNT

T HE UPB E AR I N G O F T HE L AD Y R A O UY A

FUJ I SAN FR O M T HE PASS O F GO E A N Y A

’ l e e he re ads Err one ous y l e tt r d T D Haunt .

ER R A T A .

’ 9 an o versight a conjectu re of D ai shu s i s given on p .

as th e tran slati on O f th e last t wo li nes of th e ode ;

“ t he versi on Sh ou ld be : 0 that heedless of yo nder

‘ o b the o d - a O f th e Sham o f m ill b wl ( y w r pl y, e y

’ ” s u ccess ) th e Lady m ight still listen t o my su i t !

d r d O n . 1 9 th e a t wo i n of the O de hou d n p l st l es s l be re e e ,

0 ou d I ha o d i t t o so u n c d a , w l ve exp se expe te

” “ a ! —b th e o d - a far om the c am f te y w r pl y , fr fier e fl e

kept wou ld I have feasted my eyes u pon i t ;

THE T RY OF THE LD BA MBOO -HE ER S O O W .

E R KIN (T A K T O I NO O A NO MONO GATARI . )

A J A PA NES E R O M A NCE O F THE T ENT H CE NT UR Y .

T HE CO M IN G O F TH E L AD Y K A G U Y A A N D THE D AY S O F HI L H C D OOD .

A G A I (K U Y HI M E N O O IT A CH . )

l FO R M E R L Y h i d an old m an a am oo - h wh o t ere l ve , b b ewer, h e d am oo on th e o hi - i d an d man i h e ew b b s b sky ll s e , y w se ’ ou h h m t o e r m n n d an d hi s n am was wr g t t e s ve e s ee s, e 2 u i n i a k w n da hi i n S an o M k o . N o o e t h e g y y, w le ply g ha ch i n a r o of am oo was h e u dd e n ar o f a t et g ve b b s , s ly w e

a m h n c am d o h h ou h the oo m a d azz i n t ll ste , w e e stre e f rt t r g gl l g i h u ch ma i n h d n i h t o t he d n . e a d saw l g t M rvell g, rew g ree , ha t he o r oc d d rom t h e h a h o and h e t t gl ry p ee e f e rt t ere f, ’ oo d a ai n an d e h d a i n c a u r a a m S ad h l ke g b el t y re t e, p l bre t i n a u an d of ar o i n hi ch ood midmo th e st t re r e l vel ess , w st st

e d u m a n o . h n h e aid t o hi D a da om spl r T e s self, y fter y , fr d a n t o d u oi I amon h am oo- d an d hi w sk, t l g t ese b b ree s, t s c hild that abides amidst them I may su r ely clai m as mi n e ” wn o . S o h e u t o h hi s h an d an d oo t he i n i n p f rt , t k t y be g, an d ca i d i t h om and a i t t o th e ood i f an d h e r rr e e, g ve g w e

1 ‘ ’ M u lmslzi — e re i e h o O e e t o t e . h , as ft n , qu val nt Latin lim 2 O r S ar uki r o S anu i or r o e of ok . , Sadaki . gD , Sanuki , is a p vinc Shik u M i akko a- ts u - ko er O E the A o e 15 of t he o r or y is n / , s vant ugust H m , that C u t ’ l alace e e t o ason m ro he e r o was omi asabi or B . T e o , quival nt ( , ) a n xp ssi n als ‘ ’ ’ h e f ru e r ‘ e 1 11 t e e o o er or . B ut li ke o er e e e er e us d s ns l , g v n , many th titl s , it d g n at d,

er e o ere e . as h , int a m nam M - 2 THE OLD BA BOO HEWER : JAPANESE ROMANCE .

t n ou i h d A nd a i n fai w d om n o . as t he chi w e be r s e p ss g r l , b u t so frai l and ten der that i t was n eedfu l t o plac e i t i n a B u t a i h i n u baske t t o be reare d . fter l g t g p on thi s gift whilst h e wi n am oo h e c a d n ot om hi s dai oi an d n i h g b b s , e se fr ly t l , g t a n i h as h e h o h ou h th e d an d O n d h i fter g t, s re t r g ree s p e e t e r i n n o d cam b e u on on e d i h ai n of o d an d ter es, e p fille w t gr g l , h e ama d s o o n a a h . an hi t he chi d , ere l g, sse gre t we lt Me w le l , i n d u n d d dail i n a u an d a t h be g ly te e , grew y st t re, fter ree — mon ths— won derfu l t o relate l he r statu re was as that of a 1 u a h n h e r i d a d h maiden of f ll ye rs . T e tresses were l fte n s e d on n d th e o O f maid nh ood b u t i cam n ot o h e r be e , st ll e f rt 2 i h u i n hu ch i h d an from beh n d t e c rta . T s er s e d watch e d o ver - an d n d ar d r w sh e ai O f or m n or c ou d t he te erly re e , g e f r f , l

o d Sho h e r i an d h was n o oom i n an co n w rl w l ke , t ere gl y r er of t h e d i n b u t i h n i n d h ou h ou n or well g, br g t ess re g e t r g t, ever di d th e An ci en t fall i n to a sorrowf u l mood bu t that hi s sad n was ch a d a a h n h e h d the maid n n or was ess se w y w e be el e , an an o d h a d n a h ha oo an d ha i y gry w r ever e r be e t t t r f, pp ly

t he da n b . on the n ci n h d am oo an d ys we t y L g A e t ewe b b s,

a h r d o d and h u i t was ha h e cam t o ou i h g t e e g l , t s t t e fl r s h an d hi i w t h e i t o exc eedi n gly in t e l . After t s w se gre g rl m ai d nh ood an d th e n ci n n am d he r M imu r odo m a e , A e t e I be n o i a b u t sh e was mo common c a d the ad Ak t , re ly lle L y

Ka u a the ci ou S nd am oo of th e i d of g y , Pre s le er B b F el 3 mn h n for h da a a a was h d and u u . A t T e t ree ys gre t fe st el ,

1 r as owe t o o re e on e e r o er Ancie ntly th e hai w all d fall in l ng t ss s ith sh uld . At th e age of 1 3 or 1 4 the se wer e br ought up and faste ne d i n a s or t of kno t on t he “ ” he o e t o crown or side of the h e ad . T cust m is allud d in a tanka of the — Manyoshu (T he Myr iad Le aves an Anthol ogy of t he te nth c e ntur y) Tachibana no Under the l u ng-r oo f bright with the hue s r e fle cte d ni ro th e or e - oo t ere ru nagaya f m ang bl ms , waga i ne shi have I slumb e re d i r wa r of e er e r unah baka i a gi l t nd y a s , kami age tsu ran ka? shall my tre sse s e ve r be b ound up 2 nd of the o - he e ore the t oko or o e or er e e e . T Hung b f , alc v , upp h us plac ' w he r o e r re e ro e rr e she re e . m e aning 1 8 that main d ithin m th s ca . unb t th d and unma i d 3 zmu r odo e th e e of r e e e e r t o the bor M m ans plac th cav s , alluding, p haps , a iginal e or - e r ro habit (still practise d in Ye zo) of living in cav s half und g und huts . It is

e wr e mi mor o w has the o o f r e mi e . som e tim s itt n , hich significati n a sac d ( ) plac ’ he e re r o r e I mu be (i mbe or i mzbe) we r e or iginally t h dita y builde rs of Shint sh in s . — — h e - In c e r tain province s Sanuki was one t e d signation b e came a family name . o we an o o me or be e e w i mi 1i a M r . Sat xplains it as signifying ass ciati n ( ) sch ing ( ) A k ta the e of ore r the o re e e cle anne ss . i is Fi ld Autumn , m st ictly lab u d fi ld mad A - : E THE OLD B MBOO HEWER JAPANES ROMANCE . 3

t he n i h ou on e an d all m n fo an d om n fo e g b rs, , e lk w e lk , were i n i d an d he cam i n m c r o d an d n o was t he v te , t y e erry w s ble l revelry .

HE O ' T W OOING F I HE M A ID EN .

N ow the n d i n i n h o a m e n O f n am ge tles well g t se p rts, e and me n o f lo w d hou h o f n o hi n bu t h o w eke egree, t g t t g

h mi h wi n hi ai mai d n t o i or n az u on t ey g t t s f r e w fe, eve g e p h e r au and S O di r ac d r h i h o ha h e be ty , st te we e t ey w t l ve t t t y let 2 i n ai ll t h o r d r o u n d t h n c thei r pass o be pl n t o a e w l . A e fe e an d a ou t he or ch h i n e r d bu t i n ai n for n o b t p t ey l g e , v ,

i m of t he m aid n c ou d ot n or h h n gl pse e l be g , slept t ey w e n i h cam bu t an d d o u t i n th e da n an d m ad g t e w ere rk ess , e h o h an d h r i n the n c an d r d h ou h h les ere t e e fe e pee e t r g t ese , b u t t o n o u r o d id h ai n h e i e e for n c au h p p se t ey str t r y s , ever g t h Si h of he r on h o m h on d t o az an d hu t ey g t w t ey l ge g e, t s sped the i r w ooi n g from th e twilight - hou r of th e m on ke y

n a d VV e ll- n i id h m r h e i h o o w r s . gh bes e t e sel ves we e t y w t l ve

an d woe b u t n o Si n was ou c h a d h m an d hou h h , g v s fe t e , t g t ey

a d t o ai n ch of o m am on the h ou e h o d n o o d ess ye g spee s e g s l , w r

an S O i t was e t man a n o e u i o f ot h . o swer ever g t ey , y y bl s t r i i n d h a ou a chi n h r ou h the i on da st ll l gere t ere b ts , w t g t g l vel g y

. an d h r ou h the i o n n i h t o ca ch om im of th e t g l vel g g t, t s e gl pse

- w o - h o not o e e . T h re ady in late autumn for t e r ice s ing . It is a unc mm n plac nam e r e w i e w o e e of e e e e o o . h l subj ct Japan s plac , family , and p s nal nam s a a ts Inv stigati n ' ‘ ’ K a u a O e wr e er of r e e e er the g y is ft n itt n jfwj ; Egg illum da kn ss , h nc , p haps , ob re e e e . the o he r r or e p s nt l g nd On t hand , it may , and p ably did iginally , m an I f Ka u ama o the r e or o e i i me i . s . or o o r o simply P inc ss G dd ss ( , gl i us lady) g y , Kag - - ee r o ee r the a e e . (d hill , as Kag shima is d island) , y b ing an mphatic suffix yi a u ama the b e O f an oft - o e z t o e e e o o e amga y is su j ct qu t d stan a , said hav b n c mp s d by - t he e ror ito A D . 6 90 6 96 on be o i t he o n i e oo of Emp J ( . ) h ld ng m u ta n bath d in a fl d summer sunlight (som e say m oonlight) H r su i t e T he r n e w a u g sp i g hath pass d a ay , natsu ki ni ke rashi and t he summe r hath come shir o taye n o and the pure white r aim e nt (of the gods) oro o hosu chO re ou t e i e k m is sp ad b l k , Ama no Kaguyama on t he S l o p e s of A monokagu 1 h e e re ro or r e r t o be th e e of t e . T he Such app a s m aning t xt , h p bably c upt or ot oko 6 1 m k i r awazu obzts u d o e te i to I mam/calm asaba w t he com iginal is y g/ , hich ’ e r e otoko onn a n o k im i real m m zwas lzi ku obzts u do e tar u m nta y thus xplains , g y y ' ar i A o / m / r wazu o l n b od o a/e e t i a c . n . e r r e oto wa u ke c n th ading is y g/ , 2 W was o r r t o oo e r so . roo of t he e of e r hich c nt a y g d mann s , and a p f int nsity th i - : 4 THE OLD BAMBOO HEWER JAPANESE ROMANCE . maiden ; b u t tho se of lowdegree after a ti me beth ou gh t them ’ t ai n t o ac u an d d o n h u oo an d h were v p e p w t s b tlessly, t ey

B u t h e r u o d ar d and c am n o mo . a i e d i ep te e re t re t r five s t rs,

u o an d o hi o f th e n am e i i n ho h ar tr e l vers, w rt er e b l ke, w se e ts ,

o d i d n o t d o wn an d n i h an d da h i hau n d t h e l ve e , g t y t ey st ll te 1 o A n d h n o o t he i n c I shi z u ku r i sp t . t ese ble l vers were Pr e an d t he i n c K u ramochi the S adai i n D ai n a on n o Pr e , j g Abe

M i u shi an d t he C hi u na on omo n o i u i an d M or otada g Ot M y k , , f t h e L ord o I S O . W hen a wo man i s somewhat fai rer than th e c rowd of

m n h ow a d o me n on t o az u on he r au ! wo e , gre tly l g g e p be ty Ho w m u ch m ore filled wi th desi re t o beh old t h e rare love li n of t he ad Ka u a h o d wh o o u d ou ch ess L y g y were t ese l r s, w l t n o o od n or c ou d an h i h o u h om h e r an d con f , l we t e r t g ts fr ,

in n d t o ac u an d do n i h ou t t he n c a i h i t e p e p w w t fe e, lbe t t e r

ai n t h u i n n o i a d h i n di e i i on was . d u ca p s w se e se T ey t s ppl t s , b u t n o an swer was vou chsafed ; they offered stan zas o f c om

ai n bu t h t oo di a d d e t h i o n d pl t, t ese were sreg r e ; y t e r l ve lesse e

n o hi an d h af on d t he i ce an d n o o f i n and w t, t ey fr te s w w ter 2 n d e ou h a f mi - i r i u d t he th u r s e ts o d su mme r w th equ al fo t t e .

S O a d th e d a an d u on a c ai n d a h o d p sse y s , p ert y t ese l r s su mmon ed t he Hewer and p rayed hi m t o besto w hi s d au ghter

u on on e of h m o i n o him an d u i n h i p t e , b w g bef re r bb g t e r “ h s u li n t i B u t h ai d O chi d of palms toget er pp a w se . e s : N l

mi n bv ood i s t h e m aid n n or c an S he c on ai n d e bl e , be str e ” o i A n d the d a n n t o o m . a d the m on h b f ll w y w ll ys t s we t y ,

and t h e o d u r n d t o h i man i on bu t h i hou h l r s ret e t e r s s , t e r t g ts

i d u on t h e ai d n an d man a i ou a h st ll welt p M e , y p te s pr yer t ey

mad an d man a u i ca i on h i n di e d n or c a d h e, y s ppl t t ey t , re t ey t o c a h i ooi n for u h ai d t o h m e se t e r w g , s rely , t ey s t e selves ,

‘ i h m A nd h t h e Maiden m g t n ot r e ai n u nmat e d for ever . t ey

1 e e n e e r e r e w be e e e ow Th s am s , at l ast such as qui it , ill xplain d b l . 2 zu ki i s K nmi —n ash - tsu ki r of A M i na . . J er the old , i , pa t uly and ugust und ” e r . T he e e o e o e e r the o cal nda nam signifi s g dl ss m nth , b caus du ing it all g ds were be lie ve d t o b e ab s e nt from the world h olding council i n the bed of the Stre am of He e the M 1lk W a t o e e r e the or e of me n r t he e av n ( y y) , d t min f tun s du ing nsuing ‘ f e e or e r . e e o e e are o e e e e i n y a This l g nd is Chin s igin , as ind d m st Japan s l g nds a re er or e de r e e e o e e rha s o e e or of the e w e t he g at l ss g , and mb di s , p , s m m m y tim h n e or of the e e we o e o r e of th e e ow er w was anc st s Chin s d lt ab ut t s u c s Y ll Riv , hich o e t o be the o o on e r of the re of e e supp s d c ntinuati n a th St am H av n . - : A THE OLD BAMBOO HEWER J PANESE ROMANCE . 5

c on i n u d h i u i an d S O ai n did h man i th e t e t e r s t, pl ly t ey fest stren gth of thei r passi on that t he An ci en t was con strai n ed “ 1 t o sa t o the ai d n B t he r ac o f u ddha h ou h y M e , y g e B , t r g th e c c of chan ha hou c om t o u s d au h an d y le ges st t e , g ter,

ro m a t o mai d ha c h r i h d h an d r a h e f b be ve we e s e t ee, I p y t e hearken t o t he w ords of an old man wh o loveth thee passi n g ’ well . A n d th e Maiden an swered W hat mi ght my father say that hi s dau ghter wou ld n ot gi ve d u ti fu l e ar t o ? I kn ow n o t i f I c ame t o thee thr o u gh t he c c o f chan bu t hi no w ha hou ar t m d a y le ges, t s I k , t t t y e r ” a h e f t r . The n the An ci en t repli ed

i h ha d o th or d ma me dau h bu t c R g t ppy y w s ke , g ter ; on

id am an old man wh o ar ou n u m e n s er , I se ye s t ber s ve ty , ’ od a ma a a a or t o - m o o an d t i s the wa t y I y p ss w y rr w , y O f t he o d ha t he ou h c a t o t he maid an d t h e maid w rl t t y t le ve , t o th e ou h for h u the o d i n c e a h n or o h r i ar e y t , t s w rl r set , t e w se ” thi n gs ordered . B u t Kag o ya said O h a h ha m an h o d ou u mu i t f t er, w t e t ese w r s y tter ; st then be as y ou say P “ ” “ A i d th e n c i n t ho u h an ha hou y, repl e A e t , g str gely st t

m t o u s h ou h t he c c o f c han e e t ha ho u the co e t r g y le g s , y st t ’ n a u of a oman hi u ch ar e t h a h r ar ha he t re w , w le s y f t e s ye s t t

h o r d t o r o c h e h o d may n ot lon g tarry i n t e w l p te t t e . T ese l r s ha ou h h t o i for mon h an d a i n i h ve s g t t ee w fe t s ye rs, l ste , p r t ee , h i u i ca i on an d h m ha ch i h h t o t e r s ppl t , let t e ve spee w t t ee , ” each i n d ue t u rn . Kagu ya an swered ’ N ot s o ai am ha ma c ai n of a man ai h f r I t t I y be ert s f t ,

nd t o ma i h o n e ho h ar r o d c e a were I te w t w se e t p ve fi kl , ha a mi a a mi n N o or d wi h w t ser ble f te were e ble l s , t ou t dou ar e he of ho m hou a e b u t ou d bt, t se w t spe k st, I w l n ot we d a man whose heart shou ld be all u n tri ed and ” n u nkn ow .

1 ” “ li . O r i L e . r my ch ld, my Buddha , my da ng - 6 THE OLD BAMBOO HEWER : JAPANESE ROMANCE .

A nd th e An ci en t said

ho u e a m r h ou h d au h B u t T sp kest y ve y t g ts, g ter . , i th ha mann r of m an h a hou a mi n d t o ma p r ee, w t e st t te wi th Ass u redly these l ords ar e of n oble n at u re an d n u rt u re . Then she an swered ’ N a ti s bu t ha ha ou d n o ha t he u a i y , t t t t I w l k w w t q l ty 1 ’ f h n 0 i ar e o t ese n oble gen tlemen s con sta cy m ay be . 8 l ke t he hearts of m e n that on e may by n o mean s easi ly part t he

om t h e or o r a ou t o h o d and sa better fr w se ; g , I p y y , t ese l r s , y t o h m ou dau h i o o him who ha o him t e , y r g ter w ll f ll w s ll pr ve ” t he o hi t o ma i h self w rt est te w t .

A n d t h e n ci n n oddi n a n t o he r o d ai d A e t, g sse t w r s , s ’ ” T i s well .

N ow th e ni h an d th e u i o a m d an d g t fell , s t rs sse ble sere n ad d t he ai d n i h f u - mu i c an d i h i n i n i h e M e w t l te s w t s g g, w t chan i n t o accom ani m n an d i i n an d i h cad n c d t g p e ts p p g, w t e e t a an d c a o f fan i n t he mi d t he o c am fo th t h e p l p , s w re f e r

n ci n an d hu a h m A e t , t s sp ke t e “ M on th s an d years have my l ords t arri ed by thi s p oo r b u t an d h i an n hi s c u h oma an d , t e r serv t prese ts respe tf l ge v n u t o O ff hi s hu m a i u d fo r h i hi h a o e t res er ble gr t t e t e r g f v u r .

B u t man are hi s a an d he n o n ot h h he ma y ye rs, k ws w et er y

- - hi i p ass away t o day or t o morro w . After t s w se hath be spoken t o t he M ai den an d pr ayed he r t o c hoose on e am on g you r lor d sh ips for a h u sban d ; bu t sh e w ou ld fai n learn whi ch i n d hi m wi h o f o u t he o h a a on s e we d . ai y be w rt est, l e ll F r

m d h e r S ch t o o u an chan c o u o d hi see e pee y r serv t , per e y r l r s ps, ” n d i r d A n d h n dd d a t oo i ot di a n h e o . o n , w ll s w r s t ey e sse t, sayi n g : It i s well W here u p on t he An c i en t wen t wi thi n an d o i h t he dam an d hu sh e d h e r sp ke w t sel , t s expresse wi ll “ l ’ I n T e n i ku i s a a o O f on hi ch of O ld y begg r s b wl st e , w , , the u ddha hi m o i n u h o i n ce hi B self b re, q est w ere f let Pr Is A n d n t h z u k u ri depart and bri n g m e th e same . o e mou n tai n

1 T h e e e or of the e e e for or e r to Japan s f m Chin s Buddhist nam N th n India , said ” b e orr o of S hi ntuh or the i e e or of t he e now ow a c upti n , Ch n s f m nam kn n e as Scind . - E THE OLD BAMBOO HEWER : JAPANESE ROMANC .

Hdr ai ha o r o th e a n oc an o a r i h , t t t we s ver E ster e , gr ws t ee w t roots of silver an d tru n k of gold and fr u itage o f pu r e whi te

ad an d bid i nc Ku r amoc hi a hi h an d e a O ff j e , I Pr e f re t t er br k and ri n m a r n h h r ai n i t h an d f r b g e b a c t e eof. Ag n e l o M o o ko shi me n fashi on f u r - robes of t he pelt of t h e Flame - proof

R at a a h i n o n h n n d t e D a a on t fi d me on e u ch . of , I pr y g s T e t he C hi u n agon I re q u i r e t he r ai n b ow - hu ed jewel that hides ’ i ts spar kle d eep i n t he drago n s head ; an d fr o m t he han ds o f t h e Lord o f I S O wo u ld I fai n recei ve t he c owry - shell that t h e ” n hi h r h road s - swall o w b ri gs t e o ver t e b e a plai n . B u t t he Ancien t sai d

r i a h be— th e hi n hou u i Te r ble t sks t ese t gs t req rest, d au h are n ot t o ou n d i hi n t he o u a how g ter, be f w t f r se s m ay on e bid these n oble l o rd s d epar t u p on like q u ests ? “ “ N a u o h th e dam h n o a e ond ou y , q t sel , t ese be t sks b y st t ’ h men s stre n gt . There u po n t he A n c ie n t saw that there was n othi n g for i t b u t t o O an d h e n ou t om he r and o d t he u i o bey , we t fr , t l s t rs all ha had a d a in t t p sse , s y g

h u h a h i t n i d an d h ar e the t a h a T s t bee w lle , t ese sks t t ” i h d ha ou h ma n m u st be accompl s e t t y r w ort y be k n o w . B u t t he p r i n ces an d t h e l ords m u rm u r ed amon g them an d aid selves , s “ ’ T i s or oo h ha t h e ad ho d i n d i dai n ou r c ou ou , f s t , t t L y l s s rte s

u i S O h e u rn d and i h h a h a a d ach t o s t . t y t e w t e vy e rts f re e w hom hi s o n e .

G - B W L F T HE S ACRED B EG I NG O O TH E B U DDHA .

ISHI N o HAC I (HO T O K E N o M I H . )

N ow th e days t o c ome seemed void of pleas u re to Prin c e 1 ’ i z u k u r i i f n h e mi h az u on t he ad au I sh ever g t g e p L y s be ty , an d he fell t o tu r n i n g over i n hi s mi nd whether he might n o t ’ li gh t u pon t he Holy B u ddha s b owl if h e wen t u p an d do wn t he

1 mi It o o i r e h / zu k u ri no mi ko. M iko o e of t e I s i i is n bl ( ) child ( ) , rig nally a p inc ’ ‘ ’ I s hzzuk u r i tau /f ar t e o e - i or e e bl ood r oyal . ( ) may m an st n bu lt, , in a bad s ns , ’ ‘ - et o zuku r i i l o o e re o for we er stone counter fe it . S y is st l a c mm n xp ssi n st n ’ fashi one d . - : 8 THE OLD BAMBOO HEWER JAPANESE ROMANCE .

and f T e n lk u i n a B u t the i n c ca d n ot l o j se rch thereof. Pr e re t o ou t i h on u ch a ou n an d a mu ch ond set l g tly s j r ey , fter p er i ng o ver t he matter he bethou ght hi mself i t were after all a vai n qu est t o fare ten s of thou san ds O f leagu es on t he ch an ce of n di n i n all th e r oad an d of T e n ik u a c r ai n fi g , b l j , e t ’ di h h o he i t mad n o t o t h a . n e begg r s s T eref re, let be e k w Lady that he had that ve r y day u n dertaken th e Qu est ; b u t o a d T e n i k u h e a d n ot a a u bu t hi d him i n t w r s j f re le g e, Y ama o and a od h h a at t he e n d h of i n t , b e t ere t ree ye rs , w ere , 1 a hil -mon a i n T Ochi he ou n d u on an a a of i nz u u l stery , f p lt r B r a o ac n d b a e an d im d i h mo hi ch b wl bl ke e y g begr e w t s ke, w he oo n d d i n a of ocad H h n a ach d t k a wrappe web br e . e t e tt e 2 t h e i t o an a i ci a oom - an c h and ou h a ai n the g ft rt fi l Bl br , s g t g d i n O f t h e ad Ka u a an d cau d t he i t o well g L y g y , se g ft be ca i d i n t o h e r A n d as S he oo d u on th e o sh e rr e . l ke p B wl ma d a an d i n i t la a c o hi c h sh e O n d rvelle gre tly, y s r ll, w p e e , and a stan za was wri t th ereon

Umi ama n o O a o hi y ver se s, ver lls mi chi n o o o o wo h a h th an a d an d a k k r t y serv t f re , we ry t su k u shi -hate an d wayworn h e peri sheth i shi n o hachi n o 0 what tears hath cost thi s bowl of

on st e, 3 n amida n agare wal what floods of streami n g tears

Then the Lady looked agai n t o see i f the B owl shon e wi th 4 ’ i h bu t n ot so mu ch as a fir e fl s i n cou d she l g t, y tw kle l d i co and she cau d th e o t o u n d t o th s ver, se b wl be ret r e e

i nc and i h i t was o d a c o wh on was i Pr e, w t best we s r ll ere wr t a verse

1 Pi ndola the o rer e one of the i tee . the B utan , Succ u in Sickn ss , s x n Rakan In ‘ z6-zm r R the r e er e e Hats u ra this A hat ( akan) is fi st num at d , and is call d tasha . He is re pr e se nte d as an old man se ate d by the e dge o f a p re cipic e ove rlooking the se a o i n r a e e r - r s t o e e off e hi s e t , and h lding his ight h nd a f ath b u h k p fli s, in l f o or e f the law a scr ll ( tabl t ?) o . 2 It was a pre tty cus tom in Old Japan t o accompany a gift with a b r anch of oo p e ach or plum or wild che rr y in full bl m . 3 ' T he t wo e wor - be r e i s hi n o we c/n no n amida last lin s , by a d play , may ad nagar e wa which would me an ‘ o f a truth this ston e hath b e e n t he be d of a ’ w e h r e r re of e r of oo . w e r t e are e r r e t st am t a s bl d In int , h n iv s in Japan at th i d i s , the o e tr or o of the ro r er -bed re o w i ow st ny c n al p ti n b ad iv is laid ba , al ng h ch fl s the dimi ni she d str e am . T he r e o r f r re of the i s e int insic spl nd u o a t ue lic Buddha m ant . - THE OLD BAMBOO HEWER : JAPANESE ROMANCE . 9

O ku tsu ya n o Of the han gi n g d ewdrop hikar i wo d a u i mo n ot even th e passi n g Sheen yad osu mashi d we lls herei n

u a ama n i O n t he i of a n t he i Og r y te H ll D rk ess , H ll l o f O u r a g , n an i motome k e mu ? what cou ldest th ou h O pe t o find ?

Thereu pon the Pri nce away th e B owl and made an swer t li u swi se

2 Shi a ama u i N a on th e Hi of i h n r y y , ll B r g t ess ay e ba hikari n o what splen d ou r u s u ru ka t o will n ot pale ? hac hi wo s u te te mo wou ld that away from the l ight of thy beau ty tan omar u r u kana t he sh e en of yon der B owl mi gh t p ro ve me t ru e !

B u t n o an o u d th e ad ma n or i e ar t o an swer w l L y ke , g ve y

u ica i on an d t he r i n ce a i d i h oo c om s ppl t , P , we r e w t b tless

ai ni n a a hi u n d hi m ad a a an d d ar d . pl gs , fter w le t r e s ly w y ep te “ A n d i me n s a of a c a n o hachi ha i wo st ll y restf lle fell w, ( j ) ” t 3 s u e ru .

1 a u m Situ te in the di str ict in which the B owl had be e n found . In g 1 ' ' (1 mm with m g o n ) is involve d t he se nse of da rkn e ss th ough the “ ” r e r e w S o In t u n /ca O de of cha act us d in riting the nam e me ans gr anar y . a ( ) t he Ma nyoshu sareba the S e of e e Yuu , As had s v ning fall r no ni on t he i of r Ogu a yama H ll Ogu a , naku shika n o th e calling dee r ko oi wa k z e e e r cr y na a u , c as this ni ght th i y, i ne ni kerashi I and in slumbe r is wrappe d the world . And again O hoigawa On the wate r s of the O hm ukayeru fune no fl oat t he fishe r -barks r - bi u i was the r e o f e r e o -fir e s kaga i it in gla th i d c y , r no wa 0 of r Ogu a yama Hill Ogu a , na nomi nari ke ri th ou gai ne ds t thy nam e 2 Shir ayama is said t o be opp osite in situati o n as in the me aning involve d e or n o o S h i r az awe or e o rr e o in its nam ( iginally , d ubt , / Castl Hill , but c upt d Int ama or W of t he B ow was y e i t o O ur a ama. T he r r e hit H ll ) , g y int insic b illianc l ' o of the be if we re e ou t of he r re e e e e l st in that Lady s auty, It cast asid p s nc Its sh n wo e o e e uld b c m visibl . 3 Il a-chi ow M on e o e Iza i h e e e the wor - o e y , b l , by o b c m s j , s am ; h nc d play , c nv ing e e of the e w i e the e e of r o e e e a s ns sham h ch att nds d f at a t icky and dish n st sch m . A - : N 1 0 THE OLD B MBOO HEWER JAPANESE ROMA CE .

T HE E W E L - B EA RI G B RA CH O F M U T H RA I J N N O N O .

HORAI N O TA M A N O Y E A ( D . )

a i u n was r i n c Ku r amochi an d h e a u t t Of w ly t r P e , g ve o o t he wo r ld th at h e was abou t t o take t h e b aths i n t h e lan d of

T s uku shi b u t t o th e ad Ka u a h e i t d c a d a , L y g y let be e l re th t h e was setti n g o u t u pon t h e Q u est after t h e Je we l- laden

r h S O h e ar d o a d N an i a i h om of hi B an c . f e t w r s w w t s e s

u i r b u t n ot man for he a d hi m ai n t o a sq es , y , llege f tr vel

i ho u a and oo i h hi m bu t a fe w of ho wh w t t st te , t k w t t se o

r i n c o a n danc u on h i o r d an d n h we e l sest tte e p t e r l , eve t ese,

a h had a ch d hi m wi h h i as h e oo oa fter t ey w t e t t e r eyes t k b t ,

i h u th e in mad we n t bac k t o M ak o . T s Pr c e e folk thi n k h e

h ad d ar d a i n o a d T s uk u shi o r o a d HO rai b u t ep te f r g t w r s t w r s ,

h e a i d h da at Nan i wa an d h n u n d hi m a ai n t rr e t ree ys , t e t r e g

c a i talward s i n cu d u - am o han d all n e d p , be g s lle p stre . Bef re e

ful c ommand had e n i n an d s i x m e n O f t h e U chi mar o s b e g ve ,

ami t h e mo n o d c a m n of th e i m had n f ly , st te r fts e t e, bee so u gh t o u t an d l odged i n a d we lli n g al oo f from t he wor ld a and u o u n d d i h a r i n c an d h t h w ys s rr e w t t ple fe e, t ere e a d h n u ni h d the chi h Pri n ce t oo retre te . T e b e f r s e ef of t e l c a m n i h ou c d a n om i n of hi s a m r fts e w t res r es r w fr s xtee f r s ,

t h e od u c of hi ch he a o d t o ha u r o an d cau d pr e w ll tte t t p p se, se fu rnac es t o be erec ted an d a j ewel - laden b r an ch t o be fashi o n ed differi n g n o whi t fro m th at whi c h t he Lady

K a u a had idd n hi m o i n u of hu c u nn i n g y b e g q est . T s gly t he r i nc aid hi s ch m an d a i n t h e an ch i h him P e l s e e , t k g br w t

se t O ff c r an d m a i n i n a oa o u n d d o n - t o se etly, e b rk g b t j r eye w

Nani a h n c he i t m ad n o n t o hi s u i tha w , w e e let be e k w sq res t h e had u r n d an d a u mi n t he u i o f on e i ret e , ss g g se terr bly mi n o n an d n i h a a ai d h i co . A n d hi s w r spe t w t tr vel, w te t e r g

u i an d ai n cam acco di n t o m him h sq res ret ers e r gly eet , w ere

1 This see ms t o be t he ge ner al se nse of an obscure and p r obably c orrupt — m s maztar m i r u r k u so we 0 kami ml k ud o wo a e e 3 k z eta u l i i o k te e tc . passag g j ( , r of C e e r th I have followe d the hints give n in the c omme nta y hid . P haps e passage

o t o r e i ur oku sh o so no kami n o 1 mm e t c . o e r o e or e ught ad , j ( ) , An th c mm ntat sugg sts S o 0 kami the o of S Okami r e k ud o r e the re e r e e that is c unty , and tains , fu nac . f nc th e n b e ing to sixte e n furnace s or p otte r y ove ns in S Okami . But thi s inte rpre ta ' m far - f of e e on the r e e o e e e e . o or ti n s s tch d P ssibly a s t pun is int nd d P inc s nam , ' Kur amochi w r e me anin cr Ii u r u ma-mack z r or e e e r of the , hich ally ( ) , gua dian k p ' ” i d o r r e o be r e e ri e e of the M ka s ca iag s, may als ad as signifying sup nt nd nt ” o r e r e or r r e R yal t asu i s g ana i s .

B - 1 2 THE OLD BAM OO HEWER : JAPANESE ROMANCE .

can n ot u the omi d u don n or i s th e i n c u n st ref se pr se g er , Pr e

m f o co ely o pers n . B ut t he Lady answered : Hard i t i s thu s sti ll t o oppose ’ m a h i b u t hi hi n i s d m d u n a ai n a y f t er s w ll , t s t g ee e tt ble h o ai d t he u u on th e i n c e t h ow a i w ere f I l q est p Pr e , y e s ly ” h a h he won i t a i i i t i s t o th dau h h n t ; b tter gr ef y g ter . T e t h e An cien t fell t o b u syi n g hi mself wi th pu tti n g t he chamber i n o d e an d a a hi n o u t an d acco d th e i n c r r, fter w le we t ste Pr e a ai n a i n : Y ou an ou d ai n n o ha m an n g , s y g r serv t w l f k w w t er o f plac e i t m ay be where grows thi s tree— how w onderf ul a ” hi n i t i s an d o an d a an t o s e e ! A n d t he i n c t g , l vely ple s t Pr e an d : T he a o a on t he n h of t he swere ve r bef re yesterye r, te t secon d m on th we took boat at Nan i wa an d sc u lled o u t i n o t he oc an n ot n o i n ha ac t o o ow b u t t e , k w g w t tr k f ll ; I ho u h t o m ha o u d t h e o of c on i n u i n t g t y self, w t w l be pr fit t g li fe if I mi ght n ot attai n t he desi re of my h eart so p r essed o n a d o n h th e i n d i d i h d we w r s , bl w w ere w l ste . If we per s e n ha ma d i t hi i d ou d m a h a eve w t ttere , w le we l ve we w l ke w t wa cou d o t he se a- ain an d chan c h u mi ht y we l ver pl , per e t s g om h ow ach t he mou n ai n m e n d o c a 6 rai O ; we s e re t ll H . S re s olved we scu lled fu rther an d fu r ther over t he heavi n g

a u n i far hi n d u s la the h o of ou r own and w ters, t l be y s res l .

A n d as an d d hu n ow d i n t h e o u h of t he se a we w ere t s, eep tr g

saw i t s o om n ow o n b t he a cam t o we very b tt , bl w y g le we e

an an d h c a u i d m on u on u s str ge l s, w ere re t res l ke e s fell p an d i t o ha ai n u s N o w n o i n n e i h were l ke ve sl , k w g t er

h n c h ad com n o r hi h n d d a mo t w e e we e w t er we te e , we were l s

a o d u b the s e a now ai i n of ood sw ll we p y ; , f l g f we were d i n t o i u on oo n e w a ai n i nd c i a i r ve l ve p r ts ; , g , es r b bly terr ble bei n gs c am e forth and w o uld have d evou red u s ; or we had t o u ai n ou r odi e b a i n of t h e oi of t he s a s st b s y e t g sp l e .

n a h an i an d n o h u man c a u was Be e t str ge sk es were we , re t re there t o gi ve u s s u ccou r ; t o man y d iseases fell we p r ey as we d i d a on no i n n o t whi h a d and so o d r fte l g k w g t erw r s , t sse we o the se a- ain i n o u r oat o o w t h e i nd for ver pl , lett g b f ll w five

d h n a ou the hou of t he d a on o u h u n d d a . re ys T e , b t r r g , f r h ou n oon saw a hi h hi l oomi n fai n o the rs ere , we g l l g tly ver

az d at i t and ma d at the a a . on w tery w ste L g we g e , rvelle

- THE OLD BAMBOO HEWER : JAPANESE ROMANCE . 1 3

e a o i t was majesty of th e mou n tai n ri si n g ou t of th e s . L fty an d ai of or m an d d ou i n n ot i t was th e mou n ai n f r f , bt g t

w W e i e i n ou r h a d i h a e . d we wer seek g , e rts were fille w t pl e t h e c ar an d c oa d i t fo r t wo d av or h an d h n , ste s t ree , t e we saw a oman a r a d i an an c om or h o u t O f t he w , r ye l ke gel , e f t

hi h sh e d i h a hi ar i n a i e c e . lls, be g s lv r vessel w fill w t w ter

S O an d d an d ac co e d he r a i n : How c a me n thi we l e st , s y g ll s ’ " ’ mou n ai n ? an d sh e ai d T i s o u n HO r ai h a ou r t s , M t , w ere t ‘ wi h o A n d ou wh u hi wh o h ar r e d . o s e ts we e fill t j y y , tell t s , ’ ’ n u i e d M n am i HOkan r u r i S h n ar e ou i . s he t e y , we q r y e , an r d an d h u on u dd n i hd e w amon the hi swe e , t ere p s e ly w t r g lls .

