SEIGAIHA (The Latest Handbook of Japanese Language and Literature, Published by Hamashima Shoten)
徳島市在住 稲井一雄（いない・かずお）
毎月第三水曜日、ロサンゼルス時間・午後六時から八時まで、カルチュラルニュースは、オンラインで鳴門教育大名誉教授の世羅博昭先生の「源氏物語を原文で読む」セミナーを行っています。筆者の稲井さんは、このオンライン・セミナーの参加者のひとりです。
源氏物語の光源氏は、当時の女性たちが憧れる存在として描かれており、身分が高いだけでなく、卓越した美貌や美声、舞楽・和歌・書道・絵画などあらゆる分野で一流という非現実的な万能ぶりが特徴です。作者は人物を単純に褒めるのではなく、普段の状態をわずかに悪く見せたうえで、それでも周囲より優れているとする比較の手法など、独自の工夫を凝らした褒め方をします。今回は「紅葉賀」の巻で、光源氏と少女・若紫に向けられた称賛の方法を紹介します。
源氏物語は約1000年以上前に成立した物語ですから、現代小説と違ったところがあるのは当然です。現代小説が世間のどこにでもいそうな平凡な人物を主人公とする科学主義に基づいているのに対して、物語は英雄、豪傑、貴公子といった当時の人々の憧憬する人物を主人公とします。科学的に隅々に実証するのは野暮です。声に出して物語そのものを楽しむことです。
源氏物語の主人公、光源氏は、当時の女性たちの憧れであって、地位や身分が高い（それだけ思いのままのいい暮らしができる）だけでなく、輝くような美貌と美声の持ち主で、舞楽、和歌、書道、絵画など、どの方面をとっても一流です。非現実的な存在ですが、作者は主人公に対して手の込んだ独特の褒め方をして、読者を更なる憧れへと煽り立てます。すでに述べたことですが、人を単純に褒めるのではなく、普段の状態をやや悪くして、それにもかかわらず周囲の人々より優れているといった手の込んだ比較の褒め方です。他にも様々な褒め方をしますので、次に「紅葉賀」の巻で述べましょう。
三条朱雀（さんじょうすざく）にある上皇様への行幸（ぎょうこう、ぎょうごう）を、初冬の十月十余日（とおかあまりよか）に予定しています。宮中に留まらなければならないお妃様たちは、そこでの特別行事を見ることができないのを大層残念がります。そこで帝は、最愛の藤壺の宮のためもあって、宮中で当日の舞踏のリハーサルを行います。上代に唐や朝鮮から伝来した舞踏は、日本古来の歌舞と共に次第に磨き上げられ、日本的で華やかなものに完成していました。
源氏の中将は、唐伝来の「青海波（せいがいは）」を舞ってみせます。作者が青海波をモチーフに選んだのは、青海波が広長の袖を振って舞う二人舞いだったからです。袖を振ることで源氏は藤壺に秋波を送ります。また、舞いの相手をライバルの頭中将にして、二人を比較するためです。頭中将は、母の大宮が帝の姉妹ですから、高貴な血を受け継ぎ、容貌や態度が世人より特別に立派で優れているのですが、源氏とあい並んで舞うと、彼の影は薄くなるというのです。
青海波の衣装は、身長が相当高くなければ映えません。『日本古典文学体系14源氏物語一』（岩波書店）の補註によれば、青海波の昔の衣装を調査した結果、この服装に適合するのは五尺七寸前後の人だというのです。源氏は頭中将より高くなければなりませんから相当の長身です。
ところで、舞楽には「蘭陵王（らんりょうおう）」という一人舞いの勇壮な舞いがあります。蘭陵王は、北斉（550〜577）の王族で実際にいた人物ですが、本当のところはよく分かりません。しかし後世の伝説では、天性の美貌、美声の持ち主で、戦において仮面で顔を隠して敵軍を破った人物とされています。また、彼の世間の評判があまりにも高くて、皇太子の母親の皇后や周囲の高官たちから妬まれました。遂に後主（王朝最後の君主）から死を賜り、若くして非業の死を遂げます。紫式部は、蘭陵王の伝説からも源氏や弘徽殿の女御の着想を得たことでしょう。しかし、物語で源氏が「蘭陵王」を舞うのは避けました。源氏の顔が人々に見えなくなって、物語としては具合が悪いからです。
西日が傾き、日の光に照らされた源氏のお顔は普段にも増して輝き、彼の舞いや詠（えい）の声に、帝を始め、上達部（かんだちめ）や親王たちは、皆感動の涙を流します。まるで蘭陵王のようです。特に注目する箇所がありました。皇太子の母親の弘徽殿の女御が、彼の舞いを見て呟く場面です。宮中の誰もが称賛する中、弘徽殿の女御は源氏に対してこんな減らず口を叩きます。「神様が彼を天に引き揚げて雲隠れしそうな容貌ね。まあ嫌だ、気持ちが悪いわ。」と言うのです。しかしこの嫌味な言葉も、舞いを舞う彼の容貌が特別に華やいでいるのを暗に認めていることを意味します。嫉妬を抱く者の罵りが、称賛の裏返しになっているという面白さです。
人があまりにも美しかったり、素晴らしかったりすると、天人が拐（さら）っていってしまうという考えが当時あったようです。当時源氏・狭衣（さごろも）と並び称された『狭衣物語』には、そんなことが描かれています。
旧暦五月の雨雲が覆う鬱陶しい季節でした。宮中の帝の御前で何か楽しい催し物をして気分を紛らそうということになりました。帝は、御座所（おましどころ）の前の庇（ひさし）の間に集まった殿上人に、各自楽器を演奏してみせよとお命じになりました。そこで狭衣は横笛を演奏します。その美しい笛の音に、月の都人の天稚御子（あめわかみこ）が惹かれて舞い降りて来て彼を天に連れ去ろうとします。帝や東宮は慌てて彼の手を捉えて連れて行かれないようにしました。
