『겐지 이야기(源氏物語)』에 나타난 음악교육－여악(女楽)을 중심으로－

Abstract

In this paper, I have analyzed The Tale of Genji with a focus on music education. I investigated the keyword ōshitate, which means to raise and teach a person. In this literature, the word relates to the metaphor of a master and pupil. In the chapter entitled “Wakana: Ge,” Genji provides the instructions at the musical banquet of women, stating that he is a master and the four women are his pupils. It is not only the representation of his pride, but also the symbol of the relationship he has with the women. In the banquet, Onnasannomiya is praised as an excellent pupil, but she has no chance to demonstrate her ability and play the koto for his father, Suzaku. She is prohibited from doing so because of her misconduct with Kashiwagi, a young nobleman; the other reason is her marriage with Genji. From the beginning of the marriage, Genji is not expected to play the role of a husband; instead, his roles are as a father and teacher. The musical banquet shows the harmony of instruments and women on the surface, but it also reveals the complex relationships between Genji and the women. Consequently, the instruction of koto from Genji to Onnasannomiya does not transfer to their descendant opposite to the type of the preceding literature. The music education in The Tale of Genji shows the flow of musical culture from generation to generation without being limited to the distinct family tree.