{"created":"2023-07-25T09:16:28.248468+00:00","id":16636,"links":{},"metadata":{"_buckets":{"deposit":"b3e032fb-4577-4ae9-8d83-e2a3cc74abdf"},"_deposit":{"created_by":19,"id":"16636","owners":[19],"pid":{"revision_id":0,"type":"depid","value":"16636"},"status":"published"},"_oai":{"id":"oai:toyama.repo.nii.ac.jp:00016636","sets":["1428:1599:1779"]},"author_link":["373"],"item_8_alternative_title_20":{"attribute_name":"その他（別言語等）のタイトル","attribute_value_mlt":[{"subitem_alternative_title":"5th Hearn talk: audio file"}]},"item_8_date_7":{"attribute_name":"発表年月日","attribute_value_mlt":[{"subitem_date_issued_datetime":"2018-10-24","subitem_date_issued_type":"Created"}]},"item_8_description_16":{"attribute_name":"フォーマット","attribute_value_mlt":[{"subitem_description":"application/mp3","subitem_description_type":"Other"}]},"item_8_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"テーマ：夫婦の契りの物語：約束を守るか守らないか\n※資料については，下方の「関連URI」にリンクがあります。\n\n・OSHIDORI（おしどり）\n　　原文（by Lafcadio Hearn），平川祐弘：訳，原話『古今著聞集』\n\nOSHIDORI \n\nThere was a falconer and hunter, named Sonjo, who lived in the district called Tamura-no-Go, of the province of Mutsu. One day he went out hunting, and could not find any game. But on his way home, at a place called Akanuma, he perceived a pair of oshidori [1] (mandarin-ducks), swimming together in a river that he was about to cross. To kill oshidori is not good; but Sonjo happened to be very hungry, and he shot at the pair. His arrow pierced the male: the female escaped into the rushes of the further shore, and disappeared. Sonjo took the dead bird home, and cooked it. \n\nThat night he dreamed a dreary dream. It seemed to him that a beautiful woman came into his room, and stood by his pillow, and began to weep. So bitterly did she weep that Sonjo felt as if his heart were being torn out while he listened. And the woman cried to him: \"Why,--oh! why did you kill him?--of what wrong was he guilty?... At Akanuma we were so happy together,--and you killed him!... What harm did he ever do you? Do you even know what you have done?--oh! do you know what a cruel, what a wicked thing you have done?... Me too you have killed,--for I will not live without my husband!... Only to tell you this I came.\"... Then again she wept aloud,--so bitterly that the voice of her crying pierced into the marrow of the listener's bones;--and she sobbed out the words of this poem:-- \n\nHi kurureba \nSasoeshi mono wo-- \nAkanuma no \nMakomo no kure no \nHitori-ne zo uki! \n\n(\"At the coming of twilight I invited him to return with me--! Now to sleep alone in the shadow of the rushes of Akanuma--ah! what misery unspeakable!\") [2] \n\nAnd after having uttered these verses she exclaimed:--\"Ah, you do not know--you cannot know what you have done! But to-morrow, when you go to Akanuma, you will see,--you will see...\" So saying, and weeping very piteously, she went away. \n\nWhen Sonjo awoke in the morning, this dream remained so vivid in his mind that he was greatly troubled. He remembered the words:--\"But to-morrow, when you go to Akanuma, you will see,--you will see.