著者
川上 武志
出版者
北海学園大学
雑誌
北海学園大学人文論集 (ISSN:09199608)
巻号頁・発行日
vol.25, pp.91-107, 2003-10-31
著者
徳永 哲
出版者
九州大学
雑誌
Comparatio (ISSN:13474286)
巻号頁・発行日
vol.8, pp.xvii-xxv, 2004

In 1915, W.B.Yeats had a chance to read some scripts of Noh theatre that Fenollosa and Pound had translated into Japanese, and in 1916, he wrote in 'Note on the first performance of At the Hawk's Well'. "I have found my first model - and in literature if we would not be parvenus we must have a model - in 'Noh' stage of aristocratic Japan." What is the meaning of "a model" that he writes in the essay? It is evident that he did not imitate the Noh scripts. He had been seeking for the ideal theatre or 'Poetic Drama' for many years before he met the Noh scripts. He tried to realize "the emotion that comes with music of words" and "the moment of exaltation, of excitement of dreaming" on the stage. But creation of 'Poetic Drama' without example was extremely difficult. He took Gordon Craig's advices and he tried to use 'Screen' on the stage and made the actors wear 'Mask'. Although he tried to do different things to create 'Poetic Drama', he was not satisfied with the results. His encounters with the Noh scripts, Fenollsa's essays and Michio Ito solved his difficult problems. He learned totally new forms from the Noh theatre, including actor's movements, existence of musicians and Japanese dancing. The process of groping for his 'Poetic Drama' from 1889, brought him to make At the Hawk's Well. I believe that W.B.Yeats could complete his 'Poetic Drama' in the Noh-inspired At the Hawk's Well.
著者
中本 誠一
出版者
流通経済大学
雑誌
流通經濟大學論集 (ISSN:03850854)
巻号頁・発行日
vol.19, no.2, pp.37-46, 1985-02

Among the happy noises everyone enjoys at the Irish wedding can be found many marriage customs like the courtship and lovemaking which were normal features of old-time wakes ; the matchmakers who were prepared to act as go-betweens arguing over the dowry and other details of the marriage settlement ; the abduction or other matters carefully arranged by the parents, relatives, and friends ; the bottle races ; the strawboys ; the bride show…… The above-mentioned customs show that the old Celtic tradition was still alive in the days when W. Carleton spent his youth attending dances, wakes, and weddings. P. Power wrote "of an Ireland in bygone days where the Christian religion was accepted and where whatever pre-Christian religion in existence beforehand had given way to the new system of belief brought in from Europe" in his book, "Sex and Marriage in Ancient Ireland." The world ruled by the Brehon Laws must, however, have been very peaceful because there were no jails nor written contracts or indentures. The Irish had had a rich historical and cultural heritage until the mid-1800's. But the Great Famine brought radical changes in rural Ireland and marked the end of an era that may well be termed pagan Ireland.
著者
波多野 裕造
出版者
白鴎大学
雑誌
白鴎法學 (ISSN:13488473)
巻号頁・発行日
vol.9, pp.1-19, 1997-10
著者
服部 研二
出版者
香蘭女子短期大学
雑誌
香蘭女子短期大学研究紀要 (ISSN:02865521)
巻号頁・発行日
vol.45, pp.65-121, 2003-02-01

In Ireland there are various types of the megalithic tombs. Passage tombs, which are distributed along the Atlantic coast of Western Europe, are one type. In particular in Ireland, huge and sophisticated passage tombs exist. Newgrange and Knowth are typical ones. In this paper, the functions of such huge passage tombs are examined. I give an account of Newgrange and Knowth, referencing to the excellent books, "Newgrange---Archaeology, art and legend" written by M. J. O'Kelly and "Knowth and the passage-tombs of Ireland" written by G. Eogan, because most Japanese readers do not know them very well. Based on their findings, I examine them. Newgrange and Knowth are called tombs, but I believe they are not so much tombs as temples. Huge and elaborate structures like Newgrange and Knowth could in fact be considered the megalithic temples. Therefore, their directions are very significant. Newgrange is oriented toward the winter solstice, and Knowth toward the autumnal and vernal equinoxes. This suggests strongly that the principal rites held there were related to the periodicity, i. e. death, rebirth, fertility and harmony. From this point of view it is possible that we interpret the meaning of some of the megalithic arts, artifacts, for example, the stone basins, the stone objects like phallus and etc. and the structures of these tombs. 〓 the human beings have been aware of the periodicity of the world since the upper palaeolithic. Naturally, they would know the importance of both male and female in the reproduction. We can see the rites based on the recognition of the periodicity of the world in many places and times on the earth. Many of them are also related to fertility rites. In Japan there are some sites which have the standing stones similar to the phallus in Jomon period. The people who constructed them would hope for their fertility, and probably be conscious of the periodicity, too. In the north east of India some tribes call the stone structure like dolmen a female, and the standing stone a male. Many similar examples may give a hint when we study some of the stone structures in Western Europe. In many places in the world prehistoric men constructed the buildings where they held rites based on their cosmology. Newgrange and Knowth were examples of the most sophisticated temples in the prehistoric times in the world. G. Eogan suggests the Irish passage tomb culture influenced Scotland and Wales. In addition to it, I suppose that there is a possibility that it also influenced Stonehenge in Wessex in the south of England. Stonehenge is different from passage tombs in appearance, but the structure resembles them in essence, and some kinds of artifacts are similar. In this sense the passage tombs in Wales may hold the key. After all Ireland was one of the cultural, and especially religious centers in Western Europe about 5000years ago.