Concrete Examples of Annotation Description #

Foreword #

A Trial Draft of the Annotations #

How annotations should be created, and further, how the completed annotations should be published, are matters currently under consideration.

As a trial, some examples of annotations have been created here. Comments and feedback would be most welcome. Note that some items that should be annotated remain blank — for example, K01062610　匜. These are intended to be filled in and revised in the future.

Texts Used #

The Main Text of the Kanchi-in manuscript of the Ruiju Myōgishō that serves as the subject of annotation here is page 62 of the Butsujō (仏上) volume (the Tenri edition, folio 34 verso). For this passage, a full-size, high-resolution color facsimile sample is published on the Yagi Shoten website, from Ruiju Myōgishō Kanchi-in-bon (類聚名義抄　観智院本; Shin Tenri Toshokan Zenpon Sōsho [New Tenri Library Rare Books Series], vols. 9–11; Yagi Shoten, 2018).

https://company.books-yagi.co.jp/wp-content/uploads/2018/03/95596.pdf

A facsimile from the Kichō Tosho Fukuseikai (1937) can be viewed in the National Diet Library Digital Collections. The URL for Butsujō page 62 is as follows.

https://dl.ndl.go.jp/info:ndljp/pid/2586891/37

For the Renjō-in manuscript, reference is made to Sanpō Ruiju Myōgishō (鎮国守国神社蔵本三宝類聚名義抄; Sanpō Ruiju Myōgishō, Held by Chinkoku Shukoku Shrine; Benseisha, 1986).

In the New Japanese Classical Text Comprehensive Database (新日本古典籍総合データベース) of the National Institute of Japanese Literature, the manuscript held by the Archives and Mausolea Department of the Imperial Household Agency (書陵部) can be viewed. The URL for the passage corresponding to page 62 of the Butsujō volume in the Kanchi-in manuscript is given below.

https://kotenseki.nijl.ac.jp/biblio/100256105/viewer/75

For the Kōzan-ji manuscript, reference is made to Sanbō Ruiji-shū Kōzan-ji-bon (三宝類字集　高山寺本; Shin Tenri Toshokan Zenpon Sōsho, vol. 8; Yagi Shoten, 2016).

The best-known exemplars of the Sainenji manuscript are those held by Tenri Central Library and Kansai University.

Since the Tenri Central Library exemplar is unpublished, a facsimile must be obtained by applying directly to the library.

In the New Japanese Classical Text Comprehensive Database of the National Institute of Japanese Literature, the Kansai University exemplar can be viewed. The URL for the passage corresponding to page 62 of the Butsujō volume in the Kanchi-in manuscript is given below.

https://kotenseki.nijl.ac.jp/biblio/100302544/viewer/43

In addition, digitized microfilm images of the Archives and Mausolea Department exemplar can be viewed. The URL for the passage corresponding to page 62 of the Butsujō volume in the Kanchi-in manuscript is given below.

https://kotenseki.nijl.ac.jp/biblio/100256105/viewer/37

Comparing the Tenri Central Library, Kansai University, and Archives and Mausolea Department exemplars, the Kansai University exemplar appears to contain a certain number of scribal errors and omissions. For viewing the Sainenji manuscript online, the Archives and Mausolea Department exemplar is likely preferable.

Conventions #

Locations in the Kanchi-in manuscript are indicated in the form K01062121. This indicates the first character of the item found in Fascicle 1, page 62, line 1, column 2 of the Kanchi-in manuscript. The final digit indicates the character’s position within the Entry: 0 for an Entry with a single Headword character, or 1, 2, … in order for Entries with multiple Headword characters. The Entry published in KRM.tsv is shown in the form “建／䢖”. The “／” mark separates multiple Headwords when more than one is present.

Next, the original glyph forms are shown via GlyphWiki, followed by the Main Text and then the Notes, in that order. In the notes, the number assigned according to the order of appearance within the Original Gloss is given first, clearly identifying the specific passage being annotated.

