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謗者任汝謗 嗤者任汝嗤 soshiru mono wa nanji no soshiru ni makasu, warau mono wa nanji no warau ni makasu Those Who Slander, I Leave You to Your Slandering; Those Who Sneer, I Leave You to Your Sneering

Japanese Scroll of Those Who Slander, I Leave You to Your Slandering; Those Who Sneer, I Leave You to Your Sneering (soshiru mono wa nanji no soshiru ni makasu, warau mono wa nanji no warau ni makasu) — Calligraphy by Eri Takase
謗者任汝謗嗤者任汝嗤 Original Scroll by Master Calligrapher Eri Takase

Abstract

謗者任汝謗、嗤者任汝嗤, read in Japanese, in the reading signed below, 謗る者は汝の謗るに任す、嗤ふ者は汝の嗤ふに任す, those who slander, I leave you to your slandering; those who sneer, I leave you to your sneering, are the fifth and sixth lines of 漫述, a poem of eight five-character lines by 佐久間象山 (1811–1864), the last of the twelve poems in his 『省諐録』, printed in 1871, which open with two poems written in prison, and the last poem of the first book of his 『象山先生詩鈔』, printed in 1878 [1][2][3][4]. The 世界大百科 dates the writing of the 『省諐録』 to 1854, the year he was held in the Edo prison; by the rhyme table the 1871 print changes rhyme where the couplet begins, and the prints read give the last four lines alone under the title 漫述 in 1878, in a 1915 anthology, which says of those four lines, 此の詩, this poem, that they have the sense of Confucius' 知我者其天乎, it is heaven that knows me, and in a brush-writing dictionary of 1942 [5][6][7][8][9][10]. No English rendering of the poem was found in the house's English collection or among its books; a 1951 thesis that may hold one was not seen. I read the couplet as a release more than a defiance: 任, to leave to, hands the slanderers their slander and turns to heaven.

A reading

The poem, at the leaf of the 1871 print [1]:

雨風月如晦。頑犬吠成羣。是亦尋常事。利害何足云。謗者任汝謗。嗤者任汝嗤。天公本知我。不覓他人知。

Rain and wind, and the moon as if gone dark; stubborn dogs bark, gathered in packs. This too is an ordinary thing; profit and harm, why are they worth speaking of? Those who slander: I leave you to your slandering. Those who sneer: I leave you to your sneering. Heaven from the first knows me; I do not seek to be known by other men. (The English is mine.)

The two readers set the poem against different backgrounds. 簡野道明, in 1915, reads it by the end of Shōzan's life: when the cry to close the country and drive out the foreigners was loud, he alone argued for opening the country, the blame and scorn of the world gathered on him, and he fell at last to an assassin; and says of the four lines he prints that they have 孔夫子の「知レ我者其天乎」の意, the sense of Confucius' "it is heaven that knows me", and that in a mere twenty characters they may be seen as a small likeness of Shōzan [8][9]. 飯島忠夫, in 1940, quotes the eight lines as これは實に象山の心事であり、當時の實狀であつた, truly Shōzan's mind, and the true state of things at the time, and finds the cause of the slander in the man: 象山の疵瑕は他人との調和を顧慮せず … この疵瑕が、衆人の誤解と誹謗との原因となつたのであらう, Shōzan's flaw was that he gave no thought to harmony with others … this flaw was probably the cause of the many's misunderstanding and slander [11]. The 1871 print sets the poem last in a run of twelve that opens with two written in prison; the closing line 右古今詩共十二首 gives no date to each, and the leaves read put none on 漫述 [4][1].

