| 小倉百人一首 短歌解説（5） |
|
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. 5 Aesthetic Tanka in Praise of the Emperor I noted in Posts 1, 2, 3 and 4 that there are several aspects of composition used in Fujiwara's famous tanka collection. One of them was to praise the most prosperous period of the Imperial Family both in name and reality. That is to say, the tanka I introduced illustrated the concept of aesthetic tanka in that they express pleasure and a grave attitude towards the restoration of authority in the Imperial Palace, which was gradually lost to the Fujiwara family who yielded political power on behalf of the samurai class. 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 are 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 5th, 6th, 7th and 8th anthologies. I have previously provided outlines of the 5th, 6th, 7th of the eight anthologies so I will do so now for the 8th anthology, Shin-Kokin. The 8th of the eight anthologies, Shin-Kokin (1205) was compiled by six poets, including Michitomo Minamoto (1171-1227), Ariie Rokujyo (?-?), Teika Fujiwara (1162-1241), Ietaka Fujiwara (1158-1237), Masatsune Kasugai (1170-1221) and the monk, Jyakuren (1139-1202) and ordered by Emperor Go-Toba (the 82th, term 1185-98). This anthology is said to have been compiled following the concept of Kokin, and became a role model for Shin-Kokin. Furthermore, in this anthology, compilers tried to summarize the other 7 anthologies after Kokin and keep or revive the code of Kokin by excluding other short poetry forms, such as Renga and Imayo, which had become popular in those days. They tried to continue the traditional standard concept of composing aesthetic tanka, which Kokin maintained, and introduce this elegant and gorgeous world to the readers. This anthology introduces the newest of the three styles, Manyo, Kokin and Shin-Kokin, and its concept had a great effect on later short poetry forms, such as Renga, Haikai and Yokyoku, which is the script of Noh plays. Now, I would like to introduce and explain poems by Kanemasa Minamoto 078 (?-1116-?) which appeared in the 5th anthology, Kinyo (1126); by Tadamichi Fujiwara 076 (1097-1164), which appeared in the anthology, Shika (1151); a poem by Sanesada Fujiwara 081 (1139-1191), which appeared in the anthology, Senzai (1188) ; and last, 2 poems by Akisuke Fujiwara 079 (1090-1155) and Monk Jyakuren 087 (1139-1202), both of which appeared in the anthology, Shin-Kokin (1205). First of all, I would like to introduce a poem by Kanemasa Minamoto078（?-1116-?）which appeared in the anthology, Kinyo(1126). 078 Kanemasa Minamoto（?-1116-?） A wa ji shi ma ka yo fu chi do ri no na ku ko we ni i ku yo ne za me nu su ma no se ki mo ri Many, many nights have the nightwatchmen woken to hear the plovers crying while they come and go between here and Awaji. Reference: (11) Tanka in November（20002）平成14年 In this tanka, the author tries to express how many nights the night watchmen never slept in order to listen to hear the plovers crying while they came and went between here and Awaji. There are various kinds of plovers, each with a different voice, though all are sorrowful. These have been the subject of poetry and art from the mist of time in Japan. The following tanka by Kakinomoto Hitomaro(?-708) shows that the voice of plovers bears sorrowful tones: Whenever I hear your voice, you weeping plover, I'm reminded of my old sorrowful affairs on the Oumi lakeshore. Next, I would like to introduce a poem by Tadamichi Fujiwara 076(1097-1164) which appeared in the anthology, Shika (1151). 