Wind Crazy - Fukyou

"Fu" (wind) is related to "fuu" (crazy), and a madman is called a "Fu-shi" (wind madness), a "Fu-ten" (wind sickness), or a "Fu-kan" (wind madman). "Fu-kyo" (wind madness) originally meant insanity or a madman (apart from the meaning of wind blowing madly). The reclusive scholar Kanzan was called "The Wind Mad Man" (Sando Shikou) and "The Wind Mad Man" (Preface to "Kanshanzi Shishu"), and Shide was called "Resembling a Wind Mad Man" (Preface to "Kanshanzi Shishu") and "The Wind Mad Man" (Shasekishu), because to the common man they appeared to be nothing more than madmen. However, the word "kyo" was used to mean more than just a mental illness. When Li Bai called himself "I am originally a madman from Chu" and Katsushika Hokusai signed his name as "a mad old painter," they did not hesitate to admit that they deviated from the social standard. People sometimes see deviation from social norms in a positive light and call it "madness," and in Japan since the Middle Ages, "wind-madness" has referred to one form of such "madness." The lineages of "madness" can be roughly divided into the following four categories.

(1) Mono-Kurui (crazy): The etymology of the word "kuruu" (kuruu) is said to be that of a person possessed by a god and going round and round, and the Japanese viewed madness as a phenomenon caused by possession. Most of the mono-kurui seen in Noh plays before Zeami were cases in which one's mind was taken over by another spirit. However, Zeami said that in addition to possession, there was also mono-kurui caused by "thoughts," and he placed emphasis on this. This is when one becomes attached to a single thought, and then that thought takes over one's entire mind. For example, the mono-kurui of a mother who travels a long distance in search of her stolen child. This is undoubtedly a type of madness, but the depth of her thoughts can move people.

(2) Suki (the taste of love) Originally the same word as "suki" (to like), it eventually came to refer to an attitude in which a person's love goes too far and they lose their sense of balance. However, passion for practical matters is not called suki. It refers to "adagoto" (addiction), especially to those who are obsessed with the arts of elegance (poetry, tea ceremony, etc.). For example, there was the poet Noin, who is said to have treasured a shaving from the pillars of Nagara Bridge, famous as a utamakura (poet's pillow). Suki is a paranoia caused by a deep attachment to elegance, but it is only one step away from going crazy. A sukisha (suki person) may be an eccentric or oddball, but he is not mentally ill. Hokusai's "gakyō" (painting madness) also means an obsession with paintings.

(3) Tonsei (reclusion) This is not an abnormality of the mind or personality, but a way of life chosen by one's own will. For example, Kamo no Chomei's Hosshinshu (Collection of Poems), tells many tales of hermits who abandoned all worldly possessions in the hope of attaining rebirth in paradise. For them, renunciation did not mean abandoning one's home and entering a temple, but abandoning the temple, which had already been incorporated into the secular system, and living in seclusion. They aimed for true "liberation" and simply fled from the secular world, hiding from the honor and profit that were chasing them. However, as long as their escape from the secular world is an escape from the human world, it is still a passive form of renunciation.

(4) The madman (a) Taking the above (3) one step further, there is the madman. This is not a case of escaping from the world in search of freedom, but rather of transcending society's norms because one's mind is already free. They do not necessarily retire to the mountains, and sometimes they roam the city as beggars, and do not hesitate to visit red-light districts. However, they have no regard for worldly values, and from the standpoint of common sense, they behave eccentrically, and their very existence is a criticism of the secular world. A representative example of this is Ikkyu, who called himself the "madman of the madman." In this case, "madman" is synonymous with a free spirit.

(b) There is the type of fukyo that is influenced by the above-mentioned (3) but goes a step further than (2). It is a type of fukyo that renounces the world because of a deep attachment to elegance rather than Buddhism. It deviates from the normal life and enjoys living in harmony with the beauty of nature, in a free state of affairs with nothing and no place to live. A representative example is the wandering poet Basho, who was possessed by the "evil heart of elegance" ("Seikyo no Ben").

For the Japanese, "fukyo" refers to an ideal way of life, with its core meaning being "freedom from the worldly things that bind us (common sense, possessions, family, etc.)," ​​but it can also include elements of rebellion, travel, literature, etc.