「紅葉賀」に戻ります。試楽（リハーサル）を終えたその日の夜、御寢（ぎょしん）に侍（じ）した藤壺に対して、帝は、「今日の試楽は、源氏の青海波の素晴らしさに尽きてしまったね。」とおっしゃって、「あなたはどのようにご覧になりましたか。」とお尋ねになりました。藤壺は申し上げにくそうに「格別でございました。」とだけ答えます。帝はなおも源氏の舞いの素晴らしさを藤壺に褒め続けます。そして、「だからあなたに彼の素晴らしさをお見せしたいと思って、今日の試楽を用意させたのですよ。」とおっしゃいます。そんなことがあって、藤壺は、それまで出し渋っていた源氏の手紙にお返事をして差し上げることになります。
源氏から藤壺に送られてきた手紙は、「物思いのためにあなたの前で舞えそうにない我が身でしたが、懸命に衣装の袖を振って舞った私の気持ちがお分かりになったでしょうか。」といった内容の歌でした。「袖を振る」は、恋しい人に秋波を送る合図を意味します。源氏は青海波を舞いながら恋の思いを密かに藤壺に伝えようとしたのです。もちろん、藤壺は、源氏の恋の思いへのお返事をするはずがありません。帝の妃として臣下をお褒めになるといった形式の后言葉でお返事します。「袖を振る」といった恋心をはぐらかして、「唐人が袖を振って舞ったという故事（こじ）を知りませんのでなんとも申せませんが、ただ、あなたの舞いの手振りに感動しましたよ。」といったお返事です。源氏に取ってはそっけない内容ですが、それでも藤壺からやっとお返事をもらえたことが嬉しかったに違いありません。源氏への手紙の返事を拒み続けた藤壺が、源氏の舞いの素晴らしさに手紙を書かざるを得なかったという形で、作者は源氏を賞賛しています。
それでは源氏の恋女房の紫の上（ここではまだ若紫の段階ですが）はどうでしょうか。
紫の上は光源氏の最愛の女性であり、源氏の兄の娘の女三宮が源氏の許に降嫁して来るまで、源氏との夫婦仲は実に仲睦まじいものでした。光源氏に似つかわしい伴侶となる身ですから、作者は彼女に対しても始終褒め称え、可愛らしい賞賛すべき少女として描いています。
若紫の巻では、源氏が北山で僧都の屋敷内を垣間見した時の彼女がそうでした。「走って来た女の子（若紫）は、周囲の他の多くの子供たちと全く異なっていて、将来の成長が大層好ましく思いやられて、可愛らしい顔つきである。（途中略）何かで泣いたらしく顔を大層赤く擦って立っていた。」と語られます。当人を普段の状態より悪くさせておいて賞賛しています。「いぬき」という名の遊び友達を登場させて、比較をより明確にします。「雀の子をいぬきが逃してしまったの。私がせっかく編み籠の中で飼っていたのに。」と、若紫はおばあちゃんの尼君に告げ口をしますが、鷹揚な若紫に比べて、いぬきは元気すぎて若紫の遊びの邪魔をよくします。
紅葉賀の巻になると、宮中で源氏が舞った青海波の素晴らしさが描かれると同時に、十一歳ばかりの若紫に対しても、学問や音楽方面で優れた才能の持ち主であることが語られます。同じ年頃のいぬきは相変わらず活発な子で、若紫が大切にしている玩具を壊してしまう粗相ぶりですが、一方の若紫は、成長著しいものがありました。
源氏は藤壺との不義密通以後、悶々とした日々を過ごす一方、二条院では若紫のいる西の対に渡って心を慰めます。若紫は帰宅した源氏が自分のところへなかなか来ないと、拗ねてそっぽを向くのです。部屋の端に座って拗ねている若紫に、源氏は「こちらにおいで」と招きます。それでも知らぬふりをする若紫が発した一言は聞き逃せません。万葉集巻第七の譬喩歌の引用をして、「潮が満ちると、隠れてしまう磯の海藻なのでしょうか、見ることが稀で、恋慕うことが多くて。」と言うのです。源氏は「おや、憎らしい。古歌を踏まえてお返事することに慣れておしまいになったのですね。」と感想を述べます。若紫は二条院に保護されてから、精神的に著しく成長します。
また、源氏は若紫に十三弦の琴を教えましたが、覚えが早く、どんな難しい調子の曲もたった一度で習得してしまいます。源氏が笛を吹くと、その曲にピタッと合わせて上手に弾きこなすのです。若紫は、将来の源氏の伴侶となるにふさわしい資質と才能を持った人物として育ってゆきます。
The 14th episode of the Series, 〜How to praise Genji in the Momiji no Ga chapter.
“Research diary of sources of Heian hot springs.”
By Kazuo Inai
In The Tale of Genji, the protagonist Hikaru Genji is portrayed as an object of admiration for women of the time. Not only does he have high status, but he is also endowed with a dazzling beauty and a beautiful voice, and he is second to none in every field—such as dance, Japanese poetry, calligraphy, and painting. Although he is a somewhat unrealistic figure, the author praises him in a carefully crafted, uniquely distinctive way. Rather than simply