\" And he resolved to go there at once, that he might learn whether his dream was anything more than a dream. \n\nSo he went to Akanuma; and there, when he came to the river-bank, he saw the female oshidori swimming alone. In the same moment the bird perceived Sonjo; but, instead of trying to escape, she swam straight towards him, looking at him the while in a strange fixed way. Then, with her beak, she suddenly tore open her own body, and died before the hunter's eyes... \n\nSonjo shaved his head, and became a priest. \n\nNotes\n[1] From ancient time, in the Far East, these birds have been regarded as emblems of conjugal affection.\n\n[2] There is a pathetic double meaning in the third verse; for the syllables composing the proper name Akanuma (\"Red Marsh\") may also be read as akanu-ma, signifying \"the time of our inseparable (or delightful) relation.\" So the poem can also be thus rendered:--\"When the day began to fail, I had invited him to accompany me...! Now, after the time of that happy relation, what misery for the one who must slumber alone in the shadow of the rushes!\"?The makomo is a short of large rush, used for making baskets.\n\n・THE STORY OF O-TEI（お貞の話） \n　　原文（by Lafcadio Hearn），平川祐弘：訳，原話『夜窓鬼談』 \n\nTHE STORY OF O-TEI \n\nA long time ago, in the town of Niigata, in the province of Echizen, there lived a man called Nagao Chosei. \n\nNagao was the son of a physician, and was educated for his father's profession. At an early age he had been betrothed to a girl called O-Tei, the daughter of one of his father's friends; and both families had agreed that the wedding should take place as soon as Nagao had finished his studies. But the health of O-Tei proved to be weak; and in her fifteenth year she was attacked by a fatal consumption. When she became aware that she must die, she sent for Nagao to bid him farewell. \n\nAs he knelt at her bedside, she said to him:-- \n\n\"Nagao-Sama, (1) my betrothed, we were promised to each other from the time of our childhood; and we were to have been married at the end of this year. But now I am going to die;--the gods know what is best for us. If I were able to live for some years longer, I could only continue to be a cause of trouble and grief for others. With this frail body, I could not be a good wife; and therefore even to wish to live, for your sake, would be a very selfish wish. I am quite resigned to die; and I want you to promise that you will not grieve... Besides, I want to tell you that I think we shall meet again.\"... \n\n\"Indeed we shall meet again,\" Nagao answered earnestly. \"And in that Pure Land (2) there will be no pain of separation.\" \n\n\"Nay, nay!\" she responded softly, \"I meant not the Pure Land. I believe that we are destined to meet again in this world,--although I shall be buried to-morrow.