O n can n i n t he m ou n ai n saw n o man c ou d c im i t s s g t , we l l b

o so h and and e d a ou t he oo sl pes , steep were t ey , we w re b t f t

h e r o h e e r e e a i n oom th e o d can n o h ow t e f, w r g ew tr es b r g bl s w rl t s

h ou n d a r am o i n d t he like o f. T ere we f st e fl w g own f rom t he m ou n tai n th e a r h o e r ai n o - i n d o as , w te s w ere f w e r b w l e , yell w 1 o d hi as i u as ci ou u r i an d the am g l , w te s lver , bl e pre s r ; stre was an n d b id u i u of di e e m an d b i t sp e y br ges b lt p v rs g s , y

w r ad n i h d azz i n e an d rom on e of h gre t ees l e w t l g j wels , f t ese I b r oke off t h e b ran ch whi c h I ven tu r e n o w t o offer t o th e

d u A n i d d a me b u t a Ka a. ho w c ou d L y g y ev l ee , I fe r , l I do otherwi se than acc omplish th e O bj e c t o f my Q u est ?

i h fu on d all o d i s y on d mo u n tai n i n all t h e Del g t l bey w r s er ,

i n o t i e I ha w orld there ex sts t i s l ke . Aft r d pl u cked off t h e

an ch m h a a i hi n me an d ha e d o n oa d br , y e rt br ke w t , I st b r , an d d hi h r ar d i h a ai i n d e hi n d u s an d we spe t e w s w t f r w b , a om ou h u n d d da c am t o N an i a wh n c fter s e f r re y s e w , e e

d ar d i h ou a r i n so r a was m d i t o la I ep te w t t t r y g , g e t y es re y th e r an ch at t he of t he ad n or di d n chan m B feet L y , I eve ge y ai m n odd n d i h th e r i n o f oc an r e t , s e e w t b e e . M oved by th e pi teou s tale t he A n cien t c omposed a stan z a K u r e tak e n o Amid t he gloomy bamb oo gr o ves

o o n o a e or u on on ha h e d am oo y y t k t l g l g ve I ew b b s, n oyama u i mo even u pon t h e wild hill - sides ; saya wa wabi shiki b u t th u s sad an i n tern ode ! fu shi wo n omi mij i (thu s s ad a fortu n e) n ever have h d I be el .

1 S e e e b l ow. - : 1 4 THE OLD BAMBOO HEWER JAPANESE ROMANCE .

T he Pri n c e read th e verse an d said For these many d a h a n d u d mi r n o w m hi n ha n o ys ve I e re se y , et ks s ll I k w ” ac an d i n di d a an z a i n l pe e, te st rep y

W aga t amot o T he sleeve of my garmen t

i o k awak e r e ba b u t hi d a ha h com d r k y , t s y t be e y, wabi shiki n o an d of mi seri es 1 chi g u sa n o kaz u m o t he cou n tless ki n ds I have end u r ed wasu r ar e n u be shi n o lon ger will be remembered m by e .

' hi u n c u c am si x m e n i hi n t he n c on e a At t s j t re e w t fe e, fter

t he o h r an d on e of h m c a i d a c am oo a i n a t e , t e rr e left b b , be r g “ c o i n th e c and aid : T he chi of th e c a m n s r ll left, s ef r fts e ,

a n o U c hi mar o h u m n h a he an d hi s Ay be , bly represe ts t t fellows for th e spac e o f a tho u san d days broke thei r hear ts an d spen t thei r stren gth i n fashi oni n g t h e J ewel - laden

h Y e t h ou h o n an d h a h i a ou h an c . Br , t g l g e vy t e r l b rs , t ey h a c i d n o a for h i oi an d h e h u m a ve re e ve w ge t e r t l , bly pr ys that they m ay be acc or ded d u e paymen t that they may h ave ” i ha t u ood fo r h i r i an d i n wherew t l o b y f t e w ves l ttle o es .

h n h e if d u th e am oo i h t he c o i n i t s c f T e l te p b b w t s r ll le t .

T he n ci n i t h hi s h ad on on e i d ma d as he A e t , w e s e , rvelle

h a d t he or d o f the c aaft sman b u t t h e r i n c was id e r w s , P e bes e hi m i h di ma an d hi s i i h i hi n hi m self w t s y , felt l ver per s w t .

A n d t h e ad Ka u a h a i n O f th e m a comman d d L y g y , e r g tter, e

ha th e c o h ou d o u h t o h e r h u on i t was t t s r ll s l be br g t , w ere p taken wi thi n an d u n rolled an d thu s was i t wri t thereon Lately Hi s Hi ghn ess sh u t hi mself u p wi th u s mean c rafts

m e n and c au d a - ad e n an ch of t he a au , se j ewel l br r rest be ty

t o a hi on d an d omi d me b wa of u don t h be f s e , pr se y y g er e

hi o f t he c a A n d a o nd i n o masters p r ft . fter p er g ver t h e

ma comi n t o n o ha the anch was t o o d tter, g k w t t Br be best we

u on t he ad Ka u a who was a ou t o com a ad o f p L y g y , b t be e L y ’ t he a ac d m d i t t o aid at t he ad P l e , I ee e well seek L y s d welli n g that my g u erdon mi ght be gi ve n me and t he wages u d u e be paid t o s .

1 — C/zi usa o e r an e re o o or the g , th usand h bs xp ssi n signifying a th usand kinds , r f wr e r e s e e o e e e . innum abl , that is, all kind and va i ti s tch dn ss - THE OLD BAMBOO HEWE R : JAPANESE ROMANCE . 1 5

' A S t he ad Ka u a ad h o d h e r ac hi ch L y g y re t ese w r s, f e, w had n c ou d d i h r i u n d adi an i h o an d bee l e w t g ef, t r e r t w t j y , ! sh e s u mmon e d the An cien t an d smi li n gly sai d t o hi m Ha a ri a an ch om HO rai hi b m ai h hi s a ve t ble Br fr t s ; y y f t , let f lse an d tri c kfu l Highn ess be dismi ssed at on ce an d take hi s 1 J e we l-laden B r an c h wi th hi m “ T he n ci n n o dd d a e n a i n : t he an ch i s A e t e ss t , s y g As Br c a a c o un e i h n d n o h i a ion a o u le rly terf t, t ere ee be es t t b t ” u n i n i t ret r g .

A n d i h th e an ch th e ad Ka u a h e r h a n ow w t Br L y g y , e rt

O f oom n hi an za free gl , se t t s st

Makoto ka t o W as i t the tru e bran ch of HO rai

kiki te mi t su r e ba a e d as az d on th i ft , I sk I g e y g koto n o ha wo mere leaves of so u nd (wo r ds) kazar e r u ama n o r t he ha ad o n d i t t we e jewels t t r e , 1 yeda u i z o ar ike r u t he B r an ch of Bloom thou ou h m e br g test .

u r n d t th i n S O was t he False Bran ch ret e o e Pr c e . T he A ncien t remembered the lyi n g tale wherewi th h e had been

u i d and e a d d Hi s i h n i h an r wh o m an beg le , r g r e H g ess w t ge , e

hi ood i a ac n o t no i n h h t o o o r a w le st st ll sp e , k w g w et er g st y .

B u t as th e s u n an d i n t he he hou h hi m s k eeper west, bet g t

a n d u n ff N o w t he ad Ka u a u mmo n d t h a i an o . e g , sl k L y g y s e c a t m n wh o had cau d hi o h an d r ai d h m i i n r f s e se t s p t er, p se t e , g v g

h e m am a h a h e oi c d a a i n t ple l rgesse, w ere t t ey r j e gre tly , s y g , hi n o u d an d d e B h u h n a d . u t on t s t ey k ew t gs w l be, p rte thei r way hom e wards they were se t u pon an d pu n ished by o d o f th e r in c ood was h d an d all h i r a u r er P e, bl s e , t e r t e s re was a n o m h m an d h u d oi d h fl e d an d t ke fr t e , t s esp le t ey

n i h d B u t Hi s i hn h e was u t t o u n am va s e . H g ess felt p ex pled

h am an d hi s di scomfit u r e h w a hado w o r th e s e , t re s ve “ ” mai n d o hi d n h e m i n f s a . N ot o co a d ha re er ys ly , pl e , ve

o m mi b u t m n am has com a e oach I l st y stress , y e be e r pr ” h o u ho u t h e an d h u on he fl e d t o t he d t r g t l . T ere p eepest

c O f the hi an d d h all the of hi s d a re esses lls, welt t ere rest ys . Times an d agai n th e chi efs an d retai ners of hi s h ou sehold ’ ou h t o di co h i o d a bu t cou d n ot an d h s g t s ver t e r l r s retre t, l , e - 1 6 THE OLD BAMBOO HEWER : JAPANESE ROMANCE .

was as i a A n d i t was o u t of hi hi f Hi s t were de d . t s story o “ Hi ghn ess Pri nce Ku r amochi that arose th e expressi on tama ” 1 z akar u .

T HE F L AM E - P R R - E OOF F U R O B .

HI - N E Z U M I N O A W A ( K G O R O M O . )

2 3 T h e S adaiji n A b e n o M i u shi was a lord of wealth an d mi i a u an c and h h . I n t he a h o s bst e, g ty w t l ye r w ere f we 1‘ a c am t o ou r c ou n r a m r c han O f M or ok oshi b spe k, e t y e t , y 5 n am W Ok e i on oa d a hi O f ha an d t o h om was e , b r s p t t l , w i n di ted a letter requ i r i n g hi m t o bu y for t he S adaiji n a fu r - o hi ch was aid t o i m ad O f t he of t h e r be, w s ex st, e pelt 6 am - oo R at an d O no n o F u samor i one of t he u i Fl e pr f , , tr st est ’ f hi s o d u i r was d a ch d i n char f h mi i o o t e . l r s sq es, esp t e ge ss ve 7 S o u samor i oo t h e an d n do n t o th e coa an d F t k letter we t w st,

i r d i t t o W Ok e i t o h om h e i i d d e a o . l ve e , w l kew se g ve g l

k e i u n r o d t h e c o an d ad i t an d m ad an hu W O lle s r ll re , e swer t s T he Flame -proof F ar - Robe i s n ot t o be O btai n ed i n my c ou n me n h a a e d of u ch a o b u t i t has n ot n try ve t lk s r be, bee

n i t i an h r i t i s a hi n ha hou d a u d see . If ex sts yw e e , t g t t s l ss re ly hi d ’ i a ou h t o an , b u t t s h d t o e t b wa of be br g t t s l very r g , y y N h i f b an ha u ch a r o has n ad . tr e evert eless, y y p s be bee c a r i d t o n dia t h e a m ch an ma a t o o ai n r e I , gre t er ts y be ble bt i t an d h ou d h e ai th e o d n ow o d u on me , s l t y f l , g l best we p

ha u n d t o hi m who ou h i t t o han d back t o th e s ll be ret r e br g t , i ” L ord S adaij n . ’ on t he hi u n om t he an d of M or ok oshi Up s p s ret r fr l ,

1 e re o w e t o e e e r oo w ewe An xp ssi n hich may by tak n m an ith , bl ming ith j ls , “ ” “ ' or re o oo or tamaslzi i -zakar u t o e o e w o e p ci usly bl ming, again , , hav n s its g n ” - a wool g ath eri ng . 2 ’ d fl l i fl e re i e r e r to th e D a1 odai in or r e er . j , L ft G at M nist , n xt in ank j j P mi 3 - o e e A be no M imu ra i . r re e see M r . In s m t xts j Mi mu aji is G at Chi ftain , ’ h o Chamb erlain s t ranslation of t e K jiki .

e e e . T he r er are A n inv nt d nam cha act s E M . 5 o e o of i e e u t o r e e e . er o A c omm n d signati n Ch na, v n p c nt tim s Its d ivati n is uncer tain . 6 ’ - zumz N ezami roo - wer or e r r e i ne we r e er Hé ne . ( t gna p haps ic ( ) gna ) is a g n ic o Ro e I n the e e o t e o e o t o the e o nam e f r d nts . l g nd is d ub l ss inv lv d an allusi n asb st s ’ e o e o o e e r e wor on r o o o ro cl o th m nti n d in C l n l Yul s admi abl k Ma c P l , as a p duct i of the c ountry lying n or th of Ch na p rope r . 7 t o H i n Chi kuz e n our e r e or of e e r e r Pr obably akata , a fav it s t Chin s t ad s In e arly tim e s .

- 1 8 THE OLD BAMBOO HEWER : JAPANESE ROMANC E . c ar ef u lly i n th e c asket whi ch h e attached t o a B r anch of 1 oom an d u i n on hi s ai r a a an d e i n Bl ; p tt g f est pp rel , fe l g a u d h a t h e i o u d wi n hi m hi s ooi n add d a ss re t t g ft w l w g , e

c o l h on was i a an za and ca i d t he i t o th e s r l w ere wr t st , rr e g ft

d a od La y 8 b e .

Kagi ri n aki E n dless ar e th e fires o f love omoi u i ak e n u h a con u m m e e t u n con u m d y t t s e , y s e k awago r omo i s th e Robe of F u r

t am ot o kawaki t e d r at a ar e m y l st y sleeves , kiyO koso wa mi me for sh all I n ot se e h e r face thi s day !

hu ch i n hi m th e S adai i n ach d th e n r an ce T s eer g self, j re e e t ’ O f the ad d i n an d t he n ci n c am ou t an d oo L y s well g , A e t e t k A n d sh e t h e casket an d b or e i t wi thi n t o t he Lady Kagu ya. gaz ed awhile u pon th e Robe an d said

“ ‘ ai o O f fu r i t m t o b u t i i t o d A f r r be see s be , t ll be pr ve , ” h o w c an n o i f i t n ot a we k w be f lse . B u t t h e An ci en t an swered

o ha ma d i n to i n i th e S adai i n t o H wever t t y be , e g v te j en ter ; th e like of y on d e r R obe t h e world d o th n o t appear t o h o d ‘ n ot so di u u dau h n or d i m e n t o l be str stf l , g ter, r ve ai desp r .

h n h n ou t n d i n i h ad i i n e A n d T e e we t a v ted t e S a j n t o e t r . n o w t h e ad hou h h e r h a was h e a she m u L y , t g e rt vy , felt st

c i hi m for r a as th e n c i n had i d o h e r re e ve , g e tly A e t gr eve ver c on i n u d m aid n h ood i n t o fin d h e r a o th t e e , seek g ever w r y ma e t n e h ad h e ou h t o c on r ai n h e r i n how te , y ver s g t st , see g d she d r ad d t o i h r f t o an m an eeply e e g ve e sel y . “ B u t sh e said t o t he An ci en t : If thi s R o be be thro w n amid th e am an d n o t u n u ha n o i t i s i n fl es be b r t p, I s ll k w

u h t h e lame ~ r oof o an d m a n o on u very tr t F p R be , y l ger ref se ’ ’ h i r d i o d u . i t has n ot i t s e o i n th e o and ti s t s l r s s t As f ll w w l , a d t o i hou d ou th e amou o hat i verre be, w t t bt , f s R be t res sts

am the oo ma d a d . fl e, pr f y well be re

A n d t he n ci n a r d and o d the S adai i n i t m u A e t g ee , t l j st be “ so h u o n h e an d : W ha dou can h b e , w ere p swere t bt t ere

1 ore e r th e r e e w his er o a e r e M lit ally , taking g at st pains ith p s nal pp a anc , as if was o — u hi te he t o o r mi n o [case Ices /1 6 i ro i t ak s . g ing a C u t Le ve e ou ( ) - T HE OLD BAMBOO HEWER : JAPANES E ROMANCE . 1 0

v n i n t he and of M or ok osh i th e o was n ot t o ri e e l R be be g t , an d cou ld on ly be fou n d aft e r lo n g an d t oilso me se ar ch ; n r he as t he ad i ha i t s o th e o b e c a t eve t less , L y w ll ve , let R be s ” amon t m g h e fla es .

A n d a fi r e was i n d d an d th e o was un h i n k le , R be fl g t ere an d i h r S O was i t h o n i n a flash of flame per s ed u tte ly . s w

ha i t was n ot i n r u h mad of th e amo u am - oo t t , t t , e f s Fl e pr f

F u r W h n t he S adai i n saw hi hi s ac w r e n as . e j t s, f e gre g e

h r a n i h d B u t t h e ad Ka u a ra an d he ood o . g ss , st t e e st s e L y g y

oi c e d c e e di n an d c au d t he c a t o u r n d rej ex gly , se sket be ret e wi th a scr oll i n i t where on was wri t a verse

N agori n ak u m o Wi tho u t a vestige even left

m o u t o shi r i seb a h u t o u r n u e a a y , t s b tt rly w y ,

kawa o r omo had d r am i t o f hi o of F u r g I e t t s R be , o moi n o h oka u i Alas th e p r e t ty t hi n g ! far otherwise 1 w o u d h d O ki te mi mash i o ! w l I ave ealt wi th i t .

B u t th e S adaijin wi thd r ew di scomfite d an d shu t hi mself

i h m A n d m e n h ar i n ha had ac u n i s an i o n . p s , e g t t Abe complishe d hi s Q uest an d was abidi n g wi th t he Lady ’ Ka u a i n u i d at t h e ad d w i n i f ha r s o g y , q re L y s ell g t t we e , and w e r e to ld t he fate O f t he R obe O f Fu r an d that h e ab od n ot i h t he ad an d h ar i n hi h c ai m d e w t L y , e g t s t ey ex l e “ 2 ” t A n ali enae/t i i c of o k i n u h hi ui ob . , p e e w r tr t , t s fr tless j

’ T HE J EW EL I N TH E D RA G ON S HE A D .

o K B (T ATSU N U I N O TA M A . )

3 4 T he D ai n a o n O o mo n o i u i i n i n h i s man i on g t M y k , be g s , “ assembl e d hi s ho u seh old and dei gn ed t o s ay : I n t he h e ad

O f t h e a on i a ai n o -h u d and o n hi m who Dr g l es j ewel , r b w e ,

1 ’ ‘ ’ e re wor - r h i In f omoi Izz e e on t e O e e . Th is a d play h ( ) , m aning flam 2 ’ A ll en HS h a r P i en a b w i o a m a i . en as bi s z n i b sh A I o llf. SH. r fl ( y ) , ith g , y m[ N b b j l l ‘ fi o o e of oo e e r o e fe e e w w r u n is a l cuti n us d a b tl ss und taking, s m thing bl , a k a d and succe ssful . 3 b at/m on r e o or i R o , e r t o the Uda i n or h r e G at C uncill , n xt in ank j , ig t G at

e r wh o o lowe t he S adai i n . Minist , f l d j 1‘ o o ee t o e — O t m s ms m an many multitud e s or c ompani e s of men . Miyuki the — p er sonal name is h omoph onous with t he word signifying a Royal Pr ogress or Pr om e nade . - : 2 0 THE OLD BAMBOO HEWER JAPANESE ROMANCE . sh all win i t m e shall n ou gh t remai n u n bestowed h e may ’ d i Hi s m e n i n d t o h e i o d o d an d on e es re l ste e t r l r s w r s, “ sai d h u mbly : T he hi gh behests of o u r l o rd hi s servan ts h ear with t rembli n g awe ; b u t ho w sh all a m ortal man light u on u ch a e or d a i t o h r om t h h e p s j wel , r w f rt f e ad of a ” “ Dragon ! W hereto t he D ai n agon an swer ed : If y e call

ou r th e an o f ou or d n at t he i O f ou y selves serv ts y r l , eve per l y r ar e e ou n d t o d o hi s i ddi n h li ves y b b g . T e j e wel whe r e of 1 a i s n ot t o ou nd i n o ur an d n or e t i n t h e an d I spe k be f l , y l of T e n iku n or i n ha of M or okoshi t h e a on i s j , t t ; Dr g a m on ster that c reeps u p t he hill - sl opes from t he se a 2 an d ru sh e s d own them i n to t h e oc ean — b u t O f wh at can ” y e be thi nki n g i n shi rki n g thi s Q u est ? A n d they said

A S ou r o d i so m u i t an d a i t he a r a l r w lls , st be , lbe t t sk we e ” i n ot hi r i h u t i ou on e t . W on h e D ai n a on p er l s , we w ll s k ere p g “ a d d h m i h a mi an d cr i d Y e o u d n o t reg r e t e w t s le , e , w l ’ s u rely p u t shame o n you r lord s n ame n or refu se t o d o hi s ” i di n b d g . ’ Then be di smi ssed them u p on t he Qu est after th e Dragon s h e ad e m an d ha h mi h t n ot an for ood an d g , t t t ey g w t f u or on h i wa n d o of i an d c o on an d s pp t t e r y, e less st re s lk tt

n d h hi n n d u o d u o n h e m c oi n a ot er t gs ee f l were best we p t .

n d t he D ai n a on omi d ha h e ou ld i i n c u i o n A g pr se t t w l ve se l s , a ai i n h i u n an d ad h m n ot c a h i oo w t g t e r ret r , b e t e st t e r l ks i h had won t h e h a n h omewards u n t l t ey j ewel . S O they e rke ed h m an d d a d h u mbly each of t e ep rte . ’ They were bi dden t o take the j ewel fr o m th e Dragon s h ad b u t h t o u n h i h c ou d n ot an d e , w ere t r t e r steps t ey l tell , they fell t o reproachi n g thei r l or d for bei n g thu s bewi tched h n h di id d amon t h m ha had by a fai r face . T e t ey v e gs t e w t n o d u on h m an d om wi hd t o h i bee best we p t e , s e t rew t e r h ou h t o li e hid hil o h n hi h h ses , t ere , w e t ers we t w t er t ey

1 o e of th e S ankoku r e e o r e That is , in n n (th c unt i s , Japan , India , and China) , o f w on of the e e S ankwoh the ze wor was o e hich , in imitati Chin s , civili d ld supp s d t o c onsist . 2 In o e r o e th e o e r the r er r o r ow th e s m p vinc s , says C mm nta y, iv s, a ing d n w e t o t he se a r t he e r ar e o e t o be e o narr o vall ys du ing h avy ains , supp s d chang d int r l r or of r o w be e e e t o f t e f r o t he se a this pa ticu a f m D ag n , hich has n s n li t i s l f m — sur fac e towa rds a de sce nding cloud an inter pre tation d oubtle ss of the phe n ome na w e r o atte nding the for mation of a at sp ut . - THE OLD BAMBOO HEWER : JAPANESE ROMANCE . 2 1

’ i d r d i nc as . wa r t o o a t o a n an l ste T s ve y well be l y l p e t pr e, t h e ma i m r u n h e m u r d b u t a h so u r d n o m x s , t y tte e , be est b e s e as hi co u d n o t b e ob e d an d i r h oach e d t s l ye , b tte ly t ey repr h i r or t e l d fo r havi n g laid u p on them su ch a task . Mean while the D ai n ag on deemi n g hi s m an si on comm on an d m an an d u n t o r e c i t h e ad Ka a a cau e d e , fit e ve L y g y , s i t t o be ado rn ed throu gh ou t an d m ade beau ti fu l wi th c u r i ou s ac u - or i n o d an d Si r as as i h ai n r i h l q er w k g l lve , well w t pl b g t ac u an d o t he r oo h e o rd e r d i n c o h of di e l q er, ver f e s lke l t s v rs co o u r t o d r a n an d r ch am t o h u n i h fi ne l s be w , eve y ber be g w t

ocad an d t he an o f t he idi n ar i i on t o e n br e, p els sl g p t t s be i c h d i h c u n n i n - r ou h i c u r e an d t he e n do u r e w t gly w g t p t s , spl r

h m r i n h of t e an si on passe d all d e sc pti o n . A n d fee li g su r e t at e r e on h e ho u d ob ai n o ion of the ad Ka u a h e l g s l t p ssess L y g y , u t a a all t he o m n o f h i s h o u h o d an d a d t he p w y w e se l , p sse d a an d t he n i h i n o i u d an d h ou h th e da and y s g ts s l t e , t r g ys t he n i ghts awaited t h e retu rn t i s m e n ; and s o a year c ame

and n b u t i he h ar d n o idi n o f h m . a t we t , st ll e t gs t e At l s ,

a O f ai in an d i c at h ar i h t he lack o f n e he we ry w t g, s k e t w t ws , oo t wo O f hi s u i r i h hi m an d h u m e an d t k sq es w t , t s ly serve o u r n e d t o N an i a an d mad i n u i r h r i f an o f hi s j ye w , e q y t e e y

' folk h ad a n oat i n u e of th e r a on t o a t h e t ke b q st D g , sl y m on ster an d wi n th e j e wel that lay i n hi s head ; b u t t he ’ shi pmen lau ghed an d an swered T i s a st r an ge thi n g th ou speakest of ; on s u ch a b u si n ess be su r e n o boat has left thi s ” ha h u t ai n a n i t hi m h ven . T ere pon h e D go sa d o self : T ese

b u t i e shi ~ folk h o w h ou d h n o au h be s lly, f eble p , s l t ey k w g t O f thi s matte r ? Myse lf I will take my bow an d despat ch hi mon r an d d raw the om hi s h ad n or ai t s ste , j ewel fr e , w t ” o n h S o he t O Ok a l ger for t ese laggard fellows o f mi n e .

oa an d m ar d i n i t an d a d o se a u n i the and b t , e b ke , f re ver t l l la far hi n d hi m an d i h e c au d t h e oa t o cu d y be , st ll se b t be s lle

u n i hi i n T s u k u shi on t l s keel rode on t he wate rs of d sta t . T hen wi th ou t any fo resi gn the wi nd rose and th e ai r dar k n d an d t he c r a t was d i n hi h an d hi h r o n e e , f r ve t er t t e , bl w ab ou t by t he gale ; n ow i t seemed as tho u gh t he boat m u st o un d r i n t he ou h of th e s e a now a i o h a f e tr g , gre t b ll ws t re t n d t o o o and o wh m i t hi t he hu nd - od e e t pple ver ver el , w le t er g - 2 2 THE OLD BAMBOO HEWER : JAPAN E SE ROMANCE . th u n der ed so appalli n gly that hi s m on strou s d r u ms seemed t h an c o rh d h i o h ar an d o o a . S O t e D a n a on g l se ve e g l st e t, c i d a ou d a i n N v r b o r h a b n i n u ch r e l , s y g e e ef e ve I ee s ” e r i ou c a a a ! ha h ma b e i n o e d ? A n d th e p l s se, l s w t elp y v k h m man an e r d : on h a e o a e d i n h a r el s sw e L g v I v y g t ese w te s , y e t S O te r r i ble an i ll for tu n e as thi s n ever hath befalle n me ; i f i n n ot t o t he o om o f t he se a t h e h u n d i we s k b tt , t er w ll str ike u s ; if by good hap t h e favo u r of th e god s save u s fro m h r i t h e a i d i v t he boa far ami d th e t ese p e ls, g le w ll r e t ( barbari an i sland s o f) t he sou th e r n oc e an woe w o r th t he d ay

oo e i c i h m or d o f i a h r d a h e i I t k s rv e w t y l e v l f te , w e e e t , b l ke, ” m u st be t he wages I A n d as h e Spoke t h e shipman b u rst i n o e r B u t t t a s . t he D ai n agon sai d “ He who fares o ver s e a m u st n eeds tr u st hi mself t o th e h e m man h i W h w o h ou d t ad a as a hi h h . l s , s l be s e f st g ll y ” Spe akest thou th e n th u s d espai rfu lly ? an d as he u tter ed h r S i m h n t he t ese wo ds a ter rible i ckn ess c am e u po n h . T e “ helmsman an swered : Is you r s e rvan t then a god that h e c an re n der servi c e n ow? T he ho wli n g O f th e wi n d an d t he ragi n g of t h e waves an d t he mi gh ty ro ar O f t he th u n der ar e Si g n s O f t he wrath o f t h e god whom my lor d offe n ds, who ou d a t h e d r a on O f th e d fo r h ou h t h e w l sl y g eep, t r g d a on i s t h e o m ai d and l i t i f m o d r g st r r se , wel were y l r ” O f r e d a a f e pr yer . “ ho u a i an d th e D ai n a on an d h e T s yest w sely , swere g , e t o ca i n u on t he od O f a o n ti n hi m of hi s f ll ll g p g se f lk , repe g

o a dn an d o wh o had o u h t o a the a on fr w r ess f lly s g t sl y Dr g , an d v owi n g s ole mnly that n ever more wo u ld h e stri ve t o h ar m so m u ch as a hai r of t he great r u ler o f th e deep . A t h ou an d i m he e a d hi s a n i h an di n n or s t es rep te pr yer , e t er st g si t ti n g (b u t bowi n g hi m h u mbly befo re the god wi th ou t — e a i n h n - was i t n ot i n an t o hi s a t he c s g) . T e swer pr yer h u n d di d d o n and th e oom i d bu t i t he i nd t er e w gl l fte , st ll w “ " ’ w i i n h andi o aid t he m h . Ti s th e a o ble g t ly Dr g s w rk, s “ h e m man a a hi a ai r i n d o n ow an d d i l s fter w le , f w bl ws , r ves t h e t w B u t th e D ai n a on b oat swi f ly towards ou r o n lan d . g c u n u n an him For h or o u da the ar o ld ot derst d . t ree f r ys b k

d fo the i n d t i and c am i n i h an d h saw spe be re w ll l e s g t, t ey - : THE OLD BAMBOO HEWER JAPANESE ROMANCE . 2 3

h it was the stran d of Akashi i n Har i ma. N evert eless the D ai n ago n wou ld n ot b e pe r su ad e d they had n ot b e en blown

ou h a d on o m a a e h o r an d la m o i on and s t w r s s e s v g s e, y t less

an i n i n t he o om O f t he oa n or ou d h e i h n p t g b tt b t , w l r se , w e the o e r n o of th e d i i c t o h om hi s u i r h ad n g v r str t, w sq es se t ’ i i n r d hi m e d O f h i or d mi ad n u n . B u t t gs t e r l s s ve t e , prese te s lf u n der t h e pi n e tr ees that o ve r shado wed t h e beac h mats we r e

r ad h re u on t h e D ai na on s aw i t was on n o a a sp e , w e p g s v ge

hor e he had d i d an d h e r o u d hi m an d o t on an d s t y r fte , se self g l .

A n d h n t he o r n o sawhi m he c ou d n ot o e a mi i n w e g ve r , l f rb r s l g at t he r ch d a aran c o f t he di sc omfit e d or d chi d t o w et e ppe e l , lle t he one i h wo n and u r e as o very b , w t s lle belly eyes l st less sl es .

B u t t he r o o d r i n and a i t r o t e ad i n p per r e s were g ve , l te g r y

wa o hi ma i h whi ch t he D ai nagon s bor n e sl wly t o s n s on . T en th o se o f hi s follo we rs whom h e h ad s e n t u pon t he Q u e st ’ ot i nd o m h o of h i o d u r n and r n d g w s e w t e r l r s ret , p ese te t h m h u m o hi m a i n : W e ha ai d e selves bly bef re , s y g ve f le i n o u r u an d ha o all c ai m t o an au d i nc b u t q est, ve l st l e e , ’ n ow t i s no n h o w t i b har d was t he a i m o d k w err ly t sk p se , and hi h ha n u r e d t o co me an d u ha a t er ve we ve t , we tr st t t gr ac io u s fo r b e aran c e will be ext e n d e d and that we shall n ot ’ d i e n o u t f o u o d i n be r v o r l r s follow g . “ T he D ai nago n wen t o u t t o rece i ve them an d said : Y e h a d n l t o u n n m - ha d e d Y n o e n . o d ve e w l ret r , eve e pty er

a on a u d has in hi i h t he h u n d - G od an d D r g , ss re ly , k s p w t T er , whoever shall lay han ds on hi m t o t ake th e j ewel that

am i hi h h fi h m a u ri gle s n s ead s all n d i self i n p rlo s pe l .

M f am o S n i h oi and ha d hi an d n o u r d on y sel s re pe t w t t l r s p, g e ’ h a n hi e O f m u an d d r o r f h i r wo . n o a o ve I A t f e s s ls, est ye t e

od i i s t he ad Ka o a n or i e e he r a od b es, L y g y , ever w ll I s k b e ” i n n d e o u t hi h ar d a a n or . g , ever be y y r s eps t t erw s

h n t h e D ai n a on oo ha was e o f hi s u an c T e g t k w t l ft s bst e , and di vided i t am on g th ose wh om h e h ad bid de n go i n

t d hi m n ho m h e h ad u of h e w . A n h n s o q est Je el w e w e , w di mi d h e ar d O f hi s mi ad n u r h au h d i h i s sse , s ve t e , t ey l g e t ll t e r i d r o r hi t h e i n c o h h e had c au d t o s es we e s e, w le s lke l t s se be d a n o t h e oo o f hi s man i on c a i d a a r w ver r f s were rr e w y ,

h ad b h ad b t h e c o t o in h i n i h . t re y t re , y r ws l e t e r ests w t - : 24 THE OLD BAMBOO HEWER JAPANESE ROMANCE .

A n d wh en m e n asked wh ether th e D ai n agon Otomo h ad won th e r a on - e h an e r d : N o t so b u t D g Jew l , t ey were sw e , 1 hi s e a ar e com t wo e l r i a ai r O f oe yeb lls be e j we s ve y l ke p sl s, ” ” 2 n or o h h as h e won . A n a ! t a e at a was t he t er jewels y g ,

an d hu t he i on a o . reply , t s express first r se

T HE R Y AL HU T O N .

M I - K N M H I ( A R I O I Y U . )

Mean whi le th e fame o f th e i n co mparable l o veli n ess o f th e

ad Ka u a h ad ach d t h e ou r an d t he i ado cau d L y g y re e C t, M k se o n e of th e a ac dam F usa o b n am t o u m mo n d p l e es , g y e , be s e , an d said t o h e r : Of man y a man has th e stran ge beau ty of hi Ka u a n th e u i n o h ou h r o an d s e e h a t s g y bee r g t , t e ef re, w t ' i ” mann er of d amsel th e g r l be .

T he am h e a d an d d a d an d cam t o th e dw i n D e r ep rte , e ell g of th e am oo - h sh e was cou r ou c e i v d b B b Hewer, w ere te sly re e y ’ t h e ood i f an d i n i d t o n e T i s t t he iddi n g w e v te e t r . a b g

O f Hi s a h a ou r n e d hi h wh o h as h a d ha M j esty I ve j ye t er , e r t t t he au of t h e ad Ka u a a all d c i i on and be ty L y g y p sses es r pt ,

mm an d e d m e t o au di n c of h e r h as co seek e e . “ S O o sh e an d t h e ood i an d Y ou an sp ke g w fe swere , r serv t ” il h u m e a o u m a an d o u h th e i n n w l bly rep t y r ess ge, s g t er

m n an d r a d t h mai d n t c i t he a a am a a e o c . p rt e t, p ye e re e ve P l e D e

t h e o u d n ot for ha sh e was n o i au i u sh e aid B u s . w l , t t w se be t f l , s

h n t he ood if chi d d he r for h e r ch u i h S e ch an d i n T e g w e e rl s pe , ’ u i h o w sh e d a d a hu r u d e l th e Ki n m a q red re tre t t s v g s ess ge .

B u t th e ad Ka u a i e u d t o r c i th e am a i n L y g y st ll r f se e e ve D e, s y g that Hi s Majesty sho wed li ttle wi sdom i n d espatchi n g o n e

i u n u an n d N o r mi h th e n ci n of hi s lad es po s ch erra . g t A e t n or hi s ood i con ai n h e r for hou h she d t he g w fe str , t g fille

ac of a chi d o r n t o h m she h d h a oo pl e l b t e , ever el erself l f

h a f t h r d S O t he ood i f ou h a ai n from t e w ys o e wo l . g w e s g t g ’ t h e a ac am an d aid i t i s b u t of s o nd e ar P l e D e , s , P ty , te r ye s

1 h m o S u momo. i e e o o e t o th e t e e of e Ch n s pp s d p ach , sy b l b auty and plumpne ss . 2 ‘ ’ ’ T a e n t a t ahe ata e or e w m or i labo ala nu y y ( g ) m ans insupp tabl but ith g ( g ) , he D ai na on o e e o oe e e w r e e . T t w e e e e atabl g had g his y balls s ll n lik sl s , and th s u e e r u for . n atabl f its , his pains

- 2 6 THE OLD BAMBOO HEWE R : JAPANESE ROMANCE .

a hat o f n o i i t o m e if n e a ai n h d h ? Y e t b l ty ver g I be el t ee , dau h e r a h e t h a h wh h o u r e fu se st t o g t r, I p y t ee , t ll y f t er y t becom e a L ad v o f th e Palac e an d why sh ou ld est thou di e if thou sh ou ld est s e r ve hi s Maj esty ’ ” m o d m t h dau h an d t he E pty w r s see y g ter s , swere

am bu t u i h o i f she c on ai n d t o D sel , tr e w ll t ey pr ve be str e

hi n an a u i o has oo d h e r o d of n o d o hi . t s t g M y s t r w e , l r s m e an a wh o n r h e h a e n d i mi d an d est te, e ve t less ve b e s sse , h ou d she i n t o hi s a h e r n am o u d com a s l l ste M j esty , e w l be e

r oa amon m e n rep ch g . Th e n t h e An ci e n t an swered : Li ttle c ar e I for matters of

a b u t th da m u n o w n o i n or h a h ou i n st te, y ys st k per l, s lt t be an i c on ai n d an d i h a n t o t h e a ac an d y w se str e , I w ll ste p l e h umbly represen t t o Hi s M aj e sty th at tho u mayes t n ot become i ma an n te thereof.

h u on h e n u t o th e a i al an d n d ha T ere p we t p C p t , represe te t t t he ad Ka u a a h ar i n t h e o a o mm an d n L y g y , fter e g R y l C , ever t h e le s s i e d n ot t o e com a ad O f t he a ac an d mi h w ll b e L y P l e , g t n o t c on ai n d i hou e i o f he r i an d u r h r be str e w t t p r l l fe ; f t e , ha she was n ot t he o n chi d O f M i akk o a o bu t had t t b r l y M r , b e e n fo u n d by hi m on e day when h ewi n g bamboos on th e hi - i d an d ha sh e was i n a an d mood o f o h ll s e , t t w ys s t er a hi on h an t he a hi on f hi wo d U on hi i n f s t f s o t s rl . p t s be g

or d t o hi s a h e ai d : n ot hi M i akko rep te M j esty , s Dwells t s y Mar o amon g t h e hills hard by ou r c api tal ? L e t a Royal

u n o d e d an d chanc hu ma ai n a i m H t be r re , , per e, t s we y g gl pse ” o f th ai d e M en . T he An cie n t when th e R oyal pleas u re was made kn ow n ’ t o him aid T i s an c n d i c hu ma hi s , s ex elle t ev e ; t s y a i h ou di cu t o n t h e u n e i n u n c d M jesty , w t t ffi l y , H t b g expe te ly o d e d ai n a i m of t h e ad Ka u a a hou h t r re , g gl pse L y g y ere t g ” o f i t n r he r h a e te s e rt .

