TOG POEM ANALYSIS TEMPLATE

源氏物語歌分析型

THE TALE OF GENJI TOG POEM ANALYSIS TEMPLATE

源氏物語歌分析型

THE TALE OF GENJI - TEMPLATE FOR POEM ANALYSIS

歌の種類別

TYPES OF POEMS:

１．直接オーラル型―言い出す方　（ SPOKEN – INITIATES）

２．直接オーラル型ー返事する方　（ SPOKEN – REPLIES）

3. 　書き下す型―送り出す方　（WRITTEN/ATTACHMENT – INITIATES）

4. 　書き下す型―返事する方　（WRITTEN/ATTACHMENT – REPLIES）

5. 　内面―発想方　（MUSED – INITIATES）

6. 　内面―返送方　（MUSED - IN RESPONSE）

7. 　手紙―書く方　（LETTER – INITIATES）

8. 　てがみー返事する方　（LETTER – REPLIES）

添付（Ａ）

それぞれ上のカテゴリにて間接的書き手（代表を通して送り出す型及び返事する型）(SUBSECTION (A) FOR ANY OF THE ABOVE INDICATES SURROGATION, IE. THE POEM WAS COMPOSED BY SOMEONE ELSE)

分析する方法：（ANALYSIS FORMAT）

I 巻きの名前と番号　（JAPANESE CHAPTER NAME FROM FINDING LIST PLUS CHAPTER NUMBER）

II 言い出す人の名前　と歌の種類（上から１－８）（SPEAKER OR WRITER PLUS NUMBER OF TYPE OF POEM FROM ABOVE LIST）

(A) 原文（和文）と参考文献（例：日本古典文学全集１２：３８５）POEM IN JAPANESE LANGUAGE WITH PAGE NUMBER FROM SHOGAKKAN SERIES

(B)ローマジ書きPOEM IN JAPANESE LANGUAGE ROMANIZATION

(D) 　歌の口語訳（出来れば自分の訳）MODERN JAPANESE TRANSLATION (PREFERABLY YOUR OWN)

III 場（歌が行われる直前と直後の場面）CONTEXT (WHAT HAPPENS DIRECTLY BEFORE AND AFTER THE POEM?)

IV 映像リスト (LIST IMPORTANT IMAGES AND WHAT THEY SIGNIFY)

源氏物語歌の分析（例文）SAMPLES OF POEM ANALYSIS FROM THE TALE OF GENJI.

例Ｉ(EXAMPLE ONE)：

I. 紅葉賀MOMIJI NO GA 7

II. 源氏GENJI - 7

(A)もの思ふに、立ち舞ふべくも、あらぬ身の、袖うちふりし、心知りきや　　（日本古典文学全集１２：３８５）

(B) MONO OMOFU NI, TACHIMAFU BEKU MO, ARANU MI NO, SODE UCHIFURI SHI, KOKORO SHIRIKI YA

(D) あなたのことばかりを心配しながらも、目出度いようにおどったけど、ほんとうに心が入っていなかった事実をあなたが分かったでしょうか。

III. 場：Fujitsubo has seen the splendor of Genji dancing the 'Waves of the Blue Ocean' (Seikaiha). The next morning Genji's poem arrives, to her embarrassment. She replies in a rather cold and formalistic manner, suggesting distance, yet she is still impressed. Genji keeps the letter spread out in front of him, reading and re-reading it.

IV. Images: kokoro (the heart, the mind, the truth, that which cannot be seen) 'waving, dancing sleeves' (tachimau sode) - eroticism and hidden pleasure.

例II (EXAMPLE TWO):

I. 若菜上WAKANA-JO NUMBER 34

II. 紫の上MURASAKI - 3

(A)目に近く、移ればかはる、世の中を、行くすゑとほく、たのみけるかな (日本古典文学全集 15: 58)

(B) ME NI CHIKAKU, UTSUREBA KAWARU, YO NO NAKA WO, YUKU SUE TOOKU, TANOMI KERU KANA

(C) S. 555 (English translation by K. L. Richard) Though before my very eyes, It changes, This world and everything in it, What is it that has made me trust in you, Till the end of time?