Butsujō #

3辵 #

K01062121 建／䢖 #

(Main Text) 居彦(RV)反　タツ(LH)　ヲヨフ　サル　イタル　ヨロコフ　コホス　クツカヘル　和コン

(Notes)

1 居彦(RV)反
“建” appears in the Guangyun as “居万切” (Departing tone, Yuan rhyme (願韻), Jian initial; xiaoyun 建). “䢖” appears in the Guangyun as “餘律切” (Entering tone, Shu rhyme (術韻), Yu IV initial; xiaoyun 聿). “彦” is “魚變切” (Departing tone, Xian rhyme (線韻), Yi initial). As for the Tone Mark on “彦”: the Kanchi-in manuscript marks it Departing, voiced; the Kōzan-ji manuscript marks it Departing, voiced (in the “-o” shape); the Sainenji manuscript marks it Departing; the Renjō-in manuscript has none.

2 タツ(LH)
The Kōzan-ji manuscript agrees; the Renjō-in and Sainenji manuscripts have no Tone Mark. The Tenrei Banshō Meigi gives “立也” (to stand) and “樹也” (to erect). Nakamura’s Monzen, p. 68 (西京), has “建タテテ” (“erecting”).

3 ヲヨフ
The Kōzan-ji manuscript has “オヨフ(HH_)”; the Renjō-in and Sainenji manuscripts have “オヨフ”.

4 サル
The Kōzan-ji manuscript has “サ爪(LH)”; the Sainenji manuscript has “サ爪”; the Renjō-in manuscript has “サス”. Nishihata, Gosha Shorei (Examples of Scribal Errors), p. 39, item ①, error no. 294. Nakamura’s Monzen, p. 1 (表), has “建サスコト”.

5 イタル
The Tenrei Banshō Meigi gives “至也” (to arrive).

6 ヨロコフ
The Kōzan-ji, Renjō-in, and Sainenji manuscripts all write “ヨ” as a Variant Character (itaiji).

7 コホス
The Kōzan-ji manuscript has “コ小爪(LLVH)”. The Sainenji manuscript also has “コ小爪(LLVH)” (the Tone Mark is uncertain, 存疑). The Kunten Goi Shūsei records the readings “イタル”, “コボス”, “サス”, and “タツ” for “建”.

8 クツカヘル
The Sainenji manuscript agrees; the Kōzan-ji and Renjō-in manuscripts lack this reading. The Jiyun gives “建㨴　覆也漢書居高屋之上建瓴水或作㨴” (Rising tone, Ruan rhyme (阮韻); xiaoyun 湕: “紀偃切”). The Crown Japanese-Chinese Dictionary, under the idiom “高屋建瓴” (“gāo wū jiàn líng”), gives: “A set phrase (成語・成句): terrain from which one can look straight down from a high place; also a metaphor for a force whose momentum cannot be stopped. The phrase appears in the ‘Basic Annals of Gaozu’ (高祖本紀) of the Shiji (史記): the terrain is advantageous for launching troops, as though water were being poured from a jar atop a roof — it flows straight down without resistance.” “瓴” means a jar for holding water.

9 和コン
The Kanchi-in, Renjō-in, and Sainenji manuscripts have “禾コン”; the Kōzan-ji manuscript has “音コン”.

K01062140 𨑭 #

(Main Text) 丑連反　安行也　トコロ

(Notes)

1 丑連反
Not found in the Guangyun or the Tenrei Banshō Meigi. The Song edition of the Yupian gives “斯子切”; the Longkan Shoujian/Shoujing gives “丑連反”. In the original text, “刃” is a Variant Character of “丑”. The Kanchi-in, Renjō-in, and Sainenji manuscripts write “刃”; the Kōzan-ji manuscript writes “丑”. For “連” (Level tone, Xian rhyme (仙韻)), the Kōzan-ji and Sainenji manuscripts have a Level Tone Mark.

2 安行也
The Longkan Shoujian/Shoujing gives “緩歩也” (to walk unhurriedly).

3 トコロ
Possibly a misreading arising from the graphically similar character “処”.