S o a d a was a oi n d an d t he o a H u n o de d an d y pp te , R y l t r re , t h e Mikado watched for an O ppor tu n i ty and en tered t he ’ amboo - w d i n A n d a th h B He er s well g . s e t reshold was c ro d i t was n ha t he h ou was d i h i h and sse , see t t se fille w t l g t, “ ’ m id mo t he o ood a B i n Ha ! t i t h a . s e d st gl ry st e g L y , c i d the i ado and d wn i h b u t she mad t o fl and a r e M k , re g , e y, - THE OLD BAMBOO HEWER : JAPANESE ROMANCE . 2 7

o a h an d was ai d u on h e r an d sh e c o e r d h e r r y l l p sleeve , v e

ac bu t n ot i h u ch i n ha a i m o f i t was n o t f e , w t s sw ft ess t t gl pse

h d the o i n of i t was e n t o i n c om ar a cau an . g t , l vel ess se be p ble

A n d Hi s a e o u d ai n ha le d he r or h b u t sh e ood M j sty w l f ve f t , st “ the r e an d spoke these wo rds : N o li ege o f yo u r Majesty i s ” h r t n d e m a h r h u le d a i s an a sh n ot o a . se v , y t eref e be t s w y

' B u t i t was an e r e d ha she m u n ot e i t h e o a W i sw t t st r s st R y l ll , an d a a ac i e r a r oac h d h e r u o n o f a u dd n t h e p l e l tt pp e , w e p s e

ad di o d i n hi n i r n n h e d T he mon ar ch L y ss l ve t a a d v a i s . stood d u mb i h a o n i hm n an d u n d e ood ha t he ad w t st s e t, rst t t L y of n o m or al mou d and ai d I t h a as h o u d i r t l , s s ll be t es est, ’ aid e n b u t t i s r a d ha ho u u m t h or m ha M ; p ye t t t res e y f , t t ” r t h au ma n o n c e m o e y be ty y be see . S O sh e re s u med h e r for m an d t h e gl or y o f h e r l o veli n ess filled t he R oyal hear t w ith o v e rwhelmi n g deli ght ; and

r aci o u was t he n c i n r m m r d h r o u h ho m hi g sly A e t e e be e , t g w t s

o had co m t o Hi s M a an d u on hi m was o ed j y e j esty , p best w ’ 1 an f hi of t he Hi ak k wan t he r k o C ef y . B u t great was t he gr ief that t h e Lady willed n ot t o dwell i n t he a ac an d as t he o n a ch was a o u t o o n P l e , M r b t be b r e awa i t e m e d as i f t he o a o u was e i n e t hi n d v, s e R y l s l b g l f be , and a stan za was co mposed whereof t he w o r d s w e r e these

Kayer u sa n o M o u r n fu l t he r e t u rn

mi u i m on o u ku o f t h e o a u n y k R y l H t , o mohoye t e ; and f u ll o f so r ro w the b rooodi n g hear t

s omuk it e oma u fo r s he i an d a hi nd t r res sts st ys be , Kag uya Hi me yu ye t h e Lady Kag uya !

A nd th e Lady an swered th u swise

’ M ngu ra haf u U n der t h e roof o e r gr own w ith h opbi n e Shimo mi m o toshi wa lon g were t he years

t o r i n u r u mi n o sh e a d p sse , n an ik a wa tama n o h o w may S h e d are to l ook u pon u te na wo mo mi m u ! t he Palace O f Preci ou s Jade ?

1 ' e re e o f the o Re e — i t was owe er ere ho or r H Chi f Mikad s tinu , h v , m ly an n a y , not r e o e a al app intm nt . T HE O L D - : 2 3 BAMBOO HEWER JAPANESE ROMANCE .

W h n th e an was ad mo han was the e swer re , re t ever

on a ch di i n c i n d t o o ac oo t o th e a ac an d M r s l e g b k b tless P l e ,

on th e i was d a d for n o o c ou d co m t o l g l tter el ye , res lve l be e , u n ti l i t seeme d at last as th ou gh t he daw n w ou ld be th e re w ai ted for th r ou gh th e n i gh t ; wh e r eu p on rel u c tan tly was

i n t u n B u t t h adi O f h e u r t h e order g ve o ret r . e L es t C o t

r d i dai n d for h i au a d fo ha O f th e we e s e , t e r be ty p le be re t t

ad Ka u a a e t h e ai o f h m h n c om a e d i h L y g y , y f rest t e , w e p r w t

i ma o all h e r c har m n on t h ad h e r . e c ou d ge , l st s O ly L y l

t h e o a h a d an d on n on o h r an d th e a a R y l e rt well , e t e , p rt

m n of t he a ac am a an d on d an d d e o a e ts P l e D es were b e s l te, s ad t o say ! while le tter afte r letter was sen t t o th e Lady 1 K a u a wh o an d h m n ot u n n an d e r g y , swere t e ge tly , v rses we e

c om o d an d ai r i on c o a ach d t o o i an d p se f rly w t s r lls tt e p s es, i n chan d an d hu t he da a d b ter ge , t s ys p sse y .

2 T HE C E L ESTI A L R B E O F FE ATHERS O .

A M E O - R ( N HA G O O M O . )

S O i n the Palac e an d i n th e Hu t was con solati on attai n ed

and h r a n t b h n i n t he ar i n th e ad t ee ye rs we y , w e , e ly spr g, L y Kagu ya fe ll t o gazi n g u pon t he shi ni n g o r b of th e r i si n g

m oon an d a oodi n ad n m e d t o a o i on o f , br g s ess see t ke p ssess

h e r S he was cou n s d n ot h u c a t o c on m a . elle t s e selessly te pl te

t he ac of t he moon fem d mo u n u n b u t S he f e , bre r f l ess

ti i n o i u d a ch d t he O I b u n i am of r i r an s ll s l t e w t e , t l te g ef

n h h e mi d mon h d n h e r ch I ood . n o n t d a O f ow eeks fl s T e , t y

t he n h m on h o th e u moon an d un u e a r w seve t t r se f ll , tt r ble g e

t he mi an d t he m ai d n wh o d t he ad o u ht t h e sery , e s serve L y s g “ An c ien t and sai d : L on g has t he Lady Kagu ya watched

t h e m oon a i n i n m an cho i h t h e a i n h o , w x g el ly w t w x g t ere f , an d he r woe n ow a all m a u and o s he p sses e s re, s rely weeps an d wai ls ; wherefo re we cou n sel thee t o speak w ith

h e r .

1 a u ik eka as i G O hen sasuga u i nikukar z k oy w hi tamate . 2 T he e - o f t he I ord of IS O - o i e r on o fifth qu st that is m tt d , p incipally acc unt f r r e f o of l be o In t he of its triviality and lack o inte e st . A b i acc unt i t wi l f und r c oncluding por tion of this a ticle . - T HE O L D BAMBOO HEWER : JAPANESE ROMANCE . 2 9

A n d th e An ci en t wen t t o h e r an d sai d : What hast thou on th mi n d d au h e ha h ou aze st h u ad on y , g t r, t t ever t g t s s ly ’ ? y on d e r moon s palli d fac e Lackest thou au ght that m ay be ” n eeded for t hy happi ness ? “ B u t sh e an swe r ed : As I gaz e u pon th e m oon I am sad b e c au se my hear t i s b roken as I con si der t he wretch e d n ess of thi s w or ld . A n d d e eper gr ew h e r m e lan ch oly e ach ti me t he An ci en t

i i t e d h e r c ham e r i or r o w- r u c b h e r di h e v s b , t ll s st k y stress, “ ai d : A h ! m da i n m B u ddha wh br ood e st ho u s y rl g , y , y t ” thu s what grief o ppr e sses the e ? ’ T i s n o r i e f a t he r i e ha r e a m h a cau g , s ve g f t t b ks y e rt be se ” h r d of th e w r e t c hed n e ss O f t e w o l .

IV atch o nd e m oo n n o mo r dau h ar t hou y r e , g ter ; ever t ” t n hu t h wo e n azi n u on i a d d . g g p , t s y eepe s ” Ho w m a c e a e a h t o az e u on th e o r b ! i y I s , f t er, g p sa d th e ad an d ti S h e a c he d t h e moon r o m i ts r i i n t o L y , s ll w t f s g i t s e ti n h e r ace i h e ar th e hi b u t wh n t he s t g , f wet w t t s w le ; e 1 we moon h e r woe d ar d ro m he r Y t as n i h . e g ts re less , ep te f t he n e w m oon c am an d a d a ai n t h e ad wai d an d e w xe g , L y le

an d h e r wo m n hi e r d amo n h m e ha e wept, e w sp e g t e sel v s t t ev r dee pe r g r ew t h e mi se ry ; b u t they c ou ld n o t lear n th e secret h u d th n c i e n h of h e r woe n e i c o e . S o t e i h h m on h , t er l A t e g t t c am i n d u e c ou an d he n t he m oon was at i t s u t h e e rse , w f ll

ad w ood o f a n o r a d sh e t o hid he r i L y ept fl s te rs , ess ye e gr ef. A n d agai n an d agai n he r fo st e r -par e n ts prayed he r t o tell

r r h d h d them t he cau se of h e w etc e ness . T e La y yi e ld e d t o “ h i r a e an d aid e i n or t he hi : ai n t e r p y r, s , we p g s ely w le Ag an d a ai n h a i e d t o ou all b u t e a u d g ve I w ll tell y , I f lt ss re

ou h e ar o u d r u n i h r i b m or d an d y r ts w l be w g w t g ef y y w s, the r e fo r e h ave I forbo r n e ti ll n o w; an d n owi s t h e h ou r c ome I

n id i h ou N o m ai d of hi m o a an may n o lo ger ab e w t y . t s rt l l d

- am b u t t he a i a of M oonlan d i s m i h ac . on I , C p t l y b rt pl e L g a o i t was d e c r e d ha h o u d d c n d u on hi a h g e t t I s l es e p t s e rt , an d hid e ther e somewhi l e ; b u t n o wi s th e ti me at han d when

u o bac h e n c cam for h n on d or b ha I m st g k w e I e, w e y er s ll be

1 e r the 2 1 5t of the o e th e o e r Aft day m nth , xplains C mm nta y . T HE O L D - : 3 0 BAMBOO HEWER JAPANESE ROMANCE .

at i t s u e a c om an of moon folk i c om d o n o m f ll st, p y w ll e w fr t he sk t o ar m e a a n w hi was m d oom y be w y . Well I k e t s y , an d n ow y e c an u n d e rstan d m y mi sery an d whe r e for e I have wep t an d wai le d so sor ely s1 n ee t h e spri n g follo w e d ” r wi n te .

A n d as t h e ad o e a ai n t he a o d i n ab u n d L y sp k , g te rs fl we

h h u h i an c e d ow n e r c e eks . B t t e An c en t sai d : Wh at thi n g ’ i s hi h ou a e d au h r ? ou n d h ti s u i n t he t s t spe k st , g te I f t ee , tr e , h o o o f a am oo b u t n o i r e h ou han a a ll w b b , b gge w rt t t r pe

e d an d ha n ot ch r i h d h hi h ou r e we st u s e , ve we e s e t ee w le t g p t o u maid n hood ? N on da a h om u s b h a n ! f ll e e re t ke t ee fr , y e ve

i n t le h I w ll o t t ee go .

A n d he c amou d ami d hi s a ha h e was i t o di e l re , te rs, t t l ke ; ’ u n a a i o u a t o se hi s mi r B u t t he ad be r bly p te s tw s e se y . L y “ answer ed : M y fath e r an d my mo ther ar e sti ll n u mber ed ’ m t h d r i n n i was a on g e welle s y o der M oon lan d s c ap tal . It b u t for a hi cam d o n t o a h and n ow m an a a w le I e w e rt , y ye r

n 1 n e u u m o on ha d t has go e by s e y o fo n d e . S l g ve I wel amon ou ha ha or o e n m a h and m m o h g y t t I ve f g tt y f t er y t er, an d n ow I l ook u pon y ou as thou gh I were you r ve ry child ; n or i ndeed w ou ld I fai n d o other wi se than rem ai n

i h ou b u t h o u h r i t o m e i s t h e h ou h of w t y , , t g te r ble t g t

i i n o u m a n ot fl e m a A n d S h e f t o u e . q tt g y , I y y f te ell

e i n and t h e O ld o a o an d he r o m n who we p g, f lk wept ls , w e had ten ded h e r throu gh so m an y years an d watched h e r

r o u i n o c e au n o w h ar i n h mu o h e r g w p t perfe t b ty , e g t ey st l se

hom h o d so c o u d n o t wa ow h i r a an d w t ey l ve well , l s ll t e te rs, ,

b i wo r n u m d i h i o r e e d a e c o . pp ss y l ke , we e s e w t gr ef N ow t h e i ad o h ar i n o f h hi n n a m n M k , e g t ese t gs , se t esse ger ’ t o th e e d i n an d the n c i n c am ou t t o c i H wer s well g , A e t e re e ve

m i n a u n d n o i t had n hi s i ha hi a . S , weep g b tly b ter bee gr ef t t hi s hai h ad u n d hi an d hi s im com o d an d r t r e w te , l bs be e b we , 1 hi s l ar an d ho u h hi s a b u t fift h e eves b e , t g ye rs were y , see med as i f hi s woe had all at on c e t u rned him i n to an

m n O ld a .

T he messen ger i n q u i red i f the tidi n gs whi ch had reached

1 e has re o y b e en de r e as man o f e e T he o e r H p vi usl sc ib d a s v nty. C mm nta y h e o W e r i n o o e tre ats t e qu sti n ith b fitting g avity a l ng n t . - E E THE OLD BAMBOO HEWER : JAPAN S ROMANCE . 81

’ Hi s Majesty as t o th e c au se o f the Hewe r s distress were

u an d t he n c i n i i n an r e d tr e, A e t, st ll weep g, swe At t he fu ll m oon a c o mp an y fr o m t h e M oonlan d capital

dau h e e r a e w ill c ome d o wn t o bear away o u r g ter . D ply g t fu l am t o Hi s a wh o d i n t o ma i n u i r a ou hi I M jesty , e g s ke q y b t t s ma an d h u mb r n ha i f at t he i me o f u tter, I ly rep ese t t t t f ll m oon a u ar d o f o di e r r an d u s h M oon folk i f g s l s be g te , t ese ,

ll a u d h m a e h e i raid ma a be c . t ey k t r , y pt re

T he m e e n h r e u on r u r n d an d o d t o t he ss ger t e p et e , rep rte

h u n d n M ikado t he plight wh e re i n e fo t he A c i e n t . “ A n d t he Mikad o said : B u t a passi n g glimpse have I had o f t h e ad Ka u a e t n r ha o t he m e mo r of L y g y , y eve s ll I l se y h e r exc e ed i n g l o veli n e ss ; h o w h ar d the n m u st i t b e fo r those wh o ar e w o n t t o se e h e r m o r ni n g and ev e n i n g t o l ose ” h e r ! S o o rd e rs w e re gi ve n that th e c aptai n s s hou ld be

ad b t he u l m oon an d th e G n a a a n o u n i was re y y f l , e er l T k Ok commanded t o t ak e a tho u san d me n fr om eac h o f t he Le ft ’ an d R ight R e gi me n ts o f R o yal G u ards t o p rote c t t he Hewe r s

i a i t h aid o f t h e M o o n folk I h d well n g ga n st e r , V e n t he t wo ’ hou an d o di r r ac he d t he n c i n a o d e on e moi e t s s l e s e A e t s b , ty was o e d ar ou n d i t o n t he a h a fo r m h r e on i t o od p st e rt pl t w e st , an d t he o h mo i e O II t he oo o f t he ho u all wi t h how t er ty r f se ,

n an d ar r o w on r i n hi t he m e n o f t h e h o u e h o d be t st g , w le s l t oo r a ra d an d s o man e r e t h e d f n d e r ha n o we e r ye , y w e e s t t

o mai n d u n u ard d and n i hi n t h e d we i n t h e sp t re e g e , e ve w t ll g

om e n a c h an d ar d hi e t h e L ad v was ac d i n w kept w t w , w l pl e t h e t or - h ou u ro u n d d b he r a n d an t h e d oo s e se , s r e y tte ts , r whe o f t he n ci n o e d an d o d hi m f o u s i d h r re A e t b lt , p ste sel t e t e e of a i n at c h an d ar d hu r i c n He ave n folk , s y g W w t s st t , eve ” ma n ot wi n h r o u h an d c r i n t o t he o di r 0 11 t he r o o f y t g , y g s l e s t o loo k ou t fo r t h e first Si gn of a sw o op bei n g made th rou gh t he ai r an d a ha c r a u m i h i n hi wav a , sl y w tever e t re g t t s p “ oach h m W h r o h an e r d : a n o c a so pr t e , e et t ey sw e H ve re ,

n ou r a ch n ot e n a bat ha ca e o u r ar i e an d kee w t e v s ll es p t ll ry , d u e o u o f i t s h ad b way O f u ni hm n ho u d i t exp s re e , y p s e t, s l ” v n u n a o u r an e t re e r r ks .

A n d t he n ci e n was r a l com or e d b h or d A t g e t y f t y t ese w s , b ut t he Lady Kag u ya sai d : T ho u gh ye th u s s u rr o u nd me - : N 32 THE OLD BAMBOO HEWER JAPANESE ROMA CE .

an d o c m e an d ma e ad t o h for me e t e pr te t ke y re y fi g t , y y can n o r e ai o r t he o O f on d e r an d n o r i o u t p v l ve f lk y l , w ll y r artille ry har m the m n or y o u r d efe n c e s avai l au ght agai n st h e m fo r e r d oor i fl O n at h i a r oac h n or ma t , ev y w ll y pe t e r pp , y ou a ou r h for e n er so ou -h ar d h n t h y r v l elp, be y ev st t e te , w e e ” M oon folk co m ai n i o u u i h h e m e , v w ll be y r str ggle w t t . “ h e n t he n ci n was an d an d hou d : T A e t gere , s te If these

oon folk c om m n ai ha u n i n o a on t o c aw M e , y ls s ll t r t t l s l o u t

i i z h m b h i o oc thei r eyes . I w ll se e t e y t e r f rel ks an d twi st them

O ff an d r am u on h m h i hi n d - ar i a t o , t ple p t e t e r er p ts w ll I te r pi e c es ; t o shame wi ll I pu t them b e fore t h e fac e of these ” n R oyal warme . “ B u t th e ad ai d : a n ot so a a c amou L y s M ke gre t l r, lest

m n h a h hi ch u n e m t h e a . on w r e e r t ee , w were se ly Ere l g, a a ha n o on i hi n o u r o e on m u l s I s ll l ger be w t y l v , ere l g I st

n o th e i t n of ar i n n or c an r u n t o Show k w b t er ess p t g, I eve ret r ’ m o an d a i u d for c o d t o me i t he o d y l ve gr t t e, l se w ll be w rl s

a s W h n n o u t mon h a mon h t o a c h h w y . e I we t t fter t w t t e

a i n moon a d fo r e t an o h a t o id i w x g , I p r y e y t er ye r b e w th

ou b u t th e oon was u e d me an d c o u d b u t ai an d y ; b ref s , I l w l

m e ha u i u e as e saw . d o h a t o o me we p y I ve beg le y r e rts l ve , an d n ow mu u i ou a a a a ! O ha u n c st q t y ; l s, l s f t t p re esse e are these M oon folk that they k n ow n ot old age n or ever

u ffe om an ai n o r i e t ai n ou d a id i h s r fr y p gr ef, y f w l I b e w t my foster - par en ts ; ter r i ble i t i s t o m e t o thi n k that y e will

r ld i h n o chi d t o ch i h o u a i n o O . S O th e g w w t l er s y s y g ,

ad o b u t t he n ci n rai n i n hi s ri aid L y wept s rely , A e t , rest g g ef, s “ N a d au h h ou mu t n ot an i n so o as y , g ter, t s ger be gs l vely ” of those th ou speakest . an hi t h e n i h we r e a ay and at t he hou of t he Me w le , g t w , , r

R at ho d ! a o a ou t he d i n ha c d d , be l gl ry fell b t well g t t ex ee e t h e splen dou r of n oon an d was t e n ti mes as b ri ght as t he

i h n o f th e u moon so ha t he ma hai - o br g t ess f ll , t t s llest r p re

u d b e n n t he i n I n th e mi d h o cam d o n co l e s e o sk . st t ere f e w throu gh the ai r a c o mpany o f an ge ls ridi n g on a coi l o f clou d ’ that d esc e n ded u n ti l i t hovered some c u bi ts hei ght ab o ve t he

n h th n u r d grou n d . A d t ere e a gels stood ran ked i n d e o er ; and h n t he a m n on ua d saw h m a a a e w e w r e g r t e , gre t fe r f ll

- THE OLD BAMBOO HEWER : JAPANESE ROMANCE . 33

u on h m u on ho i hou as u on h o i hi n th e p t e , p t se w t t p t se w t d i n n h h r i n B a d had n o omac fo h . u t a well g , t ey st fig t g fter a hi h a i d an d om n the bow bu t t he n h w le t ey r ll e ; s e be t , stre gt d a d r om h i a m an d h as h ou h ri c n ep rte f t e r r s, t ey were t g st ke

i h a an d mi h i me n fl an on b u t th e Sh a w t p lsy ; g t er let y , fts

n all a a an d h t oo c ou d n ot h an d t h u we t str y , t ese l fig t , s fe e ble and bootless pro ved t he vau n ted watch an d ward of t he o a VVar me n R y l .

I n hi ni n a m n r th e an c ad ha had n ot s g g r e ts we e gels l , t t

h i i u n de h a n an d i n t h e mid o f h m as h t e r l ke r e ve , st t e , t ey

ood i n r i e d an u on t h e c o u d was n a c an o i d st ser r ks p l , see p e c ar h u n i h cu ai n o f n oo n a i c h sat g w t rt s fi est w lle f br , w ere w m i d A n d the r chan u n d O ne ho se e ed t o be the r l or . A gel t r e ’ o ar d the r a od an d cr i d o u t i n a o u d oi c t w s Hewe s b e , e l v e, ” A n d t he c am om hou or h M i akk o a o . C e t f t , y M r Hewer e o h a i n i a d r u n n man and on hi s ac f rt , st gger g l ke ke , fell f e prostrate . h n th e chan aid hou oo ! Som ma i u T e Ar gel s , T f l e s ll v rt e did hou d i a i n t h i an d t o r war d h was hi st t spl y y l fe , e t ee t s maid n n t o i d i h h om hi an d ar an d e se t b e w t t ee s ew le , ye s

ar ha h S he d u n d t h ard an d h a and h a ye s t welt er y w , e ps e ps of o d ha n o d u on he and ho u ha as i t g l ve bee best we p t e, t st

T o e ia a au she had o rn wer e be co me a n e w m an . xp te f lt c mi t te d was t he Lady Kagu ya d oo me d t o bide a little while i n th r ch d h om and n o w i s t h e d oo m u d an d y w et e e , f lfille ,

t a r om hi n ar h ai n i s we ar e c ome o bear h e r aw y f t e e t . V t h i n an d am n a i on nd r u t he i and d a y weep g l e t t , re e p g rl el y ” t n o . “ h n th e n ci n an d h u m For o a co T e A e t swere bly , ver s re of a th an has ch i h d th e maid e n h r o hi s ye rs y serv t er s e , w e e f

r i n u t a i hi chan c l o d speaks st r an gely as be g b l ttle w le . Per e t he Lady whom hi s lor d wou ld bear away wi th hi m dwells elsewhe re ; t he Lady Kagu ya who bi des ben eath this roof ” i s ve ry si ck an d may n ot leave he r ch amber .

N 0 an was ou ch a d b ut t h e C ar was o n u a d swer v s fe , b r e pw r s on th e cl ou d ti ll i t h overed o ver th e h ou se r oof and a voi ce c i e d HO h Ka a a! h ow on o u d hou a i n r , t ere , g y l g w l est t t rry ” thi s sorry place ? - 34 THE OLD BA MBOO HEWER : JAPANESE ROMANCE .

Th u on t he ou doo of th e o hou h e i n ood ere p ter r st re se, w er st the ad Ka u a fle w o n an d th e i n n a i c - or u m L y g y , pe er l tt e w k ,

ou ch d b an hand id ac an d th e ad was e n i n t e y y , sl b k L y se the i h of t he d oor a u r ou n d d b h e r om n wh o l g t w y, s r e y w e , , u n d an di n ha h e r d e a u c ou d n o on r a d erst g t t p rt re l l ge be st ye ,

i d u h i han d an d B u t t h e ad a d ou t l fte p t e r s wept . L y p sse , an d d r n i h t o h la t he r r o i n on t h e ew g w ere y Hewe , g vell g “ ou n d i n an d u n n d i h i and ai d : M gr , weep g st e w t gr ef, s y a id me a h i ou n ot o o m e i h ou f te b s , f t er ; w ll y f ll w w t y r eyes as I am b orn e away “ B u t t he Hewer an swered : W hy i n my misery shou ld I fo llow thee wi th my eyes ? Let i t be d on e u n to me as ma i d le t me d e o a h an wh o y be l ste , be left s l te, let t ese gels have c ome down fr om the sky t o fetch thee bear thee thi ther i h m ” h i m h . A n d t n c n u d o o d w t t e e A e t ref se t o be c f rte .

Th n th e ad i n di d a c o l i n ha h e r o - a h e L y te s r l , see g t t f ster f t er was t oo o com i h i t o i n t o h e r o d an d ver e w t gr ef l ste w r s, left i t to i n hi m a r sh e had on e i n or an d be g ve fte g e , w ep g s ely

a i n ha h n he r a h hou d ar n a hi s dau h s y g t t w e f t er s l ye fter g ter, t h e or d sh e h ad i n h u d ad A n d h r w s wr tte s o l be re . t ese we e “ t he o d she r o : Had n o n i n hi an d n w r s w te I bee b r t s l , ever shou ld I have q u i tted i t u n til t h e ti me came for my father 1 t o su ffe r n o o r o for hi s chi d b u t n ow on th e con a s r w l ; , tr ry , mu a on d the ou n da i of hi o d hou h st I p ss bey b r es t s w rl , t g

o a ai n m i M i n man a hi n d s rely g st y w ll . y s lke tle I le ve be me as a m mo i a an d h n th e m oon i h u the n i h e r l , w e l g ts p g t , let my father gaze u pon i t ; n ow my eyes mu st t ake thei r a oo an d mu mou n t o on d sk h n c ai n l st l k, I st t y er y, w e e I f ” m o - i t a h w ou ld fall ete r w se o e rt . ow the n ou h i h h m a coff h i n N A gels br g t w t t e er , w ere were con tai n ed a Celesti al Feather Robe an d a j oi n t of bamboo d i h th e i i O f i an d on e o f h m aid t o the fille w t El x r L fe, t e s

ad Ka u a: a a ou o f hi i i for oi d L y g y T ste, I pr y y , t s El x r , s le has you r spi rit become wi th the grossn esses of this filthy ” world .

1 An e uph e mistic ph rase hinting at her Ionging to r emain with her fath er till

o he r e o no o e r r e e . de ath to k him , and fat c uld l ng g i v him - : THE OLD BAMBOO HEWER JAPANESE ROMANCE . 35

h n t h e ad a d of the i i an d o u d ha T e L y t ste El x r, w l ve ar i vi ly wrapt u p a porti on i n t h e mantle she was leavi n g

) e hi n d as a m mo ia of he r bu t an n a d he r and , e r l ; A gel st ye , d a i n o h t he i a o mad ad t o h o i t o e r w g f rt Celest l R be , e re y t r w v r “ h ou d h u on she aid : a a i n c e t er s l ers, w ere p s H ve p t e e y

who d on on d o chan hi s h ar an d ha s y er r be ges e t, I ve ” i a A n d a i h St ll somewhat t o say ere I d ep rt . ga n s e fell t o “ ’ an d an n ai d : T i s a an d ou d a ad A gel s l te , y el y , L y , ” B u t h r u d hi m an d for all m r h . s e o u n u eb ke , be e , f lly

n d c om o e d s h e o on and t he o d she r o i p s ly , wr te ; w r s w te 'I five r e these “ Y ou r Majesty dei gn ed t o sen d a h ost t o pr otect you r l r an bu t i t was n o t t o an d n ow i s t h e mi r at han se v t , be , se y d ’ O f depar ti n g wi th th ose who have come t o b e ar h e r away

i h m N ot mi d was i t t o he r t o r w th t e . per tte se ve y o u r

a and m au r he r i was i t ha she i e d d n ot M jesty , g e w ll t t y l e

O di e n c t o t he o a omman d an d u n i h ri be e R y l C , wr g w t g ef i s h e r h ar h e a an d r chan c ou a ma ha e t t er t, pe e y r M jesty y ve

ho u h t he o a i was n ot u nde ood an d was t g t R y l w ll rst , o o ed b he r an d so i she a a t o o u a pp s y , w ll ppe r y r M jesty ac i n i n ood man n hi ch sh e o u d n ot o u a l k g g ers , w w l y r M jesty d m d he r t o an d h e o r hu m sh e a hi ee e be , t er f e bly l ys t s

A n d n o w mu h writi n g at th e Royal F e et . st s e d on t h e

a h r e nd m ou r n u id h r o d r Fe t e R ob a f lly b e l r fa ewell . Then

h n she had n i h d r i i n th e c o t he ca ai n of t he w e fi s e w t g s r ll , pt h o was ca d an d i t was d i r d o o h r i h t he st lle , el ve e ver , t get e w t

am oo oi n con ai n i n t he i i i n o hi s han d an d as h e b b j t t g El x r, t s,

oo i t t h e a h o was hr o n o th e ad Ka u a t k , Fe t er R be t w ver L y g y , ’ an d i n a r i c all me mo of h e r o r - a h woe an i h d t e , ry f ste f t er s v s e ,

r h o w d d r o n o o o n o m r fo t se ho on y on e R be k w s rr w o e . The n the ad n d t he c ar u r r ou n d d b the com an o f L y e tere , s e y p y

n e an d m ou n d a d hi t h e an d hi s A g ls, te skyw r s, w le Hewer D ame and th e women who had served t he Lady Shed tear s of

ood an d ood u n n d i h i bu t h r e was n o h bl , st st e w t gr ef ; t e elp .

A n d the cr o for the n ci n was ad t o him bu t h e s ll left A e t re , said

ha h a t o i for ? a i old a e i s mi n O W t ve I l ve b tter g e . f what profit i s my li fe ? whom have I t o love N or wou ld - : 36 THE OLD BAMBOO HEWER JAPANESE ROMANCE .

h e a of the i i b ut la o a on t he ou nd an i t ke El x r, y pr str te gr i wou ld n ot r se . l Mean while th e Captai n o f th e h o st retu rn ed t o t he capi ta

i h hi s me n an d o d h ow ai n h ad n t h e a m w t , rep rte v bee tte pt t o a t he d a u of t h e ad Ka u a an d all ha ha st y ep rt re L y g y , t t d ’ occu d and a the c o o e h r i h th e am oo oi n rre , g ve s r ll, t g t e w t b b j t

i n i n t h e ix i t o ai d o t h e i do A n d c on a a . t g El r, be l bef re M k ” Hi s a u n r o d t he c o an d ad i t an d was r e atl' i M jesty lle s r ll re , g

d n or ou d a ood n or an di i on mo . ve , w l t ke f y vers After

hi a G and ou n ci was u mmon d an d i t was i n u i d w le r C l s e , q re whi ch am on g the m ou n tai n s of t he lan d tow e red highest

d h a n A n d on e ai d In u r u a an d a to war s e ve . s S g st s mou n ai n n ot r mo om th e ca i a ha o hi h t: t , e te fr p t l, t t t wers g es ” o a d h a n amon all t he mou n ai n f th an d t w r s e ve g t s o e l . W hereof Hi s Majesty bei n g i n formed comp osed a stanz a

A u o o mo N mo t o se e he r k t , ever re

n ami da n i u kabu T ar of ri o wh m me e s g ef ver el ,

a a mi n i wa an d as for me w g ; , shi n an u ku su ri wa with the Elixi r O f Li fe n an i n i ka wa sem u what have I t o d o

A n d th e scroll together wi th the Eli xi r was gi ven i n to t h e h an d of on e of th e adi of th e a ac an d sh e was s l es p l e, cha d t o d i h m t o on e T s uki n o I wakasa i h rge el ver t e , w t t h e i nj u n c ti on t o bear them t o t he su mmi t of the hi ghest mou n ai n i n S u r u a ha h an di n on th e t o of the t g , t t t ere, st g p hi h a h o he h ou d cau the c o an d the g est pe k t ere f, s l se s r ll n u m i Elixi r t o be co s ed w th fire .

S O en i n o I wak asa h a d hu m the o a omman d T k e r bly R y l C , and oo i h him a com an of a i o an d c im d t he t k w t p y w rr rs, l be n i n an d did as h e had n i d a mou ta bee b d en . A n d i t w s from 1 that ti me forth that the n ame of F u j i was gi ven t o yon der mou n ai n and me n sa ha the mo of ha u n i n t , y t t s ke t t b r g still cu rls from i ts hi gh peak t o mi n gle wi th the clou ds of

Heaven .

1 O ne o the w of wr FU I Fusi ama was am ng many ays iting j ( y ) X; ,p , Immortal . U J I S A N F R O I P A S S G O K A N Y A ( N A N A O ZA K E

- : N 3 8 THE OLD BAMBOO HEWER JAPANESE ROMA CE .

ha n o h i for n as a as the n h c n u ve bee t erw se, eve e rly te t e t ry t h e lege n ds an d t radi ti on s of hi s cou n tr y had been ei ther

ac d b hi n m h or ca i n a hi n m ou d repl e y C ese yt s re st C ese l , an d c i n i n t h e i u a of Shi n o an d om of the , ex ept g R t ls t , s e

' ’ on u o d i n the K o zkz or co c d i n th e n ho o i s gs q te j lle te A t l g es, all vesti ges of t he u n w r i tten li ter atu re of pr i mi ti ve Japan

B u t th e ar t and r ac of t h o seem t o have been lo st . g e e st ry O f t h e ad Ka u a ar e n a i i t s u n ai n d a ho i ts L y g y t ve, str e p t s, n a u r a n ar e i t s o wn an d i n i m e cha m an d t l sweet ess , , s pl r pu ri ty of tho u ght an d lan gu age i t has n o ri val i n th e ficti on

i h f t he i ddl Ki n dom r of t h r on -Fl e t er o M e g o e D ag y Lan d .

T h e a of or d - a ha c o t h e a O f ach u ar e t gs w pl ys t t l se t le e Q est ,

cann o b u t e i the addi i on of a han d an d am I t b l eve, t s l ter s, I 1 loth t o look u pon t he stor y of t he fifth Q u est as other han t he r oad a c of om mani u a o of a coa r i od t b f r e s e p l t r rser pe . ’ r h a i n d d t he oon -maid n or ood o i i na Pe ps , ee , M e s st y st r g lly a on t he o o f om i ou bu t n ot t oo o hodo u ddhi l e, w rk s e p s rt x B st, wh o shaped a T aou i st legen d i n t o an allegory exempli fyi n g

' th e a d oc r i n of zn uwa or au an d ff c i n th e gre t t e g , C se E e t, ’ maiden s recovery of h e r celesti al h ome throu gh subdu an ce of t h e very feeli n g t h e i n d u lgen ce o f whi ch had le d h e r t o

xi d i t he ci r c u m an c ha a i ado ou h t o e le, esp te st e t t M k s g t

i an d a a h t o o t h e n de n i m n I i n . n sp re, f t er f ster , te r se t e t su ch a story th e n arrati ves of th e Q u ests may have been a a d i n o a d a t o di a mo u the fterw r s terp l te , p rtly spl y re f lly ’ maid n con an c an d u i ar b wa of n e s st y p r ty , p tly y y ge tle

1 T he Chi unagon M arotada has t o pr e se nt the Lady with a Cowr y she ll ’ Ko u s u ai r o w l ow t su baku r ame ro t he E tr ane o u t t u r ali s ( y g ) b ught by a s a l , , p bably g , o e r B o w w or t . r er e t o . o e Sc p , hich , acc ding M ss s lakist n and P y , n s s al ays in a h us , w e re e r o e for o o o . He has r e o r e t o re e r h a sh lf is p vid d its acc mm dati n c u s his tain s , who e e r o s e e ore or e r r o i n r e of d vis va i u sch m s , m l ss t ivial and idicul us , pu suanc one o f which the Chi unagon e nde avo ur s t o catch a swallowsitting up on i ts ne st w i ts i far he the of . e o t o be and in act agging ta l Thus is succ ssful , but nly r e w r e l o f w h e ra fir ml i n e e he has a d d by a bal dung , hich g sps his hand , b li ving - e ow r O e th e e re r ze . e s r o o of o er o btain d much d si d p i In b ing l f m his p st bs vati n , t o w he e e r e or of e e r o e he ee w hich had b n ais d in a s t bask t attach d by a p , m ts ith o r e ro ro w r e e r dr hi m out a mishap , and falls int a ic cauld n , f m hich his tain s a g r hi s o e r ze — the re of w he e t o e o still g asping supp s d p i natu hich th n , his stup facti n , o disc ve rs . T he K og/asugai is de scr ibe d i n the W akan sanzai as the shell cur r ency of e T h wor o te wr e u e r i . e e o o of anci nt Ch na d is f n itt n i f , nd a fals n ti n its e o o — r o Ko asu re e e or of the roo Ka e to ri tym l gy p bably y is a st ngth n d f m t y , b ng o e r or e tc v , imp t, . - : A THE OLD BAMBOO HEWER J PANESE ROMANCE . 3 9 satire u pon t he taste for lo ve - adven t u res whi ch all t he early

oman c h o t o ha cha ac i z d the ac u a e h n r es s w ve r ter e pe ef l g , w e n eithe r He i n or G e n had y e t rai sed th e stormy di n of

i r m fact ou s a s . T o render li terally an Oriental text i n volves the e flface me nt 1 O f ha e ar r i i n h a h w tev r ch m t he o g al may possess . I ve t ere

o ou h t o i an n i h d r t o th e i d a a h f re s g t g ve E gl s ess e s , r t er th an t o t he me r e lan gu age of t he te ller of thi s O ld - wor ld

or o a t he m o an ci n o o f c i on e an of the st y , pr b bly st e t w rk fi t xt t

h ai B u t ha d i r e d at th e am i m o c ac . t o w le Alt r e I ve es , s e t e, r i n th e i on as mu ch as o i of t h e i i as prese ve vers p ss ble sp r t, di i nc r o m t he r u c u r of t he u n si n i ci z e d on u of a st t f st t e, t g e e rly

a an an d i h hi o c h a r od u c d t o om J p ; w t t s bje t ve rep e , s e

e n th e oo com o i a a r a h an d n nc ext t, l sely p s te p r g p se te e c harac r i i c O f a an r o and a hor d o f hi n te st J p ese p se, b re C ese

r i who d i h i n a an d an i h i c bu t a d an d w ters , el g t terse t t et , b l a i fici a t ha t oo c ommon ac ri c wi t t o an O c u rt l style , t ly s fi es bs re

i an d o all n a u r a n i n the ai n af m r brev ty , l ses t l ess str ter e e

mm r f i r r r m h n d r d o a o . a a o u a o t o sy et y l te y f I ve e e v e , ls , retai n th e i mper sonali ty whi ch so m ar ke dly differe n ti ates 2 T u ran ian fr o m Aryan speec h ; b u t I have u s u ally fou n d thi s p ossi ble o nly so far as i t res u lted fro m av oidance o f m a hor i ca o m f e r i n the n u m e r ou or d et p l f r s O xp ess o . Of s w play s that d i sfig u r e t he text I have n ot attempte d any ex plan ati on u n l e ss n eeded t o gi ve s ome defin i te m e ani n g t o t he ‘ ’ a a h r h occu r T he hon or i fic s i n a an p ss ges w e e t ey . J p ese ha O n i mo han a on omi n a a u an d ha ve fte l ttle re t pr l v l e, I ve n ot bee n c ar efu l t o translate them wh e n n o t u sed t o emph asi z e ‘ ’ T h d i h r ifi mm n e m o respec t . e wo r m i s the on o c c o o ly pl yed i n t he i n a i on t o the i ado and i s u u a nd d text rel t M k , s lly re ere

1 er o of the T ake t or i ee e . e er w An Italian v si n has b n mad by M S v ini , hich

o re r e . o ee r e o e r r o I cann t g atly p ais It has als b n t anslat d int G man , and th ugh

o O f r ee e er . T he r e e G e rman int English . th e se latte ve rsions I have s n n ith p s nt el e e the r re r o o be e r o e is , I b i v , fi st di ct t anslati n int English that has n p duc d , ’ the o one e on D aishu s e or o e w t ro t o and nly bas d t xt , ann tat d i h any app ach ade quac 2 On This pe culiar fe ature of Turanian language s the r e ader is re ferre d t o som e e r o w h sen or of or e xc lle nt O bse vati ns by M r . Lo e ll in his C o Land M ning Calm r t oo on t he e er o e M r . A o o e r e r e r (K a) . st n , , has s m admi abl ma ks subj ct in a pap on the ore e e e w i wll be o i n V ol. X I . r K an and Japan s languag s , h ch i f und Pa t

III of s J o r . . thi u nal - 40 THE OLD B AMBOO HEWER : JAPANESE ROMANCE .

