著者
中島 淑恵
出版者
富山大学附属図書館

テーマ:黒い髪の女 ―ファム・ファタルかファム・イデアルか?―中島淑恵(富山大学人文学部教授)が,これまでの研究成果を踏まえ,Lafcadio Hearn=ラフカディオ・ハーン=小泉八雲に関する様々を語るこれは,当日,会場でICレコーダを用いて収録したMP3形式の音声ファイル
著者
中島 淑恵
出版者
富山大学附属図書館

中島淑恵(富山大学人文学部教授)が,これまでの研究成果を踏まえ,Lafcadio Hearn=ラフカディオ・ハーン=小泉八雲に関する様々を語るこれは,当日,会場でICレコーダを用いて収録したMP3形式の音声ファイル
著者
中島 淑恵
出版者
富山大学附属図書館

テーマ:南の島の記憶ー『チタ』を読む0.はじめに ハーンのアメリカ時代(19歳~40歳)クレオール(Créole)とは?あらすじ 「デルニエール島の伝説 (The Legend of L'Ile Derniere)」 「海の猛威を逃れて (Out of the Sea's Strength)」 「潮の影 (The Shadow of the Tide)」チタの髪の描写 1)チタ発見の手ががり 2)チタの金髪 3)チタの身元捜し 4)クレオール問答 5)チタと同じ金髪の少女の死骸 6)チタの母と思われる死骸ーアデル 7)アデルの死骸はニューオリンズに運ばれ,夫ジュリアン,娘ユーラリとともに墓碑銘に刻まれる 8)チタと養母カルメンとの会話 9)実の父ジュリアンとの再会の時のチタ 10)ジュリアンの煩悶 11)名前を聞く,名前を名乗る 12)ジュリアン,チタの首筋にほくろ発見 13)金髪をめぐるジュリアンの類推大自然の猛威ー海,水による災害,ハリケーン,津波水の傍らにあったハーンの生涯ーレフカダ,ニューオリンズ,マルチニーク,松江,焼津海水浴
著者
中島 淑恵
出版者
富山大学附属図書館

テーマ:美しきクレオール:ユーマを読む・私たちが抱いているアメリカのイメージ・『ユーマ:西インドの奴隷の物語』Youma, The Story of a West-Indian Slave.・平井呈一「八雲の小説」より・中田堅次「ユーマ」の項目より(『小泉八雲事典』)・クレオール小説の元祖・『ユーマ』の構成1.ユーマの出自および幼少期,性格,成長2.デリヴィエール家の所有していたアンヌ・マリーヌの農場の描写,クレオールの物語,クレオール語による教義問答,クレオールの物語3.ユーマの乳母としての日常,さまざまな物語をマヨットに聞かせる,「ケレマン婆さん」の挿話4.マヨットの部屋,ユーマ蛇に咬まれる,ガブリエルに助けられる5.ガブリエルの好意,贈り物6.ガブリエル,デリヴィエール氏にユーマを嫁にしたいと頼む7.ペロネット夫人,ユーマをアンヌ・マリーヌから引き戻そうとする,ユーマの苦悩,自らの奴隷という立場に煩悶,ガブリエルがドミニカへの出奔を示唆8.ユーマの煩悶9.海岸,マヨットと遊ぶユーマ,ガブリエルが再び誘いに来る,ガブリエルとの長い会話,ガブリエルの誘いを断る10.アンヌ・マリーヌ最後の夜,血葛の挿話11.奴隷による武装蜂起12.奴隷による武装蜂起13.ユーマとデリヴィエール氏との会話14.ユーマの最期
著者
中島 淑恵
出版者
富山大学附属図書館

テーマ:夫婦の契りの物語:約束を守るか守らないか※資料については,下方の「関連URI」にリンクがあります。・OSHIDORI原文(by Lafcadio Hearn),平川祐弘:訳,原話『古今著聞集』・THE STORY OF O-TEI原文(by Lafcadio Hearn),平川祐弘:訳,原話『夜窓鬼談』・「こわい」とはどういうことか?「こわい話」=「怪談」?「怪談」の定義(Wikipediaより)・『怪談』だけではない怪異の物語・なぜハーンは『怪談』を訳さずに「KWAIDAN」としたのか?・1899年『霊の国日本にて』所収「小さな詩」("Bits of poetry" in In Ghostly Japan)・『怪談』1904年・1.『ギリシャ詞華集』の墓碑銘・1.1.『ギリシャ詞華集』とは?『ギリシャ詞華集』の変遷『ギリシャ詞華集』の内容・1.2.「墓碑銘」=「碑銘詩」とは?・ヘルン文庫所蔵の『ギリシャ詞華集』英語版:書架番号[302]フランス語版:書架番号[1641][1642]
著者
中島 淑恵
出版者
富山大学附属図書館

テーマ:死せる美女の物語:幽霊妻の源流※引用資料,参考資料については,下方の「関連URI」にリンクがあります。 0.ハーンの物語の中の「幽霊」1.「牡丹灯籠」2.「春の幽霊」3.ゴーティエ『死霊の恋』3-1.恋は一目ぼれ:視覚表現3-2.視覚から聴覚への転化3-3.触覚:手を触れること,吸血4.結論0.ハーンの物語の中の「幽霊」「飴を買う女」(<『神々の首都』)「牡丹灯籠」「耳なし芳一」「死骸にまたがる男」「青柳」?「雪女」?1.「牡丹燈篭」『霊の国の日本』の「恋の因果」初代三遊亭圓朝『剪灯新話』中国,明代『怪異談牡丹灯籠』五代目尾上菊五郎,歌舞伎ハーン「恋の因果」<<Passional Karma>> in In Gohstly Japan, The writings of Lafcadio Hearn, vol.9 pp.285-2862.「春の幽霊」<<Spring Phantoms>>, in Item, April 21, 1881The writings of Lafcadio Hearn, vol.2 pp.312-315"Petits Poemes en Prose"... the Woman that he shall never know stands before him like a ghost with sweet sad eyes of warning--and he dare not!3.ゴーティエ『死霊の恋』『クラリモンド』芥川龍之介訳,『クラリモンド』岡本綺堂訳>青空文庫Theophile Gautier, La morte amoureuse, 1839.Pierre Jules Theophile Gautierピエール・ジュール・テオフィル・ゴーティエ(1811年8月30日~1872年10月23日)3-1.恋は一目ぼれ:視覚表現Textes de litterature moderne et contemporaine / diriges par Alain Montandon et Jeanyves Guerin ; 190 . ?uvres completes / Theophile Gautier ; section 1 . Romans, contes et nouvelles / coordonnateur, A. Montandon ; t. 6(以下の引用ページ数は,このテクストによる。)http://opac.lib.u-toyama.ac.jp/opc/recordID/catalog.bib/BB24256407【引用1】p.403【引用2】p.403【引用3】p.403・全身,髪,額,睫毛,瞳【引用4】pp.403-404【引用5】p.404・歯,頬,鼻,肌【引用6】p.404・真珠,ドレス,手【引用7】p.404【引用8】p.404【引用9】p.4053-2.視覚から聴覚への転化【引用10】p.405【引用11】p.405【引用12】p.405【引用13】p.4063-3.触覚:手を触れること,吸血【引用14】p.406【引用15】p.416・頬,唇,睫毛,髪,手,腕【引用16】p.416【引用17】p.425【引用18】p.427【引用19】p.4294.結論
著者
中島 淑恵
出版者
富山シティエフエム