076 Tadamichi Fujiwara (1097-1164) Wa ta no ha ra ko gi i de te mi re ba hi sa ka ta no ku mo yi ni ma ga fu o ki tsu shi ra na mi When I look forward in the distance from the boat, which I am rowing, the white waves rise so deeply that I mistake them for clouds. Reference: (8) Tanka in August （2000）平成12年 In this tanka, the author tries to express how splendid the white waves which rise so deeply look in the distance when he watches them from the boat he is rowing. When I read the explanation written before this tanka, he seems to have composed this on the theme: “The landscape in the distance on the ocean.” When I read the poem referring to this point, he seems to have composed it in due consideration of the meaning of this theme. This tanka is one of the best tanka in which the author provides a detailed description of the landscape. It reminds readers of the typical comfortable atmosphere which we can never get except upon the grand ocean, as well as being composed as if he drew a picture. Regarding the techniques of tanka composition, the word, “Hisakatano” or ‘Eternal’ which modifies such words as light, clouds, sky and heaven, is used in the Japanese version. Another technique is to give the readers a spiritual aftertaste after they read tanka, called “Taigendome” or ‘end-stopping of lines by a noun.’ That is to say, this one ends with the word, “shi ra na mi” or ‘the white waves.’ Next, I would like to introduce a poem by Sanesada Fujiwara 081, 1139-1191）which appeared in the anthology, Senzai (1188). 081 Sanesada Fujiwara 1139-1191） Ho to to gi su na ki tsu ru ka ta wo na ga mu re ba ta da a ri a ke no tsu ki zo no ko re ru When I look of in the direction that cuckoos call to each other, only the pale moon remains at dawn instead of their shades. In this tanka, the author tries to express how glad he is to hear the cuckoos, whose voice he has longed for, call to each other at dawn when only the pale moon remains, and to watch the landscape on an early summer morning, which reminds one of its fresh and clear atmosphere. Words such as cuckoo and deutzia are typical season words of early summer, as warblers and plum blossoms are typical of early spring. So in this tanka, the author tries to help readers recall the scene in early summer. Furthermore, he composes this tanka giving aural and visual images to the reader of the grand space and at the very moment of dawn without any techniques of tanka composition. Lastly, I would like to introduce 2 poems by Akisuke Fujiwara 079(1090-1155) and by Monk Jyakuren 087(1139-1202) both of which appeared in the anthology, Shin-Kokin (1205). 079 Akisuke Fujiwara(1090-1155) A ki ka ze ni ta na bi ku ku mo no ta e ma yo ri mo re i zu ru tsu ki no ka ge no sa ya ke sa Through breaks in the clouds as they are torn by the wind the moonlight shines out at intervals this evening how brilliantly it seems now! Reference: (3) The aesthetic tanka (8) Tanka in August（2001）平成13年 In this tanka, the author tries to express how brilliantly the moonlight shines through breaks in the clouds as they are torn by the wind at intervals that evening. Most readers are apt to regard the moonlight which shines high above in the clear sky as brilliant, but this author preferred the moonlight which shines out through breaks in the clouds as brilliant in this tanka. Although this tanka is composed with simple description of the landscape, without using any techniques of tanka composition, it is typical of the excellent tanka in which one admires the beauty of nature, and convey one's feelings about the seasons. 