(ProQuest: ... denotes non-US-ASCII text omitted.)Translator's NoteThis is a translation of an 1829 printing of the Anan koshiki ... that was sponsored by the Soto nun Kanko ... (1785-1868). The central lecture of this koshiki, the shikimon ... , has often been attributed to the medieval cleric Myoe ... (1173-1232); however, this attribution is not verifiable. The 1829 edition is reproduced in full in Kawaguchi (2004, 79-86), which is the basis for this translation. I also consulted two other facsimiles of this text, Hirai Bun'eido Kyobo (n.d.) and Aoyama (2003, 18-65), and a footnoted reprinting in Ebie (1986, 295-307); however, the latter three reproductions omit the final section of the colophon, which appears in Kawaguchi (2004). In addition, I consulted a 1936 reprinting of the Kozanji ... Manuscript of the shikimon ... in Misshu gakuho, as well as an annotated version of the Kozanji Manuscript of the shikimon in Nomura 2002, 392-408 and the NDL Manuscript (n.d.) of the shikimon held at the National Diet Library. I cross-checked Nomura's annotations against other manuscripts (including the reprint of 1936 and the NDL Manuscript [n.d.]). For brevity's sake, I am omitting citations for the cross-references. Aichi Senmon Nisodo (2003), a video recording of a performance of the Anan koshiki, was a useful reference for appreciating the performance of the ritual by contemporary Soto nuns.The 1829 printing of the Anan koshiki contains not only the hymns and sermons performed by the assembly but also the compilers' stage directions and comments. In the original text, the hymns and sermons appear in larger script while the stage directions and comments are in half-size characters. In my translation, the stage directions and comments appear in italics, while my interpolations are in brackets.Translationlist of names(Name of the temple.)Performed on (insert day and month).The pure assembly offering the Anan koshikiShikishi ... [officiant] (name) osho ... [master]Baishi ... [cantor] (name and title)Shoko ... [incense] (name and title)Shasui ... [pure water] (name and title)Sange ... [scattering flowers] (name and title)Santo ... [hymn leader] (names and titles of two persons)Sange ... [scattering flowers] (name and title)Bonnon ... [Indian melody] (name and title)Shakujo ... [monk's staff ] (name and title)Saimon ... [consecration] (name and title)Ino ... [master of ceremony] (name and title)They all assemble in a dignified manner and wait listening for the sound of the bell.(Insert day and month.)Respectfully stated by (name), the resident monastic.On this day, right before the start of the ceremony, the hall has been adorned, and the offerings have been prepared. Then the great bell is rung down three times. The assembly lines up in front of the hall. The ino strikes the hand bell and all bow deeply to each other. Then they all enter the hall, starting with the officiant. They arrive at their seats according to the designated order. They perform three prostrations on their bowing cloths and kneel on the cloths. The ino collects her bowing cloth, advances, bows to summon the three persons who will purify the hall, and returns to her seat. The three each perform one prostration and collect their bowing cloths. Together, they step forward in front of the table.1 They stand lined up, each holding a ritual implement.2 The ino strikes the large bell twice and begins to chant the gatha.3 After two verses [of the gatha], the assembly joins in for three repetitions of the gatha. The three persons circumambulate the hall once.Sange no ge ... [Gatha of Scattering Blossoms]We scatter blossoms to adorn the ten directionsWe scatter a curtain of precious blossomsWe scatter precious blossoms in the ten directionsTo pay homage to all tathagatas.4After the three persons finish their circumambulation, they set down the implements with a bow and return to their seats. …