{"created":"2023-07-25T09:16:52.970338+00:00","id":17236,"links":{},"metadata":{"_buckets":{"deposit":"4321c5ce-673d-4eb2-b0be-591a9e0bcabe"},"_deposit":{"created_by":19,"id":"17236","owners":[19],"pid":{"revision_id":0,"type":"depid","value":"17236"},"status":"published"},"_oai":{"id":"oai:toyama.repo.nii.ac.jp:00017236","sets":["1428:1599:1779"]},"author_link":["373","104"],"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":"10th Hearn talk: sound file "}]},"item_8_date_7":{"attribute_name":"発表年月日","attribute_value_mlt":[{"subitem_date_issued_datetime":"2019-07-31","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：墓の話（１）\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【参考】の下に【資料】（当日配布資料の抜粋）があります。\n\n【参考】ラフカディオ・ハーンと俳句\n(1)\n持統天皇，『万葉集』巻２，１５９\n\n天皇、崩（かむあが）りましし時の大后（おほきさき）の御作歌一首\n\nやすみしし　わご大君の　夕されば　見し給ふらし　明けくれば　問ひ給ふらし\nやすみしし　わごおほきみの　ゆふされば　めしたまふらし　あけくれば　とひたまふらし\n\n神岳の　山の黄葉を　今日もかも　問ひ給はまし　明日もかも　見し賜はまし\nかむおかの　やまのもみちを　けふもかも　とひたまはまし　あすもかも　めしたまはまし\n\nその山を　振り放け見つつ　夕されば　あやに悲しび　明けくれば　うらさび暮らし\nそのやまを　ふりさけみつつ　ゆふされば　あやにかなしみ　あけくれば　うらさびくらし\n\n荒栲の　衣の袖は　干る時もなし\nあらたへの　ころものそでは　ふるときもなし\n\n(2)\n藤原道信朝臣，『拾遺和歌集』\n恒徳公の服ぶく脱ぎ侍るとて\n\n1293　限りあれば今日ぬぎすてつ藤衣はてなき物は涙なりけり（0678）＊\n\n(3)\n『万葉集』（詠み人知らず）\n02-0150\tうつせみし　神に堪へねば　離れ居て　朝嘆く君　放り居て　我が恋ふる君　玉ならば　手に巻き持ちて　衣ならば　脱く時もなく　我が恋ふる　君ぞ昨夜の夜　夢に見えつる\n\n(4)\n平兼盛，『拾遺集』恋一・622\nしのぶれど　色に出でにけり　わが恋（こひ）は　ものや思ふと　人の問ふまで\n（40番）\n\n(5)\n待賢門院堀河，『千載集』恋三・802\n長からむ　心も知らず　黒髪の　乱れて今朝は　ものをこそ思へ\n（80）\n\n(6)\n別所長治\nもろともに消え果つるこそうれしけれおくれ先立つならひ なる世に\n\n(7)\n（都都逸）\nとほくへだてて空うちながめ月が鏡になればよい\n\n(8)\n『金槐和歌集』，源実朝\n出テイナハ主ナキ宿ト成ヌトモ軒端ノ梅ヨ春ヲワスルナ\n\n(9)\n黒木弘安\nうす墨でかく玉章とみゆるかな　くもるかすみに帰るかりがね\n\n(10)\n黒木弘安\n写真術は造物者の画にして「光輝」は其筆なり\n\n【資料】\nIn Ghostly Japan by Lafcadio Hearn\nAuthor: Lafcadio Hearn\n\n\nBits of Poetry\n\nI\n\nAmong a people with whom poetry has been for centuries a universal fashion of emotional utterance, we should naturally suppose the common ideal of life to be a noble one. However poorly the upper classes of such a people might compare with those of other nations, we could scarcely doubt that its lower classes were morally and otherwise in advance of our own lower classes. And the Japanese actually present us with such a social phenomenon.\n\nPoetry in Japan is universal as the air. It is felt by everybody. It is read by everybody. It is composed by almost everybody,-- irrespective of class and condition. Nor is it thus ubiquitous in the mental atmosphere only: it is everywhere to be heard by the ear, and _seen by the eye_!\n\nAs for audible poetry, wherever there is working there is singing. The toil of the fields and the labor of the streets are performed to the rhythm of chanted verse; and song would seem to be an expression of the life of the people in about the same sense that it is an expression of the life of cicadae.... As for visible poetry, it appears everywhere, written or graven,--in Chinese or in Japanese characters,--as a form of decoration. In thousands and thousands of dwellings, you might observe that the sliding- screens, separating rooms or closing alcoves, have Chinese or Japanese decorative texts upon them;--and these texts are poems. In houses of the better class there are usually a number of gaku, or suspended tablets to be seen,--each bearing, for all design, a beautifully written verse. But poems can be found upon almost any kind of domestic utensil,--for example upon braziers, iron kettles, vases, wooden trays, lacquer ware, porcelains, chopsticks of the finer sort,--even toothpicks! Poems are painted upon shop-signs, panels, screens, and fans. Poems are printed upon towels, draperies, curtains, kerchiefs, silk- linings, and women's crepe-silk underwear. Poems are stamped or worked upon letter-paper, envelopes, purses, mirror-cases, travelling-bags. Poems are inlaid upon enamelled ware, cut upon bronzes, graven upon metal pipes, embroidered upon tobacco- pouches. It were a hopeless effort to enumerate a tithe of the articles