praising him outright, the author employs various techniques—for example, by slightly worsening his usual condition and yet emphasizing that he remains superior to those around him, among other forms of comparison-based praise. In this piece, I will show you examples of the praises directed at Genji and the young girl, Wakamurasaki, in the “Momiji no Ga” chapter.
Since The Tale of Genji was created about a thousand years ago, it is only natural that it differs from modern novels. Modern novels, based on scientism, often take as their protagonists ordinary people who seem as if they could be anywhere in society. By contrast, old tale makes as its protagonists figures whom people of that time admired—heroes, mighty warriors and noble young gentlemen. For the Tale of Genji, all scientific verification would be in vain. Let us enjoy the tale as a roman itself. Even if only read the sentences with a resonating voice, it’s a very pleasant time. As like as a music.
The protagonist of The Tale of Genji, Hikaru Genji, was an object women longing for at that time. Not only did he have a high position and rank (which meant a life of comfort in which everything could be indulged), but he also possessed a dazzlingly beautiful face and a beautiful voice, and in every field—bugaku (court dance), Japanese poetry (waka), calligraphy, drawing pictures, and so forth—he was first-rate. Though he is an unreal figure, the author praises him in elaborate, distinctive ways, spurring the reader on to even greater admiration. As already mentioned, rather than praising someone simply on their own merits, the praise is crafted by slightly worsening their usual state and then comparing other people to claim that—despite that—he is better than those around him. There are many other kinds of praise as well, which we will see in the “Momiji-no-ga” (The celebration in maple leaves view) chapter.
In early winter, on the tenth odd a few days of the tenth month (the lunar calendar), the Emperor’s visit (gyōkō/gyōgō) is scheduled to take place in the retired emperor’s palace in Sanjō Suzaku. The high ranks and other consorts who must remain in the palace are greatly disappointed that they will not be able to watch special events held there. Therefore, the Emperor—also for the sake of Fujitsubo beloved—will conduct a rehearsal of the day’s bugaku within the Imperial Palace.
