21 金屋（に）粧ひ成て嬌（こび）て夜に侍す。
She finished her makeup in the golden building, and charmingly accompanied the Emperor in the evenings.
- 金屋 is another reference to Emperor Wu; once again the tireless Wikisource guy has put the original quote from the Book of Han up. He also points out that the 嬌 here is probably a pun on Empress Chin Jiao, who Wu wanted to build the golden house for.
22 玉楼宴罷て酔て春に和す。
In the jeweled pavilions at the end of the banquets they were drunk, and relaxed in the spring.
- I'm assuming that 罷て is intended to be read as おわりて.
23 姉妹兄弟、皆列士
Her brothers and sisters were all made governors of land.
24 憐れむべし、光彩の門戸を生すること
Oh, how splendid, the thriving of the shining family!
25-26 遂に天下父母の心をして、男を生むことを重んせずして、女を生むことを重んせしむ。
This soon affected the hearts of the mothers and fathers of the land -- it caused them to not value giving birth to boys, but rather giving birth to girls.
27 驪宮高き處、青雲に入る。
The high places of Lu Palace entered the blue clouds.
- This is the Huaqing Palace, the location of the Huaqing Pools mentioned earlier in the poem.
28 仙樂、風飄て處處に聞ゆ。
The music of the sages fluttered on the wind and could be heard here and there.
29 緩く歌ひ謾に舞て絲竹を凝らす。
The slow singing and the gentle dancing merged with the strings (of the instruments).
- 謾 seems to be a 仮字 for 縵.
30 尽日（ひねもす）君王看れども足らざるに、
The King watched all day but it wasn't enough.
31 漁陽の鼙鼓、地を動し来たる。
The war drums of Yuyang began to shake the earth.
- The next set of lines alludes to the events of the An Lushan rebellion; the wikipedia article on Yang Guifei has the full story of her death; without some knowledge of the basic story this part of the poem makes little sense.
32 驚破（そよや）、霓裳羽衣の曲。
Oh! The song of rainbow skirts and feather robes.
- According to the den, this is the song that Guifei enchanted Xuanzong with. I'm a little uncertain on what 驚破 means here -- both Hiromichi's furigana and the notes to the SKT indicate that it's an expression of surprise, but the meaning of the line isn't very clear. The SKT's modern Japanese translation and Wikisource say it means the drums disrupted the dance.
33 九重の城闕、煙塵生す。
The ninefold palace became covered in smoke and dust.
34 千乗万騎西南に行く。
The large army went southwest.
- This refers to the King's troops fleeing the palace.
35 翠華、搖搖として行て復た止まる。
The jewels on the imperial flag rocked back and forth, stopping and starting.
36 西の方、都門を出ること、百余里。
They left the capital gate to the west and went over 100 li.
37 六軍発せず、奈何（いかん）ともすること無し。
The Imperial army was not sent out, and couldn't do anything.
38 宛転たる蛾眉、馬の前に死ぬ。
The curved eyebrows like a moth, died before the horse.
- A very allusive reference to Yang Guifei's execution; that's an odd simile -- I don't know if it was a poetic standard. Wikisource suggests it could be an allusion to Mount Emei, where Xuanzong was going. Guifei was strangled in a Buddhist temple, but since she was killed at Mawei (馬嵬), this may be a play on words.
39 花の鈿（かんざし）地に委（すて）て、人の收むる無し。
Her flower hairpin fell to the ground, and no one picked it up.
40 翠翹金雀玉の搔頭（さしくし）。
(Then,) her hair ornament made from the feather of a kingfisher, her gold sparrow (pin), and her jeweled hair clasp.
Sunday, February 24, 2013
Wednesday, February 13, 2013
Chogonka, part 1
My goal is to post roughly 20 lines of the poem each post. I'm only going to do the 訓読 based on Hagiwara's citation of the poem; this uses some different kanji and a few different kundoku from the 新釈漢文大系 (SKT) text that I'm using for annotations. If you want to see the original Chinese text and pinyin, go to the Wikisource page. That page has a good natural translation so I'll try to be a bit more literal and explain some more of the terms and such.
長恨歌 (Song of Everlasting Regret/Neverending Sorrow)
1 漢王、色を重んじて、傾国を思ふ。
The King of Han valued sex, and wanted a beautiful woman.
- The "King of Han" is a poetic conceit to avoid naming Emperor Xuanzong, since the Tang Dynasty was still ruling. There is no doubt who the poem is about, though. The suggestion is that this is about Emperor Wu of Han and his relationship with Consort Li. Li has been suggested as one model for the Kiritsubo Intimate. The term 傾国 also comes from the Book of Han's biography of Consort Li; see the translated passage at wiktionary.
- "sex" is kind of a bold translation of 色 but I couldn't come up with a better one. "Love" or "romance" don't really work. Maybe the wikisource's choice of "dalliances", although somewhat Victorian, is more appropriate.
2 御宇（あめのしたしろしめして）多年求むれど、得ず。
He searched during the many years of his reign, but couldn't find any such beauty.
3 楊家に女（むすめ）あり、初めて長（ひと）と成れり。
In the House of Yang there was a daughter who had just come of age.
4 養はれて深閨に在りて、人未だ識らず。
She was raised and kept in the inner house, and people did not yet know her.
5 天の生（な）せる麗質、自ら棄て難し。
Her natural beauty was difficult to ignore.
- I'm not entirely sure how to interpret 自難棄; apparently it's just "impossible to ignore" but I don't fully understand the construction of that meaning.
6 一朝選ばれて、君王の側に在り。
One day, she was chosen, and went by the King's side.
7 頭を回らし、一たび笑しては百の媚生（な）る。
By turning her head and laughing once, it was one hundred times as sexy.
- None of the editions I've looked at really translate the meaning of the words, they just go with something like "Her entrancing smile could melt anyone's heart". I'm really not sure if my more literal interpretation is accurate at all.
8 六宮の粉黛、顏色無し。
The powdered beauties of the palace had no beauty.
- Presumably in comparison to Yang Guifei. A less literal translation would be "The other women in the palace could not compare to her."
9 春寒くして、浴を賜ふ、華清の池。
In the cold spring, the King gave her the gift of bathing in the Huaqing Pool.
