Bibliographie
Primary Sources
Genji monogatari, Ishida Jōji and Shimizu Yoshiko, eds., Shinchō Nihon koten shūsei, Tōkyō: Shinchōsha, 1976-1985, 8 vols.
Kunchū Meigetsuki, Inamura Eiichi, ed., Matsue: Matsue Imai Shoten, 2002, rpt. 2003, 8 vols.
Kyōgoku chūnagon sōgo, Karonshū 1. Hisamatsu Sen’ichi, ed. Chūsei no bungaku, Tōkyō: Miyai Shoten, 1971.
Monogatari nihyakuban utaawase. Ōchō monogatari shūkasen 1. Higuchi Yoshimaro, ed., Iwanami Bunko, Tōkyō: Iwanami Shoten, 1987.
Sagoromo monogatari, Suzuki Kazuo, ed., Shinchō Nihon koten shūsei, Tōkyō: Shinchōsha, 1985-1986, 2 vols.
Secondary Sources
Fujihira Haruo, “Shinkokinshū to Genji monogatari, Teika no honkadori to Genji monogatari no hiki uta,” Fujihira Haruo chosakushū, 5, Tōkyō: Kasama Shoin, 2003.
Hérail Francine, Fonctions et fonctionnaires japonais au début du xie siècle, Paris : POF, 1977, 2 vols.
Higuchi Yoshimaro, “Genji Sagoromo hyakuban utaawase kō, burui, hairetsu o chūshin ni,” Aichi Daigaku kokubungaku, 12 (1971), Rpt. in Heian Kamakura jidai san’itsu monogatari no kenkyū, q.v.
Higuchi Yoshimaro, “Monogatari gohyakuban utaawase hairetsu kō,” Aichi Kyôiku Daigaku kenkyū hōkoku, 33 (1974).
Higuchi Yoshimaro, “Matsura no miya monogatari, Monogatari nihyakuban utaawase no seiritsu jiki ni tsuite,” Kokugo to kokubungaku, 57:5 (1980), Rpt. in Heian Kamakura jidai san’itsu monogatari no kenkyū, q.v.
Higuchi Yoshimaro, “Monogatari nihyakuban utaawase to Mumyōzōshi,” Kokugo kokubungaku hō, 38 (1981).
Higuchi Yoshimaro, Heian Kamakura jidai san’itsu monogatari no kenkyū, Tōkyō: Hitaku Shobō, 1982.
Higuchi Yoshimaro, “Genji Sagoromo hyakuban utaawase no hairetsu ni tsuite,” Bungaku gogaku, 57 (1982), Rpt. in Heian Kamakura jidai san’itsu monogatari no kenkyū, q.v.
Higuchi Yoshimaro, “Monogatari utaawase to monogatari kashū,” Waka to monogatari. Waka bungaku ronshū, 3. Waka bungaku ronshū Henshū Iinkai, eds., Tōkyō: Kazama Shobō, 1992.
Higuchi Yoshimaro, “Genji monogatari to monogatari shūkasen,” Shinkō Genji monogatari o manabu hito no tameni, Takahashi Tôru and Kubo Tomotaka, eds., Kyōto: Sekai Shisōsha, 1995.
Ii Haruki, “Monogatari nihyakuban utaawase no honbun,” Gobun, 48 (1987).
Komachiya Teruhiko, Ōchô bungaku no utakotoba hyōgen, Tōkyō: Wakakusa Shobō, 1997.
Kubota Jun, “Genji monogatari to Fujiwara no Teika, Chikatada no musume oyobi sono shūhen,” Fujiwara no Teika to sono jidai, Tōkyō: Iwanami Shoten, 1994.
Ōtsuki Osamu, “Genji, Torikaebaya no tsugai ni tsuite — Monogatari gohyakuban utaawase no hairetsu kara,” Gobun, 48 (1987).
Ōtsuki Osamu, “Genji, Yoru no nezame no tsugai ni tsuite – Monogatari gohyakuban utaawase no hairetsu kara,” Kōnan kokubun, 33 (1986), Pt. 1; Kōnan Joshi Daigaku kenkyū kiyō, 22 (1986), Pt. 2.
