{"created":"2023-07-25T09:16:46.663595+00:00","id":17115,"links":{},"metadata":{"_buckets":{"deposit":"aa9a0232-b0bd-43ee-b8bb-52d18d91a225"},"_deposit":{"created_by":19,"id":"17115","owners":[19],"pid":{"revision_id":0,"type":"depid","value":"17115"},"status":"published"},"_oai":{"id":"oai:toyama.repo.nii.ac.jp:00017115","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":" 8th Hearn talk: audio file"}]},"item_8_date_7":{"attribute_name":"発表年月日","attribute_value_mlt":[{"subitem_date_issued_datetime":"2019-05-29","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：幽霊の話\n※引用資料，参考資料については，下方の「関連URI」にリンクがあります。\n※「PRINT」のアイコンをクリックするとこのメタデータ全体を印刷できます。\n\n【資料１】=================================== \nGlimpses of Unfamilar Japan: Second Series by Lafcadio Hearn \n\nChapter Six, By the Japanese Sea \n\nNow, as a rule, one sleeps soundly after having drunk plenty of warm sake, especially if the night be cool and the bed very snug. But the guest, having slept but a very little while, was aroused by the sound of voices in his room--voices of children, always asking each other the same questions:--'Ani-San samukaro?' 'Omae samukaro?' The presence of children in his room might annoy the guest, but could not surprise him, for in these Japanese hotels there are no doors, but only papered sliding screens between room and room. So it seemed to him that some children must have wandered into his apartment, by mistake, in the dark. He uttered some gentle rebuke. For a moment only there was silence; then a sweet, thin, plaintive voice queried, close to his ear, 'Ani-San samukaro?' (Elder Brother probably is cold?), and another sweet voice made answer caressingly, 'Omae samukaro?' [Nay, thou probably art cold?]\n\nHe arose and rekindled the candle in the andon, [6] and looked about the room. There was no one. The shoji were all closed. He examined the cupboards; they were empty. Wondering, he lay down again, leaving the light still burning; and immediately the voices spoke again, complainingly, close to his pillow:\n\n'Ani-San samukaro?'\n\n'Omae samukaro?'\n\nThen, for the first time, he felt a chill creep over him, which was not the chill of the night. Again and again he heard, and each time he became more afraid. For he knew that the voices were in the futon! It was the covering of the bed that cried out thus.\n\nHe gathered hurriedly together the few articles belonging to him, and, descending the stairs, aroused the landlord and told what had passed. Then the host, much angered, made reply: 'That to make pleased the honourable guest everything has been done, the truth is; but the honourable guest too much august sake having drank, bad dreams has seen.' Nevertheless the guest insisted upon paying at once that which he owed, and seeking lodging elsewhere.\n\nNext evening there came another guest who asked for a room for the night. At a late hour the landlord was aroused by his lodger with the same story. And this lodger, strange to say, had not taken any sake. Suspecting some envious plot to ruin his business, the landlord answered passionately: 'Thee to please all things honourably have been done: nevertheless, ill-omened and vexatious words thou utterest. And that my inn my means-of-livelihood is--that also thou knowest. Wherefore that such things be spoken, right-there-is-none!' Then the guest, getting into a passion, loudly said things much more evil; and the two parted in hot anger.\n\nBut after the guest was gone, the landlord, thinking all this very strange, ascended to the empty room to examine the futon. And while there, he heard the voices, and he discovered that the guests had said only the truth. It was one covering--only one--which cried out. The rest were silent. He took the covering into his own room, and for the remainder of the night lay down beneath it. And the voices continued until the hour of dawn: 'Ani-San samukaro?' 'Omae samukaro?' So that he could not sleep.\n\nBut at break of day he rose up and went out to find the owner of the furuteya at which the futon had been purchased. The dlealer knew nothing. He had bought the futon from a smaller shop, and the keeper of that shop had purchased it from a still poorer dealer dwelling in the farthest suburb of the city. And the innkeeper went from one to the other, asking questions.\n\nThen at last it was found that the futon had belonged to a poor family, and had been bought from the landlord of a little house in which the family had lived, in the neighbourhood of the town. And the story of the futon was this:--\n\nThe rent of the little house was only sixty sen a month, but even this was a great deal for the poor folks to pay. The father could earn only two or three yen a month, and the mother was ill and could not work; and there were two children--a boy of six years and a boy of eight. And they were strangers in Tottori.