Ochikubo-15
This site gives it a try to read, understand and enjoy a story written in classical Japanese more than a thousand years ago.
Tale of Ochikubo-Hime is a Japanese version of Cinderella which should entertain readers of all ages.
Your joining in this try will be highly welcomed and greatly appreciated.
(Please be informed that this site provides content based on the personal views and opinions of the author of this site.)
Dictionaries and books generally used in this site
『落窪物語』（Tale of Ochikubo）（稲賀敬二）（Inaga Keiji）（新潮社 2017）（Shinchosha）
『全訳読解古語辞典（第五版）』（小型版）（Dictionary for Classical Japanese for Reading and Interpretation, 5th edition, pocket type）（鈴木一雄 小池清治 倉田実 石埜敬子 森野崇 髙山善行）（Suzuki Kazuo Koike Seiji Kurata Minoru Isino Keiko Morino Takaki Takayama Yoshiyuki）（三省堂 2021）（Sanseido Co., Ltd.）
『ルミナス和英辞典（第2版）』（Luminous Japanese-English Dictionary）（小島義郎 竹林滋 中尾啓介 増田秀夫）（Kojima Yoshiro Takebayashi Shigeru Nakao Keisuke Masuda Hideo）（研究社 2006）（Kenkyusha Co., Ltd.）
『ニュースクール英和辞典（第二版）』（Kenkyusha New School English-Japanese Dictionary, 2nd edition）（廣瀬和清 伊部哲）（Hirose Kazukiyo Ibe Satoshi）（研究社 2019）（Kenkyusha Co., Ltd.）
The original text of Tale of Ochikubo can be found in the website below:
（https://www.komazawa-u.ac.jp/~hagi/txt_ochikubomonogatari.txt）
First of all, we see the characters of this episode of Tale of Ochikubo-Hime.
Characters of this episode
Ochikubonokimi (Ochikubo-Hime, Princess Ochikubo) seems to enjoy playing “koto" (a traditional Japanese musical instrument with thirteen strings). She learned the method of playing it from her mother when she was a child and so she may feel like being together with her mother beyond the realm of this world flying to the heaven. This is her time of momentary happiness.
Tachiwaki is a bit perplexed at his master’s instinctive way of acting. He seems to have said what he should tell even to his master; however, he never insists and (probably always) gives in to his master. He is required to flexibly respond to any order of his master at any time. His prim nature may make good the frivolous aspect of his master. In additoin, his fairness goes even to the Princess (which will be unusual even if she is his wife’s mistress).
Akoki seems to adapt herself to his husband; when he wants to see her, she accepts his visit and when he chooses his master, she accepts his decision and accordingly does what she can (for example, she also sees her mistress while her husband sees his master). However, both Akoki and his husband probably give priority to their respective lords (maybe they have to due to their position or duty).
Ukon’no Shoushou seems light-hearted; he may not consider anything seriously as he may be grown up in a carefree home with little anxiety or concern. He likes and is good at making jokes and playing. However, the elements required of a cultured and refined noblemen in Heian Period may include entertainment; he has to attract and draw interest from the woman he approaches (generally people like fun). His quality of enjoying anything may have developed out of such necessity.
Ukon’no Shoushou appears to have determined to see (meet) Princess Ochikubo by all means. Seemingly he has no choice but to directly contact and know the Princess. Will he really get married to her and take her to his (father’s) house as wife? If so, finally the good fortune (on the condition that the Prince will bring happiness for the Princess) falls on the Princess. May he be a good Prince!
Let’s look up the classical Japanese languages below from the text of this episode.
[Classical Japanese Languages Picked Out]
「少将、「いかに。かかる雨に来たるを、いたづらにて帰すな」と宣へば、帯刀「まづ御消息を賜はせて。音なくてもおはしけるかな。人の御心も知らず、いとかたきことにぞはべる」と申せば、少将、「いといたくなすぐだちそ」とて、」
（Shoushou, “Ikani. Kakaru-Ame-ni-Kitaru-wo, Itazura-nite-Kaesu-na"-to-Notamae-ba, Tachiwaki, “Mazu-On-Shousoko-wo-Tamawase-te. Oto-Naku-temo-Owashi-keru-kana. Hito-no-On-Kokoro-mo-Shirazu, Ito-Kataki-Koto-ni-zo-Haberu"-to-Mouse-ba, Shoushou, “Ito-Itaku-na-Sugu-Dachi-so"-tote,）
いたづら
（Itazura）
showing feeling of vain, useless, fruitless, futile, ineffectual because a rare value is not fully applied or results corresponding to efforts are not gained/produced
① usless, vain, futile ② ineffectual, fruitless ③ (of place) vacant, empty ④ free, at leisure
「いたづらになる」（Itazura-ni-Naru）＝ die, pass away, perish
消息
（Shousoko）
① letter, message, word ② to visit, to tell the purpose of/reason for a visit, to ask to meet/speak with someone
賜はす（Tamawasu）＝ give, grant, bestow, confer, with respect by honoring
音（おと）（Oto）＝① sound heard ②（in the form of「音に聞く」（Oto-ni-Kiku）among other forms）reputation, rumor ③ news, line
（参考）音（ね）（Ne）＝ sound, voice, especailly cry, wail
かたし（←かたき）
Katashi（← Kataki）
showing the state of firm, fixed, tight and no gaps ⇒ impenetrable, difficult/hard to do/achieve
① not easy, difficult ② rare, seldom, hardly ever
すぐだち＝すぐ（Sugu）＋だち（Dachi）
すぐ（直）＝① straight(forward) ② honest, sincere ③ plain, frank
だち→