\" \n\nNagao looked at her wonderingly, and saw her smile at his wonder. She continued, in her gentle, dreamy voice,-- \n\n\"Yes, I mean in this world,--in your own present life, Nagao-Sama... Providing, indeed, that you wish it. Only, for this thing to happen, I must again be born a girl, and grow up to womanhood. So you would have to wait. Fifteen--sixteen years: that is a long time... But, my promised husband, you are now only nineteen years old.\"... \n\nEager to soothe her dying moments, he answered tenderly:-- \n\n\"To wait for you, my betrothed, were no less a joy than a duty. We are pledged to each other for the time of seven existences.\" \n\n\"But you doubt?\" she questioned, watching his face. \n\n\"My dear one,\" he answered, \"I doubt whether I should be able to know you in another body, under another name,--unless you can tell me of a sign or token.\" \n\n\"That I cannot do,\" she said. \"Only the Gods and the Buddhas know how and where we shall meet. But I am sure--very, very sure--that, if you be not unwilling to receive me, I shall be able to come back to you... Remember these words of mine.\"... \n\nShe ceased to speak; and her eyes closed. She was dead. \n\n* * * \n\nNagao had been sincerely attached to O-Tei; and his grief was deep. He had a mortuary tablet made, inscribed with her zokumyo; [1] and he placed the tablet in his butsudan, [2] and every day set offerings before it. He thought a great deal about the strange things that O-Tei had said to him just before her death; and, in the hope of pleasing her spirit, he wrote a solemn promise to wed her if she could ever return to him in another body. This written promise he sealed with his seal, and placed in the butsudan beside the mortuary tablet of O-Tei. \n\n\nNevertheless, as Nagao was an only son, it was necessary that he should marry. He soon found himself obliged to yield to the wishes of his family, and to accept a wife of his father's choosing. After his marriage he continued to set offerings before the tablet of O-Tei; and he never failed to remember her with affection. But by degrees her image became dim in his memory,--like a dream that is hard to recall. And the years went by. \n\nDuring those years many misfortunes came upon him. He lost his parents by death,--then his wife and his only child. So that he found himself alone in the world. He abandoned his desolate home, and set out upon a long journey in the hope of forgetting his sorrows. \n\n\nOne day, in the course of his travels, he arrived at Ikao,--a mountain-village still famed for its thermal springs, and for the beautiful scenery of its neighborhood. In the village-inn at which he stopped, a young girl came to wait upon him; and, at the first sight of her face, he felt his heart leap as it had never leaped before. So strangely did she resemble O-Tei that he pinched himself to make sure that he was not dreaming. As she went and came,--bringing fire and \nfood, or arranging the chamber of the guest,--her every attitude and motion revived in him some gracious memory of the girl to whom he had been pledged in his youth. He spoke to her; and she responded in a soft, clear voice of which the sweetness saddened him with a sadness of other days. \n\nThen, in great wonder, he questioned her, saying:-- \n\n\"Elder Sister (3), so much do you look like a person whom I knew long ago, that I was startled when you first entered this room. Pardon me, therefore, for asking what is your native place, and what is your name?