\n\nOne winter's day the father sickened; and after a week of suffering he died, and was buried. Then the long-sick mother followed him, and the children were left alone. They knew no one whom they could ask for aid; and in order to live they began to sell what there was to sell.\n\nThat was not much: the clothes of the dead father and mother, and most of their own; some quilts of cotton, and a few poor household utensils-- hibachi, bowls, cups, and other trifles. Every day they sold something, until there was nothing left but one futon. And a day came when they had nothing to eat; and the rent was not paid.\n\nThe terrible Dai-kan had arrived, the season of greatest cold; and the snow had drifted too high that day for them to wander far from the little house. So they could only lie down under their one futon, and shiver together, and compassionate each other in their own childish way --'Ani-San, samukaro?' 'Omae samukaro?'\n\nThey had no fire, nor anything with which to make fire; and the darkness came; and the icy wind screamed into the little house.\n\nThey were afraid of the wind, but they were more afraid of the house- owner, who roused them roughly to demand his rent. He was a hard man, with an evil face. And finding there was none to pay him, he turned the children into the snow, and took their one futon away from them, and locked up the house.\n\nThey had but one thin blue kimono each, for all their other clothes had been sold to buy food; and they had nowhere to go. There was a temple of Kwannon not far away, but the snow was too high for them to reach it. So when the landlord was gone, they crept back behind the house. There the drowsiness of cold fell upon them, and they slept, embracing each other to keep warm. And while they slept, the gods covered them with a new futon--ghostly-white and very beautiful. And they did not feel cold any more. For many days they slept there; then somebody found them, and a bed was made for them in the hakaba of the Temple of Kwannon-of-the- Thousand-Arms.\n\nAnd the innkeeper, having heard these things, gave the futon to the priests of the temple, and caused the kyo to be recited for the little souls. And the futon ceased thereafter to speak.\n\nNote\n[6] Andon, a paper lantern of peculiar construction, used as a night light. Some forms of the andon are remarkably beautiful.\n\n\n【資料２】=================================== \nGlimpses of Unfamilar Japan: First Series by Lafcadio Hearn \n\nChapter Nine, In the Cave of the Children's Ghosts, Sec. 6 \n\nFrom the caves of the Kami we retrace our course for about a quarter of a mile; then make directly for an immense perpendicular wrinkle in the long line of black cliffs. Immediately before it a huge dark rock towers from the sea, whipped by the foam of breaking swells. Rounding it, we glide behind it into still water and shadow, the shadow of a monstrous cleft in the precipice of the coast. And suddenly, at an unsuspected angle, the mouth of another cavern yawns before us; and in another moment our boat touches its threshold of stone with a little shock that sends a long sonorous echo, like the sound of a temple drum, booming through all the abysmal place. A single glance tells me whither we have come. Far within the dusk I see the face of a Jizo, smiling in pale stone, and before him, and all about him, a weird congregation of grey shapes without shape--a host of fantasticalities that strangely suggest the wreck of a cemetery. From the sea the ribbed floor of the cavern slopes high through deepening shadows back to the black mouth of a farther grotto; and all that slope is covered with hundreds and thousands of forms like shattered haka. But as the eyes grow accustomed to the gloaming it becomes manifest that these were never haka; they are only little towers of stone and pebbles deftly piled up by long and patient labour.\n\n'Shinda kodomo no shigoto,' my kurumaya murmurs with a compassionate smile; 'all this is the work of the dead children.'\n\nAnd we disembark. By counsel, I take off my shoes and put on a pair of zori, or straw sandals provided for me, as the rock is extremely slippery. The others land barefoot. But how to proceed soon becomes a puzzle: the countless stone-piles stand so close together that no space for the foot seems to be left between them.\n\n'Mada michiga arimasu!' the boatwoman announces, leading the way. There is a path.