紀要論文

オモロと琉歌における「大和」のイメージ

The image of Yamato (ancient Japan) in omoro and ryūka

jpn

18838596

https://doi.org/10.15002/00022476

法政大学国際日本学研究所

11

305

333

2014-03-31

Version of Record

法政大学国際日本学研究センターから法政大学国際日本学研究所に名称変更

“Omorosaushi” - a collection of Okinawan epic songs called omoro was compiled between 1531 and 1623 by the government of the Ryukyu Kingdom. The origins of the Okinawan lyric song ryūka are unknown, however the latest written record dates back to the end of the 17th century and it is believed that ryūka was widely composed from the 18th century. The research has been introduced claiming the mutual relationship between the two abovementioned song types. In this paper, I explored the image of Yamato (ancient Japan) in omoro and ryūka by doing a comparative study into the expression Yamato (and related expressions Yashiro, Nihon’uchi and Hinomoto – all of them having the same meaning as Yamato) comprised in both song types. I found out that the number of both song types containing expressions that mean Yamato is almost the same (21 omoro songs and 19 ryūka songs). However, even though both types of songs use the same expression Yamato, there are several differences regarding the image of Yamato in each of the two song types. Regarding omoro songs, even though there are 3 songs containing the expression nobote together with the expression Yamato implying the high status of Yamato, the positive image of Yamato is not seen in all of the omoro songs. On the contrary - more than half of the omoro songs (11 songs) express either hostility or rivalry towards Yamato. Furthermore, in those omoro that praise Okinawa there is frequently presented comparison to Yamato as well which implies strong competitive feelings. On the other hand, in ryūka songs there is only 1 song that expresses hostility towards Yamato. Apart from that there are songs praising either Okinawa or Yamato, and the number of songs in each of these two groups is the same (4 songs). The rest of the ryūka (10 songs) depicts personal feelings – a feature not seen in omoro, and thus typical to ryūka – or celebrates safe journey on the sea. The fact, that omoro was mostly sung in the formal environment during festivals and served as a song expressing “collective way of thinking”, whereas ryūka was widely created among peasants during their daily lives and expresses “individual way of thinking and personal feelings”, as well as the different period in which the both song types originated fairly contributed to the different image of Yamato in both song types. In conclusion, the image of Yamato in epic songs omoro was strongly influenced by the historical and political background resulting in 5 songs expressing hostility towards Yamato and 6 more songs expressing rivalry. On the other hand, since lyric song ryūka comprised very little political opinions, the largest number of songs containing the expression Yamato deals with personal feelings or safe journey, whereas only 1 song expresses hostility towards Yamato.

Article

AA11914954