The figures denote some of the long lays in which the m. k. to which they are attached are employed. The literal renderings are of the characters, read mana, with which the m. k. are more often written—but not so in all cases. Of many of the m. k. the meanings are, and must remain conjectural.
Place-names are thus indicated (pl. n.).
adzusayumi, bow of white-wood (Catalpa, Prunus?); applied to hiki (draw); compounds of hiki; — hiki-toyokuni = hiki-toyomu-kuni (resounding land); — Yora no yama he, Yora hill, yora resembling yoru (night-time when twang of bow more distinct); — suwe ha yorinemu (at the end will rest—end = bow-end); — suwe (end); — haru (stretch or bend, as bow); — oto sound (as twang of bow), [3], [29], [31], [104].
agakokoro, my heart or feelings; used with following place-names, Kiyosumi no ike, Akashi no ura, Tsukushi no yama. The application is obvious, [199].
Ahajishima, Awaji island; applied by sound-quibble to ahare, alas! oh!
Ahashimano, millet-island; applied to awazhi mono, one who is not met—zh is sh voiced.
ajimurano, like flock of teal (Anas formosa); — sawaku, make noise like flock of teal, [54].
ajinosumu, where teal resort; — Susa no irije (creek); ajisahafu, where teal are abundant, [26]; with mure (crowd) or me (contraction of mure) confer umasahafu, [68].
akahoshi, red-star, Venus, bright-star; — akuru ashita, bright-star-morrow’s-daybreak.
akanesasu, red-wort-dyed, madder-red or ruddy, comely; — hi (sun),—hiru (noon); — tereru tsukuyo (bright moonlight night); — murasaki (purple); — kimi (lord), [24], [154], [240].