番組名:『ふるさと探求録』,放送:毎週月~金曜 7時13分~,17時40分~中島淑恵(人文学部教授)がラフカディオ・ハーン=Lafcadio Hearn=小泉八雲の研究について語る。(第9回放送)放送局:富山シティエフエム(コミュニティ放送,JOZZ5AF-FM,77.7MHz,20W)番組概要:歴史や自然など富山について調査している人,科学や物理など富山で研究開発を行う人などを訪ね,富山の魅力を改めて探る。中島淑恵(人文学部教授)出演(ラフカディオ・ハーン=Lafcadio Hearn=小泉八雲の研究について)は第9回放送で月曜から金曜日にかけ,5日間にわたって次の通り放送された。収録は,放送に先立ってヘルン文庫内で行われた。第9回放送-1/5(2018年6月4日,月曜日:放送)第9回放送-2/5(2018年6月5日,火曜日:放送)第9回放送-3/5(2018年6月6日,水曜日:放送)第9回放送-4/5(2018年6月7日,木曜日:放送)第9回放送-5/5(2018年6月8日,金曜日:放送)
著者
中島 淑恵
出版者
富山シティエフエム

中島淑恵(人文学部教授)出演(ラフカディオ・ハーン=Lafcadio Hearn=小泉八雲の研究について)は第9回放送で月曜から金曜日にかけ,5日間にわたって次の通り放送された。収録は,放送に先立ってヘルン文庫内で行われた。 第9回放送-1/5(2018年6月4日,月曜日:放送)第9回放送-2/5(2018年6月5日,火曜日:放送)第9回放送-3/5(2018年6月6日,水曜日:放送)第9回放送-4/5(2018年6月7日,木曜日:放送)第9回放送-5/5(2018年6月8日,金曜日:放送)
著者
中島 淑恵
出版者
富山シティエフエム

番組名:『ふるさと探求録』,放送:毎週月~金曜 7時13分~,17時40分~中島淑恵(人文学部教授)がラフカディオ・ハーン=Lafcadio Hearn=小泉八雲の研究について語る。(第9回放送)放送局:富山シティエフエム(コミュニティ放送,JOZZ5AF-FM,77.7MHz,20W)番組概要:歴史や自然など富山について調査している人,科学や物理など富山で研究開発を行う人などを訪ね,富山の魅力を改めて探る。中島淑恵(人文学部教授)出演(ラフカディオ・ハーン=Lafcadio Hearn=小泉八雲の研究について)は第9回放送で月曜から金曜日にかけ,5日間にわたって次の通り放送された。収録は,放送に先立ってヘルン文庫内で行われた。第9回放送-1/5(2018年6月4日,月曜日:放送)第9回放送-2/5(2018年6月5日,火曜日:放送)第9回放送-3/5(2018年6月6日,水曜日:放送)第9回放送-4/5(2018年6月7日,木曜日:放送)第9回放送-5/5(2018年6月8日,金曜日:放送)
著者
中島 淑恵
出版者
富山シティエフエム

番組名:『ふるさと探求録』,放送:毎週月~金曜 7時13分~,17時40分~中島淑恵(人文学部教授)がラフカディオ・ハーン=Lafcadio Hearn=小泉八雲の研究について語る。(第9回放送)放送局:富山シティエフエム(コミュニティ放送,JOZZ5AF-FM,77.7MHz,20W) 番組概要:歴史や自然など富山について調査している人,科学や物理など富山で研究開発を行う人などを訪ね,富山の魅力を改めて探る。中島淑恵(人文学部教授)出演(ラフカディオ・ハーン=Lafcadio Hearn=小泉八雲の研究について)は第9回放送で月曜から金曜日にかけ,5日間にわたって次の通り放送された。収録は,放送に先立ってヘルン文庫内で行われた。 第9回放送-1/5(2018年6月4日,月曜日:放送)第9回放送-2/5(2018年6月5日,火曜日:放送)第9回放送-3/5(2018年6月6日,水曜日:放送)第9回放送-4/5(2018年6月7日,木曜日:放送)第9回放送-5/5(2018年6月8日,金曜日:放送)
著者
中島 淑恵
出版者
富山シティエフエム

中島淑恵(人文学部教授)出演(ラフカディオ・ハーン=Lafcadio Hearn=小泉八雲の研究について)は第9回放送で月曜から金曜日にかけ,5日間にわたって次の通り放送された。収録は,放送に先立ってヘルン文庫内で行われた。 第9回放送-1/5(2018年6月4日,月曜日:放送)第9回放送-2/5(2018年6月5日,火曜日:放送)第9回放送-3/5(2018年6月6日,水曜日:放送)第9回放送-4/5(2018年6月7日,木曜日:放送)第9回放送-5/5(2018年6月8日,金曜日:放送)
著者
中島 淑恵
出版者
富山大学人文学部
雑誌
富山大学人文学部紀要 (ISSN:03865975)
巻号頁・発行日
no.66, pp.175-189, 2017

富山大学附属図書館所蔵のラフカディオ・ハーン(小泉八雲)旧蔵書(ヘルン文庫)には,2種類の『ギリシア詞華集』が収蔵されている。そのうち1種類は英語版で,書架番号[302]The Greek anthology : as selected for the use of Westminster, Eton and other Public schools / literally translated into English prose, chiefly by George Burges, to witch are added Metrical Versions by Bland, Merivale, and others, and an index of reference to the originals, London, G. Bell, 1893.であり, もう1種類はフランス語版で2巻本の,書架番号[1641]と[1642]Anthologie Grecque, Tome I-II,traduite sur le texte publié d'après le manuscrit palatin par Fr. Jacobs, avec des notices biograophiques et littéraires sur les poëtes de l'anthologie, Paris, Hachette, 1863. であり,いずれもハーンが来日後に購入したものと思われる。いずれの『ギリシア詞華集』にもハーンによる鉛筆の書き込みが随所に見られるが,本稿はそのうちフランス語訳の2巻本について調査を行った結果を記すものである。
著者
中島 淑恵
出版者
富山大学附属図書館