10 温泉の水、滑らかにして凝れる脂を洗ふ。
The waters of the hot spring were smooth, and cleansed her white skin.
- 凝脂 is kind of an odd phrase; it seems to mean "(skin) white like solid fat" and is derived from the Shi jing.
11 侍兒（おもとひと）、扶け起して、嬌て力無し。
Her serving women helped her exit; she was slender and had no strength.
12 始を是れ新たに恩沢を承くる時。
This is just when she began to receive the King's favor.
-SKT reads 始 as まさしく and says it means "Just now".
13 雲の鬢（つら）、花の顏ばせ金の步搖（さしくしやり）
She had hair like a cloud, a face like a flower, and gold jewelry in her hair.
- 雲 may just mean "dark" but it might also refer to other aspects of clouds as well.
14 芙蓉帳暖かにして春宵を度る。
They spent the spring nights behind a warm screen of hibiscus.
15 春宵短きを苦しんで、日高（たけ）て起く。
They lamented the shortness of the spring nights, and rose when the sun was high.
16 此れ従、 君王、早朝（あさまつりごと）せず。
From this point, the King no longer did his morning government duties.
-従 is evidently read より here.
17 歓を承け宴に侍するに間暇無し。
She pleased the Emperor and accompanied him to banquets; she had no free time.
- SKT emends 宴 to 寝 from other manuscripts and says this means "she spent time in his sleeping chamber". 承歓 is evidently some kind of idiom.
18 春は春の遊びに従ひ、夜は夜を専にす。
In the spring she accompanied him on his spring outings, and at night she was with him every night.
19 後宮の佳麗、三千人。
There were three thousand beautiful women in the palace,
- SKT emends 後 to 漢 from other manuscripts, changing the meaning to "In the Han Palace..."
20 三千の寵愛、一身に在り。
(but) the love for the three thousand was with one woman alone.
Sounds like a great love story! What could go wrong?
長恨歌 (Song of Everlasting Regret/Neverending Sorrow)
1 漢王、色を重んじて、傾国を思ふ。
The King of Han valued sex, and wanted a beautiful woman.
- The "King of Han" is a poetic conceit to avoid naming Emperor Xuanzong, since the Tang Dynasty was still ruling. There is no doubt who the poem is about, though. The suggestion is that this is about Emperor Wu of Han and his relationship with Consort Li. Li has been suggested as one model for the Kiritsubo Intimate. The term 傾国 also comes from the Book of Han's biography of Consort Li; see the translated passage at wiktionary.
- "sex" is kind of a bold translation of 色 but I couldn't come up with a better one. "Love" or "romance" don't really work. Maybe the wikisource's choice of "dalliances", although somewhat Victorian, is more appropriate.
2 御宇（あめのしたしろしめして）多年求むれど、得ず。
He searched during the many years of his reign, but couldn't find any such beauty.
3 楊家に女（むすめ）あり、初めて長（ひと）と成れり。
In the House of Yang there was a daughter who had just come of age.
4 養はれて深閨に在りて、人未だ識らず。
She was raised and kept in the inner house, and people did not yet know her.
5 天の生（な）せる麗質、自ら棄て難し。
Her natural beauty was difficult to ignore.
- I'm not entirely sure how to interpret 自難棄; apparently it's just "impossible to ignore" but I don't fully understand the construction of that meaning.
6 一朝選ばれて、君王の側に在り。
One day, she was chosen, and went by the King's side.
7 頭を回らし、一たび笑しては百の媚生（な）る。
By turning her head and laughing once, it was one hundred times as sexy.
- None of the editions I've looked at really translate the meaning of the words, they just go with something like "Her entrancing smile could melt anyone's heart". I'm really not sure if my more literal interpretation is accurate at all.
8 六宮の粉黛、顏色無し。
The powdered beauties of the palace had no beauty.
- Presumably in comparison to Yang Guifei. A less literal translation would be "The other women in the palace could not compare to her."
9 春寒くして、浴を賜ふ、華清の池。
In the cold spring, the King gave her the gift of bathing in the Huaqing Pool.
10 温泉の水、滑らかにして凝れる脂を洗ふ。
The waters of the hot spring were smooth, and cleansed her white skin.
- 凝脂 is kind of an odd phrase; it seems to mean "(skin) white like solid fat" and is derived from the Shi jing.
11 侍兒（おもとひと）、扶け起して、嬌て力無し。
Her serving women helped her exit; she was slender and had no strength.
12 始を是れ新たに恩沢を承くる時。
This is just when she began to receive the King's favor.
-SKT reads 始 as まさしく and says it means "Just now".
13 雲の鬢（つら）、花の顏ばせ金の步搖（さしくしやり）
She had hair like a cloud, a face like a flower, and gold jewelry in her hair.
- 雲 may just mean "dark" but it might also refer to other aspects of clouds as well.
14 芙蓉帳暖かにして春宵を度る。
They spent the spring nights behind a warm screen of hibiscus.
15 春宵短きを苦しんで、日高（たけ）て起く。
They lamented the shortness of the spring nights, and rose when the sun was high.
16 此れ従、 君王、早朝（あさまつりごと）せず。
From this point, the King no longer did his morning government duties.
-従 is evidently read より here.
17 歓を承け宴に侍するに間暇無し。
She pleased the Emperor and accompanied him to banquets; she had no free time.
- SKT emends 宴 to 寝 from other manuscripts and says this means "she spent time in his sleeping chamber". 承歓 is evidently some kind of idiom.
18 春は春の遊びに従ひ、夜は夜を専にす。
In the spring she accompanied him on his spring outings, and at night she was with him every night.
19 後宮の佳麗、三千人。
There were three thousand beautiful women in the palace,
- SKT emends 後 to 漢 from other manuscripts, changing the meaning to "In the Han Palace..."
20 三千の寵愛、一身に在り。
(but) the love for the three thousand was with one woman alone.
Sounds like a great love story! What could go wrong?
Wednesday, February 6, 2013
Kiritsubo 1.4c
I checked a 古典 dictionary for あぢきなし; their etymology said it's from あづきなし, which is あ (sound variation of the わ in 分ける or 分かれる) + 付き + 無し, meaning unable to tell the difference or not distinguishing, which led to the other meanings by association.