\" \n\nImmediately,--and in the unforgotten voice of the dead,--she thus made answer:-- \n\n\"My name is O-Tei; and you are Nagao Chosei of Echigo, my promised husband. Seventeen years ago, I died in Niigata: then you made in writing a promise to marry me if ever I could come back to this world in the body of a woman;--and you sealed that written promise with your seal, and put it in the butsudan, beside the tablet inscribed with my name. And therefore I came back.\"... \n\nAs she uttered these last words, she fell unconscious. \n\nNagao married her; and the marriage was a happy one. But at no time afterwards could she remember what she had told him in answer to his question at Ikao: neither could she remember anything of her previous existence. The recollection of the former birth,--mysteriously kindled in the moment of that meeting,--had again become obscured, and so thereafter remained. \n\nNotes\n(1) \"-sama\" is a polite suffix attached to personal names.\n\n(2) A Buddhist term commonly used to signify a kind of heaven.\n\n[1] The Buddhist term zokumyo (\"profane name\") signifies the personal name, borne during life, in contradistinction to the kaimyo (\"sila-name\") or homyo (\"Law-name\") given after death,--religious posthumous appellations inscribed upon the tomb, and upon the mortuary tablet in the parish-temple.--For some account of these, see my paper entitled, \"The Literature of the Dead,\" in Exotics and Retrospectives.\n\n[2] Buddhist household shrine.\n\n(3) Direct translation of a Japanese form of address used toward young, unmarried women.\n\n「こわい」とはどういうことか？\n　・「こわい話」＝「怪談」？\n　・「怪談」の定義（Wikipediaより）\n　　　怖さや怪しさを感じさせる物語の総称。\n　　　日本古来のものを限定して呼ぶ場合もある。\n　　　中でも，四谷怪談・皿屋敷・牡丹燈籠の三話は「日本三大怪談」に数えられることが多い。\n　　　元来，死に関する物語，幽霊，妖怪，怪物，あるいは怪奇現象に関する物語は民話伝説，\n　　　あるいは神話の中にも多数存在する。\n　　　平安時代末期:『今昔物語集』（「霊鬼」）など（1120年頃）\n　　　江戸時代：『四谷怪談』（1727年）\n　　　　『雨月物語』（1776年）\n　　　　『番町皿屋敷』（1700年代末）\n　　　　　→歌舞伎，落語への翻案\n　　　明治末期：ラフカディオ・ハーンの『怪談 (KWAIDAN)』（1904年）\n　　　第1次怪談ブーム（欧米の心霊主義の影響下で）\n　　　1970年代：第2次怪談ブーム（テレビ，マンガの影響）\n　　　　　　　　　新倉イワオ『あなたの知らない世界』\n　　　　　　　　　つのだじろう『うしろの百太郎』『恐怖新聞』\n　　　現代：都市伝説（だるま娼婦伝説，学校の怪談（トイレの花子さん），\n　　　東日本大震災後のタクシーに乗る幽霊\n　　　　→幽霊は日本（東洋）の特産物？\n\n・『怪談』だけではない怪異の物語\n\n1904年『怪談』Kwaidan : stories and studies of strange things\n　THE STORY OF MIMI-NASHI-HOICHI（耳なし芳一の話）\n　OSHIDORI（おしどり）\n　THE STORY OF O-TEI（お貞の話）\n　UBAZAKURA（乳母桜）\n　DIPLOMACY（策略）\n　OF A MIRROR AND A BELL（鏡と鐘と）\n　JIKININKI（食人鬼）\n　MUJINA（貉）\n　ROKURO-KUBI（轆轤首）\n　A DEAD SECRET（葬られた秘密）\n　YUKI-ONNA（雪女）\n　THE STORY OF AOYAGI（青柳の話）\n　JIU-ROKU-ZAKURA（十六桜）\n　THE DREAM OF AKINOSUKE（秋之助の話）\n　RIKI-BAKA（力馬鹿）\n　HI-MAWARI（ひまわり）\n　HORAI（蓬莱）\n\n1902年『骨董』Kotto : being Japanese curios, with sundry cobwebs\n　The Legend of Yurei-Daki（幽霊滝の伝説）\n　In