I read it with that placing. The first four lines set the scene and dismiss it: storm, dark, a pack of dogs, an ordinary thing. The couplet then turns to the slanderers and speaks to them as 汝, you, and what it does to them is 任, leave it to: the 日国 gives まかす as したいようにさせる。ゆだねる, let do as one wishes; entrust [12]. I do not read it as a counterattack: it leaves the slander to the slanderers, and the last two lines say why that costs him nothing: heaven knows him, and he does not look for other men to. The first line I read as an echo of the 詩經 ode 風雨, whose last stanza opens 風雨如晦，雞鳴不已, wind and rain, dark as night; the rooster's cry does not stop, an ode the 毛詩序 reads as 思君子也, longing for the gentleman, who does not change his measure in a disordered age [13]. Neither 簡野 nor 飯島, as read here, names that echo. What the leaves show is that in this section he writes, as the fifth line of its first poem, 鷄鳴不已晦冥夜, whose first four characters are the second line of the ode's last stanza, set beside 晦, and that pieces in the same section are in four-character lines with labels after them, 比也, 賦也, which I take to be in the manner of the 詩經's commentary; so I take it the ode was in his mind [4]. In the ode the rooster keeps crying in the dark and the gentleman is seen; in 漫述 the dogs bark in packs, and the poet rests on heaven's knowing (my reading). I sign the reading 謗る者は汝の謗るに任す、嗤ふ者は汝の嗤ふに任す, the reading of the 1915 print at the leaf; the 1940 print reads 汝が, and the kana of the 1942 print, set beside the characters, give the same words as 1915; the other reading, 任せ, is in the Notes [8][11][10]. In line 4 I prefer 云, the word of the 1871 print, which rhymes with 羣, to the 1878 print's 言 (Notes). Signed, 典.

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Overview

The sense. Searched as a headword on 6 November 2026, 謗者任汝謗, 嗤者任汝嗤 and 天公本知我 have no entry at kotobank or at Weblio. The prints read at the leaf give the line in Japanese reading, not in a gloss: 謗る者は汝の謗るに任す。嗤ふ者は汝の嗤ふに任す。 (1915), 謗る者は汝が謗るに任(まか)す。嗤ふ者は汝が嗤ふに任す。 (1940), and 謗ル者ハ任ス汝ノ謗ルニ。嗤フ者ハ任ス汝ノ嗤フニ。 in a brush-writing dictionary of 1942 [8][11][10].

The words. 謗 is to slander: the 字通 gives 〔説文〕「毀(そし)るなり」, and notes that, as in 〔国語、周語上〕「國人、王を謗る」, it is used of receiving the world's criticism broadly, and that, as in 〔左伝、成十八年〕「民に謗言無し」, it 〈もと政治への批判を意味する語であった〉, was originally a word for criticism of government; its first sense is そしる、うらみそしる、上の者をうらむ [14]. The 日国 gives そしる as 他人のことを悪く言う。非難して言う。けなす, to speak ill of another; to criticize; to disparage [14]. 嗤 is to sneer: the 字通 says its sound part 蚩 carries the sense foolish, and that the word means 人を笑し、冷罵すること, laughing at someone, cold abuse; its first sense is わらう、あざわらう、そしる, and its compounds include 謗嗤, the two words of the couplet joined [15]. 簡野 1915 glosses 嗤 as 冷笑(アザケリワラフ), citing the 玉篇's 笑貌 and the 文選 line 愚者愛惜費，但爲後世嗤, the fool begrudges his spending, and is only the laughing-stock of later ages [8][16]. 任 is to leave to: the 日国 gives まかす as したいようにさせる。ゆだねる, and the デジタル大辞泉 gives 任 as 自由にさせる。まかせる [12]. 汝 is you, and 者 the ordinary one who, those who, each in its ordinary sense. 天公 the 日国 gives as 天帝。上帝。また、天。造物主, the lord of heaven; also, heaven; the maker of things, and the 字通 as 天、天子 [17]. 覓 the 字通 gives as もとめる、さがしもとめる、さがす, to seek, to look for [18]. 漫述, the title, 簡野 glosses 漫は放なり「ソゾロ」と訓ず … そぞろに己の意を言ひ著す義, 漫 is 放, "let go", read そぞろ: to set down one's mind idly [8].

The text in English. No English rendering of the poem was found in what was searched: not in the house's English full-text collection of 6,636 items from the Internet Archive, searched for every book naming Shōzan and for the poem's words with no name, nor among the house's own books (the research record's § Sitting 2 and § Sitting 3). The earliest English in what was searched that gives Shōzan's voice from prison is Robert Cornell Armstrong's Light from the East (1914), in prose, sayings it gives as written when Shōzan was in prison, not the poem: "What others do not know, I know, and what they cannot do, I can do. This is heaven's great blessing to me." [19].