This post has the 余釈 for the sentence. I put in links to Wikipedia articles for the Chinese history figures mentioned.
もろこしにもかかる事の起りに
細 殷の紂が妲己を愛し、周の幽王褒姒を寵せしより世の乱れたる事などを引きていふなり。
Sairyusho (1510): This is drawing from examples of the government falling into chaos from the love of King Zhou of Shang for Daji, or King You of Zhou for Bao Si.
楊貴妃のためし
湖師 玄宗の寵愛ゆゑに安禄山が乱出来たるためしなるべし。
Kogetsusho shisho (1673): This is the example of Xuanzong's love allowing for the An Lushan rebellion to occur.
花 桐壺の帝の更衣をおくれ給へることを、唐の玄宗の楊貴妃に離れ給ひて嘆き給へるにたとへて、長恨歌の言葉を借りて一巻の始終を書き侍れば、そのことをいはんとて「楊貴妃のためしも引き出でつべく」とまづ言出だせり。作者の意趣すぐれて聞こえ侍り。
Kacho yosei (1472): The Kiritsubo Emperor survives the Kiritsubo Intimate; this is similar to Xuanzong being separated from Yang Guifei. This whole chapter is written based on the Song of Neverending Sorrow, and so first the text says that the "example of Yang Guifei should be brought out." The author's craft is excellent.
岷 云々 前の「もろこしにもかかる事」といへるとは別段と見るべし。花鳥には一つの心に注せらるるか云々
Mingo nisso (1598): (first part omitted) The "In China too, these things" sentence is talking about other examples, although the Kacho yosei seems to say they are the same.
---
The (somewhat trivial) issue is whether the "In China too" included Yang Guifei or not, something that divided the early commentaries.
釈 「かかる事の起こり」とある中に楊貴妃の例もこもるべし。さて、この巻は長恨歌によりて書かれたることは論なきを、かの歌の全文を知らざればこの文のいみじきことどもの知られがたき故に、わづらはしけれど白氏文集のままをここに挙げつ。引き合はせて見るべし。
You should view the "In China too" line as including the Yang Guifei example. Now then, it doesn't even need to be said that this chapter is based on the Song of Neverending Sorrow. Therefore if you don't know the entire text of that poem, it's hard to understand the excellence of this chapter. So even though it's troublesome, I will give the entire text from Bai Juyi's works here.
この次に陳鴻が選べる長恨歌の伝といふ物一篇あり。玄宗と楊貴妃との始終を記したれど、長ければここには省きて、ただその要とある所のみをいささか抜き出でて、注しつけぬ。詳しくは本書を見るべし。
Next, there is a Legend of the Song of Neverending Sorrow by Chin Ko. This records the story of Xuanzhong and Yang Guifei from start to finish. It is long, so I will include only an excerpt showing the main point here, and without annotations. You should see the main text for details.
---
Hagiwara does indeed include the entire Song as well as excerpts making up about a fourth of the Legend (a prose version included in the complete works of Bai Juyi). Initially I thought I would skip over this but I have to read these for my dissertation anyway, and it better represents Hagiwara's intentions to include it. There's already a good annotated translation on Wikisource, although the Legend doesn't seem to be translated anywhere. So it might be useless duplication to do it here too, but I suppose that's OK.
Also, I'm leaving Japan at the end of March and I'm presenting at a conference in a month so my free time will be a bit more limited until April. I'll still try to get a post out every 7-10 days or so but things could be a bit slower during that period. Thanks for reading!
This post has the 余釈 for the sentence. I put in links to Wikipedia articles for the Chinese history figures mentioned.
もろこしにもかかる事の起りに
細 殷の紂が妲己を愛し、周の幽王褒姒を寵せしより世の乱れたる事などを引きていふなり。
Sairyusho (1510): This is drawing from examples of the government falling into chaos from the love of King Zhou of Shang for Daji, or King You of Zhou for Bao Si.
楊貴妃のためし
湖師 玄宗の寵愛ゆゑに安禄山が乱出来たるためしなるべし。
Kogetsusho shisho (1673): This is the example of Xuanzong's love allowing for the An Lushan rebellion to occur.
花 桐壺の帝の更衣をおくれ給へることを、唐の玄宗の楊貴妃に離れ給ひて嘆き給へるにたとへて、長恨歌の言葉を借りて一巻の始終を書き侍れば、そのことをいはんとて「楊貴妃のためしも引き出でつべく」とまづ言出だせり。作者の意趣すぐれて聞こえ侍り。
Kacho yosei (1472): The Kiritsubo Emperor survives the Kiritsubo Intimate; this is similar to Xuanzong being separated from Yang Guifei. This whole chapter is written based on the Song of Neverending Sorrow, and so first the text says that the "example of Yang Guifei should be brought out." The author's craft is excellent.
岷 云々 前の「もろこしにもかかる事」といへるとは別段と見るべし。花鳥には一つの心に注せらるるか云々
Mingo nisso (1598): (first part omitted) The "In China too, these things" sentence is talking about other examples, although the Kacho yosei seems to say they are the same.
---
The (somewhat trivial) issue is whether the "In China too" included Yang Guifei or not, something that divided the early commentaries.
釈 「かかる事の起こり」とある中に楊貴妃の例もこもるべし。さて、この巻は長恨歌によりて書かれたることは論なきを、かの歌の全文を知らざればこの文のいみじきことどもの知られがたき故に、わづらはしけれど白氏文集のままをここに挙げつ。引き合はせて見るべし。
You should view the "In China too" line as including the Yang Guifei example. Now then, it doesn't even need to be said that this chapter is based on the Song of Neverending Sorrow. Therefore if you don't know the entire text of that poem, it's hard to understand the excellence of this chapter. So even though it's troublesome, I will give the entire text from Bai Juyi's works here.
この次に陳鴻が選べる長恨歌の伝といふ物一篇あり。玄宗と楊貴妃との始終を記したれど、長ければここには省きて、ただその要とある所のみをいささか抜き出でて、注しつけぬ。詳しくは本書を見るべし。
Next, there is a Legend of the Song of Neverending Sorrow by Chin Ko. This records the story of Xuanzhong and Yang Guifei from start to finish. It is long, so I will include only an excerpt showing the main point here, and without annotations. You should see the main text for details.
