| 小倉百人一首 短歌解説（7） |
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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.7 In this post I continue introducing tanka by poets who lived during the period in which emperors lost political power to the Fujiwara family. As in the former commentary, I have chosen three tanka from the 4th and 8th anthologies. I have previously provided the background of both of them so please see the notes on them mentioned before. This post presents and explains poems by Seisho-nagon 062 (966-1025) and Kenshi Fujiwara 058 (999-?), the daughter of Murasaki-shikibu, which appeared in the Go-Shui (1186) anthology, and by Murasaki-shikibu herself 057 (978?-1031?), which appeared in the Shin-Kokin (1205) anthology. These three poetesses appear in the family trees which are attached in the following file: Fujiwara, Seisho-nagon & Murasaki-Shikibu. When you examine the poems in this file in detail, you can clearly understand the positions of these three famous poets. In Post 6, I discussed how the grandfather of each empress was in charge of the emperor until he became an adult, and supported each emperor after he became an adult. And in this position, the grandfathers were able to influence the nobles of the Imperial Court-a custom that had been in practice since the mists of time. That is to say, the story goes back to the period when legendary Izanagi & Izanami, who are ancestors of Imperial family, lived. In this ancient legend of the origins of Japan there is an explanation why haiku or tanka should be composed with 5 and 7 syllabic combinations. When Izanagi (male) and Izanami (female) were going to be married, they exchanged the following verses in order to profess their love to each other. Female: "What a handsome man / you are indeed!" Male: "How happy I am / to hear your words!" However, the baby girl they conceived after their first dialog was not born healthy and normal. Their grandfather, Toyoke-gami said to them: "The combination of the number, i-yo (5/4) is not a suitable verse form as a proposal of marriage because of this, you cannot achieve your purpose. Moreover, the female should follow after the male." Izanagi, an ancestor of the Imperial family, was Emperor in the mists of time in Japan and Izanami, also ancestor of the Imperial family, was Empress then. But Izanami was at the same time a daughter of Toyouke-gami. That is to say, Toyouke-gami was Father in law of Izanagi and Grandfather of the Crown Prince, Wakahito, that is, the Emperor Amateru. The grandfather, Toyouke-gami, of Emperor Amateru-kami was in charge of the emperor until he became adult, and supported him after he became an adult. So, in the Ise shrine dedicated to Japan’s founders Toyouke-gami is revered as Gegu and Amateru-kami is revered as Naigu, that is, ancestor of the Imperial family. And everyone is to visit Gegu first. You will see that Toyouke-gami is an ancestor of the Fujiwara family and Amateru-kami is ancestor of the Imperial family if you look at the family tree (1), which is attached in the following file: the family tree from the mists of time. That is to say, the system that the grandfather of each empress was in charge of the emperor until he became an adult, and supported each emperor after he became an adult goes back to the mists of time. Furthermore, Emperor Omodaru