「古典短歌講座」についての解説　黒路よしひろ著

「古典短歌講座」についての解説　黒路よしひろ

Commentary on the lecture, "Classical Tanka Composition"
by Yoshihiro Kuromichi

translator: Mutsuo Shukuya
auditor: Bruce Wyman

Commentary on the lecture,
"Classical Tanka Composition"
The lecture, "Classical Tanka Composition," which I posted on this site, appeared serially in the monthly bilingual magazine, "Plaza Plaza" (publication suspended). This time, an author, Mutsuo Shukuya contributed this to my site after carefully rewriting it.
Before this project, Mr. Shukuya offered to translate tanka, some of which I composed, into English in order to help make my dream of introducing what tanka is to beginners in the world come true. So I was able to update the site with, "Japanese Modern Tanka for beginners in the world　composed by Yoshihiro Kuromichi." But I am still not completely satisfied that it is enough to make my dream come true. Because I should also show beginners how to compose tanka in order to introduce what tanka is.
I have already opened the website, "Tanka Lesson Room for Beginners" in order to show how to compose tanka, but it was not enough to show how to compose tanka for beginners in the world because it is written only in Japanese.
It is essential to explain how to compose tanka in English in order to introduce what tanka is to the world, I thought. So, I was able to make my dream come true and update this site with "Classical Tanka Composition."
In this essay, "Classical Tanka Composition," the author, Mr. Shukuya, explains how to compose, not modern tanka, but classical tanka written in the traditional tanka form, which was introduced in the Heian period (about 1000 years ago) but this is not fundamentally different from Modern Tanka.
You may insist, against my will, that classical tanka forms are composed on limited themes such as the beauties of every season in their tanka, since in modern tanka forms, we can compose not on limited themes but on any theme.
That is to say, whichever themes you choose to compose tanka on, you are allowed to do so. If the readers in the world learn how to compose tanka from the lecture, "Classical Tanka Composition," they can spontaneously compose such tanka as I show in "Japanese Modern Tanka for beginners in the world", composed by Yoshihiro Kuromichi."
Readers in Japan, especially, can appreciate this lecture, "Classical Tanka Composition" as an explanation of how to compose tanka in the classical tanka form.
Since the beginning of the Meiji Period (1900), most poets, such as Shiki Masaoka or Tekkan Yosano, and so on, who are all tanka reformers, have completely ignored classical tanka, such as the poetry printed in the anthology, Kokin-shu.
I also thought that nobody composes tanka in this form until I watched a TV program unexpectedly, in which the Reizei Family in Kyoto has continued the tanka theory, which Teika Fujiwara framed, several years ago. I have been extraordinarily interested in it since then. So, I would like to have an opportunity to learn how to compose tanka in this classical form someday.
Maybe God blessed me; I unexpectedly met an individual and poet, Mutsuo Shukuya who has visited the residence of the Reizei Family and learned classical tanka, as I explained above.
Therefore, this author, Mutsuo Shukuya, explains what the tanka theory framed by Teika Fujiwara, is in detail; that is, he shares the information and the techniques which he learned from the descendants of Teika Fujiwara with his device or his ideas referring to several examples in his lecture, "Classical Tanka Composition." This may help you to understand them more easily.
As far as learning what the tanka theory framed by Teika Fujiwara is, this textbook must be really be best, I think.
It would be my greatest pleasure if all you readers in the world could experience how wonderful and significant tanka is for human's life by reading this lecture, "Classical Tanka Composition."
Futhermore, this time I show you this lecture, "Classical Tanka Composition" as the first version, but I would like to go on introducing you to the next versions step by step, and I hope you are looking forward to reading them in the near future.
As the last words of my commentary on this lecture, I wish to sincerely express my deep thanks to Mr. Mutsuo Shukuya who offered this invaluable information and also his auditor, Bruce Wyman, who proofread all drafts on this site as well as this commentary.

「古典短歌講座」についての解説　　
黒路よしひろ
ここに掲載させて戴いた「古典短歌講座」は、宿谷睦夫氏がかつてバイリンガル月刊誌「プラザ・プラザ」（現在休刊）に連載されていた「英文短歌講座」をネット掲載用に校正、寄稿して戴いたものです。
宿谷氏とは、これに先立ち「黒路よしひろの現代短歌入門」で僕の短歌を世界に向けて発信するという意欲的な作業を共にさせて頂きましたが、僕は世界に短歌を紹介するという目的を達成するためには、これではまだ少し不十分であると感じておりました。
やはり短歌の詠み方（作り方）を学べなければ、本当の意味での短歌入門とはならないでしょう。短歌の作り方としては、僕のサイトで「短歌入門部屋」として既に公開していましたが、これは日本語での解説のみで、世界の人々に短歌の作り方を理解して戴くには少々無理がありました。
短歌を世界に紹介するのならば、英語での短歌の作り方の解説は必要不可欠です。今回の「古典短歌講座」掲載は、僕のそのような思いに宿谷氏が答えて下さる形で実現いたしました。
この「古典短歌講座」では、現代短歌ではなく古典和歌（平安調）の作り方の解説となっていますが、基本的にはどちらも大きな違いはありません。
強いて言うのなら、古典和歌は詠む対象を「四季」などにある程度限定して自由度が少ないですが、現代短歌はそのような制限をすべて取り払ってどんな内容でも自由に詠めることぐらいでしょうか。ですので、海外の方にはこの「古典短歌講座」で古典和歌の作り方を知り、その上で「黒路よしひろの現代短歌入門」で紹介されている僕の歌などを読んで頂くことで、現代短歌の作り方も自然に学んで戴けることと思います。
また、日本の読者の方についても、この「古典短歌講座」は古典和歌の作り方を解説したものとして非常に参考になると思っています。
明治初期における正岡子規や与謝野鉄幹らの短歌革新運動以降、古今集などの和歌は実作の上では完全に忘れ去られたものとなっていました。僕自身も平安調のこのような和歌などはすでに滅びて、詠むものも居なくなっているのだと思っていましたが、数年前にふと観たテレビで京都の冷泉家でまだこの古典和歌の作歌法が受け継がれていることを知り、非常に興味を持ちました。いつか、機会があれば僕も古典和歌の作歌法を学んでみたい…
そう思っていたところに、思いがけず宿谷睦夫氏との出会いがあり、その機会を得ることとなったのです。宿谷氏はかつて、京都の冷泉家の門を叩き、古典和歌の作歌法を学んだ方です。そして、この「古典短歌講座」にはそこで得た知識と技法を、宿谷氏の工夫で例歌など挙げることでさらに分かり易く解説されて、それを惜しみなく公開して戴いています。古典和歌の作歌法を学ぶ上では、まさに最高の教材と呼べるのではないでしょうか。この「古典短歌講座」を通じて、世界の方々に短歌のすばらしさとその深さを体感して戴き、実作に反映させて戴ければ望外の幸せです。
なお、この「古典短歌講座」は「第一版」となっていますが、この後、また細かな作歌の方法などを「第二版」として追加して戴く予定ですので、そちらもぜひ楽しみに待っていてください。
それでは、貴重な資料を寄稿してくださった宿谷睦夫氏に感謝すると共に、英文の添削などでご協力戴いたブルース・ワイマン氏にも深い感謝の意を表して僕からの解説とさせて戴きます。

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)