Pigeot Jacqueline, Questions de poétique japonaise, Paris: PUF, 1997.
Sieffert René, trans, le Dit du Genji, Cergy: POF, 1988, 2 vols.
Tabuchi Kumiko, “Monogatari nihyakuban utaawase no hōhō,” Genji monogatari kenkyū, 9 (2004).
Tabuchi Kumiko, “Monogatari nihyakuban utaawase no seiritsu to kōzō,” Kokugo to kokubungaku, special number (May 2004).
Takada Hirohiko, Genji monogatari no bungaku shi, Tōkyō: Tōkyō Daigaku Shuppankai, 2003.
Takemoto Motoaki and Kyūsojin Hitaku, Teika jihitsu-bon Monogatari nihyakuban utaawase no kenkyū. Mikan kokubun shiryō, vol. 1-1, Toyohashi: Mikan Kokubun Shiryō Kankōkai, 1955.
Terada Sumie, “la Prose dans le contexte de la poésie, le Roman du Genji et l’évolution poétique,” Éloge des sources, Joseph A. Kyburz et al., eds. Arles: Philippe Picquier, 2004.
Teramoto Naohiko, Genji monogatari juyōshi ronkō, seihen, Tōkyō: Kazama Shobō, 1970.
Tōno Yasuko, “Genji Sagoromo utaawase no tsugai to sono keisei,” Mozu kokubun, 9 (1989).
Tōno Yasuko, “Monogatari nihyakuban utaawase no Genji uta to Teika,” Ōchō no bungaku to sono keifu, Katagiri Yōichi, ed. Ōsaka: Izumi Shoin, 1991.
Ueno, Eiji. “Genji monogatari no kyōju to honbun, Monogatari nihyakuban utaawase shoshūbon o megutte,” Kokugo kokubun, 53:1 (1984).
Vieillard-Baron Michel, Fujiwara no Teika et la notion d’excellence en poésie, théorie et pratique de la composition dans le Japon classique, Paris : Collège de France, Institut des hautes études japonaises, 2001.
Yoneda Akemi, “Monogatari nihyakuban utaawase no kotobagaki ikkō,” Ōchō waka to shiteki tenkai, Higuchi Yoshimaro, ed. Tōkyō: Kasama Shoin, 1997.
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Notes
In “Monogatari nihyakuban utaawase no hōhō,” Genji monogatari kenkyū, 9 (2004), Tabuchi Kumiko emphasizes Teika’s care in establishing and systematizing the names of Genji characters (who are designated in various ways in the Genji, a work spanning three-quarters of a century). His competition includes an index of character-poets arranged in descending order of rank, with male characters followed by female ones. Next to each character’s name is the number of his or her poems selected for the competition. Tabuchi observes that in doing so Teika gave his work the formal tone of an actual poetry competition or an imperial anthology.
The Sagoromo monogatari is the story of its eponymous hero’s romantic trials. Though unhappy in love, Sagoromo has a brilliant career culminating in his accession to the supreme position of emperor. Greatly influenced by the Genji monogatari, the Sagoromo was written before 1086. It is attributed to Senji 宣旨 (a court sobriquet meaning “the lady in charge of imperial orders”), a lady in waiting who served the imperial princess Baishi (1039-1096), a devotee of literature. As the above quotation from Fujiwara no Teika’s journal attests, the Sagoromo monogatari was considered, by virtue of its poetry, the next best novel after the Genji itself.
A meticulous analysis of historical data enables Higuchi Yoshimaro to estimate that the competitions were compiled between the autumn of Kenkyū 4 (1193) and the winter of Kenkyū 7 (1196). In 1205, Emperor Gotoba ordered Teika and Fujiwara no Ariie 藤原有家 (1155-1216) to compile a competition using poems excerpted from novels (cf. Meigetsuki 名月記, Genkyū 2 [1205], 12th Month, 7th day), but this clearly refers to a different text. Higuchi Yoshimaro, “Matsura no miya monogatari, Monogatari nihyakuban utaawase no seiritsu jiki ni tsuite,” Kokugo to kokubungaku 57:5 (1980), reprinted in Higuchi Yoshimaro, Heian Kamakura jidai san’itsu monogatari no kenkyū (Tōkyō: Hitaku Shobō, 1982), esp. p. 23; and, by the same author: “Genji monogatari to monogatari shūkasen,” in Takahashi Tōru and Kubo Tomotaka, eds., Shinkō Genji monogatari o manabu hito no tame ni (Kyōto: Sekaishisōsha, 1995), p. 254.