a Cup of Tea（茶碗の中）\n　Common Sense（常識）\n　Ikiryô（生霊）\n　Shiryô（死霊）\n　The Story of 0-Kamé（お亀の話）\n　Story of a Fly（蠅の話）\n　Story of a Pheasant（雉の話）\n　The Story of Chûgorô（忠五郎の話）\n　A Woman's Diary（ある女の日記）\n　Heiké-gani（平家蟹）\n　Fireflies（螢）\n　A Drop of Dew（露の一滴）\n　Gaki（餓鬼）\n　A Matter of Custom（日常の事）\n　Revery（夢想）\n　Pathological（病理的なるもの）\n　In the Dead of the Night（真夜中に）\n　Kusa-Hibari（草ひばり）\n　The Eater of Dreams（夢を食らうもの）\n\n1901年『日本雑録』A Japanese Miscellany\n　OF A PROMISE KEPT（守られた薬草）\n　OF A PROMISE BROKEN（破られた約束）\n　BEFORE THE SUPREME COURT（閻魔の庁で）\n　THE STORY OF KWASHIN KOJI（果心故事）\n　THE STORY OF UMÉTSU CHÛBEI（梅津忠兵衛）\n　THE STORY OF KÔGI THE PRIEST（興義和尚のはなし）\n\n1900年『影』Shadowings\n　The Reconciliation（和解）\n　A Legend of Fugen-Bosats（普賢菩薩の話）\n　The Screen-Maiden（衝立の乙女）\n　The Corpse-Rider（死骸に乗る人）\n　The Sympathy of Benten（弁天の感応）\n　The Gratitude of the Samébito（鮫人の恩返し）\n\n1899年『霊の日本』In Ghostly Japan\n　Fragment（断片）\n　FURISODÉ（振袖）\n　Incense（香（反魂香））\n　A Story of Divination（占いの話）\n　Silkworms（蚕）\n　A Passional Karma（恋の因果（牡丹燈篭））\n　Footprints of the Buddha（仏足石）\n　Ululation（犬の遠吠え）\n　Bits of Poetry（小さな詩）\n　Japanese Buddhist Proverbs（仏教に関する諺）\n　SUGGESTION（暗示）\n　Ingwa-banashi（因果ばなし）\n　Story of a Tengu（天狗の話）\n　At Yaidzu（焼津にて）\n\n1894年『知られぬ日本の面影』Glimpses of Unfamiliar Japan\n　「鳥取の日本の話」「子どもを捨てた父」「雪おんな」「青柳」「飴を買う女」「ろくろ首」\n\nKWAIDAN, Stories and studies of strange things\nWeird Tales\n\n・なぜハーンは『怪談』を訳さずに「KWAIDAN」としたのか？\n\n・死者の未練，死者の怨念\n・病床にある妻が夫に再婚しないでほしいと懇願する物語。\n・夫が約束を守らずに再婚すると・・・。\n　「お亀の話」(The Story of 0-Kamé)\n　「破られた約束」(OF A PROMISE BROKEN)\n\n・1899年『霊の国日本にて』所収「小さな詩」（\"Bits of poetry\" in In Ghostly Japan）\n*1 Chocho ni Kyonen shishitaru Tsuma koishi\n*2 Furusato ni Fubo ari mushi no Koe-goge\n*3 Mi ni shimiru Kazeya Shoji ni Yubi no ato\n: \n21 Furu-dera ya Kane mono iwazu Sakura chiru.\n22 Yamadera no Shichd akeyuku Taki no oto.\n23 Yuki no mura; Niwatori naite Ake shiroshi.\n24 Kaya no te wo Hitotsu hazushite Tsuki-mi kana !\n25 Nusundaru Kagashi no kasa ni Ami kyu nari.\n\n*1\nChochO ni!..\nKyonen shishitaru\nTsuma koishi!\n\nTranslated, this would appear to mean only,--\"Two butterflies!... Last year my dear wife died!\" Unless you happen to know the pretty Japanese symbolism of the butterfly in relation to happy marriage, and the old custom of sending with the wedding-gift a large pair of paper-butterflies (ocho-mecho), the verse might well seem to be less than commonplace. \n\n*2\nOr take this recent composition, by a University student, which has been praised by good judges:--\n\nFurusato ni\nFubo ari--mushi no\nKoe-goe!\n\n--\"In my native place the old folks [or, my parents] are--clamor of insect-voices!\"\n\n1 I must observe, however, that the praise was especially evoked by the use of the term koe-goe--(literally meaning \"voice after voice\" or a crying of many voices);--and the special value of the syllables here can be appreciated only by a Japanese poet. The poet here is a country-lad. In unfamiliar fields he listens to the great autumn chorus of insects; and the sound revives for him the memory of his far-off home and of his parents.