\n\nFollowing after her, we squeeze ourselves between the wall of the cavern on the right and some large rocks, and discover a very, very narrow passage left open between the stone-towers. But we are warned to be careful for the sake of the little ghosts: if any of their work be overturned, they will cry. So we move very cautiously and slowly across the cave to a space bare of stone-heaps, where the rocky floor is covered with a thin layer of sand, detritus of a crumbling ledge above it. And in that sand I see light prints of little feet, children's feet, tiny naked feet, only three or four inches long--the footprints of the infant ghosts.\n\nHad we come earlier, the boatwoman says, we should have seen many more. For 'tis at night, when the soil of the cavern is moist with dews and drippings from the roof, that They leave Their footprints upon it; but when the heat of the day comes, and the sand and the rocks dry up, the prints of the little feet vanish away.\n\nThere are only three footprints visible, but these are singularly distinct. One points toward the wall of the cavern; the others toward the sea. Here and there, upon ledges or projections of the rock, all about the cavern, tiny straw sandals--children's zori--are lying: offerings of pilgrims to the little ones, that their feet may not be wounded by the stones. But all the ghostly footprints are prints of naked feet.\n\nThen we advance, picking our way very, very carefully between the stone-towers, toward the mouth of the inner grotto, and reach the statue of Jizo before it. A seated Jizo carven in granite, holding in one hand the mystic jewel by virtue of which all wishes may be fulfilled; in the other his shakujo, or pilgrim's staff. Before him (strange condescension of Shinto faith!) a little torii has been erected, and a pair of gohei! Evidently this gentle divinity has no enemies; at the feet of the lover of children's ghosts, both creeds unite in tender homage.\n\nI said feet. But this subterranean Jizo has only one foot. The carven lotus on which he reposes has been fractured and broken: two great petals are missing; and the right foot, which must have rested upon one of them, has been knocked off at the ankle. This, I learn upon inquiry, has been done by the waves. In times of great storm the billows rush into the cavern like raging Oni, and sweep all the little stone towers into shingle as they come, and dash the statues against the rocks. But always during the first still night after the tempest the work is reconstructed as before!\n\nHotoke ga shimpai shite: naki-naki tsumi naoshi-masu.' They make mourning, the hotoke; weeping, they pile up the stones again, they rebuild their towers of prayer.\n\nAll about the black mouth of the inner grotto the bone-coloured rock bears some resemblance to a vast pair of yawning jaws. Downward from this sinister portal the cavern-floor slopes into a deeper and darker aperture. And within it, as one's eyes become accustomed to the gloom, a still larger vision of stone towers is disclosed; and beyond them, in a nook of the grotto, three other statues of Jizo smile, each one with a torii before it. Here I have the misfortune to upset first one stone-pile and then another, while trying to proceed. My kurumaya, almost simultaneously, ruins a third. To atone therefore, we must build six new towers, or double the number of those which we have cast down. And while we are thus busied, the boatwoman tells of two fishermen who remained in the cavern through all one night, and heard the humming of the viewless gathering, and sounds of speech, like the speech of children murmuring in multitude.\n\nOnly at night do the shadowy children come to build their little stone-heaps at the feet of Jizo; and it is said that every night the stones are changed. When I ask why they do not work by day, when there is none to see them, I am answered: 'O-Hi-San [2] might see them; the dead exceedingly fear the Lady-Sun.'\n\nTo the question, 'Why do they come from the sea?' I can get no satisfactory answer. But doubtless in the quaint imagination of this people, as also in that of many another, there lingers still the primitive idea of some communication, mysterious and awful, between the world of waters and the world of the dead. It is always over the sea, after the Feast of Souls, that the spirits pass murmuring back to their dim realm, in those elfish little ships of straw which are launched for them upon the sixteenth day of the seventh moon. Even when these are launched upon rivers, or when floating lanterns are set adrift upon lakes or canals to light the ghosts upon their way, or when a mother bereaved drops into some running stream one hundred little prints of Jizo for the sake of her lost darling, the vague idea behind the pious act is that all waters flow to the sea and the sea itself unto the 'Nether-distant Land.'