For an overview of the principal differences between the two versions of the competition, see Higuchi Yoshimaro, “Monogatari utaawase to monogatari kashū,” in Waka to monogatari, vol. 3 of Waka bungaku ronshū (Tōkyō: Kazama Shobō, 1992), p. 64. For further information on the edition used in this study, see the bibliography.
Kyōgoku chūnagon sōgo 京極中納言相語 (Conversations with the Kyōgoku Middle Counsellor [Teika]), recorded by his disciple Fujiwara no Nagatsuna 藤原長綱, contains these remarks by Teika: “One can see, in Murasaki Shikibu’s style, an intent that is lucidly expressed and poetry that is elegantly composed, with respect to both overall form [sugata] and diction [kotoba]” (p. 335). The Genji monogatari is the narrative work most frequently referred to by Teika in his own poetry. On this subject, see Sumie Terada, “la Prose dans le contexte de la poésie, le Roman du Genji et l’évolution poétique,” in Éloge des sources, reflets du Japon ancien et moderne (Arles, France: Philippe Picquier, 2004), p. 150-155; Kubota Jun, “Genji monogatari to Fujiwara no Teika, Chikatada no musume oyobi sono shūhen,” in Fujiwara no Teika to sono jidai (Tōkyō: Iwanami Shoten, 1994), pp. 289-328, and Fujihira Haruo, “Shinkokinshū to Genji monogatari, Teika no honkadori to Genji monogatari no hiki uta,” in Fujihira Haruo chosakushū (Tōkyō: Kasama Shoin, 2003), vol. 5, pp. 161-177.
On the multiple poetic references punctuating “Suma,” see Takada Hirohiko, “In’yō no sōzōsei—Suma no maki no hōhō,” Genji monogatari no bungaku shi (Tōkyō: Tōkyō Daigaku Shuppankai, 2003), pp. 210-234.
For the second competition, Teika chose another ten poems from “Suma.”
Edwin A. Cranston, trans., A Waka Anthology, Volume Two: Grasses of Remembrance (Stanford CA: Stanford University Press, 2006), p. 757.
Poems are numbered according to their appearance in the novel; cf. Shinpen kokka taikan (Tōkyō: Kadokawa Shoten, 1987), vol. 5.
“Suma,” Genji monogatari, Shinchō Nihon koten shūsei (henceforth NKS), Tōkyō, Shinchōsha, 1977, vol. 2, p. 220; Edward G. Seidensticker, trans., The Tale of Genji (New York: Knopf, 1976), pp. 227-228.
I have translated the Sagoromo poems in this essay.—Trans.
Numbering of the Sagoromo monogatari poems follows the Shinpen kokka taikan, vol. 5.
Sagoromo monogatari, NKS, vol. 2, p. 184.
Cranston, trans., p. 758.
“Suma,” NKS, vol. 2, p. 224; Seidensticker, trans., p. 229.
Sagoromo monogatari, NKS, vol. 2, p. 316.
Meguri ahamu/When will we meet again?
Kagiri dani naki/Ah, ours is a parting without
Wakare kana/Any limitation--
Sora yuku tsuki no/Like the moon that walks the sky,
Hate wo shiraneba/I know not where my course will end.
This poem, quoted in the preceding note, appears in Round 1 of the competition.
Cranston, trans., p. 775.
“Akashi,” NKS, vol. 2, p. 300; Seidensticker, trans., p. 267.
See the Kokin wakashū, poem 677, for an example of katsu mi employed in this fashion.
This established wordplay also appears in poem 677 of the Kokin wakashū.
Sagoromo monogatari, NKS, vol. 1, pp. 76-77.
Cranston, trans., p. 765.
“Suma,” NKS, vol. 2, p. 245; Seidensticker, trans., p. 240.
Sagoromo monogatari, NKS, vol. 1, pp. 104-105.
Cranston, trans., p. 767.