[Amagasaki Akira]

"Poetry and Decadence" by Junzo Karaki (1952, Kodansha)" ▽ "Basho's View of Art" by Riichi Kuriyama (1971, Nagata Shobo)" ▽ "Fukyou" by Kazuo Okamatsu (included in "The Structure of Beauty in Japanese Literature" edited by Riichi Kuriyama, 1976, Yuzankaku Publishing)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

「風」は「瘋(ふう)」に通じ、狂人をさして風子、風癲(ふうてん)、風漢などとよぶ。「風狂」とは（風が狂おしく吹くという意味は別として）、もと狂気、狂人を意味した。隠逸の高士寒山(かんざん)が「風狂夫」（『山堂肆考(さんどうしこう)』）、「風狂の士」（『寒山子詩集』序）と、また拾得(じっとく)が「風狂に似たり」（『寒山子詩集』序）、「風狂子」（『沙石集(しゃせきしゅう)』）とよばれたというのも、彼らが凡俗の目には狂人としかみえなかったということである。しかし「狂」の語は単なる精神疾患の意を超えて用いられた。李白(りはく)が「我はもと楚(そ)の狂人」と自称し、葛飾(かつしか)北斎が「画狂老人」と自署するとき、彼らは自分が世間の標準から外れていることを自認してはばからない。人は世間の規範からの逸脱を肯定的にとらえて「狂」とよぶ場合があり、日本において中世以降「風狂」とはそのような「狂」の形態の一つをさす。その「狂」の系譜は、大略次の四つになる。

（1）物狂い　「くるう」の語源は神がかりしてくるくる回ることといわれるように、日本人は狂気を憑(つ)き物による現象とみなした。世阿弥(ぜあみ)以前の能にみられる物狂いはほとんど他の霊に自分の精神を乗っ取られるものである。しかし世阿弥は憑依(ひょうい)のほかに「思い」による物狂いのあることをいい、これを重視した。それは一つの思念に執したあげく、その思念に自分の全精神を乗っ取られるものである。たとえば、奪われた子を尋ねてはるかな旅をする母の物狂い。これは狂気の一種には違いないが、その思いの深さは人を感動させることができる。

（2）数寄(すき)　元は「好き」と同語であるが、やがて愛好の度が過ぎて常識人の平衡感覚を失った態度をさすようになった。ただし、実用事への情熱を数寄とはいわない。「あだ事」、とりわけ風雅の道（歌道、茶道など）に凝るものをいう。たとえば、歌枕(うたまくら)として有名な長柄(ながら)橋の柱の削り屑(くず)をだいじに持ち歩いたという歌人能因(のういん)。数寄は風雅への思い入れの深さのゆえに偏執的になったものであるが、物狂いの一歩手前にとどまっている。数寄者(しゃ)は奇人変人ではあっても精神障害ではない。北斎の「画狂」も絵画への偏執の意味である。

（3）遁世(とんせい)　精神や性格の異常ではなく、自らの意志で選ばれた生き方である。たとえば鴨長明(かものちょうめい)の『発心(ほっしん)集』は、極楽往生を願って世俗的所有物のいっさいを捨てた隠者の伝を多く伝える。彼らにとって遁世とは、家を捨てて寺に入ることではなく、すでに世俗の体制に組み込まれた寺をも捨てて隠棲(いんせい)することを意味した。彼らは真の「放下(ほうげ)」を目ざしてひたすら俗から逃走し、追いかけてくる名誉や利益から身を隠す。しかし、俗からの脱出が人の世からの逃走であるうちはまだ消極的な脱俗である。

（4）風狂　（a）前記の（3）を一歩進めたものとしての風狂がある。これは自由を求めて世間から逃走するのではなく、すでに精神が自由となっているために世間の規範を超越するものである。かならずしも山中に隠棲せず、あるいは乞食(こじき)となって市中を横行し、ときに色街に戯れることをためらわない。しかし世俗の価値基準は眼中になく、常識からみれば奇行の連続であり、その存在自体が俗世間への批判となる。その代表者は自ら「風狂の狂客」と号した一休である。このとき、「風狂」とは自由なる精神と同義となる。

（b）前記の（3）の影響を受けつつ（2）を一歩進めた風狂がある。仏法ならぬ風雅への思い入れの深さから世を捨てるものである。常識的な人生を逸脱し、無一物、一所不住の自由な境涯にあって、花鳥風月とともに生きることを楽しむ。「風雅の魔心」（「栖去之弁(せいきょのべん)」）に憑かれた漂泊の詩人芭蕉(ばしょう)がその代表である。

　日本人にとって「風狂」とは生き方の理想の一つをさすことばであり、「私たちを縛る世俗的なもの（常識、所有物、家庭など）からの自由」を意味の中核とするが、時に応じて反骨、旅、文学などの要素を含むものである。

［尼ケ崎彬］

『唐木順三著『詩とデカダンス』（1952・講談社）』▽『栗山理一著『芭蕉の芸術観』（1971・永田書房）』▽『岡松和夫著『風狂』（栗山理一編『日本文学における美の構造』所収・1976・雄山閣出版）』

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