decorated with poetical texts. Probably my readers know of those social gatherings at which it is the custom to compose verses, and to suspend the compositions to blossoming frees,-- also of the Tanabata festival in honor of certain astral gods, when poems inscribed on strips of colored paper, and attached to thin bamboos, are to be seen even by the roadside,--all fluttering in the wind like so many tiny flags.... Perhaps you might find your way to some Japanese hamlet in which there are neither trees nor flowers, but never to any hamlet in which there is no visible poetry. You might wander,--as I have done,--into a settlement so poor that you could not obtain there, for love or money, even a cup of real tea; but I do not believe that you could discover a settlement in which there is nobody capable of making a poem.\n\n\nII\n\nRecently while looking over a manuscript-collection of verses,-- mostly short poems of an emotional or descriptive character,--it occurred to me that a selection from them might serve to illustrate certain Japanese qualities of sentiment, as well as some little-known Japanese theories of artistic expression,--and I ventured forthwith, upon this essay. The poems, which had been collected for me by different persons at many different times and places, were chiefly of the kind written on particular occasions, and cast into forms more serried, if not also actually briefer, than anything in Western prosody. Probably few of my readers are aware of two curious facts relating to this order of composition. Both facts are exemplified in the history and in the texts of my collection,--though I cannot hope, in my renderings, to reproduce the original effect, whether of imagery or of feeling.\n\nThe first curious fact is that, from very ancient times, the writing of short poems has been practised in Japan even more as a moral duty than as a mere literary art. The old ethical teaching was somewhat like this:--\"Are you very angry?--do not say anything unkind, but compose a poem. Is your best-beloved dead?-- do not yield to useless grief, but try to calm your mind by making a poem. Are you troubled because you are about to die, leaving so many things unfinished?--be brave, and write a poem on death! Whatever injustice or misfortune disturbs you, put aside your resentment or your sorrow as soon as possible, and write a few lines of sober and elegant verse for a moral exercise.\" Accordingly, in the old days, every form of trouble was encountered with a poem. Bereavement, separation, disaster called forth verses in lieu of plaints. The lady who preferred death to loss of honor, composed a poem before piercing her throat The samurai sentenced to die by his own hand, wrote a poem before performing hara-kiri. Even in this less romantic era of Meiji, young people resolved upon suicide are wont to compose some verses before quitting the world. Also it is still the good custom to write a poem in time of ill-fortune. I have frequently known poems to be written under the most trying circumstances of misery or suffering,--nay even upon a bed of death;-and if the verses did not display any extraordinary talent, they at least afforded extraordinary proof of self-mastery under pain.... Surely this fact of composition as ethical practice has larger interest than all the treatises ever written about the rules of Japanese prosody.