‘ ’ ‘ ’ i m ia or au u i on t o hi ch ha f d per l g st, express s w I ve pre erre ‘ ’ a I n hi s ac an a a D ai sh u the t h e si mpler roy l . pref e T k ( Si ni co- Japan ese pron u n ci ati on of the characters wi th whi ch C hi de i s wri tten ) says that i f y ou read t he T aketor i over

i h i t i m u i a t o u n d an d bu t i f ou an l g tly , w ll see q te e sy erst ; y w t ‘ ’ t o a i t ou i find i t n o a ma ho ou h t o t ste , y w ll e sy tter t r g ly c om r h nd i t n ot on cau the i s an i u and p e e , ly be se style t q e c on ci bu t cau b di n of u n c o i n th e i s se, be se y t freq e t py g text

u ha i n c d t o t he u n ot u n frequ en tly corr pt . I ve exper e e f ll t he u i c of h ma and am c ai n n ow of th e j st e t ese re rks , less ert accu racy of many passages i n my tran slati on than I was at t he begi n ni n g of my task i t was on ly after prolon ged st u dy

h a n did n t a a u i t of the text t t I fo u d I o lw ys f lly taste . Japan ese ar t has bu t rarely drawn i t s moti ves from th e a f T t i T h i di n scen es of the T le o ak e or . e earl est e ti o I have m e t i h i s i u a d i h c oa oodcu b u t h ar e w t ll str te w t rse w ts, t ese h f all m i M i nd . hi i u d i u o . ow est t te er t y fr e M P l ppe B rty ,

o th e con c u di n o of an i u mi na d maki ever, p ssesses l g r ll ll te mono hi ch h e has i n dl n me and t he con d of th e , w k y le t , se

h ch omo- i ho a h i h hi ch ha n a o d t o t ree r l t gr p s, w t w I ve bee ll we — i ll u strate thi s tr an slati on th e U pbeari n g of Kagu ya— i s a

d u i on of i t a c n T he t wo mai n red u ced repro ct s l st s e e . re in g

’ chrom o - lith ograph s ar e taken from makemon os i n my own po ssessi on ; th e Vi ew O f Fu jisan from a roll bearin g the ti tle

' S anka r ekzs/zdzu a S i of i c u o f i l an d S am , er es P t res H ls tre s, ’ an d the o h hi ch ha ca d T he O ad Hau n om t er, w I ve lle re s t, fr a roll that i s partly calli graphi c and partly a copy of a ai n i T h i n ai n Chi n ese p t ng . e latter roll s co t ed i n a case o f black persimmon wood (D iosp yr os su persc ribed T Ogen 55 senseki an d on the i i n i n of i t s lid i s a , HE if? llll E , s lk l g

n d i n i n hi n b t he co i of hi ch the su b lege wr tte C ese y py st , w j oi n ed versi on may be fou nd i n teresti n g “ a h an mo a a o u od the am H t y rt l , pr y y , ever tr stre y ’ 1 domai n s where t he Fai ry s peach - tree blooms ? N ow t he

1 T he e e re W the W e er o o er who on Chin s O ad (1M) , Si ang Mu , st n R yal M th , - M ount Kwe nlun rule s ove r thousands of Taoist ge nii . A pe ach tre e growing withi n her d omain on the b orde r s of the G em Lake (fig fig) b e ars frui ts which c onfe r or o o e who are owe t he o er to r e of e imm tality up n th s all d by M th pa tak th m . - : THE OLD BAMBOO HEWER JAPAN ESE ROMANCE . 41

a T O re i - h d the wi c dn of the or d and s ge (FE3 be el ke ess w l , hi s h a was o i hi n hi m an d h e fl e d om me n an d e rt s re w t , fr , mad hi s a od amon the a n i d an d th e a of e b e g E ster w l s, g tes ’ t he ai i domai n o n d t o him an d i n ha m i c F r es were pe e , t t yst lan d u n trodden by foot of man he gai n ed t he fr ui ts of

T o M e i chO B ho d a r c reative energy . ( B w se ys we e

h n th e i n u d cam the am of t he ad n u o f w e M g r le , e f e ve t re

T O r e i an d h e h ou h him an d ou h a i c u and , bet g t wr g t p t re , d i c d the hi h hi i i n n d on e a o e t he o h ep te g lls r s g e lessly b v t er , an d man a di zz ci i c an d t he m u u h and t he y y pre p e, lberry b s h m d i t h d was t h a i an an a o o e d c n . h e p pl t, f r be l v r e s e e T ere , t oo r u an d d an d a ic - an d an d amid , we e pl fiel s v lley r e l s , st m h them was seen t he hu ble thatc of the h u sban dman . It was c u n ni n imn d on e mi h i n i t t o fine n d o gly l e , g t l ke ee lew rk

r i A n d i n th o u or the tracery o f a patterned fab c . e c rse of

i m th e c o was ou h i hi n the or d r O f Ki shi u t e s r ll br g t w t b e s , ’ and m o d d th e oan o f i t an d at m or d be h e y l r begge l , y l s st

hou h t h r h I mad e thi s copy o f t h e pi ctu re . T g e sc oll as

n o n o t he u r i n se a amid r oar i n a o bee b r e ver s g g , g g les, ver

i d a an d r am hi an d has n i n e r i r o m fir e w l p sses st e y lls , bee p l f and u of a m d m e n an d r o m oo h of r at and n aw str ggle r e , f t t g of o m as o m ha m b a or a o e t has n o hu t w r , fr r y spe r rr w , y r com t o i t for t he od an d d mon r o ha e , g s e s , I t w , ve ever

a ch d o i t s af d u i n t he man h u nd r d ar ha w t e ver s ety , r g y e ye s t t ha a d i nc i t was o u h ai i s t h e e a ve p sse s e wr g t . F r retr t amon t he i d bills b t he i n o f the d oo a e a g w l , y l tels r w v s

i o har d b t he c h an h o an d a i t e on d w ll w, y rys t bl ws , l tle b y a i n - o r hado t h e m i n O f h wa W ho p e tree ve s ws eet g t ree ys . shall n o w s ay that n ever have th e gates of t h e Fai r y D omai n

n h o n O e n t o mo a ? W i e n on a or e n oon bee t r w p rt ls r tt f ,

i h . D 1 855 n t e secon d mon th O f the sec on d year o f A n se i ( A . at San i hi n th e o i n c o f Ki hi n b Ki uc hi ke w t pr v e s , y k ” T6sei .

the nd of ou n HO r ai e n lai i s d ou As lege M t (P g ) , btless,

Kwenlun is by some ide ntifie d with th e r ange of m ountains kn own as th e Hindu ’ ' se e e r e Re h e er . t e e e e e Kush ( May s Chin s ad s Manual , p and l g nd is vid ntly re r f in g at pa t O Indi an origin . 1 N ot t o be conf ounde d with the Japane se M etoko Hf! E - 42 THE OLD BAMBOO HEWER : JAPANESE ROMANCE .

i n i ma e con n c d i n a at a i h ha O f S i W an t t ly e te , p rt le st, w t t t g ’ M u ha u d a or i o n o f hao i c u r n o ad u a , I ve se p t C s p t e, eq te

re n a i on of the an d ou n ain in n o n t o m e rep se t t Isl M t be g k w , as fai rly c o n veyi n g t h e Si ni co - Japan ese i dea of t he fabled l mm r a of the a n O an I o t l Isle E ster c e .

' I n t h e thi rd volu me of t h e G uns/lo tchi m a (a Japan ese bibli ography pu bli shed abo u t t h e year th e early ’ ’ mono atam amo n hi ch t he r a ho d t he r g , g w Hewe s t le l s fi st

ac i n m i as i n i m ar e n u m a d an d i n o i c d pl e er t t e, e er te br efly t e ,

n i a ood d a of a n i n an d c u m n T he acc ou n O fte w th g e l le r g a e . t

’ gi ve n of T ake tor z men ti on s as sou rces o f s om e of the elemen ts ’ 2 of th e or th e M an ésfiiu and t he K o i/t z an d amon o h st y y j , g t ers th e N ai e de n 7 t l h n c a c u r i ou u ddhi nd g [ 9 5h Ei ) , w e e s B st lege

h h e r c u a on i s ci d t o t e o o i n f c . te f ll w g ef e t T r e e l ses, fter l g co n i n u d me di a i on ou n d h m o d of th e u h t e t t , f t e selves p ssesse tr t , an d s o gr eat was thei r joy that thei r hear ts broke and th ey

i h i ou h u on oo the or m of am o i d ed . T e r s ls t ere p t k f b b os w th e a e O f o d an d oo of e ci ou ad an d a a i od l v s g l r ts pr s j e, fter per of t e n mon h had a d t he m o f h am oo S i t s el pse , ste s t ese b b s pl t

e n d o T h h O p n a d i scl sed each a beau teou s boy . e t ree you ths ’ s at o n t h e r ou n d u n d h e i am o o an d a n da g er t r b b s, fter seve ys m di a i on h t oo e cam o d of t he u h h r e t t t ey , , b e p ssesse tr t , w e e u pon th ei r bodi es assu med a golde n h u e and d isplayed th e mar of ai n i n hi t h e am oo di a a d an d ks s tl ess , w le b b s s ppe re

e ac d b n ma ni c n m T h e wer repl e y seve g fi e t te ples . legen d i s man i fe o f n di an or i i n an d m t o ha n stly I g , see s ve bee first qu o ted by Kfikai or KObO Dai shi from a su tra i n ti tu led HO r okak u ( g A; F5 Of t h e au tho rshi p of the T ake tor i n o hi n c ai n i s ai d t o n o n b u t i t i s d ou u t g ert s be k w , btf lly a cr ib d t o o ne i n amo o J un wh o i s a o i d b om s e M t , ls bel eve y s e t o h ave had a hand i n t he composi ti on O f t he Uts ubo mono

’ ' ’ atam an d t he O c/Izlru bo mono atar z o h of hi ch ar e g fi g , b t w

1 t h i N os 559 6 4 . o re o t e e r t o of S e e er o . c 7 May s , p . and C mpa als d sc ip i n ’ ’ I ti e r 5 r o o f t he e of t he u klzavat i A mida 5 Par adise I I Prof. Max M ll t anslati n t xt b lI of o l . r aI V o . X . b rought f rom Japan P t I I . this J u nal 2 Ka u for e the e of I i nce ss wh o e o e the g ym instanc , is nam a p is m nti n d in — or of the o B . . 70 A . D . one of he r five o e r hist y Mikad Suinin ( c and l v s is , I ee th r e e e e e O o o no M i e Q ) . b li v , call d t m yluki (Is thi d u st 4 A ri o of wor will e i e e he o the e r o ae acc unt this k , b l v , f und in Am ican Cycl p dia,

n . from the pe of M r Sato w. - THE OLD BAMBOO HEWER : JAPAN ESE ROMANCE . 43

n o i c d i n th e angli a T he S u mi oslzi mono atar i i s a t e G . y g

n h o - or th e o u r n i n mai n u o n t he c a le gt y l ve st y, pl t t g ly p r ft an d c r u elty of a step - m other : i t i s c on sid e r e d on e of the

t of t h e i A n old i r a t h e G unsho a cr i bes ser es . wr te , s ys , s bes t h e au hor hi t o th e h oi n O f t he a wh o i s aid t o ha t s p er e t le , s ve w r i tte n th e wh ole stor y on a sc r e en i n a small r oom n ear th e n or h - a n a of t h e a ac hi ch was a a ou i t e ster g te P l e , w f v r te

n de z for o r o u a ha i s ano h ou . o re v s l ve s M re p p l r, per ps, t er

’ of t he r i t he Y amato mono atam a c o c i on of a se es , g , lle t t les

o m hi h M r ham ai n has a n hi s r o r of fr w c . C berl t ke p etty st y

h i n ai m t h a e n i n ar at t e a d e n of U . o M It see s ve b e , p t w n l r h i r e d i ad o K a zan A . D a l e n i e n b t e . ev ts , w tt y Ret M k ( 983 an d th e accepte d edi ti on s c on tai n n ear ly thr ee ‘ ’ i s c i a r comm n d e d h u n d r e d u ta or u i n ai n . q t s It spe lly e e ,

’ together w ith t he f ee moaogatar z an d t h e Gr am mowogai ar z t o t he atten ti on of those who d e si r e t o become p r o ficie n t i n ’ t he ar t o f c om o i n u t a i h e an c an d r a idi an p s g w t leg e p ty ,

i h r i ad o ar t h e ld i n h gh h on ou r at t e c o u t o f t he early M k s .

h ad r i r e e r r d t F or an acco u n t o f t he Ge ms. t e re e s f e o ’ u m ats u r an a i n T h u h r e th e r i nc e . S e s o . e a o Mr y t sl t t ss, P ss

u a a i S hi i u was a e d a t he G u ns/I0 t o c om o M r s k k b , sk , s y s , p se a stor y i n a m or e moder n style than that o f th e e arlier

o man c u ch as t he T aketor i and hi s he was a t o d o r es s , t s ble

n S h after passi g a moon lit n i ght i n m e di tati on an d pr ay e r . e repe n te d towar ds t he c lose of he r life of t he fr i vo l itie s O f he r

ou h an d mad i h h e r own han d S i x hu n d r d co i e O f y t , e w t s e p s t he Hanni a S u a i n o d e i n T he I s umi y tr r r t o mer t salvati o . ’ S hikibu mono atar i hi ch i s n d c r i d co n ai n t he ad y g , w ext es be , t s l s c or r e on d nc i h he r o r t he fo u h son o f t he M i kado sp e e w t l ve , rt

i m o n n R e z e i . A g t he remai ni ng monogatar i a fe w o ly c an

’ r i e m n i on d h T h a m n atar z i s a he r a be b fly e t e ere . e J m o og r t

i o f o - io a hi han a r oman ce b u t i t n ar r a e ser es p et b gr p es t , t s, amo n o h c u r i o u ma a i n u a d r am of o n e O f g t er s tters, s g l r e i t s e on a ha u a a i Shi ib u ma a all p rs ges t t M r s k k y , fter , ha on d o n i n o T he i vo u m of t he ve g e w t Hell . s xty l es

’ L ao make s/n? monogalar z (so called fr o m i t s begi n ni n g ‘ wi th t h e ti me -hon ou red phrase i ot a makers/Ii o n c e u p o n a time d escribe t he habi ts and cu sto ms of Japan - 44 THE OLD BAMBOO HEWER : JAPANESE ROMANCE .

an d n di a th e on d t o ou n d i n o h cou n i I , w ers be f b t tr es , t h e examples an d effects of good an d bad con du c t they affo d an d the adi i on conc n i n the u ddha cu n i n r , tr t s er g B rre t them . ’ ’ ’ T he A kznoyonaga no monogatar z (A Lon g Au tu mn -n i ght s i f a d n a h u n f th Story) s o l ter ate . It rrates t e lawf u l loves o e

i e Ke ikai wh o i d i n th i e n of o i a a A . D . pr st , l ve re g H r k w II . ( 1 2 22 an d i s charac teri z ed as extremely patheti c an d T h i i n teresti n g . e pr est fin ally repen ted of hi s evi l ways an d d k T h M a sulz fou n ed th e temple of Un yO . e t o monogatar i i s i mi a t o th e a i n an d ma T h e O mi na mes/i i s l r l st style tter . ’ ‘ ’ ’ mono atam or Gi S o i i s a i o f na a i of g , rls t r es, ser es rr t ves c a d om n con ai n i n man wi a an d m a elebr te w e , t g y se s ws exe pl ry i n anc of u cc u di i nc t he mai n d of t he st es s essf l l ge e . Of re er

’ n i n n mono atar z n u m a d om ar e c o c i on of etee g e er te , s e lle t s

a a h han o i d r i d n com i a i n an a e o . ess ys r t er t st r es , ev e tly p l t s ’ n d d i n t h e r a ha th e on u c i on of I ee , Hewe s t le we ve ly p re fi t th e wh ole seri es— at least the story of th e Lady Kagu ya may — j u stly be so regarded absolu tely free from e very trac e o f o n hi ch i s mo han can ai d of the mono atari gr ss ess, w re t be s g

i T he o d - a i t on i n re i t whi ch su cceeded t . w r pl ys c ta s a s on ly mi h and h ar e far common han i n the a ble s es, t ese less t l ter h mo a i i h m oman c a h . n r es, w ere l st every p ge br stles w t t e Eve th e n arrati ve O f the fifth Qu est i s rather v u lgar an d tri vi al han coa i n ma or man n an d i n t he i ma i n a i t rse tter er, g t ve

' i a u of a an hi ch i t u h d i n o i n t he T alee tor z l ter t re J p w s ere t be g, mono atar i mai n t o t he n da u n u a d n a g re s prese t y s rp sse , y u n u a d i n u i i m i ci a h o and u n ai n d eq lle , p r ty, s pl ty, p t s, str e qu ali ty of style . i n h e ake tor i ar e n o t O n e i Three edi t o s of t T k wn o me . n m n i n d n h two o u m has n a ad o . o a o i n v l es bee lre y e t e A t er , ls t wo o u m u i h d i n th e i od e mme i 1 781 — 9 i s e n v l es, p bl s e per T ,

i ch d i h i n a i n o b K o ama Tada hi . B u t r e w t terpret t ve tes, y y s t h e di i on ha u d i s the o of ana aD ai shu an a i e t I ve se w rk T k , t ve

f h e o i n of O a i hi ch a a d i n t he a 1 82 9 O t c . pr v e w r , w ppe re ye r i s i n si x o um t he i n an i n od uc o a It v l es, first be g tr t ry ess y u on t h e or an d i t s ou c th e mai ni n o u m p st y s r es, re g five v l es con ai n i n the di i u d i n ho o i on ach o o d t g text, str b te s rt p rt s, e f ll we

- 46 JAPANESE TEXT OF THE OLD BAMBOO HEWER .

E X THE T T .

KA GUY A I M E N o O I -T ACHI H .

wa i T ak et ori n o O hin a t o i er u o o arikeri Shi e ama u i Ima mukash y m n . g y ma i r i te e wo t ori t sutsu or ozu no o o t sukaikeri wo ba S anu i n o j tak , y k t m ; na g akko t o ii ker u o o e n o u i o o r e o M iy namu . S n tak naka m t hika u tak namu hit suji i t ir u i ar i keri . A ashi ari t e or e no hikari tar i . or e wo i r y g y m u , tsutsu naka S m cha , un r r o i t o u tsukus hi u te r O ki na Iu o : san s baka i na u hit ita i . y ' 1 W ar e asa goto yII goto ni mir u take n o naka ni owas uru nite shir inu ko ni nari tamob eki o e t . T o t e te ni u ehi r e e i e e o e i me no hit nam i , i t , y y m tt k nu , 2 on a ni azu kari te ashi n awasu . Utsuk ushiki o o r i i t o osanaker eba y k t kagi i nash , 3 ashinau ko ui ir e te y . aket ori n o O kin a e or ni o o k o wo mit suket e o hi ui e or ni T tak t u k n . n c tak t u i w h edat et e o o o u i o e ar u e wo mi tsuk ur u o kas n f o o a arin u . ush , y g t k gan tak k t O ki n a o o ui r - o o o ashi nau o o u i Kakute y y yutaka na i yuku . K n chig y h d sugu g O ni r a r t sukI r ni r o o ni o o o su ut o ki na i m sa u . Mi baka i na u h d y ki h d 4 5 6 naru hito ni narinur ebakami age nado t adashi t e kami - age -se sase mo gisu 0t k k shi zu ki ashin a n o uchi y or i i dasazu . Itsu i a y u h odo ni k ono chigo no kataehi 7 k O ra r o o o ni a no hi wa r o or o naku bi kari -mi e h1 tari y na u k t y naku , y uc ku aki t k , . O ki nakokochi ashiku kurus hi ki toki mo kono ko wo mi reba kur u shiki koto mo s i o m na sami ki na yami n u h aI adat a h ki k ot o gu keri . O take wo tor u koto hi sashi ku 8 no ni r er nar i ; i ki oi mo m on o na i nI k i . o o ko i t o Oki ni n arinu reba wo ba r o Imub e no A wo obite K n , na Mimu kita y tsu ke sas u A a otake no Ka u a e t o t suke tsu o o o o kau ehi kita N y g y Him . K n h d mi a e - asobu orozu no asobi wo zo shik eru o o o Ona kir awazu o tsu do et e i to g y , t k y bi y kashi kokn asobu .

SU M A- G O I T .

e n o o o o ate r mo i ashiki mo i kade o o Ka u a e wo et e shi S kai n k , na u y , k n g y Him y

an mi t e shi t o ot o ni mede te niado . g a , gana , kiki n ui mo i e no t o u i mo oru o ni tawa asuku mi ru ma Iki o o r o . S n ata i kaki , y hit da y j mo o wo or wa asuki 1 mo ez m no o u i e e mo wo r o o n , y u y n u , ya i y id t ana kuji i , k k i m mi r I w k i o or ozo ka a o e r o O i oh t o a ii eru . kash k y i n ki , mad i ay i , sa u t ki y namu y ai o no monoshi to me e o or o u i o arikedomo no i r a arubeku Hit s nu t k mad i , nani sh shi mo mi e zu i e no o o o ni o o wo ni i wamu o e ii kakare domo o o t o y , y hit d m m n da t t k t w hanarenu i or wo i hi wo kur asu hi O r A r o o . me se zu . ta i kimi tach y u akash t ka i r a oshi nakar i k o o O roka n ar u hi to wa yo naki a iki w y eri tote k ozu nar i u i keri . S n naka u i nawo ii ker u wa; i r ogonomi t o i warur u hito go ni n omoi yamu toki naku or i r i r e r . o o hi tori wa Ishi zukur i no o hi t ori wa r y u h u k ta i k u S n na , mik , Ku a moehi no o hi tori wa S adai in A be no M i ushi D ai na on hit ori wa o o no mik , j g , Ot m ri wa so no no M arot ada o o hi t obi t o narikeri Chi una on hito . Miyuki g , I Kami k n Y O no naka ni Okaru hito wo da ni su kO S hi mo kataehi yoshi t o kiki te wa mima r hi tobito nar ikereba a e wo mi mahoshi u shi te o o mo h oshin su u , Kag ya Him m n kuwazu omoitsutsu ; k on o i ye ni yu ki te tatazumi ariki ke re domo ka i arubeku mo ar azu wo kaki te ar e domo e r o o mo e z w o kaki te , fumi y kay i g t s u , abi uta nad aredomo ka e shi mo e z ka i t o o o e domo shi mots uki shi was u no r y y s u , i nash m y , fu i , k6 1 i z no er hatataku ui Ino sawarazu kike r i . o o hi t obito aru o wa , mina uki t i K n t ki ” T ake tori wo yobi -ide te mus um e wo ware ni tabe t o fus hi -ogami to we sur i

1 S ki m o eti es as e re e s to e er e ower e r o er e tc. s m m , h , m an x cis p , hav ights v , 2 3 wa halco or ka o. mi no m . a , y

' 4 - - S a u s lzi te soehi te sdsoku sdzolci P . (E E , ( ) 5 6 7 ki eho Ic so TE . e . o e i o s o the e e e e i wi i ki M st dit n mit s nt nc b ginn ng th oi . - JAPANESE TEXT OF THE OLD BAMBOO HEWER. 47 notamayeba O no ga nasanu ko nareba k okor o ni mo shi tagawazu namu am t o i e t suki wo su us u Kakar eba o o hi tobi t o i e ni ka e ri t e o o wo it , hi g . k n y y m n 1 me mu t o sure domo amu b e ku mo ar azu omoI i nori oshi guwan wo tate om oi ya y . S arit omo ni o o o awase zar amu wa t o omoi t e tanomi wo kake tari tsui t k ya , , ana achi ui o oro- z wo e r e or e wo mi tsukete O kin a Ka u a i e g k k ashi miy a it , k g y H m nI Iu yo W aga ko no hotoke henguye no hito t o meshi nagar a warawa Oki sa made yashi naitatematsu ru k okoro- zashi orokanar azu O kin ano mOsamu hito kiki -t amai t en

a . T o i eba Ka u a e y , g y Him N ani oto wo ka notomawamu o o wo u ketamawar azaramu h en u e no g k t , g y ” o o - T o o o e habe ri kemu t o me S hi r azu o a t o o o tate mat sure . m n nit mi , y k s m i i e ba O ki na : Ur e shiku notamO o o t o i n O ki na o n anaso i ni y , m n gana t shi j amar i nu k o o o t o mo S hi razu o o o no o wa o o o wa Onani O o o , y t m asu , k n y hit , t k k t wo su O nawa o o o ni 6 o o wo su o o o o mo hi r oku r -haber u t k k t , s n n chi namu kad na i , ” s ikade kasar u k oto naku t e wa owa himase nu . Kagu ya Hime no i waku a O r o o ka S hihabe ramu t o i eba He n u e no o t o i n o o N j . sa u k t y , g y hit t m , 2 3 Ona II O - moehi tama e ri O ki na no r r wa o e mo z r mi y , a amu kagi i k t ima u ka i o o hi t obi t o n o o t su ki wo e e kO o i i mas hi tsutsu o o namu kashi , k n t shi h t n m , n tam o o wo o o - sadame te hit or i - hi t o r i ni ai tat e matsur i tamai ne t o i e ba Ka u a k t m i , y , g y e i waku o mo r a katae hi wo o oro mo S hi r ade Him Y ku a nu fukaki k k , ada o or o t suki naba o ku ashiki o o mo ar u be ki wo t o c um r n r o k k , n chi y k t baka i a i , y no kashi koki o nar it omo koko rozashi wo shi r ade wa ai atashi t o hit , fukaki g namu ” omO t o i n O ki na i waku : o no ot oku mo no t amO ! o o o o . Om i g kana S m s m i kavO r kokor ozashi r u o u i ka awamu t o o o kabakai i k okorozashi na u a am hit b su , ” orokanar anu o o ui o o e r e a e n o i waku N r hit hit k s am . Kag ya Him ani baka i w m sas n o no kok r zas no fukaki wo ka mi mu t o i a u i aka o koto nari . Hit o o hi o r ikade ka u i o torimasari wa shi ranu G O ni n b o n o a hit shi kanna i , naka . it nak u i yukashi ki m on o wo mi s e t amaye ramu u i on koko rozashi masari tari to t e t snko ” matsu ramu t o o o o wasur amu o o u i o tama e t o i n o o o , s t b t s y , Y k k t " n hi i m hi i r t uke ts r o e i no ats mari nu hi tobi to aru iwa w o u . r o r e o na i Hi ku u u h d , fuy f e aru i wa wo aru i wa sh O a 1 wo ar uiwa uso we fuki O i wo uk , uta utai . g shi , , g “ nar as hi nado su r n ni O hi na ide te iwuku Katajike naku mo ki tanage naru tok oro u i toshi t suki wo h e te mono shitamo k oto ki wamari taru kas hi komari t o 5 o O ki na no i n ochi k O t o mo shi ranu wo o 6 ki midachi ni mo m su , y asu . kaku n tam , y oku om o i s adame te ts ukOmats u re t o n1 6se ba fukaki no k ok oro wo shi r ade wa t o mOsu sa mOsu mo kotowari r a re o or - r O W ashi nIase ne ba namu , na i . i u t i masa i yuka o o mi se tama e ramu III on kokor ozashi no o o mi ubeshi ts u kOmats u ramu shiki m n y h d y , o o wa ore u i sadamu be ki t o i n ore O ki o o r o n o r mo t s , k t , t k ” namu k na i hi u ami u rama i t o i e ba o ni n no hi tobi to mo k i o o D ari t o i e ba O ki na j y , g k t y , 6 r e i 11 : Ka u a e I shi zukur i no o n i wa T e n iku ni Hotoke no i it g y Him mik , j mi no h t o i n o o ari or e wo or e tama e t o i n Ku ramochi no o ishi achi m n , s t it y ; mik ni wa no u mi u i or t o i n r ore I1i ro e wo ne t o , Higashi H ai yama auna i , s shi gan o e wo t o i r wo t o e e r ki are ore o shi , k gan kuki shi , sh aki tama mi shit tat n . s hit ye da ori te tamawaramu t o i n ; ima hi t ori ni wa M or okoshi ui aru hi ne zumi no kawa oromo wo t ama e o o no D ai na on u i wa s no ni o g y ; Ot m g , tat u kubi g shiki ui hIkaru arr ore wo or e tama e IS O no no Chi u na on m wa tama , s t it y ; kami g ,

1 ' n e az. T he wor r o omo to enr ede mo are o t e o er e i o g ds f m i mi t d in th dit ns . 2 i . lcal mte . e . 3 e rha zm P ps azu is a for m of ima zo. 4

5 T he e of nolamé the a u subj ct is Lady K g ya. 6 This very c omplicate d s e nte nce is a good e xample of the l oose style of com o o o o o e e wr er h orr o p siti n c mm n am ng Japan s it s . T e wh ole passage is c upt an ther ' ’ r e e r t o Incs/I i mo kotowae' i n ar i i zw' e m o ot or i mas ar e owas/zi masene ba nd ing is , ' mi kokor ozashi n o we mi tamObeshi teukd matsm‘ an kot o wa sor e m namu sadamabe lei

' t o zyeba. - 48 JAPANESE TEXT OF THE OLD BAMBOO HEWER .

ma o i t subakarame no motaru ko asu ai or e ta e t n . O ki na kotodomo y g t it y , kataki ui o o ere ke no ni aru o o ui mo arazu o o wo ba ni k s am , kuni m n , kaku kataki k t ika ” “ ” mO san t o i u Ka u a e nani ka katakar amu t o i eba O hin a o re ; g y Him , y , t ma kakumar e mosamu o e e e ki ko uru O mi setama e t o t t id t , kaku namu y y ni y 1 i eba mi kot achi -kamu dachi be kikit e O ir aka ni r or ni r so y , , ata i y i da na a iki m wanu t o i e un it e mi n ka erinu t o wa nota a . ya i t , j a y

HO T ox E N o M II S HI N o HA HI C .

awo ke n o o e wa o ui aru ma Iki kokochi noshiker eba T emu iku ni N nna mid , y j , j aru o o mo o e o o o ka wa t o o o me ur ashit e I shi zukur i no o m n m t k nu m n m i g , Mik wa o or o no shi taku mi aru hi o e T e mu i ku ui futatsu t o wo , k k t nit , j naki hachi se n r i no o o i ki taru t o mo i kadeka t or ub e ki t o omoite Ka u a byaku man h d , , g y Hime n o m oto ni wa kyo namu T e mujiku ye ishi no hachi tor i u i makar u t o kikase te mi o e r e e o no T Ochi no kOI'i ui aru er ni , t s baka i h t , Yamat kuni , yamad a z r no e r no hi t akur o ui su su zukitar u wo or e i n o Bin u u may na u hachi t it , nish ki r o ui r e t sukur i - no e u i t suki te Ka u a e no i e ni mote kite fuku i it , hana y da , g y Him y mi sekereba Ka u a e a ashi ari te r ni i no nakani ari hi ro ete , g y Him y g mi u , hach fumi , g mi r eba: Umi yama no Imichi ni kokoro we tsukus hi -hate : Imi is hi n o hachi no namida nagar e wa r ar u o n r Kaguya Him e hika i ya t mi r u i h ota u bakar i no hikari da ui nashi . Oku tsuyu no hi kar i wo da ui me yado- sumashi : Ogur a no yama nite nani motome kemu ka e shi - hi wo o ni sute te o o no ka e shi wo su Tote y idasu . Hac kad k n uta y r ni e e r no ur ka to ? hi wo sut ete me o Shi ayama ay b , hika i us u hac tan marur u kana T o omIt e -i r etari Ka u a e ka e shi mo ez nari nu ui mo k y . g y Him y s u . Mimi ki i ir e zar i kereba i i wazur ai te kayeri nu . Kan o hachi wo su t ete mata iike ru yor i z o n ki o o wo ba hi wo sutsuru t o zo iik er O mo a k t Hac u .

O R AI N o T AM A N o Y E D A H .

Kur amoehi n o o wa o or o t abakari aru o e O ake ni wa T suku shi mik , k k hit nit , y , no ui u ami u i makaramu o e o mOS hIte Ka u a i e no i e ni wa kuni y t t , it ma g y H m y , no e or ni r t o i waset e kudaritamo ni tsuk Omatsur ubeki tama y da t i namu maka u , - hi t obit o mina Naniwa made O kuri shikeri . M o it o shi nobi te t o not omawase t e bi t e me i te owashimase zu chikO ik , amata , r te i de tamai nu mi O r n o hi t o i t - mat sur i okur i tsukOmatsuru . b o t ate te kagi i shi , ku i mi ka e r i nu owashimashi nu t o o ni wa mi e tamait e i r r e o y , hit y m tsu hi baka i a it k gi t amai nu kayer i . 2 Kane t e o o i oh osetarikereba o o o no nari keru h k t m na , s n t ki ichi takumi Uc i r or r o wo me shi t orite tawa asku o or -kuma iki i e wo tsukuri te ma a ku nin , y hit y i j y , e wo m e ni shikomete i -r a wo iri tamai t su tsu o mo ona i kama y iy , takum , mik j o or o u i komori tamait e shi rasetamai taru g r - r o so we i ui o t k , ka i i j iu ku kam kud wo tsukur i tamo wo e e no e . ak t , tama y da o ni awaz uri - kashikokn a k Kagu ya Him e notam oy tag u t suk i de tsu . Ito t ba arite w o n i mo e i denu e ui or e ka eri ki ui er t o t one u i e Nani a ni mis ka t . fun n it y k i tsug r h e naru sama shi t e i -t ama yari te i t o itahu k u u s ig ye ri . mai ri tarI no e we a ah r M uka e u i u i o ohoku , 2 0 n i tsu ui e e o o y hit tama y da g i t , m n su ka kike mu Kur amo ohoi t e mochi te mai r u . It ehi no miko wa udomuguye no e ri I t o nonoshir ike hana moehi te nobori t amay ri . “ w Ka u a e ki ki te W re wa o o o ui makenu - e t o K ore o g y Him , a k n mik b shi m k i r o o ni w K m h t subu r e te o oi e r . o o tataki te ur a oe i no mun e Kaka u h d , kad miko owashi tari to tsugu .