---
Hagiwara does indeed include the entire Song as well as excerpts making up about a fourth of the Legend (a prose version included in the complete works of Bai Juyi). Initially I thought I would skip over this but I have to read these for my dissertation anyway, and it better represents Hagiwara's intentions to include it. There's already a good annotated translation on Wikisource, although the Legend doesn't seem to be translated anywhere. So it might be useless duplication to do it here too, but I suppose that's OK.
Also, I'm leaving Japan at the end of March and I'm presenting at a conference in a month so my free time will be a bit more limited until April. I'll still try to get a post out every 7-10 days or so but things could be a bit slower during that period. Thanks for reading!
Sunday, February 3, 2013
Kiritsubo 1.4b
A very full word section today, with 6 entries. First I feel like I have to defend Hagiwara; on the last word post there were some very harsh comments about the philological efforts of the Edo-period scholars (one commenter called them "junk etymologies" and another compared them to jokes). The etymologies aren't that bad, though -- a decent number of them are accurate or at least one possibility for an unknown word. Of course there are some missteps, though.
Also, I want to say hi to a Chinese person living in France who is providing the second-most hits to the blog (next to Matt). Here's an interesting post where he(?) compares three Chinese translations of the first few sentences of "Kiritsubo". 我的中文不太好。欢迎、欢迎。
あいなく
玉 この詞、数もなく多く有るぞをことごとく見渡し合はせて考ふるに、何といふ弁へもなしに、うちつけに物することなり。ここもその意にて、おのが身にかからぬ人までも何といふことなしに目を側むる也。注に「愛無シ也」「あぢきなく也」などいへる皆かなはず。
Tama no ogushi (1796): This word occurs many times in the Tale. When you examine them all, it means to do unreasonable things with no thought put into it. The meaning here is the same; it means that even people not directly related to the circumstances are averting their eyes without any reason. The notes that say it means 無愛 or ajikinashi are wrong.
訳 ナニトナウ ムサト ナンノハリ合モナク
nani to nau (何となう), musa to, nan no hariai mo naku
釈 新釈に「愛敬なきを略して愛なきといふ也」とある。「略して」といはれたるはいかがなれど、なほ愛なきの意にはあるべし。何といふことなしに打ちつけにものするも、やがて愛のなき意なればいたく違（たが）へるにはあらず。
In the Shinshaku it says "This is shortened from aigyou nasi and means 愛なき." The "shortened" part is doubtful, but this should be seen as 愛なき. "Doing something unreasonable with no thought put into it" is, in the end, not that different from "with no care/love".
---
This word is still of unknown etymology (愛なし is listed as a possible etymology in modern dictionaries), and the exact meaning of the word in this sentence is still not certain.
そばめ
釈 「そば」は側の字の意、「め」はめ、む、むるとはたらく辞なり。側（そば）へ向きて、まさしく向かはぬ意にて、物妬（ものねたみ）するさまなり。
soba is the character 側. me is the word conjugated as me, mu, muru. The word means to turn aside and not face directly at something, indicating a grudge.
まばゆき
玉 拾遺に「日の輝く時まばゆくて見がたきやうの意なるべきにや」といへるごとくにて、なべて人に目をそばめらるる、これまばゆきなり。
Tama no ogushi (1796): The Genchu shui says
あぢきなう
新 人の情を五味に譬（たと）へて、うまし、からし、にがしなどいふ中の、にがにがしきといはんがごときことを、味気（あぢき）なしといふなり。
Shinshaku (1758): People's feelings are often compared to the five senses, for instance, umashi, karashi, nigashi, etc. In this case it is like niganigashiki; something that has no taste.
訳 フアンバイナ ムヤクナコトヂヤ ラチモナイ
fuanbai na (不安倍な), muyaku na koto ja (無役なことじゃ)、rachi mo nai (埒もない)
雅集 やくにもたたず、せんのないといふ心なり。真字伊勢物語「味気無（アヂキナク）」。契沖云、せんかたなし。史記伍子胥伝、無益を「アヂキナシ」とよめり。宣長云、俗言にいらざること、むやくのことといへる意なり。
Gagen shuran (1849): This means "useless" or "nothing can be done." In the Ise monogatari manabon the characters 味気無 are read as ajikinau. Keichū says that in the Shi ji, in the biography of Wu Xizu, 無益 is read as ajikinashi. Norinaga says that in the vernacular it means irazaru koto or mueki na koto.
---
The Ise monogatari manabon is a version of the Ise monogatari written entirely in Chinese characters, perhaps in the Kamakura era (the cite here is in poem 90). The practice of using Chinese works to gloss the Genji words is a curious one that dates back to the oldest commentaries; it survived into the 19th century for unclear reasons. I believe this etymology for the word is completely wrong and that 味気 is ateji, but I'm not 100% certain.
はしたなき
拾 枕草子に「はしたなき物」といふ下の一つに、「人をよぶに我かとてさし出たる、まして物くるるをり」など書けり。これにて心得べし。竹取物語に「宮は立つもはした居るもはしたにてゐ給へり」といふに同じ云々
Genchu shui (1698): In the Makura no sōshi there is a section called "hashitanaki things." One of the items is "When someone else is called, and you appear thinking you're the one being called. It's even worse when they give you something." There are other items; this should be consulted. Also in the Taketori Monogatari it says "The prince was uneasy(hashita) standing or sitting." This is the same meaning.
余 俗にどちらつかずといふ意なり。又めったに、又ひよんな事などいふ意なり。
Genchu yoteki (1830): In the vernacular this means things like dochira tsukazu, or metta ni, or hiyonna.
訳 フツガフナ ツキモナイ 思ヒガケナイ ツキホガナイ フサウオウナ フツツカナ
futsugafu na (不都合な), tsuki mo nai, omohigakenai, tsukiho ga nai, fusauouna (不相応な), futsutsuka na (不束な).
---
I believe Keichu is correct about hashita and hashitanaki meaning the same thing -- the nashi is a suffix (not 無い) that is in other words like いときなし.
御心ばへ
釈 心延（こころばへ）の意にて、心のひき延（はへ）て出でるおもふきをいふ語なり。心のさしゆくを志（こころざし）といひ、心を馳（はせ）出でるを意（こころばせ）といふ、皆同じおもふきなり。
This word is 心延, so it is extending (延) your spirit (心). This is similar to kokorozashi, which is pointing (指し) your spirit (心), or kokorobase, which is running (馳せ) your spirit (心).