\n\nThe other curious fact is only a fact of aesthetic theory. The common art-principle of the class of poems under present consideration is identical with the common principle of Japanese pictorial illustration. By the use of a few chosen words the composer of a short poem endeavors to do exactly what the painter endeavors to do with a few strokes of the brush,--to evoke an image or a mood,--to revive a sensation or an emotion. And the accomplishment of this purpose,--by poet or by picture-maker,-- depends altogether upon capacity to suggest, and only to suggest. A Japanese artist would be condemned for attempting elaboration of detail in a sketch intended to recreate the memory of some landscape seen through the blue haze of a spring morning, or under the great blond light of an autumn after-noon. Not only would he be false to the traditions of his art: he would necessarily defeat his own end thereby. In the same way a poet would be condemned for attempting any completeness of utterance in a very short poem: his object should be only to stir imagination without satisfying it. So the term ittakkiri--meaning \"all gone,\" or \"entirely vanished,\" in the sense of \"all told,\"-- is contemptuously applied to verses in which the verse-maker has uttered his whole thought;--praise being reserved for compositions that leave in the mind the thrilling of a something unsaid. Like the single stroke of a temple-bell, the perfect short poem should set murmuring and undulating, in the mind of the hearer, many a ghostly aftertone of long duration.\n\n\nIII\n\nBut for the same reason that Japanese short poems may be said to resemble. Japanese pictures, a full comprehension of them requires an intimate knowledge of the life which they reflect. And this is especially true of the emotional class of such poems,--a literal translation of which, in the majority of cases, would signify almost nothing to the Western mind. Here, for example, is a little verse, pathetic enough to Japanese comprehension:--\n\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. Or take this recent composition, by a University student, which has been praised by good judges:--\n\nFurusato ni\nFubo ari--mushi no\nKoe-goe! (1)\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 evokedby 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.\n\n\nThe 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. But 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!\nShoji ni\nYubi no ato!\n\n--\"Oh, body-piercing wind!--that work of little fingers in the shoji!\" (2).... 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\n2 More literally:--\"body-through-pierce wind--ah! --shoji in the traces of [viz.: holes made by] fingers!\"\n\n\nThe impossibility of preserving the inner quality of such poems in a literal rendering, will now be obvious. Whatever I attempt in this direction must of necessity be ittakkiri;--for the unspoken has to be expressed; and what the Japanese poet is able to say in seventeen or twenty-one syllables may need in English more than double that number of words. But perhaps this fact will lend additional interest to the following atoms of emotional expression:--\n\nA MOTHER'S REMEMBRANCE\nSweet and clear in the night, the voice of a boy at study,\nReading out of a book.... I also once had a boy!\n\nA MEMORY IN SPRING\nShe, who, departing hence, left to the flowers of the plum-tree,\nBlooming beside our eaves, the charm of her youth and beauty,\nAnd maiden pureness of heart, to quicken their flush and fragrance,--\nAh! where does she dwell to-day, our dear little vanished sister?\n\nFANCIES OF ANOTHER FAITH\n(1) I sought in the place of graves the tomb of my vanished friend:\nFrom ancient cedars above there rippled a wild doves cry.\n\n(2) Perhaps a freak of the wind-yet perhaps a sign of remembrance,--\nThis fall of a single leaf on the water I pour for the dead.\n\n(3)I whispered a prayer at the grave: a butterfly rose and fluttered--\nThy spirit, perhaps, dear friend!...\n\nIN A CEMETERY AT NIGHT\nThis light of the moon that plays on the water I pour for the dead,\nDiffers nothing at all from the moonlight of other years.\n\nAFTER LONG ABSENCE\nThe garden that once I loved, and even the hedge of the garden,--\nAll is changed and strange: the moonlight only is faithful;--\nThe moon along remembers the charm of the time gone by!\n\nMOONLIGHT ON THE SEA\nO vapory moon of spring!