Rhapsody - Kyoushi

Humorous literature was popular from the mid-Edo period to the Meiji period. It uses colloquial language and readings in the style of Chinese poetry to humorously write about the vulgar aspects of humanity and society. It has been around since ancient times, but around the Horeki period (1751-1764), anthologies of rhapsodies appeared and were recognized as a literary style. In 1767 (Meiwa 4), Neboke (Ota Nanpo) published Neboke Sensei Bunshu in Edo, and two years later Domyaku (Hatanaka Kansai) published Taiheigafu in Kyoto. Both were written in their teens and were highly regarded, and they were active as masters in both the East and West until the Tenmei and Kansei periods (1781-1801). The former includes works such as the lively and brilliant "Tsūshisen" and "Dannasanjingeishashu," while the latter is characterized by satire and includes works such as "Fukiyose Mogyu" and "Taihei Ikyo," which sparked a fad for rhapsody. During the Bunka and Bunsei eras (1804-1830), Anketsu-sensei (Nakajima Souin) of Kyoto wrote "Taihei Shinkyoku" (New Song of the Great Pacific War), which attracted like-minded people and was repeated two or three times, while in Edo during the Tenpo era (1830-1844), Hougaidojin (Kinoshita Baian) wrote "Edo Meibutsu Shi" (Poetry of Edo Famous People), and Hankasanjin (Ueki Gyokugai) wrote "Hankasanjin Shisho" (Poetry of Hankasanjin) with its correct grammar and rhyme, and was praised as the leading author of rhapsody. From the end of the Edo period to the Meiji era, the popularity of rhapsody continued, centering around Narushima Ryuhoku.

As an example, I will quote from Hankasanjin's "Mr. Sansho presents his face." "Dressed in a persimmon-colored robe, Michinaga returns to the stage for a moment, please look at the god of the rough play, Japanese Ichikawa Danjuro."

[Yoshiichiro Hamada]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

江戸中期から明治にかけて行われた滑稽(こっけい)文学。漢詩の様式で俗語俗訓を用い、人間や社会の卑俗な面をおかしく詠じるもの。古くから行われていたが、宝暦(ほうれき)（1751～64）ごろになると狂詩集も出て文芸の一様式と認められた。1767年（明和4）江戸で寝惚(ねぼけ)（大田南畝(なんぽ)）の『寝惚先生文集』が出、2年後に京都で銅脈（畠中観斎(はたなかかんさい)）の『太平楽府(たいへいがふ)』が出、ともに10代ということで世評高く、天明(てんめい)・寛政(かんせい)期（1781～1801）まで東西の両大家として活動した。前者には才気溌剌(はつらつ)の『通詩選』『檀那山人芸舎集(だんなさんじんげいしゃしゅう)』などがあり、後者は風刺を特色として『吹寄蒙求(もうぎゅう)』『太平遺響』などがあって、狂詩の流行をおこした。文化・文政(ぶんかぶんせい)期（1804～30）には京都の安穴(あんけつ)先生（中島棕隠(そういん)）の『太平新曲』が周囲に同好者を集めて二曲、三曲と重ね、江戸では天保(てんぽう)年中（1830～44）に方外道人(ほうがいどうじん)（木下梅庵(ばいあん)）の『江戸名物詩』がよく知られ、半可山人（植木玉厓(ぎょくがい)）の『半可山人詩鈔(しょう)』は平仄(ひょうそく)や押韻も正しく、狂詩の第一人者と評された。そして幕末から明治にかけては成島柳北(なるしまりゅうほく)を中心になお流行が続いた。

　実例として、半可山人の「顔見世呈三升先生」を引く。「柿色素袍花道長、舞台鎮返暫之場、請看荒事氏神様、日本市川団十郎」。

［浜田義一郎］

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