The Tale of the Heike

Japanese: 平家物語 - へいけものがたり

A military tale from the early Middle Ages. 12 volumes.

[Masaaki Kajiwara]

The process of its establishment

It is a historical tale depicting the rise and fall of the Taira clan led by Taira no Kiyomori, and was originally called "Heike Monogatari" (the Tale of the Heike), but was known formerly as "Jisho Monogatari" (the Tale of the Jisho). It is believed to have been around three to six volumes in size. It was gradually expanded and compiled into the current 12 volumes in the mid-13th century. There are various accounts of the author in many books, but according to Kenko's Tsurezuregusa (226th chapter), it was written in the early 13th century during the reign of Emperor Gotoba, by a collaboration between Shinano no Zenji Yukinaga, a learned recluse who received a stipend from the head priest Jichin Kasho (Jien) of Enryaku-ji Temple, and a blind Buddhist monk from the eastern provinces who was skilled in the arts. The time of Emperor Gotoba was several decades after the downfall of the Heike clan at Dannoura in 1185 (Juei 4), and it can be said that the original form of this book was already in shape by that time. This article in Tsurezuregusa corresponds in some respects to the extant Tale of the Heike, for example, in that it gives a detailed account of the mountain gate and Yoshitsune Kuro, but at the same time, it says that there is little information about Kaba no Kajanori, and there are many hints at the origins of this book, such as the connection to the narration through a blind entertainer called the living Buddha. Of particular note is the fact that it states that under Jien (Jichin), a central figure in the Buddhist world, Yukinaga, who was of noble birth, and the living Buddha, who had deep ties to the samurai society of the eastern provinces, worked together to carry out the project, showing the complexity and diversity of the origins of this book, which is different from other classical works.

[Masaaki Kajiwara]

Circulation as a trope

Originally, it was a form of "katarimono" (storytelling) accompanied by the playing of a musical instrument called the biwa, and as a literary work to be listened to, it was welcomed by many illiterate people, including commoners. This is why "The Tale of the Heike" was able to gain widespread support in the Middle Ages, when the common people were gaining power, and this is also the reason why it became so widely circulated that it was called national literature. It was blind performers called biwa hoshi who linked "The Tale of the Heike" to this form of "katarimono" and greatly developed it into a new literary art of the Middle Ages. According to old legends, not only "The Tale of the Heike" but also "The Tale of the Hogen" and "The Tale of the Heiji" were initially told by biwa hoshi, and it is said that the work "Jokyu-ki," which deals with the Jokyu War, was also added to their repertoire. Collectively, these works were called "The Battles of the Four Parts." However, other war stories did not develop as narrative works, and "The Tale of the Heike" became the center of them, and eventually the storytelling of biwa hoshi came to refer to "The Tale of the Heike". This storytelling of "The Tale of the Heike" by biwa hoshi is called "Heikyoku", and it was at the end of the Kamakura period that this storytelling reached its full maturity, when two schools, the Ichikata school and the Yasaka school, were born and many masters were produced. The storytelling of "The Tale of the Heike" that these biwa hoshi used as the script for their Heikyoku was roughly divided into two systems, the Ichikata school and the Yasaka school. In contrast to these, there were various books that were enjoyed as reading material, such as "Engyohon Heike Monogatari" (6 volumes), "Nagatohon Heike Monogatari" (20 volumes), and "Genpei Jousui-ki" (48 volumes).

As mentioned above, there are many extant versions of this book, and the content and structure of each text vary considerably, but the one-story narrative version that is most widely circulated begins with "A Surprise Attack at the Palace," which describes the episode in 1131 (Tensho 1) when Kiyomori's father, Tadamori, was allowed to enter the palace as a reward for his achievements in constructing Tokuchojuin, the Goganji temple of Emperor Toba, and continues with the final chapter, "Six Generations Beheaded," in which Kiyomori's great-grandson, six generations of the Taira clan, are executed on the banks of the Tagoe River in Zushi in 1199 (Kenkyu 10), marking the extinction of the Taira clan's descendants. It covers the rise and fall of the Taira clan over a period of approximately 70 years and five generations (Tadamori-Kiyomori-Shigemori-Yormori-Six Generations). The most intensive focus of this tale is on the 18 years from 1167 (Jin'an 2), when Kiyomori was promoted to Daijo Daijin at the age of 50 and reached the height of his glory, to 1185 (Juei 4), when the Heike clan was destroyed at Dan-no-ura, and the main focus of the story is on depicting the remarkable changes in fortunes that took place during that period.

