著者

安國 宏紀

出版者

書学書道史学会

雑誌

書学書道史研究 (ISSN:18832784)

巻号頁・発行日

vol.2009, no.19, pp.53-62, 2009 (Released:2012-02-29)

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The Naniwazu 難波津 poem is known for the fact that it is associated with calligraphy practice in the kana 仮名 preface to the Kokinshu 古今集. But it is difficult to imagine that it was perceived as a poem for the practice of calligraphy from the time when it first began to be recited by people in ancient times. One needs to posit a process of reception, such that a poem which was originally unrelated to calligraphy practice was gradually associated with new functions as it gained acceptance, and then at a certain stage came to be understood in connection with the function of calligraphy practice. This article presents from such a viewpoint an overview of the reception and dissemination of the Naniwazu poem from ancient times to the Kokinshu.  In Section 1, I first ascertain the fact that, judging from the repetition to be seen in its wording, the Naniwazu poem may be considered to have originally been a song from the district of Naniwa 難波. I also point out, again on the basis of its wording, that, by associating it with a ruler, it had the makings of a poem extolling his prosperity. Further, in view of the fact that "Naniwa" is used in connection with the emperor Kotoku 孝徳 and that importance was attached to Naniwa Palace and Naniwazu as centres of the reformist government centred on the emperor, I point out that the first ruler associated with the Naniwazu poem would have been Kotoku, and I suggest that the history of the reception of the Naniwazu poem began with its acceptance as a folk song, and during the reign of Kotoku it changed into a poem glorifying the emperor.  In Section 2, I take up for consideration the attitude of obstructiveness towards Kotoku that is quite pronounced in the Man'yoshu 万葉集, and I argue that there is a strong possibility that from the late seventh century to the eighth century the Naniwazu poem was dissociated from Kotoku and came to be accepted by people in general. This dissociation of the Naniwazu poem from Kotoku may have added a degree of freedom to the poem's acceptance, resulting in the phenomenon of the multilinear coexistence of the Naniwazu poem with diverse functions, including calligraphy practice and wooden slips (mokkan 木簡) inscribed with poems, as can be seen in unearthed materials. I surmise that this multipurpose character of the Naniwazu poem is linked to the large quantity of unearthed materials from this period related to the Naniwazu poem.  In Section 3, dealing with the references to the Naniwazu poem in the Kokinshu, its first recorded instantiation, I discuss as separate, independent materials relating to the reception of the Naniwazu poem the kana preface, which identifies it as a poem presented to the emperor Nintoku仁徳, the Chinese preface, which identifies it simply as a poem presented to an unnamed emperor, and an interpolated note, which views it as a poem that was composed by Wani 王仁 and presented to Nintoku. I conclude that the references to the Naniwazu poem in the Kokinshu have a multistratified structure in which there was superimposed on the Naniwazu poem's foundations of a poem extolling a ruler a connection with Nintoku by Ki no Tsurayuki 紀貫之, who was seeking to describe in the kana preface the ideals of waka 和歌 poetry, and a connection with Wani was further imposed by the interpolated note, which was based on the kana preface. In this article, I ascertain the character of the Naniwazu poem, which began as a song of the Naniwa district and, on the basis of its underlying potential to be associated with a ruler, developed in a multistratified manner as it formed connections with rulers such as the emperors Kotoku and Nintoku. At the same time, with regard to its functions, I show that the Naniwazu poem existed in a multilinear fashion, possessing a variety of functions that were not limited to the practice of calligraphy.

著者

安國 宏紀

出版者

東洋大学日本文学文化学会

雑誌

日本文学文化 = Japanese Literature and Culture (ISSN:13468723)

巻号頁・発行日

no.7, pp.14-23, 2007