K01062210 辿 #

(Main Text) 俗

(Notes)

1 俗
The Kanchi-in, Kōzan-ji, and Renjō-in manuscripts write the Headword as “辿”, but the Sainenji manuscript alone writes it as “”. The Longkan Shoujian/Shoujing labels “(𨑭辿)” with the Form Classification Tag “二同” (“the second is the same”).

Ta084220 延 #

(Main Text) 以然反　ノフ(LH)　ヒク　ヲヨフ　シリソク　ミチヒク　ヒサシ　チカツク　ホヒコル　スヽム　アヒタ　トヲシ　ナカシ　ヒロク(__LV)　和エン

(Notes)

1 以然反
The Guangyun gives “以然切” (Level tone, Xian rhyme (仙韻)) and “于線切” (Departing tone, Xian rhyme (線韻); xiaoyun 衍); this corresponds to the former. The Tenrei Banshō Meigi gives “餘旗反”; the Song edition of the Yupian gives “余旃切” (Level tone, Xian rhyme (仙韻)). In the Kōzan-ji manuscript, “然” carries the Level, voiced Tone Mark (in the “-o” shape); the other manuscripts have no Tone Mark.

2 ノフ(LH)
The Kōzan-ji manuscript has “ノフ(LHV)”; the Renjō-in and Sainenji manuscripts have “ノフ”. The Tenrei Banshō Meigi gives “陳也” (to lay out). The Kunten Goi Shūsei records the readings “オヨブ”, “スゴス”, “ススム”, “チカヅク”, “ナガシ”, “ノバフ”, “ノブ”, “ヒク”, “ミチビク”, and “ヰル”.

3 ヒク
The Renjō-in and Sainenji manuscripts agree; the Kōzan-ji manuscript has “ヒク(HL)”. Nakamura’s Monzen, p. 60 (西京), has “重閨、幽闥アリテ、轉ウタヽ相踰コエ延ヒケリ” (重閨 and 幽闥 are small doors within the palace).

4 ヲヨフ
The Renjō-in and Sainenji manuscripts have “オヨフ”; the Kōzan-ji manuscript has “オヨフ(HHLV)”. The Tenrei Banshō Meigi gives “及也” (to reach). Nakamura’s Monzen, p. 280 (羽), has “延オヨヒ”.

5 シリソク
The Renjō-in manuscript agrees; the Kōzan-ji manuscript has “シリソク(LL__)”; the Sainenji manuscript has “シリツク”. The Tenrei Banshō Meigi gives “退也” (to withdraw). Nakamura’s Monzen, p. 73 (西京), has “遷延(ト)シリソキ「退也」”; (上野) has “(ト)シリソキ「作延遷」”.

6 ミチヒク
The Renjō-in and Sainenji manuscripts agree; the Kōzan-ji manuscript has “ミチヒク(HH__)”. Nakamura’s Monzen, p. 234 (甘), has “延ミチヒク”.

7 ヒサシ
The Kōzan-ji, Renjō-in, and Sainenji manuscripts agree. The characters “迥” and “遠” both carry the reading “ヒサシ”; this reading may derive from their cursive forms.

8 チカツク
The Kōzan-ji, Renjō-in, and Sainenji manuscripts agree. This reading may arise because the Variant Character of “延”, “𮞅”, has a form resembling “近”.

9 ホヒコル
The Sainenji manuscript agrees; the Kōzan-ji and Renjō-in manuscripts have “小ヒコル”. The Nikkoku, under “ほびこ・る【蔓延】”, gives the meaning “to spread everywhere; to run rampant,” citing examples from Man’yōshū poem 4123 (雲保妣許里) and the mid-Heian-period glosses on the Ishiyama-dera manuscript of the Hokekyō Genzan (法華経玄賛, on “蔓”).

10 スヽム
The Renjō-in and Sainenji manuscripts agree; the Kōzan-ji manuscript has “爪ヽム”. The Tenrei Banshō Meigi gives “進也” (to advance). Nakamura’s Monzen, p. 443 (閑), has “延スヽメ”.

11 アヒタ
The Kōzan-ji, Renjō-in, and Sainenji manuscripts agree. The Tenrei Banshō Meigi gives “間也” (an interval).

