著者

米地 文夫 Fumio Yonechi ハーナムキヤ景観研究所

出版者

岩手県立大学総合政策学会

雑誌

総合政策 = Journal of policy studies (ISSN:13446347)

巻号頁・発行日

vol.13, no.2, pp.103-118, 2012-05-01

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宮沢賢治は土壌や地質の調査に地図を用い、測量も行ったので、その体験が作品に反映している。彼の代表作「銀河鉄道の夜」の天の野原に立つ無数の「三角標」の描写もその例である。この「三角標」は「測標(一時的に設けた三角測量用の木製の櫓で、当時は三角覘標と呼ばれた)」から賢治が考えた語とする解釈が一般的である。しかし1887年に参謀本部陸地測量部が刊行した文書には、地図記号の中に「三角標」の名の記号があり、現在の三角点を公的に三角標と呼んでいた時期が数年間あった。その後、公的には使われなくなったが、登山家の間では三角覘標(現在では測標と呼ばれる)を三角標と呼ぶことが多く、賢治もこの俗用の三角標の語を用い、ほかにも1911年の短歌など数作品に同様の例がある。また、銀河鉄道の沿線に立つ三角標の発想には、里程標もモデルにしたとみられる。恒星までの距離を太陽を回る軌道上の地球から、年周視差を使って半年おきに二点から恒星を観測し距離を三角測量法によって測定されていることを賢治は知っていた筈である。つまり輝く星は、地上から観測する測標(賢治の三角標)に当たり、回照器の鏡を動かし陽光にきらめかせて位置を観測者に知らせる測標に見立てたのである。「銀河鉄道の夜」のなかで列車がまず目指した白鳥座の三角標には白鳥の測量旗があると書かれているが、白鳥座61番星はこの方法で地球からの距離を測った最初の星であった。「銀河鉄道の夜」で賢治は、星座早見盤を地図に見立て、星を三角測量の測標に見立てたのであり、賢治が地図や測量に強い関心を持ち、これを発想の重要な柱としていたことが良くわかる作品なのである。Kenji Miyazawa had used maps for soil and geological research and to conduct land surveys, and these experiences were later reflected in his work. One example of this is his depiction of a myriad of sankaku-hyo (triangulation markers) placed in the field of the sky along the railroad in the novella Night on the Milky Way Railroad, one of his most prominent works. The sankaku-hyo is generally considered a term he invented based on soku-hyo, which was referred to as sankaku-tenbyo at that time and which meant a temporarily-installed wooden scaffold for triangular surveying. However, a map symbol referred to as sankaku-hyo was actually used in a document issued by the Survey Department of the General Staff Office in 1887, and the current sankaku-ten (triangulation point) was officially known as sankaku-hyo for several years. Following this, the term sankaku-hyo no longer appeared in official use, but climbers still often refer to a sankaku-tenbyo as a sankaku-hyo. Miyazawa used this popular term, sankaku-hyo, in his novella, as well as in several other works, including tanka poems he wrote in 1911. This idea of sankaku-hyo placed along the Milky Way Railroad is also considered to have been modeled after milepost. Miyazawa must have known that the distance to a fixed star is measured from two points on the Earth, as it orbits the Sun, using heliocentric parallax every six months based on the triangular surveying method. Specifically, luminous stars correspond to soku-hyo (sankaku-hyo in his work) observed from the Earth, and he likened these stars to soku-hyo that inform observers of their location when they twinkle as the mirror of the heliotrope moves. In Night on the Milky Way Railroad, Miyazawa wrote there is a swan on each of the land survey flags placed at the sankaku-hyo for the Swan. Indeed the 61st star of the Swan is the first star for which distance from the Earth was measured using this method. In Night on the Milky Way Railroad, Miyazawa likens a star plate to a map and stars to soku-hyo for triangular surveying. This work clearly suggests that the writer had a strong interest in maps and surveying and that they were the essential elements underlying his ideas.

