著者

兪 三善

出版者

実践女子大学

雑誌

實踐國文學 = Journal of Jissen Japanese Language and Literature (ISSN:03899756)

巻号頁・発行日

no.96, pp.(24)-(46), 2019-10-15

著者

兪 三善

出版者

国文学研究資料館

雑誌

国際日本文学研究集会会議録 = PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)

巻号頁・発行日

no.19, pp.111-124, 1996-10-01

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The purpose of this paper is to investigate words of mimicry and sound effects which appear in the joruri drama of Chikamatsu and the pansori plays of the Korean dramatist Shinzehyo, with particular attention to the characteristics of words which express "crying." Here is a summary of the results of my investigations. Firstly, it is clear that words reproducing emotion occur far more frequently in joruri than in pansori. The fixed facial expressions of joruri puppets mean that free expression of psychological shifts is impossible, and consequently this has to be expressed to the audience directly through words. Another reason is that the chief interest of the sewamono plays lies in the depiction of the characters' psychological changes, rather than the details of the background incidents. As a result. joruri requires a more emotionally descriptive language. By contrast, the scarcity of such languag in pansori can be attributed to the following three points: a) pansori is an art form which expresses by music a narrative poem. The author's personal feelings or thoughts are never expressed. Individual expression is denied, and in its place these epic poems aspire to a manner of thought that will be universally understood. b) emphasis is on depiction of the progression of events within the narrative rather than personal characterisation, so pansori lacks emotional or passionate language c) emotional swings are often indicated by varying the jandan (rhythm). These three factors reduce the necessity for emotional or passionate language. Secondly, I examined how often phrases depicting lamentation or crying in both materials, and whether the frequency of crying varied. I found that crying (including the crying voice itself) is by far the most important, presumably because the central aim of the dramatic works of both countries is naturally to express "yû" (grief). In addition, most of the characters are lower-class citizens, peasants, oppressed people, much given to lamentation and crying. Furthermore, the frequency of the use of words reproducing lamentation was lower in joruri than in pansori. The scarcity of such words in joruri can be attributed to the seriousness of tragedy. The author has tried to express emotion by using various kinds of words, together with words of mimicry and sound effects. Pansori on the other hand, is tragic. The emotion of crying could even be expressed by words of mimicry and sound effects without the help of other expressions.Thirdly, I compared the expressions of crying, and found that, in joruri, these are generally limited to sudden cries of "watto!", whereas in pansori the commonest phrase is "ægoægo" which simulates sustained crying. Both employ sudden, loud shouts to express crying, but this suddenness and timing is rather different. "Watto" normally expresses grief when a sudden misfortune befalls the speaker or the speaker's family. "ægoægo" expresses grief when the speaker suffers continual misfortune, so to speak, a fatal one.

著者

兪 三善

雑誌

人文

巻号頁・発行日

no.16, pp.163-181, 2018-03

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アーネスト・サトウの『会話篇』(1873)には感動詞が多く出現している。これらの感動詞は幕末(1862 年)に来日したアーネスト・サトウが見聞きして採集した幕末明治初期の江戸語・東京語と考えられる。本稿では『日本国語大辞典 第二版』での用例と比較をして、『会話篇』の感動詞の重要性を検証した。『会話篇』には、①室町時代の謡曲や狂言にあらわれている感動詞も少なからず収録されていること、②上方の作品に使われている感動詞も受け継がれていること、③特に滑稽本と人情本にあらわれている感動詞が多数収録されていること、④明治期の言文一致体を用いる作家の作品の感動詞と一致するものが多いこと、などが確認できた。『会話篇』の感動詞は明治期の早い用例であり、明治以前の口語が現代の口語へとつながっていく様を知ることができる貴重な記録であった。Interjections appearing in Kuaiwa Hen (Conversation) are thought to have been aspects of the language of Edo/Tokyo from the late Tokugawa and the early Meiji periods that were heard and collected by Ernest Satow, who visited Japan at the end of the Tokugawa period (1862). The significance of these interjections, in terms of the Japanese language and their etymological history, has been commented on in the Nihon Kokugo Daijiten 2nded. as: It is also worth noting that the interjections in Kuaiwa Hen 1. include interjections from joruri (ballad dramas), including Yōkyoku (Noh songs) and Kyogen (comedies) from the Muromachi period, as well as from kokkeibon (comic novels) and ninjobon (love stories); and 2. include many examples that match interjections in works by Meiji period authors who wrote in colloquial style. The interjections in Kuaiwa Hen are examples from the early Meiji period, and they are the valuable records by which we can recognize the way the spoken language prior to the Meiji period was connected to the modern spoken language.