訳 ココロムケ オモヒナシ
kokoromuke (心向け)、omohinashi (思ひなし).
Also, I want to say hi to a Chinese person living in France who is providing the second-most hits to the blog (next to Matt). Here's an interesting post where he(?) compares three Chinese translations of the first few sentences of "Kiritsubo". 我的中文不太好。欢迎、欢迎。
あいなく
玉 この詞、数もなく多く有るぞをことごとく見渡し合はせて考ふるに、何といふ弁へもなしに、うちつけに物することなり。ここもその意にて、おのが身にかからぬ人までも何といふことなしに目を側むる也。注に「愛無シ也」「あぢきなく也」などいへる皆かなはず。
Tama no ogushi (1796): This word occurs many times in the Tale. When you examine them all, it means to do unreasonable things with no thought put into it. The meaning here is the same; it means that even people not directly related to the circumstances are averting their eyes without any reason. The notes that say it means 無愛 or ajikinashi are wrong.
訳 ナニトナウ ムサト ナンノハリ合モナク
nani to nau (何となう), musa to, nan no hariai mo naku
釈 新釈に「愛敬なきを略して愛なきといふ也」とある。「略して」といはれたるはいかがなれど、なほ愛なきの意にはあるべし。何といふことなしに打ちつけにものするも、やがて愛のなき意なればいたく違（たが）へるにはあらず。
In the Shinshaku it says "This is shortened from aigyou nasi and means 愛なき." The "shortened" part is doubtful, but this should be seen as 愛なき. "Doing something unreasonable with no thought put into it" is, in the end, not that different from "with no care/love".
---
This word is still of unknown etymology (愛なし is listed as a possible etymology in modern dictionaries), and the exact meaning of the word in this sentence is still not certain.
そばめ
釈 「そば」は側の字の意、「め」はめ、む、むるとはたらく辞なり。側（そば）へ向きて、まさしく向かはぬ意にて、物妬（ものねたみ）するさまなり。
soba is the character 側. me is the word conjugated as me, mu, muru. The word means to turn aside and not face directly at something, indicating a grudge.
まばゆき
玉 拾遺に「日の輝く時まばゆくて見がたきやうの意なるべきにや」といへるごとくにて、なべて人に目をそばめらるる、これまばゆきなり。
Tama no ogushi (1796): The Genchu shui says
This perhaps should mean that it is like the difficulty of looking at the bright sun."This is correct; generally people averting their eyes is referred to as mabayuki.
あぢきなう
新 人の情を五味に譬（たと）へて、うまし、からし、にがしなどいふ中の、にがにがしきといはんがごときことを、味気（あぢき）なしといふなり。
Shinshaku (1758): People's feelings are often compared to the five senses, for instance, umashi, karashi, nigashi, etc. In this case it is like niganigashiki; something that has no taste.
訳 フアンバイナ ムヤクナコトヂヤ ラチモナイ
fuanbai na (不安倍な), muyaku na koto ja (無役なことじゃ)、rachi mo nai (埒もない)
雅集 やくにもたたず、せんのないといふ心なり。真字伊勢物語「味気無（アヂキナク）」。契沖云、せんかたなし。史記伍子胥伝、無益を「アヂキナシ」とよめり。宣長云、俗言にいらざること、むやくのことといへる意なり。
Gagen shuran (1849): This means "useless" or "nothing can be done." In the Ise monogatari manabon the characters 味気無 are read as ajikinau. Keichū says that in the Shi ji, in the biography of Wu Xizu, 無益 is read as ajikinashi. Norinaga says that in the vernacular it means irazaru koto or mueki na koto.
---
The Ise monogatari manabon is a version of the Ise monogatari written entirely in Chinese characters, perhaps in the Kamakura era (the cite here is in poem 90). The practice of using Chinese works to gloss the Genji words is a curious one that dates back to the oldest commentaries; it survived into the 19th century for unclear reasons. I believe this etymology for the word is completely wrong and that 味気 is ateji, but I'm not 100% certain.
はしたなき
拾 枕草子に「はしたなき物」といふ下の一つに、「人をよぶに我かとてさし出たる、まして物くるるをり」など書けり。これにて心得べし。竹取物語に「宮は立つもはした居るもはしたにてゐ給へり」といふに同じ云々
Genchu shui (1698): In the Makura no sōshi there is a section called "hashitanaki things." One of the items is "When someone else is called, and you appear thinking you're the one being called. It's even worse when they give you something." There are other items; this should be consulted. Also in the Taketori Monogatari it says "The prince was uneasy(hashita) standing or sitting." This is the same meaning.
余 俗にどちらつかずといふ意なり。又めったに、又ひよんな事などいふ意なり。
Genchu yoteki (1830): In the vernacular this means things like dochira tsukazu, or metta ni, or hiyonna.
訳 フツガフナ ツキモナイ 思ヒガケナイ ツキホガナイ フサウオウナ フツツカナ
futsugafu na (不都合な), tsuki mo nai, omohigakenai, tsukiho ga nai, fusauouna (不相応な), futsutsuka na (不束な).
---
I believe Keichu is correct about hashita and hashitanaki meaning the same thing -- the nashi is a suffix (not 無い) that is in other words like いときなし.
御心ばへ
釈 心延（こころばへ）の意にて、心のひき延（はへ）て出でるおもふきをいふ語なり。心のさしゆくを志（こころざし）といひ、心を馳（はせ）出でるを意（こころばせ）といふ、皆同じおもふきなり。
This word is 心延, so it is extending (延) your spirit (心). This is similar to kokorozashi, which is pointing (指し) your spirit (心), or kokorobase, which is running (馳せ) your spirit (心).
訳 ココロムケ オモヒナシ
kokoromuke (心向け)、omohinashi (思ひなし).
Saturday, January 26, 2013
Kiritsubo, 1.4a
This is another sentence that will have to be split up into multiple posts; there are only a few of these but unfortunately a lot of them are right at the beginning.