テーマ:墓の話(1)※引用資料,参考資料については,下方の「関連URI」にリンクがあります。 ※「PRINT」のアイコンをクリックするとこのメタデータ全体を印刷できます。【参考】の下に【資料】(当日配布資料の抜粋)があります。【参考】ラフカディオ・ハーンと俳句(1)持統天皇,『万葉集』巻2,159天皇、崩(かむあが)りましし時の大后(おほきさき)の御作歌一首やすみしし わご大君の 夕されば 見し給ふらし 明けくれば 問ひ給ふらしやすみしし わごおほきみの ゆふされば めしたまふらし あけくれば とひたまふらし神岳の 山の黄葉を 今日もかも 問ひ給はまし 明日もかも 見し賜はましかむおかの やまのもみちを けふもかも とひたまはまし あすもかも めしたまはましその山を 振り放け見つつ 夕されば あやに悲しび 明けくれば うらさび暮らしそのやまを ふりさけみつつ ゆふされば あやにかなしみ あけくれば うらさびくらし荒栲の 衣の袖は 干る時もなしあらたへの ころものそでは ふるときもなし(2)藤原道信朝臣,『拾遺和歌集』恒徳公の服ぶく脱ぎ侍るとて1293 限りあれば今日ぬぎすてつ藤衣はてなき物は涙なりけり(0678)*(3)『万葉集』(詠み人知らず)02-0150うつせみし 神に堪へねば 離れ居て 朝嘆く君 放り居て 我が恋ふる君 玉ならば 手に巻き持ちて 衣ならば 脱く時もなく 我が恋ふる 君ぞ昨夜の夜 夢に見えつる(4)平兼盛,『拾遺集』恋一・622しのぶれど 色に出でにけり わが恋(こひ)は ものや思ふと 人の問ふまで(40番)(5)待賢門院堀河,『千載集』恋三・802長からむ 心も知らず 黒髪の 乱れて今朝は ものをこそ思へ(80)(6)別所長治もろともに消え果つるこそうれしけれおくれ先立つならひ なる世に(7)(都都逸)とほくへだてて空うちながめ月が鏡になればよい(8)『金槐和歌集』,源実朝出テイナハ主ナキ宿ト成ヌトモ軒端ノ梅ヨ春ヲワスルナ(9)黒木弘安うす墨でかく玉章とみゆるかな くもるかすみに帰るかりがね(10)黒木弘安写真術は造物者の画にして「光輝」は其筆なり【資料】In Ghostly Japan by Lafcadio HearnAuthor: Lafcadio HearnBits of PoetryIAmong a people with whom poetry has been for centuries a universal fashion of emotional utterance, we should naturally suppose the common ideal of life to be a noble one. However poorly the upper classes of such a people might compare with those of other nations, we could scarcely doubt that its lower classes were morally and otherwise in advance of our own lower classes. And the Japanese actually present us with such a social phenomenon.Poetry in Japan is universal as the air. It is felt by everybody. It is read by everybody. It is composed by almost everybody,-- irrespective of class and condition. Nor is it thus ubiquitous in the mental atmosphere only: it is everywhere to be heard by the ear, and _seen by the eye_!As for audible poetry, wherever there is working there is singing. The toil of the fields and the labor of the streets are performed to the rhythm of chanted verse; and song would seem to be an expression of the life of the people in about the same sense that it is an expression of the life of cicadae.... As for visible poetry, it appears everywhere, written or graven,--in Chinese or in Japanese characters,--as a form of decoration. In thousands and thousands of dwellings, you might observe that the sliding- screens, separating rooms or closing alcoves, have Chinese or Japanese decorative texts upon them;--and these texts are poems. In houses of the better class there are usually a number of gaku, or suspended tablets to be seen,--each bearing, for all design, a beautifully written verse. But poems can be found upon almost any kind of domestic utensil,--for example upon braziers, iron kettles, vases, wooden trays, lacquer ware, porcelains, chopsticks of the finer sort,--even toothpicks! Poems are painted upon shop-signs, panels, screens, and fans. Poems are printed upon towels, draperies, curtains, kerchiefs, silk- linings, and women's crepe-silk underwear. Poems are stamped or worked upon letter-paper, envelopes, purses, mirror-cases, travelling-bags. Poems are inlaid upon enamelled ware, cut upon bronzes, graven upon metal pipes, embroidered upon tobacco- pouches. It were a hopeless effort to enumerate a tithe of the articles decorated with poetical texts. Probably my readers know of those social gatherings at which it is the custom to compose verses, and to suspend the compositions to blossoming frees,-- also of the Tanabata festival in honor of certain astral gods, when poems inscribed on strips of colored paper, and attached to thin bamboos, are to be seen even by the roadside,--all fluttering in the wind like so many tiny flags.... Perhaps you might find your way to some Japanese hamlet in which there are neither trees nor flowers, but never to any hamlet in which there is no visible poetry. You might wander,--as I have done,--into a settlement so poor that you could not obtain there, for love or money, even a cup of real tea; but I do not believe that you could discover a settlement in which there is nobody capable of making a poem.IIRecently while looking over a manuscript-collection of verses,-- mostly short poems of an emotional or descriptive character,--it occurred to me that a selection from them might serve to illustrate certain Japanese qualities of sentiment, as well as some little-known Japanese theories of artistic expression,--and I ventured forthwith, upon this essay. The poems, which had been collected for me by different persons at many different times and places, were chiefly of the kind written on particular occasions, and cast into forms more serried, if not also actually briefer, than anything in Western prosody. Probably few Of my readers are aware of two curious facts relating to this order of composition. Both facts are exemplified in the history and in the texts of my collection,--though I cannot hope, in my renderings, to reproduce the original effect, whether of imagery or of feeling.The first curious fact is that, from very ancient times, the writing of short poems has been practised in Japan even more as a moral duty than as a mere literary art. The old ethical teaching was somewhat like this:--"Are you very angry?--do not say anything unkind, but compose a poem. Is your best-beloved dead?-- do not yield to useless grief, but try to calm your mind by making a poem. Are you troubled because you are about to die, leaving so many things unfinished?--be brave, and write a poem on death! Whatever injustice or misfortune disturbs you, put aside your resentment or your sorrow as soon as possible, and write a few lines of sober and elegant verse for a moral exercise." Accordingly, in the old days, every form of trouble was encountered with a poem. Bereavement, separation, disaster called forth verses in lieu of plaints. The lady who preferred death to loss of honor, composed a poem before piercing her throat The samurai sentenced to die by his own hand, wrote a poem before performing hara-kiri. Even in this less romantic era of Meiji, young people resolved upon suicide are wont to compose some verses before quitting the world. Also it is still the good custom to write a poem in time of ill-fortune. I have frequently known poems to be written under the most trying circumstances of misery or suffering,--nay even upon a bed of death;-and if the verses did not display any extraordinary talent, they at least afforded extraordinary proof of self-mastery under pain.... Surely this fact of composition as ethical practice has larger interest than all the treatises ever written about the rules of Japanese prosody.The other curious fact is only a fact of aesthetic theory. The common art-principle of the class of poems under present consideration is identical with the common principle of Japanese pictorial illustration. By the use of a few chosen words the composer of a short poem endeavors to do exactly what the painter endeavors to do with a few strokes of the brush,--to evoke an image or a mood,--to revive a sensation or an emotion. And the accomplishment of this purpose,--by poet or by picture-maker,-- depends altogether upon capacity to suggest, and only to suggest. A Japanese artist would be condemned for attempting elaboration of detail in a sketch intended to recreate the memory of some landscape seen through the blue haze of a spring morning, or under the great blond light of an autumn after-noon. Not only would he be false to the traditions of his art: he would necessarily defeat his own end thereby. In the same way a poet would be condemned for attempting any completeness of utterance in a very short poem: his object should be only to stir imagination without satisfying it. So the term ittakkiri--meaning "all gone," or "entirely vanished," in the sense of "all told,"-- is contemptuously applied to verses in which the verse-maker has uttered his whole thought;--praise being reserved for compositions that leave in the mind the thrilling of a something unsaid. Like the single stroke of a temple-bell, the perfect short poem should set murmuring and undulating, in the mind of the hearer, many a ghostly aftertone of long duration.IIIBut for the same reason that Japanese short poems may be said to resemble. Japanese pictures, a full comprehension of them requires an intimate knowledge of the life which they reflect. And this is especially true of the emotional class of such poems,--a literal translation of which, in the majority of cases, would signify almost nothing to the Western mind. Here, for example, is a little verse, pathetic enough to Japanese comprehension:--ChochO ni!..Kyonen shishitaruTsuma koishi!Translated, this would appear to mean only,--"Two butterflies!... Last year my dear wife died!" Unless you happen to know the pretty Japanese symbolism of the butterfly in relation to happy marriage, and the old custom of sending with the wedding-gift a large pair of paper-butterflies (ocho-mecho), the verse might well seem to be less than commonplace. Or take this recent composition, by a University student, which has been praised by good judges:--Furusato niFubo ari--mushi noKoe-goe! (1)--"In my native place the old folks [or, my parents] are--clamor of insect-voices!"1 I must observe, however, that the praise was especially evokedby the use of the term koe-goe--(literally meaning "voice after voice" or a crying of many voices);--and the special value of the syllables here can be appreciated only by a Japanese poet.The poet here is a country-lad. In unfamiliar fields he listens to the great autumn chorus of insects; and the sound revives for him the memory of his far-off home and of his parents. But here is something incomparably more touching,--though in literal translation probably more obscure,--than either of the preceding specimens;--Mi ni shimiruKaze ya IShoji niYubi no ato!--"Oh, body-piercing wind!--that work of little fingers in the shoji!" (2).... What does this mean? It means the sorrowing of a mother for her dead child. Shoji is the name given to those light white-paper screens which in a Japanese house serve both as windows and doors, admitting plenty of light, but concealing, like frosted glass, the interior from outer observation, and excluding the wind. Infants delight to break these by poking their fingers through the soft paper: then the wind blows through the holes. In this case the wind blows very cold indeed,--into the mother's very heart;--for it comes through the little holes that were made by the fingers of her dead child.2 More literally:--"body-through-pierce wind--ah! --shoji in the traces of [viz.: holes made by] fingers!"The impossibility of preserving the inner quality of such poems in a literal rendering, will now be obvious. Whatever I attempt in this direction must of necessity be ittakkiri;--for the unspoken has to be expressed; and what the Japanese poet is able to say in seventeen or twenty-one syllables may need in English more than double that number of words. But perhaps this fact will lend additional interest to the following atoms of emotional expression:--A MOTHER'S REMEMBRANCESweet and clear in the night, the voice of a boy at study,Reading out of a book.... I also once had a boy!A MEMORY IN SPRINGShe, who, departing hence, left to the flowers of the plum-tree,Blooming beside our eaves, the charm of her youth and beauty,And maiden pureness of heart, to quicken their flush and fragrance,--Ah! where does she dwell to-day, our dear little vanished sister?FANCIES OF ANOTHER FAITH(1) I sought in the place of graves the tomb of my vanished friend:From ancient cedars above there rippled a wild doves cry.(2) Perhaps a freak of the wind-yet perhaps a sign of remembrance,--This fall of a single leaf on the water I pour for the dead.(3)I whispered a prayer at the grave: a butterfly rose and fluttered--Thy spirit, perhaps, dear friend!...IN A CEMETERY AT NIGHTThis light of the moon that plays on the water I pour for the dead,Differs nothing at all from the moonlight of other years.AFTER LONG ABSENCEThe garden that once I loved, and even the hedge of the garden,--All is changed and strange: the moonlight only is faithful;--The moon along remembers the charm of the time gone by!MOONLIGHT ON THE SEAO vapory moon of spring!--would that one plunge into oceanCould win me renewal of life as a part of thy light on the waters!AFTER FAREWELLWhither now should! look?--where is the place of parting?Boundaries all have vanished;--nothing tells of direction:Only the waste of sea under the shining moon!HAPPY POVERTYWafted into my room, the scent of the flowers of the plum-treeChanges my broken window into a source of delight.AUTUMN FANCIES(1) Faded the clover now;--sere and withered the grasses:What dreams the matsumushi(1) in the desolate autumn-fields?(2) Strangely sad, I thought, sounded the bell of evening;--Haply that tone proclaimed the night in which autumn dies!(3)Viewing this autumn-moon, I dream of my native villageUnder the same soft light,--and the shadows about my home.1 A musical cricket--calyptotryphus marmoratus.IN TIME OF GRIEF, HEARING A SEMI (CICADA)Only "I," "I,"--the cry of the foolish semi!Any one knows that the world is void as its cast-off shell.ON THE CAST-OFF SHELL OF A SEMIOnly the pitiful husk!... O poor singer of summer,Wherefore thus consume all thy body in song?SUBLIMITY OF INTELLECTUAL POWERThe mind that, undimmed, absorbs the foul and the pure together--Call it rather a sea one thousand fathoms deep!(2)2. This is quite novel in its way,--a product of the University:the original runs thus:--Nigoreru moSumeru mo tomo niIruru kosoChi-hiro no umi noKokoro nari-kere!SHINTO REVERYMad waves devour The rocks: I ask myself in the darkness,"Have I become a god?" Dim is The night and wild!"Have I become a god?"--that is to say, "Have I died?--am I only a ghost in this desolation?" The dead, becoming kami or gods, are thought to haunt wild solitudes by preference.IVThe poems above rendered are more than pictorial: they suggest something of emotion or sentiment. But there are thousands of pictorial poems that do not; and these would seem mere insipidities to a reader ignorant of their true purpose. When you learn that some exquisite text of gold means only, "Evening- sunlight on the wings of the water-fowl,"--or,"Now in my garden the flowers bloom, and the butterflies dance,"--then your first interest in decorative poetry is apt to wither away. Yet these little texts have a very real merit of their own, and an intimate relation to Japanese aesthetic feeling and experience. Like the pictures upon screens and fans and cups, they give pleasure by recalling impressions of nature, by reviving happy incidents of travel or pilgrimage, by evoking the memory of beautiful days. And when this plain fact is fully understood, the persistent attachment of modern Japanese poets--notwithstanding their University training--to the ancient poetical methods, will be found reasonable enough.I need offer only a very few specimens of the purely pictorial poetry. The following--mere thumb-nail sketches in verse--are of recent date.LONESOMENESSFuru-dera ya:Kane mono iwazu;Sakura chiru.--"Old temple: bell voiceless; cherry-flowers fall."MORNING AWAKENING AFTER A NIGHT'S REST IN A TEMPLEYamadera noShicho akeyuku:Taki no oto.--"In the mountain-temple the paper mosquito-curtain is lighted by the dawn: sound of water-fall."WINTER-SCENEYuki no mura;Niwatori naite;Ake shiroshi. "Snow-village;--cocks crowing;--white dawn."Let me conclude this gossip on poetry by citing from another group of verses--also pictorial, in a certain sense, but chiefly remarkable for ingenuity--two curiosities of impromptu. The first is old, and is attributed to the famous poetess Chiyo. Having been challenged to make a poem of seventeen syllables referring to a square, a triangle, and a circle, she is said to have immediately responded,--Kaya no te woHitotsu hazushite,Tsuki-mi kana!--"Detaching one corner of the mosquito-net, lo! I behold the moon!" The top of the mosquito-net, suspended by cords at each of its four corners, represents the square;--letting down the net at one corner converts the square into a triangle;--and the moon represents the circle.The other curiosity is a recent impromptu effort to portray, in one verse of seventeen syllables, the last degree of devil-may- care-poverty,--perhaps the brave misery of the wandering student;--and I very much doubt whether the effort could be improved upon:--NusundaruKagashi no kasa niAme kyu nari.--"Heavily pours the rain on the hat that I stole from the scarecrow!"III蝶々に去年死したる妻恋しふるさとに父母あり 虫の声々身にしみる風や障子に指のあと冬の夜や遠く聞こゆる咿唔(いご)の声うつり香を軒端の梅にとどめおきて きこゑし妹(いも)はいづちいにけん墓訪へば杉に鳩鳴く暮の秋風そよと墓石へ桐の一葉かなぬかづけば墓から蝶の舞ひあがる墓にそそぐ水やむかしの月の影廃園に月の昔を思ふかな海に入りて生れかはらばや朧月方角も知らぬ海なり春の月破れ窓もうれし梅が香風のまに萩枯れて松虫何を夢むらん秋行くと告ぐるにや鐘遠くよりふるさとの木の蔭おもふ秋の月世の中は蝉の抜殻何を泣く歌に身を枯らす愚かや蝉の殻濁れるも澄めるもともに容るるこそ千尋の海の心なりけれ怒濤岩を噛む我を神かと朧の夜IV古寺や鐘ものいはず桜散る山寺の紙帳開けゆく滝の音雪の村鶏鳴いて明け白し蚊帳の手を一つはづして月見かな盗んだる案山子の笠に雨急なり
著者
中島 淑恵
出版者
富山大学附属図書館