The songs and dances that had been brought from China and Korea in earlier times were refined over the course of time together with Japan’s native songs and dances, and by then they had been completed into something distinctly Japanese and splendidly festive.
Genji, the Middle Captain (Chūjō), performs the bugaku dance “Seigaiha,” a piece of Chinese origin. The author’s choice of “Seigaiha” as the motif is because “Seigaiha” is a two-person dance in which the sleeves are swung widely. By swinging the sleeves, Genji makes a flirtatious look at Fujitsubo. Furthermore, he makes the dance partner the rival, Tō no Chūjō —so that the two persons can be compared. Since Tō no Chūjō’s mother, Ōmiya is a sister of the Emperor, he inherits noble blood and his appearance and manner are unusually fine and superior to those of ordinary people. Yet when he dances side by side with Genji, his shadow becomes less noticeable.
The costumes for “Seigaiha” are such that they do not look effective unless the dancer is of considerable height. According to the supplemental notes in Nihon koten bungaku taikei 14: Genji monogatari I (Iwanami Shoten), based on an investigation into the costumes used for “Seigaiha” in the past, the people for whom this outfit is suitable are around five ‘shaku’ seven ‘sun’(about 1.72 m) in height. As the protagonist Hikaru Genji would be taller than Tō no Chūjō, he seems to be very tall.
Now, among Japanese old court dances there is a martial solo dance called “Rangyōō”. In fact, Rangyōō was a member of the royal family of Northern Qi dynasty (550–577); he was a real person, though, to be frank, not much is known about him. However, later legend says that he possessed natural beauty of face and a beautiful voice, and that in battle he hid his face behind a fierce mask, defeating the enemy forces. It also says that his reputation among the public was so high that he aroused envy in the Empress—mother of the crown prince—and in various high-ranking officials around her. In the end, he was granted death by the last ruler (the final sovereign of the dynasty) and died a premature and unjust death.
Murasaki Shikibu surely drew from the legend of Rangyōō as well when conceiving Genji and the Lady of Kokiden. Yet in the story, she avoids “Rangyōō.” It would be bad for the story if Genji’s face became invisible to people.
As the western sunlight slants and illuminates Genji’s face, it shines even more brilliantly than usual. The Emperor, as well as the attendants of the upper echelon (kandachime) and the princes—everyone—moves to tears at the sight of his dancing and the sound of his reciting. It is as if he were Rangyōō himself. There was one especially noteworthy scene.
The Lady of Kokiden no Nyōgo —the crown prince’s mother—murmurs while watching him dance. While everyone in the palace praises him, Kokiden no Nyōgo does not hesitate to speak such impertinence to Genji: “What a face—surely the gods will lift him up into the heavens and make him disappear into the clouds. How awful. It makes me feel sick.”
Yet even this barbed remark, in effect, recognizes—implicitly—that the beauty of his appearance while dancing is extraordinarily splendid. The interest lies in the way a slander born of jealousy turns into its opposite: praise.
It seems that at the time there was a belief that if a person were too beautiful or too wonderful, celestial beings might come and abduct him away. In the “Sagoromo Monogatari” (The Tale of Sagoromo), which is mentioned alongside Genji and Sagoromo as a work of similar standing, such things are indeed depicted.
It was an unpleasant season, with rainy clouds covering the fifth month. It was decided that, in the Emperor’s presence within the palace, they would hold some enjoyable entertainment to distract people from their mood. The Emperor ordered attendants(denjōbito) who had gathered in the hall of Hisashinoma in front of the Emperor’s seat to demonstrate by playing musical instruments of their own. There, Sagoromo plays a side-blown flute. Drawn by the beautiful flute tones, Amewakamiko (a celestial child of the moon’s capital) descends and attempts to dance down and carry him off into the heavens. The Emperor and the Crown Prince hurriedly caught him by the hand, preventing him from being taken away.
