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Overview

The surviving manuscripts of the Man'yōshū, an 8th-century Japanese anthology of waka, are broadly divided into three groups: the koten-bon, the jiten-bon, and the shinten-bon.

The koten (古点, "old glossing") refers to the readings of the Five Men of the Pear Chamber (Kiyohara no Motosuke, Ki no Tokibumi, Ōnakatomi no Yoshinobu, Minamoto no Shitagō and Sakanoue no Mochiki) from when they were commanded, in 951, to prepare readings of the Man'yōshū poems during their compilation of the Gosen Wakashū. Of the 4,500-odd poems of the collection, they prepared readings for around 4,100, which included virtually all of the collection's tanka (poems with a 5-7-5-7-7 metre) and roughly half of the sedōka (5-7-7-5-7-7), but hardly any of the chōka (longer poems with an indefinite number of 5-7 verses and concluding 5-7-7). The original koten manuscript no longer survives, but the shinten (新点, "new glossing") texts sometimes include colour-distinguished annotations, and in such texts the poems written in black and without agreement are almost all poems that would have been included in the koten text (the "koten poems", 古点歌), so such texts are referred to koten texts, or koten-bon.

Jiten (次点, "following glossing") refers to glosses that were produced after the Five Men of the Pear Chamber but before Sengaku in the 13th century. The names of several of these "middle" annotators are known to history: in the notes to the koten text are Fujiwara no Michinaga, "the Ōe family" (possibly Ōe no Sukekuni or Ōe no Masafusa), Fujiwara no Atsutaka and Fujiwara no Kiyosuke; from prefaces Koremune no Takatoki (惟宗孝言) and Fujiwara no Nagatada [ja]; and from commentaries (etc.) Minamoto no Kunizane [ja], Minamoto no Moroyori [ja], Fujiwara no Mototoshi, Kenshō, and so on. Jiten texts are those that contain different coloured readings and that have the black overwritten in red where the two agree. Between 193 and 355 poems (the "jiten poems", 次点歌) have such glosses, and the texts of that level are the jiten texts, or jiten-bon. They differ from the shinten texts in that they typically contain glosses written in hiragana on a separate line from the main text, although exceptions such as the Kasuga-bon and Koyō Ryaku Ruijū-shō (古葉略類聚鈔) give readings in katakana beside the Chinese characters. No full manuscripts of all 20 books of the anthology survive from this period, and information on the jiten readings is gleaned from quotations in poetic treatises (kagaku-sho [ja]) such as Kenshō's Shūchū-shō (袖中抄) and from Man'yōshū poems that were included in imperial and personal collections.

Around the middle of the Kamakura period, the shogun Kujō Yoritsune commanded the monk Sengaku to continue the work that had been begun by Minamoto no Chikayuki [ja]. The work that Sengaku produced, based on a collation of between ten and twenty manuscripts to which he had access, not only included the main text with revised readings, but included readings for all the poems that had not been covered in the koten or jiten texts. These readings are called the Sengaku-shinten or shinten readings, and the poems covered by them but not by early editions (between 96 and 152 in total) are the Sengaku-shinten poems or shinten poems (仙覚新点歌 or 新点歌). Among the shinten texts that include colour-distinguished readings, the ones whose readings are given in red are the shinten poems, while those in black are the koten or jiten poems, and the readings in blue are Sengaku's revised readings therefor. Manuscripts derived from Sengaku's version are referred to as Sengaku shinten-bon, Sengaku-bon or shinten-bon.

Sengaku's work took place in four phases, in Kangen 4 (1246), Bun'ei 2), Bun'ei 3 and Bun'ei 10 (1265, 1266 and 1273 respectively), producing four textual lines called the Kangen-bon, Bun'ei Ninen-bon, Bun'ei Sannen-bon and Bun'ei Jūnen-bon, named for the eras/years they were produced. Manuscripts in three of these four textual lines are extant, with the one that has not survived being the Bun'ei Ninen-bon. The names koten, jiten and shinten are used in the postscript for the Bun'ei texts, etc. The shinten texts by-and-large have their readings in katakana, written vertically on the right of the main text. The exception is the Kangen-bon, which puts the koten and jiten readings on the right and Sengaku's own on the left. The Bun'ei texts place the reading Sengaku thought the correct one on the right, be it koten, jiten or shinten.