中島淑恵(富山大学人文学部教授)が,これまでの研究成果を踏まえ,Lafcadio Hearn=ラフカディオ・ハーン=小泉八雲に関する様々を語るこれは,当日,会場でICレコーダを用いて収録したMP3形式の音声ファイル
著者
中島 淑恵
出版者
富山大学人文学部
雑誌
富山大学人文学部紀要 (ISSN:03865975)
巻号頁・発行日
no.65, pp.203-219, 2016

ニューオリンズ時代のラフカディオ・ハーンが,フランスの詩人シャルル・ボードレールの影響を強く受けていたことは明白である。とりわけ,ボードレールが晩年に試みた散文詩,すなわち詩的散文という新たな形式は,ハーン独自の表現形式の獲得に大きな影響があったものと考えられる。もちろんこのことは単なる表現形式の問題にとどまらない。『悪の華』よりはむしろ『小散文詩集』で展開される,いわゆるボードレール的夢想が,ジャーナリストとして健筆をふるっていたニューオリンズ時代のハーンの詩的夢想の展開にも大きな影響を与えているものと考えられるからである。このことは,1879年から1884年までの間に『アイテム(Item)』紙や『タイムズ・デモクラット(Times Democrat)』紙に相次いで掲載され,ハーンの死後にハトソンによってまとめられた『気まぐれ草(Fantastics and other Fancies)』に収められたハーンの詩的散文の数々によって明らかになる。これらの詩的散文のどのような点がボードレール的であり,このことが後の,とりわけ来日後のハーンの創作にどのような影響を及ぼしているかについて考察することもまた興味深いものであろうが,小論ではその出発点となった,ハーンによるものと思われるボードレールの4つの散文詩の英訳について精査を行ない,後の論考に資するための基礎固めとしようとするものである。
著者
中島 淑恵
出版者
富山大学附属図書館