(a person/thing do) たつ（Tatsu）＝① stand up, rise, stop ② (sitting one) get up, rise ③ (plants) grow, sprout, spring up, overgrow ④ (vehicles, etc.) be parked, stop, pull up ⑤ (position) take, hold, assume ⑥ occupy, take up ⑦ (mist, fog, haze, cloud, smoke, wind, wave, etc.) form, rise ⑧ (moon, rainbow, etc.) appear, come out ⑨ (sound) ring, resound ⑩ (reputation, rumor, etc.) spread, circulate ⑪ (in the form of 「腹立つ」（Haradatsu）) get angry ⑫ (year, month, season, etc.) start, begin ⑬ (time) pass, elapse ⑭ leave, move out, go out/away ⑮ leave, start, depart, set out/on ⑯ (bird, etc.) fly away ⑰ useful, help ⑱ (edged tools, etc.) sharp, keen, cut well ⑲ especially/actively/vigorously/intensely do something
(do a person/thing) たつ（Tatsu）＝① establish, set up ② (in the form of「名を立つ」（Na-wo-Tatsu）) become public/common knowledge, enhance reputation ③ raise, stop, halt ④ get (sitting one) up ⑤ (tools, vehicles, etc.) put, place, plant, stop, pull up ⑥ (position, place, status) assign, appoint, nominate, designate, put, allocate ⑦ (edged tools, etc.) stab, pierce ⑧ (gate, door) close, shut ⑨ (building) build, construct ⑩ (mist, haze, smoke, wind, wave, etc.) cause, produce, make ⑪ (voice, sound, etc.) give off, make, produce ⑫ (reputation, rumor, etc.) spread, circulate, broadcast, publicize, enhance, heighten ⑬ (oath, wish) make, take, swear ⑭ (hot water, tea) boil, make, brew ⑮ (in the form of 「腹立つ」（Haradastu）) anger, offend ⑯ (time) lapse, let pass ⑰ send, dispatch, let go, make start ⑱ (bird) let/make fly away ⑲ (life, honor) let/allow/make keep/maintain/hold ⑳ (eye, ear and other sense/sensory organs) use, let function, stop, disuse㉑ persist, insist, stick to, carry out/through ㉒ intensely/eagerly/especially/particularly do something
なすぐだちそ＝な（Na）＋すぐ（Sugu）＋だち（Dachi）＋そ（so）＝ please do not do somthing ＋ straight(forward) and honest ＋ especially/actively/vigorously/intensely do something ＋ (please do not do something)＝ please do not be too straight(forward) or honest
In the sentence above, the names of 少将 and 帯刀 are respectively stated clearly; it seems that in the classical Japanese the name stated is the speaker and performer of the remarks and actions stated after that name. And irrespective of the length of the remarks and actions, as long as the speaker and performer stated is the same one, the name is only once stated and not stated twice or more. Too long length of such ones frequently causes the difficulty in determination of the speaker and performer. That trait may lead to complication in reading the classical Japanese works.
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In the empty house, Princess Ochikubo, who always keeps quiet with concern for people around, has loosened up and played the Japanese harp which her late mother gave lessons for. Her sweet sound rings that catches and charms anyone. Tachiwaki is also attracted; “How so talented! You’ve never told it, haven’t you?" “Haven’t I? One of her specialties. Her mother personally taught how to play it since she was about six years old," said Akoki. While Tachiwaki is absorbed in talking with his wife, his master has come to the house of Chunagon without advance notice, paying caution not to draw public attention. Ukon’no Shoushou has had his man call Tachiwaki; “Is Mr. Tachiwaki here? For business. Your favor would be appreciated." This call prompted Tachiwaki to deal with his master in haste, being stuck, saying to himself, “Has he really come? I thought he would not come tonight." He gave a prompt reply that he would come at once and hurriedly changed his clothes and left Akoki for Ukon’no Shoushou. No reason for being alone, Akoki also left for Princess Ochikubo, not minding her husband.
First of all Ukon’no Shoushou said, “Does all go well? Through the pouring rain, I came here to meet my Princess. You get me to meet her." His high-handed forcible way placed his loyal man in a difficult situation. “Please tell me you’re coming before you come. I cannot cope with such an abrupt call. Princess Ochikubo also should have a choice. I suppose tonight will not be the time," said Tachiwaki. “Don’t be rigid, my brother," said Ukon’no Shoushou, trying to cajole his capable man, patting Tachiwaki. Yielding to his demand, the faithful servant said, “Anyway, please come in," and led him inside. The carriage with one ox of Ukon’no Shoushou was ordered to come again before dawn.
In front of the sliding door of the place allotted to servants, Tachiwaki explained the states of the house and the Princess to Ukon’no Shoushou. But the would-be Prince seemingly will not restrain his eagerness and excitment as no other people are there and presses his man to guide him to the place of Princess Ochikubo so that he can look in and see the Princess. “Keep cool, please. People says you open the box too soon and you will regret. You are not an exception, either," said, dissuading him from a reckless attempt. “You mean the story that a man takes the trouble to go and see a woman in his heart against the rain but only finds such ugliness as he has never expected of her, ending in a dash leaving his hat for protection from rain," said the pushy lord, turning the serious advice into a joke.
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