1 T he wor be has o e e or e . o r e I mibe etc . Kamud acli i i s d a c ll ctiv f c C mpa , ’ - m t lzi . e qui val e nt t o lra i or lt u ni ac 2 ' ‘ zcln n o takami ar lu totsu no ( alarm Of a v iant is . - JAPANESE TEXT OF THE OLD BAMBOO HEWER . 49

no on r owashi mashitari to i eba ai tate matsuru o o Tabi sugata naga a , y mik n ta “ mawaku : Inochi W 0 su te te o no e o e k r o e Ka u a e , kan tama y da m t ita i t t g y Him ni mi setate matsur i tama e t o i eba O ki na mochi te ir itari o o no e y y , ; k n tama y da u i fumi W 0 zo tsuketari ker u Itazur a ui wanashi tsu t o mo no e W 0 taor ade r ni er mi , tama y sa a kay a zaramashi

’ Kore W 0 mo aware to mi te oru ui T aketori no Ghina hashin i r ite i waku Kon o miko ni moshi tamai shi H orai no tama no ye da W 0 hi tot su no tokoro mo a ashi ki o oro a amatazu o e owashi maseri W 0 o o ka t o y t k naku y , m t , nani m chit kaku n - r re on i m - mosubeki ni ar azu . Tabi o mi sugata naga a wa ye ye o yor i tamawazu te owashi mashi tari o o o ui aitsukomats u ri tama e to i n ni o o shi , haya k n mik y m n mo i wadz u t sur azu e mo tsuki t e i mi i ku na e kashi e ui omoitari , y j g g . o o o r ka t o i ubekarazu t o i n ni e n u i - o or K n mik ima sa a nani mama , y hai n h i “ am i n ki n w r ui omo o o n ni mi enu n t a u . O a koto a i o e ar , K n ku i y tama y da n i , o o wa i kadeka i naimosamu o mo o i o ni owas u - r k n tabi , hit sama y ki h t ii ita i . Kago ya Hime no i n yo ; oya no n otamo k oto W 0 hitabur u u i i nabimosanu s ak o W 0 ukashi t o W moshi tsuru k oto no i to h oshi a ni yegat i o y 3. W 0 k k m n ” a u asamashi ku m o te kun i k oto namu me taka om oi b aber u t o i edo nawo Ghi na o su ki na o ni o o \va ne ya no uchi shitsurai nad . O mik m su y kanaru tokoro u i ka o o wa soraike mu a ashi ku ur uwashi ku me de taki o o ni mo t o o k n ki , y m n m su . o kota e te notomawaku S aotodoshi no ki sara i no t o ka or o u i Mik y g g , i w or e u i or e u mi a ni ukamu mo shirazu obo e shikado Nan a y i fun n it , nak y kata y , omo o o narade o no no ka wa e t o o moishi kaba u k t y naka iki nani s mu , tada m na m o wa e ze ui makase te r . Inochi o r shiki ka a iku shi aba , ik ga s mu ; ikit a amu r ari ki te or t o i uramu ni an t o ui o tada oi -ar iki t e kagi i , kaku H ai yama ya umi k gi y , w no W 0 hanare te r - i r u i aru o wa are ts utsu aga kuni uchi a iki n aka i shi , t ki nami 11 1111 1 no o o ui mo ir in ube ku aru o u i wa ze ni ts u ke te shi ranu n m s k ; t ki , ka ku i - mu o fuki oserare te oni no o r o o i de kit e korosa t . A ru o ui wa y , y na u m n shiki t ki , o su e mo shir ade u mi ni ma i re mu to aru o n i wa e k shi kata yuku y g shi , t ki , kat tsu ki te no no wo kui mono t o aru o k i wamu o o muku tsu e r , kusa shi , t i k t naku g na u o o no e - kakar amu to ar u o W a no wo o r e mo m n kit kui shiki , t ki umi kai t it i chi no r ni e - t amébeki o mo o oro ni W 0 tsugu . Tabi so a tasuk hit naki t k i roi ro no W 0 i e or mo obo e zu e no u i makase te ni yamai sh t yuku kata s a y , fun yuku umi no o r u i umi no ni w z tadnyoit e iho kn to i n . Tatsu k ku baka i naka a uka ni yama m t n a . no W Umi o e ni t nd oe ru miyu Fune uchi 0 namu se e e mi ru . u y yama i to ' o washi ar w ki e ari . o no u ly e m t nit S on yama sama takaku ur . ya aga o omu ru yama naramu t o o moi te susuga ni osoroshiku oboye te yama no meg ur i W 0 sashi me urashi te futsu ka ka b r - r ni amabi to no osohoi r o g mi aka i mi a iku , shita u nna yama no naka yor i i deki te shi rogan e no kanamaru W 0 mochi te mi zu wo kumi ” 0 m n no W r . ore W e e o r ori te o o o 0 t o ka o a iku K mit , fun y i , K n ya a nani m su ” ko w o t o to. ta ete i u or e a r no ar t o o . ore wo Ouna y , K H ai yama n i k tau K ” i u re shi ki o o u o r . o o o o wa z o to to. kiku , k t kagi i nashi K n nna kaku n tam ta ” ” W n W fl Hoka ruri t o e o no ui i r i nu . aga na iit , fut yama naka - o o W 0 r ui r ui noboru e a . o o no o K n yama mi u , sa a b ki sama n shi S n yama s ba z r W 0 me ureba o no ni k o no ki o o or o e hi ro e u a g , y naka na i h na d m tat i , k gan , s gan , - r ir n z na ar i a . wa a r o o e de t ru ore ni W 3. i ro i ro no no i t se ri u i mi u g S tama hash , o o r ni er ka a aku ki - o o tate ri o o ui o o or e mochi te o e s n ata i t i g y t m , s n naka k n t it m d kitari shi \va i to warokari shi ka o o not amai shi ni ta awamashi kaba o e o o d m , g t t , k n W 0 or e a e ki ta wa r - omoshi roshi o ni ru r . a hana t it m d na i Yama kagi i naku , y tat e ni arazari shi kado o o e W 0 or i te shi kaba r ui kokoromot o naku te b ki , k n y da , sa a , - - e ni or e oi ze fuki te shi o ni o e hi ui shi . fun n it , ka , byaku y nichi namu m d Dai w no r ni N w or o o ui o e ki tsuru r ku an chika a ya ani a y i kin namu Miyak m d , sa a u i shiwo ni nuretam kinu W 0 da mi nugi - kaye nade namu kochi mode ki tsuru t o notama e ba O kinakiki te uchi na eki t e omer u : y , , g y Kur e take no o o no taketoru no ui mo awawabi shiki y y yama , say fushi wo nomi miji ore W 0 o ki kite o or no oro omoi wabi -haberi tsur u o oro wa k o K mik , k k a big k k , y namu ochi - inur n to notamaite kayeshi seshi “ W tamoto o kawakereba wabi shiki no no z mo aga kiy , chigusa ka u wasur are nubeshi - JAPANESE TEXT OF THE OLD BAMBOO HEWER .

T O notamai ; kakaru hodo ui ot okodomo r oku nin tsur anete niwa ni i deki tari ; hitori no otok o fubasami ni fumi W 0 hasamite mosu Tsuku mo dokor o n o zukasa n o takumi A abe no Uchi maro mosaku : Tama n ki W 0 t su ku ritsu komatsur ishi o or o W 0 ku k e sen o i ui h r W 0 o k k a it , y n chi c ika a t sukus hitaru o o su kunakur azu shi karu ni r o tamawar azu or e W 0 k t , ku imada , k ui tamawasen t o i e sas t amawarit e wakachite kego i t aget aru . T ake t ori no h o o takumir a a o o o wa nani ot o zo t o katabuki - ori G ina k n g m su k t g , r u i mo r k o ki enub eki k okochi e i t ama eri miko wa wa e a anu im y shit y . ore W 0 Ka u a e ki ki t e o o tate matsuru W 0 ore t o e mi r eba K g y Him , k n fumi t iit , fumi ni moshi ker u yo Miko no Kimi se n yo mi chi iyashi ki taku mi rat o morotomo u i ona i o oro ni k akur e i - a kashi koki no e aW 0 t su kur ase -t amai t e j t k tamait , tama y d , tsukasa mo t amawamu t o 0se - t amaiki kor e W 0 kono gor o au zur u ni mi tsukai t o owashi masubeki ga a e no yoji t amobeki narik eri to uke t amawatte o o Ka y Him ” k n ama aramu t o moshi te tamawaru b eki r miya yor i t w na i . Ka u a e kur ur u ui o o - wabit sur u kokochi em saka et e O kinaW 0 g y Him mama m i y i y , yobi t orite i n yo : M oto or no ki ka t o oso omoi tsure ! k asamashi ki ak H ai k ” ka u or o o e ari ker eba a o e ka eshi t ama e t o i eba O ki na o o : s a g t nit , hay t t y y , y , k t ui tskur asetar u o o t o ki ki tsureba ka e samu o o i t o asu shi t o sadaka m n , y k t y unazuki or i . Kaguya Him e no kok or o yukihatet e ari tsuru uta n o kayeshi o o ka to ki ki te mi t sur eba o o no W 0 kazareru t no e Mak t , k t ha ama y da ” ni zo arike ru 1

T o e no e mo ka e shi t su . T aket or i no O ki nasabakari katar ai tsum iit , tama y da y ‘ r i i o wa t mo hashi t mo h shi a sasu au i obo ete e ar o . a i ru a t a e g g y n b i M k ta su , nit n er de tamai nu i tamayeri hi no k ure ureba sub i . o ur e e seshi i r aW 0 ba R ime obi su et e nr eshi ki hi o o o Kan y takum , agu va H y y , t d m r t o e r o it o oku or o- o t aku mi ra i mi iku or okobi t e omoi tsur u na i iit , ku t as tam ; j y o ui mo ar u T o i e er i e Kur amoehi n o i o no y kana i t , kay u mich nit , m k , chi ' ' na arur u e chozesasetamo ro e kai mo m t oris ute sase g mad , ku y shi naku, ina - t amai t e ere e u se ni e r . k ba , nig k i e o o o i sshono ore ni r wa ar a 1 o W 0 e z nari ur u Kakut k n mik haji , k sugu u ] , nna y u n n omi ni arazu ; ame no shi ta n o hito no omowamu koto no hazukashi koto t o - notamai t e o o oro e i r itamai nu . zukasa oro i o o , tada hit t k fukaki yama y Miya s h t bit mina t e W 0 wakachi te mot ome - tat emat sur e domo on shi ni mo ya shi tamaike mu - - - mats azu nari nu o wa o o mi ni kakus hi - tamawamu ye mi tsuke tate ur . Mik mi t m da

o e o or o mi etamawazarike ru nari keri . ore W 0 tamazakaru t o wa t t , t shi g y K namu

- ii hajimeke ru .

Hm n N A W R zu m O K A GO O M O .

' - i n A be no M iu shi wa r ni i e r o o ui zo owashi keru Sadai , taka a yutaka y hi ki hit . S ono toshi watarik er u M ot okoshi f une no W okei t o i n m ono no moto ni fumi W 0 kaki t e Hi ne dzumi no Kawa or omo t o i n r o o kai t e o o e o o e tsuk o , g na u m n k s t t , matsuru o no ui o oro t ashikanam W 0 erabi te O no no usamori to i n hit naka k k y , ukawasu h ito W 0 t sukete ts . o ur a ni oru W okei ni o e W 0 torasu W oke i W 0 M o te i tamt e kan k gan . fumi hiro ete e kahe ri o‘o Hi nedzumi no Kawa oromo w n ni g mit g kaku , g aga ku i naki o o r ot o ni wa ki kedomo a i o o r o ui aru o o r m n na i , im da m nu m n na i , y m n na aba k ono kuni ni mo mote modeki namashi ; i to kataki aki nai nar i ; shi karedomo ' o T e mu iku ni - u i o e watan naba o o no r u i m shi j tama saka m t , m shi ch j a ata i t obur ai mot ome mu ui naki m ono nar aba tsukai ni soye t e kogane W 0 bakayeshi tate matsur amu t o iyeri . o or okoshi e ki - er O no no Futamori o e e mo noboru to i n o o Kan M fun k i m d kit . k t W 0 ki ki t e u - t o r W 0 o e hashi rase muka e - a e - o ok ui , ay mi su u muma m t y s s tam , t i , - ni or e T suku shi or ni o or o e r . W 0 muma n it , y i tada nanuka n h i m d kita i Fumi r u i i waku Hi nedz umi no Kawa oromo kar o i te o W 0 dashi te ni otomete mi u g j , hit i mo no o u i mo o o w wa tawa asku t at e matsur u . no o n Ima y , mukashi y . k n ka a y k s kashikoki e mu i ku no hi i ri o o ni o e naki mono nari e ri . Muka hi T j j k n kuni m t no - e r ni ari o k -o obite o ake ni watari te t su kamatsuri keri . Nishi yama d a t ki i y y ni oshi t e karo ite - totte - tate matsuru no e sukunashi t o kokushi j , kai , atai kan - JAPANESE TEXT OF THE OLD BAMBOO HEWER . 51

a ni moshi kaba W okei a o o kuwa et e kai tari . o e o tsuk i , g m n y Ima k gan g jin t o tama r ubeshi e no ka e r amu ni t suket e - o re o h e wa . iy Fun y tabi ku , m s i kan ” t amawanu mono nar aba kano koromo W 0 shichi kayeshi tab e t o i yer u koto W 0 mite : i o o o e sukoshi no o o ui o o re kanar azu okur ube ki Nan b su , ima k gan k t k s ana , o o ni o o re ur e shi ku shi te okose tar u o e M or okoshi no mi m n k s ana , kana t t , kata, - - o o o w - oromo i re taru o W 0 r h s mukait e fushi ogami tam . K n ka a g hak mi c a ku a W t s ku r r i gusa no uruwashi ki r ur i 0 ir oyet e u e . Kawa or omo wo n h o o no ir o r he no e ni wa o e no t erashi g mi c a , k nj na i , sny k gan ka a aki - r e ni r o e ur u washi ki o o nar ab ube ki mononashi t . g y ta i , g taka a miy , k t Hi k nu or ki or r o o r Ube Ka u a e no ni ya e koto y i mo y a na u k t na abi nashi . ; g y Him kon omoshi kari tamo ni k oso ari ke r e t o notamai te ana kashiko tote hako ni i re tamai te o o n o e ni t su ke t e on no e o i to i taku shi te a ate o r , m n y da , mi k s , y g t ma i o o zo t o oboshi te o - kuwa e te mochi te imashi tari : o o namu m n , uta y mi y s n uta waz Kagir i naki om oi ni yake nu Kawagoromo ; tamoto kawaki te kiyo k oso wa e t o i e ri mim y . I e no o ni o e i tarite tate ri T ake tori ide ki te or - r e Ka u a e ni y kad m t , t i i it , g y Him k W a misu . Kaguya Hime kano awagoromo 0 mite i w ku : Uru washiki kawa w T ake k a e name ri wakit e o o no r t o mo shi r azu . tori ot e t , mak t ka a na an y i waku T omare kakumare mazu st i i re tat e mats u ran yo naka ni miye nu kawa or omo no nar e ba ore W 0 o o t o o o - t amai ne o h w g sama , k mak t m i , hit na ita u abi - - - sase t amai zo to iite yobi snye tate mat sn re ri . Kaku yobi - s u ye t e k ono tabi W :1 kan araz u awan t o ona no kokoro ni mo om oi ori o o O ki na wa Ka u a i e no nmo me ar wo na ekas hi - e r e b o ; k n g y H m y n u g k a , y ki hito ni awase mu t o om o i hakar edomo se chi mi i na t o i n koto nare ba ye shi i nu wax kotowari r na i . Kaguya Hime O ki na ni i n : Kon o kawagoro mo wa hi ni yakamu ui yake zulm o o o o nt e t o omoi t e hi m no i f! o o u i mo make mu o ni o o k s mak t u am , k t , y naki m n nar eba ore W 0 o o t o u ta ai omo wan t o notamG wo ore W 0 akit e , k t g k , k y k " ma na u na ki na or sa o i ware tari t o e u ui kokor omi te to i n . O e m , s iit , D ijin kaku namu o o t o o w W a M o r oko shi ni mo nakari ke r u mashi t i a; Daijiu k t aye e i n . K n ka a a mo W 0 karO ite mot ome taz u ne e t nm ar no ut n ai r sa W 0. t o j y n i ; nani g a amu , m su aki te mi tama e t o i e ba no u chi ku be te akase tamo ni e r haya y y y , hi naka in y , m a k re a o o o - n o w r e r o i n e r t o a n S a b o o o t . m a y e u . k s k t m n ka a na i k i i n - am k o o - D a i ore W 0 t aite on ao wa n n i r o e i t ama e ri . J k mi , kusa ha nit y a u a e wa A i e k - mai eru K I to oro obi te r . o o t a k g y Him , na n shi y ita i Kan y mi uta no he nji hak o ni i re te kaye s u a or m o shi ri s a aw mi o t o eb K a oromo . o no o N g i naku m yu , g O ” l m i h ka i mas b m hi W 0 . t o ari keru sar e a r i ash n o e e m i i e r . kit , kay i k i “ Y o no o-h o A be no Ki ne dzn mi no Kawa oromo W 0 o e i mashi te hit it Daijiu g m t , ” Ka u a e ni snmi tamo t o o o ni i masu ? o t o aru o no i n : g y Him na k k ya nad , hit w \va ni k be te yaki tari shikaba e r e r - t o k e ui shi kaba Kagu ya Ka a hi u” m a m a ya e aitamawazu t o - ere ore W 0 kii t e z o t o e naki o o wo ha H k b , g im ” ii a k m n abe nashi t o er nk n .

AT SU N O . K B N O A A T U I T M .

o o no u no D ai na on wa w i e u i ari t o aru t o W 0 at sume te Ot m Miy ki g , aga y hi , notamawaku no ui o i no r ar u r ore W 0 or e , Tatsu kubi g shik hika i tama ana i , s t it t atemat suri taramu o ni wa ne awamu o o W 0 kanawamu t o notarn o hit g k t . o o o o ose no o o W 0 kiki te mosaku : w e no o o wa i tomo totoshi On k t m k t O as k t , o o tawa asku - t orashi W 0 i wan a no no tadashi k n tama y yuki , y Tatsu kubi tama wai ka a t oramu t o o er D aina on no t o w g m shi ag i . g Kimi tsukai i an o o wa i mo W 0 sut e te o m n , chi m one ga kimi no ose k oto W 0ba kanawamu to koso

omobe ke re . o o i ni T emu iku M or okoshi no o o ui mo arazu K n kun naki , j , m n . o o no or wa ori n ot oru o o ar i kani omoit e ka K n kuni umi yama y i tatsu m n n i ; , nan i ra o o to mosuhe ki o o o o o o : r i ka a wa j kataki m n On k t m m su y Sa aba , g sen i o o r o o o er a ni shi ta ate motome ni makaramu to o , katak m n na i t m , s g , m su - JAPANESE TEXT OF THE OLD BAMBOO HEWER .

D aina on mi war ait e nan ir a i no W 0 na ashitsu imi no ( me o o ni g . j ya kim na g k k t W 0 zo i kaga somu kub e ki t o notamo. Tatsu no kubi n o tama tor i ni t ote i dashi te K ono hito bito no michi no e o o ni o o no no w ze o aru r or i de so ete kat kui m n t n uchi kinu , ata, ni nad , kagi i t i y o o o h o o o e r e i moi W 0 e war e wa oram t su kawasu . u K n hit it t m kay u mad , shit , , t ore ede wa e ui ka e ri kuna t o notamawas ek ri O no ono ose k ono tama y may y e . - u ke tamawari te makaIi idomu . no n o t ori e zuhaka erikuna t o n otama eba z i mo Tatsu kubi tama y y y , i uch , i z hi mo no mukitaramu e to su r o o W 0 shi t amo uc , ashi kata y inan kaka u suki g t o o t o o r er tamawase tar u o o wa 011 0 011 0 w e or arui wa k t s shi i ay i m n , ak tsutsu t i , no ai e ni o or - i arui wa ono a u kamahoshiki o or o e o g y k m i g y t k y inu . ‘ t o o o o t su ki naki o o W 0 ose t amc) o o t o o o ukanu Oya kimi m su t m , kaku k t k t k t y - mon o yuye D ainagon W 0 soshir i ai tar i . Ka u a e su emu ni wa r ei no o ui wa mi -nikushi t o not amai te g y Him y y , ur uwas hi ki W 0 t su kur i t amai te u r W 0 r maki e W 0 shi ir o e shi ya , ushi nu i , y y tamai te no u e ni wa i to W 0 o e e ir o i r o ni fukasete hi i no , ya y , s m t , uc uch shi tsur ai ni wa i ubeku mo ar anu ; aya ori mono ni ye W 0 kaki te m agoto ni hari tari . M oto no medomo wa mina oi -haraite Kagaya Him e W 0 kanar azu awamu mokeshi te hi t ori i r o T su kawashi shi i o wa or hi r , akash ku ashi tam . h t , y u u machi o ni o ko nrn e oto mo e z Kokoromoto n a ari t e i t o shi nobi te tam , t shi y mad , s u . g , , o er fut abi t o me shitsu i t o i e atsur etamait e w ni owashi ma tada t n i g sh t , y , Nani a i e t oitamo o o wa o o no D aina on no o u e ni o r e sh t , k t , Ot m g hit ya, f n n it , tatsu " koroshit e so a no t nr eru t o t o t owasuru ui funabi to , g kubi tama ya kiku , 1 kota ete iwaku A ashi ki o o I t o war aite r w z r e mo y y k t kana , Sa u a a su u fun n i t o kota ur u ni O i naki o o ur funabi t o ni mo aru e shi rade ash y , j k t s u kana y i n t o ob oshi t e w n o i r wa r o i -kor oshi te kaku , aga yumi ch ka a tatsu a aba fut , kubi ” no wa t ori t emu osok u r atsubara W 0 to not amai te n e ni tama , ku u y mataji , fu or e o o ni rik - o ni i t o t oh okute T su ku shi no no o ' n it , umi k t a i tam , kata umi k gi - mu z h o i de tamai nu . Ika a shike e e kur a ari t e u e W 0 g , hayaki ka fu it , s kai g , f n - I zur e no o o shi razu e r . W 0 ni r faki m ote a iku kata t m . Fun umi naka maka i i denubeku fu ki -mawashi te i wa fu e ni uchi kake - m - ir e ; , nam n tsutsu aki , nami “ wa o m o ni hi r ameki k ru ni D ai na on wa madoit e m chi kaka y ; ka u g , ada ” r wabi shi kime wa m z i kanaramu t o su m zo ! t o o o ka it ori kaka u i u , n tam , j ’ k otaye t e mosu kokor a fune ni n orite makar i a n ku ni mada kaku wabi shi kime W 0 i z n e umi no o o ni i r azuba ochi kakari nnbeshi o w m u , fu s k , kami , m shi sai ai ni i no e r ni fukar e - owas hi nubeshi utate aru us i no kam tasuk a aba , nankai , n h on o o ni tsu ka ematsur it e susur o ar ni W 0 sube kameru to ka it ori m t y , n u shi kana j n aku . D ai na on ore W 0 kiki t e not amawaku e ni or e W aka it ori n o o g k , , Fun n it , j m su o o W 0 o o t o mo tanome o t anomoshi e ~ naki o o W 0 k t k s takaki yama nad , kaku g k t wohed W tsuki t e o o zo t o a o 0 o . m su , n tam “ or kota e t e o : nar aneba w z W 0 katsukomatsuramu Kaji t i y m su Kami ani a a , kaze fu ki nami h ageshi ker e domo kami saye i tadaki ni ochi kakaru yo naru wa tatsu W 0 korosamu t o motome tamai sor ayaba kaku aunar i ; hayate mo tatsu no i i nor i t ama e t o i n fukasuru r n I . na i , haya kami y o o o r o e ka it ori no kikoshimese O i naku ko or o Y ki k t na i t t , j mi kami , J , k osanaku W 0 Lor osamu t o omoi keri or o i wa he n o e o , tatsu , ima y i n ch sny hit suj i W 0 ni u okashi t su kamatsur a i t o o ot o W 0 banachit e - i da g j y g , tachi naku naku , o - a o o chi tabi r moshi tamo e ni r ! o o ri y hai tam k t , baka i ; g ya a amu y y kamina “ aminu su koshi akarite ze wa wo h Ka i tori no i waku ore y , ka na baya u fuku j ; K wa no sbi waza u i o o ar ikere o o fuku ze wa o hano ze r tatsu k s , k n ka y ki ka na i , ashiki no ze u i wa ai razu o ui omomuki te fuku r t o o o o kata ka , y ki kata na i i d m , - - - D ai na on \va ore W 0 k i re tamawaz u . o fuki te fuki e o e g k ki i Mika y ka , kay s i y s r W r A no 0 r no r e l . D ai na on ta i , hama mi cha , Ha ima kashi hama na ik i g nankai no ni fuki - ose raretaru u i r a t o omoi te k i -tama e ri hama y ya a mu , i itsuki fush y , e ni aru onokodo mo ui ts u e taraba no o e - t oburo Il l mo fun kuni g , kuni tsukasa m d e -oki - r -tamawade - zo o ni - tama eri - r u i mus hir o y aga i , funa k fushi y . Matsu ha a mi

i . e . sa ar u .

- JAPANESE TEXT OF THE OLD BAMBOO HEWER.

Hi enur e ba o k ni owashi te mi - o ni o tsukawashi tsu . ur o ui g kan tsu asa tam , mak t t subak r ame su tsukur eri r r o a o o 0 W 0 sasa et e e r ni n , Ku atsu Ma g m su y g m gu u , r o ui o W 0 n ose te t su ri a esasete t subakur ame no su ni t e W 0 sashiir esasete a ak hit , g , , s g r ni o o mo s i t o os ni Chi unagon ashi ku sagureba k r t o a u u m n na h m u ” na i na i haradachi t e re r obo emu ni o e w re nobott e r t o n otamaite , Ta baka i y t t a sagu an , k o ni or e tsur are -nob ori te uk a ai t ama er u ui tsubakur ame 0 W 0 sasa et e n it , g y , g i taku e ur ni awaset e t e W 0 sasa et e sa ur i tamo ni t e ni hir ame ru o o m g u , g g , m n w r ok ni war e o o ni i ri tar i wa or oshi t e o oki na shi etari t o sa a u , t i m n g ima y , y n ot amait e atsumari t e o or osamu o e W 0 k su ishi t e n ta ur u , , t ku t t , tsuna hi i g , tsu a y , i no e no u e ni noke sama ni hi am sunahachi ni Yash ma kanay y oc t ayeri . i t o - o asamashi ari te ott e kaka e tsukamatsur eri on me wa shi r ame mte H hit g , y , y , fu i tama eri hi t obi t o on i ni mi z W 0 i r etsukamatsuru kar o i te sh y , kuch u sukui , , j iki detama eru ui e no u e or t et ori ashi t or i e sa e oroshi tat e y , mata kanay y y i , shit , g matsuru . Kar o i te on kokochi waika a obosar uru t o o iki no hi a ni e o o wa j , g t yaba, s t t m n

suk oshi obo ur ed o o u okar enu . y , k shi namu g k su ai o i r h S are do o a W 0 r mota eba ur e s iku obo nr u ar . z y g fut n gi i , y n i Ma u shi sokuse shi t e o o o ao mi mu t o t sukushi mota ete on t e W 0 hi r o e tama e ru , k k n kai g g g y m o mari keru k s ni iri m r nari k ri or 0 ni t subakura e n o fur u o W 0 ta a e u e . e W , u g y S mi tamait e ana a no w z to notamaikeru ori z o omo ni o oto , kain a a ya y tag k W 0 zo a i t o ii keri kai n sh . ni mo ar azu t o mi tamaikeru ui on kokochi mo ta ai t e karabitsu no Kai , g , futa o k mo r azu i r u n on wa w k ar ui r t e tam be u a . o wa or e n e Chi a i a et u i a On k shi k i , g w za i e o o W 0 o ni ki kase i t o shi tamaik er edo or e W 0 e it o a sh t yamu k t hit j , s yamai nit ar i t a a ni er W 0 et or azu n ar i nike r u or mo hi o no ki i yowaku n m i k i . Kai y y i t k W arawamu o o W 0 ni so et e omoi tamaikereba ni ami shi nur u or mo k t hi y . tada y y i o i i h zu kashi ku obo etamo ar er or e W 0 Ka u a e a or hi t g k a y n i k i . K g y Him kikit t ai u i t su kawashi keru uta : “ o W 0 e e i hi aranu S umi no e no kai as i to T ki h t , nam tac y y matsu n h ki ku wa makoto ka T O aru W 0 o e kikasu Ito owaki kokochi ni ir mota et e i o ni y nd . y kash a g h t kami W 0 mot aset e kuru shi ki kokochi ui kar ojite wa arikeru o o W 0 w -sute te im r a i nochi W 0 ukui Kai kaku m n abi , sh u s ya wa se nu s - - m i nu ore W 0 ki kite Ka u a e sukoshi T O i hat ur u t o e ir i ta a . kak tay K , g y Him , “ ” w r e t o oboshikeri ore or sukoshi ur eshiki o o W 0 ba kai ari a a . S y i , namu , k t

t o zo iik eru .

M nu m N O Y U KI MI .

Sate Kagu ya Hime kataehi no yo ni ni zu me detaki koto W 0 Mikado kikoshi meshi te nai shi N akat omi no Fusako ni o o oku no o no W 0 i t azur a . n tam , hit mi ui m hi e awazanaru Ka u a e wa r no o zo t o makarite mi e as t g y Him , ika baka i una t ir t o Fus ako uketamawari t e m k k n e o o . a areri T a etori o i e u i ma , n tam , y “ kashi komari t e o r e e r o ni nai shi o o 6se o o ui Ka u a sh ji i it ay i , una n tam , g t g y e no kataehi i u ni o obazu t o r o i e mair ubeki o i notama Him y na i , y ku m t y sh ” ” W aretsuru ni mai ri tsur u t o i eba r a t o o i -haberamu t o namu y , sa ab kaku m sh e i r i nu iit . “ ” Ka u a i e ni a o ni e shi - o t o i eba g y H m , Hay kan mi tsukai taim n tamay y , " ” Ka u a e ok kataehi ni mo r ikadeka e t o i eba u tate g y Him , y i a anu , mi b ki y , ” mo n otamo kana ! Mi kado no mi tsukai W 0 ba ika eka ot oka ui semu to “ i eba Ka u a i e no kota eru v6 o no meshi te notawawamu o o y g y H m y , Mikad k t kashikosh1 t mo omowazu t o e r ni mi ubeku mo arazu Um ru ko o . e no iit . sa a y yo ui wa are do i to kokoro hazukashi ge ni orosokanaru yo ni ii kereba kokoro no ui mo e semezu mama y . “ nai shi no o o ni er e e kn chi oshi ku o o o m o o wa Ouna m t kay i id t , k n sa aki m n ” k wa aim ns uma iki t o o s o ku haberu o o e t e . Nai hi Kanar azu m n nit , j m su , mi tate matsuri te re t o ose oto aritsu ru o o W 0 mi tate matsurade wa i kadeka mai g m n , er r o u -W o no ose oto W 0 ui o ni sumi tamawamu o no kay i mai amu , k k g masa y hit ” uketamawari tamawade wa ari namu ya iwat enu koto nashi tamai yo ! t o kotoba JAPANESE TEXT OF THE OLD BAMBOO -HEWER

ha shiku iikereba ore W 0 kikite e Ka u a e kikub eku mo ar azu p , k , mashit g y Him Koku wo n o ose ot o W 0 somukaba koroshi tamai t e okashi t o i n o o g , haya y . K n - o kikoshi meshi te o nai shi kayeri mair ite kon o yoshi W 0 sosu . Mikad ku no hi to koroshitege ru ko or o z o s i t o notamawai t e ui kere do wo oboshi k ka h yami ” na e owashi mashi t e o o o n no tabakari ui makemu t o oboshime shi te m shi , K n u a ya T ake t ori no O kin a W 0 me shi te osetamo Nanji ga motte haberu Kagu ya Hime tsukamat sur e kaokatachi o t o kikoshi me shite W 0 tabi shi kado kai , y shi mi tsukai ” mi ezu r ni er taidai shiku wanarawasubeki P to O ki na naku y na i k i , kaku ya kashi komarite 0 e o o o o me no warawawa ta ete mi azuk a e tsuko , b nji m su y , k n , y y y matsurubeliu mo arazu haberu W 0 o e wazm ai haberu sari tomo makari te ose m t , ; ” “ h m shi t i as mo tamawamu t o o . or e W 0 ki kos i e e on d e ta ado ka! O kin a s su K , N no te ni okoshi tate tar amu o o W 0 o or o ui makase zaramu o o o o m n k k , k n una m shi ” e m sur i o r ld na ui o ri W 0 o katabase z r tat at taru m no na aba O k bu nad a amu . O kina or okobite i e ni ka eri te Ka u a e ui r o o y y y , g y Him kata y , Kaku namu ” Mikado no osetamayeru nawo ya wa t suk omatsuri -tamawanu t o iyeba Kaguya e notamawai te i u o ar o no mi azuka e tsukomatsur a i t o omo W 0 Him , m h a say y y j e t su komatsur ase -tamawaba ki ense r zukasa o r - t skomatsu ri te shiit y na i , mi k bu i ” “ i r r O ki na i r a uru o zo o r mo sh nu baka i na i . y y , Na shitamai , tsukasa k bu i w ko W 0 mi tatematsurade wa ni ka wa e sa wa ari tomo o aga , nani s mu , nad ka ” u w a mu shi ni tamo- e o a ar u mi yaz kaye W 0 s hi tama az ra b ki y ya w beki t o i n . wo or o o ka t o tsukomatsur ase te shi nazu aru t o e tama e Na s a g t , ya mit y , amata no hito no kokor ozashi oroka- narazari shi W 0 munashiku nashite shi koso ' ” Ki nc) ki 6 i o no notamawamu o o ni tsukam hi to ki e are . M kad k t u gi sashi t o i eba O ki na lZota e te i waku ame noshi ta no o o wa t o ari tomo akari t omo y , y , k t , , on i nochi no ayosa koso oki naru sawari nare ba nawo ts ukomatsu ru ma iki koto ' j W 0 n e mosamu o e u r e o o Ose no o o no kashikoki ni o , mai t t t m i it m su y , k t kan w t w 0 mair asemu o e tsukomats ure ba mi azuka e ni dashita na W te ba . a a a t t , y y shinu e t o o M i akko ro a t e ui u mase taru ko i e mo re z b shi m su . y Ma g n t a u , mukashi yama nite mi tsuke tar u ; kakar e ba kokoro - base mo yo no hi to ni nizu zo haberu “ t o so-sesas u o ose tamawaku M i akko M oro a i e wa o o . Mikad , y g y yama m t ' r an no i k shi tamawamu o e mi te mu t o notama chikaku na i , mik m yu i y nit ya , w asu . “ M i akko ro a mosn o Ito o o o r e o oro mo nakute y M g y , t , a y ki k ”na i n nika k k ar amu ni futo mi - yuki shite go ranze rnre namu t o s osu re ba Mikado ni waka u i W 0 sadamet e mi r ui i de t amai te Ka u a e no i e u i i ri tamaite hi , ka i , g y Him y , “ ” - o ni r mi chite ki ora e i tar u o ari ore naramu ! t o mi tam , hika i , y nit hit , k osh r set am ni i o W o - ma a o ob i te i o a o n e te iru . e 0 t ra e ta eb o e W 0 ch kaku y g S d y y , m t futa i te sor a e do ha ime o u o r au - i ts ureba - mede taku obo esa g y , j y k g j , tagui naku y ‘ ’ se t amaite u rusa i t o su o e i t e owashimasamu t o su m ni Ka u a e , y j t t , g y Him “ kota ete o ono a wa o o u i umar e te haberaba o o y s su , g mi , k n kuni , k s tsuka i tamawame i t o i te owoshimashi fr ataku haberamu t o o o ; t ya s su . Mikad , o sa ar wo i te owas li imasamu o e on o W 0 ose - o ni nad ka amu , na t t , k shi tam o o Ka u a i e o e ni nari nu hakanaku -o t o ohoshi te e mi k n g y H m kit kag ; kuchi shi , g “ tadabi t o ni wa ar azari keri t o oboshi te r on o o u i wa i te - i ka i o o , sa aba , m t j , m t no on kataehi t o x - e e ore W 0 e ni er t o oserarureba na i t main , s mit da kay i namu , o wo mede tak oboshi Kaguya Hime moto no kataehi ni nari nu . Mikad na u me sar uxu o o seki tome - atashi mi se tsuru M i akko r o W 0 or okobi k t g , kaku , y Ma y - o e ts ukamatsur u hi aku w hi t obi to ui r i kame shi u tsukomatsuru . tam ; sat , y ku an a uji Mikado Ka ya Hime W 0 todomete kayeri -tamawamu koto W 0 akazu kuchi oshiku oboshiigre do t amashi i W 0 t odometaru kokochi i e e r , sh t , namu , kay a setamaikeru on o h ni tatematsur i te o i ui Ka u a e ni k s i , n ch g y Him “ Kayeru sa no myuki mono uku omohoyet e ; somuki te tomaru Kaguya Hime yuye I G 0 b enji W 0 Mugur a hafu shim o ui mo toshi wa henuru mi no nani kawatama no i mim ” ute na W 0 mo u . ore W 0 ika o oran te i todo ka eritamawamu or mo obosaru K M d g p , y , s a naku , mi o or o wa r ni - ka erubeku mo ob osare zari keredo sar itote W 0 k k sa a tachi y , , ya akashitamobeki ui mo aranebaka e asetamai nu y r . Tsune u i tsukomatsuru hi to W 0 mi tamo ui Kaguya Hime no kataW ara u i E E T HE B - JAPA N ES T X T O F OLD BAM OO HEWER .

orubeku ni ar azari er o o hi o or wa ki or a r t o oboshik eru hi o y da k i , k t t y i y na i t , - kare ui ob oshi awasur eba hi to ui mo arazu . Kaguya Hi me n omi on kokoro ni mo shi nak n k a i t kakari te hi t ori su ushita o ute o at atau mo watari amawazu . tada g , y g Ka u a e no o o ni zo u i W 0 kaki t e ka owasase o o e g y Him m t mi f m y tam , g b nji sasu a ui ni k ukarazu kik o ekawashi tamaite omoshi r oki ki - ' s ni tsukete mo g y , gu a , on uta W 0 yomi te tsuk awasu .

A M A N O HA GO R O M O .