著者

米地 文夫 Fumio Yonechi ハーナムキヤ景観研究所

出版者

岩手県立大学総合政策学会

雑誌

総合政策 = Journal of policy studies (ISSN:13446347)

巻号頁・発行日

vol.10, no.1, pp.15-34, 2008-12-01

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宮沢賢治の未完の長編「銀河鉄道の夜」の数多い登場人物のなかで、最も印象的で、かつ最も論議の的であった「鳥捕り」を取り上げ、その出現する場が「狐座」(雁を咥えた子狐座)であり、民話的な背景としては「後藤野の親分狐」の化身であり、自らを孤独な狐のように思った賢治自身も投影されている、という重層的な背景から「鳥捕り」は狐が転生した、もしくは狐が化けたもの、すなわち元来は狐であるという説を提唱する。「鳥捕り」は風貌や行動が狐に似るのみならず、類似の他の賢治作品「氷河鼠の毛皮」の狐の間謀と共通点が多いことなどの諸点からも、その正体は狐であると判断された。この「鳥捕り」実は狐の挿話は、賢治の菓子好きや義人を志向した賢治自身が味わった孤独感や挫折感とも関わり、また、野生動物を取り巻く環境の危機を懸念し、狐の側に立つ賢治の見方を示唆するものでもあるなど、賢治の多様な心情を映すものであった。「銀河鉄道の夜」は未完かつ難解な原稿のまま遺されたが、「鳥捕り」は狐という仮説を立ててみると、賢治が伝えようとしたメッセージが見えてくると考えられるのである。Among the many characters in Kenji Miyazawa's unfinished novella "Night of the Galactic Train," "the bird catcher" is the most impressive and controversial one. The bird catcher appears in the constellation of the Fox (Vulpecula). The folksy implication of this character is that "the boss of foxes lived in Gotono." This bird catcher is also a shadow of Kenji's youth when he thought of himself as akin to a lonely fox. From these multiplex implications, the author proposes a new idea: "the bird catcher is a reincarnated fox." There are other data to support this idea. For example, the features and the actions of the bird catcher are like the fox, and he resembles the fox as a spy in Kenji's other novella "Fur of the Glacial-rat." Kenji's various feelings are reflected in the backgrounds of the episode of the bird catcher (fox) , namely, his taste for cakes, his solitude and failure despite effort to be a "gijin" (a righteous man)" , and his sense of crisis of the environment for the wild animals standing with the fox. Unfortunately, Kenji Miyazawa left unfinished the manuscript of his enigmatical novella "Night of the Galactic Train" after his death in 1933. However, with the new idea that "the bird catcher is a reincarnated fox" we can read the messages from Kenji.

著者

米地 文夫 Fumio Yonechi ハーナムキヤ景観研究所

出版者

岩手県立大学総合政策学会

雑誌

総合政策 = Journal of policy studies (ISSN:13446347)

巻号頁・発行日

vol.14, no.2, pp.133-147, 2013-05-01

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宮沢賢治は石川啄木の短歌に強い影響を受けたが、啄木の北へ走る電柱列の歌も、賢治の童話「月夜のでんしんばしら」に影響を与えた。「月夜のでんしんばしら」は停車場近くの線路で電信柱の列が兵隊になり歩き出す話で、電気総長が号令をかけていた。汽車が来ると電信柱に戻る。従来は電気と鉄道の童話とされていたが、シベリア出兵の日本軍、特に花巻で演習をした盛岡駐屯の工兵隊などの出動を素材にしたことがわかった。賢治作曲の彼らの軍歌はオペラ「カルメン」の「アルカラの竜騎兵」の曲と日本陸軍のラッパの曲とを基にしている。作品に工兵のほか竜騎兵や擲弾兵など19 世紀の欧州の古風な兵種名が登場するのは、ロシアに攻め込んだナポレオン軍の敗退をシベリア出兵に重ねたからで、トルストイの小説「戦争と平和」やハイネの詩「二人の擲弾兵」などを念頭に置いている。電気総長は当時の日本陸軍の実質上の最高指揮官である上原勇作参謀総長をモデルにしている。この作品が書かれた1921 年には上原の指揮の下で日本陸軍はシベリア出兵を行っていた。既に出兵の大義は消失し、革命勢力の優勢が決定的になるにつれて撤退は必至となっていた。「月夜のでんしんばしら」は一見、幻想的な童話にみえるが、実はシベリア出兵を継続する日本軍部への批判の込められた作品だったのである。Kenji Miyazawa was strongly influenced by tanka written by Takuboku Ishikawa. Takuboku's tanka about telegraph poles running toward the North also infl uenced Kenji's fairy tale, "The Telegraph Poles on a Moonlit Night." In this fairy tale, a line of telegraph poles along the tracks near a station transform into a rank of soldiers and start marching under the orders of the Chief of Electricity. When a train comes, the soldiers return to being telegraph poles. Up to now, this fairly tale was considered to be a story about electricity and railroads. However, it was later discovered that the tale is based on the mobilization of the Japanese troops dispatched to Siberia, particularly, the Corps of Engineers stationed at Morioka, which were engaged in exercises in Hanamaki. This Corps of Engineers' war song, composed by Kenji Miyazawa, was based on Bizet's opera Carmen Suite Les Dragons d' Alcala and the Japanese Army's trumpet songs. With the introduction of old-fashioned names for soldiers from 19th century Europe, such as Dragoons and Grenadier Guards as well as the Corp of Engineers, and the dispatching of Japanese troops to Siberia, Kenji duplicated the defeat of Napoleon's army which attacked Russia, bearing in mind Tolstoy's novel, War and Peace, and Heine's poem, Die beiden Grenadiere. The Chief of Electricity was modeled after the Chief of the General Staff , Yusaku Uehara, who was functionally the captain general of the Japanese army at that time. In 1921, when this piece was written, Japanese army troops were dispatched to Siberia under the command of Uehara. At that time, the reason for mobilization had already become unclear and as the predominance of the revolutionary force became decisive, retreat from Siberia was inevitable. Although "The Telegraph Poles on a Moonlit Night" is primarily an illusionary fairy tale, it is also a piece criticizing the Japanese army which continued to dispatch troops to Siberia.