adopted Izanagi, who was one of his relatives, as he had no children as shown in the family tree which is attached in the file above. And he invited a daughter of Toyouke-gami, Isako, as Empress Izanami. It is said that Yasumaro Ono, compiler of the legend, Kojiki wrote it based on a Chinese concept, with the names of Japanese ancestors. When you examine the family tree (3), attached in the file above, you can see this clearly. The first tanka to be introduced in this Post is a poem by Seisho-nagon 062 (966-1025), who was a home tutor of a daughter of Michitaka Fujiwara, Teishi, which appeared in the 4th anthology, Go-Shui (1186). Seisho-nagon was so intelligent and intellectual that Empress Teishi admired her deeply. And furthermore, during the term of Emperor Ichijyo (the 66th, term 986-1011) when she worked for the Imperial Palace as a tutor of Empress Teishi, her name was very well-known among the aristocrats in the Palace as a lady who had composed tanka with quick and witty contents. As she was not only intelligent but also especially beautiful that she had a lot of romantic liaisons with many higher class noblemen, such as Sanekata Fujiwara (?-998), Tadanobu Fujiwara (967-1035), Yukinari Fujiwara (972-1027), Tsunefusa Minamoto (969-1023) and so on. This tanka was composed while she was involved with Yukinari Fujiwara. (to see the family tree 1) She wrote an essay, “Makurano-soshi” (1012), which was a precious work and became one of the best literary works in those days. In this work, she commented about nature, human beings and various events such as daily life in the Imperial Palace. Furthermore, she wrote her impressions about tanka and other poems which were written by other poets or poetesses. In the 7th Chapter, Tanka in December, 'Themes for tanka composition (5)' of my lecture, "Classical Tanka Composition", I quoted her commentary on the traditional Tanka composition whose concept was established by two famous poets, Shunzei, the father & Teika, his son. We Japanese have long thought that snow is one of the most beautiful things in the scenes of winter, as the author of the essay, "Makurano-soshi", Seisho-Nagon (?-1000-?) mentions in her essay, "In winter I can feel best early in the morning, to say nothing of when the snow has fallen." 062 Seisho-Nagon(966-1025) Yo wo ko me te to ri no so ra ne wa ha ka ru to mo yo ni a fu sa ka no se ki wa yu ru sa ji You'll never cheat me no matter how you excuse, like the mimicry that cheated the barrier guard in ancient China by copying the cock-crow if I will let you leave here. In this tanka she is complaining to one of her lovers, Yukinari Fujiwara, who tries to leave her residence without staying long, referring to a Chinese legend. And she refused to let him visit her again in this tanka: If I let you leave my residence for your home, you'll never cheat me no matter what your excuse, like the mimicry that cheated the barrier, guard in ancient China by mimicking the cock-crow. She mentioned how she composed this tanka in Chapter 136 of her essay, “Makurano-soshi.” A brief summary of the Chinese legend to which her lover-friend refers to is as follows: the Prime Minister of Sei-district, Mosho-kun, who went to Shin-district as a messenger, was caught and put in prison with his followers. But he escaped and tried to run away from the Shin-district. When