[Masaaki Kajiwara]

Synopsis

The story begins with a prologue known for the opening phrase, "The sound of the bell at Gion-shoja Temple echoes the impermanence of all things, and the color of the Shal tree's flowers reveals the truth that all things must decline." The first half (volumes 1-6) tells of the rise and prosperity of the Taira clan and the schemes of the anti-Taira forces that opposed them. The Taira clan established a foothold in court society with the ascension of Minister of Justice Tadamori to the palace, and under Kiyomori's rule they made a great leap forward, rising to the honor of Grand Minister of State, but having gained power, Kiyomori soon began to commit all sorts of evil deeds, thinking nothing of the world. The Taira clan's behavior drew resentment from the people, and this resentment eventually coalesced into a conspiracy to overthrow the Taira clan. These are the story of the Shishigatani Conspiracy, which unfolds from the latter half of Volume 1 through Volume 3, and the tale of Minamoto no Third Rank Yorimasa's uprising, which takes up one volume of Volume 4. Both plots were discovered in advance and ended in miserable failure, but an imperial decree from Emperor Mochihito, carried by Yorimasa, encouraged the Minamoto clan in various provinces to rise up, which led to Minamoto no Yoritomo and Kiso Yoshinaka raising arms, and in the midst of this turbulent situation, Kiyomori fell ill with a fever and died in agony.

The latter half (volumes 7-12) covers the advance of the Genji forces, the Genpei War, and the downfall of the Taira clan. First, Kiso Yoshinaka, who had raised his troops in Shinano, began a rapid advance from the Hokuriku region toward the capital, and the advance of the Kiso forces finally caused the Taira clan to abandon the capital and flee to the Western Sea. However, Yoshinaka was unable to maintain his influence in the capital, and due to his feud with Emperor Goshirakawa, Yoritomo from the eastern provinces intervened, and Yoshinaka was defeated by the fierce attack of the eastern forces and wasted no time. Meanwhile, the eastern forces who had defeated Kiso Yoshinaka immediately set out to attack the Taira clan based in Ichinotani. From this point onwards, the battle between the Genji and Taira clans began in earnest, but after repeated defeats at Ichinotani and Yashima, the Taira were cornered at Dannoura in Nagato, where the young Emperor Antoku drowned himself in the arms of his grandmother Niinoama, and most of the clan committed suicide. The story then goes on to tell of the fate of Munemori, who was taken prisoner, and the surviving Heike children, and describes the execution of six generations of the Heike family, concluding with the statement, "And so the descendants of the Heike family ceased to exist forever." However, one school of narrative includes the "Kanjo Scroll," which tells of the story of Kenreimon'in (Kiyomori's daughter and Emperor Antoku's mother), who retired to Ohara in the capital after the war. Through her seeking enlightenment and prayers for the soul of the deceased, this tragic tale concludes as Buddhist literature.

[Masaaki Kajiwara]

The value of "The Tale of the Heike" and its influence on later generations

As described above, "The Tale of the Heike" depicts the tragic fate of the fallen Taira clan, but the underlying tone of the narrative is a sense of impermanence based on the principle that "all things rise and fall," as expressed in the prologue, "Gion-shoja." This imbues the story with a deep sense of pathos, and although it is a heroic military tale with battle as its theme, it gives it a unique atmosphere as a very dark and nuanced piece of "literature of pathos."

Because it was widely circulated as a story, it had an enormous influence on later literature, and was often incorporated into medieval Noh plays and Otogi Zoushi, early modern Joruri, Kabuki, and novels, and many examples of modern literature based on this story can also be found.

[Masaaki Kajiwara]

"Japanese Classical Literature Series 32 & 33: The Tale of the Heike," edited by Takagi Ichinosuke, Ozawa Masao, Atsumi Kaoru, and Kindaichi Haruhiko (1959, 1960, Iwanami Shoten)" ▽ "Complete Collection of Japanese Classical Literature 29 & 30: The Tale of the Heike," edited and translated by Ichiko Sadatsugu (1973, 1975, Shogakukan)" ▽ "Appreciation of Japanese Classical Literature 19: The Tale of the Heike," edited by Tomikura Tokujiro (1975, Kadokawa Shoten)" ▽ "Appreciation of Japanese Classics 11: The Tale of the Heike," by Kajiwara Masaaki (1982, Shogaku Tosho)"

[Reference] | Hei-kyoku

The Tale of the Heike
One-way school storytelling book, old type edition, volume 1, "Gion Shoja", published around the Genna era (1615-1624), owned by the National Diet Library

The Tale of the Heike

The Tale of the Heike (Nagato edition)
Readings Volume 1 "Gion Shoja" Mid-Edo period Manuscript held at the National Diet Library

The Tale of the Heike (Nagato edition)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