Koten

Katsura-bon

桂本

Kinsunago-gire

金砂子切

Karyaku-denshō-bon

嘉暦伝承本

Jiten

Aigami-bon

藍紙本

Genryaku-kōhon

元暦校本

Kanazawa-bon

金沢本

Den Shunkan Hitsu-gire

伝俊寛筆切

Tenji-bon

天治本

Den Mibu Takasuke Hitsu-bon

伝壬生隆祐筆本

Amagasaki-bon

尼崎本

Den Reizei Tameyori Hitsu-bon

伝冷泉為頼筆本

Teika Yō-gire

定家様切

Kasuga-bon

春日本

Hashimoto Tsunesuke Eisha Nakatomi no Sukeharu Hitsu-gire

橋本経亮影写中臣祐春筆切

Gokyōgoku Yō-gire

後京極様切

Kishū-bon (Kanda-bon)

紀州本 / 神田本

Den Gedatsu-shōnin Hitsu-gire

伝解脱上人筆切

Den Noriie Hitsu-gire

伝教家筆切

Hashimoto Tsunesuke Eisha Mumeishi Hitsu-gire

橋本経亮影写無名氏筆切

Den Tameie Hitsugire

伝為家筆切

Tsuminoe-gire

柘枝切

Ruijū Koshū and Koyō Ryaku Ruijū-shō

Ruijū Koshū (類聚古集) and Koyō Ryaku Ruijū-shō

Man'yōshū Mokuroku

万葉集目録

Shinten

Jingū Bunko-bon

神宮文庫本

Hosoi-bon

細井本

Hayashi Dōshun Kōhon

林道春校本

Gakushūin-bon

学習院本

Imadegawa-bon

今出河本

Nishihonganji-bon

西本願寺本

Tanaka-bon

田中本

Ano-bon

阿野本

Kanazawa Bunko-bon

金沢文庫本

Yōmei Bunko-bon

陽明文庫本

Onkodō-bon

温故堂本

Tōkyō Teikoku Daigaku-bon

東京帝国大学本

Ōya-bon

大矢本

Konoe-bon

近衛本

Kyōto Daigaku-bon

京都大学本

Tanimori-bon

谷森本

Tanimori-shi Ippon

谷森氏一本

Tawa Bunko-bon

多和文庫本

Den Kūshō Hosshinnō Hitsu-bon

伝空性法親王筆本

Iwasaki Bunko Ippon

岩崎文庫一本

Tosho-ryō Ippon

図書寮一本

Den Kiyosuke Hitsu-gire

伝清輔筆切

Hatta-gire

八田切

Tameuji Yō-gire

為氏様切

Den Tsurayuki Hitsu-gire

伝貫之筆切

Katsura Yō-gire

桂様切

Den Jichin Hitsu-gire

伝慈鎮筆切

Den Tametsugu Hitsu-gire

伝為継筆切

Excerpts

Shita-e Man'yōshū-gire

下絵万葉集切

Kuze-gire

久世切

Kashū-gire

歌集切

Daiji-gire

大字切

Nigakuken Daiji-gire

二楽軒大字切

Early modern printed texts

Katsuji-mu Kun-bon

活字無訓本

Katsuji-fu Kun-bon

活字附訓本

Kan'ei-bon

寛永本

Hōei-bon

宝永本

Bōchū-bon

旁註本

Ko-Man'yōshū

古万葉集

Kōi-bon (Kōi-bon Man'yōshū)

校異本 / 校異本万葉集

Notes

1. The Man'yōshū was compiled before the birth of Japan's indigenous writing systems, hiragana and katakana, and so its Japanese-language poems are written with a complex writing system using Chinese characters sometimes for their meanings and sometimes for their indigenous Japanese or sino-Japanese pronunciations.

References

Citations

1. Hayashi 1983, p. 566.
2. Inaoka 1983, p. 562.
3. Inaoka 1983, pp. 562–563.
4. Hayashi 1983, pp. 566–567.
5. ^ Hayashi 1983, p. 567.

Works cited

• Hayashi, Tsutomu (1983). "Man'yōshū (Shohon)" 万葉集【諸本】. Nihon Koten Bungaku Daijiten 日本古典文学大辞典 (in Japanese). Vol. 5. Tokyo: Iwanami Shoten. pp. 566–570. OCLC 11917421. {{cite book}}: Invalid |ref=harv (help)
• Inaoka, Kōji (1983). "Man'yōshū (Yōjihō)" 万葉集【用字法】. Nihon Koten Bungaku Daijiten 日本古典文学大辞典 (in Japanese). Vol. 5. Tokyo: Iwanami Shoten. pp. 562–563. OCLC 11917421. {{cite book}}: Invalid |ref=harv (help)

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