テーマ:幽霊の話※引用資料,参考資料については,下方の「関連URI」にリンクがあります。【資料1】===================================Glimpses of Unfamilar Japan: Second Series by Lafcadio HearnChapter Six, By the Japanese SeaNow, as a rule, one sleeps soundly after having drunk plenty of warmsake, especially if the night be cool and the bed very snug. But theguest, having slept but a very little while, was aroused by the sound ofvoices in his room--voices of children, always asking each other thesame questions:--'Ani-San samukaro?' 'Omae samukaro?' The presence ofchildren in his room might annoy the guest, but could not surprise him,for in these Japanese hotels there are no doors, but only paperedsliding screens between room and room. So it seemed to him that somechildren must have wandered into his apartment, by mistake, in the dark.He uttered some gentle rebuke. For a moment only there was silence; thena sweet, thin, plaintive voice queried, close to his ear, 'Ani-Sansamukaro?' (Elder Brother probably is cold?), and another sweet voicemade answer caressingly, 'Omae samukaro?' [Nay, thou probably art cold?]He arose and rekindled the candle in the andon, [6] and looked about theroom. There was no one. The shoji were all closed. He examined thecupboards; they were empty. Wondering, he lay down again, leaving thelight still burning; and immediately the voices spoke again,complainingly, close to his pillow:'Ani-San samukaro?''Omae samukaro?'Then, for the first time, he felt a chill creep over him, which was notthe chill of the night. Again and again he heard, and each time hebecame more afraid. For he knew that the voices were in the futon! Itwas the covering of the bed that cried out thus.He gathered hurriedly together the few articles belonging to him, and,descending the stairs, aroused the landlord and told what had passed.Then the host, much angered, made reply: 'That to make pleased thehonourable guest everything has been done, the truth is; but thehonourable guest too much august sake having drank, bad dreams hasseen.' Nevertheless the guest insisted upon paying at once that which heowed, and seeking lodging elsewhere.Next evening there came another guest who asked for a room for thenight. At a late hour the landlord was aroused by his lodger with thesame story. And this lodger, strange to say, had not taken any sake.Suspecting some envious plot to ruin his business, the landlord answeredpassionately: 'Thee to please all things honourably have been done:nevertheless, ill-omened and vexatious words thou utterest. And that myinn my means-of-livelihood is--that also thou knowest. Wherefore thatsuch things be spoken, right-there-is-none!' Then the guest, gettinginto a passion, loudly said things much more evil; and the two parted inhot anger.But after the guest was gone, the landlord, thinking all this verystrange, ascended to the empty room to examine the futon. And whilethere, he heard the voices, and he discovered that the guests had saidonly the truth. It was one covering--only one--which cried out. The restwere silent. He took the covering into his own room, and for theremainder of the night lay down beneath it. And the voices continueduntil the hour of dawn: 'Ani-San samukaro?' 'Omae samukaro?' So that hecould not sleep.But at break of day he rose up and went out to find the owner of thefuruteya at which the futon had been purchased. The dlealer knewnothing. He had bought the futon from a smaller shop, and the keeper ofthat shop had purchased it from a still poorer dealer dwelling in thefarthest suburb of the city. And the innkeeper went from one to theother, asking questions.Then at last it was found that the futon had belonged to a poor family,and had been bought from the landlord of a little house in which thefamily had lived, in the neighbourhood of the town. And the story of thefuton was this:--The rent of the little house was only sixty sen a month, but even thiswas a great deal for the poor folks to pay. The father could earn onlytwo or three yen a month, and the mother was ill and could not work; andthere were two children--a boy of six years and a boy of eight. And theywere strangers in Tottori.One winter's day the father sickened; and after a week of suffering hedied, and was buried. Then the long-sick mother followed him, and thechildren were left alone. They knew no one whom they could ask for aid;and in order to live they began to sell what there was to sell.That was not much: the clothes of the dead father and mother, and mostof their own; some quilts of cotton, and a few poor household utensils--hibachi, bowls, cups, and other trifles. Every day they sold something,until there was nothing left but one futon. And a day came when they hadnothing to eat; and the rent was not paid.The terrible Dai-kan had arrived, the season of greatest cold; and thesnow had drifted too high that day for them to wander far from thelittle house. So they could only lie down under their one futon, andshiver together, and compassionate each other in their own childish way--'Ani-San, samukaro?' 'Omae samukaro?'They had no fire, nor anything with which to make fire; and the darknesscame; and the icy wind screamed into the little house.They were afraid of the wind, but they were more afraid of the house-owner, who roused them roughly to demand his rent. He was a hard man,with an evil face. And finding there was none to pay him, he turned thechildren into the snow, and took their one futon away from them, andlocked up the house.They had but one thin blue kimono each, for all their other clothes hadbeen sold to buy food; and they had nowhere to go. There was a temple ofKwannon not far away, but the snow was too high for them to reach it. Sowhen the landlord was gone, they crept back behind the house. There thedrowsiness of cold fell upon them, and they slept, embracing each otherto keep warm. And while they slept, the gods covered them with a newfuton--ghostly-white and very beautiful. And they did not feel cold anymore. For many days they slept there; then somebody found them, and abed was made for them in the hakaba of the Temple of Kwannon-of-the-Thousand-Arms.And the innkeeper, having heard these things, gave the futon to thepriests of the temple, and caused the kyo to be recited for the littlesouls. And the futon ceased thereafter to speak.【資料2】===================================Glimpses of Unfamilar Japan: First Series by Lafcadio HearnChapter Nine, In the Cave of the Children's Ghosts, Sec. 6From the caves of the Kami we retrace our course for about a quarter ofa mile; then make directly for an immense perpendicular wrinkle in thelong line of black cliffs. Immediately before it a huge dark rock towersfrom the sea, whipped by the foam of breaking swells. Rounding it, weglide behind it into still water and shadow, the shadow of a monstrouscleft in the precipice of the coast. And suddenly, at an unsuspectedangle, the mouth of another cavern yawns before us; and in anothermoment our boat touches its threshold of stone with a little shock thatsends a long sonorous echo, like the sound of a temple drum, boomingthrough all the abysmal place. A single glance tells me whither we havecome. Far within the dusk I see the face of a Jizo, smiling in palestone, and before him, and all about him, a weird congregation of greyshapes without shape--a host of fantasticalities that strangely suggestthe wreck of a cemetery. From the sea the ribbed floor of the cavernslopes high through deepening shadows back to the black mouth ofa farther grotto; and all that slope is covered with hundreds andthousands of forms like shattered haka. But as the eyes grow accustomedto the gloaming it becomes manifest that these were never haka; theyare only little towers of stone and pebbles deftly piled up by long andpatient labour.'Shinda kodomo no shigoto,' my kurumaya murmurs with a compassionatesmile; 'all this is the work of the dead children.'And we disembark. By counsel, I take off my shoes and put on a pairof zori, or straw sandals provided for me, as the rock is extremelyslippery. The others land barefoot. But how to proceed soon becomes apuzzle: the countless stone-piles stand so close together that no spacefor the foot seems to be left between them.'Mada michiga arimasu!' the boatwoman announces, leading the way. Thereis a path.Following after her, we squeeze ourselves between the wall of the cavernon the right and some large rocks, and discover a very, very narrowpassage left open between the stone-towers. But we are warned to becareful for the sake of the little ghosts: if any of their work beoverturned, they will cry. So we move very cautiously and slowly acrossthe cave to a space bare of stone-heaps, where the rocky floor iscovered with a thin layer of sand, detritus of a crumbling ledge aboveit. And in that sand I see light prints of little feet, children's feet,tiny naked feet, only three or four inches long--the footprints of theinfant ghosts.Had we come earlier, the boatwoman says, we should have seen many more.For 'tis at night, when the soil of the cavern is moist with dews anddrippings from the roof, that They leave Their footprints upon it; butwhen the heat of the day comes, and the sand and the rocks dry up, theprints of the little feet vanish away.There are only three footprints visible, but these are singularlydistinct. One points toward the wall of the cavern; the others towardthe sea. Here and there, upon ledges or projections of the rock, allabout the cavern, tiny straw sandals--children's zori--are lying:offerings of pilgrims to the little ones, that their feet may not bewounded by the stones. But all the ghostly footprints are prints ofnaked feet.Then we advance, picking our way very, very carefully between thestone-towers, toward the mouth of the inner grotto, and reach the statueof Jizo before it. A seated Jizo carven in granite, holding in one handthe mystic jewel by virtue of which all wishes may be fulfilled; in theother his shakujo, or pilgrim's staff. Before him (strange condescensionof Shinto faith!) a little torii has been erected, and a pair of gohei!Evidently this gentle divinity has no enemies; at the feet of the loverof children's ghosts, both creeds unite in tender homage.I said feet. But this subterranean Jizo has only one foot. The carvenlotus on which he reposes has been fractured and broken: two greatpetals are missing; and the right foot, which must have rested upon oneof them, has been knocked off at the ankle. This, I learn upon inquiry,has been done by the waves. In times of great storm the billows rushinto the