12 トヲシ
The Kōzan-ji manuscript agrees; the Renjō-in and Sainenji manuscripts have “トホシ”. The Guangyun gives “遠也” (far).

13 ナカシ
The Renjō-in manuscript agrees; the Kōzan-ji manuscript has “ナカシ(LLVH)”. In the Sainenji manuscript, there is a mark “ー‥ー” to the left of “ナカシ”, possibly a Tone Mark. The Tenrei Banshō Meigi gives “長也” (long). Nakamura’s Monzen, p. 339 (魯), has “曼延(ト)[ナカシ]” / (寛永 edition) “ハヒコレリ[ナカシ・ナカクノヘリ]”.

14 ヒロク(__LV)
The Kōzan-ji manuscript has “ヒロク(HHLV)”; the Renjō-in and Sainenji manuscripts have “ヒロク”.

15 和エン
Absent from the Kōzan-ji manuscript. The Kanchi-in and Renjō-in manuscripts have “禾エン”. The Sainenji manuscript has “禾エン(_L)”.

K01062310 ⿺辶屲 #

(Main Text) 或

(Notes)

1 或
The Kanchi-in and Kōzan-ji manuscripts agree; the Sainenji manuscript has “⿺辶屲”.

K01062321 ⿺辶&CDP-8C66;𨒌 #

(Main Text) 俗

(Notes)

1 俗
“⿺辶&CDP-8C66;” exists in Unicode (𮞅　u2e785 ).

K01062330 ⿺辶⿱艹⿱丿止 #

(Main Text) ムシロ　シキ物　ホヒコル

(Notes)
1 ムシロ
The Sainenji manuscript has “ムシロ”, and further has “音延” (Okada Mareo, Ruiju Myōgishō no Kenkyū, p. 252). The Renjō-in and Sainenji manuscripts have “ムシロ”; the Kōzan-ji manuscript lacks it. Only the Sainenji manuscript has “音延” at the end of the note (Kusakawa, Noboru, “Ruiju Myōgishō Wakun Shōkō,” p. 44, example 29). “音延” is an addition in the Sainenji manuscript (Kobayashi Kyōji, “Kanchi-in-bon ni Nai Kanji Chūki (2),” example 32). Ikeda’s note: the Headword is the same in the Kanchi-in, Kōzan-ji, and Renjō-in manuscripts. The Sainenji manuscript writes it as “莚”. “莚” appears in the Guangyun as “草名” (name of a plant; Level tone, Xian rhyme (仙韻); xiaoyun 延: “以然切”) and as “蔓莚不斷” (Departing tone, Xian rhyme (線韻); xiaoyun 衍: “于線切”). The Sainenji manuscript’s Phonetic Gloss is “亠延(L)”, with a Level Tone Mark.

2 シキ物
The original text has “シキ牜”. The Kōzan-ji and Renjō-in manuscripts have “シ＼牜”; the Kanchi-in and Sainenji manuscripts have “シキ牜”.

3 ホヒコル

K01062341 蔓／莚 #

(Main Text) ハヒコル

(Notes)
1 ハヒコル
The Kōzan-ji and Sainenji manuscripts agree; the Renjō-in manuscript has “小ヒコル”. Nakamura’s Monzen, p. 138 (蜀), has “風連莚蔓トハヒコレリ於蘭臯”.

K01062411 ー（莚）／䝯 #

(Main Text) 同

(Notes)
1 同
Nakamura’s Monzen, p. 264 (上), has “䝯丘陵ハヒコリ「連也又延也」／(寛文 edition) ハヒコレリ・ソヒテ”.

K01062420　筵 #

(Main Text) ナカムシロ

(Notes)
1 ナカムシロ
The Kanchi-in, Kōzan-ji, and Renjō-in manuscripts write the Headword as “⿱竹𨒌”; the Sainenji manuscript writes it as “筵”. The Nikkoku, under “なが‐むしろ【長筵】”, gives the meaning: “A long straw mat. A mat spread along the path when the Emperor walks on foot, or when a deity is conveyed in procession during a religious rite. Also, the surface covering of a tatami mat.” It cites examples from the Engishiki (“長席”), the Shingishiki (“長筵”), and the Tsutsumi Chūnagon Monogatari.