Returning to “Momijinoga.” On the night of that same day after the rehearsal, the Emperor talkes to Fujitsubo, who had served at the Emperor’s sleeping quarters. He says, “This rehearsal today is nothing but the sheer excellence of Genji’s ‘Seigaiha.’” Then he asks, “How did you see it?” Fujitsubo, with difficulty, answers only, “It was, in a word, exceptional.” The Emperor continues to heap praise on Genji’s dancing to Fujitsubo. And besides says, “That is why I wanted you to see how wonderful he is, so I arranged for today’s rehearsal.” As a result, Fujitsubo is moved to reply to the letter from Genji, which she had been reluctant to answer until then.
The letter Genji sends to Fujitsubo is a waka (poem) along the lines of: “Though I was not able to dance before you for reasons of brooding thoughts, did you understand the feelings I had as I swung my sleeves and danced with all my might?” “Swung sleeves” is the same as a flirtational look, an expression of romantic longing toward the person one desires. While dancing “Seigaiha,” Genji tried secretly to communicate his love to Fujitsubo. Of course, Fujitsubo would never answer Genji’s romantic advances. Instead, she responds in the form of a kind of wife’s (or queen’s) formal statement praising a subordinate, saying something like: “If there is anything to be said about a tale of how the Tang man danced while swinging his sleeves, I do not know it—so I can’t really comment. But I was truly moved by the way you moved, and the gestures of your dance.”
For Genji, it may sound somewhat cool, but he must have been pleased beyond measure to finally receive any reply at all from Fujitsubo. The author praises Genji by showing that Fujitsubo, who had continued to refuse to respond to Genji’s letters, is compelled to write back due to the sheer splendor of his dancing.
Then what about Murasaki no Ue (here, she is still at the stage of “Wakamurasaki”)?
Murasaki no Ue was Genji’s most beloved woman. Until a niece of Genji (the daughter of the brother by the different mother), Princess Onna San no Miya came to live with him after marrying into Genji’s household, their marital relationship was truly tender and affectionate. Since she will be a companion suited to Genji, the author praises her constantly and depicts her as an ideal pretty girl.
In the “Wakamurasaki” chapter, we see her as she was when Genji peered through a hedge into the residence of the priest in the North Mountain area. She is described as a girl who runs up: “The girl (Wakamurasaki) who came running was entirely different from many other children around her; her future growth was most promising; and she had a lovely face. As if she had cried over something, she stood there with her cheeks reddened from rubbing them.” In other words, the author praises her while making the apearance seem slightly worse than her usual self. Her playmate called “Inuki” is introduced so that the comparison becomes clearer. “The sparrow’s chick —Inuki—let it escape. And I had taken great care to keep it in a cage.” Wakamurasaki reports this to her grandmother, the nun (Amagimi). Compared with Wakamurasaki calm and gentle by nature, Inuki is too energetic and frequently obstructs her play.
In the “Momijinoga” chapter, alongside the depiction of how splendid Genji’s ‘Seigaiha’ is in the Imperial Palace, it is also said that Wakamurasaki—only about eleven years old—has outstanding talents in learning and in music. Her friend , Inuki the same age as well as Wakamurasaki remains as active as ever, and she behaves in a rough way, ruining the toys Wakamurasaki treasures. Meanwhile, Wakamurasaki herself is showing remarkable growth. After Genji’s illicit affair with Fujitsubo, he spends days filled with turbulent longing, but at his home residence Nijō-in he finds solace by going over to the western quarters where Wakamurasaki is. If Wakamurasaki perceives that Genji, after returning home, does not come to her often enough, she becomes sulky and turns her face away. Sitting sulkily at the edge of the room, Wakamurasaki is summoned by Genji with the words, “Come here.” Yet even if she pretends not to hear, the single line she blurts out cannot be missed. Using a quotation from the metaphor-poem in Book Seven of “manyōshū” (Collection of 4516 old poems), she says, “Is it that seaweed—on the rocky islet—that disappears when the tide comes in? It is rarely seen, but I long for it all the more.”
Genji comments, “Ah—how impertinent. You’ve grown so used to answering by stepping on the old poem” After being taken under the protection at the Nijō-in, Wakamurasaki’s mind develops markedly.
Hikaru Genji also taught Wakamurasaki to play the music instrument thirteen-stringed koto. She learns quickly: she can master even difficult melodies after hearing them only once. When Genji plays the flute, she can match him precisely and play superbly along with it. Wakamurasaki continues to grow as a person with the qualities and talents befitting a future companion to Genji.