\n\nSome time, somewhere, this day will come back to me at night, with its visions and sounds: the dusky cavern, and its grey hosts of stone climbing back into darkness, and the faint prints of little naked feet, and the weirdly smiling images, and the broken syllables of the waters inward-borne, multiplied by husky echoings, blending into one vast ghostly whispering, like the humming of the Sai-no-Kawara.\n\nAnd over the black-blue bay we glide to the rocky beach of Kaka-ura.\n\nNote\n[2] 'August Fire-Lady'; or, 'the August Sun-Lady,' Amaterasu-oho-mi-Kami.\n\n\n【資料３-1】=================================== \nOn Poetry（帝国大学の講義録）, pp. 124-128 \n\nCHAPTER VIII \nEPIGRAMMATIC POEMS\n\nThe lecture last given in this class was of necessity a little heavy. By way of change, I propose this term to give a few shorter and lighter lectures--the first of which will be upon the subject of epigrammatic poetry with especial reference to correspondencies in English and Japanese poetry.\n     Let us first take the word \"epigrammatic\" and consider its history. I need scarcely tell you that the word is Greek in origin and signifies a \"writing upon\"--a surface especially. An epigram originally was a combination intended to be inscribed upon a surface:--the original meaning was therefore an inscription. And the original inscription, in very ancient times was probably of a funeral kind: we may suppose that the first compositions of the sort were inscriptions upon tombstones--epitaphs.\n     Any inscription intended for the surface of a monument, unless the monument should happen to be a very large one, would have to be of small size. It would be necessary to say as much as possible in a very few words. Accordingly a great deal of art, literary art, would be required for effective work of this kind. The art of saying great things in very few words is the art of high poetry.\n     Now we find that this was just how the old Greeks understood and practised the art of short poems intended for inscription upon tombstones or monuments or marble altars of their gods. It was required for such work that the writer should be able to bestir an emotion very deeply, or to utter a thought very profoundly, or to make a religious petition very beautifully,--all in the space of a few lines. Afterwards this art of short poetry was applied to a much larger variety of subjects ; but it was still called by the ancient name. After the Greeks, the Romans took up this art, and wrote thousands of epigrams. But they never did quite so well as the Greeks; and the most precious poetry of this kind in the Western world still are the thousands of epigrams forming the bulk of what is called \"The Greek Anthology\"--consisting of epitaphs, votive inscriptions (for altars and offerings to the gods), inscriptions for presents made to friends, poems written in time of joy and sorrow, love poems, inscriptions probably used for the decoration of apartments or guest--chambers (much as Chinese texts are used in Japan), and a vast number of tiny gems of verse on a variety of subjects, ranging from jest to philosophy.\n     From the list of subjects just given, you may be reminded of subjects to which the shorter forms of Japanese poetry are commonly devoted; and the suggestion is worth remembering. In order to do full justice to Japanese poetry,--. in order to understand its real worth and rank in the range of world literature,-- it is very much to be hoped that somebody will sooner or later attempt a proper comparison of Japanese and Greek verse. I do not think that Greek scholarship is at all necessary for such an undertaking-though it would be useful. \"The Greek Anthology\" has been very extensively and very carefully translated into every European language of importance. Japanese scholars should be careful to read not the metrical ones. Probably the German work is the best; but there are very beautiful French studies and English studies also on the subject.\n     So much for the meaning of epigram. Epigrammatic poetry, you see, is an ancient rather than a modern art; and epigrammatic poetry of English literature, which is scanty, is not very old. But there is quite enough of it for our present purpose. Let us now speak about those forms of Japanese verse which might be compared with the various forms of epigrammatic poetry in Western literature.