cavern like raging Oni, and sweep all the little stone towersinto shingle as they come, and dash the statues against the rocks.But always during the first still night after the tempest the work isreconstructed as before!Hotoke ga shimpai shite: naki-naki tsumi naoshi-masu.' They makemourning, the hotoke; weeping, they pile up the stones again, theyrebuild their towers of prayer.All about the black mouth of the inner grotto the bone-coloured rockbears some resemblance to a vast pair of yawning jaws. Downward fromthis sinister portal the cavern-floor slopes into a deeper and darkeraperture. And within it, as one's eyes become accustomed to the gloom, astill larger vision of stone towers is disclosed; and beyond them, in anook of the grotto, three other statues of Jizo smile, each one witha torii before it. Here I have the misfortune to upset first onestone-pile and then another, while trying to proceed. My kurumaya,almost simultaneously, ruins a third. To atone therefore, we must buildsix new towers, or double the number of those which we have cast down.And while we are thus busied, the boatwoman tells of two fishermen whoremained in the cavern through all one night, and heard the hummingof the viewless gathering, and sounds of speech, like the speech ofchildren murmuring in multitude.Only at night do the shadowy children come to build their littlestone-heaps at the feet of Jizo; and it is said that every night thestones are changed. When I ask why they do not work by day, when thereis none to see them, I am answered: 'O-Hi-San [2] might see them; thedead exceedingly fear the Lady-Sun.'To the question, 'Why do they come from the sea?' I can get nosatisfactory answer. But doubtless in the quaint imagination of thispeople, as also in that of many another, there lingers still theprimitive idea of some communication, mysterious and awful, between theworld of waters and the world of the dead. It is always over the sea,after the Feast of Souls, that the spirits pass murmuring back to theirdim realm, in those elfish little ships of straw which are launched forthem upon the sixteenth day of the seventh moon. Even when these arelaunched upon rivers, or when floating lanterns are set adrift uponlakes or canals to light the ghosts upon their way, or when a motherbereaved drops into some running stream one hundred little prints ofJizo for the sake of her lost darling, the vague idea behind the piousact is that all waters flow to the sea and the sea itself unto the'Nether-distant Land.'Some time, somewhere, this day will come back to me at night, withits visions and sounds: the dusky cavern, and its grey hosts of stoneclimbing back into darkness, and the faint prints of little naked feet,and the weirdly smiling images, and the broken syllables of the watersinward-borne, multiplied by husky echoings, blending into one vastghostly whispering, like the humming of the Sai-no-Kawara.And over the black-blue bay we glide to the rocky beach of Kaka-ura.【資料3-1】===================================On Poetry(帝国大学の講義録), pp. 124-128CHAPTER VIIIEPIGRAMMATIC POEMSTHE lecture last given in this class was of necessity a littleheavy. By way of change, I propose this term to give afew shorter and lighter lectures-the first of which will beupon the subject of epigrammatic poetry with especial referenceto correspondencies in English and Japanese poetry.Let us first take the word " epigrammatic " and consider itshistory. I need scarcely tell you that the word is Greek inorigin and signifies a " writing upon " - a surface especially.An epigram originally was a combination intended to be-inscribed upon a surface : -the original meaning was thereforean inscription. And the original inscription, in veryancient times w as probably of a funeral kind : we m ay supposethat the first compositions of the sort were inscriptionsupon tombstones- epitaphs.Any inscription intended for the surface of a monument,unless the monument should happen to be a very large one,would have to be of small size. It would be necessary tosay as much as possible in a very few words. Accordinglya great deal of art, literary art, would be required for effective work of this kind. The art of saying great things invery few words is the art of high poetry.Now we find that this was just how the old Greeksunderstood and practised the art of short poems intendedfor inscription upon tombstones or monuments or marblealtars of their gods. It was required for such work that thewriter should be able to bestir an emotion very deeply, or toutter a thought very profoundly, or to make a religiouspetition very beautifully,-all in the space of a few lines.Afterwards this art of short poetry was applied to a much124larger variety of subjects ; but it was still called by the ancientname. After the Greeks, the Romans took up this art, andwrote thousands of epigrams. But they never did quite sowell as t he Greeks ; and the most precious poetry of thiskind in the Western world still are the thousands of epigramsforming the bulk of what is called " The Greek Anthology "consistingof epitaphs, votive inscriptions (for altars andofferings to the gods), inscriptions for presents made tofriends, poems written in time of joy and sorrow, love poems,inscriptions probably used for the decoration of apartmentsor guest-chambers (much as Chinese texts are used in Japan),and a vast number of tiny gems of verse on a variety ofsubjects, ranging from jest to philosophy.From the list of subjects just given, you may be remindedof subjects to which the shorter forms of Japanese poetryare commonly devoted ; and the suggestion is worth remembering.In order to do full justice to Japanese poetry,-.in order to understand its real worth and rank in the rangeof world literature,- it is very much to be hoped that somebodywill sooner or later attempt a proper comparison ofJapanese and Greek verse. I do not think that Greek scholarshipis at all necessary for such an undertaking-though itwould be useful. " The Greek Anthology " has been veryextensively and very carefully translated into every Europeanlanguage of importance. Japanese scholars should be carefulto read not the metrical ones. Probably the German workis the best ; but there are very beautiful French studies andEnglish studies also on the subject.So much for the meaning of epigram. Epigrammaticpoetry, you see, is an ancient rather than a modern art ; andepigrammatic poetry of English literature, which is scanty,is not very old. But there is quite enough of it for our presentpurpose. Let us now speak about those forms of Japaneseverse which might be compared with the various formsof epigrammatic poetry in Western literature.You have the form called tanka, consisting of thirty-onesyllables, -suitable for serious subjects ; -you have the haikai,126 consisting of seventeen syllables-suitable to an immense varietyof subjects : -you have the dodoitsu, consisting of twenty-sixsyllables and usually devoted to love subjects. All these formsmay justly be called epigrammatic poetry ; and parallels forthem can be found in English literature, as well as in Greek.Remember that we need not trouble ourselves while makingthis comparison about the mere matter of form in detail.Whether the verse be measured, as in Greek, by quantity,or as in English, by accents, the form need not concern usat all except in regard to brevity. We may dismiss it as amere fashion of language from present consideration. Butthe spirit of the short poetry- the intellectual and emotionalrequirements of it-those we must consider, and we shallfind that they are the same, or nearly the same, in the Eastas well as in the West. You, much better than I, know therules about the sentiment to be expressed in the three formsof Japanese poetry which are really epigrammatic. I neednot therefore attempt to say much about them. But we shallfind that in English epigrammatic poetry, as in Japanese, itis the rule that the little verse should express or suggest asingle emotion or idea in a powerful or clever way. However,as I said before, Greek verse offers better material forcomparison. As ・ this is only a class of English literature,nevertheless, an attempt to lecture on Greek epigrams wouldbe quite out of place, and I shall make one comparison byway of illustration. The subj ect is an epitaph, composedprobably about 2500 years ・ago for the grave of a little boycalled Diodorus (Zonas of Sardis) : -" Do thou, who rawest the boat of the dead in the waterof this lake, full of reeds, for Hades, having a painful task,stretch out, dark Charon, thy hand to the son of Cinyras,as he mounts on the ladder by the gang-way, and receivehim. For his sandals will cause the lad to slip about ; andhe fears to put his feet naked on the sand of the shore. "There could not have been any relation between theGreek fancy of the time of that inscription, and the Japanesefancy of the eighth century. But some time between the years127700 and 750 the Japanese poet, Okura, made a verse aboutthe death of his little son Furuhi which is strangely like theGreek epigram. The form is tanka, and I suppose you allknow the original text, * which I have tried to render asfollows :-" So young he is that he cannot know the way. To themessenger of the Underworld I will give a bribe, and entreathim , saying : - ' Do thou kindly take the little one upon thyback along the road."This is the beautiful serious form of an epigram ; andmodern Western epigrams are best when they are serious.Considering these verses I shall begin a series of quotations,and those of you who love poetry will probably be able tofind in old Japanese poetry the parallel for every citation Iam able to offer.【資料3-2】===================================『万葉集』男子名は古日(ふるひ)を恋ふる歌三首 長一首、短二首 世の人の 貴み願ふ 七種(くさ)の 宝も吾は 何せむに 願ひ欲(ほり)せむ 我が中の 生れ出でたる 白玉の 我が子古日は 明星(あかぼし)の 明くる朝(あした)は 敷細(しきたへ)の 床の辺去らず 立てれども 居れども共に 掻き撫でて 言問ひ戯(たは)れ 夕星(ゆふづつ)の 夕べになれば いざ寝よと 手を携はり 父母も うへはな離(さか)り 三枝(さきくさ)の 中にを寝むと 愛(うるは)しく しが語らへば いつしかも 人と成り出でて 悪しけくも 吉けくも見むと 大船の 思ひ頼むに 思はぬに 横様(よこしま)風の にはかにも 覆ひ来たれば 為むすべの たどきを知らに 白妙の たすきを掛け 真澄鏡 手に取り持ちて 天つ神 仰(あふ)ぎ祈(こ)ひ祷(の)み 国つ神 伏して額づき かからずも かかりもよしゑ 天地の 神のまにまと 立ちあざり 我が祈ひ祷めど しましくも 吉けくはなしに 漸々(やうやう)に かたちつくほり 朝な朝(さ)な 言ふことやみ 玉きはる 命絶えぬれ 立ち躍り 足すり叫び 伏し仰ぎ 胸打ち嘆き 手に持たる 吾(あ)が子飛ばしつ 世間の道(904)反歌 若ければ道行き知らじ賄(まひ)はせむ下方(したへ)の使負ひて通らせ(905) 布施置きて吾は祈ひ祷む欺かず直(ただ)に率(ゐ)行きて天道知らしめ(906)【資料3-3】===================================ヘルン文庫:書架番号[933]Chamberlain, Basil Hall.The classical poetry of the Japanese / [B. H. Chamberlain] - London: Trübner, 1880. - xii,227 p.; 22 cm. - (Trübner's Oriental series)
著者
中島 淑恵
出版者
富山大学附属図書館