Also those such as the senior nobles and privy gentlemen turned their eyes away helplessly, saying “His love towards this person is embarrassing. In China, too, it was just for this reason that the world was thrown into chaos and became bad.” Gradually in the world at large, as well, this became a bitter seed of worry for people. It was becoming such that the example of Yang Guifei would have to be mentioned, and there were many disgraceful occurrences, but she served, relying on the peerlessness of [the Emperor's] gracious care.
めをそばめつつ
新 あしくきらはしき物を見る時の様なり。長恨歌の伝に「京師ノ長吏、是ガ為ニ目ヲ側ム」といふにもよりしならん。
Shinshaku (1758): This describes looking at something bad that you don't like. This also seems to be a reference to the Chōgonka-den:
評 桐壺の帝の更衣を寵し給ふことを、そのかみ専ら行はれたる長恨歌に依りて巧みに書きなさん、との結構（したくみ）なる故に、ここに初めてかの伝の文を匂はし出でられたるなり。されども、彼には少しも拘（かかは）らずして、いと新しくめづらかにとりなされたる事、次に評ずるがごとし。
Hyou: The love between the Emperor and the Kiritsubo Intimate is mostly drawn from the Song of Neverending Sorrow, so for that reason, here the first small taste of that den appears. However, the story in the Tale contains new, very good, things that are not found at all in the original poem. I will say more about this later.
---
Hagiwara has more to say about the Song and the den (a prose version of the legend) in the supplemental notes so I'll put that off until part C.
もろこしにも
評 これ即ち楊貴妃のことを初めて綻（ほころ）ばし出だされたるにて、はるかの下に「人の帝のためしまで引き出でつつ、ささめき歎きけり」とある首尾なり。心得おきて読むべし。
Hyou: Here already we see the first hints of the Yang Guifei story, and much later it says "they brought up the example of other Emperors, and lamented quietly." This should be kept in mind.
天のしたにもあぢきなう
玉 天の下の人もあぢきなき御しわざとするよしなり。或抄云わく、「はじめに女中の妬みを言ひ、次に上達目、上人といひ、ここに天の下にもといへり。
Tama no ogushi (1796): This means that the people of the world are also taking this to be an unfortunate thing. A certain commentary says,
評 この或抄の説げにいと詳しく心得たりと云べし。作者の心ありしこと、末にて知られたり。そこにいふべし。
Hyou: It is definitely true that this "certain commentary" has understood things well. The things that the author has done become apparent later[??]. I will mention it there.
---
This "certain commentary" is from a work called the 首書源氏物語, an early woodblock edition that was never as popular as the Kogetsusho. The author of this work did not identify the "certain commentary" and it may be the author's own theories. I'm not entirely sure of the meaning of Hagiwara's comment.
はしたなき事おほかれど
玉 ここは更衣の身に受かる方よりいへり。
Tama no ogushi (1796): These are things being suffered by the Kiritsubo Intimate.
Also those such as the senior nobles and privy gentlemen turned their eyes away helplessly, saying “His love towards this person is embarrassing. In China, too, it was just for this reason that the world was thrown into chaos and became bad.” Gradually in the world at large, as well, this became a bitter seed of worry for people. It was becoming such that the example of Yang Guifei would have to be mentioned, and there were many disgraceful occurrences, but she served, relying on the peerlessness of [the Emperor's] gracious care.
めをそばめつつ
新 あしくきらはしき物を見る時の様なり。長恨歌の伝に「京師ノ長吏、是ガ為ニ目ヲ側ム」といふにもよりしならん。
Shinshaku (1758): This describes looking at something bad that you don't like. This also seems to be a reference to the Chōgonka-den:
The officials of the palace averted their eyes because of this.
評 桐壺の帝の更衣を寵し給ふことを、そのかみ専ら行はれたる長恨歌に依りて巧みに書きなさん、との結構（したくみ）なる故に、ここに初めてかの伝の文を匂はし出でられたるなり。されども、彼には少しも拘（かかは）らずして、いと新しくめづらかにとりなされたる事、次に評ずるがごとし。
Hyou: The love between the Emperor and the Kiritsubo Intimate is mostly drawn from the Song of Neverending Sorrow, so for that reason, here the first small taste of that den appears. However, the story in the Tale contains new, very good, things that are not found at all in the original poem. I will say more about this later.
---
Hagiwara has more to say about the Song and the den (a prose version of the legend) in the supplemental notes so I'll put that off until part C.
もろこしにも
評 これ即ち楊貴妃のことを初めて綻（ほころ）ばし出だされたるにて、はるかの下に「人の帝のためしまで引き出でつつ、ささめき歎きけり」とある首尾なり。心得おきて読むべし。
Hyou: Here already we see the first hints of the Yang Guifei story, and much later it says "they brought up the example of other Emperors, and lamented quietly." This should be kept in mind.
天のしたにもあぢきなう
玉 天の下の人もあぢきなき御しわざとするよしなり。或抄云わく、「はじめに女中の妬みを言ひ、次に上達目、上人といひ、ここに天の下にもといへり。
Tama no ogushi (1796): This means that the people of the world are also taking this to be an unfortunate thing. A certain commentary says,
First the jealousy of the women is mentioned, then the noblemen, and now the wider world.
評 この或抄の説げにいと詳しく心得たりと云べし。作者の心ありしこと、末にて知られたり。そこにいふべし。
Hyou: It is definitely true that this "certain commentary" has understood things well. The things that the author has done become apparent later[??]. I will mention it there.
---
This "certain commentary" is from a work called the 首書源氏物語, an early woodblock edition that was never as popular as the Kogetsusho. The author of this work did not identify the "certain commentary" and it may be the author's own theories. I'm not entirely sure of the meaning of Hagiwara's comment.
はしたなき事おほかれど
玉 ここは更衣の身に受かる方よりいへり。
Tama no ogushi (1796): These are things being suffered by the Kiritsubo Intimate.
Saturday, January 19, 2013
陽明文庫源氏物語 (Yomei bunko Genji), intro and part 1
This is the first post in another series that I hope to do on this blog, about the Genji text (what fascinating topics!)
The earliest textual fragments of the Genji come from several sources in the 12th century -- the Genji monogatari emaki (picture scroll), the Genji shaku (the first commentary), and the kokeizu (old family tree). The fragments from all three of these sources represent probably 2-3% of the total text, but there are existing manuscripts that are closer to these textual sources than the other manuscripts that became standard later.
