Ochikubo-6
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 have been lost herself in endless despair. The Princess shuts herself in her inner world exclusively with her late mother. Even sincere words of Akoki cannot reach her mind. Longing for her mother, the heart of Ochikubo-Hime may have flown far away from this world. Such state of mind should not allow any relation even with a noble man.
Akoki exerts herself so that her Princess will seize her happiness, getting out of the current situation; my Princess must not end her life like a slave now.
Tachiwaki, the husband of Akoki, has brought the opportunity for Ochikubo-Hime to meet Ukon’no Shoushou.
Kitanokata, mother of San’nokimi, always stands between Princess Ochikubo and Akoki, cutting in by command.
Deeply sunken in misfortune and misery, Princess Ochikubo seems not to be able to find any ray of hope in this world. Her eyes of mind seemingly look to her mother in Heaven, always talking with Mother alive in her world of her inner heart. Probably the only person that the Princess daily talks with in the real world, Akoki, can not move or change her heart or mind. Akoki’s belief that her Princess should get great happiness may not come true if the situation continues. Who or what will bring a turning point for Ochikubo-Hime?
Culture and Society of Heian Period
Women in Heian Period can live in seclusion by becoming a nun, which may mean social death. Children of criminals, traitors and rebels were not killed upon becoming a priest or monk. Such means is useful in avoiding actual death but realizing loss of social status. Men who becomes a priest or monk can not be appointed to any officer or official; even if such men is a child of the emperor, he can not succeed to the throne. In return for their lives saved, they relinquish the opportunity to join in active service for various communities. Women tired of their difficulties or troubles in the world can sever worldly ties or complicated relations without actually dying by having their long hair cut, which ceremony declares and symbolizes that they are a nun. Ochikubo-Hime may want to get out of abuse of the stepmother, Kitanokata, but she can’t live without support of her father, Chunagon if she turns a nun. For the Princess to change into a nun does not solve her serious problem; she can not escape from the wicked malice anyway. That means Princess Ochikubo needs a man of (great) economic power (money and wealth) to sustain her life more than promising future or probability of success. Her Prince must be wealthy.
Let’s look up the classical Japanese languages below from the text of this episode.
[Classical Japanese Languages Picked Out]
「「母君、われを迎へたまへ。いとわびし」と言ひつつ、われにつゆあはれをかけば立ちかへり ともにを消えよ憂き離れなむ 心慰めに、いとかひなし。」
（「Hahagimi, Ware-wo Mukae-tamae. Ito-Wabishi」to-Iitsutsu, Ware-ni-Tuyu-Aware-wo-Kakeba-Tachikaeri Tomo-ni-wo-Kie-yo-Uki-Hanare-Nan Kokoro-Nagusame-ni, Ito-Kainashi.）
いと
Ito
① very ② really ③ not very
In this case above, いと may be used in meaning that Ochikubo-Hime is very miserable and sad.
つゆ
Tsuyu
① drop of water, dew ② things that remind one of tears ③ things that are transient or brittle ④ slightness ⑤ things that imply favor or benefits ⑥ end of strings to tie up sleeves of clothes for men in Heian Period ⑦ (not) at all
In this case above, つゆ may be used in meaning that if you think, even slightly, that Ochikubo-Hime is poor or pitiful.
かひなし
Kainashi
not effective as expected ⇒① ineffective, vain ⇒② to be in a deadlock(standstill) ⇒③ insignificant
In this case above, かひなし may be used in meaning that the traditional Japanese poem Ochikubo-Hime makes for her consolation is not very useful or a vain attempt.
Apart from the Tale of Ochikubo-Hime, a variety of topics relating to the Heian Period are discussed in this series.
「人づてのおほせ書きにはあらぬなめり、と、胸つぶれて、とくあけたれば、紙には、ものも書かせたまはず、山吹の花びらただ一重を包ませたまへり。それに、「言はで思ふぞ」と書かせたまへる、いみじう、日ごろの絶え間嘆かれつる、皆なぐさめてうれしきに、」
（Hito-zute-no-Oose-Gaki-niwa-Aranu-nameri, to, Mune-Tsuburete, Toku-Ake-tareba, Kami-niwa, Mono-mo-Kakase-Tamawazu, Yamabuki-no-Hanabira-Tada-Hitoe-wo-Tsutsumase-tamaeri.）
（With a letter in hand, I am a little worried if this is not written by Empress Teishi but at the same time I hope that Empress Teishi wrote this herself for me. Upon opening it, I found nothing on the letter except a single-petaled flower of Yamabuki (kerria japonica). On it there is the writing of Empress Teishi; “even if I stay silent, I am always worried about you." Instantly jubilant, I almost sprang with delight after down spirit from deserted loneliness for a while.）
This excerpt above is quoted from Passage 138 of Makura-no Soushi. There was a rumor, when Fujiwarano Michitaka, father of Empress Teishi, died, that Sei Shounagon betrayed by defecting to Fujiwarano Michinaga. That was not true, but Sei Shounagon seemed to refrain from serving Empress Teishi nearby. This Passage depicts how Empress Teishi and Sei Shounagon spend respectively and they communicate with each other. Such rumor may have impaired the pride of Sei Shounagon and impeded her willingness to serve Empress Teishi personally again. Being aware of such state of her mind, Empress Teishi seemed to have thought up a solution to smoothe and encourgae Sei Shounagon to return. It was the letter described in the excerpt above. Upon receipt, Sei Shounagon immediately got back into a good temper and could follow the way opend up by Empress Teishi. It is said that Empress Teishi is younger than Sei Shounagon by about ten years; however, Empress Teishi seems to be more mature and smart than Sei Shounagon in a way. It is no wonder that Sei Shounagon adores Empress Teishi.
“Makura" of Makura-no Soushi means a pillow (and Soushi writing). The essays of Makura-no Shoushi seems a collection of materials to please, comfort and cheer up Empress Teishi. Those may have been prepared by Sei Shounagon only for her precious Empress. They may be considered as “dreams" for Empress Teishi, with which the Empress can be immersed in her joyful world created exclusively for her. Sei Shounagon may have used “Makura" in the title for her work dedicated to Empress Teishi to present “dreams" which make the Empress forget the harsh real world. A strong tie or bond in souls may exist between Empress Teishi and Sei Shounagon beyond the relationship of mistress and servant.
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