| 小倉百人一首 短歌解説（4） |
|
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. 4 I noted in Posts 1, 2 and 3 that there are several aspects of composition used in Fujiwara's tanka collection. One of them was to praise the most prosperous period of the Imperial Family both in name and reality. I explained this by introducing tanka that illustrate it. But during this period of tanka composition the Emperor gradually lost authority and was replaced by the head noble of the Fujiwara family who yielded political power on behalf of the samurai class. Ironically, both people in the Imperial family and the court nobles had large incomes and enough free time to compose tanka. This time, I would like to introduce poems by poets from these periods that were composed under the standard concept of composing aesthetic tanka expressing their pleasure and grave attitude despite the emperor having lost all power. These tanka were all selected from among eight anthologies, that is, 1st Kokin, 2nd Gosen, 3rd Shui, 4th Goshui, 5th Kinyo, 6th Shika, 7th Senzai and 8th Shin-Kokin. This time, I chose 5 tanka from among the 4th, 5th, 6th and 7th anthologies. As a note, I provide an outline of these anthologies below: The 4th of the eight anthologies (1086), Goshui, was compiled by Michitoshi Fujiwara (1047-1099) and ordered by Emperor Shirakawa(the 72nd , term 1073-87). The 5th of the eight anthologies (1126), Kinyo, was compiled by Toshiyori Minamoto (1055-1129) and ordered by Emperor Shirakawa(the 72nd , term 1073-87). The 6th of the eight anthologies (1151), Shika, was compiled by Akisuke Fujiwara（1090～1155）and ordered by Emperor Sutoku (the 75th , term 1123-42). The 7th of the eight anthologies (1188), Senzai, was compiled by Shunzei Fujiwara (1114-1204) and ordered by Emperor Go-Shirakawa (the 77th , term 1155-58). The two poems by Masafusa Oe 073(1041-1111) and by Nagayasu Tachibana 069 (988-1050) appeared in the anthology, Goshui (1086), a poem by Tsunenobu Minamoto 071(1016-1097) appeared in the anthology Kinyo (1126), a poem by Ise no Taifu 061 (989-1060), appeared in the anthology, Shika (1151), and last, a poem by Sadayori Fujiwara 064(995-1045), appeared in the anthology, Senzai (1188). First I would like to introduce two poems by Masafusa Oe (1041-1111) and by Nagayasu Tachibana (988-1050), who was called Monk Noin, both of which appeared in the anthology, Goshui (1086) 073 Masafusa Oe(1041-1111) Ta ka sa go no wo no he no sa ku ra sa ki ni ke ri to ya ma no ka su mi ta ta zu mo a ra na mu As cherry blossoms begin to come to full bloom upon the peaks of high mountains in the distance, I hope the mists never rise. Reference:(6) Tanka in June（2000）平成12年 In this tanka, the author tries to express how beautiful the cherry blossoms are in full bloom on the peaks of high mountains in the distance and because of this, he asked the mists that normally obscure them rise never to do so, as if they were human beings. This technique of tanka composition is called "Gijin-ho" or 'personification,' which I have mentioned before. Furthermore, he uses another technique of tanka composition called “Kugire” composing tanka by dividing the poem between lines. This technique comes in two variants. In this case, he uses