087 Monk Jyakuren (1139-1202) Mu ra sa me no tsu yu mo ma da hi nu ma ki no ha ni ki ri ta chi no bo ru a ki no yu fu gu re The mist which arose before the raindrops upon leaves of podocarps, which stand in the deep mountains, dries off this autumn evening. In this tanka, the author tries to express how refreshed he felt after an autumn evening shower as the mist rose before raindrops on leaves of podocarps, which stand in the deep mountains, dry off. I like this tanka best among all classical tanka because in my childhood I often went into the deep mountains near my village where I often experienced watching the mist arise as soon as a shower stopped, as this author describes a similar scene. Most people who have lived in the countryside would be reminded of the deep feeling of refreshment after they read this tanka. In posts, 1, 2, 3, 4 and 5, I have discussed tanka by poets who expressed the impressions they had of the beauties of every season in their tanka under the standard concept of composing aesthetic tanka. But from the next post, I would like to introduce poems which are composed not only using several techniques of tanka composition but which also express their real message as well as literary contents. So, I hope readers will look forward to reading my explanations of each tanka. （Fujiwara family tree） 11 12 13 50 Michitaka Mutsuo 兼家─┬道隆─┬伊周───………………──睦夫 │ └隆家 │ 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 ├長家─忠家─俊忠┬俊成83┬定家97 │ └寂蓮87 │ Jyakuren87 └豪子───実定81 Sanesada81 |
小倉百人一首 短歌解説（5） Post No 5 前回の解説（１）（２）(3)（４）に引き続いて、今回の（５）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の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も武士に実権が渡ってしまっていた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した。 前回と同様、勅撰和歌集の八代集の中から、5、6、7、8の歌集から選ばれた歌人の歌をご紹介します。5、6、7の歌集の概略は前回ご紹介しましたが、残りの8の歌集の概略は下記のようになっております。 （8）新古今和歌集（しんこきんわかしゅう）は八代集の第八の勅撰和歌集で、勅命は後鳥羽上皇(第82代、在位1185-98)、撰者は源通具(みちとも1171-1227)・六条有家(？-？)・藤原定家（1162-1241）・藤原家隆(1158-1237)・飛鳥井雅経(1170-1221)・寂蓮(1139-1202)の六人、（1205年）に奏覧。『古今集』を範として七代集を集大成する目的で編まれ、当時、新興文学であった連歌・今様に侵蝕されつつあった短歌の世界を典雅な空間に復帰させようとした歌集。古今以来の伝統を引き継ぎ、かつ独自の美世界を現出した。「万葉」「古今」と並んで三大歌風の一である「新古今調」を作り、和歌のみならず後世の連歌・俳諧・謡曲に大きな影響を残した。 では、第5集の『金葉集』(1126)の歌人・源兼昌078（?-1116-?）の歌、第6集の『詞花集』(1151)の歌人・藤原忠通(法性寺入道前関白太政大臣)076(1097-1164)の歌、第7集の『千載集』(1188)の歌人・藤原実定081（1139-1191）そして、第8集の『新古今集』の歌人・藤原顕輔(左京大夫顕輔)079(1090-1155)と寂蓮法師087(1139-1202)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5集の『金葉集』(1126)の歌人・源兼昌078（?-1116-?）の歌です。 078源兼昌（?-1116-?）
下記参照: 第五章第11節 十一月「浦千鳥」（うらのちどり） この歌は「須磨の関守が幾夜も寝られないほど、千鳥の鳴く声が聞こえたことだろうか」という意味の歌です。千鳥は種類により鳴き声は違うが、哀調が篭っており、古来より詩歌や絵画の素材となりました。また、柿本人麻呂は「近江の湖の夕べの波の上を飛ぶ千鳥よ。お前が鳴くのを聞くと心も打ちしおれて昔のことが思い出される」という意味の次の歌を詠んでおり、この歌によっても千鳥が「心も打ちしおれる」ほど哀調の篭った鳴き声をしている鳥であることが解ります。 淡海の海 夕波千鳥 汝か鳴けは 心もしのに 古思ほゆ 次に、第6集の『詞花集』(1151)の歌人・藤原忠通076(1097-1164)の歌です。 076藤原忠通(1097-1164)
下記参照: 第三章第 8節 八月（葉月）「谷紅葉」（たにのもみじ） http://homepage3.nifty.com/PLABOT/plimer_course20.html この歌は「海原に舟を漕ぎ出して見渡すと、雲と見分けがつかないような沖の白波であることよ」という意味の歌で、詞書によれば、「海上の遠望」という題詠の歌で、題意を十分に満たした歌で、百人一首の叙景歌の中で、屈指の秀歌と言えるでしょう。絵画的な景観もさることながら、広大な海原の気分に開放されていく雰囲気を醸し出しております。また、修辞法としては、「体言止め」や、同じ百人一首にも出て来る紀友則の「久方の光のどけき春の日にしづ心なく花の散るらむ」の歌と同様、「光」や「雲」に掛る「久方の」という枕詞が用いられています。 次に、第7集の『千載集』(1188)の歌人・藤原実定081（1139-1191）の歌です。 081藤原実定（1139-1191）
この歌は「待ち侘びていた郭公が鳴いたその方向を眺めると、郭公の姿は見えないが、ただ有明の月が残っているばかりであった」という意味の歌です。卯の花と並んで、この郭公は初夏の清々しい爽やかな気分を連想させる代表な言葉ですが、待ちに待った郭公の初音を聞いた喜びと、初夏の爽やかな早朝の情景を詠んだ歌になっております。修辞法を用いずに、聴覚と視覚の巧みな組み合わせ、広大な空間と瞬間の時間の組み合わせが見事な歌でもあります。 そして最後に、第8集の『新古今集』の歌人・藤原顕輔079(1090-1155)と寂蓮法師087(1139-1202)の歌です。 079藤原顕輔(1090-1155)
下記参照: 第一章第 3節 芸術的短歌（新古今集の歌） 第四章第 8節 八月「雲間月」（くもまのつき） 「秋風に棚引く雲の絶え間より、洩れてくる月の光がなんと澄み切って、清々しいことであることよ」という意味の歌で、晴れ渡った夜空にかかる美しい月光よりも、雲間から洩れるわずかな月光の美しさを詠んだ歌で、歌の修辞法の駆使することなく、単純な情景描写に終っているところに、純粋な感動を言葉の深さで示した最も典型的な花鳥風月を詠む伝統和歌の一つです。 087寂蓮法師(1139-1202)
この歌は「秋の夕暮れ時、さっと降った村雨が上がり、その露が常緑樹の槙の葉にまだ残って乾かない内に、もう霧が立ち昇って来た」という意味の歌で、初秋の清々しい風景を描いた作品です。この歌を秋の寂しい情景と捉える人もいますが、初秋の夕暮れ、午後から降り始めた雨がさっと上って、すぐさま霧が立ち込めてくる情景を何度も経験したことのある私にとっては、古典短歌全体を通じて最も好きな歌です。寂しいどころか、田園生活を経験した者で無ければ味うことの出来ない爽やかな情景を連想させてくれる歌なのです。 以上、解説（１）から（５）までに取り上げた歌は、伝統和歌の原則に則った歌で、主に花鳥風月を取り扱った歌を選んで解説して参りました。次回からは、修辞法を駆使するばかりではなく、歌の表面的な意味だけでなく、その歌を通じて別の意味を織り込むという高度な技術を駆使した歌を鑑賞して行きたいと思いますので、ご期待戴きたいと思います。 （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 └豪子──実定81 |
| 「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) |
||