頓阿歌の余情 —助動詞「らむ」と本歌取りの関係を中心に—

Abstract

In this article, I examined the characteristics of the song of the Tona, including the auxiliary verb ‘らむ’. So far, Honka-dori has been a useful means of composing Honi of the Kadai when it comes to compound Kadai. It is not that Honka-dori’s technique is the same as the true meaning of the compound Kadai, but through the tangible expressions borrowed from the world of Honka, the world of Honka is superimposed on reality in front of the eyes by directing readers’ consciousness to the world of Honka. It was because we let. If you look at the song of Tona’s Honka-dori, the world of the old song was characterized by condensation in the upper or lower phrase. This is because it functions as a confirmation of the phenomenon of the current subject by matching the world of old songs with the present. And the reality of the subject that was obscure and complicated becomes clear when world of Honka matches the reality of the subject. It is because the structure of the song including ‘らむ’ describes the uncertain situation that is the standard of judgment, and it has a two-stage structure of estimating, questioning, and surrendering the providence contained in the uncertain circumstances. do. However, if you look at the songs you wrote using the ‘らむ’ and honkadori in the song of Kenko and Keun who lived in the same period as Tona, you can borrow the world and setting of the old song, and rely on it to express the old song. The material seems to be just making a new world of old songs and enjoying the alteration and reinterpretation. In this case, however, the boundary between the world of the Honka and the reality of the subject of the song becomes obscure and the emotions gained from the world of the Honka are easily separated from the world of the Honka, making it easy to lose the sense of reality. Tona is based on the world of the Honka and has a new impression of discovering and confirming the reality of the subject in the song. I think I’ve practiced one’s heart. He leaned on the words of the Kadai through the Honka and reliably connected to the reality of the subject through the auxiliary verb ‘らむ’ while leaning on the heart of the old songs. It is thought that it was possible to impress the reality obtained in the world of old songs without being bound by the Honka.