K01062430　𨒌 #

(Main Text) 𨒌並征字

(Notes)
1 𨒌並征字
The Kanchi-in and Kōzan-ji manuscripts agree. The Renjō-in manuscript has the Headword “𨒌𨒌” with the Original Gloss “並征字”.
The “𨒌” in the Original Glosses of the Kanchi-in and Sainenji manuscripts is the same as . The Renjō-in manuscript writes this same Headword twice, side by side.
In the Sainenji manuscript, the Headword “延” differs from the Kanchi-in manuscript, but the Original Gloss “𨒌並征字” matches the Kanchi-in manuscript. The Sainenji manuscript’s Main Text makes better sense. The Sainenji manuscript further records the Headword “𨒙” (𨒙　u28499　) with the Original Gloss “亠石”.

4匚 #

K01062510 匚 #

(Main Text) 方音　受物之器　《玉ー》云甫玉切

(Notes)
1 方音
The Guangyun gives “府良切” (Level tone, Yang rhyme (陽韻); xiaoyun 方). The Kanchi-in manuscript has a vermilion iori-ten mark (〽) on the Headword; the Kōzan-ji, Renjō-in, and Sainenji manuscripts have no such mark. The Kōzan-ji manuscript has “第四匚篇” on the preceding line. The Kanchi-in manuscript has “四” in vermilion; the Renjō-in manuscript has a small “四” set to the right; the Sainenji manuscript has “四”. The Kanchi-in, Renjō-in, and Sainenji manuscripts have “方亠”; the Kōzan-ji manuscript has “方(L)音”.

2 受物之器
The Shuowen Jiezi gives “受物之器” (a vessel for holding things).

3 《玉ー》云甫玉切
The Kanchi-in manuscript has “《玉ー》云甫玉切”; the Renjō-in, Kōzan-ji, and Sainenji manuscripts lack it. This is an addition in the Kanchi-in manuscript. The Song edition of the Yupian gives “甫王切”; “玉” is a scribal error for “王” (Kobayashi Kyōji, “Sainenji-bon ni Mienai Kanji Chūki” [Character-Form Annotations Not Visible in the Sainenji Manuscript], example 17).

K01062520 匠 #

(Main Text) 音上　呉音昌(R)　⿺辶⿱一斤俗　ツヒニ〈是歟〉　タクミ(LLL)

(Notes)
1 音上
The Guangyun gives “疾亮切” (Departing tone, Yang rhyme (漾韻)). “上” is “時掌切” (Rising tone, Yang rhyme (養韻)) and “時亮切” (Departing tone, Yang rhyme (漾韻); xiaoyun 尚). The Kanchi-in, Renjō-in, and Sainenji manuscripts have “亠上”; the Kōzan-ji manuscript has “音上(R)”.

2 呉音昌(R)
The Kōzan-ji manuscript has “呉ー唱(R)”; the Renjō-in and Sainenji manuscripts have “呉ー唱”. In the Ishiyama-dera manuscript of the Dai-Hannya-kyō Jishō, the entry for “匠” (⿺辶⿱一斤) has “音唱” and “タクミ” (fol. 9r), and “音唱” (fol. 21r).

3 ⿺辶⿱一斤俗
“⿺辶⿱一斤” is 𮞆 (U+2E786). The Ganlu Zishu gives “⿺辶⿱一斤匠　上俗下正” (of the two, the upper is the vulgar/popular form and the lower is the standard form).

4 ツヒニ〈是歟〉
The Kanchi-in manuscript writes “是歟” in a slightly smaller size. This reading may derive from the cursive form of “遂”, though this remains uncertain.

5 タクミ(LLL)
The Dōen-bon manuscript of the Wamyō Ruijushō gives “工匠　四声字苑云工［功反和名太久美］匠［上反］巧人也” (Vol. 2, Jinrin [Human Relations] Section). The Dai-Hannya-kyō Jishō has “タクミ” for “匠” (fol. 9r). The Kanchi-in and Kōzan-ji manuscripts have “タクミ(LLL)”; the Renjō-in manuscript has “タクミ”; the Sainenji manuscript has “タクミ(LLL)” (uncertain, 存疑).