a way called ‘Sanku-gire’ to divide between the ‘third and fourth line,’ which was often used in tanka among such anthologies as were published after Kokin-shu. It makes tanka nimble, flowing and elegant. Furthermore, it gives tanka a seven-five rhythm when it is recited. When I read the explanation written before this tanka, he seems to have composed this on the theme of, “the cherry blossoms which are in full bloom in the distance” and he seems to have composed it when he was invited to a poetry party held in the residence of Moromichi Fujiwara (Please refer to the Fujiwara family tree printed below) who was the 15th descendant of Kamatari Fujiwara, the founder of this family and one of the great-grandchildren of Michinaga Fujiwara. 069 Nagayasu Tachibana(988-1050) A ra shi fu ku Mi mu ro no ya ma no mo mi ji ba wa Ta tsu ta no ka wa no ni shi ki na ri ke ri Most crimson leaves of Mt. Mimuro are scattered by the hard tempest so the Tatsuta River has become covered with them. In this tanka, the author tries to express the beauty of the scenery of Mt. Mimuro covered with crimson leaves and the Tatsuta River whose surface is overlaid with a carpet like the colorful splendor of the autumn leaves, without using adjectives such as beautiful or pretty. Furthermore, he uses a technique of tanka composition called "Honkadori" to compose tanka using some phrases from refined tanka composed by old poets. That is to say, he composed this using some phrases from the following refined anonymous tanka from the anthology, Kokin. Seeing that I see on the Tatsuta River many crimson leaves, a shower must have just dyed Mt. Mimuro all over. Next , I would like to introduce a poem by Tsunenobu Minamoto, (1016-1097), which appeared in the anthology, Kinyo (1126). 071Tsunenobu Minamoto(1016-1097) Yu fu sa re ba ka do ta no i na ba o to zu re te a shi no ma ro ya ni a ki ka ze zo fu ku The autumn breeze seems to have just begun blowing early this evening: I hear the rice stalks rustling from the paddy fields when I stay in my cottage whose roof is thatched with reed trunks. In this tanka, the author tries to express how the breeze, which flutters from the paddy fields near his cottage which thatched with reed trunks, on an autumn evening after long summer days during which it was hot every day, relaxing him without any technique of tanka composition. The author is said to have composed this tanka when he walked into the paddy fields at Sakyo-ku in Kyoto city on the evening of an autumn day, which reminds everybody of typical autumn landscapes. Next, I would like to introduce a poem by Ise no Taifu, which appeared in the anthology Shika (1151). 061Ise no Taifu（989-1060） I ni shi e no Na ra no mi ya ko no ya he za ku ra kyo ko ko no he ni ni ho hi nu ru ka na How pretty they are!: the double cherry blossoms which come from Nara, the capital, are now in full bloom at the new palace. Reference:(9) Tanka in September （2000）平成12年 (11) Tanka in November （2000）平成12年 In this tanka the author tries to express how pretty the double cherry blossoms, which were delivered from Nara capital, are in full bloom at the new palace. Although this tanka is so simple for the author to express how pretty the cherry blossoms are, she