Waka Techniques:
Jokotoba (Preface Words)
Jokotoba, literally “preface words,” are phrases placed at the start of a poem to lead into the words the poet really wants to say. They paint a vivid scene — usually from nature — and then pivot to the poet’s feelings at a single linking word.
Readers of Homer may recognize the idea from the extended simile, in which a long image from nature, such as falling leaves or a lion in the hills, is laid out before the story resumes. A jokotoba works in much the same way, but in miniature: within just thirty-one syllables (more precisely, morae, the sound units of Japanese verse), the scene often fills the first half of the poem or more.
Unlike makurakotoba (pillow words), which are fixed five-syllable phrases handed down by tradition, a jokotoba is created by the poet for that particular poem, and is seven syllables or longer.
A jokotoba connects to the words it leads into in one of three ways:
- Simile: the scene is a comparison: as long as the trailing tail of the mountain bird, so long is this night (Poem 3).
- Kakekotoba (pivot word): the scene leads into a word with a double meaning (Poem 13).
- Sound: the scene ends with a word that sounds just like the next one, much like a pun or a rhyme: yoru (the waves draw near) → yoru (night) (Poem 18).
In each diagram below, the jokotoba is highlighted, and the words it leads into are marked with a double underline. Tap or click a diagram to open the poem’s page. The romaji under each line follows the old kana spelling of classical poetry, so it is not always read as written: for example, shirotahe is read shirotae, and afusaka is read Ōsaka.
Poem 3: Kakinomoto no Hitomaro
Type: Simile
Jokotobaあしびきのashibikino 山鳥の尾のyamadorinoono しだり尾のshidariono ながながし夜をnaganagashiyoo ひとりかも寝むhitorikamonemu
As long as the trailing tail feathers of the mountain bird — through these long, long nights, must I sleep alone?
The “long, long night” is likened to the long, drooping tail feathers of the mountain bird.
Poem 13: Retired Emperor Yōzei
Type: Kakekotoba
Jokotoba筑波嶺のtsukubaneno 峰より落つるmineyoriotsuru みなの川minanogaha こひぞつもりてkohizotsumorite 淵となりぬるfuchitonarinuru
Just as the streams from the peak of Tsukuba flow down to fill the deep pools of the Mina River, so my love for you has gathered deep within me.
It leads into kohi, a kakekotoba on 恋 (love) and 水 (water).
Poem 14: Minister of the Left of Kawara
Type: Simile
Jokotoba陸奥のmichinokuno しのぶもぢずりshinobumojizuri 誰ゆゑにtareyueni 乱れそめにしmidaresomenishi 我ならなくにwarenaranakuni
For whose sake has my heart become as disordered as the tangled patterns of Shinobu-mojizuri cloth of Mutsu? It is certainly not my own doing.
The poet’s tangled heart (midare) is likened to the tangled dye pattern of shinobu-mojizuri cloth from Michinoku.
Poem 18: Fujiwara no Toshiyuki Ason
Type: Sound
Jokotoba住の江のsuminoeno 岸による波kishiniyorunami よるさへやyorusaheya 夢のかよひ路yumenokayohiji 人目よくらむhitomeyokuramu
Even in my dreams, I find myself longing to go to you along the path of dreams — but do I hide from others' eyes even in the night?
The sound of yoru (寄る, the waves draw near) is repeated in yoru (夜, night).
Poem 19: Ise
Type: Kakekotoba
Jokotoba難波潟nanihagata みじかき葦のmijikakiashino ふしのまもfushinomamo 逢はでこの世をahadekonoyoo 過ぐしてよとやsugushiteyotoya
In this short life, even as brief as a joint of reed at Naniwa Bay, must I pass through this world without ever meeting you?
It leads into fushi no ma, a kakekotoba on “the short space between two joints of a reed” and “the briefest moment.”
Poem 27: Middle Counselor Kanesuke
Type: Sound
Jokotobaみかの原mikanohara わきて流るるwakitenagaruru いづみ川izumigaha いつ見きとてかitsumikitoteka 恋しかるらむkohishikaruramu
Like the Izumi River that wells up and flows through Mika Plain — when did I first see you, that I should long for you so?
The sound of izumi (泉, spring) is repeated in itsu mi (いつ見, “when did I see”).
Poem 39: Councillor Hitoshi
Type: Sound
Jokotoba浅茅生のasajifuno 小野の篠原ononoshinohara しのぶれどshinoburedo あまりてなどかamaritenadoka 人の恋しきhitonokohishiki
Though I try to hide it, my longing spills over. Why is it that I cannot stop thinking of that person?