(D) われわれの関係が変わった行ったこと眼の前にみているから、どうしてわたしがこの前より、これよりも永遠にあなたに頼ることでしょうか

III. 場： On the evening of the third day of nuptial visits Genji must make to formalize his marriage to the Third Princess, mainly from a reluctant sense of duty to his half brother the retired Emperor Suzaku, Murasaki turns her face from Genji as he makes preparations to go, and writes the above poem as if to console herself. So many things have intervened in her life with Genji (the senseless separation that had taken place when he left the capital for Suma and Akashi, his brief affair with Oborozukiyo, etc.) that Murasaki no ue feels bitter pangs of jealously.

IV. Images: The poem contains only images of inner turmoil with no direct reference to any object in the world. Disconnected and vaguely disturbing, the poem depends for its effect on the final questioning word 'kana.' The world of men and women (yo no naka) changes in her direct sight (me ni chikaku utsureba kawaru) because Genji comes back to her quarters each morning, but has not been sleeping at her side. Since this is an important pair of poems from the Wakana chapter, I will also give the response poem by Genji:

例III (EXAMPLE THREE):

I. 若菜上WAKANA-JO NUMBER 34

II. 源氏GENJI – ４

(A)命こそ、絶ゆとも絶えめ、さだめなき、世のつねならぬ、なかのちぎりを　　（日本古典文学全集１５：５８）

(B) INOCHI KOSO, TAYUTOMO TAEME, SADAMENAKI, YO NO TSUNE NARANU, NAKA NO CHIGIRI WO

(C) S. 555 (Translation by K. L. Richard) May whatever life I have, End now if end it must; I know that even in such an unsettling world as this, My promise to you is forever.

(D) 命はどうでもいいです；この不安のある世間に私があなたに結んだ契りは儚くないー永遠までです。

III. 場： Though Genji is hurried, emblematic of his distress perhaps, his poem strongly returns to Murasaki no ue, in the same vague and imageless way, that their promise to be together has not changed, and is not likely to change for the rest of their lives. This should be enough to calm Murasaki no ue, but, of course, it is only the beginning of what becomes an almost intolerable distress.

IV. Images: Genji's images are inochi, life itself, and yo, the outside world, the source of his current unrest. As a pair, these poems are strongly sentimental and romantic, much in the vein of modern song lyric.

例IV(EXAMPLE FOUR):

I. 匂宮NIOU MIYA NUMBER42

II. 薫KAORU - 5

(A)おぼつかな、誰に問はまし、いかにして、はじめもはても、知らぬわが身ぞ　（日本古典文学全集　１６：１８）

(B) OBOTSUKANA, TARE NI TOWAMASHI, IKA NI SHITE, HAJIME MO HATE MO, SHIRANU WAGA MI ZO

(D) 曖昧で、誰に聴いたほうがいいか、どうして、どこからか、なんで終わるのかを知らないこの私？

III. 場： Kaoru, whose mother is The Third Princess, has taken to giving herself up to reading the sutras and praying for a better life in the next world. She has taken vows after the death of Kaoru's biological father Kashiwagi. Her only solace, however, seems to be her only remaining tie to the world, her son. He has no one to guide him, he is essentially a fatherless orphan because Genji, the Shining One, is dead. The poem chronicles the beginning of Kaoru's disintegration. He is alone.

IV. Images: largely questions, not of the external world, but that he puts to his inner self, seeking a knowledge of a secret that has yet to be revealed, that Genji is not his real father. 'Obotsukana' means unclear and unsure, 'tare ni towamashi' implies that there is no one to whom he can go for help, 'ika ni shite' means 'how?' and 'shiranu waga mi' means a corporeal body that does not know itself. The poem has the flavor of high existential angst. A questioning Kaoru remains the basic nature of his personality, even after the secret of his birth is revealed to him. He doesn't go forward. He goes home to mama, The Third Princess. Noone hears his poem, nor is there anyone to answer it.