Kayo ni te on k okoro W 0 tagai ni nagus ame tam o hodo ni mi t ose bakar i ar e r no h a i me or Ka u a e tsuki n o omoshi r o i det aru W 0 i e it , ha u j y i g y Him m t , mo o o omoi tar u ri A ru hi o n o tsuki no wo mi r wa n e or . tsu y i m n sama na t ka u , i mu o o t o seishi ker e domo o o r e o- u i mo t suki W 0 i e wa k t , t m su ba hit ma m t - - t suki - mo em i mi ik u k o. E u t suki no o i no ni i de ite e ui o o o j na i tam m ch , s chi m n y i t sukawarur u hi tobi to T aket ori n o O ki na ui ts et e i waku o i r . u k shik na i Ch kaku g , Ka u a e r ei mo t suki W 0 w r e r - kere do o o or o t o n arite wa g y Him a a ga i tamai , k n g

- o o ni mo hab er azameri i mi ik u oboshina eku o o ar ube shi o o mi . tada k t , j g k t y ku y ku tsuk amatsuras e - t ama e t o i n W 0 kiki te Ka u a e ni i n o 6 kokochi y , g y Him y naj ” r e o o W 0 omoitaru e tsuki W 0 mi tamo z o umashiki o ni su ba , kaku m n sama nit , , y ‘ t o i n Ka u a e t suki wo mi reba o no o or o - o o a w r e u i eri . g y Him , y naka k k b s k a a hab h e Ka u a me no aru o or o ni naj o mono wo ka nageki ni ab eru b ki t o i n . g y Hi t k “ r mi r eba wo o o omo eru keshiki ri . ore W 0 i e a ahotoke ! ni ita i na m n y na K m t , g na o o omoitamozo ? obosur amu o o i o o 2 0 t o i eba omo o o mo s g t k t nan g t y , k t na hi ” o o o or o - o oka ob o uru t o i eba O ki na tsuki o z o m n , namu , k k b s y y , , na mi tam . ore W 0 -tama eba o o o o ke shiki wa aru z o t o i eba ikade tsuki K mi y m n b su y , wo b ami zute wa r o e wo tsuki i zur ebai de -i - na eki omo eri a amu t t , na tsutsu , g y , a k shiki yuy mi ni wa mono omawanu e nari . T suki no o o ni narin ur eba wo o - o wa u chi na eki i a o su h d , na t ki d ki g nak n d . ore W 0 t sukau monodomo wo o o o os o o ar ubeshi t o sasa ake do o a K na m n b u k t y , y W 0 ha ime nani t o t o mo S hir azu j t e go , Hatsuki no o hi r n o tsuki ni i dei t e Ka u a me i to i taku i o m c baka i g y Hi nak tam , o me mo wa tsutsumi tamawazu k o ore W 0 i e o adomo mo hit ima na i tam . K m t . y ” - - nani goto zo t oi sawagu . Kagu yaHime naku naku iu Saki z aki mo mosamu t o omoishikadomo kanar az u o oro madowashi tamawamu o o zo t o omoi te , k k m n , - ima e su u shi haberi tsur u r . S a omi wa o e i i de habe rinur u zo mad g na i n ya t t , uch on mi wa o no hi o ni mo arazu t suki no i o n o hi o r ore o a o . g k n kuni t , m yak t na i S W 0 no ri ar ik eru ni orite o o e ui wa modeki tarikeru mukashi chigi y namu k n s kai , waka erubeki ui ki ni er e o o tsuki no o -hi ni o o o no ni ima y k ba , k n m chi kan m t ku or muka e ni hit obi t o o e komuzu sar azu makari nubekereba ob oshi na ekamu y i y m d , g a kanashi ki o w r o -na ki h er r i i mi i g k to o kon o ha u yori om i ge ab u na i t o i te J n naku . O ki nawa o o o W 0 o ozo e no k or mi e kik o e tari shikado , naj k t n tam tak na a y i tsuk y nat ane no olds a owase shi wo w g t e - i nar abu e yashi nai -t ate matsuri a a ak dach mad ” r w k am m t o e o W 0 o uka e ki ko emu . s ni urus a u ta u , aga nani bit g y y Ma a y ya iit , w re o shi n m o -n n shi i a k so a e t te naki o o ru koto t o tayegatage nari . “ ' Ka u a e no i waku e i no o no o e hi h an g y Him , T nk miyak hit nit , c c i haha ; ok no o e o o n or o e -koshikadomo o o i ni wa kata t i ma t t k n ku i y i m d , kaku k n kun no o hi W 0 henuru ni arikeru o i no no o o amata t s namu . Kan kun chichi haha k t mo obo ezu o o ni wa hi sashiku asobi -kik o e t e r -tate matsureri y , k k kaku y na ai , i mi ikar amu kokochi mo ez kanashiku o ar u . S are do ono a o oro j s u n mi , namu , g k k narazu r t o su m t o e morot omo ni i mi iu maka i namu iit j naku . T sukawaruru i o o mo t oshi oro nar ai te tachi wakare o o W 0 h t bit g , , namu , k t kokoroba e o at e aka u i utsukus hi kar itsuru o o W 0 mi naraite koi shi karamu y nad y k t , o o n a ku mi zu mo nomare zu ona i o oro ni n kashi an k ri o t e ata u a e e . k t y g , y j k k g g Kono koto wo Mikado ki koshimeshi te T ake t ori no i ye ni on tsukai t sukawas a setamo - . ni T aketori i deaite o o r a o o o o wo On tsukai naku k t kagi i n shi. K n k t na ku ni i mo shi r ku o m ka awari e e e o o m mo tadare ni er . O ki na g , h g , k shi g , k i o o wa i so i r narikeredo o o o o ni wa a o ui oi ui k t shi j baka i , m n m i kat t ki namu r ni er o na i k i t mi yu . ose oto o e O ki na ni i waku Ito kokoro ur ushi ku o o omo r On tsukai g t t , g m n na u ” “ wa o o ui ka t o osetamo? T ake tori nakunaku o o o o ni mak t m su , k n m chi , en no or Ka u a me no ok e ni modeku r o o a towase namu , t ki y i g y Hi m ay na u ; t t k M - JAPANESE TEXT OF THE OLD BA BOO HEWER . tamo kon o m ochi ni wahitobito tamawarite tsuki no miyako no hi to mode koba - se mu t o o t oraye sa m su . ' ka erimain te O kina no r moshite o i - r o o o o On tsukai y , a isama s sh tsu u k t d m “ o W 0 ki koshimeshite o o o me mi tamai shi o oro ni ni m su n tam , Hit mi k k da wasu retamawanu ni ake ur e mi nar e taru K a u a me wo ari te wa i ka a , g g y Hi y g omobeki o o no -zuk asa ni ose t e chokus bi ni wa o o Kan m chi hi tsukasa , sh sh Takano no O ku ni t o i n hito W 0 sashi te rokuye no tsuk asa awase te ni sen nin no no i ni t sukawasu hi to wo T ake t ori ye . I e ni mukarit e u -hi - i no u e u i sen no u e ui sen nin i e no o y ts i j y nin , ya y , y hit m mamor asu o o it o okarike ru u i awase te er i o . o or bit , , ak n h ma naku K n mam u hit obi t o mo wo t ai shi te ori o no ni wa o o o wo u i yumi ya , m ya uchi , una d m ban su e te mamor asu r - omc no ni Ka u a e wo i daka e te ori y Ouna nu i g uchi g y Him y , “ O kin a mo nuri gome no t o wo sashite toku chi u i ori ; O ki na no i n kabakari “ or o or o ni no o ni mo make mu t o i e no u e u i or u mam u t k ama hit ya i t , ya y ” hi t obi to ni i waku a mo o o or ni kakeraba fut oi -koroshi tam e ! , Tsuy m n s a Mam or u hi tobi t o no i n Kabakar i shi t e mamor u t o kor o ni kahahori hitotsu a ni ar aba mazu i - kor oshi te t o ni sarasamu t o omoihaberu t o i u ; O kin a kore W 0 o ki kite tanomoshi gari ri . ore W 0 kiki te Ka u a e wa S ashikome te or tatakaubeki K , g y Him , , mam i shita W 0 shit ari t omo ano no o wo e tatakawanu r umi a e kumi , kuni hit y na i ; y y shit i rar e i S ashikome t e ar u o o o o no o ob aki namu t o su j , kaku t m k n kuni hit k a mina , aitatakawamu t o su tom o kan o kuni no hito kinaba t ake ki kokor o tsukau hito mo ” ki na i n o on muka cni o i o wo ba na aki omo r . O no e i e y a aji y y k n n hit , g tsum sh t , ni anako W 0 tsukami - t subasamu saka ani i wo or e knna ur i otosamu sa nshir i , g t it , g , g n - e e - o or no ( ake o ni e e mi semu t o r - o kaki id t k k a m hit mis t haji ha a dachi oru . Ka u a e wu mkow - ni o zo no u e mi oru hi todomo g y Him i ku , a daka na n tamni , ya y o sukari zuru kokorozashi o o W n ki ku ni i to masanashi . Ima d m 0 om oi mo shi rade - r z nru o o n o kuchi oshi u habekeri na aki r n maka i namu k t , g chigi i o r - e re h o donaku makari nnbe ki name r i t o o e kanashiku habe r u r naka i k ba , m ga na i . Oya tachi no kaye r i - mi W 0 i sasuka da ni ts ukomatsur ade makar amu michi mo mo aruma iki ni tsuki or o mo ide ite o o r no o W 0 o yasuku j g , k t shi baka i it ma m shi tsur e do r ni uru sare nu ni votte a o o na e ki habe ru on o or o , sa a y , n mu , kaku m i g k k wo o madowasht e sar i n amu ko o no kanashiku ta e ataku habe ru n mi t y g nari . Kan o i o no o wa i t o ki ora e oi mo e z omo o o mo hab m yak hit y nit s u , namu , k t naku e ru r i akar amu zu r u mo i mi iku mo habe ra r . S am o o o e n zu na i t k y j . Oi otoroye t ama e ru W 0 t ate mats ur azammu o o koi shikarame t o i e y sama mi k s i t naku . ” O ki na e idaki o o o zo ur awashiki u r i ni mun , k t na shi tam , s gata shita u tsuka “ mo s aw n tami ori r o o mi ob u chi su i te ne araji to e . Kaka u h d y i g no toki r ni i e no r hi m no ni mo su it e hikar itari o - t suki no baka i . y ata i , akasa g , , m chi wo to wo awase taru r e aru o no ke no e mi ur u o o r . akasa baka i nit , hit ana say y h d na i O - zor or o o ni or e oriki te or o r a arita a y i hit kum n it , , tsuchi y i g shaku baka i g ru h odo u i t achitsur ar e tari k ore wo mite uchi soto naru hi to no k okor o tom o m on o ui osowaruru o e ai tatakawamu o oro mo nakarikeri kar o i te o o okoshite y nit k k , j , m i , tori tat emu t o sur edomo t e ni r mo nakun ari te na e ka amari ta yumi ya , chika a y g ru ni o or o sakashiki o o ne n i t e to sur e domo o z e kike r ba naka k k m n j in , h ka ama y e are mo tatakawade kokochi re ni shi re t e or e r , tada shi mam i ay i . er o- o o wa sozoku no ki or a r o o o o ni mo z o Tat n hit d m , y na u k t m n ni u , t bu r hi tot s u O ' ushi tari r sashit ari o o ni W 6 t o oboshiki o ku uma , akai , s n naka hit “ i e ni M i akko IVIarO o e -ko t o i n ni take ku omoi tsur u M i akko r o mo y y m d , y Ma ” o o o ni e i tar u k kochi i e u tsubu shi ni fuseri . Iwaku osanaki o m n y sh t , , nanji hit , i sasaka r u kndoku wo O ki na t sukur ikeru ni or ite a e ni o e na y , nanji g task t t , kata ok no o o o e kudashi shi W 0 o or no t oshi oro o or no o e tamait e k i h d t t , , s k a g , s k a k gan , mi wo ka et aru a ot oku r ni er Ka u aHi m wa W 0 s y g g na i k i . g y e tsumi t ukur i tamayer i ere i ashi ki o or e a o o ni i owashi tsur u r no i r k ba , kaku y n g m t sh bashi na i ; tsumi kag i hat e m ureba mukoru W 0 O ki na wa i na eku atawanu o o r , kaku nak g k t na i , haya ka h k a ye s i tatemat sure t o i n . O ki n a otayete mosu ; K guyaHim e W 0 yashi nai tat e mats - o t o o o n ur u koto hata t ose amar i ni nari nu . Kata t ki n tam i ayashi ku nar i habe r i nu o o o or o ni o e t o o i o zo owashimasur amu t o , mata k t t k Kag ya Him m su h t “ i n koko ni owasur u Kaguya Hime wa omoki wazur ai W 0 shi tamayeba ye -i de owashimasuma i to o e o o e wanakute no u e ui o r W 0 j m s ba , s n h nji ya y t bu ku uma N - JAPA ESE TEXT OF THE OLD BAMBOO HEWER .

“ yosete i za Kaguya Hime ki tanaki tokor o ni i kadeka his ashiku owasemu to i i - e kometaru o or o n o t o sunawachi ni alcin u koshi domo mo o tat t k tada aki , hit wa n akushit e aki nu o i daki t e Ka u a e t o ni i den u e -todomuma i , una , g y Him , j - m - ere a hi o i t e k ori . T ake t ori o or o adoite nalZi fu seru o or o k ba, tada s s g na i k k t k ni ori te Ka u a e i u o o ni mo o oro ni mo r e r ni y g y Him , K k , k k a ad , kaku maka u noboramu W 0 ni -ok r tama e t o i e domo i ni kanashiki ni mi da , mi u i y y nan shi o r tat e matsur amu w re wo ikani e o o e sut ete wa o or o zo u - e ku i , a s y t t , , n h i tam g shit i te owasene t o naki te fus ereba on o oro mad o in u fu i W 0 k ok e makaramu , k k , m ka i it , koi shi kar amu ori - ori or -dasbite - a J te i - naki te ku o o wa t i mi tamay , uch ka k t ba , o o un ni umarenur u t o r n a ekase - tat e matsur anu o o e hab erubeki k n k i na aba , g h d mad W 0 haberade su iwakar e nur u o o ka e su a e su ho ku o o o o e - ere nu i g k t , y g y i na k s b y hab , g oku i n W 0 i t o - a e t su ki no i det ar amu o wa - o o e - t ama e k u katam mi tam y , y mi k s y mi e - e t sur i te ar or or mo ochinubeki kokochi su t o -o sut tat ma mak u s a y i kaki lm . A mabito no ni motosetaru o ari no ha- or omo r er aru naka hak ; ama g i i , mata wa i no r r er E or no amabi to i u o r on s r e m fush kusu i i i . it i Tsub na u ku u i tat a t sur e ki tanaki o or o n o o o kik oshime shi tar eba on k okochi ashi kar amu o o , t k m n m n z o o e o e ori tar eba is asaka e - tamait e sukoshi o e nu i t t , m t y , nam , katami t t , g oku i ni t sutsumamu t o ure aru amabi t o tsu tsumasezu on zo W 0 k nu s ba, or -i dashi t e ki semu t o su t i . o o o i ni a me i i e t o l te i ld set suru i o wako S n t k Kag ya Hi , sh bash mat i k nu h t ” ” or o o o ni r r t o i n o o o o o i i okubeki o o ari r t o e fu k k t na u na i , M n hit g t k t na i iit , mi ” “ kaki A mabit o ososhi t o kok oro m oto nagari - tamo Kagu yaHime mon o shir anu o o notamai z o t o e i mi iku shidzuka ui o ake ni mi m tat emat sur i t amo k t na t , j y fu i , awatenu r no o W 0 t amai t e t odomesase - t ama edo r sama na i . Kaku amata hit , y yu u sanu muka e -m6dekit e or - i de makari nu rebakuchi oshiku kanashiki o o mi azuka , y t i k t y e tsukomat sur azu n ari nur u mo wazur awashiki e haber eba o or o ez y , kaku mi nit , k k y u ob oshimeshi tsur ame domo o or o tsu oku uk et amawar azu r ni o o name e , k k y na i shi k t g r o o ni ob oshi me shi t odomer are nur u o or o ni o r haber in u o e na u m n namu k k t ma i t t . Ima wo t ote no h agor omo i r ori zo i i W 0 w re ! t o o o ” ama k u k m a a m i i dekeru . o e o no ur i so ete t ono chi u shoW 0 obi osete t atematsurasu s ani T t tsub kus y y y , chin h amabito or e tsut au a t ori tsur eba o no ha oromo hi -ki sereri t it , chinsh fut ama g uc t sur eba O ld n aW 0 i to oshikan ashi t o oboshi tsur u o o mo e . , k t ns nu o o i n ki tsuru i o wa o o o o u ri ni er e ur ni or e K n k u h t , m n m i nak na k ba, k uma n it a i t o u s e o o o O ki na hi yaku nin bakar i am b g hi t nobori nu . S n n chi ouna chi no mado e d ka- A k - d wo na ashi t e o i . no olds hi f W 0 omi te nami a g y nashi ka i umi y , kikase kered o i e ni ka i nochi mo oshi k ar amu e ni ka n ani oto Nan s mu , taga tam , g mo i o e us r mo k uwazu a at e oki mo a arazu -i er mo o . y nash t t , k u i , y g g yami ns i e hi t obi to hiki us hi t e er -mawar it e a e W 0 e - tatakai Chiush g kay i , Kag ya Him y koma m us r no o ui on so t omeza n ari nuru W 0 go a t o sosu . K u i tsub fumi yete Hir o e te or an ite i taku awar e ar ase tamai t e o o mo kikoshim s mair asu . e e zu g g j g , m n , B n - i - i mesh mi asobi nado mo n akarikeri . aiji Kam dach be W 0 ite i zur e no yama ka ni chi kaki to t owas e - o ui ar u i o o S u ru a no ni ni ar u ama tam , h t s su g ku 1 ” o o i o hi k k mo hi habe ru o : ore W 0 yama, namu , k n m yak c a u, ama c kaku s su k - kikase t amai te . Au koto mo n amida ni ukabu waga mi ni wa; shin anu kusur i wa nani ni kawa semu Kano t atematsur ar eru shi nanu no kus ur i no tsub o ni on fumi gushite mi zukaye w ni tamawasu ch okushi ui wa. e no I akasa t o i n o W 0 meshi te S uru a , T nki hit , g - no i tadaki u i o e - uku s no kuni ni a naru ama m t y beki yoshi o e tamo. M n e e e o oshi e sasetamo on u i no r no o i nit sub y y , fumi f sh kusu i tsub mo ubeki o os m mawaite narabete W 0 tsuke te as eta o . o o o uketa , hi y y shi S n y shi , mononofu mo ushit e e nobori ke ru or o o W 0 amata g yama y y i , namu , s n yama Fuji no t o wanazukeru o o a r o no e a i -noboru to zo yama . S n k bu i imada kum naka y t ch ts etaru ii utay .

1 A o ar u nar u ama ls y . SKETCH OF JAPANESE GRAMMAR .

Si n ce the p u bli cati on i n the Jou rn al of th e Asi ati c S ociety of th e o oi n i on accom ani d b th e oman i d f reg g vers , p e y r se

ha ca u on o th e a an d n o w u oi n text , I ve ref lly g e ver l tter s bj

om u h cor c i on an d o e a i on o o d b a s e f rt er re t s bs rv t s, f ll we y

i ch of t he amma of t he an an a i of br ef sket gr r text, lys s a of i t an d n o on t he mai n d o h i h a u p rt , tes re er, t get er w t f ll voca u ar T he mo i ou di cu of th e mod n on u b l y . st ser s ffi lty er t g e lies i n th e acqu i si ti on of the extr aordi n arily c ompli cated c i i hi n n d u a u a n ch i t i s i a of i t s d o oc . s r pt w wr tte , ble v b l ry N i h of h o ac t he u d of t he o d an d e t er t ese bst les beset st y l er , ‘ ’ on t o a i ht n ha of th e a M ono azar z hi ly sl g exte t t t l ter g , w le hi di i i on o f a an i a u i s on t he h o th e t s v s J p ese l ter t re , w le,

e i T h b st prose liter atu re th e Japanese m n d has prod u ced . e ’ a i s as h a ho n t h e o o of the Hewer s T le , I ve s w , pr t type mono atar i an d i h t he ai d n o w o f d i t s ma g , w t s f ere text y be easily an d completely mastered by any on e possessed of some

i u and a i ha n o t c on i d r m a ou r ai n le s re p t en ce . I s ll s e y l b s v i f I shou ld thu s attai n so me su cc ess i n my en deavou r t o ren der thi s attracti ve b r anch of t he lite r at u re of O ld Japan mo re accessible than heretofore t o t he We stern stu den t . O n a c lo ser review of t he text i t appears m or e cor r u pt han h d m D ai shu i ason u u a t I a at fi r st i agi ned . g ves re s s lly for hi s m n d a i on o n i n n i ou o n an d h m n e e t s , fte very ge s es, t ese e e d a i on ha n a d B u t h ar e far rom i i n t s I ve ge er lly a opted . t ey f g v g

a w a i r a or i D ai sh u u s c n o o co . N s perfe t text, pr b bly rre ve ble a a c on i n h e i t he u u r for i n an c om lw ys s ste t ; wr tes f t e , st e , s e i m i h mu o m i m i h n an d he a i t he t es w t , s et es w t , ppl es h n ori fi mi n n hi n Ila a a o cs a d o after an u n certai n fas o . l ppe rs t o be the mo re corr ec t fo rm ; c ompar e th e fo rms i n me and mer u hi ch m t o m ha i c o m o f m u an d mi , w see be e p t f r s ; o u ght t o be employed on ly as an hon or ific of what may a ai n t o th e i ad i ni ppert M k o or hi s d g ty . I n t he an i a i on hi ch was an a h o u h and had tr sl ter t , w ftert g t, t o a d W i hi n n a o imi of im ar i ou o be prep re t rr w l ts t e, v s err rs

mai n n on o f hi ch h o ar e of an r a i m o re , e w , wever, y g e t p rt f n h ar e i n a . O ne o a ce . T ey c or r ected i n th e follow g p ges t he common i s t he di oci a i on of au i i ar i u ch as est ss t x l es , s ‘ i Ia i m zama uber i . i D an s o e t c om h i i n c a . , , , fr t e r pr p l verbs s e E R 6 0 SKETCH OF JAPANES GRAMMA .

r i n d f r an an for o an d f r an u d i m o o o . o t es p te , , It w l be h a a t o i n an a a . A c omm h ou d o o better, per ps, lw ys pr t s l f ll w

u n i an d m oda a u o co on or mi co on every s spe s ve l , f ll st p , l , se l n c u i or ad c i o r m mu mm i s every c o l s ve verb je t ve f . N a ( ) sometimes pri n ted separately when i t i s merely a fu tu re

m n E n o h ou d au xili ary ele e t . betwee v wels s l be replaced by

n i n c i h o d . 31, ex ept C ese w r s

od n a an c on i i n a i of t wo diff r n M er J p ese s sts, re l ty , very e e t

an u a e u a an an d a on i ci se d hi n o r i ni co l g g s, p re J p ese j p C ese s 1 an For a u l acc ou n of h an d f the a . t e a o J p ese f l t l tter, vari ou s d egrees of t h e admi xtu r e of b oth that ar e fou n d

i n th e man ha cha ac r i a an i a u y styles t t r te se J p ese l ter t re, ’ ’

on admi a a i and . ham ai n m o Mr . Ast s r ble tre t se, Mr C berl s re recen t w or ks on t h e cu r ren t wri tten lan gu age shou ld be

T he i amma i ca ch ha o o d a c on su lted . br ef gr t l sket t t f ll ws e ls 2 i u a an of t h e a on w th th e p re J p ese text l e .

- ECT I I . O R H O G RAP H Y A N D RO N U N C I A IO N S ON T P T .

T he orthography adopted i n th e tran sli terati on of t he text

i s ha of t he oma i - Kai a i am i d t o odu c t t R j , l ttle pl fie repr e

r hai c o m O n hi m on u n ci a i on com a a c f r s . t s syste pr t be es

im ma i s u ou nd d the c on very s ple tter ; every letter f lly s e , onan as i n n i h the o w as i n a i an a i cu a s ts E gl s , v els It l , p rt l r c are bei n g gi ven t o qu an ti ty especi ally i n t he c ase of th e on a hi ch h ow i n a chai c a an was a mo t l g , w , ever, r J p ese l s

a n or n T he o u i s u i a n t o t h e a i an i t i n alw ys a o . v wel eq v le t It l

br utto su llo or th e n i h u i n u t T he a hi n la. i s l , , E gl s p . bre t g we l

d d i n hi i t r ha m d h a i c T he con ou n t e ’ s e , pe ps rese ble Ar b C ma a n u n d d T he oni c acc n on an a o o c ha . s t 9 y be lw ys pr e r t e t,

hi ch i s n ot mar d i s nu i ma u n t he n a w well ke , pe lt te, less fi l i n h n i t i n h i a a u honi c a s o s a . s o syll ble l g, w e fi l T ere ls e p

acc n i ha of i h a d t o hi ch r u can n ot e t l ke t t Hebrew , w t reg r w les

i a r s n di a h a d do n . a e O n t a d ch ar e . be l w All syll bles pe , gr p s

1 e er er wo be o o or a oni co - e e o An xact t m uld nipp nic j p Chin s . But b th o are ill- o T he e e o r i n e e of e e t e xpre ssi ns s unding . Japan s sch la stands n d quival n s for wor o e o o e e er ni onolo ue nor such ds as sinic , sinicis , and sin l gu . N ith pp g olo r or japan gue a e satisfact y . 2 T he fe w Chine se e xpre ssions that occur in the te xt are distinguishe d in the o r v cabula y .

SKETCH OF JAPANESE GRAMM AR .

O cc asi on ally th e wor d i s repeated t o form t he plu r al thu s ‘ ’ ‘ ’ ‘ ’ m i u a me n . li i i o m a hi t bi to m n i e . o a c a n o e . , , s e p rt l r

O h u b u t common i n O ld a an ar e kata t er s ffixes , less J p ese, ’ ‘ i n nado li t id or u a an d bam m . u n c a ( . s e q rter ) (ety ert ) ; ‘ ’ ‘ nani to con of nani to i n z what sa m an an d the ( tr . y ) e s ’

i th e c a. l ke, rest , et eter 46 am : S ekai no onoko ate nar u mo i asli ilci mo . Ex ples , y (p ) d f th im m en of an M e n o f t he o i . s . o e o h w rl ( t e) , b t r k ’ ‘ m m e n i—d m t i 9 — o i n o o i a e r . 4 an d ean . R (p ) trees were gr w g

h i r o- i r o no tama 9 di f n i n d i n d - i n d t ere ; (p . 4 ) ( f ere t) k s (k k )

o f takumi —m wo i mi amai i sni sn 49 hi s o d hi j ewels (p . ) l r s p ‘ — i 4 6 shu t u p c raftsmen and azar i fianar enu kimi tacli (p . ) the gen tlemen n o t qu i tti n g t he n ei ghbou rhood u ta wo

' ’ n i ai Ogi u o nar as/zi naao sum ni i n maki n g th e si n gi n g ’ mu ic o f son gs th e c lappi n g of fan s an d s u ch like s .

N u m a : hito 2 u ta 3 mi 4 o 5 i tsn 6 mu 7 nana er ls l , f , , y , , , ,

8 a 9 kokono 1 0 to 1 1 to amar i li i fo 2 0 lzafac/i i y , , , ,

3 0 miso i 1 00 momocli i 500 i/zoclzi 1 000 ch i or ozu . j , , , i/ , y

T o th e n u m a om 1 t o 9 tan i s n r a add d hitotsn er ls fr ge e lly e , ,

ntatsu . hi ten accor di n t o on i s an old n i c f T s , g Mr . Ast , ge er u fi i n th e mai ni n o m a to n d b chi s f x , re g f r s (s ve ) represe te y ,

‘ - Hai a chi = n- to i z t o tau i . c mi so mi o r j ( ) f ( tw e ( ) , ‘ ’ me mo i im t - t s o to or mo e mo i li o i s i i sn o. s ply r re, ( ) Of

072i an d or e t he mo o i s u n n o n O t he so -ca d g ety l gy k w . f lle

au i i a n u m r a on on e i s ou n d i n the take lzito ' x l ry e ls ly f text , ’ S Z Z ar iker i h was on e an i U t ere stem ( / ) of bamboo . l d c i are ca a of f u d - i n fi x i on A je t ves p ble a sort o pse o e .

h ar e h o m c on i i n of th e m i h t he T ere t ree f r s, s st g ste , w t

a 1 m ki an d ski su tfix i hu e d t o t c i . syll bles , , respe t vely T s ‘ ’ ha aka- kn aka-lei aka- ski r d m i n [ca i e . T he o s we ve , , f r 2 ad r i a an i n t o the u n i o m of h o ve b l , swer g s spe s ve f r verbs, t se i n ki and ski an swer respecti vely t o th e attrib u ti ve and

con c u i o m of t he r NV i th ar i a u i n a d t he l s ve f r s ve b . ggl t te adj ecti ves ar e verbalised and c apable of a co mplete q u asi n u c o j gati on .

1 T he e r e o o be e t o ro e e of er t m infl cti n sh uld , I think , limit d p c ss s int nal e o o f s i ni ficant charactcr not to ro e e of g chang (mainly v calic) a g , p c ss s an a glutina

e re i or i e so o t he e e e are e r r e o z e . tiv natu d stinct d sguis d , l ng as l m nts cl a ly c gni abl 2 o S e e p st . E SK TCH OF JAPANESE GRAMMAR . 63

am : e makn kokor o osonakn tats u wo t ar asawa to Ex ples j , , ’ i h i o f u d e i ni n t o i h e d r a oo o t on . f l s ly , s lly p rp se, s g g k ll g

hai n of ad c i h o d o n ot o n occu i n the C s j e t ves, wever, fte r text ; an other i n stan c e i s yama no sama ta/ra/ m u r azcasli i ‘ ’ th f he mou n ai n was i i e a a an c o t o au u i . e ppe r e t l ft ly be t f l , .

w s/i i i n i h o and au i u . Ur u a s co ac on for u on l fty be t f l tr t , e p y ,

of T he or m i n s11 i i s n ot c ommon i n the f text . A n example of [vi an d ski i s yama we mi r u n i nobor n be/ri — sama nas/zi on looki n g at t he mou n tai n (we saw that) cli mbable appear an ce the r e - was- n o t A few adjec ti v al loc ati o n s i n t he text ar e composed of a ‘ ’ n ou n or oo com i n d i h t he e r na'r a ate nar u r t b e w t v b , be ; ‘ ’ - li it n n i e . m n f r di n a be me . e o n d i o a o i on . ( ) r k , b ee g p s t

d an d con u nc i on c an ha d aid t o i A verbs j t s r ly be s ex st, h mor ho o i ca i n a an . T e i on i n t he p l g lly, J p ese express s text whi ch di sch ar ge their fu ncti o n s will be fou n d i n t he vocab u ar and t he mod o f or ma i o n o f om o f h i l y , e f t s e t ese w ll be

n id d i h e i n d a in i h the a i co s ere n t e s ct o e l g w t p rt cles .

ECTI TI L — RAM M AR o r H R S ON G T E VE B .

h n u i n i - T he Japan ese verb s ows o tr e flec t on . T he so called

con u a i on ar e n o hi n m o han m of ocu i on j g t s t g re t syste s l t s,

mo or a u i n a d ha i n moda an d m o a re less ggl t te , v g l te p r l

h o r u lia u n c i on . o a c b u t imi d f t s It p ssesses , weve , pe r l te

mor ho o hi ch i s n i h moda n or m o a i n a u p l gy , w e t er l te p r l v l e ,

b u t so con n c t he a o f a n nc h n a e ts sever l verbs se te e , w e sever l

ar e n as t o u n d the a i ni can c of the n n c prese t, s spe re l s g fi e se te e h i i h hi u n i th e last o f t he c a n of s ac d . a r t l verbs re e T s l st ve b,

hi ch i s a a t he i n ci a of t he c au or n nc w lw ys pr p l verb l se se te e,

i n ar i a an d at th e e nd of t he c au o r n n v bly st s l se se te ce .

I n th e or m ca i t i s h n n ot i n a moda i n ha i s f er se , w e l, w t termed th e i n defini te form ; i n th e latter i n what i s kn own

u i m S u n i i s a d i na i as th e con cl s ve for . spe s ve better es g t on ‘ ’ h an i n d ni for th e o m h o on ha the m ani n t efi te, f r s ws ly t t e g

th n n c i s u n d d u n i the fin a i s ach d of e se te e s spe e t l l verb re e . ‘ ’ h e i s a hi d or a i u i o m— m o i c a i T er t r ttr b t ve f r re str tly , p rt

— n h r d n d u a i a n u c ipi al whe t e ve b prece es a q l fies o n . o ho o i ca t he u n i i s a m - o m a a M rp l g lly s spe s ve ste f r , lw ys SKETCH OF JAPANESE GRAMMAR .

n i i r h f l n no dou ndi n o e . T e oo o a l o i i a e g r ts verbs r g lly , bt , n d d i n a an d hi i s i th e omi n n o i n mo e e , t s st ll pr e t v wel st

an d h t h e mo an ci n t— i n h m th e m - o m verbs, t ese st e t e ste f r

d i n en s i . Verbs may th erefore be classi fied i nto : a verbs h avi n g thei r stem - form i n i b u t ch an gi n g i i n to a i n th e n egative ’ n u u o m ham ai n l st con u a i on a d f t re f r s (Mr . C berl s j g t ) ; ’ e hi h h 2 n d c e ou h ou C . s verbs w preserve t r g t (Mr . ’ an d i i n i h ou h u rd an d 4th o . O s 3 verbs preserv g t r g t (Mr . T he a verbs f urther differ from th e e an d i verbs i n that the pri mary con clu si ve an d attribu ti ve forms ar e i den ti cal ; i n the e an d i verbs the attrib u ti ve e n d i n am an d i r a c i and th e c on c u i i n u b ut i n o u respe t vely, l s ve , f r 1 m on o a i c i i n o an d c on i u i n . syll b verbs (g ve bel w , st t t g Mr ’ h o h s 4th c on . t n u i an d i i m O . j ) e co cl s ve attr bu t ve for s b t

mi i r u ter nate n i . Of these three classes t he followi n g paradi gm sh ows th e 2 qu asi - i nfie cti on al primary forms respec ti vely :

o u e . t r e . Suspensive . C ncl siv At ibutiv a verbs aaki b u rn yaka b u rn yaka bu rn

e ve r bs home (p r ai se ) Ii oma bomur u (home prai se

i ve r b s su i a su u sn ur g (p ss) g g u . (sngi pass ’ ham ai n Mr . C berl s

4th c onju g . i

1 h o e wor i n e e and e r the e r ar e s T e m st anci nt ds Japan s n a ly all v bs di syllabic , e re oo re o t o r e r e e not e o o inde e d bil i t er al . Th is g d as n ga d Japan s as b ing a m n e o or l e e to e e e e r syllabic languag , th ugh , iginal y, it s ms hav b n n a ly as analytic as Chine se . 2 h e ol ow r i th e er are e rom M r Of this and t f l ing pa ad gms mat ials tak n f . ’ Chamb e r lain s G r ammar . 3 are ree e r i havm e e re e i t wo e r m Th e r e th v bs , g ach a diff nt m an ng ; v bs ’ e r ki . S e e M r . th r e e ve rbs Ii i one ve rb mi and one v b Chambe rlain s G r am mar . 66 . , p R R SKETCH OF JAPANESE G AMMA . 65

T o the a o ma add d th e m ha i c a o m i n b ve y be e e p t (p st) f r , e ahe homane su u r e mi r e u d i h th e a i c koso , y , , g , se w t p rt le ;

ahe i s a u y lso sed as an i mperati ve .

I n the n a adi m i ou nd th e a u i na d ext p r g w ll be f ggl t te , non -au i ia u a i -con u a i on a o m x l ry, q s j g t l f r s

a verb 6 ve rb i verbs ‘ ’ aha r home su i mi (y bu n ( ( g pass , 1 u u . /ra a /ca i mima F t re g/a m (ya n) home ma say ma . shall b u rn (homen) (sugi n) (mi n) 2 a a i ci ahi i e ha i n u i te P st P rt ple . y v g home i e s g b u r n t

3 ‘ on di i ona ahe ha as i n mu r ha s n ar e ha mi r eba. . c ho e C t l y , s e , g h n u n w e , b r h 4 ‘ miba H o h i . a a ca ha i f h ou d home ba sn i ba . yp t et l y , s l , g ’ bu rn There i s also a n egati ve form whi ch will be con si dered

a a a h m ar n u n i on . od a o m e sep r tely l ter T ese l f r s ever s spe s ve, con c u i o r a i u i l s ve, ttr b t ve . ‘ ’ a of the hr i n ci a i u a ar a L stly , t ee pr p l rreg l r verbs be, ’ ’ he com shi se do the a adi m ar e e, ( ) , p r g s

Su n i a hi spe s ve r i (be) s . n i ? o c u ar u n i n su . C l s ve . i [ n ot ar ] (be) h m (k )

i i r u u amt hu m sa . Attr b t ve . (be)

m ha i ar E p t c . e (be)

f mn h zi h emu s u u ar a a hom n s e n . F t re . (s ll be ( o ) ( )

a i i r t t a i e ha i n n ki shite . P st Part c ple . ( v g bee ) e

on di i on a ar e ba i n a & . c s c . C t l (s e , , be)

H h i ar i u d k b se b . o ca . aba f h o o a a yp t et l ( , s l , be) T h e au xili ary forms resu lt from th e aggl u ti nati on of the T he differen t forms of certai n verbs an d adjecti ves . verbs ‘ ’ ‘ ’ ‘ ’ ‘ ’ — chi e fi ar i hi c om shi s ar u sa d o ni an y be, e , ( , ) , be, ‘ ’ ‘ o a a an d e we u r n e t — ar e a u i na d t o t he g w y , y ( ) g ggl t te — s u spen si ve form of the pri n ci pal verb ; th e adjecti ves chi efly ’ ‘ ’ hel m a an d taha i h u ar e add d— th e o m t o t he ble, w s f l , e f r er con c u i th e a t o th e u n i o r m of th e i n ci a l s ve , l tter s spe s ve f pr p l

1 ’ ma = r mi s m me r i e e o e . e ee . o . or e p haps C mp f ms in , , xplain d in N t s 2 ’ be x l r — te = t r er e er in mi on This may au i ia y a form of e a p e s v d p haps pass . 3 = ake ba ah wa. r a e S e e e w . y y Pa ticl s , 4 a a a— aha y k b y wa. 6 6 SKETCH OF JAPANESE GRAMM AR .

h a i ou au i i a i ma i d on on the t o verb . T ese v r s x l r es y be p le e p

f t h h I n all ca t h e o chan ar e u i o e ot er . ses v wel ges q te

i m an d h ou h t he a u i na i on ar e o n c u m ou s ple, t g ggl t t s fte br s

n ou h th e m n ar e a a a i co ni a I n fac e g , ele e ts lw ys e s ly re g s ble . t t h e an alysi s of th e verbal forms an d locu ti on s throu gh ou t presen ts n o diffic u lty t o the st uden t who i s famili ar wi th i m n the r ele e ts . T he mo st i mportan t of these au xili ary agglu ti nati on s ar e

hi a r i h r h i h th ose w ch gi ve p eter te sense . T ey a e s ow n n t e ol o i n a adi m— C i ni f i n th e con c u i t h e f l w g p r g s g y g l s ve, A a i u i m ttr b t ve for .

a er v bs . C yaher i (yaki - ar i)

‘ A yaher u (yaki - ar u ) C yahihi (yaki - ki) A yahi shi (yaki - shi ) ‘ ’ ahitar i aki te - ar i u n C y (y ) b r t, ’ aki tar u aki te - ar u did u n A y (y ) b r , yahi i ar ihi (yaki t e - ar i - ki ) have bu rn t

' - - had u n e t c . A yahi tar ishi (yaki t e ari shi ) b r t, C yahi na (yaki - mi or i ni ) A yahi n nr u (yaki - n u r u or i n u rn) C yahiher i (yaki - ki - ar i) A yahiher u (yaki - ki - ar u )

aci n ohi an d ahe b home ha a a adi m o f Repl g y y y , we ve p r g e b su i or mi of i verbs ; y g , verbs .

W i h om of h o m t h e moda a u i n a i on e ba t s e t ese f r s l ggl t t s ( ) , i n th e a ba t . n T u e c ca c om ou n d d . ho ha occ ( ) , , be p e se t t r text

i ai n d h n n d u i n the an a i an d n o ha w ll be expl e , w e ee f l , lys s tes t t fo o or i n t he vo a u a hi i na i on i s ci a c . a u ll w , b l ry T s ggl t t espe lly common h n th e na au i i a i s ar i h u ha w e fi l x l ry . T s we ve ’ 1 ahi i ar e ba a/ri tar aba ahztar edomo an d a ho u a i y , y , g/ , w le q s

u - - T he conj gati on of behar i ( hel m am) and i ahar i (tahu ar i) . yahu hehu yahabeshi o m u n i conc u i f r s (s spe s ve) , ( l s ve) W hitaha yahi tashi

i (attrib u tive) ar e really c ompou n d adject ves .

