著者

岸田 依子

出版者

光葉会

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.905, pp.2-14, 2016-03

著者

岸田 依子 Yoriko Kisida 昭和女子大学文学研究科

出版者

昭和女子大学女性文化研究所

雑誌

昭和女子大学女性文化研究所紀要 = Bulletin of the Institute of Women's Culture, Showa Women's University (ISSN:09160957)

巻号頁・発行日

vol.42, pp.83-85, 2015-03-31

著者

岸田 依子

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.22, pp.61-78, 1999-10-01

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Socho Shuki, a travel diary of the renga master Socho, covers a span of time of six years, starting with the 2nd year of the Daiei period (1522). It describes Socho's two trips between his home in Suruga and the capital, and his journeys to Echizen and Omi―the details serve well an inquiry into the life of medieval renga masters.The trip between the countryside and the capital implies the existence of a border, but this is itself divided into a multitude of borders. The last part of the Muromachi period witnesses a strengthening of the shugo system (by which each of the shugo daimyo was ruling over a part of the country) controlling the whole country―the control over land and people belonged exclusively to the daimyo, who were thus giving their possesions a status very close to that of a small country in itself. This is why in Socho's travels the borderlines between country and country are given more attention than the natural borderlines of mountains, rivers, peaks and slopes; and also this is why the renga poems in the diary are, more than often, offered not to the gods of the mountain or of the road, than to the respective country rulers. Renga masters, being semi-priests, differ from the ordinary people―they belong to the border between the sacred and the profane; their renga seances in the ruling daimyo castles and residences can be viewed as having a magic function of sanctuary. In this age of unceasing strife over and alteration of borderlines, when countries were in antagonist positions, renga meetings, based on common rules of composition as pre-scripted by yoriai and shikimoku, were a place where a different type of order and associations was brought about through the unification and harmonization of creative powers. As a meeting place as well as on the level of the creation process, renga was an art that brought the cosmic interrelatedness of things and the harmony to light.The journey of Socho Shuki starts in the 75th year of Socho's life. It was a trip intended to make him spend his last days in the Syuon'an in Takigi related to Ikkyu, that is, for him personally it also was a trip from his birthplace to the place he wished to die in, the place he wanted to make the departure point to the other world. This paper is an attempt to look at these various borders and at their symbolic meanings.