中世初期の軍記物語。12巻。

［梶原正昭］

成立の過程

平清盛(きよもり)を中心とする平家一門の興亡を描いた歴史物語で、「平家の物語」として「平家物語」とよばれたが、古くは「治承(じしょう)物語」の名で知られ、3巻ないし6巻ほどの規模であったと推測されている。それがしだいに増補されて、13世紀中ごろに現存の12巻の形に整えられたものと思われる。作者については、多くの書物にさまざまな伝えがあげられているが、兼好(けんこう)法師の『徒然草(つれづれぐさ)』（226段）によると、13世紀の初頭の後鳥羽院(ごとばいん)のころに、延暦寺(えんりゃくじ)の座主慈鎮和尚(じちんかしょう)（慈円）のもとに扶持(ふち)されていた学才ある遁世者(とんせいしゃ)の信濃前司(しなののぜんじ)行長(ゆきなが)と、東国出身で芸能に堪能(たんのう)な盲人生仏(しょうぶつ)なる者が協力しあってつくったとしている。後鳥羽院のころといえば、平家一門が壇ノ浦で滅亡した1185年（寿永4）から数十年のちということになるが、そのころにはこの書の原型がほぼ形づくられていたとみることができる。この『徒然草』の記事は、たとえば山門のことや九郎義経(よしつね)のことを詳しく記している半面、蒲冠者範頼(かばのかじゃのりより)のことは情報に乏しくほとんど触れていないとしているところなど、現存する『平家物語』の内容と符合するところがあり、生仏という盲目の芸能者を介しての語りとの結び付きなど、この書の成り立ちについて示唆するところがすこぶる多い。ことに注目されるのは、仏教界の中心人物である慈円（慈鎮）のもとで、公家(くげ)出身の行長と東国の武士社会とのかかわりの深い生仏が提携して事にあたったとしていることで、そこに他の古典作品とは異なる本書の成り立ちの複雑さと多様さが示されているといってよい。

［梶原正昭］

語物としての流布

本来は琵琶(びわ)という楽器の弾奏とともに語られた「語物(かたりもの)」で、耳から聞く文芸として文字の読めない多くの人々、庶民たちにも喜び迎えられた。庶民の台頭期である中世において、『平家物語』が幅広い支持を得ることができたのもこのためで、国民文学といわれるほどに広く流布した原因もそこに求めることができる。『平家物語』をこの「語物」という形式と結び付け、中世の新しい文芸として大きく発展させたのは、琵琶法師とよばれる盲目の芸能者たちであったが、古い伝えによると『平家物語』ばかりでなく、当初は『保元(ほうげん)物語』や『平治(へいじ)物語』も琵琶法師によって語られていたらしく、また承久(じょうきゅう)の乱を扱った『承久記』という作品もそのレパートリーに加えられていたといい、これらを総称して「四部の合戦状」とよんだ。しかし他の軍記作品は語物としては発展せず、『平家物語』がその中心とされるようになり、やがて琵琶法師の語りといえば『平家物語』のそれをさすようになっていった。この琵琶法師による『平家物語』の語りのことを「平曲(へいきょく)」というが、この平曲が大きな成熟をみせるのは鎌倉時代の末で、この時期に一方(いちかた)流と八坂(やさか)流という二つの流派が生まれ、多くの名手が輩出した。これらの琵琶法師たちが平曲の台本として用いたのが、語り本としての『平家物語』で、一方流系と八坂流系の二つの系統に大別される。これらに対して、読み物として享受されたのが読み物系の諸本で、『延慶(えんぎょう)本平家物語』6巻、『長門(ながと)本平家物語』20巻、『源平盛衰記(げんぺいじょうすいき)』48巻などがある。

　以上のように本書には多くの伝本があり、テキストによってその内容や構成がかなり違うが、もっとも世に流布した一方流の語り本では、1131年（天承1）に清盛の父忠盛(ただもり)が鳥羽院の御願寺(ごがんじ)得長寿院(とくちょうじゅいん)を造進した功績により昇殿を許されたときのエピソードを描いた「殿上闇討(てんじょうのやみうち)」に始まり、1199年（建久10）に清盛の曽孫(そうそん)六代(ろくだい)が逗子(ずし)の田越(たごえ)河畔で処刑されて平家の子孫が絶滅するという終章の「六代被斬(ろくだいきられ)」まで、5世代（忠盛―清盛―重盛(しげもり)―維盛(これもり)―六代）約70年間に及ぶ平家一門の興亡がその対象とされている。このうちもっとも集中的に語られているのは、1167年（仁安2）に清盛が50歳で太政(だいじょう)大臣に昇進し、栄華の絶頂を極めてから、1185年（寿永4）に平家一門が壇ノ浦で滅亡するまでの18年間で、その運命の変転の目覚ましさを描き出すことが、この物語の大きな眼目となっている。