K01062530 匧 #

(Main Text) 苦俠(S)反　篋俗

(Notes)
1 苦俠(S)反
The Guangyun gives “苦協切” (Entering tone, Tie rhyme (怗韻); xiaoyun 愜). In the Kanchi-in and Kōzan-ji manuscripts, “俠” carries an Entering Tone Mark; the Renjō-in and Sainenji manuscripts have no Tone Mark.

2 篋俗
The Renjō-in manuscript writes “「」” in the same size as the Headword. The Song edition of the Yupian gives “匧　或作篋” (匧 is also written as 篋). The Shinsen Jikyō gives “匧　篋字” (匧 is the character 篋); the Longkan Shoujian/Shoujing, Fascicle 1, “匚” radical section, gives “⿷匚夹　俗通；匧　正。苦叶反。函ー也。二。”

K01062540 匧 #

(Main Text) 正

(Notes)
1 正
The Kanchi-in, Renjō-in, and Kōzan-ji manuscripts have “正”; the Sainenji manuscript lacks it. This is an omission in the Sainenji manuscript (Kobayashi Kyōji, “Sainenji-bon ni Mienai Kanji Chūki,” example 18).

K01062610 匜 #

(Main Text) 移(L)音　又戈(弋)尒反　⿺乚㐌⿺辶㐌

(Notes)
1 移(L)音
The Guangyun gives “弋支切” (Level tone, Zhi rhyme (支韻), Yu IV initial; xiaoyun 移) and “移爾切” (Rising tone, Zhi rhyme (紙韻), Yu IV initial; xiaoyun 酏); this corresponds to the former. The Kanchi-in manuscript has “移(L)亠”; the Kōzan-ji manuscript has “移(L)音”; the Renjō-in manuscript has “移亠”. In the Sainenji manuscript, there is a “｜” mark between “移” and the “一” on the line to its right; this may originally have been “移亠”, though “移(L)亠” is also possible.

2 又戈(弋)尒反
The Guangyun gives “弋支切” (Level tone, Zhi rhyme (支韻), Yu IV initial; xiaoyun 移) and “移爾切” (Rising tone, Zhi rhyme (紙韻), Yu IV initial; xiaoyun 酏). “爾(尒)” is “兒氏切” (Rising tone, Zhi rhyme (紙韻), Ri initial). The Kanchi-in and Sainenji manuscripts have “戈尒反”; the Kōzan-ji manuscript has “弋尓反”; the Renjō-in manuscript has “弋尒反”.

3 ⿺乚㐌⿺辶㐌

K01062620 𠤷 #

(Main Text) ハンサフ(LLLVL)

(Notes)
1 ハンサフ(LLLVL)

K01062630 匡 #

(Main Text) 俗　去王(L)反　タヽス-シ(LHVH-_)　マサシ　タクマシ　オツ　カシコマル　スヽメリ　マウス　スケ　ヤム　呉音况

(Notes)
1 俗

2 去王(L)反
The Guangyun gives “去王切” (Level tone, Yang rhyme (陽韻)) and “渠放切” (Departing tone, Yang rhyme (漾韻); xiaoyun 狂).

3 タヽス-シ(LHVH-_)
Nakamura’s Monzen, p. 8 (序), has “匡タヽスニ「正也」”.

4 マサシ
The Kunten Goi Shūsei records the readings “ウルハシ”, “タスク”, “タダシ”, “タダシウス”, “タダシクス”, and “タダス” for “匡”.

5 タクマシ
Possibly related to the reading of “逞”.

6 オツ

7 カシコマル
The Kunten Goi Shūsei records the reading “カシコマル” for “屈”; this may be related.

8 スヽメリ

9 マウス

10 スケ
Masamune’s Index records this as two separate readings, “スケ” and “ヤム”. Nishihata Yukio reads it as “スチヤム”, taking the Kōzan-ji manuscript as “スケ　ヤム” and the Renjō-in manuscript as “カケヤム” (Nishihata, Gosha Shorei, p. 39, item ①, error no. 313). Here, Masamune’s reading is followed.

