著者

奥 浩昭

出版者

電気通信大学

雑誌

電気通信大学紀要 (ISSN:09150935)

巻号頁・発行日

vol.31, no.1, pp.48-60, 2019-02-01

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This article aims to demonstrate three significances of tanka poems by HONGO Sumie (1934~), who has lived for sixty years in Nishijin, Kyoto: the significance of her poems in depicting the glory and decline of Nishijin fabric industry and the ever-inspiring historic places of and figures in Kyoto; the beauty and artistry of her poems in exploiting a variety of rhetorical expressions; the possibility of making ordinary Japanese people realize the beauty and richness of the Japanese language. Among her conspicuous rhetorical expressions is the use of onomatopoeia like saya-saya, light and rhythmic sounds of a bamboo or a small waterfall, describing a Nishijin fabric machine and a small waterfall in a well-known garden in Kyoto. Another is the frequent use of hikari or light, referring to encouraging aspects of the world around her. In a tanka poem her late husband is associated with light (hikari) and a shield (tate). Not well-known to the tanka-related people, the poet deserves, the author believes, to be accepted as a distinguished Nishijin- and Kyoto- related poet. (Kyoto and Nishijin need a poet who gives literary description of its glorious culture and history.) Her use of uta-kotoba or words frequently used in tanka poems like modasu or 'to remain silent' might enable ordinary Japanese people to be impressed with not-daily-used beautiful Japanese expressions, thereby being more interested in their native language.

著者

奥 浩昭

出版者

電気通信大学

雑誌

電気通信大学紀要 (ISSN:09150935)

巻号頁・発行日

vol.32, no.1, pp.34-46, 2020-02-01

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This article aims to help tanka-making beginners learn rhetorical expressions from tanka poems by KASHIWAZAKI Gyoji (1941-2016) and HONGO Sumie (1934-). The two poets learned the art of tanka from one of the major contemporary tanka poets: MIYA Shuji (1912-1986). The fact implies that the two poets learned from Miya some skills of making tanka. The characteristics of rhetorical expressions by the two poets are summarized as follows. The tanka poems by Kashiwazaki generally use plain expressions: they are mostly composed of plain vocabulary both in kango words, words made of Chinese characters and read in Chinese way, and wago words, original Japanese words. For example "地面" (jimen or ground) and "ちかづく" (chikazuku or coming nearer). Kashiwazaki avoids expressions not used in daily lives such as a compressed or shortened expression; for example 落ち実 (ochimi) or fallen fruit. Instead, he uses a natural phrase of 落ちた実 (ochita mi). Contrastively, Hongo makes use of strongly sounding kango such as 精魂 (seikon), meaning a steadfast will to realize something. She might have learned the use of this type of kango from Miya. Hongo also uses utakotoba, a word dominantly used in tanka, not in everyday life, such as kirigishi or a sharply cut cliff, and compressed or shortened expressions such as 熟実 (uremi) or ripe fruit. ("Uremi", when heard, is difficult to understand, and should be "ureta mi" in daily communication.) The article suggests that shortened expressions by Hongo come from those by Miya. Learning the rhetorical expressions by the two poets, tanka beginners are expected to pursue useful rhetorical expressions for the tanka they would like to create.

著者

奥 浩昭

出版者

電気通信大学

雑誌

電気通信大学紀要 (ISSN:09150935)

巻号頁・発行日

vol.31, no.1, pp.48-60, 2019-02-01

---

This article aims to demonstrate three significances of tanka poems by HONGO Sumie (1934~), who has lived for sixty years in Nishijin, Kyoto: the significance of her poems in depicting the glory and decline of Nishijin fabric industry and the ever-inspiring historic places of and figures in Kyoto; the beauty and artistry of her poems in exploiting a variety of rhetorical expressions; the possibility of making ordinary Japanese people realize the beauty and richness of the Japanese language. Among her conspicuous rhetorical expressions is the use of onomatopoeia like saya-saya, light and rhythmic sounds of a bamboo or a small waterfall, describing a Nishijin fabric machine and a small waterfall in a well-known garden in Kyoto. Another is the frequent use of hikari or light, referring to encouraging aspects of the world around her. In a tanka poem her late husband is associated with light (hikari) and a shield (tate). Not well-known to the tanka-related people, the poet deserves, the author believes, to be accepted as a distinguished Nishijin- and Kyoto- related poet. (Kyoto and Nishijin need a poet who gives literary description of its glorious culture and history.) Her use of uta-kotoba or words frequently used in tanka poems like modasu or ‘to remain silent’ might enable ordinary Japanese people to be impressed with not-daily-used beautiful Japanese expressions, thereby being more interested in their native language.