［梶原正昭］

粗筋

その粗筋を述べると、「祇園精舎(ぎをんしゃうじゃ)の鐘の声、諸行無常(しょぎゃうむじゃう)の響(ひびき)あり、沙羅双樹(しゃらさうじゅ)の花の色、盛者必衰(じゃうじゃひっすい)の理(ことはり)をあらはす」の冒頭句で知られる序章に始まり、前半部（巻1～6）では、平家一門の興隆と栄華、それに反発する反平家勢力の策謀などが語られる。刑部卿(ぎょうぶきょう)忠盛の昇殿によって宮廷社会に地歩を築いた平家は、清盛の世になって大きな飛躍をみせ太政大臣の栄位に上るが、権勢を掌握した清盛はやがて世を世とも思わぬ悪行の限りを尽くすようになる。そうした平家のふるまいは人々の反発を招き、その反感がやがて平家打倒の陰謀として結集されて行く。巻1後半から巻3にかけて展開する鹿ヶ谷(ししがたに)陰謀の物語、巻4の1巻を費やして語られる源三位頼政(げんざんみよりまさ)の挙兵譚(たん)がそれで、いずれも事前に発覚して惨めな失敗に終わるが、頼政の奉じた以仁王(もちひとおう)の令旨(りょうじ)が諸国の源氏の決起を促し、源頼朝(よりとも)、木曽義仲(きそよしなか)の挙兵となり、その騒然とした情勢のなかで熱病にかかり清盛が悶死(もんし)を遂げる。

　後半部（巻7～12）は、源氏勢の進攻と源平合戦、そして平家の滅亡を内容とするが、まず信濃(しなの)に兵をあげた木曽義仲が北陸から都に向かって快進撃を開始、この木曽勢の進攻によって平家はついに都を捨てて西海へ逃れ去る。しかし、都入りした義仲はその勢威を維持することができず、後白河(ごしらかわ)法皇との確執から東国の頼朝の介入を招き、東国勢の猛攻を受けてあえなく滅び去る。一方、木曽義仲を撃ち破った東国勢は、時を移さず一ノ谷に拠(よ)る平家の攻略に立ち向かう。ここから本格的な源平の対戦となるが、一ノ谷、屋島と敗北を重ねた平家は長門(ながと)の壇ノ浦に追い詰められ、幼帝安徳(あんとく)天皇は祖母二位尼(にいのあま)に抱かれて入水(じゅすい)、一門の大半はここで自決する。物語はこのあと、捕虜となった宗盛(むねもり)や平家の遺児たちの末路を語り、平家の嫡流6代の処刑を描いて、「それよりしてこそ平家の子孫は永く絶えにけれ」と結ぶが、一方流系統の語り本は、戦後洛北(らくほく)の大原に遁世(とんせい)した建礼門院(けんれいもんいん)（清盛の娘で安徳天皇の生母）の消息を伝える「灌頂巻(かんじょうのまき)」を特立、その求道と鎮魂の祈りを通してこの悲劇的な物語に仏教文学としての締めくくりを与えている。

［梶原正昭］

『平家物語』の価値と後代への影響

以上のように『平家物語』が描き出しているのは、滅亡する平家の悲劇的な運命であったが、その叙述の基調となっているのは、序章「祇園精舎」に示されているように「盛者必衰の理」を踏まえての無常の思いで、それがこの物語に深い哀感をしみ込ませ、合戦を主題とする勇壮な軍記でありながら、きわめて陰影に富む「あわれの文学」として独自の趣(おもむき)をつくりだすことになっている。

　語物として広く流布したことから後代の文学に影響するところがきわめて大きく、中世の謡曲や御伽草子(おとぎぞうし)、近世の浄瑠璃(じょうるり)、歌舞伎(かぶき)、小説などに多く取り入れられ、近代文学にもこの物語を踏まえた多くの作例をみいだすことができる。

［梶原正昭］

『高木市之助・小沢正夫・渥美かをる・金田一春彦校注『日本古典文学大系 32・33　平家物語』（1959、60・岩波書店）』▽『市古貞次校注・訳『日本古典文学全集 29・30　平家物語』（1973、75・小学館）』▽『冨倉徳次郎編『鑑賞日本古典文学 19　平家物語』（1975・角川書店）』▽『梶原正昭著『鑑賞日本の古典 11　平家物語』（1982・尚学図書）』

[参照項目] | 平曲

『平家物語』
一方流系語り本　古活字版　巻1　「祇園精舎」　元和年間（1615～1624）ごろ刊国立国会図書館所蔵">

『平家物語』

『平家物語』（長門本）
読み物系　巻1　「祇園精舎」　江戸時代中期　写本国立国会図書館所蔵">

『平家物語』（長門本）

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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