he came to Kankoku-Vale, he was aware that the gate of this barrier would not open before the first cock-crow in the morning. But when a follower who was an expert in mimicking the cock's crow did so the gate opened, allowing him to escape. So she told her lover, Yukinari Fujiwara that this time it is not Kankoku-Vale in China but the barrier of Osaka(=A fu sa ka no se ki). She was obviously intelligent enough to have read the Chinese legend which Yukinari referred to. The second is a poem by Murasaki-Shikibu 057 (978?-1031?), who was a home tutor of a daughter of Michinaga Fujiwara, Shoshi, which appeared in the 8th anthology, Shin-Kokin (1205). Murasaki-Shikibu was also one of the most intelligent ladies of this era, as well-read in Chinese literature as Seisho-Nagon. And she wrote not only the great work, "Genji-Monogatari" or “The Tale of Genji,” which is still a classic and widely regarded as the world’s first novel, but also the still famous diary, "Murasaki-Shikibu Nikki" and a tanka collection by herself. 057 Murasaki-Shikibu(978?-1031?) Me gu ri a hi te mi shi ya so re to mo wa ka nu ma ni ku mo ga ku re ni shi yo wa no tsu ki ka na As I happened to meet you on the street tonight, I couldn't recognize whether or not it was you for you left in haste as if the moon hid himself behind thick clouds in the sky. In this tanka, she expresses her disappointment at not recognizing her friend whom she had met in her childhood, as if the moon suddenly hid himself behind thick clouds in the sky. The third poem is by a daughter of Murasaki-Shikibu, Kenshi Fujiwara 058 (999-?), which appeared in the 4th anthology, Goshui (1086). Kenshi Fujiwara also became a home tutor of Shoshi, a wife of Emperor Ichijyo, after her mother, Murasaki-Shikibu retired. She also was not only exceptionally intelligent but also so beautiful that she too also had a lot of lovers, such as Yorimune Fujiwara and Sadayori Fujiwara, but at last, she married Kanetaka Fujiwara, a son of Michikane Fujiwara whose brothers were Michitaka and Michinaga. And her daughter was born. She compiled her own tanka collection and her 37 tanka were selected in the anthology, Goshui (1086). To see, access the family tree 2) 058 Kenshi Fujiwara(999-?) A ri ma ya ma yi na no sa sa ha ra ka ze fu ke ba i de so yo hi to wo wa su re ya wa su ru It's you yourself that have changed your own mind, like the leaves of bamboo which flutter in the meadows near Mt. Arima, and which the people call Ina: I have never changed my mind. In this tanka she complains to one of her lovers whose visits to her residence have gradually declined, like the leaves of bamboo, which flutter in the meadows near Mt. Arima although she herself loved him deeply. |
小倉百人一首 短歌解説（7） Post No 7 前回に引き続きまして、時代が天皇の権威が衰え、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を背景にした歌人の歌を紹介して行きたいと思います。 前回と同様、勅撰和歌集の八代集の中から、第4、8の歌集から選ばれた歌人の歌をご紹介します。第4、8の歌集の概略は既にご紹介しましたので、ここでは省略します。 では、第4集の『後拾遺集』(1186) の歌人・清少納言062(966-1025)と紫式部の娘の藤原賢子058(999-?)、第8集の『新古今集』(1205)の歌人・紫式部057(978?-1031?) 等の歌人の歌について解説していきたいと思います。 下記の藤原氏系図に、以上３人の歌人が登場してまいります。３人の歌人が如何なる立場にあったのかが一目瞭然とご理解戴けるかと思います。また、３人の詳しい出生は右記の添付系図をご参照下さい。清少納言・紫式部等出生系図 （藤原氏系図） 11 藤原時姫 12 ‖──┬道隆 13 50 ‖ │ ‖ ┬伊周───……………──睦夫 ‖ │054貴子 ‖ │ └定子(←062清少納言) ‖ │ ‖ ‖ ├詮子─一条天皇 ‖ │ ‖ ‖ │ Г彰子(←057紫式部─058藤原賢子) ‖ ├道長⊥頼道─師実─師道┬忠実──忠通76 ‖ 12│ 13 14 15 │ 16 17 ‖ │ ├家政 ‖ │ └家隆98 ‖ ├長家─忠家─俊忠┬俊成83┬定家97 藤原兼家 │ └寂蓮87 ‖───道綱 └豪子──実定81 053右大将道綱母(937?