| [V]Themes for tanka composition(3)(Junior course Ⅲ) (8) Tanka in August （20002）平成14年(9/7-10/5) “The quails” In this chapter, I will try to discuss how tanka should be composed in Hazuki[August](9/7-10/5). The most suitable theme on which to compose tanka this month is "Tsuki" or "The moon". The full moon this month, which we have called the harvest moon, has been admired as the most beautiful one since the mists of time in Japan. So, both "The silver grasses" and "The yellow grasses" have been offered to this harvest moon on the midday of this mouth as well as in autumn. And then "The red leaves" are to appear and "The deer" are also to cry for partners and "The quails" are to come down from the northern area to the middle and southern area in Japan in time. So, the themes such as "The silver grasses, "The yellow grasses", "The red leaves", "The deer" and "The quails" are all considered to be suitable ones of this month. Here, I will show you the following tanka, which are composed by Monk Jien(1155-1225),Fujiwara no Shunzei(1114-1202), Minamoto no Michiteru(1186-1248) and myself on the theme, “The quails”. The example tanka by Monk Jien is said to have been composed alluding to the following love tanka dailog printed in Ise Monogatari(Ise Story) written by Ariwara no Narihira(825-880): Fukakusa, where/ I have been for a long time, will be covered with/ grasses like a lonely field in time, after I leave here. by a man I am going to/ spend my life as a quail after you leave here,/ as you will never be here again even for the shortest time. by a woman In the latter tanka, the author blames him for leaving. But at the same time she wishes he would come again even if she as a quail were shot by him as a hunter:The phrase, "Karinidaniyawa", of this original tanka in Japanese has two different meanings, using the technique, "kake-kotoba" in which a word or phrase has two different meaning at once, though it sounds the same when we read it. So, this means not only "even for the shortest time" but also "even as a quail hunter". (although the latter phrase is not written in this tanka) Furthermore, Fukakusa was one of the famous hunting grounds for quails. So, another author, Fujiwara no Shunzei, is said to have composed his following tanka when deeply touched by her feelings: 秋を経てあはれも露も深草の里訪ふものは鶉なりけり It is the quail that/ has arrived at the village, Fukakusa, where/ both pathos and the dewdrops deepen in latter autumn. by Monk Jien 夕されは野辺の秋風身にしみて鶉鳴くなり深草の里 The quails also cry/ at Fukakusa village on the evening of/ an autumn day, the cool breeze blows through the field not alone. by Fujiwara no Shunzei 入日さす麓の尾花うちなひきたか秋風に鶉鳴くらん The quail, perhaps, cries/ out because of its sadness at the mountains foot,/ where silver grasses flutter like sobs of a lovelorn girl. by Minamoto no Michiteru |
故郷の苅田ははやも夕暮れて秋風さそふ鶉鳴く声 The voice of quails/ can be heard in the evening on the paddy field/ where the rice has been harvested with the cool breeze fluttering. by Mutsuo Shukuya 第五章（～歌の主題 3～）[初級講座Ⅲ] 第8節：葉月の歌「鶉」（うずら） 今回は葉月の歌を詠んで戴く。葉月といえば、まず月である。葉月の月を「仲秋の名月」と呼び、古来から最も美しい月として尊ばれてきた。その月に供えるものに「薄」と「女郎花」がある。そして、「鹿」が鳴き、木々の葉は「紅葉」し、「鶉」が日本列島の北部から中南部におりてくる。「薄」「女郎花」「鹿」「紅葉」「鶉」等はいずれも葉月の歌題である。 今回はこの内の「鶉」を歌題に歌を詠んで戴く。「鶉」を歌題に慈円、藤原俊成、源通光と私の歌を例歌としてみた。 慈円の歌は「秋の日数を経て、哀れも深くなり、露も深くなった深草を訪れるものは鶉である」という意味の歌であるが、伊勢物語に詠まれてる有名な歌を本歌としている。それは、深草に赴任して来た男性が、その土地に住んでいた愛人に、「私がここを出て行ったらますます草深い里になってしまうだろうよ」という意味の「年を経て住みこし里を出ていなはいとと深草野とやなりなむ」と詠むと、その愛人は、「草深い野となってしまったならば、私はここの名物である鶉となって鳴(泣)きながら今後を過ごしていきましょう。あなたは狩りに（かりそめにだって）来て下さらないでしょうから」という意味の「野とならは鶉と鳴きて年は経むかりにたにやは君はこさらむ」と返歌したと言われている。さらに、この歌は「もしかりに狩りにやってきてくれた時、自分が矢に射られて死んでも貴方にまた会いたい」という切ない女性の恋心を詠んだものである。次の俊成の歌は、その心に強く心を打たれ詠んだと言われている歌である。 源通光の歌は「夕陽の射す麓の尾花がなびき、その中で、誰の(飽き心が）吹かせる秋風であろうか。その秋風に鶉は鳴いているのだろうか」という意味の歌である。鶉に男の飽き心に泣いている女性の面影を見たのである。いずれの歌にも「物を思い」「人を恋うる」秋の歌の特色がにじみ出ている。 Plaza-Plaza Tanka Cornerプラザ歌壇入選者 ①小林和歌子②山本綾子③宿谷政枝④高井孝子 秋風の 吹く夕暮れの 深草に 汝れか形見の 鶉鳴く声 The voice of plovers,/ which are their own memento, can be heard clearly/ in the Fukakusa field this evening when the winds blow. by Wakako Kobayashi 人一人 古偲ふ 夕暮れの 野辺分け入れは 鶉鳴く声 The voice of plovers,/ can be heard in the evening as I wander through/ the field being reminded of when I, too, was alone. by Ayako Yamamoto 秋風に尾花のなひく夕暮れの野辺を訪ふらむ鶉鳴く声 Some plovers seem/ to have visited this field: their voices call out/ this evening while the pampas are fluttering in the field. by Masae Shukuya うずら鳴く声を訪ねて野辺行けどただ秋風のすさぶ夕暮れ Though I walked into/ the fields in order to hear the plovers weeping,/ I never heard anything, only the fluttering wind. by Takako Takai |
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| 古典短歌講座（第１版） Classical Tanka composition in English (1) |
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