1 e T he e xplanation of this form will be found in the section on the par ticl s . S KE T CH or JAPANESE GRAMMAR . 6 7

T he n egati ve form of the Japan ese verb i s con stru cted by 1 i hu aha u or . nu s ffix i n nu t o t he oo i n a e . T g r t , , s ; y , 2 2 2 hom n u a i a m h m da or m chan nu i n o e s n i nu . T e o , g , l f s ge t ’ ne ba nec omo naha i s not ou nd b u t ne te a a i ci , ; f , (p st p rt ple) ,

i i h u ahaneha o n a ha ni i e co m de . r g lly per ps , be es T s y , ” aha m h f s u i mi T o n u eu shi nedo o a ade S o i h home . y , y w t , g , , ( , ’ s um i s add d t o o m an o h n a i a n su con ac d ) e f r t er eg t ve b se , tr te i n o zu n d t hi a u i n d hu ha u h a o r i ma o . c t , t s y be s bj e T s we ve s 4 o m as ahazu conc u i ahazar u a r i u i aha f r s y ( l s ve) , y ( tt b t ve) , y zar i shi ahaz z r h r i ar amu n aha a e ha e t c . s a o a , y ( ) , y , T e e ls u u o m i n l aka i an d t he h o h i ca i n ad o f f t re f r j , y j , yp t et l ste en di n g i n - naha or - zar aha i s con str u c ted with th e c on cl u sive

' — i n z u an d th e parti cle u a thu s yahas u - n a eu phon ised i n t o yaha I n the text th e ar chai c model no yohi so i s u su ally followed for the n a i i i eg t ve mperat ve . In stead of behar as u the adjecti ve maj i/ru may be su fii x e d t o the conclu si ve form

i n defi n i te c on cl u si ve attribu ti ve part con cl u si ve part att r ib u tive condi ti on al hypotheti cal c on cessi ve

A r i u r u a i u i o f 8 e t a u i na d i h (be) + ( ttr b t ve ya , g ) ggl t te w t ave r b - m con u c a u a i - a i con u a d as an e r ste str t q s p ss ve j g te ve b .

hu akar ar a aha- ar i - ur u homer ar ur u home - ar i - u r u T s g (y ) , ( ) ,

r mi mar a h i n o a d r f t h s u i r ar u u r a . T e o e a h g , terp l te l st t ree o m i s i h u hon i c or t he mn an of an addi i ona ar i f r s e t er e p re t t l .

1 n w er T he e tym ology of u i s unkn o n . P haps it is simply to go away e e th e no - in th e sense of c e asing . In Japan s e id a of t be ing is le ss involve d h o i n the n egative than t e n tion of ce asing t o be . 2 i n or m w th n u Ide ntical f ith e past in . 3 r e r akunu - te or alcazu - te O p haps y g/ . 4 or o e e e t o the r le : akuzu = o ko de This f m is als us d as quival nt past pa ticip y y . ’ 5 m r N ot f r S ee M r er r . o e e o are o th . Chamb lain s G a ma all th s f ms f und in e e t xt . SKETCH OF JAPANESE GRAMMAR .

’ O u r u a on m a add d— hu mi ur u e t - m r l e y be e t s y g see, see , where th e g/ i s an i no rgani c addi ti on— gi vi n g a sen se vary ‘ ’ i n r i n i i v t a i m f sh su su u d o om n a o . o o i r g f tr s t e p ss ve F r s ( , ) ar e a u i n a d t o c on u c c au a i u ch as shimur u ggl t te str t s t ve verbs, s ,

eshi u u sasu r Th s mu r u su su r cau t o s m r u . u aha hi t kur a u , s y , ( se

u n ma e t c . b r , ke) , Very cu ri ou s compou n ds resu lt from th ese vari ou s agglu ti n a i on u ch as the mo mod n ar as er ar u r u ar i shi t s, s re er + ‘ ’ s d a i ar i e - e u u li t i n f e o r r . e t the o ( + + + (y , , g be g ’ 1 t he e i n cau d t o u ed as an h on ori fic for ar i T h e b g se be, s . follo wi n g i s a pe r fec tly legi ti mate w o rd hayahar ashimu heha ‘ r as ar edomo alth ou gh sh ou ld (cou ld) n ot cau se t o be early

h m ar ar awa azc se u h or o e r u ar a r e t c . ( Ot er f r s , , T ese

u a i - a i ha om i m a o n i a o c bu t hi i s q s p ss ves ve s et es p te t l f r e, t s m ore common ly th e case i n t he later than i n the archai c an u a l g ge . ‘ u i d r t o o m ar e T he verb ni be req res a w or o w . Its f r s ‘ the a a i ci n i i e th e u u namu nan an d th e p st p rt ple , f t re ( ) ,

: i o n an m n a u i n a d ni ar i n ar i n ar u . N i s ggl t te + , fte ele e t ‘ — - - of a a o m ni e u i her i h e e tc . p st f r g , , ’ ‘ ’ 2 N ar i u has o d t wo m ani n an d r an a a . w y ( ) ev lve e gs , be ‘ ’ m h n i t has the a i t i s e ce d d b t he co . W be e e l tter, pr e y ’ i i ‘ i o n m a i c ni or to. N ar con c u s p rt les ( l s ve) be, fte erely

c o a n n c an a i cu a u o as i t . N ar u l ses se te e , rt l te f ll st p were a fi d to o d - m o m com ou n d ad e cti val i on f xe w r ste s f r s p j express s, ‘ ’ — r h F or th e n a i of ni the ad c i ahir aha nar u b i g t . eg t ve je t ve naku nahi nashi i s u d i h a u i n a i on of mi t o the , , se w t ggl t t first mu n t o m nakar i nahare ba nahar a e c . f r , , ( ) ,

— ECTI GRAM M AR O F H AR IC S . S ON I V . T E P T LE

T he a i c i n a an ar e of a i m o anc an d p rt les J p ese gre t p rt e, perfect the expressi on of th ou ght i n a m an n er and t o a d u n n o n i n hi n an d om h a mi ndi n on e egree k w C ese, s ew t re g of the completen ess of G reek . Th ar e o d u d occa i ona or h o as a ic or ey w r s se s lly w lly p rt les , i n remn an ts of words u sed as part cles o ly .

1 ’ M r . er r r . 83 . Chamb lain s G amma , p 2 ‘ ’ ‘ ’ or bo of O r be in .

E F R 70 SK TCH O JAPANESE GRAMMA .

‘ n a or a i cu a the oa th d t o or b e tc . e (ge er lly) , (p rt l rly) r y , , ‘ ’ ’ n ain tama no eda an h - h mou c i e . an c t y j ewel s br , . jewel br ’ ’ hime no i n o th e ad a - wa i e ha th ad . . e y , L y s spe k y , w t L y ’ ai d was i chi no tahumi nu m on c a man s , ( ber) e s r fts ‘ e t h e of c a m n tatsu no hubi ma d on i . . no ta a 8 first r fts e ; , r g ’ ’ ’ i he i n t h d h ad . e . t e a on h ad . T he e s j ewel, j ewel r g s e d i a u se of no i m n m i m hai f a ject v l s very c o mo . So et es a c n O su bstan ti ves i s li n ked by no t o a sequ en t o n e ; u mi yama no i 4 = umi n o mi chi am n mi hi mi ch . 8 a o c (p ) y .

N o ma conn c o h o d han n o u n ma i n d d y e t t er w r s t s . It y ee — be li nked wi th th e prec edi n g or followi n g phrase wo- no ’ ’ naha- ni - nahi -hana no hi world s - wi thi n - n ot —e x i st ~fl owe r s tr ees beari n g flowers t he like of whi ch t he world has n ot ; hone hi tobi to no toshi - tsu ki - hete - hO - nomi -imashi tsu tsu ’ h m n ar - mon h - a d - hu - n ot - i (p . t ese e s ye t tr verse t s elsew se ’ ha mai n d h t h e no i s a s n d e smos e n hi to- hi to ve re e , w ere y b twee

n h i mashitsu tsu u a i d b t he i n r ni n d a d t e verb q l fie y te ve g wor s . ‘ Ga i s a i n t he — one a nasanu he nar e ba as sh e r re text g , ( ) ‘ n hi d on o mi u ‘ t i n i s n ot my ow c l e g a (p . as o m e I n M ar e a m su o 54 a . a a t o wn self. g e y (p ) g ppe rs o be a mi scopyi n g for no ; i t d oes n ot seem t o be an i n stan c e of

t h e mo m od n u se of a on . re er y (Ast , p

T su i s foun d i n u ch i on as mi ts u an har a one - s u s express s ( ) , ‘ ’ ’ : mi n har ada n ha a a n t . o o e r d o d kana e c o i . e , , , eself s b y , . oneself. N i has da i oca i d n ami c or a i c i n u m n a t ve , l t ve ( y st t ) , str e t l ,

u ndi a a i ci i a an d ad i a u nc i on War e m ger l, p rt p l , verb l f t s musme we tabe t o u s or one of u s i the i hahi ni m , ( ) g ve g rl e ‘ to u i me am hi to the m e n who mai n d at a ou th e n c , re e ( b t) fe e an d at a ou the doo i e ni ha e r i te ha i n u n d t o ( b t) r y g , v g ret r e

h e h ou he r e we mi te e r u ni a ha i n a d d i t for t se , fter v g reg r e ‘ a hi O i we nar oshi nado sur u ni i n d oi n fan - c a i n w le ; g , g l pp gs ‘ an d u ch - i i tazur a u i sar a ni naka u i ehi ni ai n s l ke , , , , v ly , ’ hi a I n th u i n c ai n i n i n . e o d n n c ert ly , ly (w t ) , gre tly s bj e se te e — va i ou u of u i ar e e x e m lifie d Hi me su emu u i wa r ei r s ses p y , no e u i wa mi ni/cushi to notamai te a no u e u i wa y , , y g/ ,

me te i r oi r o u i uhase te u chi nchi n o shi ts ur ai u i n‘ i to we so , f , a i u behu mo ar azu oya or ime me ui g/e we Ira/cite magoto u i har itar i M R SKETCH OF JAPANESE GRAM A . 7 1

‘ ’ i h . as for t h e ad od i n as for th e o di na u n (p L y s l g g, r ry f r s i n he o i t was a o h ill t o se e ai d th e D ai n a on g t re f, lt get er s ( g )

n ow on th e t o of th e oo me n ha i n d d p r f, ( ) v g ye

i h oo d o t he oo i h all o o f co ou d s lk, t ey r fe ver r f w t s rts l re

i k n e as t o th e ar a i on of the i n i o of t he s l s ; xt, prep t ter r m an i on i t i s i m o i t o d c i i t on dama an d s , p ss ble es r be , sks s i me n imn d i c u an d i h u ch h hu n the lks ( ) l e p t res , w t s t ey g ’

m a o u i i . e ll h m i h i n oo ot . a t e oo ou c o r s sever lly (g ) , r s w t t ex ept .

T o i s ha an old or m of tsu com a toki old o m per ps f ( p re , f r of i su ki It i s best ren dered by th e conj u ncti ve ‘ — 1 that noehi hug/ashi/f i he te ar u beki we to ome u bakar i nar i

u hi n ha a a d h r o u d r (p . I j st t k t t fterw r s t e e w l be reg et ’ i a r e d of hi n i n a i n u n . c c f l ess It espe lly p e es verbs t k g , spe k g, ‘ ’ i shi su r u s u t o do i t i n di ca n d n i n e tc . h c see g, w t ( , ) , tes te e y ,

— ma e h hu i -ha/rar amu to sh u o e tc . i r mu to s i i/{ i p rp se , g ‘ mad for di a ar i n m d a ou t o di a a (p . e s ppe g (see e b t s ppe r) made for falli n g u pon an d d ev ou r i n g u s (we r e on t he poi n t

f i n e t I n l h a to has a u o a i o a c . a l c or f ll g, ) t ese ses q t t ve

u a i - u a i u n i i e r n c t o ha r c d q s q o t t ve f ct on n r fe e e w t p e e es . S ometimes i t gi ves an adver bi al fun cti on t o t he precedi n g ‘ o d - mer a- me r a to oke ni shi/coho Si n c c ac e - c ac w r y , e r kl r kle ’ i n l i a u e o n h g y t w s b rn t u p an d con s u med . V ry fte t e ’ val u e of to i s best reached by ren d eri n g i t first as th u s 2 ‘ ’ e i t i s diff n o h r e to chi au hi hu diff i . e . m g , t s , t s , er, ere t fr

i T 0 u i n un i on u h . ma a o a co a co c b t hi t s y ls be p l t ve j t , t s

u n c i i m f t on s n o t exe plified i n the text . ’ 111 0 n a o t oo o n a m r m ha i c— e hashihi he te , eve , ls , , fte e e e p t u i mo ar u han 0 ha a a an hi n t oo i t i a I . s (p w t ple s t t g, , , " ‘ t o r k r he r n ot be su re M o o oshi u i mo naha i u (p . even i n M or okoshi (Chi na) was i t t o be fou n d ; nagor i nahu me

‘ i hou th i mai n i n m no ( p . w t t e least vest ge (re g) o mo ‘ ’ i wazu a i n n hi ll i . n ot a d . 0 m i o n at a e . o T o , s y g t g , w r g ves often a hyp otheti cal con cessi ve mean i n g t o the precedi n g ‘ ’ nar i tome i f i t bu t n ot a a so n o mosu to verb , were , lw y s ; ‘ ’ me ha a ahi t m m an i m so i e e t c . t o t s g/ y , (p . see s e s ply , ’ aid h n h m i ommon a ni u n e t c . M e s c and s , t e let t e b r , fter

1 W e e re r h has an inte j e ctional functi on . 2 ’ M r o r r . . A st n s G amma 72 SKETCH O F JAPANESE GRAMMAR .

we i t i s n ot O n con oi n d i h wa a no W i h to i t ; fte j e w t , y , . t c om i n t o o m de mo th e o di n ar n on - h o h i ca c on b es f r , r y ( yp t et l)

m u e n ci a i n h ce ssi ve o . t e a an u a f r Freq tly , espe lly l ter l g ge, i — e r s uffixe d t o her e (hi ar ) h edomo.

Z0 i s u an m h a i c a i c om ha i th e p rely e p t p rt le, s ew t l ke ‘ ’ G reek yr e— he re we hii te zo togenahi mono we ha abe nashi to i e r u ha i n h a d hi at onc s o as t o u c hi n y , v g e r t s , e ( ) l kless t g i t (m e n ) d u bb e d ahe nashi y onozu no asobi we s o shiher u ‘ ’ h u an d di r i on i n fac h a i d t e n o c . (p . t s ve s s, t , t ey pr t se m h i i r m i n t h R ose i s mor a c e G r m. e e p t st ll , ese bl g reek fi T h e u ses of thi s p ar ti cle ar e i n di cated i n th e an alysi s an d

i n d o n i th e o c a mo of the n otes s u bj o e . It fte g ves f r e l st

c i m r a i G reek perfe t pe t ve . E u a ar e i n o a i a i c ac d n a at the , y terr g t ve p rt les, pl e ge er lly e n d of t he n n c . o o i n o d ci a on ou n se te e F ll w g w r s, esp e lly pr s , i n t h e ody of a n n c h i an i n d ni s n t o b se te e, t ey g ve efi te e se

E u wa a wa ar e u i a n t o th a i n num i m h m . e t e , y eq v le t L t , ‘ i n K e as a n ai t r i t r u a i n a n a a . o o a ka h ply g eg t ve swer g/ g , ve ’ n th e co Sh ? to hihu wa mah te ha th ey take wry ell e (p .

’ ‘ ’ what on e hears i s i t tr u e ? Ghinano mesamu hi to kiki - tamaiten

a il ou n ot ha i n d u t o ha t h e O ld man g/ , w l y ( ve) l ste (e ) j st w t ’ h e a ou h a n t hi s d ani u i ha wasemu a i . e . o o n s ys , pr ys y e rke w r ; ‘ ’ ma i n h ha an h ha f i i . e a o t ? . (p . s ll I ke yt g w tever w t i i t oo m e ! har e a wa a ama nar amu to omoi te w ll b t y g y ,

‘ thi n ki n g that perhaps mi ght be my mou n tai n nani no ye u i ha ‘ ’ ar amu for ha o o f u o i i t ? tsu i u i otoko , w t s rt p rp se w ll be ‘ u a n a t m hi n n ou d she for awasezar am y o o oi te (p . t ki g w l

di dai n a hu an d n o she ou d iha o nar u ever s sb ( , w l g/ ‘ hi t u i ha an am o u i h he he r e zashi ar amu o u t obos (p . w t whatever- sor t - O f- a- disposi ti on - h avi n g - man then thi n k y ou t o ’ I n t h e a am t h e ha i s a mo u u ou i t ma . te l st ex ple l st s perfl s ,

i th e i n of a n . E u a a o as di u nc i g ves t ge s eer , y ls serve sj t ves, i he b ut n ot n t text . K ano o r ana i s an i n c i on of u i admi a i on , g , terje t s rpr se , r t , or i at t he e n d of the n n c o n c d d b me gr ef, se te e, fte pre e e y , m n i n hai h T he c om o er arc c poetry t an i n archai c prose . remai ni n g parti cles wi ll be fou n d s uffici ently explai ned i n i n t he follow g pages . SKETCH OF JAPANESE GRAMMAR . 73

— Y N X . S E CTION V . S TA

B u t a bri ef sketch of the syn tax of archai c Japan ese can

h e i n he mai n a u r ar e t he e a i on of a be er g ve . T fe t es r leg t 1 c ommon ly s u bjectless verb to t he e n d of t he c lau se or

n nc t h e ac m n of a i c au b ad c i a se te e , repl e e t rel t ve l ses y je t v l

o n h i m and th e n d nc of t he n n c t o a u m p lysy t et s s, te e y se te e ss e a c om r u c u b th e i i n - u of c au ad e c i a plex st t re y p l g p l ses , j t v l , or con n c d b u a i - moda v - o m or b a i c e i n e te y q s l erb f r s, y p rt l s , a u n c O f u cc e i m odi ca i on hi ch a i com seq e e s ss ve fi t , w e s ly be es cu m ou an d u T he o o i n S i h c om br s obsc re . f ll w g l g tly plex se n ten ce fai rly i ll u strates t he gen eral str uc tu r e of the

an u a l g ge . ‘ ’ ‘ ’ ‘ ’ ‘ ’ War e asa mo n i n oto a u n i n I , r g, g sever lly , n eve g , ‘ ’ ‘ ’ oto n i S a mi r u se e tahe no noha n i g ever lly , , ‘ ’ ‘ ’ ‘ ’ i hi n or amon owasu r u i ni te ha i n n w t ( g) , ex st, v g bee , ‘ ’ ‘ ’ ‘ ’ shi r i nu ha n o n he chi d u i nar i tame behi be co mable ve k w , l , , ‘ ’ ‘ ’ i hi r u d h to r on nume r i m i . e . on o m pe s , see s , t s pe s w l see proper ly t o be c o n sider ed as a child (whom) I have k nown m hi d h i n n i n i n am n i . e . c a o h ( y l ) , v g bee (be g) ex ste t g t ese

am oo hi ch h o d n i n an d mor n i n b b s (w ) I be l every eve g every g .

name r i i s the r i n ci a hi to u a i d b all Here p p l verb , q l fie y that precedes i s th e predi cate an d n o s u bject i s expressed ; hone mono wa may be taken t o be u nderstood as begi n n i n g t h e n nc W h n d t he u c i s u u a i n di se te e . e expresse s bj e t s lly c at e d by the postpositi on wa and t he O bj e c t by th e p ost

o i i on n o the e n d of a n n c t he i s i n a i a p s t . At se te e verb v r bly i n th e c onc u i o m at the e n d of a c au i t ma l s ve f r , l se y be

i n th e u n i or i n a u a i - m oda o m c hai n of s spe s ve , q s l f r A

u n i o m o h i h t h e c on c u i ma s spe s ve f r s , t get er w t l s ve verb, y be regar ded as a compou n d verb den oti n g a grou p of associ ated

’ ac i on or a — hahar e ba hone hitobi to if e n i ha emte mono t s st tes g/ y , we omoi i nor i we shi gu wan we tate omoi - yamemu to sur e

domo amubehu me ar azu hi n i n h u a ho u h h y , t gs be g t s, lt g t ese (parti cu lar) me n after havi n g retu rn ed (hayer i te) t o thei r

1 Of c our se th ere is always a logical subj ect at le ast t o be e xtr acte d from the o c nte xt . 74 SKETCH OF JAPANESE GRAMMAR .

man i on mad for o i n ou h t o st e h i i i n s s e st pp g (s g t p) t e r gr ev( g) ,

h i u i c a i n h i e t i t i on i n h i i n - h i t e r s ppl t ( g) , t e r p ( g) , t e r keep ( g) t e r ’ - i n thou ghts u po n (th e Lady) there was n o p ossibili ty of stopp g .

i s as i f t h e o d o f u c u i n d i n n i h It , r er str t re be g reverse E gl s , ‘ t h e termi n ati on i ng were o mi tted from g ri e v su ppli cat ’ i n T he i i n t c and u d th r i . e o e . om e o p t t , s ppl e fr fi st st pp g wh ole phrase fro m mono t o su r edomo i n clu si ve mu st be re

n i n th e h ar e i n an c garded as a p olysy thet sm . I text t ere st es whe r e t he s uspen si ve chai n i s closed by a par ti ci pi al form

i n te b f u u an d b o o m b u t n on in hi ch i t ( ) , y t re y p st f r s, e w 1 i s c o d b a n a i or m da n n th e a i u i l se y eg t ve o l o e . I ttr b t ve form th e verb i s adjecti val t o t h e n ou n followi n g ; or t o he te or mono u n d ood as for i n an c h n th e n n c erst , , st e, w e se te e termi n ates wi th an i n terrogati ve o r i n terjecti on al parti cle na w h i n clause i s ad c i a ha a ha e . W a c d ( , y , , ) ere pre e g je t v l 2 t o a n ou n t h e a r i u i o m d o n ot m n c a , tt b t ve f r es see e ess ry

kashi hi we hur as u hi har m n e e r u we a to o i . a y , (p y w re t he me n who saw t h e n i ght th r ou gh t o d ay an d t h e day ’ throu gh t o dark ; here hi to i s q uali fied by yor u su and hu r asu i s c on c u i i 47 mi no hur a n o m S O . l s ve f r . p ,

’ atsu mar zn u n ot atsu mar i n ur u hitobi to or u wa asuhi i ( ) , y y mo nez u Th b n i h did n ot fin d i n S ami , ( ey) y g t ( ) rest leep y ‘ no o u i ide te me i n t he da ni h t oo a i n o h ana g , rk g t, , s lly g f rt we ki i ni did he r e h o he he hashihe e r i n os ehi h ou h n ( ) les ; y , t r g h an d h did haimami madoi a er i did ere t ere ( ) peep y , ( ) peep , ’ did com - di ac d did - so- all- o h e nezu n e ( ) be e str te , t get r . Here ( g .

u n i ku i r i nozehi haimami madoi mu all ad s spe s ve j , , , st be re 4 as hou h ach had th e o mi n a i on e r i o f a er i or i t s t g e p st ter t g/ ,

I n ac th e h h h u i a n . o a i s n i eq v le t f t w le p r se polysy t et c . n i on for m h a i i s occa i ona m e t i h cia I vers e p s s s lly w t , espe lly

A n am O f o i n i n i o und i n p oetry . ex ple pr se vers o w ll be f

n 49— ihanar u te he r e u i ha hone hi wa e r ihe mu z he n o . s a ? e p , ,

1 T he sus pe nsive for m is also used as the Gr ee k infinitive ofte n is with 7 0 w r ‘ e 6 n aki ar i ki wa d o r ws e u ar i u . y , 7 6 xpfi p 2 A r e r o r o i n re e e r not ow cha act istic c nst ucti n G k and G man , and unkn n in

. e e e e o e r the or e r English In Japan s , as in Chin s , it btains univ sally, in f m e ore o w e r e r on t o the o of o r languag , as is m fully sh n a littl fu th , p int bscu ity . 3 In e e e r the o u e e e or ar e e n gativ v bs c ncl siv and susp nsiv f ms alik . 4 r hamzami -made i - a er i e re r e O y may b ga d d as a comp ound ve rb . SKETCH OF JAPANESE GRAMMAR . 75

‘ hi wa i hanar u te he r o n i se r aihemu ha? i n wha o of a , t s rt ’ ac i hi or h ha n ou nd S i r ? pl e w ll t s tree ( t ese trees) ve bee (f ) , Qu alifyi n g wor ds or phr ases precede th e words or phrase

u a i d o o i i on ar e n o c i on for h ar e as q l fie ; p stp s t s ex ept , t ey , a ad a d i n s esmo i s hi a i on of nd . lre y st te , l ks , y It t s releg t t he e r t o th e e n d c om i n d i h th e ac o f a i v b , b e w t l k rel t ve

onou n ha ma t h e a an com ou n d n n c pr s, t t kes J p ese p se te e s omewhat difficu lt at first t o sei z e an d u n ravel the mean i n g

O f— the i o of th e e n n c i n t he th e a p v t s te e be g verb , re l si gni ficanc e of i t i s kept i n abeyan c e u n til th e chai n of c on s ti t u e n t c au an d h i e a i on ar e a n i n o co n i an l ses t e r r l t s t ke t g s ce .

h i s h o om hi n t o aid for the a an T ere , wever , s et g be s J p ese stru c t u re as a m ode of stati n g t he elements of t he thou ght i n asce ndi n g order of i mportan ce cu lmi n ati ng i n th e verb ; i t i s t he absen c e of relati ve p r onou n s that preven ts breaks bei n g made an d ten ds t o i n d u ce c omplexi ty by i n volvi n g 4 — c lau se withi n clau se as i n t he sen ten c e (p . 8) T e chi no her i ni ar u yamade r a u i B i nz ur u no maye nar u hachi ‘ no hi tahu r o u i suz uhi tar u hachi we tor i te ha i n a n ( ) , v g t ke (a vase whi ch was ) blacken ed wi th soot amo ng the vases ’ befo re Bi nz u r u ( s altar ) i n a hill temple whi ch was i n t he ’ di i c o f str t Tochi . Read wi th the forego i n g observati on s th e analysis and n otes that follow w ill s u ffi ci en tly explai n the syntax O f th e

h u r o n di a ia . T e di cul i o f u c o a c text ffi t es str t e s s ppe r, espe lly i f the c on clu si ve forms bei n g first determi n ed these ar e ma d off b a ul o or mi c o on and th e me dal an d rke y f l st p se l , u n i m T he u c ho of o b a comma. s spe s ve f r s y s bje ts, wever, t he di fferen t verbs i n a c ompou n d sen tenc e ar e n ot always

a t o fin d i n mo O n i m i d han d i n e sy , be g re fte pl e t expresse ; ac a an ha d u t h e hou h an d f t J p ese r ly ever f lly expresses t g t, c ann ot at all express the fin e shad e s of mean i n g attached t o h m th an t e te poral an d modal forms of e Ary verb . Thi s i s especi ally th e c ase when several of the s u b ordi n ate C lau ses — o f t he sen ten c e ar e qu otati ve there i s n o obli qu e n arrati on ’ i n Japan e se — as wi ll be seen i n t h e An ci en t s speech t o the

u i o n 47 n i n hata ihenahu mo e t c . and o . i n s t rs p , beg g j , , ai n d expl e below(p . R 76 SKETCH OF JAPANESE GRAMMA .

En ou gh has been sai d on th e sy n tax of th e pri n cipal

n m t h i a i h h . s de s a wa we no e t c . i n e c on d i n y ( , , , ) se t e l g w t t ese Care mu st always be taken wi th no t o determi n e wh ether i t i n on t o t he o d i mm di a o o i n or t o om o d l ks wr e tely f ll w g, s e w r - fu rther removed an d qu alified by an i n terven i n g clau se i n o ther words t o t he followi n g clau se ; as i n t he sen ten c e ’ ’ hatachi no o u i ni zu me de tahi he te Ka u a s o m y , Her ( g y ) f r s ’ n ot - i n -th e - o d - i o i n i e he r i n c om a a o w rl l ke l vel ess, . . p r ble l ve ’ li n s e s . T he parti ci pi al for m i n te i s o ften best ren dered by the

n i h a o o d b an d - i r ite iwahu he n i n an d E gl s p st f ll we y , we t aid ’ s . 1 T he fu tu re followed by to sur u (or tote) i n di cates pu rpose or n d a ou — amemu to su r edomo a hou h h did mad e e v r y , lt g t ey ( e f r — i i h d r i d t — n d h i fe w e . o o e o ) . w s e tr e (t e r A

am of the u se of the comm on m oda o m e ba aha ex ples l f r s ( , , de m t me ar oi n d T w su r ne tama eb one a o o e u . e e i a , ) s bj e y g ‘ nasanu he nar e ba— as h u d h i han d (p . t ey r bbe t e r s (su ppli an t - wi se) an d sai d ( th e old man an swered) ’ i i hi d - A da- he he r o s nc e S h e s a c l n ot bege t by myself . ‘ ts uhi naba i n the n of ma i n i h a fickle (p . eve t t g w t ’ n e I he n i uhi tetatazumi —ar ihi her edomo hearted o . y ‘ f umi we hahi te yar e domo thou gh th ey wen t t o th e h ou se and stopped an d paced u p an d down and wrote epi stles an d despatch ed them (as they actu ally di d) ‘ me or tome wi th the attrib u ti ve form w ou ld mean sh ou l th ey (by an y ch an ce) go t o t h e h ou se an d there dally an d ’ I n a an th m o i i f au a a ou e t c . e on o a c w lk b t, J p ese ere p s t l se relati ve t o others n ever gi ves i t a conditi onal or concessi ve i n hi n forc e as C ese . T he n egati ve elemen t i s always i ncl u ded i n th e verb and

h i hu n o can n ot be i solated or attached t o a n ou n . T ere s t s

r n o n a an w ord fo t i J p ese .

I n r i c n h i s n o a o m of th e a an st t ess t ere p st f r J p ese verb , ‘ ’ i m h i m e so a d d u nless what s called above the e p at c for h reg r e . I n that case wi th hose i t w ou ld resemble the G reek perfec t

1 h w 6 Compare t e G re e k ord ) { 0 7 6 with infinitive .

SKETCH OF JAPANESE GRAMMAR .

’ ‘ at a ac e t c S an i h an d i ni i n Y ou or pl e , . ( p s s g fy g r, ’ ‘ ’ Hi s i r i s i n or at . a G r ac o d hi e t c . s o M jesty, e, L r s p , , or asserti n g exi sten c e of somethi n g pertai n i n g or havi n g

n c t o t h n h n u d refere e e perso o o re . T he pri n cipal hu milific au xi li ari es ar e

’ tatem ‘ atsur i a t o e n o f u t o . ( verb) pr se t, f er p ’ tsuhama sur i t i (a verb) t o ren d er serv ce t o .

‘ ’ haber i a t o id i n a ndan c u on om ( verb) be bes e, be tte e p , s e im u d a m u i s t he a chai c t es se separ tely as a ere cop la. It r ‘ u i a n o f t h a nz shi a t o e mod n s r . es e eq v le t er e e M , , ( verb) ’ add a o u d a a i n ha n h n an au i i a ress , ls se sep r tely t t se se , w e x l ry ‘ ’ ‘ ’ i s a ach d t o of d c a i n d n i n an d th e tt e verbs e l r g, e y g, 1 i . S or e semi a h ad t he am m ani n as haber i l ke , ( verb) s e e g , i n the m odern epi stolary style i t seems t o be de r igu eur t o a ach i t h i I n th e i t i s u d i n tt w erever poss ble . text se i t s o i i n — r g al sen se on c e tsu kasa ser e hi tobi to mi na (p . the officers an d retai n ers of hi s hou sehold all an d

’ on ce as a verb si gn i fyi n g exi sten c e or posi ti on— zhanar u ‘ tohor o u i ha hone hi wa ser aihemu i n ha o of a ac w t s rt pl e, d i h ’ on i ha n o i n . I w er, w ll t s tree ve bee gr w g

T he cau a i an d u a i - a i o m t o a oi d di ct s t ve q s p ss ve f r s, v re a ti o n hi ch G a o di i ar e o n u d i n an sser (w reek ls sl kes) , fte se hon ori fic sen se . ‘ T wo com ou n d of tamau ar e common ne tamau t o p s very ; , ’ sa u d i h r n c t o the on h onou d an d uhe y , se w t refe e e pers re , ‘ ’ tamawar u t o c i or h a u d i h n c t o t h e , re e ve e r, se w t refere e speaker or so me on e regarded as i nfe r i or t o some thi rd

m w u - a d u on . u heta a ar i s a u a i a i o m n o d pers q s p ss ve f r , w l ‘ ’ i a n d d t o e t o d u on on e h nc t he be l ter lly re ere g best we p , e e amau i s a h n or i fi h u milifi t o c n ot c . re lly , O ccasi on ally hon or ific an d hu mble au xiliaries are combi n ed ‘ — - ai tatematsur i tamai ne be pleased t o cou rteou sly gran t an ’ i n i tamai ne i n di ca a a ou t o acco d d terv ew . Here tes f v r be r e b Ka a a t o t he a t he am oo - and tate ( y g y ) spe ker ( B b Hewer) , matsur i t he cou rtesy d u e (from Kag uy a) t o the su itors .

1 r i l samu a O ig na ly r i or sabur ai . ANALYSIS OF THE TEXT . 79

’ N A Y SI S O T E EXT O ‘ A G Y A HIM E O IT A C I A L F H T F K U NO H .

’ K a u H - i u i n - a ime no oi tach the ad Ka a s o u . g y , L y g y gr w g p

I ma wa mu hashi n o w o r m on c u on a im — muha , f erly ( e p t e) ‘ ’ shi i s c on n c d i h mnhai u n o ar d h u ni n e te w t , t r t w s , ere t r g o wa d t he n T he h a i s a co mmon a oo i ac . t r s p st, l k g b k p r se commencemen t of stor i es of all ki nds ; a more famili ar on e i s muhashi muhas i h .

‘ T aketor i no O hina to i e r a mono ar iher i h i d on e n , t ere ex ste of those fellows whom (me n ) call O ld B amboo ‘ ’ ’ I er u i f i i sa a a i he r i i s s a a a i o m o t o c . r y p st ttr b . f r y , ll ‘ ’ ar i—hi — i h ar i i a f ar u . T o au . o s a c on a con c u . , l s x l p st t t, ‘ ’ t ai ne d i n ho m w .

' S hi e z ani a u i ma i r i te tahe we tor itsuts u I n th e u h hi g / j , b s y lls h e b u sied himself an d took bamboos an d there upon

' ma i r i t z r i n m n ts i r i li t . a o . tsu u e ar . n e t o j p . p t ng g be g nn i n co ects acti on of verb wi th acti on n ext follow g .

Y onozu no he te u i tsuhaiher i t o t e n h ou an d u o , serve t s p rp ses ‘ ’ i . r es a hi on d h m t o a hi on d i s the (l tt ) f s e t e , serve f s e m ani n t a e g of suh i .

N a we ba anu i no Ali ah/re to namu i iker u as t o hi s S g y , ( ) n am m i d namu S a u i n o M i akko e e n c alle d ( t ) i n dee ( ) n g y .

N o the con u c i on we ba for we wa t he acc u na we te str t , s . i a ’ sol ted for emphasi s sake by wa. a t i h S e n ah n ah ni m n h am . e mi d e o n a a o o oo . o a , g t se b b s, t se whi ch t he An ci en t labou red

moto hikar u tahe hi to su i ar ihe r i a - hi ni n am oo j , self s g b b on s hi ar i te or i te mir u n i he was e m h wa . a as ste t ere y g y , ( ) a on i h d and a oach d and on oo i n vid e ndo at t he st s e ppr e , l k g ( ) ( hi ni n d tsu tsu no naka hihar i tar i he saw ha t he s g ree ) , ( t t) , i n i o of t he h o o - m was d i h i h sor e we ter r ll w ste fille w t l g t, mi r e ba an d as h e az d on hi i h son sun bahar i nar u , g e t s (l g t) , hi to i to u tsuhushi u te i tar i he saw ha a h u man i n hito , ( t t) be g ( ) o f a u h i h f di n au ood i n i t bo t t ree n c es o excee g be ty st . N ote th e u se of te wi th t he su spen si ve form of th e adjecti ve u ts u hushi h a i i n i t a a o c so ha the h a mi h ( ) g v g verb l f r e, t t p r se g t be tran slated di splayi n g great beau ty ANALYSIS OF THE TEXT .

- - h nci n hu O hi na i n o T h e n ci n a i i . e . t e y , A e t spe k w se, A e t t s o sp ke . owasur u ni te War e asa goto yu goto ni mi r u tahe no naha ni , as (i t ) dei gn s - t o -be wi thi n thi s bamboo whi ch I see each

“ mo ni n n d a h i n i te i s h o a t h e r g a e c even g . N ere pr b bly

a . of nar u p . p rt , be . S hi r inu he n i nar itamebehi hi to numer i i t oo as hou h , l ks t g th e bei n g mi ght become (mi ght be taken t o be) my own 1 ‘ ’ chi d . S hi r inu an a d m own i s t h e con c u i a l , tr sl te y , l s ve p st

f shi r i h o d - a m ani n o n o . K0 a i n o a , k w p er ps v lves w r pl y , e g ’ both a chi ld an d a basket s u ch as i t was t he An ci en t s craft t o fa hi on N amer i z name - ar i name i n m ha i c u u s . , be g e p t f t re or d u i a i o m i n e f n r u o a . ( b t t ve) f r , be

T ote te n i uchi -i r e te me tte hin u so a i n h e u t h e r i n , , s y g p hi s han d For hi nu and t ook h e r an d came (t o hi s h ou se) . on e ou d ha c d hi te a i n i t as a of th e n w l ve expe te , t k g p rt ext n n se te ce .

M e no O na u i azuhar i te ashi nawasu an d a h e r i n cha y , g ve rge ’ of hi s i om n an d cau d he r t o ou h u . w fe s w e , se be br g t p

Uts uhushihi he te ha i r i nashi i to osanaher eba he ni i r ete g ,

ashi nau t h e au i u -n was i h ou e n d as sh e was y , be t f l ess w t t , ( ) e xtremely you n g (they) placed he r i n a basket an d cheri shed

he r .

T aketor i no Ghina tahe te r u ni hone he we mitsuhete nochi ni tahe tor u u i ushi we hedatete t h e O ld H a ha i n f , ewer fter v g se t u on hi chi d i n t he cou of hi s am oo- aki n eyes p t s l rse b b t g, in (still) taki n g b amboos spli t u p t h e j oi n ts an d

e oto u i ho ane ar u tahe we mi tsuhur u he te hasanar i nu y g g , n i gh t after n i gh t there accu mu lated hi s setti n g - eyes -u p on h n i d ( e co t nu e t o se t eyes on ) a bamboo fu ll of gold . K ahu te Ghi na utaho ni nar i - uhu hu i t was and yeg/e y g/ , T s ( )

he n i n n al i a a a e ahu t c a d at o u nc . Y o A e t fi ly rr ve p le e g (y y , g/ y ) ’ ma a n h a ‘ na y be t ke ere s fi lly .

K e no chi o ashi nau hodo u i s u us n u to ehi ni nar i - masar u g y g g .

I n m a u as hodo u i h ou h u hi chi d a idl e s re ( ) t ey br g t p t s l , r p y i t u t i grew p o be b g .

