Teitoku

A man of letters in the early Edo period. A central figure in the Teimon Haikai movement. Matsunaga. He had many pseudonyms, including Shoyu, Chozumaru, Myoshin, Endamaru, and Hanasaki no Oji. His ancestor was the Irie clan, the lord of Takatsuki Castle in Settsu (Osaka Prefecture), but the family fell into decline during his grandfather's reign, and his father changed his name to Matsunaga. His father, Nagatane, was a renga poet with a wide circle of acquaintances, and because of this connection and his submissive personality, Teitoku was blessed with many excellent teachers, with over 50 teachers in total. He studied waka and kagaku under Kujo Tanemichi, an authority on the study of The Tale of Genji, and then under Hosokawa Yuusai, an authority on contemporary kagaku, and renga under Satomura Shoha. He also had friends and seniors such as Fujiwara Seika, Hayashi Razan, and Kinoshita Choshoshi. He was blessed with such teachers and friends that he became a leading figure among the underground poets and kagaku scholars of the early modern period. His disciples included Kitamura Kigin, Kato Bansai, Kise Sanshi, Wada Ietsu, Mochizuki Chokou, the monk Gensei of Fukakusa, Utta Kinnori, and Yamamoto Harumasa, and he edited and wrote many works, including "Tsurezuregusa Igusa," "Horikawa Hyakushu Kan'yosho," "Karin Bokuso," "Shoyugusho," and "Daienki." During this time, he served as Hideyoshi's assistant calligrapher under the guidance of Omura Yuko, and in 1603 (Keicho 8), he participated in a public lecture on classics with Hayashi Razan and Endo Munenori, lecturing on Tsurezuregusa. At the end of the Keicho era (1596-1615), he opened a private school in his home in Sanjo Koromo-dana, where he provided elementary education to the children of ordinary people. This private school produced such poets as Kinoshita Junan, Ito Jinsai, Hayashi Shunsai, Hayashi Morikatsu, and haiku poets Sadamuro and Seibu.

On the other hand, he played a leading role in kyoka and haikai, combining his awareness of the trend of popularizing literature at the time with his personal preference for humor. He composed the "Teitoku Hyakushu Kyoka" (One Hundred Kyoka Poems by Teitoku) and also criticized and edited many of his disciples' works. In haikai, he was already known as a fan of haikai during the Keicho and Genna periods (1615-24), and by the middle of the Kan'ei period (1624-44) he had become a central figure in the national haiku world, forming the first large haiku group in the history of the genre, the Teimon. He clearly defined haikai as "linked verse created with haigon," and spread haikai throughout the country, arguing that its simplicity and vulgarity made it more suitable for the times than waka or renga. His disciples included Shigeyori, Ryuho, Ryotoku, Seibu, Sadamuro, Kigin, Ansei, Baisei and countless others. His works include "Enokoshu", "Takatsukubashu", "Konzanshu", "Kururu", which he had his disciples edit, as well as his own secret book "Tensuisho", the book of rituals "Gosan", and the "Shinzo Inu Tsukubashu", a guide to attending to the deceased.

[Akira Morikawa]

"A Study of Matsunaga Teitoku, by Toshiro Kodaka, Part 1 and Part 2 (1953, 56, Shibundo)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

江戸初期の文人。貞門俳諧(ていもんはいかい)の中心人物。松永氏。別号は逍遊(しょうゆう)、長頭丸(ちょうずまる)、明心、延陀丸(えんだまる)、花咲の翁など多い。祖先は入江氏で、摂津（大阪府）高槻(たかつき)城主だったが、祖父の代に没落、父の代に松永氏に改めた。父永種は連歌師で広い知己を有し、その縁と恭順な人柄とで貞徳は多くの良師に恵まれ、師の数五十余人に及んだという。なかでも和歌、歌学を『源氏物語』研究の権威九条稙通(たねみち)に、その後当代歌学の権威細川幽斎(ゆうさい)に、連歌を里村紹巴(じょうは)に学び、友人先輩としては藤原惺窩(せいか)、林羅山(らざん)、木下長嘯子(ちょうしょうし)らがいた。これら師友に恵まれ近世初期地下(じげ)歌人歌学者の第一人者になった。門下に北村季吟(きぎん)、加藤磐斎(ばんさい)、木瀬三之(きせさんし)、和田以悦(いえつ)、望月長好(もちづきちょうこう)、深草の元政上人(げんせいしょうにん)、打它公軌(うったきんのり)、山本春正らがあり、編著に『徒然草(つれづれぐさ)慰草』『堀川百首肝要抄』『歌林樸樕(ぼくそう)』『逍遊愚抄(しょうゆうぐしょう)』『戴恩記(たいおんき)』など多数がある。この間大村由己(ゆうこ)の手引きで一時秀吉の祐筆(ゆうひつ)を勤め、1603年（慶長8）には林羅山、遠藤宗務らと古典公開講座に参加して『徒然草』を講じ、慶長(けいちょう)（1596～1615）末年以後三条衣棚(ころもだな)の自宅に私塾を開き、一般庶民の子弟に初等一般教育を施した。この私塾から木下順庵(じゅんあん)、伊藤仁斎、林春斎、林守勝や俳人の貞室、西武(さいむ)らが出た。

　一方、文芸の庶民化という時代の趨勢(すうせい)に対する認識と諧謔(かいぎゃく)を好む個人的嗜好(しこう)と相まって、狂歌、俳諧においても指導的役割を演じた。狂歌には『貞徳百首狂歌』があり、また門人の作を多く批評添削した。俳諧では慶長・元和(げんな)（1615～24）のころすでに俳諧好きとして知られ、寛永(かんえい)（1624～44）中ごろには全国俳壇の中心人物になり、貞門という俳諧史上初の一大集団を形成し、俳諧は「俳言(はいごん)を以(もっ)てつくる連歌」と明快に規定し、平易卑俗なところが和歌や連歌よりも時代に適しているとして、俳諧を全国津々浦々にまで普及させた。門下は重頼(しげより)、立圃(りゅうほ)、令徳(りょうとく)、西武、貞室、季吟、安静(あんせい)、梅盛(ばいせい)ら無数。編著には門人に編集させた『犬子(えのこ)集』『鷹筑波(たかつくば)集』『崑山(こんざん)集』『久流留(くるる)』、自編の秘伝書『天水抄』、式目書『御傘(ごさん)』、付合(つけあい)指導書『新増犬筑波集』など多数がある。

［森川　昭］

『小高敏郎著『松永貞徳の研究』正続（1953、56・至文堂）』

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