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What is food for language?
昔男裹頭為而平城京春日郷知由為而雁Here is the kana gloss, which runs parallel to the kanji text in this edition:
徃遣利其郷尓最媚有女朋比住遣利此壯士
垣間見而遣利不取念古郷尒最強而有希礼波
心地迷尓遣利
むかしおとこういかうふりしてならのきやうかすかのさとにしるよししてかりにHere is the same passage as it appears in a modern edition of the text (the Iwanami Bunko edition edited by Ôtsu Yûichi):
いにけりそのさとにいとなまめいたるをんなはらからすみけりこのおとこ
かいまみてけりおもほえすふるさとにいとはしたなくてありけれは
ここちまとひにけり
むかし、をとこ、うひかうぶりして、平城〔なら〕の京、春日の里にしるよしして、狩に往にけり。その里に、いとなまめいたる女はらから住みけり。このをとこ、かいまみてけり。おもほえずふるさとに、いとはしたなくてありければ、心地まどひにけり。A translation into English:
Long ago, a man, having reached the age of maturity, went hunting at Kasuga Village in Nara where he had some land. In that village a nubile pair of sisters lived. This man caught a glimpse of them. So unexpectedly incongruous were they in this ancient village that his heart was thrown into confusion.
昔、男、裹頭為而、平城京春日郷知由為而、雁徃遣利。A few things are immediately obvious. First, there is extensive use of kanji here purely for their phonetic value. For example, every sentence ends with the characters 遣利 (Early Middle Chinese kʰjian-liʰ), used to phonetically represent the classical Japanese verbal suffix keri (indicating retrospection), and the character 尓 (simplified variant of 爾, EMC ɲi) is used for the case marker ni.* On the other hand, many characters are used for their meaning to represent Japanese words, as in the first few words of the passage: 昔 mukashi (long ago), 男 otoko (a man), and the compound 裹頭 (Mandarin guotou), a term for the crowning at a coming-of-age ceremony, here representing the Classical Japanese uhikauburi [初冠]. For the most part, this corresponds very closely to the mixed orthography of modern Japanese, which uses kanji for substantives and verbal stems, and phonetic graphs for particles and suffixes. But there are several interesting peculiarities to this “mana” writing:
其郷尓、最媚有女朋比住遣利。
此壯士、垣間見而遣利。
不取念古郷尒、最強而有希礼波、心地迷尓遣利。
老学菴筆記曰、蜀人見人物之可誇者、則曰嗚呼。可鄙者則曰噫嘻。嗚呼の者、此間ノ書ニ古来ヨリ散見ス。俗言ニ、イキスギ者ト云ハ、噫嘻過〔イキスギ〕ナランカ。(好古日録・九十八)I too have seen wuhu/oko all over the place in contemporary Japanese writing. It’s usually glossed as “aa”, and according to the standard Sino-Japanese dictionaries I’ve checked, the second compound should be vocalized the same way.
The Laoxuean biji says, “When the people of Shu saw someone admirable, they would say ‘wuhu’ (J. oko). At something base they would say ‘yixi’ (J. iki).” I have been seeing this phrase “oko” all over the place in contemporary writing for a while now. The colloquialism “ikisugimono” is perhaps derived from “too yixi” (ikisugi).
いま、ここに、奏すべきその人をうしない、空しく残された錦模様の大琴がある。昔、伏羲氏は、その音調のあまりの悲しさゆえに、五十絃の瑟を壊したというが、はからずも、この錦瑟はそれに一致する五十絃のものである。その数多い一線一線の絃、それを支える一つ一つのことじに、私の華華しかった日日の記憶がかかっている。たとえ絃は絶ち得ても、こわせないだろう愛の思いが。
昔、荘子は蝶になった夢を見て、その自由さに、暁の夢が醒めてのち、自分が夢か、蝶が夢なのかを、疑ったという。夢のようだった愛の生活は、醒めざるを得ぬ今も、独りとり残された我が身の方を却って疑わせる。また昔、望帝は、肉朽ちて後も、春めくその思いを杜鵑〔ホトトギス〕に托したという。愛の執着は、そのように、昼夜も分たず哀鳴する鳥の声となって残るのだ。
思う、昔。あなたがこの錦模様の瑟を爪弾いた時、私はその音色を聴き分けるよき鑑賞者だった。奏するあなたの心が海の彼方に向う時、私はすぐさま、月の煌煌と照る滄海を思い、あなたの思いが山にある時、また直ちに、その音は玉山に暖かく日の射すようだと指摘したものだった。だが今は、月夜に思い浮べる滄海にも、かの人魚の涙珠のように、面影はひたすら涙をのみしたたらせ、白昼の夢にその姿を追えば、かの紫玉の如く、抱くより先に烟と化して燃えうせる。
だが、思い廻らせば――この失意、朦朧としてあやめ知れぬ私の思いは、今、追憶をなすこの時間において、始めてそうなったのだろうか。そうではない。何故なら、いま見定め難きものは、昔においても見定め難く、あの当時からして、はやすでに私たちの現実が朦朧としていたのだったから。
Now, here is a brocade-patterned harp that lost he who was meant to play it and lies abandoned. It is said that long ago, Fu Xi once destroyed a fifty-string harp because its sound was so sad, and strangely enough this inlaid harp has fifty strings as well. Along each of these many strings, and the frets that support them, lie the memories of my glorious youth. Though these strings may break, they cannot perish, these memories of love.
Long ago, it’s said that Zhuangzi dreamed he had become a butterfly, such was the freedom he felt that, when he had awakened, he did not know whether he or the butterfly was the dream. Those dreamlike days of love, even now when I must awaken from them, make me rather doubt the truth of my life now, left behind alone. So too, it is said that long ago the Emperor Wang, even after his flesh had rotted away, consigned his vernal thoughts to the cuckoo. The obsessions of love in this way remained behind as the voice of a bird weeping day and night.
I think of long ago. When you plucked upon this brocade-patterned harp, I was a keen audience for its sounds. When, playing, your thoughts traveled beyond the seas, I immediately thought of the ocean glimmering under the bright moon; when your heart was in the mountains, I knew at once that the music was the warm sunlight on Jade Mountain. But now, even in the blue sea that comes to mind this moonlit night, your image only makes me drip tears like mermaids’ pearls, and when I chase you in my daydreams, like Zi Yu you turn to smoke before we can embrace.
But I wonder: my despair, these thoughts of mine so dim and indistinct, have they only become this way now in my memory? No. For, these things now so difficult to pin down were no different long ago; already in that time our reality was swathed in haze.