| 小倉百人一首 短歌解説（１） |
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解説・翻訳：宿谷睦夫 英文添削：ブルース・ワイマン 監修：ボイエ・ラファイエット・デイ・メンテ |
| Commentary by Mutsuo Shukuya Post No. 1 As I noted in the preface, the collection, "100 Tanka Poems by 100 Poets" is said to have been compiled by Teika Fujiwara (1162-1241 A.D.) in the year 1235 from the original title, "100 Excellent Tanka Poems by 100 Poets." Furthermore, I mentioned that I recognized the following significant point: there are some tanka which deviate from the standard concepts of composing aesthetic tanka, which I discussed in my lecture, "Classical Tanka Composition." And then, I could not help thinking why Teika Fujiwara had compiled this collection. First of all, one of the points to consider is: what was tanka originally. This point may be summarized as follows: First, the Emperor composed tanka in order to present messages he received from the gods to his people. While people who listened to tanka composed by the Emperor seemed, in reply, to compose tanka in which they admired the beauty of nature, and to convey their feelings about the seasons and their emotions. Tanka composed by using unorthodox techniques may be very pleasing to people who receive them, but it is difficult to compose tanka using them. This is called Uta-mushiro or 'other ways to compose tanka in order to enjoy it together with others.' From this viewpoint, tanka compiled in this collection, that is to say, classical tanka written in the traditional tanka form which was introduced in the Heian period (about 1000 years ago), is not fundamentally different from Modern Tanka…authors compose it in order to express whatever they choose. There are several aspects of composition used in Fujiwara's collection. One of them is to praise the most prosperous period of the Imperial Family both in name and reality. It is proven that the tanka in this Collection began with those of Emperors Tenchi and Jito. Emperor Tenchi established a regime in which the Emperor himself ruled everything following a revolution called "Taika no Kaishin," which occurred in 645. Before then, people who were naturalized as Japanese citizens had the real power in the government of Japan. Japan became a puppet state operated by the Soga family, who controlled the real power. All the ceremonies in the Imperial Palace, in which Shinto forms were accepted had continued since Emperor Jinmu, who established the state of Japan in 660 B.C., were abolished and replaced with Buddhist forms, which the Soga family adopted. In those days the Nakatomi and Mononobe families had been concerned with all Imperial ceremonies since Emperor Jinmu. But both of them were eliminated by the Soga family and the survivors ran away to the Tohoku area. There were not a few people who disliked the fact that the Soga family rose in the government. Kamatari Nakatomi, who was the president of the other branch of the Nakatomi family, and some people from the Soga family who disliked the others, defeated the Soga family completely and drove them from the Imperial Palace of Emperor Tenchi. This revolution was called "Taika no Kaishin." Each direct descendant of Amenotanekonomikoto, the first ancestor of the Nakatomi family had conducted all ceremonies in the Imperial Palace, in which Shinto forms were accepted for 1300 years, since Emperor Jinmu. But 50 years had passed during which these ceremonies, in which Shinto forms were accepted, had been abolished and replaced with Buddhist forms which the Soga family adopted. But as the Soga Family was defeated in the revolution, "Taika no Kaishin," ceremonies in the Imperial Palace, in which Shinto forms were accepted, were revived again. The authority of the Emperor had also been revived again, both in name and reality. Kamatari Nakatomi, who was the president of the other branch of the Nakatomi family, contributed greatly to this revolution. He was given the family name Fujiwara, instead of Nakatomi, in reward for his contribution to this revolution. And he was respected as the founder of the revival of the ceremonies in the Imperial Palace, in which Shinto forms were accepted, and his shrine, called Danzan-Jinjya was constructed. The first emperor and empress after the authority of the emperor had been revived again in both name and reality of were Tenchi and Jito. So I would like to introduce two tanka by Tenchi and Jito, who revived the real authority of the Emperor: 001 by Emperor Tenchi A ki no ta