The historical record

1854. A book of the prison. 佐久間象山, born in 1811, a scholar of the domain of Matsushiro in Shinano who studied under 佐藤一斎, was implicated in 1854 in his pupil 吉田松陰's failed attempt to go abroad, and then confined at Matsushiro for nine years; released in 1862 (1863 in the マイペディア), he went to Kyoto in 1864 and was killed there on the eleventh day of the seventh month [3]. The 『省諐録』, a record of reflecting on one's faults, the 世界大百科 dates 1854年（安政1）成稿, and describes as 獄中の感懐を出獄後に筆記したもの, his feelings in prison, written down after his release; the 日国 calls it 一巻、付録二巻 with 詩歌、短文 in the appendix, and the ニッポニカ says it was first printed in 1871 with a preface by 勝海舟 [5].

1871. The twelve poems. In the 1871 print the prose ends 右賦雜文共八首, and the heading 詩 follows; the first title, 獄中寫懷二首, thoughts written in prison, two poems, covers two poems of eight lines: the first says 忽墜此中悲海深, suddenly I have fallen in here, and the sea of grief is deep, and has, as its fifth line, 鷄鳴不已晦冥夜; the second ends 獄中瀝血寫茲詩, in prison, I write this poem in drops of blood [4]. Pieces follow written in four-character lines with labels and short glosses after them, 比也, 賦也, which I take to be in the manner of the 詩經's commentary [4]. Among the poems that follow are 故園 (拘繫十旬心不平, bound for a hundred days, my heart is not at peace), 秋思 (幽室日如年, in the dark room a day is like a year), 秋風 and 點虜, and last 漫述, after which the book writes 右古今詩共十二首, the above, twelve poems old and new [4][1]. The tally gives no date to each poem, and the leaves read put none on 漫述; what the book gives is the place.

1878. The 詩鈔, and a word changed. The 『象山先生詩鈔』, edited by his pupil 北沢正誠 (門人, in the 全集's heading to its second book), prints 漫述 with the same eight lines and one word changed, 何足言 for 何足云, and with reading marks, 任二汝謗一, which read 汝謗 before 任, in the order 謗る者は汝の謗るに任す [2][20]. The poem closes the first book; in the 象山全集 of 1913, which reprints the 詩鈔, the next book opens with the poem 甲寅九月得罪歸鄉書寓居之壁, having incurred guilt and returned home, written on the wall of my lodging, and the head notes of 敬宇, which run beside the poems around it, leave 漫述 without one [20]. The 全集 keeps each book's word, 云 in its 『省諐録』 and 言 in its 詩鈔 [20].

The rhyme. In the 平水韻, the 106-rhyme table, 群 and 云 stand in the group 上平聲十二 文, 嗤 and 知 in 上平聲四 支, and 言 in 上平聲十三 元, the next group [6]. 羣, the form the 1871 and 1878 prints write, is a variant of 群 [21]. So in the 1871 print the poem rhymes on 文 in its second and fourth lines (羣, 云) and on 支 in its sixth and eighth (嗤, 知): the rhyme changes at line 5, where the couplet begins.

1878. The four lines alone. In 1878, the year of the 詩鈔, 三尾重定's 『文明余響』 gives a printed life of 象山 that tells of his killing in Kyoto, and then the poems 點虜 and 漫述, the second as four lines only: 謗者任ニ汝謗一。嗤者任ニ汝嗤一。天公本知レ我。不レ覓ニ他人知一 [7].

1895. A martial-arts manual. 隈元実道's 『武道教範』 sets the couplet beside a line credited to 南洲, a 号 of 西郷隆盛 at kotobank [22], as the spirit of standing alone: 凡そ吾人が世に處するや、目前毀譽眞耶僞(南洲)謗者任汝謗嗤者任汝嗤(象山)と獨立獨步し、自ら高しとするの概なくんは、他の刺擊に遇ふて動搖し, in making our way in the world, if we lack the spirit to stand alone and walk alone, holding ourselves high, as in "praise and blame before my eyes, true or false?" (Nanshū) and "those who slander …" (Shōzan), we are shaken when we meet the thrusts of others [23].