11 ヤム

12 呉音况
In the Ishiyama-dera manuscript of the Dai-Hannya-kyō Jishō, the entry for “匡” (⿺辶⿱一王) has “音况” and “タヽス” (fol. 25r).

K01062711 匡／⿷匚主 #

(Main Text) 二正　筺或

(Notes)
1 二正

2 筺或

K01062720 ⿸厂王 #

(Main Text) （無）

(Notes)
1 （無）
An omitted stroke, in observance of the naming taboo (避諱) for Zhao Kuangyin (趙匡胤), Emperor Taizu of the Song dynasty (缺筆).

K01062731 高／匡 #

(Main Text) マカフラタカ(LHHVHHH)

(Notes)
1 マカフラタカ(LHHVHHH)
The Nikkoku, under “まかぶら-だか【眶高】”, gives the meaning “having a high makabura; the area around the eyebrows being raised,” citing the Kōzan-ji manuscript’s “マカブラダカ” and an example from the Hōgen Monogatari. Likewise, the Nikkoku, under “こう-きょう【高匡】” (“匡” meaning the rim of the eye), explains “the eyes being sunken, with the surrounding area being bony,” citing an example from the Sangō Shiiki (三教指帰), Part 3: “折頞。高匡。頤。隅目。噅口。無鬚。似孔雀貝”.

K01062740 匴 #

(Main Text) 蘇管(H)反　竹莒

(Notes)
1 蘇管(H)反
The Guangyun gives “蘇管切” (Rising tone, Huan rhyme (緩韻); xiaoyun 算).

2 竹莒
The Shuowen Jiezi gives “渌米籔也” (a basket for draining rice). The Tenrei Banshō Meigi gives “盝也、米藪也” (a drainer; a basket for rice). The Song edition of the Yupian gives “𣿍米藪” (a basket for draining rice). The Guangyun gives “器也冠箱也” (a vessel; a box for a cap).

K01062810 㔯 #

(Main Text) 全音　炊䉛

(Notes)
1 全音
The original text has “⿱𠆢乇音”. The Guangyun gives “似宣切” (Level tone, Xian rhyme (仙韻), Xie initial; xiaoyun 旋). “全” is “疾縁切” (Level tone, Xian rhyme (仙韻), Cong initial).

2 炊䉛
The Tenrei Banshō Meigi gives “𠤰　似治反。漉米。䉛。上文。”. The Shuowen Jiezi, under “籔”, gives “炊䉛也”, meaning a bamboo strainer used for cooking.

K01062820　㔶 #

(Main Text) 㯯⿳⺮夅貝二或　真音　小桮

(Notes)
1 㯯𥴶二或
“㯯” appears in the Guangyun as “格木説文同上” (the preceding item is 㔶) (Departing tone, Song rhyme (送韻); xiaoyun 貢: “古送切”). “𥴶” is “都感切” (Rising tone, Gan rhyme (感韻); xiaoyun 黕).

2 真音
The Guangyun gives “古禫切” (Rising tone, Gan rhyme (感韻); xiaoyun 感) and “古送切” (Departing tone, Song rhyme (送韻); xiaoyun 貢). The Kanchi-in manuscript’s “真音” is a scribal error for “貢音”.

3 小桮
The Shuowen Jiezi gives “小桮也” (桮 is the same as 杯). The Guangyun gives “小杯名” (Departing tone, Song rhyme (送韻); xiaoyun 貢). The Tenrei Banshō Meigi gives “小盃也”. The meaning is a small cup.

K01062830　匪 #

(Main Text) 甫尾反　アラス　マフ　スケ　ナカシ　ナシ　カノ　ユルナリ　ナイカシロ　ワカツ　和ヒ　呉彼

(Notes)
1 甫尾反
The Guangyun gives “府尾切” (Rising tone, Wei rhyme (尾韻)).