“Suma,” NKS, vol. 2, pp. 252-253; Seidensticker, trans., pp. 244-245.
There is a variant between Teika’s version of the first verse and that in our edition of the Sagoromo monogatari (NKS, vol. 2, p. 92). The latter reads Kikasebaya, “Would that you could hear.”
Sagoromo monogatari, NKS, vol. 2, pp. 91-92.
See the article on kari in Kubota Jun and Baba Akiko, eds., Utakotoba utamakura daijiten (Tōkyō: Kadokawa Shoten, 1999), pp. 265-266.
Cranston, trans., pp. 762-763.
“Suma,” NKS, vol. 2, p. 237; Seidensticker, trans., p. 236.
Sagoromo monogatari, NKS, vol. 1, pp. 248-249.
In her youth, Rokujō no Miyasudokoro was the consort of the crown prince; he died long before the beginning of her affair with Genji.
Cranston, trans., p. 761.
“Suma,” NKS, vol. 2, pp. 232-233; Seidensticker, trans., p. 233.
Sagoromo monogatari, NKS, vol. 1, p. 121.
Cranston, trans., p. 768. The author plays on the double meaning of hitokata, “doll/simulacrum” and “ordinary.”
“Suma,” NKS, vol. 2, p. 254; Seidensticker, trans., pp. 245-246.
Sagoromo monogatari, NKS, vol. 1, p. 211.
See Teramoto Naohiko, Genji monogatari juyōshiron kō, seihen (Tōkyō: Kazama Shobō, 1970), pp. 300-301.
In our corpus the Genji monogatari poems are, in order of appearance, numbers 181, 186, 238, 208, 213, 199, 195, and 216. Sagoromo monogatari poems are numbers 142, 188, 23, 34, 98, 76, 42, and 66.
This assumption is supported by Higuchi in San’itsu monogatari, p. 387.
See, for example, Higuchi, “Monogatari hyakuban utaawase no hairetsu,” in San’itsu monogatari, pp. 371-386, and, in French, Terada, p. 160. Tabuchi believes that the practice of situating poems to effect continuity was influenced by the jika awase, a form of poetry competition in which a poet matched waka chosen solely from his or her own oeuvre; “Monogatari nihyakuban utaawase,” p. 43. Jika awase were very popular at the time in which our competition was compiled.
“Akashi,” NKS, vol. 2, p. 260; Seidensticker, trans., p. 247.
In our corpus, only the identical prefaces to the Genji monogatari poems in Rounds 45 and 46 indicate a time unit and suggest possible continuity, as confirmed by the poems.
Terada, pp. 160-166, distinguishes three categories of prose prefaces in our competition. The first adopts a deictic function, giving us the impression “that we are there, at this very moment.” In this kind of preface a sensory fact is recalled, rather than an explicitly narrative element; she cites as an example the preface to Round 48: “At the Bay of Suma, on seeing smoke rising nearby.” Prefaces belonging to the second category can be very brief; they play a narrative role and summarize the circumstances of composition (this is the most common kind of preface in our corpus). The third category comprises unusual, often long prefaces that resemble reworked quotations. In writing them, Teika borrowed language from the prose text of the novel. The best example is the Genji preface in Round 52: “On the bay of Suma, as lustrations were being performed on the day of the Serpent…”
Tabuchi, p. 46, points out that Teika erased from his prefaces anything that might damage the honor of the imperial family. In Round 1 of the competition (not quoted), a poem by Genji expresses a desire to see his beloved Fujitsubo one more time. The name of the woman and the adulterous nature of their relationship (Fujitsubo is a consort of Genji’s father the emperor) are omitted from the preface, even though anyone familiar with the novel would know of them. Such censorship helped to preserve the official character of the competition.
For a summary of the circumstances behind the recognition of monogatari as appropriate material for waka composition (and Shunzei’s key role in the matter), see Terada, pp. 141-145.
On honkadori, see Jacqueline Pigeot, Questions de poétique japonaise, p. 52-55, and Michel Vieillard-Baron, Fujiwara no Teika et la notion d’excellence en poésie, p. 251-282. In a less common practice, honzetsu 本説, a waka alludes to poetry or prose written in Chinese.
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