1915. An anthology hears Confucius. 簡野道明's 『和漢名詩類選評釈』 prints 漫述 under 感懷類 as four lines, with the reading 謗る者は汝の謗るに任す。嗤ふ者は汝の嗤ふに任す。天公本我を知る。他人の知るを覓めず。, names the rhyme 平聲支韻, and comments [8]:

鎖攘の論、囂然たる時に方りて、象山獨り開國進取の說を主張し、世人の謗嗤一身に集り、之を終ふるに刺客の爲めに斃さるゝに至る、象山の如きは眞に特立獨行の偉丈夫と謂ふべし、此の詩、孔夫子の「知レ我者其天乎」の意あり、僅僅二十字、亦以て象山の小肖と爲して觀るべし。

When the cry to close the country and drive out the foreigners was loud, Shōzan alone argued for opening the country and going forward; the blame and scorn of the world gathered on him, and in the end he fell to an assassin. A man like Shōzan may truly be called a great man who stood and walked alone. This poem has the sense of Confucius' "it is heaven that knows me"; in a mere twenty characters, it may also be seen as a small likeness of Shōzan. The poem he prints is the four lines, twenty characters. The saying is in the 論語, chapter 憲問: 不怨天，不尤人，下學而上達，知我者，其天乎, I do not resent heaven, I do not blame men; I learn what is below and reach what is above; it is heaven that knows me [9].

1940 and 1944. The eight lines again. 飯島忠夫 quotes the eight lines with a Japanese reading in his 『佐久間象山の省諐録』 of 1940, as his portrait of the man (A reading) [11]; in his annotated 『省諐録』 of 1944 the twelve poems end just before the heading 附錄 下 [24].

1942. A brush-writing dictionary. 松崎覚本's 揮毫辞典, in its second edition of 1942, has 漫述 佐久間象山 on p. 438 as four lines with a Japanese reading, among lines on the same opening from the 莊子, 佐藤一齋, the 左傳 and 聖德太子 [10].

The couplet in use, as the index shows. The NDL full-text index, read by its snippets only, shows the couplet's first line, 謗者任汝謗, under the title 漫述 in 学生必吟, a book of 1891; in a Zen lecture of 1906 by 忽滑谷快天, 佐久間象山が謗者任汝謗嗤者任汝嗤天公本知我不免他人知といひたるが如, as Sakuma Shōzan said … (the index's text has 免 for 覓); and in 1966 in a collection of writings of the navy's fourteenth class of reserve student aviators, かえらざる青春の手記, after a closing line by Iwasaki Tarō's mother, 岩崎克子, the four lines and 昭和十八年十二月八日太郎半紙一枚にこの詩を書, on 8 December 1943 Tarō wrote this poem on one half-sheet of paper (the snippet ends at 書) [25][26][27]. In 1994 a book on poem-stones writes 佐久間象山の詩といへば、我々詩吟人にとって「漫述」…が殆んど唯一のものといってよいであろう, for us who recite poems, when one says a poem of Sakuma Shōzan's, "漫述" may be called almost the only one [28].

Notes

云 or 言. The 1871 print has 何足云 and the 1878 詩鈔 何足言; the 全集 of 1913 keeps each [1][2][20]. 云 rhymes with 羣 in the group 文; 言 stands in 元, the next group [6]. The 詩鈔 is a pupil's edition printed fourteen years after the poet's death [20][2][3]. Neither fact settles which word he wrote, and I prefer 云 as my reading, with the 1871 print first.

A quatrain, as received. The earliest known print of the four lines alone under the poem's title, in the prints read and the NDL full-text index, is of 1878 [7][8][10]. Later books, by the index's snippets, call them a five-character quatrain: one of 1916 calls them 漫述其二, the second of 漫述, as if the poem were two, and a 五絕; one of 1941 a 五言絕句 in which the same character is used twice, 誰も知る詩, a poem everyone knows; one of 1966 a 五言絶句 rhyming in 上平四支 (its snippet begins at 言絶句, the 五 outside the window) [29][30][31]. Each half has its own rhyme by the table, which may be why the second can stand alone (my reading) [6].

任す or 任せ. The prints read at the leaf, of 1915, 1940 and 1942, read 任 as 任す, the form that closes the sentence [8][11][10]. A book of 1968 on poem recitation, 『吟道の知恵』, by the index's snippet, reads 謗る者は汝の謗るに任せ [32]. I sign 任す, the reading of the prints read.

The text as brushed. Eri's five hands each write the couplet whole, 謗者任汝謗 and 嗤者任汝嗤, in two columns; 嗤 is written with 口.