The usual explanation for this is that the text had become corrupt by this time and that Fujiwara no Teika and Minamoto no Mitsuyuki (and his son Chikayuki) independently set out to restore it; Teika's work represents the better scholarship and is closer to Murasaki Shikibu's original. Since only half a chapter survives in Teika's hand, we have to find the manuscripts that are closest to Teika's original.
A number of articles and books since the 1980's have shown that there's virtually no proof for any of the preceding paragraph, and that it's no longer acceptable to name a particular manuscript or manuscript family as being the "closest" to a hypothetical "original". However, the tradition is still strong and all new editions are still based on the supposed Teika line.
For the "Kiritsubo" chapter, the Genji shaku is the only source of textual fragments. I've looked at them all and the closest manuscript to the fragments is known as the 陽明文庫源氏物語 because of where it's housed today. The manuscript is a hybrid, with some of the chapters being Teika texts. A list of authors associated with the manuscript says that the scribe of the "Kiritsubo" chapter is Emperor Go-Fukukusa. I find this a little hard to accept; there's no definitive proof either way but the scribe list also includes people like Emperor Gotoba, Abutsuni, Fujiwara no Tameie, Kujo Yoshitsune, and other prominent waka poets of the era.
Anyway, I thought that as I go through the Hyoshaku, every so often I'll look at the text of the Yomei bunko Genji for comparison. Here's the text of the three sentences I've covered so far; first from Eiichi Shibuya's web site (which is the standard modern text), and then from the Yomei bunko. I did the usual orthographic cleanup and underlined the parts that are different.
First, the standard text:
いづれの御時にか、女御、更衣あまたさぶらひたまひけるなかに、いとやむごとなき際にはあらぬが、すぐれて時めきたまふありけり。
はじめより我はと思ひ上がりたまへる御方がた、めざましきものにおとしめ嫉みたまふ。同じほど、それより下臈の更衣たちは、ましてやすからず。朝夕の宮 仕へにつけても、人の心をのみ動かし、恨みを負ふ積もりにやありけむ、いと篤しくなりゆき、もの心細げに里がちなるを、いよいよあかずあはれなるものに思 ほして、人のそしりをもえ憚らせたまはず、世のためしにもなりぬべき御もてなしなり。
And then the Yomei bunko text:
いづれの御時には、女御、更衣あまたさぶらひたまひけるなかに、いとやむごとなき際にはあらぬが、すぐれて時めきたまふおはしけり。
はじめより我はと思ひ上がり給へる御方がたは、めざましきものに思ひおとしめ嫉みたまひける。それより下臈の更衣たちなどは、朝夕の宮仕へにつけつつも、安からぬ事多く、思ひつむるままに、人の心を動かし、嘆きを負ふ積もりにや、いと篤しくなりゆきて、もの心細げに思ひ里がちなるを、いよいよあかずあはれなるものに思ほして、人のそしりをも憚らせたまはず、世のためしともまりぬべき御もてなしなり。
It's the same story and characters, but there are a lot of differences in the style and diction. Some of the more notable points:
1. The use of the honorific ohasu instead of ari for the Kiritsubo Intimate (a common feature for the whole chapter).
2. The omission of the Intimates at the same level
3. The extra use of けり at the end of the second sentence.
The earliest textual fragments of the Genji come from several sources in the 12th century -- the Genji monogatari emaki (picture scroll), the Genji shaku (the first commentary), and the kokeizu (old family tree). The fragments from all three of these sources represent probably 2-3% of the total text, but there are existing manuscripts that are closer to these textual sources than the other manuscripts that became standard later.
The usual explanation for this is that the text had become corrupt by this time and that Fujiwara no Teika and Minamoto no Mitsuyuki (and his son Chikayuki) independently set out to restore it; Teika's work represents the better scholarship and is closer to Murasaki Shikibu's original. Since only half a chapter survives in Teika's hand, we have to find the manuscripts that are closest to Teika's original.
A number of articles and books since the 1980's have shown that there's virtually no proof for any of the preceding paragraph, and that it's no longer acceptable to name a particular manuscript or manuscript family as being the "closest" to a hypothetical "original". However, the tradition is still strong and all new editions are still based on the supposed Teika line.
For the "Kiritsubo" chapter, the Genji shaku is the only source of textual fragments. I've looked at them all and the closest manuscript to the fragments is known as the 陽明文庫源氏物語 because of where it's housed today. The manuscript is a hybrid, with some of the chapters being Teika texts. A list of authors associated with the manuscript says that the scribe of the "Kiritsubo" chapter is Emperor Go-Fukukusa. I find this a little hard to accept; there's no definitive proof either way but the scribe list also includes people like Emperor Gotoba, Abutsuni, Fujiwara no Tameie, Kujo Yoshitsune, and other prominent waka poets of the era.
Anyway, I thought that as I go through the Hyoshaku, every so often I'll look at the text of the Yomei bunko Genji for comparison. Here's the text of the three sentences I've covered so far; first from Eiichi Shibuya's web site (which is the standard modern text), and then from the Yomei bunko. I did the usual orthographic cleanup and underlined the parts that are different.
First, the standard text:
いづれの御時にか、女御、更衣あまたさぶらひたまひけるなかに、いとやむごとなき際にはあらぬが、すぐれて時めきたまふありけり。
はじめより我はと思ひ上がりたまへる御方がた、めざましきものにおとしめ嫉みたまふ。同じほど、それより下臈の更衣たちは、ましてやすからず。朝夕の宮 仕へにつけても、人の心をのみ動かし、恨みを負ふ積もりにやありけむ、いと篤しくなりゆき、もの心細げに里がちなるを、いよいよあかずあはれなるものに思 ほして、人のそしりをもえ憚らせたまはず、世のためしにもなりぬべき御もてなしなり。
And then the Yomei bunko text:
いづれの御時には、女御、更衣あまたさぶらひたまひけるなかに、いとやむごとなき際にはあらぬが、すぐれて時めきたまふおはしけり。
はじめより我はと思ひ上がり給へる御方がたは、めざましきものに思ひおとしめ嫉みたまひける。それより下臈の更衣たちなどは、朝夕の宮仕へにつけつつも、安からぬ事多く、思ひつむるままに、人の心を動かし、嘆きを負ふ積もりにや、いと篤しくなりゆきて、もの心細げに思ひ里がちなるを、いよいよあかずあはれなるものに思ほして、人のそしりをも憚らせたまはず、世のためしともまりぬべき御もてなしなり。
It's the same story and characters, but there are a lot of differences in the style and diction. Some of the more notable points:
1. The use of the honorific ohasu instead of ari for the Kiritsubo Intimate (a common feature for the whole chapter).
2. The omission of the Intimates at the same level
3. The extra use of けり at the end of the second sentence.
Monday, January 14, 2013
Kiritsubo, 1.3
On to the third sentence! Kiritsubo's troubles are further described.
