神祇歌における神詠と人詠との関係について
On the Relationship between Divine and Human Compositionsin Shinto Poetry
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This study focuses on the relationship between divine compositions (神詠) and human compositions (人詠) in Shinto poetry (神祇歌) in Japanese imperial anthologies. The research primarily analyzes and compares the structure and characteristics of the Shinto poetry sections in the “Senzai Wakashū” and “Shin Kokin Wakashū”. The study revealed the following points: Divine compositions are poems believed to be composed by deities themselves, mainly in the form of oracles (託宣) or dream revelations (夢告). In contrast, human compositions are Shinto poems written by humans involved in Shinto rituals and ceremonies. The “Senzai Wakashū” contains no divine compositions and focuses on human compositions. However, it includes left-side notes indicating the efficacy of dedicatory poems, demonstrating that waka were tools for prayer to the gods. The “Shin Kokin Wakashū” places 13 divine compositions at the beginning, clearly distinguishing them from human compositions. This arrangement is said to reflect the intentions of Emperor Go-Toba. Waka functioned as a medium connecting gods and humans, deeply intertwined with religious rituals and politics. By being included in imperial anthologies, individual poems became sources for generating tales and narratives.
Abstract
This study focuses on the relationship between divine compositions (神詠) and human compositions (人詠) in Shinto poetry (神祇歌) in Japanese imperial anthologies. The research primarily analyzes and compares the structure and characteristics of the Shinto poetry sections in the “Senzai Wakashū” and “Shin Kokin Wakashū”. The study revealed the following points: Divine compositions are poems believed to be composed by deities themselves, mainly in the form of oracles (託宣) or dream revelations (夢告). In contrast, human compositions are Shinto poems written by humans involved in Shinto rituals and ceremonies. The “Senzai Wakashū” contains no divine compositions and focuses on human compositions. However, it includes left-side notes indicating the efficacy of dedicatory poems, demonstrating that waka were tools for prayer to the gods. The “Shin Kokin Wakashū” places 13 divine compositions at the beginning, clearly distinguishing them from human compositions. This arrangement is said to reflect the intentions of Emperor Go-Toba. Waka functioned as a medium connecting gods and humans, deeply intertwined with religious rituals and politics. By being included in imperial anthologies, individual poems became sources for generating tales and narratives.