テーマ:今年度へるんトークのまとめ:ハーン作品における女性の諸相※引用資料,参考資料については,下方の「関連URI」にリンクがあります。0.はじめに・第31回翁久允賞受賞1.2018年度 へるんトーク総括・第1回 2018年4月25日(水) 日本の第一印象:未知の感動を伝えること・第2回 2018年5月30日(水) 黒い髪の女:ファム・ファタルかファム・イデアルか?・第3回 2018年6月27日(水) 南の島の記憶:『チタ』を読む・第4回 2018年7月25日(水) 美しきクレオール:『ユーマ』を読む・第5回 2018年10月24日(水) 夫婦の契りの物語:約束を守るか守らないか・第6回 2018年11月28日(水) 死せる美女の物語:幽霊妻の源流2.『死んだ恋人 (A Dead Love)』と『死後の恋 (L'Amour après la Mort』を読む:夏目漱石『夢十夜』より「第1夜」と比較して・1908年(明治41年)7月25日から8月5日まで『朝日新聞』に連載・(1867年2月9日(慶応3年1月5日)~1916年12月9日)・『吾輩は猫である』(1905年)・『坊っちゃん』(1906年)・『草枕』(1906年)・『三四郎』(1908年)・1907年(明治40年)2月一切の教職を辞し,朝日新聞社に入社3.2019年度のへるんトーク(予定)いずれも13時00分から14時30分・第1回 2019年5月29日(水)・第2回 2019年6月26日(水)・第3回 2019年7月31日(水)・第4回 2019年10月30日(水)・第5回 2019年11月27日(水)・第6回 2019年12月18日(水)・第7回 2020年2月26日(水)
著者
中島 淑恵
出版者
富山大学人文学部
雑誌
富山大学人文学部紀要 (ISSN:03865975)
巻号頁・発行日
vol.67, pp.153-167, 2017-08-21