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Japanese Scrolls by Master Calligrapher Eri Takase

Japanese Scroll of Those Who Slander, I Leave You to Your Slandering; Those Who Sneer, I Leave You to Your Sneering (soshiru mono wa nanji no soshiru ni makasu, warau mono wa nanji no warau ni makasu) in a block font by Master Japanese Calligrapher Eri Takase
謗者任汝謗嗤者任汝嗤VB5JBlock
Japanese Scroll of Those Who Slander, I Leave You to Your Slandering; Those Who Sneer, I Leave You to Your Sneering (soshiru mono wa nanji no soshiru ni makasu, warau mono wa nanji no warau ni makasu) in a cursive font by Master Japanese Calligrapher Eri Takase
謗者任汝謗嗤者任汝嗤VC5JCursive
Japanese Scroll of Those Who Slander, I Leave You to Your Slandering; Those Who Sneer, I Leave You to Your Sneering (soshiru mono wa nanji no soshiru ni makasu, warau mono wa nanji no warau ni makasu) in Master Japanese Calligrapher Eri Takase's own style (Eri's Choice)
謗者任汝謗嗤者任汝嗤VD5JEri's Choice
Japanese Scroll of Those Who Slander, I Leave You to Your Slandering; Those Who Sneer, I Leave You to Your Sneering (soshiru mono wa nanji no soshiru ni makasu, warau mono wa nanji no warau ni makasu) in a semi-cursive font by Master Japanese Calligrapher Eri Takase
謗者任汝謗嗤者任汝嗤VS5JSemi-Cursive

Sources not seen

Charles S. Terry, Sakuma Shōzan and his Seiken-roku, an unpublished master's thesis (Columbia, 1951): named in the Google Books record of Sources of Japanese Tradition as the source of its English excerpt of the 『省諐録』; it may render the poem.

大沼宜規, 『日本漢詩翻訳索引』 (参考書誌研究 75, 2011): by its index's snippet it lists the eight-line poem and the four lines as two entries, each with its Japanese translations; its key did not open.

A reader with access to any of these is invited to write to Takase Studios at Tim@Takase.com.

