Ushin

It is also called "kokoro ari" (having a deep understanding of a subject, whether natural or human), and therefore has the meaning of being thoughtful and understanding emotions, while the opposite is "mushin" (not having a deep understanding of a person's feelings). In the case of poetry, since the Heian period, it has become common to compose poems on a given topic, so yushin meant showing a deep understanding of the "true meaning" of the subject, that is, what was considered to be the true nature and state of the subject. Moreover, since the method of composing poetry at that time focused on the skill of "fūzei" (taste), yushin first meant a skillful and sophisticated style (such as the judgment in the eighth verse of "Tentoku Yonen Dairi Utaawase" (960), and then the depth of the emotion expressed. Of the two types of mind distinguished in Fujiwara no Kinto's (966-1041) Shinsen Zui no U, the "interesting" mind corresponds to the former, and the "deep" mind to the latter. Towards the end of the Heian period, this style of poetry that focused on the mood was reformed, and reflection was directed not at the mood itself, but at the workings of the mind that surrounds it. In other words, rather than simply dealing with the true meaning of the subject matter intellectually, it was required to immerse oneself in it with emotion and to sense what lies deep within and cannot be expressed in words. This new workings of the mind can be called the third working of the mind, the "used mind." As a result, the emphasis was placed on the subtle effect of images and mood rather than on interesting meaning, which Fujiwara no Shunzei (1114-1204) called yugen, and this technique was further pursued by Fujiwara no Teika (1162-1241) and continued into the Shin Kokin period. However, around the time of the Jōkyū period (1219-22), severe criticism and reflection arose again, and it was encouraged to express the above-mentioned yushin "easily and as it is" (Yakumo Misō). The famous yushin theory in the Monthly Sō, said to have been written by Teika, also dates from this stage. Later, yugen took on an aesthetic meaning such as grace and elegance, and was positioned as the essence or ideal state of poetry, and yushin also became a central issue in poetry theory. Among them, Shinkei (1406-75), who was a scholar of renga poetry, and Zeami (1363-1443), who was a scholar of Noh theater, were more interested in ushin than in yugen, and both saw the rigors of Buddhist training in the art of mind as one and the same. The latter in particular is noteworthy for abandoning the term ushin in favor of "mushin," although this is a matter of terminology, and for reaching the idea of ​​mushin as the pinnacle of ushin theory.

[Yutaka Tanaka]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

「心あり」ともいう。一般には自然、人事を問わず対象に深い理解をもつことで、そのため思慮がある、情を解するなどの意味となり、その逆が「無心」である。歌の場合、平安時代以降は題詠が普通なので、対象となる題の「本意(ほんい)」すなわち題の真実の性質・状態と考えられていたものに深い理解を示すことが有心とされた。しかも当時の詠歌法は「風情(ふぜい)」（趣向）の巧拙を主眼としたので、有心とはまず巧緻(こうち)な風情を意味し（『天徳(てんとく)四年内裏(だいり)歌合』〈960〉の8番の判詞(はんし)など）、ついで表現された情意の深さとされた。藤原公任(きんとう)（966―1041）の『新撰髄脳(しんせんずいのう)』に区別されている2種の心のうち「をかしき」心が前者に、「深き」心が後者に対応しよう。平安末期になると、この風情中心の詠歌法が変革され、風情よりも、風情を巡らす心の働きに反省が向けられる。すなわち、題の本意を単に知的に扱うのではなく、情意を込めてそのなかに没入し、深奥にある、ことばでは言い表せないものを感得することが要求された。この新しい心の働きを第三の有心とよんでよい。その結果、意味のおもしろさより映像や情調による縹渺(ひょうびょう)とした効果が重視され、それを藤原俊成(しゅんぜい)（1114―1204）は幽玄とよんだが、この手法は藤原定家(ていか)（1162―1241）によってさらに追究されて新古今時代に至る。しかし承久(じょうきゅう)（1219～22）前後からまた厳しい批判や反省がおこり、上記の有心を「やすやすとありのまま」（『八雲御抄(やくもみしょう)』）に表現することが奨励された。定家作と伝える『毎月抄(まいげつしょう)』の有名な有心論もこの段階のものである。その後、幽玄は優美・典雅といった審美的な意味に変わり、歌の本質または理想の境地として位置づけられるが、それとともに有心も歌論の中心課題となった。そのなかで、むしろ有心に幽玄以上の関心を寄せたのが連歌論の心敬(しんけい)（1406―75）と能楽論の世阿弥(ぜあみ)（1363―1443）で、いずれも仏教的な心地修行の厳しさと有心とを一体とみている。ことに後者は、用語の問題ではあるが、有心の語を捨てて「無心」をとり、有心論の極致としての無心論に到達しているのが注目される。

［田中　裕］

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