1 oe not ee e e r h ou be re s hi r i nur u the w o e It d s s m n c ssa y that t is sh ld ad , h l h r h phrase be ing t e att ibute of e . O F T HE ANALYSIS TEXT . 81

’ M i - tsuhi bahar i u i nar u hodo u i g/e hi heao nar u hi to ni — nar i n ur eba hami a do s dashi te hami - a e - sesase mo i su che ge na a g g , no uchi or i i da z th e i — th e u se of t he o d y sa u . As ( g rl w r u tsuhushi has sh own th at th e chi ld was a gi rl) became ab ou t three mon ths O ld an d already attai n ed (t he appearan ce of a on f u a hi do i d r ma r i a a a e o e e ho . e oo o ) pers f ll g (g/ , . g r ge ble g ) t he i i f u r n d and th e n o e t c . was h on a a l ft g tresses, , t ere p r ge ’ lifti n g of tresses accomplished and t he mai den s gown (me ) i n u t on b u t she was n ot u t o h om i hi n th e cu a . p , p f rt fr w t rt Thi i s a m i n i nar u be — i ohi o u c n n c . N o : s st str t ve se te e te , , / hodo nar u hi to nar u com hi to ni nar inu r eba the , be e ,

— i nu r ba r a m nar u i nar a ai n a i . nar e o a . u five ve b l f r s ttr b , , g ttr b ,

m r h n or ific d ou o a an d moda sodas/i i te . a t sesase o te p l l , p p r , ble cau a i u n i — adi n u t o th e con c u i o m s t ve, s spe s ve , le g p l s ve f r gis u (hisu ) ; nar i n ur e ba i s a con diti on al form of t he past nar i nu r u nar i —i nu r u h i nu r n o a a i th e , w ere (g w y) g ves m ani n of ust as she became T h e ac i ha n e g j . t ve verbs ve bee

n d d b a i r i n n i h as i s o n n c ar re ere y p ss ve ve bs E gl s , fte e ess y i n an a i n a an ci a h r as i n th e n tr sl t g J p ese , espe lly w e e, prese t ca h i m n s o co u i on of i m i d u c . se , t ere s e f s pl e s bje ts ’ I ts uhi —hashi zu hi - ashinau he a i h r ou h e r y o n . (T ey) b g t (h ) u p wi th lo vi n gness (i tsuhi) and carefu l ness (hashi zuhi) an d so hodo u i hone chi o no hatachi h r a n ar u he te o ni nahu ( ) , g ye y

a no u chi wa kur e hi te he r o nahu hihar i - mi ehitar i t he o m of y , f r thi s child was of a loveli n ess (hi/er a) thi s w orld c an n ot Show

i n hi u n lit . ac i n hi o d i n t he ho was o oom ( l k g t s w rl ) , w t se gl y

ac b u t i t wa d i i h o th e u n i pl e ( ) s fille w th l g t . N te s spe s ve adjecti val forms i n hu leadin g u p t o th e con cl u sive past

- - au i a ri m verbal form i n tar i . I ts uki hashizuhi yashin s t co posi te

v th e t wo m n ar e i n the u n i o m . erb , first ele e ts s spe s ve f r

hi na hohe ehi ashihu hu r ushihi tohi me hone he we mi r e ba O .

’ Even (me ) when (te hi) the old man s feeli n gs (he he chi) were

ai n ul and sad as he az d u on the chi d hur ushihi he te p f , g e p l mo amina n th e adn c a d har adatashihi he te mo y eve s ess e se ,

miher i n d an no an ac d b a a n n a usa a c was . g , y e repl e y gree ble ess

T he u n nc ou d O hina wa he he ehi etc . tehi u i bu t f ll se te e w l be , , , t o gi ve a c ertai n emph ati c rapidi ty these (an d o ther) parti cles mi d i n th T he nc u i o m aminu ar e o tte e text . co l s ve f r y ANALYSIS OF THE TEXT . gi ves a stren gth t o th e phrase th at w o u ld have bee n i a i m e d Ghi na tahe absen t had th e su spen s ve y m b e en e ploy . ’ we te r u he te hi sashihu nar i t h e an ci en t s bamboo- taki n g wen t on for a lon i m ihioi me no mono u i nar i ni her i h e cam g t e , , be e

n i n u n i a on a a fl o u ri shi n g a d fl e t l pers ge .

K e no he ehi nar i nu r e ba as hi chi d ni h d comi n , t s l fi s e be g of u a u r n a we ha M imur e I mu be no A hita we obi to f ll st t e, y ts uhesas u h mad i a n am an d c a d h e r imu o , (t ey) e g ve e lle M r ,

hi ta na e tahe n o K a u u im t t ts u an d a e t c . A e H e o suhe , y y y , g ve

- ts u = n h d mi i i . K e o o o h e r th e of a e t c th e a nu . t tle Ak t , p st

- - a u i w i he u hi ha u chi a e se b or ozu no asob e s o sh r . g , y At t s j u n ct u re for three day s (they) lifted u p the bowl an d revelled

nd n o d i n ac t e n h ou an d i a . e j ye , f t, t s revelr es

toho ena hir awaz u obi - tsude ete i to has hihe hu ase bu an d o y y , m e n an d om n i n i d an d a m d and h was w e were v te sse ble , t ere m n a a d n ou ght u n see ly a d fu ll ple san t n full was th e revelry .

N O T E S .

4 6 . P .

e teshi ana mi teshi ana - c m i n a i n of f m o o . a . o s y g , g b t s p p rt r of u r u e t mi r u i h shi i n d o f su sur u d o and (g ) , (see) , w t ( ef . , , ) th e i n r c i on a o d K ana— O ha mi h o ai n te j e t l w r (g) t t (I) g t bt ,

0 ha mi h the ad Ka u a t t (I) g t see ( L y g y ) . mir uma ihi : mi r u behar as u ma n ot n i n i i j , y be see , v s ble . M a ihu i i s an ad c i a o m a nd d t o i j ( ) j e t v l f r , ppe e verbs, l ke hehu i bu t ha i n an o i m o an i n . ( ) , v g pp s te e g

asuhi i mo nes u asuhi - i — -b e - n - S - n ot h g/ (y ) rest eve leep , t ere as n i h n or w e t er rest sleep . ’ K aima mi - maae i a er i h ou d K aima- mi made i - a er i y s l be y , a er i i s i m o han a a i i y l ttle re t n u x l ary .

hi to n m n h u a i n o o oshi e t c . o d ad cco d t o D ai shu hito , , s l re , r g , no mono shi nze sen u z hi te r i no hi o me r anu h t o . T e passage i s c o u ha me neme noshi Sh ou d ad i n hi ch rr pt ; per ps l be re , w ‘ case th e versi on wou ld r u n they l ost all sense of thei r ran k ’ h ou h h i a i on t r g t e r p ss .

K oto to me sezu —a adi n i s he ta e mo sez u mad better re g y , e n an l o swer at a l. ANALYTICAL NOTES TO THE TEXT . 83

- — i d hu n u o m of a d a . o Char i (ehe hu ar i) co cl s . f r verb l se j

man as O n i n th e th e mo h o o i ca n ( y) . Here, fte text, rp l g l prese t i s ao i i i n a u r st c v l e .

- - - - : a of n e . yoshi nakar iher i yoshi n ahi ar i hi ar i con ol . p st g

d i i n t - d a a d osh nahi o oo . j . verb l se y , g

i — i ar t a cor u a a T he nawo ihe r u wa th s appe s o be r pt p ss ge . h gen eral mean i n g seems t o be that of t e tran slati on .

hi tar i her u Sh ou ld read hiher i . ’ — o a u i h as h ou hou Sh ou d ad dani . N o th e u se ere, t r g t, l re te f we o .

— - i - t i b e n o . e w ar u behu mo ar azu b e o n . as n ot p ss ble eve , i poss ble .

— - - - - hi m ma n ar ihiher ede me o r ihi hi ar e te mo. T s for y be c o t r ast e d i h ar edomo o h ar e co nc i o m the ac i on w t y , b t ess ve f r s, t bei n g more Speci alised and mo men tary i n t he former than i n th e latter . ma tahe ta ye .

47 P . .

’ ’ — - i e . th m one u on own . e a oo . e e s , B b Hewer s

r i Sh u d ad i ne r i we shi i no i osh o l re . gu wan (Chi nese) i s sai d t o be more correct than th e

ai pu re Japan ese neg . hen u e hen e hi n no mono ni te habe r ihemu mi to g n ( g , C ese)

— he ho h a u t o mi u a i ha o d t w le p r se p (self) q l fies t t w r . — hye to me asu to me ellipsi s of shi nui an (may di e ) after

f he h r a e each member o t p s . mi - me ehi tamaye r i sh ou ld read mi me chi tamayer i habahar i

— the o i n c omma hou d d e e d foll w g s l be l te .

hose amer e ai ' amo- ar e — i m t o ( ) ver ly see be . ’ hi toshi hunnur i e m t o m an ar e all r mu ch a i se s e p etty l ke .

T he h a i s om i m a o d t o t he n ot as i n th e p r se s et es ll tte Hewer, , i n t o t he ad an a o . tr sl t , L y — K ataj ihenahu me thi s i n volved passage sh ou ld be

d ou t b t h u d n f a an I n th e d issec te y e st e t o J p ese . text i t — “ i s wron gly p un ctu ated an d sh ou ld r u n thu s K ataj ihe nahu me hi tana enar u tohor o u i toshi tsuhi we hete m no s it g , , o h ame ” h o hi wamar i tar u hashihomar i to O hi na me a h n ot ( ) s . T e the ANALYTICAL NOTES TO THE TEXT .

Hewer reports the con versati on h e h as j u st had wi th Kagu ya. ’ Ghi na no i nochi hye asu to me shi r anu we (hihi te) hahu ‘ Ko n a notamo himidachi u i me ohu omoi - sadame te ts uhe ( y y ) , y ’ matsu ne to O hi na meseba uhahi no hohor o we shi r ade wa , ( ) f ’— (ai gatashi ) to namu (Kagu ya) mesu samesu me hotowar i

— - - nar i i aur e otor i masar i owashi masenebayu hashihi mono mi se tama er amu n i on hohor ozashi n hod mi u eshi tsuhematsu r amu y o o y b , he te wa sor e u i namu sadamu behi to (Kagu ya) i u T he w ord owashimase ne ba gi ves a n egati ve tu rn t o th e qu ery ‘ whi ch i s t h e m ore excellen t ? W hi ch i s n ot t he su peri or ’ and whi ch i s n ot th e i n feri or ? T he gen eral sen se i s cor l i n r e ct on . 6 y g ve p .

u r ami m0 u r ama i— an m ha i c h a h i s n o ha i n j e p t p r se, t ere t g

i h ha of u ch a man S o i n w t te ( s ) . Hebrew, i ssh eni mi nnshi y ag y ygeth .

48 P . .

— K ate de mo a rare i nstance of a plu ral of a n ou n den oti ng i h n n r hi n n e t er perso o t g . notamawanu hou d ha ad n to w m s l per ps be re o ma a u . i hi tar u to me h ou d ad ihi tar i to me s l re . ne shiher eh a sh ou ld read no shiher e ba.

hachi no hi tahur o u i suzuhi tar u wo z hitahur o ni suzuhitar u h w hac i e .

e washimashi nu to hi to - t he passage i s somewhat ’ O bscu re ; perhaps Her ai T s uhushi y e yuhi - i ae te shou ld be u n d ood fo owashimashi nu erst be re .

hama e h o u d ad K amah y s l re e .

i r i tamaitsutsu hou d ad i r tamait u s l re e s tsu . — hayer i hi ni her i a c u ri ou sly tau tologi cal past hi ni

- i hi ar .

mai r itar i Shou d fo o d b o l be ll we y col n or better full ste p .

49 P . .

K a er azar amashi : ha er i - ar azu - ar amu - mashi an a lu ti y y , gg n at e d n egati ve poten tial sen ten c e - word e n di n g wi th the m / i a i c as i i ndi ca i n i ihood o ri e tc . p rt le , t g l kel , pr p ety ,

86 ANALYTICAL NOTES TO THE TEXT .

— n d f hihi h z ihi tsu r eb co . a o a i h ux . tsu r u h a p st ( e r) w t a r u tO .

u i r tahu mi r a sho ld read tahum a. — r ohu yeshi hai mo nahu thei r havi n g o btain ed largesse

u n d u t of n o t o h m (wage) t r e o p rofit t e .

- i— uk - a ematsu r azu — e - i - i m ts e t t t c d d n ot i . e u d e . co y g per e ve , l — n ot per c ei ve a pecu liar q u asi - passi ve form u sed poten ti ally ’ ai — B ai h u aai i n sad j i n s u prefers j .

i nu m no nar i— h mi nu i s n a i m o ere eg t ve . ‘ moshi chej a u i Sh ou ld be ren dered and i f after e n qu i ri n g amon g th e m erch an ts une hiher i h ou d o ow d b a co on and hi nezumi no f s l be f ll e y l , mm K awagor e mo by a co a.

hashihehi T emu ihu no hi ir i— hashihohi u a i h i r i j j q l fies i/ .

a umi to su r u a umi to sum — to i s i ehu a i . y (better y o , f st, sw ft

51 P . .

— ‘ mime e m h . fo m of u u mimu u ha se e ha p r f t re , s rely s ll s ll ’ I n ot . — h n f shi i i m eshu nu e i e . o co con ai n y y w t g ( verb) , pel , str . yahamu u i yahezu ba— i n tryi n g to b u rn i t u p Shou ld i t n ot be b u rn t u p . ‘ so wa mesu to me seems t o mean su ch bei n g the case by m an u t i t— th e fu r - o — t o t h of I n th all e s (p r be e test fire) . e paragraph where thi s sen ten c e occu rs ar e several mi spri n ts for nar ame ad nonamu mahe ma mahenu notamo notama e re , , y , ’ h r mimu For D a in th e a chai c otooe ma hohor e mite ho o o . ii r y ad be re . — a m f c n d ir i b a om h a o o o a i h au x . sh se a s ew t r re f r . p st . w t

u shi (su r ) .

i h ou d ad hi nezu mi mer a mer a—te mer a- m r a t i nezum e o. If s l re , — m i h the t wo au x i ahe u i shihaba a cond . o . u nu y p st f r w t ( ,

d a shi su r u s c n of . be) an d hihaba o . p st ( ) hime ni sumi tame— be on o - i m com an l ve l ke ter s, keep p y

i h t he ad . w t , L y — me n sa do h o to na i i for to hi to a i n na as n t . ell ps s ( y ) , y , t ey ar f atsu n hubi t he o o i n mi i n I n the first p . o T o f ll w g spr ts occu : hanawamu hou d ad hana emu one one notor u r s l re y , , h d suh hi m su b i . ne bor u , an me e e e A AN LYTICAL NOTES TO THE TEXT. 87

52 P . .

K i mi no na Sh ou ld read hi mi n o tsu hai to na -th e ph rase ‘ ’ hou d n d d ar e e n ot o u o d an ou d s l be re ere y y r l r s serv ts, w l ’ y e c ast di sgr ace on th e n ame by opposi n g hi s wi ll ?

to notamo Sh ou ld read to ne tanzaite . t t h h o e (3 r d li n e) s ou ld read to u .

hi tobito de mo n ot hi to bi te tome — a cu r i ou d u u ( ) s o ble pl ral .

’ a — i u h m e r at . i h a x . i hu hu r u . h yemhu na n e g . p w t ( )

soshir i - a er i ho u d o o d b a comma y s l be f ll we y .

i n 1 0 n a er i an d n o d i n a h h n L e ; betwee y ext w r sert yp e , a e l m fter we d e com a.

i n 2 0 ahashi —hur oshi - tam a i u h on ochi - huhar u . L e e, l ttle f rt er

n ar hai r m f s z r s zur o n ot susu r e an c c o o o e o. ( ) , f u mi he te u i shou ld read u mi goto u i saili n g over s i i th e e a n all d r ecti on s . i hoya shiheznu mean s h ow i t came ab ou t n on e cou ld

u t h i nd shihemu i u u r tell b t e w s a perf . f t e form of shi

r (su u) . ’ hami say e i tadahi u i an d also th e (th u n der) god s threateni n g t o h u rl d ow n hi s b olts u pon ou r h e ads

1 6th i n om o om for ani ad nani 6th i n for l e fr b tt , re , l e , ai r as r z u read a a u .

53 . P .

i n 4 for tsuhasa ad tsuhasa hohe em L e , re ; y i tar u seems n u

amma i ca i t h ou d tor i or tar u nai ' i gr t l , s l be .

i n 1 3 sar u Sh ou ld ad su r u an d war e Sh ou d ad i e L e , re l re y .

i n 1 7 no ho u d i n n n tsu L e , s l terve e betwee bahur ame and o as ai h y ug .

i n 2 2 om o om ts u bahur ame no hi to Shou d e ad tsu b L e fr b tt , l r . i to mo h .

i n 1 0 om t e sor e a tama h ou d L e fr p , y s l be ren der ed ‘ i n a i n t - ess y g o tak e t he dragon j ewel I w or ked y ou har m and h ad u cc d e d m u ch m o i hou dou h ou d I s ee re , w t t bt, s l I ’ h ave w orked h arm t o my h ou se an d t i s well ther efor e I i a ’ d d n ot t ke i t . A li ttle above nyénye ni nawar e te shou ld ’ ad n n ni nawar ete i n o n as he oan d re ye ye , be g b r e gr e . A 88 AN LYTICAL NOTES TO THE TEXT .

I n i n 1 5 mono dome i s i c u d t o i ni l e tw e se , firstly s g fy ‘ ’ ‘ hi n con d t o i n i on — a ood am of t gs, se ly s g fy pers s g ex ple th e wan t of di sti n cti on between person s an d thi n gs charac ti f ai c S h t e ri s c o Alt p eec .

o e h ou d ad u i te o e te yu i ge t s l re y g .

n m de- he te Shou d ad m de - h t a i o o o o. L st l e, l re

4 P . 5 .

i n 8 shi etor i i s shi do te o ai n d or e i . L e , y ( ) , y ( bt e ) , (be)

i n 1 8 shi sohuseshi te he ho u d ad shi sohu sashi te moi r e L e , s l re ,

i n i h h tsuhu shi h u d i . e . a o ad mi hushi the br g l g t ere ; s l re , ’ h i n n i . e . t e h u a n s h ad oble ( C go ) e .

i tor i h u d ad tobor oi n 2 7 o o . L e , s l re

hi Sh u d ad t shi i n 2 9 to o o or onu e r anu . L e , l re , y y

T he h a at o om o u i su mi tomowomu hi to no uhe to p r se b tt , y — mowor i tomo wode wa or i nomu yo i wor enu he te for on e who li ves i n thi s world n ot t o li sten respectfu lly (t o t he royal i h ha u ch a hi n ho u d i s i t n ot an u n a a w s ) , t t s t g s l be, spe k ble matter

55 P . .

K e r e shi te er u— a n ot - common a o m o a a c on g verb l f r , pr b bly

e s i t mu - hi - or i tracti on O f h r o h e .

to o r i te me hohar i tome a o m of th e common h a to me , f r p r se

hahu mo.

hinu beshi o r onzer o r e o r an i tsu r e bo hou d ad s , g , g / s l re

shi or anzer or e e r an i tsu r ebo . shinu be , g , g j — u mor ete habe r o bo had she been born i n thi s land

u n d t sh e w ou ld have been bo o serve Y our Majesty .

I d a a a n i h i i i i te i s t o o . t o n i ( ) ? r g, t ke l g w t L ke E be f h f w 0 a place i t i s on e o t e e verbs .

me te i s the o she or a ac . on g , P l e n a i c o m of th di na ser o r ebo eser or ur e bo a pleo st f r e or ry e . — f a v ohi h m ani n to n u en h zu ne . o o a o g erb , ere e g be

ce ssful.

he r e we M ihode ge r anj i te the mean i ng of the phrase i s somewhat O bscu re ; i todo hayer itamowamu probably i mpli es

N T o T HE 90 ANALYTICAL OTES TEXT .

- - M iy ahho M ar e mode he sh ou ld be wi thi n i n verted commas .

1 1 t h in om o om i wohu has t he chan for l e fr b tt , Ar gel u c s bje t .

i n 2 4 om o om for mune i dohi ad mu ne i tohi th e L e fr b tt , re , ‘ i on h ou d th e n ci n sad at h ar aid d o n ot so vers s l be A e t , e t, s , bei ngs of for m so lo ve ly m ay n ot be hi n der ed ; for u r o woshihi ad u r uwoshihi i n 2 3 for e hi ad oi re , l e y re y .

i n 1 6 r m o om hih r h vm h o e e ba a con d . hihe a L e f b tt , p st g ere

n of a i n ff i n a i i n c a n . se se t k ge e t , tt g

shi r e u i shi r e te m h a i u i s t c oc on for hir e o. , e p t l t

s zehu z h s ehu aim n e s e . , r e t — nohi —noyehu o i owonu he te n or i t o weep and lamen t i s 1 m

n a ha h u d o u on a n ot o . pr per, re s ble , w t s l be

5 . P . 8

to u - tate hometor u hou d ad to i n T o te - he metor u s l re . i i v a i n 8 hohe ni me s u a n t o wa a mi i e . K a u . eq le t g , . g y L e , mode in u h ou d o o d b a fu o an d f om umi we s l be f ll we y ll st p , r f

a m - a i mma h hi t o i t moye sh ou ld be wi th n i n verted co s . “ hone hnni n i u mor enur u t h e versi on shou ld be had I bee n born i n thi s lan d ( on earth) I sh ou ld n ot th u s gri eve

ou b m d a u bu t n ow on th e c on a m u an y y y ep rt re, , tr ry, st ' n r d ofl m man i n o r a ch d n du d . t le ble wret e ess be e e I y tle, an d a i t i h ou as a i c an d h n t he moon i h le ve w t y rel , w e l g ts u t he n i h ma m a he n d hi s an c ar d an d p g t y y f t r se gl e skyw s,

h ou h hi s i ai n a ch th e h a n for me t g eyes w ll v ly se r e ve s , I Sh all ye t yearn t o d escen d u pon earth t o stand on c e more i n hi az s g e . m — i h i n 9 h hor u i or i a i n i e . u n m 2 o e to . o L e , st ys , we g s p , y heart .

i n 3 1 to no chi ush — Ta ano i s m an i ou b L e , e k e t, prev sly , y mi a o a ca d sh sh i n 4 4 ama namu hou d st ke pr b bly , lle e e ; l e , y , s l

d ama namu— namu i s fu t f ni nar u i n a o at e t c . re y . ( ) , be , , ‘ ’ ‘ i n 4 1 hiheshimeses u h m an at e n ot oo n o L e , ere e s , t k ’ o d f o . — — nani u i ho wa semu shall I make anythi n g of i t ho wo ’ m i th an i i ‘ i e N 0 the a n n um . pl es swer , l ke L t V O C A B U L A R Y .

Sini co-J apanese w ords ar e mark e d (Ch

O nly the ar chai c meani ngs nece ssar y for th e compre hensi on of th e 1 e ar e as a rul i n . t xt , e, g ve

A be ami n ame of o h ohi ne of t e ahoso n e . of o e r , f ly , g v bs ,

ui or . O ri in a ro a ha e e n ou h of an d ohi b e S t s g lly , p b bly , v g , ,

a ace —n ame - be = A i nu e t o en . pl ; p , p

r e am . ohe nu te e e r o e n st ( , ) , v b , p , n shi e n he o S e o e . 1 9 o en h i . d o . as awn . t , p , y do ai n a e fick e sk h o a . ohe u r e da n and du , v , f ls , l y , w , w le a f r wo o mi ne o o . da . g , y , y

' - t i - os - ei a h nu o n v m . hi u i o i e o e sn e . . e r ar ahi o vb o y y , l ft p ; , , be p , a wer e r ai se d u p an d pl ced op e n . m r ce ahi noi r ade com e . , t , m of o d n fu t . or o ur o a o of ca i or ohi nomu an au x . y , s rt s ff l g , f

- m hu o a or m a e u r ohi v . pl tf y y ( , q . h n ame of e a . A hi to on e of t e s t) , s

- m fi i ou o o vb . e e r e e d o Ka u a. ( ) , , t ; p x g y

t o e r e t c i e i d a of H a en sk - hi to c e s i a . e A mo e v bs, , g v s , v , y ; , el t l mu u a i n . e i n a e . t l ty b g, g l

- = = nho oi tatohou fi h o e h r . amo amo ame no shi ta te , g t t g t e , ’ i r oso mi ri n for r azu or i h i en- hi o u nde r —h e a e n a o . C . t , sp t ( ) ( ) , v , a i m i re th e or d a o oh r o vb . o li h ru dd th e e , , gr w g t ( y) , p , w l ; ls , h c e ar u . r ai n b u t n ot i n t e e . l p , t xt h s o o o r e dne S e e ohashi moto man n u me r ou . . o , ss . , y , s

sh li a n ama/r i mak e o e n u nu r . co o . o . ha i t . f mar i o ca sat . o a , p ( , p t l vb ,

ohi h e n ce make o e n n i h i n e ce a u n dan . ) , p g t be x ss , b t

t o dawn r u ddi ne s of da n = - o e omer e or omu r . , s w . ohoshi hur oshi tomou ai for ono an i n e r e c i on of u r i se , , w t , t j t s pr , da and ai 2 4 n for du k i t c . S e e . . . a. e w w t s , p

a e d the da an d ni h ano a ho . p ss ys g ts , le

1 ’ T h e o er o n o e r r e i o of his m r e c mpil c uld t obtain D r . H pbu n s thi d d ti n ad i abl r Dicti ona y in time to use it in the p repar ation of this Vocabular y . VOCABULARY OF THE TEXT .

ono oehi u i ai d t o = mushe u i ohi r e u omoshi h h r e r os u e t c . e y , s , ; , ,

e rh a e r e nde r e d i n e r o a i m i e r an en e s p ps b st t xt p b bly pl s st g s , 7 r i n o . 4 e oh nd r u n s e t c . (p ) pe s st tly , w e f l es ,

- stin at el . oshi hi hu i bad har amu y ( ) , ev l, ; , ou nnai sca o d or a or m ill or ma bad e t c , ff l pl tf ; w y be , .

'

- ash i r o. oshi te r i oo ak e ak b oo y , f t t , t e y f t ,

ono e i n — - / l u r am o/r e u . u o or i i ar e p l t by fe e t . n u / o bi di a o/r ar i n r u . aso e on e e d o om , v rt s lf, ; s e o noto one hate h a u a e i me an h on or ific au x ( ) , t t q rt r, t s .

ha e r on mo ou osu t o - morr o d . . t t p s ( y ) . , w

e otoi ri o o o w- - oni i nt r r o ati onol i nter ecti on c toi o . t i , g j , p e ; , vb ( E y] ), b e r o e r a i m i n n e a i e u a t o e t c . an r ik . ply g g t ve swe , l e p p , ble, q l , ’ atar i n e i h rh d . nu m . ou oo , g b

= - w n . nn / i or i no oto o u n e of otoi . . o ar r i . v , g , q oneur u on i ond e r r c otenor u of e n e i r h ate i s ( j ) , p , efle t , , g tl b t ; Chi n e e r i u o e d t o b e a con r ac i on s fl ve bal se d . s pp s t t oohedo r e e n i e i i ou of u wote , g sp ttl , b l s , J: m f o te h ni a er o mi . o a o e an a r e e a . tt v t y , el g tly , g bly ho ani r k otsum i n a or m of or o e a e ca . or u a , p , b s t, ge , p st f vb .

/ omu fu o ots mor i a h r o h e r ar t . f or i v . u , , q . ( ) , g t e t get ,

or onu n e . of or i . v a e m e . , g , q . ss bl

os h f - - - su m t a/r a/r i s i ar oun su or i shi att . ot e e . art . otsume i n ( ) , , p p ( ) , br g a ne o e h e r o a/r i . v. c c . p st g . , q t g t , lle t = r os u n i . o or o u . v on . S ee o , q .

ar e e vb . r ou h or m r a ou e o i o vb ook u t o , , be g , st y , ge , y ( y ) , . , l p

i d u li an i s oss e t c . s tw e e n r a t , w l , pp , t e t . ar e e m h a i c or m of a/r i h as ous ur u i s a mi i n for ansur u , p t f , spr t ,

en of om e i on h e n o . c c f v . s se pl t , e q a i me w w . owomu fut . of oi o i o on p st t , ( ) ; b i c on or wamu . wr i o . m of ar u e e a , l f , , x st ,

' h a or u heh behi ma k w f i m a i on u i i a ar e e c . o co ve ; , , j , , x l p ty, p ss ; her i e omo u m h d te tsur e t c . awa e to i te o u u i 4 9 r r . , , , , , p ;

i i k a u - - or h o vb . a ace o ar i i i a or ose cau t o , , w l , p b t . y , p t ble y , se a i sama condi i on a e e i i r . b a e t c . , t , st t p t ble , / iwo and a ai n r m f f can s . of o i owi ar u o o wase u u t . o , g , . , ( ) ,

i d ma - h waseza amu fu n or i or ar u nas i . a r t . e . of can s y , l , ster ( ) , g .

mornin . o oso of oi wi . , g ( ) osomoshi a/r i ru ck of a h e a awatenu n ot o i n com o u r y , be st p , l s g p s e,

i h ond r n ot t o e ci e d . (w t w e , See be x t

n . wos onor u a r . n e i h a x o w u . ext , tt g , t

mash hu ai u o i ow oso i d t o m an nar of i . s e , ( )

94 VOCABULARY OF THE TEXT .

o ki i nde - d i ke h u s . o vb . o oser or e otohu u en i a f , f , bl w ; y , y , s sp s ve j l , t

b e o - dri n o - h i i n e t o esh e . bl w v ; y , b g

- ow ack ma/woshi o ushi u accom an . bl b ; , bl w y (g p y

r ou nd a ou . uwon d ir i i on . , b t y es e , pet t hu b e o u r e en . f , sw ll h / u ur o b a . ho i h f , g , e g t . umi w i in o h r a r th e h e a . f , r t g, lette , f t e du in on u ne . b Ch e e imi a hoher os omer i c c . . a e d . s j t ss l t , l s g il r om n m h dou aux . u e oa . or i f , b t f w t ble f = unohi to un hi o sai o haber i ou d e e m n ot t o . e t . f (f ) , l r w l s be unos oho u ne sohe o om hoher i h on orific au i i a su ffix e d f (f ) , b tt , , x l ry

h o d of a r hoher onu - u - ihemu o . t o r r l b t ve bs ; , , ,

- u i b . h o o u e c . r o v e d n . r i tsur t f , , s w r w , f u ur u att . o r i a o as in hachi o . f , f ; ls , , b wl

d d r o . e an a e c . r oo old ha u a e en o t xt, j t t, , f , g bl , f an i n i o en c e . ho eshi hu . t y ( ) , v l t

- ushi al r o a . ho or ome a h er r o . f , f l p str te y , fe t be i n rn od r ushi f am oo oh mo he . e o a . h o f , te b b , t

- - u shi o umi a do n i n r a r hai nohor i cr e a c nd . f y , f ll w p ye . , e p s e

u totsu wo m a i -mi se u t o t . h h a e h t f , on, s ; j , p , t i oh to t o er on s . ham u w Sh o u t o S . f , p s w p , e u to i o i n e i nni n co e o ho i me e n e i . f y , vb t xt, v r, st p j , b g , b g g m vi e m d r o w ac . s a h a e ho i hihu . f (f e) j , s u to su dd en me fl . hohonohu for a ri i e et f , ly , b ef t ,

u tsu two . n ohonohu huehi oshi u to f , i g h

u - tsuhi u moon u to- tsuhi oheshi te e e i n ha i t was f , f ll (f ) ; , f l g t t a o e n h mo mon h n ri s i n h of th e v1 s1 0 e ad . e . ls s ve t t ( t ( ) b fly , m n i har oo r a r . vest ) . egrett bly b ef ‘

u e u . hoho b ox cofier . f y , fl te , ,

homo h or e . , s i harm i n r e b le t oo e le t o o u . hou achi o v . y , j , , l s , g , o S e e h on . on u e r . y o . tt

e u i e ri i n . n e ar a a a a oo d e d . ha ar e y , v ly , e , be s p te , p rt , l f i su . S e e hi s . g u from . fiv o e i u fi hor a . y ; yoj , fty . , belly

o-r on e r a i se d b eu hor odotoshi hi an di a d y v b l y , , gry , sple se ,

- - t c . t o se e e ook i h on li t e e i n u . o s o . , , l g b lly s tt g p fi ri c . h s r ad hor i o vb . re c , , st t , p e , oto n i oso oto o oto ni or i mono mo oto ni hor i g , y , y g , g

morni n a r morni n e n tor i hu n e e ch am e r i h g fte g, ve , g v ry b w t i n a e r ni n n u g ft eve g . wove st ffs . VOCABULARY OF THE TEXT .

- Har i ma name of r o in ce . hi hi o e dra i dra u , p v y , w l ft , w p . h r i n e a on i u h i m or u . hih s i o s acco an , sp g (s s ) y (g p y ,

hasami o vb . c i h o d be i h e n e of ri n i n a on , , l p , l w t s s b g g l g , ’

e en . Fr e nch e mme n e r tw .

hoshi r i o vb . r un . hi hi su i as o e ond i n th e , , y , p s, g b y , hoshi to totsu me hashi to i r u mo e nse of ri n i n on ; s b g g al g . hoshi to he i a i n h e h e r t o himo ace i n e r a Chi nk , s t t g w t , sp , t v l, ; d o i n h shi t e ar or t o o o a e r e i u r . p t g ; l t , l s e m m t o i d e c i en e . ime ad ri n c e e h . s s ply fe t v ss , l y , p ess

- - to o e n e ar . n z i fir r ho t s hi e um e at a amand r . ; , twe ty y s , , s l e d se b . e n ce a . amo mak fl a hate e v hi r e t . , , , ,

i h h mon h mehi o v . hotsuhi e . hir o b o u an d do n , g t t , , t ss p w , i r a o h e . h u S e e at . h tsur . gl tte , fl s ho ohi v ho o ad . r oo hi r o e e b . o e n ou t u nr o y , j t ( y , y , , p , ll . i k a o u se d as i d e ar u c hir ehi a r u i ad . r oa ly , q , ls , tt b t ve j , b , ’ i a a e du m i ou . e x clamat on L t . g . spac s m da i m ha ate or . hi r u e . y , st , y t h m h i n as a e d . shi u n hasu hoshi e e hi so su s e i ad . on , f l g , p s ve j , l g

ar a i . b . e i i m hedote e v n e . , , sep t , spl t ( t ) hen u e Ch r an or ma i on hito hur u e r ha hi to i - ur u g y ( t sf t ; (p ps f ,

m J a an e e hen e r o - shak i h u i e r i n od . p s y ht fl b w e) w t p

si st e n l . henj i an swer . t y

h r ou h and a a hi to i or e he ad . he e vb . as , , p s t g w y , f hi tahur o hi hur o d e a k ime e t c . to c (t ) , ( ) , ep bl ,

henur u a a orm of he . u i e ack . , p st f q t bl h te one e i n man he . i r on rt . hete . a , p p , , b g, , pe s ;

da fir e hi tobi to me n e r son hi totsu hi su n . , , y , , , p s ; ,

- hi oshi hi muhoshi sun o ard one . y ( ) , t w s,

a hi to ihi man - h ar u i ci i . e . e . st y ( e ) , p bl ty ,

- th e e comin ma r f u i h e e ar d ac hai r . e o c iy , b , f e b g tt p bl hi or o da b da dai o si e t c . y , y y y , ly , g s p ,

oma man - a i i f hi t ce . e . o d o u u a . s l , sp , v hi wr e da or su n - dar k n d u k me n o i ar or m ace y , y e , s , , s l t y e pty pl P e rha m u k or cham e r . i grow d s . b ps s ply h i r i ri e ii , p st Fa? hi hor i i h r adi ance ri h hi tor i on e er on a on e hi tor i , l g t, , b g t , p s , l

hi tor i u i one e r on a e r h n e . t e ss , (p s ) ft

- mi u hiho/r i mi ohi ts be u of o h r . ( ) , f ll t e i m e e u a r i h n e . i i h hi tosh ike . l g t , b g t ss , s pl , q l, l h n h a r e i ni n S e e he i o u . hihor u b he . , ve b , s g, h u ar e r di r e i n r adi an . he oto c o . t ( ) , q t , t VOCABULARY OF THE TEXT .

hodo u an i ace m a ur e i n i ho h ou d e i n c a . , q t ty, sp , e s , , se, w ll g, b u lne tsuhi no hodo u i as wi o sa e ak i i i i i i u vb . f l ss ; , ( , y , ) , , y , sp , th e moon a d hodonohu rm e ca i er u att . a o . w x ; , ll ; y , p st f

- t on ce . a i i ha i me e in t o sa . j , b g y hoho e h - mi o mi au . i i i tor i was a in ai d . y , s le, l g , s y g, s

- - - - ho i nohu hon i a ain i i hohor e ak t o or wi h . ( , g st , spe t ’ - - on e i l or d e i r e . i i ohi sa ac di c s w l s , y pl e, re t, Ho o u h nr wr i r o . n ame of B d or de r , p p .

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mo . tomai no a of to i for m of. , p st

m h of tomoi . a c . wo osuhu a l tomo i ne to . an o d or e m , p st p y , pp

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moi . i i r omowomu fu t . to r i di e . t , , exp e,

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i i u d mo ta o o a ri . t ma e m ha c of to r ta e . a y , e p t , se y , tt b y te h n we w h as i m ra i . a d te o oehi te di s pe t ve , ; , ama er i tomoi - e u -or i ri u i n in ands or com t y , y ( ) , t b t g b

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mosoho ni occa i ona . T emi i hu I ndi a T en ihu o . t , s lly y , ( j )

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1 14 VOCABULARY OF THE TEXT .

h n d hushi old n am of n or h tsui u i at a i n t e e . T su , l st , , e t

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r i . fun cti ona es conn ect . tsuhowoshi tsuhowosu tsu howo tsur osu e tswr o - su e ac - r ( , y ( y , f e est) ,

shi shi o vb . li t . cau t o nd th e o i i on of r in the ac ) , , se se p s t est g f e m r h n ri fi i . n d a o o o c e . or chi n on th e h and . ( se ) , e

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mor di i n c th e m ani n tsu ehu u en i ad ron . e st tly e g y , s sp s ve j st g ’ r . tsu u de w d dr o tsu u me se ve y , , ew p ; y tsuhi moon mon h . mono sor a u i hoher oho h ould , , t , s m u s u tsuhi o vb . con u e e n so mu ch as a d ro of , , s e, p, ve p n of d o hr ou h come t o e d . d e w sh ower wn t g wehede we tsuhi i vb . o s h o i r . t u , , , th e a

h awk u p gr e en vomi t .

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u dd nne or i nn i n . 85 . p . s e ss beg g — hi -a e i f u th e r u e - or tenkor i hono a ifici a o r . uc , rt l fl we y , l t p ( beer f t uhur i o ir i - o h nc d i nk at e cau sat . o s tsuhur os , , sp t b wl) , e e, r (

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- hi r ete u t i n . tsuhushi o vb . hau . u c i , , ex st , p VOCABULARY OF THE TEXT . 1 1 5

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wahet s wohe su t u e vb . di i de m ran me . a emu fut . e . o ( ) , , v , y , vb y , t s di ri a o u . f ll t , st b te o yami . w wa hi d a a ill. r c . ami o vb . c a e a o , l y , , e s ; ls be

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