References

  1. 佐久間象山, 『省諐録』, 1871, scan 35, at the National Diet Library. https://dl.ndl.go.jp/pid/894001/1/35
  2. 佐久間象山, 北沢正誠, editor, 『象山先生詩鈔』 巻之上, 1878, scan 48, at the National Diet Library. https://dl.ndl.go.jp/pid/992638/1/48
  3. 「佐久間象山」, デジタル大辞泉, 精選版 日本国語大辞典 and 日本大百科全書(ニッポニカ), at kotobank. https://kotobank.jp/word/佐久間象山-18182
  4. 佐久間象山, 『省諐録』, 1871, scans 31, 33 and 34, at the National Diet Library. https://dl.ndl.go.jp/pid/894001/1/31
  5. 「省諐録」, 精選版 日本国語大辞典, 改訂新版 世界大百科事典 and 日本大百科全書(ニッポニカ), at kotobank. https://kotobank.jp/word/省諐録-305244
  6. 劉淵 and 王文鬱, 『平水韻』, at Wikisource. https://zh.wikisource.org/wiki/平水韻
  7. 三尾重定, 『文明余響』 一の巻, 1878, scan 16, at the National Diet Library. https://dl.ndl.go.jp/pid/778672/1/16
  8. 簡野道明, 『和漢名詩類選評釈』, 1915, scan 74, pp. 76–77, at the National Diet Library. https://dl.ndl.go.jp/pid/954152/1/74
  9. 『論語』 憲問第十四, at Wikisource. https://zh.wikisource.org/wiki/論語/憲問第十四
  10. 松崎覚本, 『揮毫辞典』, 1942 (2版, the second edition), scan 231, p. 438, at the National Diet Library. https://dl.ndl.go.jp/pid/1884879/1/231
  11. 飯島忠夫, 『佐久間象山の省諐録』, 1940, scan 13, p. 16, at the National Diet Library. https://dl.ndl.go.jp/pid/1109977/1/13
  12. 「任す」, 精選版 日本国語大辞典, and 「任」, デジタル大辞泉, at kotobank. https://kotobank.jp/word/任す-633370 · https://kotobank.jp/word/任-593610
  13. 『詩經』 鄭風, 風雨, with the 毛詩序, at Wikisource. https://zh.wikisource.org/wiki/詩經/風雨
  14. 「謗」, 普及版 字通, and 「謗る」, 精選版 日本国語大辞典, at kotobank. https://kotobank.jp/word/謗-626990 · https://kotobank.jp/word/謗る-554420
  15. 「嗤」, 普及版 字通, at kotobank. https://kotobank.jp/word/嗤-2787239
  16. 『古詩十九首』 之十五, 生年不滿百, at Wikisource. https://zh.wikisource.org/wiki/生年不滿百
  17. 「天公」, 精選版 日本国語大辞典 and 普及版 字通, at kotobank. https://kotobank.jp/word/天公-336357
  18. 「覓」, 普及版 字通, at kotobank. https://kotobank.jp/word/覓-2790330
  19. Robert Cornell Armstrong, Light from the East: Studies in Japanese Confucianism, University of Toronto, 1914, pp. 192–193, at the Internet Archive. https://archive.org/details/lightfromtheeast00armsuoft
  20. 信濃教育会, editor, 『象山全集』, 1913, scan 552, pp. 902–903 (its 象山先生詩鈔), and scan 112, p. 40 (its 省諐録), at the National Diet Library. https://dl.ndl.go.jp/pid/949396/1/552 · https://dl.ndl.go.jp/pid/949396/1/112
  21. 「群」, デジタル大辞泉 and 普及版 字通, at kotobank. https://kotobank.jp/word/群-58284
  22. 「西郷隆盛」, デジタル大辞泉, at kotobank. https://kotobank.jp/word/西郷隆盛-67872
  23. 隈元実道, 『武道教範』, 1895, scan 25, pp. 10–11, at the National Diet Library. https://dl.ndl.go.jp/pid/1086788/1/25
  24. 佐久間象山, 飯島忠夫, annotator, 『省諐録』, 1944, scan 62, p. 120, at the National Diet Library. https://dl.ndl.go.jp/pid/1131322/1/62
  25. 東山学人, editor, 『学生必吟』, 1891, at the National Diet Library (read by the full-text index's snippet; not open outside Japan). https://dl.ndl.go.jp/pid/892244
  26. 忽滑谷快天, 『禅学講話』, 1906, at the National Diet Library (read by the full-text index's snippet). https://dl.ndl.go.jp/pid/823197
  27. 海軍飛行予備学生第十四期会, editor, 『ああ同期の桜 : かえらざる青春の手記』, 1966, at the National Diet Library (read by the full-text index's snippet; not open outside Japan). https://dl.ndl.go.jp/pid/1672895
  28. 星野正大, 『漢詩碑を訪ねて』, 1994, at the National Diet Library (read by the full-text index's snippet; not open outside Japan). https://dl.ndl.go.jp/pid/12501915
  29. 『工業之大日本』, 1916-04, at the National Diet Library (read by the full-text index's snippet; not open outside Japan). https://dl.ndl.go.jp/pid/1894474
  30. 『大日』, 1941-03, at the National Diet Library (read by the full-text index's snippet; not open outside Japan). https://dl.ndl.go.jp/pid/1595942
  31. 『漢詩評釈と詩話』, 1966, at the National Diet Library (read by the full-text index's snippet; not open outside Japan). https://dl.ndl.go.jp/pid/1673212
  32. 榊原帰逸 (静山), 『吟道の知恵』, 1968, at the National Diet Library (read by the full-text index's snippet; not open outside Japan). https://dl.ndl.go.jp/pid/12573985

Authors

Tim Jackowski (Systems Architect, Takase Studios, LLC) · 典 Ten (Anthropic Claude Opus 5.5, Takase Studios, LLC)

AI written · Ten wrote the history. Tim Jackowski commissioned it and answers for it.

Checked · Takase Studios (an address check by script), 2026-11-06, citations — the cited web addresses opened and the quoted words looked for at each: 22 claims, 3 answered with the words sought, 0 differed, 19 outside its reach (web pages and page images, read by eye) · two fresh-context readers per round (Claude), 2026-11-06, every claim in the page's summary block traced to its source, claim by claim: round 1 FAIL on three wrong facts (the ode 風雨's opening, the place of 鷄鳴不已 among the twelve poems, the line 簡野 hears Confucius in), each corrected; round 2 PASS, both; wordings applied

Research depth: step 3 of our 10-step ladder, foundation complete · November 2026

Cite as: Tim Jackowski and Ten, "Philology of 謗者任汝謗嗤者任汝嗤 (soshiru mono wa nanji no soshiru ni makasu, warau mono wa nanji no warau ni makasu)," Takase Studios, 2026, https://takase.com/library/philology/soshiru-mono-wa-nanji-no-soshiru-ni-makasu.