著者

小林 保治

出版者

日本文学協会

雑誌

日本文学 (ISSN:03869903)

巻号頁・発行日

vol.20, no.2, pp.49-58, 1971-02-01

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A number of No dramas fall into the category of Shuramono, No of fighting scene, and most of them, if not all, are based on some stories from Heikemonogatari. All the major Shuramono pieces are now recognized as the works of No dramatist Zeami's authorship. Among them is one called Tsunemasa with Tairano Tsunemasa as its Shite or a hero, to which special attention must be paid as it is a one-act (single-type) No, while other Shuramono usually consists of two acts (double-type). Normal two-act type Shuramono shows in its second act a scene adapted from Heikemonogaiari, in which a hero dies on the battlefield. This death scene is necessitated by the author's dramaturgical intention to present an tormenting scene of a hero just about to depart this world by way of a symbolical spectacle of fight fought eternally between a hero soldier who is driven mad by wrath and therefore doomed to be defeated and Taishakuten, a guardian diety of Buddhism, in Shurado (one of Hades in Buddhism) where every soldier who has bleached his bones on the bettleground must go after his death. In the description of a hero's last momet in the later act of double-type Shuramono, the author usually goes into minute detail. However, it is not the same with one-act Tsunemasa with only a few lines depicting his end. It is that Zeami wrote it in quite a different way from two-act plays - Zeami, making effective use of those phrases in the Sutras which describe the agony of everlasting toward the end of that drama, makes armed Tsunemasa suffer from the same agony as expressed in the Sutras with the result that there are double images overlapping each other on the stage : one image of Tsunemasa on the brink of death on this side of Heaven and the other of agony-ridden Tsunemasa in the nether regions, who can never escape from eternal fighting. One night, a Buddhist mass is held for the repose of Tsunemasa at Nimnaji Temple where he once served as a page. Tsunemasa's spirit is lead to the mass attracted by the melody of the biwa as he himself was very good at playing the instrument. Tsunemasa's ghost joins the players and enjoys himself for a while. In the course of merriment, his excitement goes beyond his control until at last he comes to betray the violent anger from which no one fallen into Shurado is free. Carried away by wrath, the ghost starts a fierce battle. During the battle he suffers from scorching hell are, which overlaps the burning light at the memorial service. In this scene, the burning light is of much importance as it is supposed to illuminate Tusnemasa's face twisted with agony. When Tsunemasa finally becomes aware that his unsightly figure as a ghost from the hell of Shurado is watched by all the people present at the service, he hurries back to Shurado blowing out the light. It is also to be noticed that there are scattered all over the text of Tsunemasa many verses cited from Wakanroeishu.

著者

田中 隆昭 陣野 英則 新川 登亀男 小林 保治 吉原 浩人 高松 寿夫 蔵中 しのぶ 松浦 友久 丹羽 香

出版者

早稲田大学

雑誌

基盤研究(C)

巻号頁・発行日

2000

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2000年12月、研究所発足。2001年3月、周以量氏(現在中国首都師範大学副教授)、林忠鵬氏(現在客員研究員)を招聘、田中所長が加わり、早稲田大学で講演会。参加者約50名。2001年9月、二日間にわたり国内・海外研究員全員と北京大学の韋旭昇氏、北イリノイ州立大学のジョン・ベンテリー氏等を招聘して早稲田大学にて国際シンポジウム「古代日本・中国・朝鮮半島文化交流の新展開」。参加者約150名。この成果は近刊の『交錯する古代』(勉誠出版)に反映される。2002年7月、シンポジゥム「21世紀に向けての日中比較文学」を中国・長春市にて東北師範大学で共催。研究発表者日本側20名、中国側28名。参加者約200名。この成果の一部が2003年2月の『日本学論壇』に反映された。2002年11月、二日にわけて王宝平氏(浙江大学)・高文漢氏(山東大学)・孟慶枢氏(東北師範大学)・林嵐氏(東北師範大学)を招聘して、田中所長と石見清裕氏(教育学部)が加わり講演会。参加者約80名。こうした海外との学術交流と平行して、毎月一回『日蔵夢記』講読会を開催。本文整理・訓読・語釈・現代語訳を確定。この成果に関連する学術研究論文を加えて、近刊の『日蔵夢記大成』(勉誠出版)に反映される。また一方では日中比較文献目録の作成も進めているが、まもなく一定の成果を公表することが可能である。

著者

小林 保治

出版者

早稲田大学教育会

雑誌

早稲田大学教育学部学術研究 人文科学・社会科学篇 (ISSN:09130128)

巻号頁・発行日

no.16, pp.117-128, 1967