\n     You have the form called tanka, consisting of thirty-one syllables, --suitable for serious subjects;--you have the haikai, consisting of seventeen syllables--suitable to an immense variety of subjects:--you have the dodoitsu, consisting of twenty-six syllables and usually devoted to love subjects. All these forms may justly be called epigrammatic poetry; and parallels for them can be found in English literature, as well as in Greek. Remember that we need not trouble ourselves while making this comparison about the mere matter of form in detail. Whether the verse be measured, as in Greek, by quantity, or as in English, by accents, the form need not concern us at all except in regard to brevity. We may dismiss it as a mere fashion of language from present consideration. But the spirit of the short poetry--the intellectual and emotional requirements of it--those we must consider, and we shall find that they are the same, or nearly the same, in the East as well as in the West. You, much better than I, know the rules about the sentiment to be expressed in the three forms of Japanese poetry which are really epigrammatic. I need not therefore attempt to say much about them. But we shall find that in English epigrammatic poetry, as in Japanese, it is the rule that the little verse should express or suggest a single emotion or idea in a powerful or clever way. However, as I said before, Greek verse offers better material for comparison. As this is only a class of English literature, nevertheless, an attempt to lecture on Greek epigrams would be quite out of place, and I shall make one comparison by way of illustration. The subject is an epitaph, composed probably about 2500 years ago for the grave of a little boy called Diodorus (Zonas of Sardis):--\n     \"Do thou, who rawest the boat of the dead in the water of this lake, full of reeds, for Hades, having a painful task, stretch out, dark Charon, thy hand to the son of Cinyras, as he mounts on the ladder by the gang-way, and receive him. For his sandals will cause the lad to slip about; and he fears to put his feet naked on the sand of the shore.\"\n     There could not have been any relation between the Greek fancy of the time of that inscription, and the Japanese fancy of the eighth century. But some time between the years 700 and 750 the Japanese poet, Okura, made a verse about the death of his little son Furuhi which is strangely like the Greek epigram. The form is tanka, and I suppose you all know the original text, * which I have tried to render as follows:--\n     \"So young he is that he cannot know the way. To the messenger of the Underworld I will give a bribe, and entreat him , saying:-- 'Do thou kindly take the little one upon thy back along the road.\"\n     This is the beautiful serious form of an epigram; and modern Western epigrams are best when they are serious. Considering these verses I shall begin a series of quotations, and those of you who love poetry will probably be able to find in old Japanese poetry the parallel for every citation I am able to offer.\n\nNote\n* Manyoshu, Bk. V.\n\n\n【資料３-2】=================================== \n『万葉集』山上憶良 \n男子名は古日(ふるひ)を恋ふる歌三首 長一首、短二首 \n　　世の人の　貴み願ふ　七種(くさ)の　宝も吾は \n　　何せむに　願ひ欲(ほり)せむ　我が中の　生れ出でたる \n　　白玉の　我が子古日は　明星(あかぼし)の　明くる朝(あした)は \n　　敷細(しきたへ)の　床の辺去らず　立てれども　居れども共に \n　　掻き撫でて　言問ひ戯(たは)れ　夕星(ゆふづつ)の　夕べになれば \n　　いざ寝よと　手を携はり　父母も　うへはな離(さか)り \n　　三枝(さきくさ)の　中にを寝むと　愛(うるは)しく　しが語らへば \n　　いつしかも　人と成り出でて　悪しけくも　吉けくも見むと \n　　大船の　思ひ頼むに　思はぬに　横様(よこしま)風の \n　　にはかにも　覆ひ来たれば　為むすべの　たどきを知らに \n　　白妙の　たすきを掛け　真澄鏡　手に取り持ちて \n　　天つ神　仰(あふ)ぎ祈(こ)ひ祷(の)み　国つ神　伏して額づき \n　　かからずも　かかりもよしゑ　天地の　神のまにまと \n　　立ちあざり　我が祈ひ祷めど　しましくも　吉けくはなしに \n　　漸々(やうやう)に　かたちつくほり　朝な朝(さ)な　言ふことやみ \n　　玉きはる　命絶えぬれ　立ち躍り　足すり叫び \n　　伏し仰ぎ　胸打ち嘆き　手に持たる　吾(あ)が子飛ばしつ　世間の道(904) \n反歌 \n　　若ければ道行き知らじ賄(まひ)はせむ下方(したへ)の使負ひて通らせ(905) \n　　布施置きて吾は祈ひ祷む欺かず直(ただ)に率(ゐ)行きて天道知らしめ(906) \n\n\n【資料３-3】=================================== \nヘルン文庫：書架番号[933] \nChamberlain, Basil Hall. \nThe classical poetry of the Japanese / [B. H. Chamberlain] - London: Trubner, 1880. - xii,227 p.; 22 cm. - (Trubner's Oriental series) ","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 Hearn=ラフカディオ・ハーン＝小泉八雲に関する様々を語る（第8回目） \n2019年度の第1回目となる \nこれは，当日，会場でICレコーダを用いて収録したMP3形式の音声ファイル  ","subitem_description_type":"Other"}]},"item_8_description_6":{"attribute_name":"会議概要（会議名, 開催地, 会期, 主催者等）","attribute_value_mlt":[{"subitem_description":"日時：2019年5月29日（水）13:00～14:30 \n場所：富山大学附属図書館2階ワーキングラボ ","subitem_description_type":"Other"}]},"item_8_full_name_3":{"attribute_name":"著者別名","attribute_value_mlt":[{"nameIdentifiers":[{"nameIdentifier":"373","nameIdentifierScheme":"WEKO"},{"nameIdentifier":"9000002439148","nameIdentifierScheme":"CiNii 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