2 アラス
The Tenrei Banshō Meigi gives “非也” (not); the Dai-Hannya-kyō Jishō gives “不也” (not).

3 マフ
Masamune’s Index, under “マフ”, notes: “Also in the Kōzan-ji and Sainenji manuscripts as マコト; also found in the Jikyōshū.” A detailed discussion appears in Kusakawa, Noboru, “Ruiju Myōgishō Wakun Shōkō,” p. 45, example 30.

4 スケ
“ケ” is written in a form resembling “チ”. Masamune’s Index records this as “スケナカシ”. Kusakawa’s Wakun Collection records it as separate readings “スケ” and “ナカレ”, noting that “ナカレ” is blank in the Kanchi-in manuscript but present in the Renjō-in, Kōzan-ji, and Sainenji manuscripts. Kusakawa Noboru argues that treating “スケナカシ” as a single reading is unnatural, and that it should likely be read not as “スケ” + “ナカシ” but as an error for “ナカレ” (Kusakawa, Noboru, “Ruiju Myōgishō Wakun Shōkō,” p. 45, example 30). Shirakawa’s Jitsū records it as “スヂナガシ”. Nakamura’s Monzen, p. 46 (東都), has “匪ス”. Kobayashi Kyōji, “Kanchi-in-bon ni Nai Katakana Chūki (6),” examples 54 and 55, organizes the readings as follows: the Kanchi-in manuscript has “スチナカシ”; the Sainenji manuscript has “爪ケ　ナカレ　タケヽツワオ”; the Kōzan-ji manuscript has “スケ　ナカレ　タケ＼ツハモノ”; the Renjō-in manuscript has “ナカレ（ナ written small）　タケ＼ツハモノ（with 牜 to the right）”; and among the various interpretations, Tōdō reads it “スチナカシ”, Masamune reads it “スケナカシ”, Nagashima reads it as separate “スケ” and “ナカシ”, and Kusakawa reads it as separate “スケ” and “ナカレ”. It is conjectured that this may originally have been “スケナカレ”, the inflected form of the adjective 素気無（すげな）し (“curt, indifferent”). “タケ＼ツハモノ” is an omission in the Kanchi-in manuscript.

5 ナカシ
“ケ” is written in a form resembling “チ”. Masamune’s Index records this as “スケナカシ”. Kusakawa’s Wakun Collection records it as separate readings “スケ” and “ナカレ”, noting that “ナカレ” is blank in the Kanchi-in manuscript but present in the Renjō-in, Kōzan-ji, and Sainenji manuscripts. Shirakawa’s Jitsū records it as “スヂナガシ”.

6 ナシ
The Sainenji manuscript has a reading “タケキツハ物”, not found in the Kōzan-ji or Kanchi-in manuscripts (Okada Mareo, Ruiju Myōgishō no Kenkyū, pp. 249, 195). Kusakawa’s Wakun Collection records it as “ナシ”. Ikeda’s note: the Sainenji manuscript has “タケキツハ物ナシ”; the Renjō-in manuscript has “タケキツハ物ナシ” (with “モノ” struck through and corrected to “牜”); the Kōzan-ji manuscript has “タケキツハモノナシ”.

7 カノ
Masamune’s Index, Supplement and Corrections, gives “セノか”, noting: “‘セ’ is obscured by worm damage and unclear.” Kusakawa’s Wakun Collection records this as “カノ”, and the Renjō-in, Kōzan-ji, and Sainenji manuscripts likewise have “カノ”. Shirakawa’s Jitsū notes that it is “used interchangeably with 彼 as a demonstrative,” giving the meanings “かの” and “かれ”. The Tenrei Banshō Meigi gives “彼也” (that).

8 ユルナリ

9 ナイカシロ

10 ワカツ
The original text has “禾カツ”. The Tenrei Banshō Meigi gives “分也” (to divide).

11 和ヒ
The Kōzan-ji manuscript has “音ヒ(R)” (which may also appear as H).

12 呉彼
In the Ishiyama-dera manuscript of the Dai-Hannya-kyō Jishō, the entry for “匪” has “音彼” and “不也” (fol. 17v).