A song mourning the dead. [Tadahisa Ishikawa] China"Pulling" means "to pull," and it was originally a song sung while pulling a cart carrying a coffin during a funeral. Among the Gafu and Xiangwaga Xiangwakyoku songs of the Han dynasty are two pieces, "Kairo" and "Kori." Kairo sings of how human life is more fleeting than the dew that dwells on a leek, and Kori sings of how the Grim Reaper drives away human souls and gathers them in the village of mugwort. According to legend, it was composed by a disciple in mourning the suicide of Tian Heng during the reign of Emperor Gaozu of the Han dynasty, and later, during the reign of Emperor Wu, Kairo was designated for funerals for princes and nobles, and Kori for commoners. There are copies of the same title by Cao Cao and Cao Zhi of the Wei dynasty. The earliest poems entitled "Elegy" were composed by Miao Si of the Wei dynasty. Among the imitations from various eras, the trilogy by Lu Ji of the Western Jin dynasty and the trilogy by Tao Qian of the Eastern Jin dynasty which followed on from Lu Ji's work are well-known. In Lu Ji's works, the deceased person describes his own feelings, while in Tao Qian's works, he describes his own imagining of death, which is unique. All of these are works of literature on the theme of death, rather than funeral songs. [Tadahisa Ishikawa] JapanAlong with "Miscellaneous Poems" and "Love Songs," this is one of the three major sections in the Manyoshu. Its name is thought to have been derived from the Monsen. Originally meaning a song sung when a coffin is being ground, in the Manyoshu it is a section that contains a wide range of songs mourning death (including death poems and songs sung at the graves of legendary figures). The Manyoshu has a section on "elegies" in volumes 2, 3, 7, 9, 13, and 14, and contains 218 poems. Prince Arima's "self-inflicted" poem, "I will tie the branches of the pine trees of Iwashiro together, and if I am fortunate, I will return and see them again" (volume 2, 141), is placed at the beginning of the "elegies" section in volume 2. In addition, there are 20 poems that are labeled as "elegies" in the subject line or notes. The Gishiwajinden and other sources record that song and dance were used in ancient Japanese funeral ceremonies. However, this song and dance was of a magical nature, and this tradition does not directly lead to elegy. Elegy was a new realm of song that took shape through the medium of Chinese literature as songs to lament the dead outside of funeral ceremonies. It is recognized that it was lyrical in nature from the beginning, different from the song and dance of funeral ceremonies. After the Kokinshu, the category of "elegy" disappeared and it came to be called "songs of lamentation." [Kanno Shitaka] "Man'yoshu Elegy Theory by Aoki Ikuko (1984, Hanawa Shobo)" Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend |
死者を悼(いた)む歌。 [石川忠久] 中国「挽」は、「引く」意で、もともとは葬儀のとき、柩(ひつぎ)を載せた車を引きながらうたう歌である。漢代の楽府(がふ)、相和歌相和曲のなかに、「薤露」(かいろ)「蒿里」(こうり)の二曲がある。薤露は、人の命が薤(おおにら)の上に宿る露よりはかないことをうたい、蒿里は、死神が追いやって人の魂を蒿(よもぎ)の里に聚(あつ)めることをうたう。言い伝えによると、漢の高祖のとき、田横(でんおう)が自殺したのを門人が悼んでつくったもので、のち武帝のとき、薤露を王公貴人、蒿里を庶人の葬儀用にと分けて定めたという。魏(ぎ)の曹操(そうそう)・曹(そう)植などに同題の模擬作がある。「挽歌」と題する歌は魏の繆襲(びゅうしゅう)の作がもっとも早い。歴代の模擬作のうち、西晋(せいしん)の陸機(りくき)の三部作と、それに倣った東晋の陶潜(とうせん)の三部作が名高い。陸機作では、死者が自らの心境を述べ、陶潜作では、自らの死を想定して述べているところがユニークである。これらはいずれも葬りの歌というより、死をテーマとする文学となっている。 [石川忠久] 日本「雑歌」(ぞうか)「相聞」(そうもん)と並ぶ、『万葉集』における三大部立(ぶだて)の一つ。その名称は『文選』(もんぜん)に典拠を求めたとみられる。原義は、柩(ひつぎ)を挽(ひ)くときにうたう歌の意であるが、『万葉集』では広く死を悼む歌(辞世歌や伝説的人物の墓所での歌などをも含む)を収める部立となっている。『万葉集』は、巻2、3、7、9、13、14の諸巻に「挽歌」の部立をもち、218首を収載する。有間(ありま)皇子の「自傷」の歌、「岩代(いはしろ)の 浜松が枝(え)を 引き結び 真幸(まさき)くあらば また還(かへ)り見む」(巻2、141)が、巻2「挽歌」の部の冒頭に配される。ほかに、題詞・左注に「挽歌」と記すものが20首ある。 わが国の古代の喪葬儀礼において「歌舞」することは『魏志倭人伝』(ぎしわじんでん)などに伝えられる。しかし、その「歌舞」は呪術(じゅじゅつ)的なものであって、その伝統がそのまま「挽歌」につながるものではない。「挽歌」は、喪葬儀礼の外で死者を哀傷する歌として、中国の文学の媒介によって形づくられていった新しい歌の領域であった。喪葬儀礼の「歌舞」とは異質な、初めから叙情を性格とするものであったと認められる。『古今集』以後、「挽歌」の部立は消え「哀傷歌」と称されるようになる。 [神野志隆光] 『青木生子著『万葉挽歌論』(1984・塙書房)』 出典 小学館 日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について 情報 | 凡例 |
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