The sound of shino (篠, bamboo grass) is repeated in shino(bu) (忍ぶ, to endure in secret).
Poem 46: Sone no Yoshitada
Type: Simile
Jokotoba由良のとをyuranotoo 渡る舟人watarufunabito かぢを絶えkajiotae ゆくへも知らぬyukuhemoshiranu 恋の道かなkohinomichikana
Like a boatman who has lost his oar on the swift straits of Yura — I drift, not knowing where my love is taking me.
Not knowing where one is headed (yukue mo shiranu) is likened to a boatman crossing the Yura strait who has lost his oar and drifts.
Poem 48: Minamoto no Shigeyuki
Type: Simile
Jokotoba風をいたみkazeoitami 岩うつ波のihautsunamino おのれのみonorenomi くだけて物をkudaketemonoo 思ふころかなomofukorokana
Like the waves crashing against the rocks in the fierce wind, I alone am broken to pieces by this sorrow.
Being the only one heartbroken (onore nomi) is likened to waves dashed against a rock by a fierce wind.
Poem 49: Ōnakatomi no Yoshinobu Ason
Type: Simile
Jokotoba御垣守mikakimori 衛士のたく火のejinotakuhino 夜はもえyoruhamoe 昼は消えつつhiruhakietsutsu 物をこそ思へmonookosoomohe
Like the fire tended by the palace guards, I burn at night and fade in the day — lost in endless longing.
Burning by night (yoru wa moe) is likened to the fires kindled by the guards (eji) who watch the palace gates.
Poem 51: Fujiwara no Sanekata Ason
Type: Sound
かくとだにkakutodani えやはJokotobaいぶきのeyahaibukino さしも草sashimogusa さしも知らじなsashimoshirajina もゆる思ひをmoyuruomohio
I cannot even tell you how I feel — like the smoldering fire of ibuki wormwood, my hidden love quietly burns.
Repeating sashimogusa and sashimo emphasizes the sound of the words.
Poem 58: Daini no Sanmi
Type: Sound
Jokotobaありま山arimayama 猪名の笹原inanosasahara 風吹けばkazefukeba いでそよ人をidesoyohitoo 忘れやはするwasureyahasuru
When the wind blows through the bamboo groves of Arima and Ina — of course I have not forgotten you.
From the bamboo grass rustling (soyo) in the wind, it leads into the word soyo.
Poem 77: Retired Emperor Sutoku
Type: Simile
Jokotoba瀬をはやみseohayami 岩にせかるるihanisekaruru 滝川のtakigahano われても末にwaretemosueni あはむとぞ思ふahamutozoomofu
Like the river that is split by rocks and flows apart — though we are separated now, I believe we will meet again in the end.
The wish to meet again someday, even after parting, is likened to a swift stream that is split by a rock but flows back together again.
Poem 88: Attendant to Empress Kōka
Type: Kakekotoba
Jokotoba難波江のnanihaeno 葦のかりねのashinokarineno ひとよゆゑhitoyoyue みをつくしてやmiotsukushiteya 恋ひわたるべきkohiwatarubeki
For just one brief night together, like the cut end of a reed at Naniwa — must I go on longing for you forever?
It leads into karine, a kakekotoba on 刈り根 (the stubble of cut reeds) and 仮寝 (a brief sleep).
Poem 92: Sanuki, attendant to retired Emperor Nijō
Type: Simile
わが袖はwagasodeha Jokotoba潮干に見えぬshihohinimienu 沖の石のokinoishino 人こそ知らねhitokososhirane かわくまもなしkawakumamonashi
My sleeves are like a rock hidden beneath the tides — unseen by others, they are never dry.
“No one knows it, but my sleeves are never dry” is likened to a rock far out at sea that stays hidden even at low tide.
Poem 97: Acting Middle Counselor Sadaie
Type: Simile
来ぬ人をkonuhitoo Jokotoba松帆の浦のmatsuhonourano 夕なぎにyufunagini 焼くやもしほのyakuyamoshihono 身もこがれつつmimokogaretsutsu
Waiting for someone who will not come, at the quiet evening shore — like salt burned from the seaweed, I too am consumed by longing.
The poet’s burning longing is likened to seaweed burned for salt at Matsuho Bay in the evening calm.
Other Waka Techniques
- Makurakotoba (Pillow Words): Fixed five-syllable phrases such as “ashibiki no” and “hisakata no”
- Kakekotoba (Pivot Words) and Engo (Associated Words): One sound carrying two meanings, and words that echo one another