著者

王 暁瑞

出版者

日本文学協会

雑誌

日本文学 (ISSN:03869903)

巻号頁・発行日

vol.63, no.2, pp.20-30, 2014-02-10 (Released:2019-02-28)

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幕末の歌人橘曙覧の歌には、「寒僕」「寒婢」などのような、「寒」の字を冠した歌題を伴う一群の連作がある。これは、清の蒋士銓の詩「消寒雑詠和王蔗村太守十首」(消寒雑詠王蔗村太守に和す十首)及びその影響を受けた頼山陽、広瀬旭荘の詩と深くかかわっているとみられる。本稿では、このことを中心に論じながら、合わせて「妓院雪」「侠家雪」「書中乾胡蝶」など、和歌において一般には見られない曙覧の歌題と旭荘また茶山の詩題との関係も視野に入れて、その和歌の特質の一斑を考察する。

著者

王 暁瑞

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.33, pp.187-199, 2010-03-31

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In the late Edo period, Tachibana No Akemi made a linked poem; Dokurakugin. It had a unique form of expression, starting upper phrase with "tanoshimiha" (The moment I feel pleasure is ... ) and concluding lower phrase with "toki" ( when ... ). This form was followed by Masaoka Shiki, including Matsudaira Shungaku, the lord of the Fukui, giving great influences on many other poets. Dokurakugin consists of linked 52 poems, which is in the third volume, Haruakekusa, of Tachibana No Akemi's anthology Shinobunoyakasyū. He lived in voluntary poverty but that environment inspired some of his most endearing poems, those describing the little pleasures of a poor scholar's life. Concerning the unique form, "tanoshimi ha ... no toki" (The moment I feel pleasure is ... when... ), several studies had been done; some researchers said that "kutsukamuri" form gave the poet the idea to create the unique form and others said that the poem was influenced by Haikai or Kyōka, mad poem. However, all of which are not that convincing.Therefore I would like to look at this subject from a different point of view, considering the influence of "Syubigin" form in Chinese poetry on Dokurakugin. "Syubigin" form is a form found first in the anthology, Isengekijōsyū, by neo-Confucianist, Syōyō (1011-1077) in the Northern Song Dynasty. It consists of linked poems and each upper and lower phrase goes "Gyofu ha kore shi wo ginzuru wo aisuru ni arazu". (I make a poem because I want to enjoy life, not because I love making a poem)Also as to contents, Dokurakugin includes some examples of ideas derived from Syubigin. For example, one phrase meaning 'The moment I feel pleasure is when I am doing meditation sitting on a straw mat, the scent of the grass." seems to be influenced by a poem, which expresses relaxed feelings in serene atmosphere, meaning "I like to make a poem when I am doing meditation in a little drunk." In addition, the conception of naming the title, Dokurakugin, seemed to have originated from Syōyō's "anrakukacyūgin" and Shibakō's "dokurakuenki".In this paper, I would like to consider the development of Tachibana No Akemi's unique form of expression in Dokurakugin, focusing on its receptive connection with Syōyō's Syubigin.

著者

王 暁瑞

出版者

総合研究大学院大学文化科学研究科

雑誌

総研大文化科学研究 (ISSN:1883096X)

巻号頁・発行日

no.8, pp.57-70, 2012-03

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近世後末期の越前国福井(現福井県)出身の歌人橘曙覧が詠んだ五二首からなる連作詠「独楽吟」は、すべて初句が「楽しみは」、末句が「時」で揃うという形になっている。これは従来の和歌に見られない独特な表現形式とされ、その形成について、先行研究では、「くつかむり」の方式などが作者の発想と構成を促した、あるいは俳諧歌や狂歌から影響を受けたとするものなど、日本の韻文に関連した指摘が多くあるが、十分に納得のいく具体的な説明はいまだ提出されていない。 一方、中国文学との関わりについては、前川幸雄氏が、論文「橘曙覧作「日本建国之吟」考」(『福井大学教育地域科学部紀要』第五二号、二〇〇一年十二月)において、曙覧の「独楽吟」を北宋の邵雍の詩作に関連付け、さらに、論文「橘曙覧と邵雍と―「独楽吟」と「首尾吟」の関係について―」(『国語国文学』第五〇号、福井大学言語文化学会編、二〇一一年三月)において、「独楽吟」と邵雍の連作詩「首尾吟」との関係、即ち作者の人生、処世観、作品の構成(形式上の)、作品の思想上の類似性、共通性について考察した。これは、曙覧の「独楽吟」を考える上で非常に示唆的なものであった。 「首尾吟」とは、邵雍の詩集『伊川撃壤集』巻二十に収められる連作詩であり、各詩の首句と尾句が「堯夫非是愛吟詩」という同じ句で統一されており、従来、見られない特殊な漢詩の体裁となっている。また、この連作の各詩の首聯は、例えば「堯夫非是愛吟詩、詩是閑観蔬圃時」(「首尾吟」第六五首のもの)のように、首句が「堯夫非是愛吟詩」という同じ句で統一されているだけではなく、第二句「詩是閑観蔬圃時」の句尾も「…時」という詞で統一されている。『伊川撃壤集』では、このような形式の詩が一三五首連続して並んでおり、連作の全体に音律的リズムを与えている。本稿では、こうした首聯での表現形式と、曙覧の「独楽吟」の表現形式との相似性に焦点をあてて、両者の影響関係について考察する。そしてまた、「首尾吟」は、その表現内容においても、自然や田園、生活や家庭の楽など身近な楽しみを詠み上げているが、曙覧の「独楽吟」にも「首尾吟」の発想や趣向をとりなしたとみられる例が散見されることについて検討を加えた。In the late Edo period, Tachibana no Akemi wrote a linked poem called Dokurakugin, which had a unique form of expression by starting the upper phrase with "tanoshimi wa" ("the moment I'm feeling happy is") and concluding the lower phrase with "toki" ("when") The form of this poem has long been thought to be a unique artistic form of waka. Up to now, no research has been able to explain how the form of this poem came to be.However, the Northern Song Dynasty poet Shao Yong left a famous group of 135 poems called Shao wei yin (Jp. Shubigin), all of which were included in his collection Ichuan Jirang ji (Jp. Isen Gekijō shō). A special characteristic of these poems is that each upper and lower phrase reads "Gyofu kore shi ginzuru o aisuru ni arazu" (I wrote a poem because I want to enjoy life, not because I like to write a poem). Moreover, each of these poems uses "toki" to end the second sentence. That is to say, for every poem, the first sentence is "Gyofu kore shi ginzuru o aisuru ni arazu," and the end of the second sentence is "toki." Thus we can see that this form has a kind of rhythm between the first sentence and the end of the second sentence, and that it appears to be similar to the form that Tachibana no Akemi uses in Dokurakugin. In addition, the ideas and artistic conceptions of Shao wei yin and Dokurakugin in their expressions regarding landscape gardens and happy family life are also quite similar. I believe this is sufficient evidence to conclude that the expressive form of Shao wei yin had an influence on the form of Dokurakugin in its development process.