Мифология / Мифология Японии / Ермакова Л.М. Речи богов и песни людей

SUMMARY

The main aim of the author was to reconstruct the movement of the Japanese poetry from the archaic folklore to the developed classical forms and to reveal connections of the waka iuta, tanka) songs with the archaic texts of magic incantations, Japanese myths and rites of the ancient epoches. •

Analysis of the role of uta in the Nara and Heian cultures demonstrates its magic function in various spheres. E., in «Kojiki», the collection of the Japanese myths, the situations in which waka appears in the narrative are quite definite — such as making acquaintance, before journey, before entering house, before death, etc. As one can see from the these situations transcend the Nara period and reappear in the Heian uta-monogatari after passing a probation in the «Manyoshu» songs.

The place of waka in the culture becomes clear from the first four poetical treatises written in Chinese and preceding the famous Tsurayuki's Introduction to «Kokinshu». The treatises beginning with Hamanari's «Kakyo hyoshiki» construct a myth about the genesis of poetry, the myth that connects the birth of songs with definite Japanese deities and establishes the existence of «protosongs», the songs of the very beginning, sung by gods. (It is remarkable that one of the authors of the four treatises, Kisen, who was a Buddhist monk, wrote that appearance of the first songs with the regular system of syllables out of the chaos of the irregular songs was due to Boddhisattw Manjusri but his conception, as it seems, was not very popular.)

The early folklore songs, as it is known, were sung during the utagaki rites by the participants of the rite divided in two groups. Afterwards traditional waka conserved the division of verse in two parts: the first, cosmographic and «objective» one and the second, personal and emotional. The first part often contains the most archaic waka's modes such as makura-kotoba and jo. Usage of makura-kotoba (MK) as it seems occupies an important place in the sphere of the magic procedures of the early Yamato state. The first Japanese author who mentioned MK in his treatise was the abovementioned Kisen whose work «Yamato-uta sakushiki» was written

Summary 271

around 830 A.D. In this text we can find a list of the MK given as «names of the things» of the Era of Gods. Such interpretation together with some other reasons suggests the possibility of interpretation of MK as a kind of paroemia, strictly speaking, as a kind of cosmological riddle like Vedic brahmodya used in the rites of initiation.

The correlation between words of a song and its tune, melodic pattern, is another theme of the monograph. In the medieval treatises we find an amount of indications that the musical type of a song served as a sign of the previous ritual aim of the songs which in the Heian period became classified in groups by theme or lyric emotion. Probably the famous notion of the Japanese poetry, «the heart of a song» (kokoro), is partly the indication to one or other type of melody and the choice of melodic type depended on aims or pathos of the song, author's belonging to a certain clan (because melody could be a clan mark), etc. For instance, in the treatise «Santai waka» («Three styles of waka») a correlation between pathos of a song and the type of singing (reciting) is described as follows: «Spring-summer — these two are to be sung (yomu) solemnly-loudly. Autumn-winter are to be sung dryly-narrowly, love-journey — these two are to be sung especially brilliantlybeautifully». Judging by these and other examples we may suppose that the musical type of a song was necessarily connected with previous classification of songs according to magic aims and that cultural memory of the classification was being preserved in the traditional poetry for several centuries.

The compendium of the Japanese poetical texts demonstrates that yamato-uta up to the late medieval times has not lost its profound connections with the rites and mythological notions of the old ages. One of the main features of the rice-cultivating culture is its deepest attention to the vegetable world. Therefore all kinds of phytonyms become a universal code for various aspects of human life. The phases of vegetable world serve as signs marking temporal segments, moreover the names of some plants used in poetry can signify places, seasons, pieces of time and even a psychological condition of the poet. The utmost importance of phytonyms can be observed at various levels of traditional verse including compostion of anthologies, cycles in anthology and so on.

The monograph also includes analysis of early ritual texts (such as norito, semmyo, oouta), descriptions of the rituals reconstructed on basis of Nara literary monuments, considerations on comparative poetics of Japanese folklore and traditional poetry, the early literary theory, etc.

Научное издание

Ермакова Людмила Михайловна

РЕЧИ БОГОВ И ПЕСНИ ЛЮДЕЙ Ритуально-мифологические истоки японской литературной эстетики

Утверждено к печати редакционной коллегией серии «Исследования по фольклору и мифологии Востока»

Заведующий редакцией С.С.Цельникер. Редактор Н.Б.Кондырева.

Младший редактор Я.М.Гриднева. Художественный редактор Э.Л.Эрман. Технический редактор О.В.Власова. Корректоры

Е.В.Карюкина, И.Г.Ким.

ЛР № 020910 от 02.09.94 И Б № 17408.

Сдано в набор 16.06.94. Подписано к печати 22.12.94. Формат 60x90/16. Бум. офсетная № 1. Печать офсетная. Усл. п. л. 17,0. Усл. кр.-отт. 17,25. Уч.-изд. л. 18,0. Тираж 1500 экз. Изд.

№ 7617. Зак. № 394. «С»—1

Издательская фирма «Восточная литература» РАН 103051, Москва К-51, Цветной бульвар, 21

3-я типография РАН. 107143, Москва Б-143, Открытое шоссе, 28