--would that one plunge into ocean\nCould win me renewal of life as a part of thy light on the waters!\n\nAFTER FAREWELL\nWhither now should! look?--where is the place of parting?\nBoundaries all have vanished;--nothing tells of direction:\nOnly the waste of sea under the shining moon!\n\nHAPPY POVERTY\nWafted into my room, the scent of the flowers of the plum-tree\nChanges my broken window into a source of delight.\n\nAUTUMN FANCIES\n\n(1) Faded the clover now;--sere and withered the grasses:\nWhat dreams the matsumushi(1) in the desolate autumn-fields?\n\n(2) Strangely sad, I thought, sounded the bell of evening;--\nHaply that tone proclaimed the night in which autumn dies!\n\n(3)Viewing this autumn-moon, I dream of my native village\nUnder the same soft light,--and the shadows about my home.\n\n1 A musical cricket--calyptotryphus marmoratus.\n\n\nIN TIME OF GRIEF, HEARING A SEMI (CICADA)\nOnly \"I,\" \"I,\"--the cry of the foolish semi!\nAny one knows that the world is void as its cast-off shell.\n\nON THE CAST-OFF SHELL OF A SEMI\nOnly the pitiful husk!... O poor singer of summer,\nWherefore thus consume all thy body in song?\n\nSUBLIMITY OF INTELLECTUAL POWER\nThe mind that, undimmed, absorbs the foul and the pure together--\nCall it rather a sea one thousand fathoms deep!(2)\n\n2. This is quite novel in its way,--a product of the University:\nthe original runs thus:--\n\nNigoreru mo\nSumeru mo tomo ni\nIruru koso\nChi-hiro no umi no\nKokoro nari-kere!\n\nSHINTO REVERY\n\nMad waves devour The rocks: I ask myself in the darkness,\n\"Have I become a god?\" Dim is The night and wild!\n\n\"Have I become a god?\"--that is to say, \"Have I died?--am I only a ghost in this desolation?\" The dead, becoming kami or gods, are thought to haunt wild solitudes by preference.\n\n\nIV\n\nThe poems above rendered are more than pictorial: they suggest something of emotion or sentiment. But there are thousands of pictorial poems that do not; and these would seem mere insipidities to a reader ignorant of their true purpose. When you learn that some exquisite text of gold means only, \"Evening- sunlight on the wings of the water-fowl,\"--or,\"Now in my garden the flowers bloom, and the butterflies dance,\"--then your first interest in decorative poetry is apt to wither away. Yet these little texts have a very real merit of their own, and an intimate relation to Japanese aesthetic feeling and experience. Like the pictures upon screens and fans and cups, they give pleasure by recalling impressions of nature, by reviving happy incidents of travel or pilgrimage, by evoking the memory of beautiful days. And when this plain fact is fully understood, the persistent attachment of modern Japanese poets--notwithstanding their University training--to the ancient poetical methods, will be found reasonable enough.\n\nI need offer only a very few specimens of the purely pictorial poetry. The following--mere thumb-nail sketches in verse--are of recent date.\n\nLONESOMENESS\nFuru-dera ya:\nKane mono iwazu;\nSakura chiru.\n--\"Old temple: bell voiceless; cherry-flowers fall.\"\n\nMORNING AWAKENING AFTER A NIGHT'S REST IN A TEMPLE\nYamadera no\nShicho akeyuku:\nTaki no oto.\n--\"In the mountain-temple the paper mosquito-curtain is lighted by the dawn: sound of water-fall.\"\n\nWINTER-SCENE\nYuki no mura;\nNiwatori naite;\nAke shiroshi.\n\n \"Snow-village;--cocks crowing;--white dawn.\"\n\nLet me conclude this gossip on poetry by citing from another group of verses--also pictorial, in a certain sense, but chiefly remarkable for ingenuity--two curiosities of impromptu. The first is old, and is attributed to the famous poetess Chiyo. Having been challenged to make a poem of seventeen syllables referring to a square, a triangle, and a circle, she is said to have immediately responded,--\n\nKaya no te wo\nHitotsu hazushite,\nTsuki-mi kana!\n--\"Detaching one corner of the mosquito-net, lo! I behold the moon!