著者

米地 文夫 木村 清且 Fumio YONECHI Kiyokatsu KIMURA ハーナムキヤ景観研究所 岩手県立大学大学院総合政策研究科

出版者

岩手県立大学総合政策学会

雑誌

総合政策 = Journal of policy studies (ISSN:13446347)

巻号頁・発行日

vol.8, no.1, pp.29-44, 2006-12-01

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賢治寓話「黒ぶだう」は,仔牛が赤狐に誘われ,ベチュラ公爵別荘にわき玄関から入り,二階で黒ブドウを食べる。狐はブドウの汁を吸って他は吐き出し,仔牛は種まで噛む。公爵たちが帰ってきて,狐は逃げ,残された仔牛はリボンを貰う。この話の公爵別荘のモデルは花巻市街に現存する菊池捍(きくちまもる)邸であることが明らかとなった。菊池邸は1926年に建てられ,外見は洋館,中が畳敷きの和室で,花巻出身で北海道清水町の明治製糖工場長であった捍氏が建主である。北海道の洋館建築の様式をとり入れつつも,武家住宅の伝統を受け継ぎ,洋館には無いはずの本玄関と脇玄関を付けた。賢治が仔牛たちは「わき玄関」から入ったと書いているのが菊池邸をモデルとした証拠である。この建物は他にも「黒ぶだう」の別荘と合う点が多い。菊池捍邸が賢治作品の創作の秘密を解く鍵として極めて重要なことがわかったが,建物自体も大正期の洋風建築として価値の高いものであり,保存保全が望ましい。In Kenji Miyazawa's fairy tale "Black Grapes, " a calf, entitled by a red fox from a pasture, entered the villa of Duke Betula through the side entrance and ate black grapes on the second floor. The fox sucked the juice of the grapes and spit out the residue, while the calf chewed the grapes and the seeds as well. When the duke and his entourage returned home, the fox ran away. The calf was left there, but was given a ribbon by the duke. It was revealed that the model of the duke's villa is the residence of Mamoru Kikuchi, that still exists in the city of Hanamaki today. Built in 1926 by Mamoru Kikuchi, from Hanamaki and manager of Meiji Seito's sugar-making factory in Shimizu town, Hokkaido, the Kikuchi Residence has a Western appearance and tatami-matted rooms inside. Although the building was designed after the style of Hokkaido Western architecture, it followed the tradition of the samurai house and has both a main entrance and a side entrance, which don't exist in an ordinary Western-style house. The evidence that this is the model is that, as Kenji wrote, the calf and the red fox entered the villa through the "side entrance." There are many elements this building has that agree with the descriptions of the Black Grapes villa. Although the Kikuchi Residence is extremely important as a key to unravel the secrets of Kenji's creation in his works, the building itself is of high value as an example of Taisho Era western architecture, which is why its total preservation is desired.