This local glossary is a shelf-specific companion to the central Good Works Glossary. It begins with the main rooms and named texts currently visible in the Japanese shelf.
Shelf Terms
Aozora Bunko (青空文庫) — A volunteer-run Japanese digital library. Its card records can identify author, copyright status, character/kana presentation, base editions, inputters, proofreaders, and file histories. Those layers remain part of an electronic edition's identity.
furigana / ruby — A reading printed beside or above a character or phrase. It may teach pronunciation, mark a special reading, disambiguate, or create literary tension. Good Works renders Kokoro's Aozora ruby losslessly as base（reading） in plain text.
Kokoro (こころ) — Natsume Sōseki's 1914 novel of trust, guilt, inheritance, friendship, loneliness, and the Meiji transition. The title can reach across heart, mind, inward feeling, and intention; no one English equivalent exhausts it. See Kokoro.
Natsume Sōseki (夏目漱石, 1867–1916) — Major modern Japanese novelist, critic, scholar of English literature, and former newspaper writer. On this shelf he is represented by the complete Japanese Kokoro, not by an English translation.
new-character/new-kana (新字新仮名) — A label for text presented with postwar-standard character forms and kana spelling. A work may be historically old while a digital edition uses these later forms. Aozora card 773's Kokoro must therefore not be called a diplomatic reproduction of its 1914 serialization.
Hōjōki — An Account of My Hut — A text on the Japanese shelf. See Hōjōki — An Account of My Hut.
Oku no Hosomichi — A text on the Japanese shelf. See Oku no Hosomichi.
Tenrikyo — A Japanese new religion founded through Nakayama Miki, centered on the Joyous Life and the Three Scriptures: Ofudesaki, Mikagura-uta, and Osashizu. See Ofudesaki, Mikagura-uta, and Osashizu.
Ofudesaki — Tenrikyo's central written scripture, "Tip of the Writing Brush," composed by Nakayama Miki / Oyasama in seventeen parts and 1,711 waka-style verses. See Ofudesaki — Tip of the Writing Brush.
Mikagura-uta — Tenrikyo's liturgical scripture of the Service, preserved as songs rather than prose doctrine. See Mikagura-uta — Songs for the Service.
Oyasama — The Tenrikyo name/title for Nakayama Miki, the foundress through whom the core scriptures were taught.
Tsukihi — A divine name in the Ofudesaki, literally "Moon-Sun" or "Moon and Sun." The Good Works translation preserves the term where the source uses it.
Parent / God the Parent — Divine-parent language in the Tenrikyo pages. In the Ofudesaki, "Parent" marks divine origin and care, not merely ordinary human parenthood.
Jiba — In Tenrikyo, the sacred place of origin. The Good Works Tenrikyo pages keep the term in transliteration.
Kanrodai — The central stand/place of the Tenrikyo Service, often glossed through the "Heavenly Dew" image. The Good Works Tenrikyo pages keep the term in transliteration.
Service — The capitalized Tenrikyo ritual and salvation work in the Ofudesaki and Mikagura-uta, not generic service in the ordinary sense.
Yoboku — A Tenrikyo "useful timber" image for human instruments or workers of the path. In the Ofudesaki, the Good Works translation preserves Yoboku where plain English would lose the timber/human image.
innen / causality — In the Tenrikyo pages, innen is rendered as causality or causality of origin rather than generic "karma."
kayashi / redress — A sharp Tenrikyo return-and-correction term in the Ofudesaki. The Good Works translation uses "redress" to avoid flattening it into either punishment or revenge.
Divine correction language — In the Ofudesaki, "regret," "anger," "pressing," "redress," and divine "withdrawal" belong to a recurring correction-language cluster. The Good Works translation keeps their force without reducing them to ordinary human temper or generic punishment.
hinokishin — Tenrikyo grateful service offered in response to divine blessing. The Good Works Tenrikyo pages keep the term in transliteration.
fushin — In Tenrikyo song-language, the construction image: literal building work and religious making set together.
denji — The field or farmland image in the Mikagura-uta sowing verses.
obiya-hōso — A compact Tenrikyo phrase in the Mikagura-uta naming childbirth and smallpox relief.
Loaned body / borrowed body — A core Tenrikyo body-language cluster in the Ofudesaki. The Good Works translation preserves loaned/borrowed language where the text says human bodies are received from God or Tsukihi.
Kara / Nihon / Tenjiku / Tojin — Source terms in the Ofudesaki that can mark doctrinal geography, status, or cultural contrast. The Good Works translation does not flatten them into simple modern national or ethnic labels.
High mountain / valley bottom — A recurring Ofudesaki status image. The translation keeps the literal image rather than replacing it with a single modern social category.
Origin-instrument names — In the Ofudesaki origin passages, names such as Izanagi, Izanami, Kunitokotachi, Kunisazuchi, Tsukiyomi, Kumoyomi, Kashikone, Otonobe, Taishokuten, and Omotari are treated as Tenrikyo creation-instrument names. The Good Works translation normalizes visible romanization where old-kana source forms vary, while retaining private review notes for uncertain forms.
Koki — A retained Ofudesaki term for origin-record or origin-teaching language. The Good Works translation keeps Koki where "history" or "record" would sound too ordinary.
Free working / free and unrestricted working — A Tenrikyo divine-action phrase in the Ofudesaki. The Good Works translation uses these forms for the source's language of unrestricted divine working rather than reducing it to generic power.
moto (元) / origin-source; ri (理) / reason-truth-providence — In the Ofudesaki, Good Works keeps origin/source language for root or beginning terms such as moto, and uses reason, truth, or providence for the separate explanatory or divine-order language associated with ri. These are not treated as interchangeable.
ashiki / wrongness / dust — In the Ofudesaki, language of evil, wrongness, dust, greed, arrogance, and resentment should not be read as condemning people as evil in themselves. The poem says no one is evil; dust has attached and must be swept away.