uses several techniques of tanka composition, which I will discuss later. As mentioned above, there are many tanka in which authors used several techniques of composition in this collection, “100 tanka by 100 poets.” So, I would like to introduce them later as well. As to this tanka, in those days it was customary in the Imperial Palace for a poetess to be in charge of delivering the cherry blossoms from Nara capital to the new palace in Kyoto. The author had an opportunity to be in charge of it instead of a famous author of the novel, “Genji Monogatari, [Murasaki-Shikibu] although she was a newcomer among the court ladies. Most of them paid attention to her; that is they wondered what tanka she had composed. When they found her tanka above, all of them are said to have been amazed it. Now, I would like to discuss how excellent her tanka is as a tanka with techniques of tanka composition. First of all, in this tanka the words with number are arranged in 7, 8 and 9 order: “nara,” “yae” and “kokonoe.” A word, “na” means 7, a word, “ya” means 8 and a word, “koko” means 9 in Japanese version. A technique of tanka composition with numbers had been used in the period named mist of time in Japan, which I noted in the preface of my lecture, “Classical Tanka Composition.” These poems become a dialogue between Yamatotake no Mikoto and Hitaki no Okina that they composed at Sakaori no Miya (northern area in Japan): How many days and nights have you spent since you left the new palace, Tsukuba? by Yamatotake no Mikoto I have spent nine nights and also ten days in all before we got here today. by Hitaki no Okina Composing tanka is called "Shikishima no Michi" or 'Way of life' in Japan, while composing haiku is called "Tsukuba no Michi". Haiku dates from this dialog, which the authors composed about Tsukuba. I would like readers to pay attention to how Hitaki no Okina replies not only promptly but also includes the total number (19) of syllables (5/7/7) which are used in this haiku (kata uta). This gives us good evidence of the excellent skills of olden poets. Next, I would like to explain a technique of tanka composition called “Tuiku” or ‘antithesis’ to give your readers a comfortable rhythm and sense of music about after they read your tanka, as is often used in the Western poetic world. First, the words “no” and “he” are used repeatedly. First, a word with “no” is repeated four times: “inishihe-no”, “nara-no”, “miyako-no” and “koko-no-he.” While the other word “he” is repeated three times: “inishi-he”, “ya-he” and “kokono-he.” The last one is a technique of tanka composition named “Kake-Kotoba” to remind your readers of something that you want to make them think about after they read your tanka. “Kake-Kotoba” stands for a word which holds two different meanings at once though it sounds the same when we read it. There are four kinds of “Kake-Kotoba.” This time one of them, which holds two different noun meanings is used in this tanka. That is to say, the Japanese phrase, “Kokonohe” means both ‘this or now’ and ‘Palace.’ As I discussed above, this is an excellent tanka using several techniques of tanka composition. In those days many excellent poetesses had appeared including poetess, Ise no Taifu. They are said to have devised and used original Kana characters instead of Chinese ideographs, which were used by males in those days. Because of this development we can assume that Japan had broken off diplomatic relations with China. At last, I would like to introduce a poem by Sadayori Fujiwara (995-1045) which appeared in the anthology, Senzai (1188). 064Sadayori Fujiwara(995-1045) A sa bo ra ke U ji no ka wa gi ri ta e da e ni a ra wa re wa ta ru se ze no a ji ro gi As the deep mist, which covers the Uji River, begins to dissolve, and wickerwork nets come out here and there around the dawn. In this tanka, the author tries to express how refreshed he felt watching wickerwork nets come out here and there on the Uji River after the deep mist began to dissolve around the dawn. As I mentioned before, when one composes tanka on the theme, "Ume", only warblers have been connected with them, although many birds actually visit them. While the wickerwork nets in the Uji River had been used as a tanka theme since the Manyo period when Hitomaro Kakinomoto 660?-720?）did. You can find this in the literary works such as a novel, “Genji Monogatari” (1001) by Murasaki-Shikibu (978?-1031？), in a diary, “Kagero” by the mother of Michitsuna Fujiwara (937?-995) and a diary, “Sarashina” by a daughter of Takasue Sugawara (1008-1059?). Furthermore, this river is famous for a residence of Kaneie Fujiwara who was 11th descendant of the founder of the Fujiwara family, Kamatari Fujiwara (Please refer to the Fujiwara family tree printed below) and a shrine named “Ujino Byodoin.” I have discussed tanka by poets after the period when Emperors lost authority in the Imperial Palace but they are all poets who expressed the impressions they had in the beauties of every season in their tanka under the standard concept of composing aesthetic tanka. （Fujiwara family tree） 11 12 13 50 Michitaka Mutsuo 兼家┬道隆─┬伊周───………………──睦夫 Kaneie Korechika │ └隆家Takaie ├道兼Michikane──→ ├道綱Michitsuna──→ │ 12 13 14 15 16 17 Michinaga Morozane Tadazane ├道長┬頼道─師実─師道┬忠実┬忠通76 Yorimichi Moromichi Tadamichi76 │ ├家政Iemasa │ └家隆Ietaka98 │ 13 14 15 16 17 Nagaie Toshitada Teika97 ├長家─忠家─俊忠─俊成83┬定家97 Tadaie Shunzei83└寂蓮87 Jyakuren87 |
小倉百人一首 短歌解説（４） Post No 4 前回の解説（１）（２）(3)に引き続いて、今回の（4）でも、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、この側面を具体的な歌を通じて解説をしていきたいと思います。これまでの例歌は伝統的作歌法「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ばかりであり、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ると述べましたが、今回も明るく、堂々たる心の姿が伺うことが出来る歌の中から、次の歌人の歌を選んでみました。 しかし、実際には、時代は天皇の権威が衰え、天皇にとって代わっていた公家である藤原氏が権勢を謳歌していた時代から武士が台頭し、政治の実権が武士に渡って行く過渡期の時代の歌人の歌を紹介することになります。この頃は、皇族や公家達は地位はあっても実権を持っておりませんでしたから、職務がなく歌を作る他にやることがなかったとも言われております。皮肉にも、和歌を作るには最も恵まれた環境にあったとも言えます。 しかし、今回も歌風だけは、明るく堂々たる心の姿が伺うことが出来る歌の中から、古今集から新古今集までの勅撰和歌集の中から選んだ歌人の歌をご紹介します。そもそも、これらの勅撰和歌集は八代集と呼ばれ、1「古今集」 2「後撰集」3「拾遺集」 4「後拾遺集」 5「金葉集」6「詞花集」 7「千載集」 8「新古今集」等がそれにあたります。今回はその中から、4、5、6、7の歌集から選ばれた歌人の歌をご紹介します。 ちなみに、4、5、6、7の歌集の概略は下記のようになっております。 （４）後拾遺和歌集（ごしゅういわかしゅう）は八代集の第四の勅撰和歌集で、勅命は白河天皇、(第72代、在位1073-87)、撰者は藤原通俊(1047-1099年)、（1086年）に奏覧。 （５）金葉和歌集（きんようわかしゅう）は八代集の第五の勅撰和歌集で、勅命は白河院(第72代、在位1073-87)、撰者は源俊頼(1055-1129年)、（1126）に奏覧。 （６）詞花和歌集（しかわかしゅう）は、八代集の第六の勅撰和歌集で、勅命は崇徳院(第75代、在位1123-42)、撰者は 藤原顕輔（1090～1155年）、（1151）に完成奏覧。 （７）千載和歌集（せんざいわかしゅう）は八代集の第七の勅撰和歌集で、勅命は後白河院(第77代、在位1155-58)、撰者は藤原俊成(1114-1204年)、（1188年）に奏覧。 まず、第4集の『後拾遺集』(1186) の歌人、大江匡房073(1041-1111)と橘永愷069(988-1050)の歌、第5集の『金葉集』(1126)の歌人・源経信071(1016-1097)の歌、第6集の『詞花集』(1151)の歌人・伊勢大輔061（989-1060）の歌、第7集の『千載集』(1188)の歌人・藤原定頼064(995-1045) 等の歌人の歌について解説していきたいと思います。 まず、第4集の『後拾遺集』(1186) の歌人、大江匡房073(1041-1111)と橘永愷069(988-1050)の歌です。 073大江匡房(1041-1111)