-995) 藤原倫寧の娘 前回、「外戚政策」つまり、「天皇と外戚関係になること」が権力を握る手段のように書きましたが、これは日本の皇室における古来からの仕来りであったことも書き添えなければなりません。 日本の歴史の中に出て来る最初の神々、つまり天皇家の遠祖である伊奘諾・伊奘冉の時代に遡ることが出来るのです。拙著・「古典短歌講座」の序文から、伊奘諾・伊奘冉が歌を詠み合う場面を引用してみましょう：まず、女神である伊奘冉尊は男神である伊奘諾尊に向かって、次の歌を詠み、男神はその返歌を詠みました。 伊奘冉尊「あなにえや・ゑおとこ」 伊奘諾尊「わなうれし・ゑおとめ」 そして、二人が結ばれて子供が産まれると「ひる子」と呼ばれる意志薄弱な子供が生まれてしまいました。そこで、伯父にあたる豊受神に相談すると、「五四（イヨ）で歌を詠んだのでは、物事は成就しない。又、女が先立ってはいけない」と諭しました。 ここで、伊奘諾尊とは天皇にあたる人です。そして、伊奘冉尊は皇后にあたる人です。さて、この皇后にあたる伊奘冉尊は伊佐子と呼ばれた豊受神の娘だったのです。つまり、豊受神は伊奘諾尊の義父にあたるばかりでなく、二人の間に生まれた皇太子・若仁親王、後に天皇となる天照神の外祖父となるのです。 天照神が幼い時には実際に政治を行い、成人してから後は、天照神の政治を補佐していたのです。ですから、今でも、伊勢神宮には外宮に豊受神、内宮には天照神が皇室の先祖として祭られております。しかも、伊勢神宮参拝の正式な仕来りは「外宮先祭」という言葉までありますように、天照神の外祖父であった豊受神が奉られている外宮を先に参拝することなのです。 そして、添付系図の（神代系図1）を参照して戴くとお分かりのように、豊受神は藤原氏の遠祖の神であり、天照神は天皇の遠祖の神であるのです。つまり、皮肉にも摂関政治は日本の神代の政治形態に戻ったものであったとも言えるのです。 さらに、添付系図の（神代系図2）をご覧戴けるとお解り戴けると思いますが、面足尊には実子が生まれなかった為に、外戚から伊奘諾尊を養子として迎えるのです。そして、豊受神の娘・伊佐子を皇后に迎え、伊奘冉尊になるのです。伊奘諾尊は豊受神の遠祖の分家の末孫（天万神）でありましたから、皇室の伝統を皇后・伊奘冉尊の父・豊受神に教えを乞う事になっていったのです。このような神代の仕来りが、皮肉にも摂関政治によって復元されたとも見ることが出来るのです。 さらに、添付系図の（神代系図3）をご覧戴けるとお解り戴けると思いますが、古事記は太安万侶が人の名前を神格化して、中国の易学の大極の思想に当てはめたものであると言われております。下記の太字に、古事記では「天地の始めの時、高天原に成りませる神の御名は」と書き出されておりますが、下記の網掛けをした先祖名を盗用していることが歴然とお分かり戴けると思います。 先ずは、第4集の『後拾遺集』(1186) の歌人で、道隆の娘・定子の家庭教師となった清少納言062(966-1025)の歌をご紹介しましょう。 そもそも彼女は、一条天皇の時代、正暦4年（993年）冬頃から、私的な女房として中宮定子に仕えました。博学で才気煥発な彼女は、主君定子の恩寵を被ったばかりでなく、公卿や殿上人との贈答や機知を賭けた応酬をうまく交わし、宮廷社会に令名を残した。彼女の男性遍歴(関係系図参照)は多く、藤原実方（? - 998年）、藤原斉信（967年 - 1035年）、藤原行成（972年 - 1027年）、源宣方（? - 998年）、源経房（969年 - 1023年）との親交が諸資料から窺えますが、ここに取り上げる歌も、藤原行成との恋愛関係から生まれた典型的な例歌です。 清少納言は作品『枕草子』を表しましたが、その『枕草子』には、「ものはづくし」（歌枕などの類聚）、詩歌秀句、日常の観察、個人のことや人々の噂、記録の性質を持つ回想など、清少納言が平安の宮廷で過ごした間に興味を持ったものすべてがまとめられています。拙著「古典短歌講座」第７章（５）第12節でも、彼女が『枕草子』で述べた歌に詠むべき季節の美の的確な概念に言及しましたが、俊成・定家が確立した伝統的和歌の美の的確な概念を述べています。 062清少納言(966-1025)
この歌意は「夜が深いのを隠して、鶏の声をまねて、だまそうとしても、逢坂の関は決して許さないでしょう」という意味の歌ですが、夜が深い内に帰った男(藤原行成)の弁解を、切り返しながら、またの訪問を婉曲的に断わる気持を篭めて詠まれています。清少納言は自著「枕草子」136段に「大納言藤原行成、物語などし侍りけるに、内の御物忌にこもればとて急ぎ帰りて、『つとめて鳥の声にもよほされて』と言いおこせて侍りければ、『夜深かりける鳥の声は函谷関の事にや』と言いつかはしたりけるを、立ち帰りけり、これは逢坂の関に侍りとあれば詠み侍りける」と綴っています。函谷関の故事というのは「秦の国に使いに出た猛嘗君が、捕らえられたが、逃げだして、夜中に函谷関に着きましたが、ここは朝告鶏が鳴かないと門を開かないので、従者の一人に鶏の鳴きまねをさせたところ、門が開いて逃げることが出来た」というお話です。 ここで、清少納言は「ここは函谷関ではなく、逢坂の関なので、その言い訳は通じませんよ」と切り返したわけです。つまり、藤原行成が中国の「史記」にふまえて、夜が深い内に帰った弁解を皮肉を込めて切り返し、機智と才気によって応酬したのです。ここでも、女性でありながら、漢籍にも明るかったことを如実に示されていることが伺えます。 次に、第8集の『新古今集』(1205)の歌人で、道長の娘・彰子の家庭教師となった・紫式部057(978?-1031?)の歌です。紫式部は幼少の頃より当時の女性に求められる以上の才能で漢文を読みこなしたなど、才女としての逸話が多く、我国の古典文学の最高峰として名高い54帖にわたる大作『源氏物語』を表した他、宮仕え中の日記『紫式部日記』、家集『紫式部集』を残した才女でありました。清少納言が中宮定子に仕えましたのに対して、一条天皇の中宮・彰子（藤原道長の長女、のち院号宣下して上東門院）に女房兼家庭教師役として仕えたことが有名です。 057紫式部(978?-1031?)
この歌は「巡り会って、見たかどうか解らない内に、雲に隠れてしまった夜中の月のように、久しぶりに会ったのが、あなたかどうかもはっきりしない内に、慌しく帰ってしまわれたことよ」という意味の歌で、幼友達との束の間の巡り会の、名残惜しい気持を詠んでいる歌です。 そして最後は、第4集の『後拾遺集』(1186) の歌人で、道長の娘・彰子の家庭教師となった紫式部の娘の藤原賢子058(999-?)の歌です。藤原賢子は母(紫式部)の後を継ぎ一条院の女院彰子（上東門院）に女房として出仕した。この間、藤原頼宗、藤原定頼(関係系図2参照)、源朝任らと交際があったことが知られています。その後、関白藤原道兼の次男兼隆(関係系図2参照)と結婚、一女をもうけました。万寿2年（1025年）、親仁親王（後冷泉天皇）の誕生に伴い、その乳母に任ぜられた。家集『大弐三位集』がある他、『後拾遺和歌集』には37首もの歌が選ばれてほどの才知に長けた女性でありました。 058藤原賢子(999-?)
この歌は「有馬山から猪名の笹原に風が吹くと、笹原が『そよそよ』と靡きますが、さあそうですよ。（揺れて心もとないのは貴方の心の方で）私は貴方を忘れなどしませんよ」という意味の歌で、冷たい男への恨み言をこめて、自分の変わらない心を訴えた歌です。 |
| 「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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