Her palace service morning and night also caused nothing but shock in others' hearts, and perhaps she bore the weight of [people's] spite, for she became very ill, and tended to be at home with a vaguely lonely appearance, and [the Emperor] looked on her more and more with great pity – he did not heed the criticism of others, and his actions were sure to become an example for the world.First, the headnotes:
うらみをおふつもりにや
釈 人の恨みの我が身にかかる事を、物を引き負ふになそらへて、負（おふ）といへるなり。さて、恨みを負ひて、とやかくや心を苦しめたるが積もりてついに病がちになり給へる意なり。
Kiritsubo taking the resentment of others is described metaphorically as bearing a weight, so the word ofu is used. What is meant here is that the weight of these grudges pile up and she becomes sickly.
さとがち
新 里に住みがちなり。
Shinshaku (1758): She tends to go home.
---
The word sato here means her parents' house, as opposed to her residence in the palace.
いよいよあかず
評 人の妬むによりて、里に住みがちなれば、逢ひ給ふこと遠くして、いよいよ飽かずあはれにおぼえ給ひつつ、ついには人のそしりをもえ憚らせ給はぬなり。げに人の情はさるものになんありける。この脉（すぢ）、次々にますます甚だしくなりもてゆく様、よくよく心をつけて味わふべし。
hyo: The Intimate often goes home due to the spite of others, so the Emperor cannot meet her. He views her with great pity, and soon does not listen to any criticism of his behavior. This is indeed how peoples' feelings work. This story element grows as the tale moves on; the reader should pay close attention to it and savor it.
世のためしにもなりぬべき
新 末に楊貴妃にたとへんの本なり。
Shinshaku (1758): This is the basis for the comparison to Yang Guifei later.
Then in the 語釈 appendix we have four words:
みやづかへ
釈 宮は内裏のこと、「つかへ」は彼方より使はれ奉るをいふ。さて、転（うつ）りては大宮ならぬ所に仕（つか）ふるをもすべて「みやづかへ」といへり。
miya refers to the palace, and tsukae means being dispatched there and working. Now then, this word changed to refer to palace service beyond just the Emperor's quarters.
あつしく
余 小町集に「人知れぬ我（われ）が思ひに逢はぬまは身さへ温（ぬる）みて思ほゆるかな」
夕顔の巻に「御頭（ぐし）も痛く、身も熱き心地して」
若菜下に「御身もぬるみて、御心地もいとあしけれど」
手習の巻に「うちはへぬるみなどし給へることはさめ給ひて、さわやかに見え給へば」
などあり、すべて病者は身に熱の有りて、あつきものなれば、「あつし」などいひならひたるが、末には病とだにいへば、「あつしう」などいへるやうになりたるならん。
Genchu yoteki (1830): The poetry collection of Ono no Komachi says [poem 48]:"In my own thoughts that others do not know, when I do not meet him for a time, even my body grows warm." From the "Yugao" chapter: "His head hurt, and his body felt hot." From the "Wakana ge" chapter: "[Lady Murasaki]'s body was warm, and she felt bad..." From the "Tenarai" chapter: "The fever that had been going on for a while has lessened, and she seems calmer..." Such examples all deal with the fact that a sick person's body has a fever, and is hot (atsuki), so the term atsushi is used. Eventually the sickness itself was described as atsushiu.
玉 見弱く病あるをいへり。拾遺に病の重きを厚しといふにや、といへるは物語にてはかなはず。
Tama no ogushi (1796): This means she is weakened from illness. The Genchu shui's claim that the weight of illness is thick (atsui) does not fit with the way the term is used in the Tale.
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Nevertheless modern sources seem to support Keichu's theory that the "thick" illness, rather than the heat, is the origin of the term. (Incidentally, although many modern editions agree with Hagiwara's あつしく, Heian-period evidence suggests it was probably pronounced あづしく.)
訳 不快ナ ワヅラフ
fukai na, wadurafu (患う)
もの心ぼごげ
釈 すべて「もの」云々と物といふことを添へていふ詞は、物事につけて云々といふ意にて、ただ何となく、おのづから然る意なり。ここもその意にて、何といふこともなくただ物事につけて心ぼそきなり。「げ」は「気（け）」にて、さる景色に見ゆるを他（ほか）より見ていへる意なり。「け」は「サウニ」と訳（うつ）すべし。
All the words that are mono plus something have the meaning of "dealing with things," and it simply means that somehow the state arises on its own. Here too, this means that there's nothing specific, but simply towards one thing or another she is lonely. The ge syllable is derived from 気, and means that the state is being viewed from someone else's point of view. It should be translated as sou ni.
さとがち
拾 和名に曰く、「周易説卦ニ云ハク、其ノ木ニ於ル也、堅多心ト為ス、師説多心ヲ奈賀古可遅（ナカゴカチ）ト読ム」。これによるに、何がちといふ類は、皆この「多」の字なり。
Genchu shui (1698): In the Wamyō Ruijushō, it says "The I ching says 'That tree is hard and has multiple trunks.' The teacher says: 多心 is read as nakagokachi." Looking at this, anything-gachi has to do with the character 多 ("many").
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The Wamyō Ruijushō is a 10th century dictionary/thesaurus. It contains a lot of quotations from classical Chinese sources with Japanese equivalents given in Man'yo-gana. Sometimes only kanji are given with no sources. I need to look up the I Ching quote in a modern edition to get a better translation. I'm also very doubtful of Keichu's theory here and I don't understand why Hagiwara thought it was worth quoting.
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