ラフカディオ・ハーンが日本に興味を抱いたのは,1884年にニューオリンズで開催された万国博覧会で日本の様々な文物に触れ,また農商務省の服部一三と出会ってそれらの文物の説明を受けことがきっかけであると一般に言われている。しかし,ニューオリンズ時代のハーンは,それよりも1年も前に発表されたコラム「日本の詩瞥見(A Peep at Japanese poetry))において,「日本の詩」すなわち和歌についての並々ならぬ知見を披露している。この時期のハーンは確かに,のちにモーデルによって取りまとめられた『東西文学評論(Essays in European and Oriental Literature)』の目次を見ればわかるように,世界各地の民話や伝承に興味を抱いていたのであって,日本をとりわけ特別な国と認識していたとは言い難いかも知れない。実際,『東西文学評論』にまとめられたアジアに関するコラムは,仏教の紹介からインドの女流による詩,中国人の信仰と並んでこの「日本の詩瞥見」が収められているのであって,アジアをざっと俯瞰したような布置になっているのは確かである。しかし,ヘルン文庫に収められた,このコラムを執筆する種本になったと思われるレオン・ド・ロニーの『日本詞華集(Anthologie japonaise)』を精査すると,おそらくこのコラムの発表された1883年頃に,ハーンの中で日本という国が,アジア諸国の「ワン・オブ・ゼム」から,何か特別な位置を占める唯一の国に変貌を遂げたのではないかと思われる点が見受けられる。すなわち,実際の日本や日本人と対峙する前に,ハーンは書物によってすでに「日本」なるものに深い関心を寄せていたのではないかということが十分に推察されるのである。またモーデルは,1923年に『東西文学評論』を編纂するにあたって,グールドがその著作の中でリストに挙げなかった1882年から1884年までの『タイムズ・デモクラット』紙に収められた無署名のコラムをハーンのものとして収録しており,「日本の詩瞥見」もその一つである。これら無署名のコラムをどのようにしてハーンの筆になるものと同定できるのかについて,実は客観的な根拠はないに等しい。またモーデルは序文の中で,「グールドの著作にないタイトルで私が選んだコラムは,ハーンによるものであることに些かの疑いの痕跡もないものである(The editorials I chose, whose titles do not appear in Gould's book are those of which there is not the least vestige of doubt that they are Hearn's)」と述べているが,その理由は「同紙の他の誰も,東洋の事柄についてこれほど親しんだ者はいないし,フランスのロマン派に熱情を抱く者もいなかった(No one else on the paper was as familiar with Oriental topics or had such a passion for the French romantics)」というものであり,これに続く例示はロチなどフランスの作家についてのもので,「日本」を題材にした「日本の詩瞥見」が,なぜ「疑いの余地なく」ハーンの筆になるものと同定できるのかについては何も述べていない。しかし,ヘルン文庫に収められたロニーの『日本詞華集』の精査によって,やはりこのコラムがハーンの筆になるものとある程度確定できる根拠となるものが見つかったようにも思われるのである。以下小論は,このような見地からロニーの『日本詞華集』を中心に,1883年頃のハーンの日本に関する関心のありようを観察することによって,「日本の詩瞥見」をその後のハーンの日本関連の著作との関連から読み直そうとするものであり,この無署名のコラムがハーンの筆になるものと確定し得る根拠の一端を示そうとするものでもある。
著者
中島 淑恵
出版者
富山大学人文学部
雑誌
富山大学人文学部紀要 (ISSN:03865975)
巻号頁・発行日
vol.66, pp.175-189, 2017-02-20

富山大学附属図書館所蔵のラフカディオ・ハーン(小泉八雲)旧蔵書(ヘルン文庫)には,2種類の『ギリシア詞華集』が収蔵されている。そのうち1種類は英語版で,書架番号[302]The Greek anthology : as selected for the use of Westminster, Eton and other Public schools / literally translated into English prose, chiefly by George Burges, to witch are added Metrical Versions by Bland, Merivale, and others, and an index of reference to the originals, London, G. Bell, 1893.であり, もう1種類はフランス語版で2巻本の,書架番号[1641]と[1642]Anthologie Grecque, Tome I-II,traduite sur le texte publié d’après le manuscrit palatin par Fr. Jacobs, avec des notices biograophiques et littéraires sur les poëtes de l’anthologie, Paris, Hachette, 1863. であり,いずれもハーンが来日後に購入したものと思われる。いずれの『ギリシア詞華集』にもハーンによる鉛筆の書き込みが随所に見られるが,本稿はそのうちフランス語訳の2巻本について調査を行った結果を記すものである。