\" The top of the mosquito-net, suspended by cords at each of its four corners, represents the square;--letting down the net at one corner converts the square into a triangle;--and the moon represents the circle.\n\nThe other curiosity is a recent impromptu effort to portray, in one verse of seventeen syllables, the last degree of devil-may- care-poverty,--perhaps the brave misery of the wandering student;--and I very much doubt whether the effort could be improved upon:--\n\nNusundaru\nKagashi no kasa ni\nAme kyu nari.\n--\"Heavily pours the rain on the hat that I stole from the scarecrow!\"\n\nIII\n蝶々に去年死したる妻恋し\nふるさとに父母あり　虫の声々\n身にしみる風や障子に指のあと\n冬の夜や遠く聞こゆる咿唔（いご）の声\nうつり香を軒端の梅にとどめおきて\n　きこゑし妹（いも）はいづちいにけん\n墓訪へば杉に鳩鳴く暮の秋\n風そよと墓石へ桐の一葉かな\nぬかづけば墓から蝶の舞ひあがる\n墓にそそぐ水やむかしの月の影\n廃園に月の昔を思ふかな\n海に入りて生れかはらばや朧月\n方角も知らぬ海なり春の月\n破れ窓もうれし梅が香風のまに\n萩枯れて松虫何を夢むらん\n秋行くと告ぐるにや鐘遠くより\nふるさとの木の蔭おもふ秋の月\n世の中は蝉の抜殻何を泣く\n歌に身を枯らす愚かや蝉の殻\n濁れるも澄めるもともに容るるこそ\n千尋の海の心なりけれ\n怒濤岩を噛む我を神かと朧の夜\n\nIV\n古寺や鐘ものいはず桜散る\n山寺の紙帳開けゆく滝の音\n雪の村鶏鳴いて明け白し\n蚊帳の手を一つはづして月見かな\n盗んだる案山子の笠に雨急なり","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 \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7月31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":"104","nameIdentifierScheme":"WEKO"},{"nameIdentifier":"9000006573266","nameIdentifierScheme":"CiNii ID","nameIdentifierURI":"http://ci.nii.ac.jp/nrid/9000006573266"},{"nameIdentifier":"30244677","nameIdentifierScheme":"e-Rad","nameIdentifierURI":"https://nrid.nii.ac.jp/nrid/1000030244677"}],"names":[{"name":"Nabae, Hitomi"}]}]},"item_8_publisher_34":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"富山大学附属図書館 "}]},"item_8_relation_43":{"attribute_name":"関係URI","attribute_value_mlt":[{"subitem_relation_name":[{"subitem_relation_name_text":"Essays in European and oriental literature by Lafcadio Hearn ( Internet Archive)"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"https://archive.org/details/in.ernet.dli.2015.94245","subitem_relation_type_select":"URI"}},{"subitem_relation_name":[{"subitem_relation_name_text":"Essays in European and oriental literature by Lafcadio Hearn ( Internet Archive)"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"https://archive.org/details/essaysineuropean00hear","subitem_relation_type_select":"URI"}},{"subitem_relation_name":[{"subitem_relation_name_text":"Essays in European and oriental literature by Lafcadio Hearn ( Internet Archive)"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"https://archive.org/details/dli.bengal.10689.11512","subitem_relation_type_select":"URI"}},{"subitem_relation_name":[{"subitem_relation_name_text":"In Ghostly Japan (Project Gutenberg)"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"https://www.gutenberg.org/ebooks/8128","subitem_relation_type_select":"URI"}},{"subitem_relation_name":[{"subitem_relation_name_text":"In Ghostly Japan (Internet Archive)"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"https://archive.org/details/essaysineuropean00hear","subitem_relation_type_select":"URI"}},{"subitem_relation_name":[{"subitem_relation_name_text":"In Ghostly Japan (LibriVox recording)"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"https://archive.org/details/ghostly_japan_1101_librivox/inghostlyjapan_10_hearn.mp3","subitem_relation_type_select":"URI"}},{"subitem_relation_name":[{"subitem_relation_name_text":"ハーンのニューオリンズ時代における日本との出会い : 『日本の詩瞥見』をめぐって (ToRepo)"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"http://doi.org/10.15099/00016882","subitem_relation_type_select":"DOI"}},{"subitem_relation_name":[{"subitem_relation_name_text":"ラフカディオ・ハーンのニューオリンズ時代における日本との出会い : 「日本の詩瞥見」をめぐって (ToRepo)"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"http://doi.org/10.15099/00017840","subitem_relation_type_select":"DOI"}},{"subitem_relation_name":[{"subitem_relation_name_text":"Anthologie japonaise; 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