\n\n*3\nBut here is something incomparably more touching,--though in literal translation probably more obscure,--than either of the preceding specimens;--\n\nMi ni shimiru\nKaze ya I\nShoji ni\nYubi no ato!\n\n--\"Oh, body-piercing wind!--that work of little fingers in the shoji!\" .... What does this mean? It means the sorrowing of a mother for her dead child. Shoji is the name given to those light white-paper screens which in a Japanese house serve both as windows and doors, admitting plenty of light, but concealing, like frosted glass, the interior from outer observation, and excluding the wind. Infants delight to break these by poking their fingers through the soft paper: then the wind blows through the holes. In this case the wind blows very cold indeed,--into the mother's very heart;--for it comes through the little holes that were made by the fingers of her dead child.\n\n\nこれらの「俳句」のテーマは，「死んだ妻を悼む」，「望郷」，「死んだ子を思う」である。なぜ「死」または「死者」をテーマにした句が取り上げられているのか？\n\n\n・『怪談』1904年\nTHE STORY OF MIMI-NASHI-HÔÏCHI ○\n◎ OSHIDORI ○，オシドリ，古今著聞集\n◎ THE STORY OF O-TEI ○，お貞，夜窓鬼談 \nUBAZAKURA ○，お袖，諸国奇談\nDIPLOMACY ○\nOF A MIRROR AND A BELL ○\nJIKININKI ○\nMUJINA\nROKURO-KUBI\nA DEAD SECRET ○，お園，新撰百物語\nYUKI-ONNA ○，お雪\nTHE STORY OF AOYAGI ○，青柳，玉すだれ\nJIU-ROKU-ZAKURA ○\nTHE DREAM OF AKINOSUKÉ ○，妃\nRIKI-BAKA ○\nHI-MAWARI\nHÔRAI\n（○は死について書かれたもの）\n・1.『ギリシャ詞華集』の墓碑銘\n・1.1.『ギリシャ詞華集』とは？\n　　　Anthologia Graeea紀元前7世紀から紀元10世紀に至る，300名を越す作家によるエピグラム詩およそ4500篇を集大成した，古代詩最大の詞華集。全16巻。\n　　(1)時代区分\n　　　古代ギリシア→ヘレニズム→（ラテン中世）→ビザンチン帝国\n　　　ヨーロッパ中世：476年西ローマ帝国滅亡\n　　　→1453年東ローマ帝国（ビザンチン帝国）滅亡\n　　(2)エピグラム詩(épigramme)\n　　　近代のエピグラム「寸鉄詩」「警句」\n　　　→『ギリシア詞華集』のエピグラムはそのような定義に当てはまらない。\n　　語源：エビ（上に）＋グランマ（書かれたもの）\n　　本来は，神々に捧げる青銅や陶器の奉献品の品や供物に刻まれたり，墓碑の上に刻まれた文，とりわけ韻文を意味していた\n　　「韻文を用いた銘刻文」→紙に書かれたものではない？\n　　内容：さまざま。「エピグラムとして書かれたものがエピグラム」\n　　形式：短ければ2行，4行，6行，多くても8行よりなる。\n　　　　　実際には10行，12行のものもある。\n　　　　　（参考）ソネット（ソネ）：14行 (4+4+3+3)\n　　　　　詩律もさまざま\n　　多くはエレゲイア詩形→やがて定型に\n　　＝ヘクサメトロン（長短短六歩格）＋ペンタメトロン（五歩格）\n　　(3)ギリシア語で「書かれている (gramme)」\n　　　歌われたり，朗誦されたりしたものではない？\n　　　（ただし，19世紀までの読書とは音読であった）\n\n　　　『ギリシャ詞華集』の変遷\n　　　『ギリシャ詞華集』の内容\n　　　　四つの柱：\n　　　　　　奉献詩，碑銘詩・哀悼詩，愛の詩，事物描写詩　＋　風物詩\n\n※ここまで沓掛良彦訳『ギリシア詞華集』4，京都大学学術出版会，2017年巻末の総説による。\n\n・1.2.「墓碑銘」＝「碑銘詩」とは？\n　　　もともとは本当の墓に墓碑銘として刻まれていたもの。\n　　　第7巻，756篇の詩よりなる。うち碑名のものが132篇。\n　　　ヘレニズム時代に入ると，実際の墓碑銘としての機能を離れ，文学的創作としての性格が強くなる\n　　　→内容が多様化。\n　　　ギリシアの習慣\n　　　「死者の墓，ないしは墓に建てられた彫像が，道行く人，見知らぬ人に呼びかけ，みずからの死について語る」という形をとっているものが一般的。\n　　　「死者の名，出自，祖国を告知する」。\n\n例1（産褥による死）（一六六，100頁）\n例2（幼児の死）（一七〇，103頁）\n例3（わが子を失った母の嘆き）（二六一，153頁）\n例4（遭難による死者の嘆き）（二六七，155頁）\n例5（水死した花嫁の娘を嘆く）（二九一，168頁）\n\n・ヘルン文庫所蔵の『ギリシャ詞華集』\n　　　英語版：書架番号[302]\n　　　フランス語版：書架番号[1641][1642]","subitem_description_type":"Abstract"}]},"item_8_description_41":{"attribute_name":"資源タイプ(DSpace)","attribute_value_mlt":[{"subitem_description":"Recording, oral","subitem_description_type":"Other"}]},"item_8_description_5":{"attribute_name":"内容記述","attribute_value_mlt":[{"subitem_description":"中島淑恵（富山大学人文学部教授）が，これまでの研究成果を踏まえ，Lafcadio 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