下記参照: 第三章第 6節 六月（水無月）「夕立」（ゆうだち） この歌は「高い山の峰の櫻が咲いたことだよ。人里近い山の霞よ、どうかたちこめないで欲しい」という意味の歌で、「七五調」の韻律を作る句切れには「初句切れ」と「三句切れ」がありますが、この歌は「三句切れ」の歌で、これは歌の韻律に軽快で流麗な感じを与えるものです。 この歌の「詞書（ことばがき）」には、道長の曾孫・１５代師道（下記藤原氏系図参照）の邸宅での宴に「遥かに山の桜を望む」という題詠を課せられた時に詠んだ歌であるといいます。ここでも、前回で解説しました「擬人法」が用いられております。「山の霞」に対して作者はそれがあたかも人間に語りかけているかのように、願い事をしているのです。この修辞法を用いることによって、高い山の峰の櫻をずっと見ていたいという気持が読者に深く伝わって来ています。 069橘永愷(988-1050) 能因法師
この歌は「嵐が吹き散らす三室山の紅葉葉は、そのまま竜田川の川面を埋め尽くして、その様子が錦の織物を広げたような美しい景色となった」という意味の歌で、「紅葉」の名所の三室山と「流れ紅葉」の名所の竜田川を組み合わせて、「美しい」という形容詞を用いずに、情景描写のみで読者に絢爛豪華な美の世界を連想させた歌です。先人の秀作に見習って歌を作る「本歌取り」という作歌法がありますが、この歌も古今集のよみ人知らずの次の歌を本歌として詠んだと言われています。 竜田川 紅葉葉流る 神南備の 三室の山に 時雨降るらし 次に、第5集の『金葉集』(1126)の歌人・源経信071(1016-1097)の歌です。 071源経信(10-6-1097)
この歌は「夕方になると、家の前の田圃に茂る稲葉に、秋風が音を立てて吹き、葦で葺いた田舎の家にも訪れて来たことだ」という意味の歌で、何の技巧も用いずに、暑かった夏が過ぎた夕暮れ時、葦葺きの仮小屋にも涼しい秋風が吹き込んできた清々しい心の安らぎを感じさせる歌になっています。これは現在の京都の左京区の田園風景が醸し出す秋の爽やかな雰囲気に浸って詠んだ歌であるとのことです。 次に、第6集の『詞花集』(1151)の歌人・伊勢大輔061（989-1060）の歌です。 061伊勢大輔（989-1060）
下記参照: 第三章第 9節 九月（長月）「雁」（かり） 第三章第11節 十一月（霜月）「初雪」（はつゆき） この歌は「昔の奈良の都の八重桜が、今日はこの宮中で色美しく咲き誇っています」という極めて単純な意味の歌ですが、後述しますように、複数の技巧を駆使した名歌と言える歌です。このように、百人一首にはこの歌の他にも、歌の修辞法を駆使した優れた歌が撰ばれておりますので、これも後述して参りたいと思います。 さて、当時、毎年奈良から桜を宮中に献上する習わしになっていましたが、それを担当するのは優れた女房歌人でした。この時、紫式部がその役に当っておりましたが、新参者の作者に役がまわり、その時詠んだのがこの歌でした。新参者の作者がどんな歌を詠むのだろうと誰もが注目していたわけですが、この歌が詠まれると周囲の者が皆な驚嘆したと言われております。 それでは、この歌に使われている修辞法について解説したいと思います。先ず第一に、この歌の中には、7,8,9の数詞の配列が織り込まれていることです。「な（七）ら」、「八重」、「九重」の数詞を含んだ語句の配列です。この数詞の修辞法は、神代と呼ばれた日本の古来から駆使されてきたものでした。拙著の「古典短歌講座」の「序文」にもその例歌（片歌）を取り上げております。それは倭武尊が酒折宮を通過する折に詠んだ火焚翁との次の問答歌です。 倭武尊：「新治つ/筑波を過ぎて/幾夜か寝つる」 火焚翁：「日夜並べて/夜には九の夜/日には十日を」 短歌のことを「敷島の道」というのに対して、俳句のことを「筑波の道」という理由はここに由来します。筑波のことを詠んだこの句からこう呼ぶようになったのです。火焚翁はこの句を即座に詠んだばかりでなく、句中に五七七の総数である十九の文字も織り込んで詠んでいることにご注目戴きたいものです。 それでは次は対句の修辞法です。この歌の中に、「古（いにしへ）」と「今日（けふ）」、「八重」と「九重」、「奈良」と「京」等、三つもの対句が用いられております。また、「の」音と「へ」音が繰り返し用いられております。つまり、「いにしへの」「ならの」「みやこの」「ここのへ」等の「の」音と、「いにしへ」「やへ」「ここのへ」等の「へ」音の繰り返しです。 さらに、「九重」は「ここの辺」の掛詞になっていることです。この歌はこれらの多数の修辞法を取り入れた秀歌がとなっております。このように、平安時代には多数の女流歌人が台頭して参りました。中国との国交を断絶し、国風文化が花開いた時代でもありました。「ひらがな」がこの時代に女性によって発明されたとも言われております。 最後に、第7集の『千載集』(1188)の歌人・藤原定頼064(995-1045) の歌です。 064藤原定頼(995-1045)
この歌は「冬の夜が仄々と明けて行くにつれて、宇治川の川面に、立ち込めていた霧が段々と晴れ、その晴れた絶え間より、魚を取る網代木が現われ見えてきたことよ」という意味の歌で、宇治川の早朝の情景を素直に詠んだ歌です。 前述の如く、歌によく詠まれる「梅に鶯」と対になるものが、この「宇治川の網代木」です。柿本人麻呂の歌以来、網代木は宇治川には欠かせない風物となったようです。「源氏物語」（1001）を始め、藤原道綱母の『蜻蛉日記』、菅原孝標女の『更級日記』などにもその記述が見られます。また、宇治は藤原鎌足から１1代目の藤原兼家（下記の藤原氏系図参照）の別荘や宇治平等院などでも知られている名跡でもあります。 以上、既に政治の実権が天皇から摂関家の藤原氏に移ってしまった後の時代の歌人による歌ですが、花鳥風月と呼ばれる自然の美しさに素直に感動した歌をご紹介致しました。 （藤原氏系図） 11 12 13 50 兼家─┬道隆─┬伊周───………………──睦夫 │ └隆家──→（坊門・水無瀬等） ├道兼──→（宇都宮） ├道綱──→（楊梅・二条等） │ 12 13 14 15 16 17 ├道長┬頼道─師実─師道┬忠実┬忠通76 │ ├家政 │ └家隆98 │ 13 14 15 16 17 ├長家─忠家─俊忠─俊成83┬定家97 └寂蓮87 |
| 「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) |
| プラボットの異端児（短歌入門部屋）に戻る 当サイトはリンクフリーです、どうぞご自由に。 Copyright(c) 2010 Yoshihiro Kuromichi(plabotnoitanji@yahoo.co.jp) |
||