no ka ri ho no i ho no to ma wo a ra mi wa ga ko ro mo de wa tsu yu ni nu re tsu tsu Everyone who views the paddies from the cottage, whose thatched roof is roughly meshed, will find his sleeves are always quite wet with dew. 002 by Empress Jito Ha ru su gi te na tsu ki ni ke ra shi shi ro ta he no ko ro mo ho su cho fu a ma no ka gu ya ma Spring already gone and summer seems to have come for summer costumes flutter now on Mt. Kagu as they have done year by year. Reference (1): The beginning of tanka poetry The tanka by Tenchi means that when he stayed at the cottage to watch the paddies all through night, even he will find his sleeves wet with dew, just as farmers experience every year. Through this tanka, he tries to express his thanks to all farmers. The tanka by Jito means that spring has already gone and summer seems to have arrived at her village, because summer costumes are fluttering on Mt. Kagu as they have done year by year. She composed it on the theme, "A seasonal change of clothing," that is to say, she tries to express her pleasure at the arrival of summer in her village, where she views Mt. Kagu. Both of these tanka were composed under the standard concept of composing aesthetic tanka, which I discussed above, and they express the pleasure and grave attitude for the restoration of authority in the Imperial Palace. So, these tanka remind me of the following poem named "Pippa's song" by the English poet, Robert Browning (1812-89): The year's at the spring And day's at the morn; Morning's at seven; The hillside's dew-pearled; The lark's on the wing; The snail's on the thorn; God's in his heaven ― All's right with the world! Robert Browning composed this poem in 1841. In those days, Great Britain, where he was born, was the Kingdom which dominated the whole European world. It is said that a poet express the feelings of other people. So he expresses the feelings of the white people including Europeans and Americans in this poem, I think. If Japan hadn't won the war between Japan and Russia, "All's right with the world!" would have also applied to their people. The tanka by Emperors Teichi and Jito seem to be similar to this poem by Robert Browning. |
小倉百人一首 短歌解説（１） 序文で触れましたように、「小倉百人一首」は藤原定家(1162-1241)が晩年(1235)に編纂した「百人秀歌」を原本とし、後に改編されたもののようです。 しかし、それは、私が纏めた「古典短歌講座」で述べている伝統的作歌法「古今伝授」に基づいた秀歌の概念と必ずしも一致するものばかりではないことに触れました。 そこで、私は「小倉百人一首」の編纂のそもそもの目的はどこにあったのかを考えさせられました。先ず最初は、「歌とは何か」という課題でした。一言で言えば、天子様が神のご意志を国民に告げる、又は訴える形式として出発し、国民は神への感謝と栄光を称える手段として、花鳥風月を詠うものと説明致しました。 しかし、本来の出発から離れて、57577という短歌の形式を娯楽の手段として用いる道が生まれて来ました。これを「歌莚」と呼んでおります。そして、様々な修辞法を用いて言葉の機微も楽しむものになっていきました。その意味で、「小倉百人一首」は「歌莚」として楽しまれた歌とみることが出来、現在楽しまれている現代短歌と相通じるところがあることに気付いたことを申し述べました。 さて、「小倉百人一首」の編纂には様々な側面があるのですが、その一つに皇室が名実共に最も繁栄していた時代が背景にあるということを述べました。今回はこの側面を具体的な歌を解説しながら検証していきたいと思います。その証拠に、「小倉百人一首」は、まず、天智天皇や持統天皇の歌から始まっていると述べました。 当時、皇室は中国からの帰化人によって蹂躙されていました。政治の実権は彼らの傀儡であった蘇我氏が握っていたのです。神武以来継承されてきた神道の儀式は廃止され、蘇我氏が取り入れた仏教の儀式がそれにとって変わっていたのです。 当時、神道の儀式を先祖代々継承していたのは中臣氏と物部氏でした。しかし、神武以来継承されてきた中臣氏と物部氏の一族は蘇我氏に追われ、その親族は東北地方に逃避して行きました。 しかし、蘇我氏の台頭を快く思わない人達がいました。中臣氏の分家に当る族長・中臣鎌足と蘇我氏の中でも不満を抱く者達が天智天皇と図って、蘇我氏の勢力を退けたのです。それが「大化の改新」でした。 皇室では神武以来、天の種子の命の本家の直系の子孫が1300年間にわたって神道の儀式を継承してきていたのですが、蘇我氏の台頭によって神道の儀式は廃止され、仏教の儀式に取って代わられてから、50年の年月が経ておりました。 しかし、「大化の改新」によって蘇我氏が排斥され、神道の儀式が50年ぶりに再び皇室に復活してきたのでした。そして、天皇の権威が名実共に蘇ってきたのでした。 この改革に功労があったのが中臣氏の分家の末孫・中臣鎌足でした。彼はその功績が評価され、藤原の姓を賜り、後には神祇再興の祖として崇められるようになり談山神社に祭られました。政治の実権が天皇に移った最初の天皇であるのが天智天皇とその皇后で、後の持統天皇です。それでは王政復古を遂げたこの二人の天皇の歌を鑑賞してみましょう。 001天智天皇 秋の田の あきのたの かりほの庵の かりほのいほの とまをあらみ とまをあらみ わが衣手は わがころもでは 露にぬれつつ つゆにぬれつつ 002持統天皇 春過ぎて はるすぎて 夏来にけらし なつきにけらし 白妙の しろたへの 衣干すてふ ころもほすてふ 天の香具山 あまのかぐやま 下記参照 第一章第1節短歌始まり（万葉歌人の歌） まず、天智天皇の歌は「秋の田の刈入をする為の仮小屋で、一晩中監視をする為に過ごしていると、誰でもそうなるであろうが、私でさえ着物の袖が濡れ続けることになるであろう（農夫は農繁期にはそれほどご苦労をしているんだな）」という意味の歌で、天皇が農民に対する労い・労わりの心を歌にしたものであるともることが出来ます。 次に持統天皇の歌ですが、これは「いつの間にか春が過ぎて、夏が来てしまったらしい。というのは、夏になると衣替えの為に白い衣を干すというが、天の香具山ではその白い夏衣が干してあるのだから」と夏の到来を告げる題詠「更衣」の歌であると同時に、天の香具山の一帯に訪れた夏の到来を詠んだ歌になっております。 この二首は伝統的作歌法「古今伝授」に基づいた秀歌の概念とぴったりと一致したものでもあり、天下の実権を掌握した明るく、堂々たる心の姿が伺うことが出来ます。 外国でも、英国が大英帝国として世界に君臨していた時、十九世紀のイギリスの詩人・ロバート・ブラウニングという詩人は「春の朝（あした）」次のような詩を書いております。 時は春 日は朝（あした） 朝（あした）は七時 片岡（かたをか）に露満ちて 揚雲雀名乗り出で 蝸牛（かたつむり）枝に這い 神、空にしろしめす 全て世は事もなし 当時の西欧あるいはアメリカの白人の気分を最も良く表している詩だといいます。日本が日露戦争に勝たなければ、彼等にとって、「全て世は事もなし」だったのです。それと似た心境が、上の二つの歌の中からも読み取ることが出来ます。 |
| 「小倉百人一首入門」（目次） 100 Tanka Poems by 100 Poets Contents |
| 古典短歌講座（第１版） Classical Tanka composition in English (1) |
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