2016年12月22日 星期四

掛詞/枕詞 Makurakotoba (枕詞?), literally pillow words, “pillow shot”




掛詞(かけことば)とは、和歌などにおける修辞用法の一つ。

概要

同じ音、あるいは類似した音を有するものに、2つ以上の意味を込めて表現する方法。古来より用いられてきた。掛詞となる語は、ほとんどの場合平仮名で書かれる。
逢坂山」…「逢う」/「逢坂」
「まつ」…「松」/「待つ」
「みお(を)つくし」…「身を尽くし」/「澪標
花の色は移りにけりな いたずらに 我が身「よにふるながめ」せし間に…「夜に降る長雨」/「世に経る 眺め」
大江山「いくののみち」の遠ければ まだ「ふみもみず」天の橋立…「行く野の道」/「生野(地名)の道」、「文(手紙)も見ず」/「踏みもみず(踏破もせず)」ほげ

英語における掛詞

日本語における掛詞と同じ手法を用いた修辞は、英語においてはほとんど見られない。但し、英語においても、以下のような同音もしくは類似音を利用した技巧が使われることがある。
  • Spring forward, fall backward. 夏時間の調整、春には時計の針を進める、秋には戻す / 前に飛び出す、後ろに倒れる。
  • Two is the oddest prime number, since it is the only even one. 偶数(even)奇数(odd)と奇妙(odd)を掛けたジョーク。最後のoneは代名詞で幾多の素数の中の一つのもの。(意味は:数字の2は最も奇妙(odd/数学的には奇数を意味する単語)な素数である、何故ならば唯一の偶数の素数(代名詞one)であるから。)(最初に2、最後にoneを置くのも洒落の類とみなせば二重の掛詞となる。)
  • において、節の最後を、語尾が同音節である単語(fallhallなど)で揃える。(押韻)
  • よく知られている言葉を、綴りが似た言葉に置き換える言葉遊び不思議の国のアリスはこの技法を多用していることで知られている。
なお、日本語に翻訳されると、原文におけるこれらの技法が十分に伝わらないことがある。

関連項目


The Kakekotoba (掛詞?) or pivot words are rhetorical devices used in Japanese poetry 31-syllable, Waka. This trope uses the phonetic reading of a grouping of Kanji (Chinese characters) to suggest several interpretations: first on the literal level (e.g. 松, matsu, meaning "pine tree"), then on subsidiary homophonic levels (e.g. 待つ, matsu, meaning "to wait"). Thus it is that many waka have pine trees waiting around for something. The presentation of multiple meanings inherent in a single word allows the poet a fuller range of artistic expression with an economical syllable-count. Such brevity is highly valued in Japanese aesthetics, where maximal meaning and reference are sought in a minimal number of syllables. Kakekotoba are generally written in the Japanese phonetic alphabet, Hiragana, so that the ambiguous senses of the word are more immediately apparent.

Contents

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[edit] History

Pivot words are first used in Waka poetries from the Heian period. It is a technique devise to enrich the way of conveying a poem in a limited space. By finding the real meaning the poet inserted in the poem was the highest pleasure one can get from poetry at the time. The general pattern it follows is
  1. Using the context of the sentence before the Kakekotoba and after it to create a new meaning.
  2. The Kakekotoba is translated to two different meanings by itself. Sometimes it is also written in (懸詞) but (掛詞) is more common seen. Due to reason that it can be translated to different meaning, the Kakekotoba translation can sometime be meaningless by itself, and needs a context to bring out the meaning, which was not a problem considered in the Heian period.

[edit] Examples

Kokin Wakashū 571 Love 2
Koishiki ni
wabite tamashii
madoinaba
munashiki kara no
na ni ya nokoramu
If in despair of love
my soul should wander,
am I to be remembered
as one who left
(a corpse) in vain?
-Anonymous
This poem from the Kokin Wakashū makes a pun that is translated explicitly in the English version. Kara, here used as an auxiliary particle of causation, can also mean "empty shell" or "corpse" (since implied narrator's soul has left his body). Spelling this out in translation is the only way to express the pun to an English reader, but doing so destroys the subtlety that makes the original so poignant [1]
Kokin Wakashū 639 {From a poetry contest/Utawase}
Akenu tote
kaeru michi ni wa
kokitarete
ame mo namida mo
furisohochitsutsu
Dawn has come-
on the path home from love
I am drenched:
rainfall swelling
my falling tears
-Fujiwara no Toshiyuki
Although the mix-up of tears and rain is a bit trite in Japanese poetry, Toshiyuki creates a new beauty from old fragments through the unusual verb "kokitarete" (drenched) and the kakekotoba on "furisohochi" (meaning both "to fall" and "to soak through"). The kakekotoba is just one way through which poets are able to make endlessly unique and beautiful works of art despite working with a rather limited set of acceptable forms, styles, and references [2]
Chikuba Kyoginshu 227-228 Miscellaneous
Shukke no soba ni
netaru nyoubou
Henjou ni
kakusu Komachi ga
utamakura
Beside the monk
lies a lady
Hidden from Henjou
is Komachi's
poem-pillow.
-Unknown
Though from a much later period (15th Century), this poem utilizes a multi-layered play on the literary term Utamakura ("poem-pillow"). An utamakura is a place-name that is described with set words and associated constantly with the same scenery, season, time of day, etc...; poets often kept notes of their favorite tropes of this sort. Two of the Six Poetic Immortals of the Kokin Wakashū era were the Priest Henjou and Ono no Komachi, who were reputed to be romantically involved despite their competition. The literary term utamakura is here being used for one of its literal constitutive words, "pillow," to imply that Henjou and Komachi were sleeping together. The poem is also referencing similar scenes in the Gosenshu and Yamato Monogatari. Kakekotoba, as this poem shows, are often humorous displays of the writer's wit.[3]

[edit] Equivalents in other language

Puns are common across the world, occurring in nearly every language with varying degrees of incorporation and attitude towards their use. The Japanese language, with its rather small set of possible sounds, particularly lends itself to homophone-tropes, a.k.a. puns or kakekotoba. The English writer and playwright Oscar Wilde was one of the most famous and adept employers of puns in his work,[citation needed] apparent for example in "The Importance of Being Earnest", the very title of which is a pun. In Homer's Odyssey, the hero deceives the cyclops Polyphemus by telling him his name is "oud-eis", meaning "No-man" but also playing on his name. This is also similar to 雙關 in Chinese poetry, in addition to all sorts of daily conversation and commercial advertising. For example, 道是無(晴)還有(晴). The meaning on the surface of this line is whether it is sunny or not, but the author is impling whether it is love (情) or not. Both characters (晴/情) have same pronunciation though quite different meaning.

[edit] References

  1. ^ Shirane, Harou. Traditional Japanese Literature. page 161, Columbia University, New York, 2007
  2. ^ Shirane, Harou. Traditional Japanese Literature. page 163, Columbia University, New York, 2007
  3. ^ Shirane, Harou. Traditional Japanese Literature. page 1157, Columbia University, New York, 2007

[edit] External links



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Makurakotoba (枕詞?), literally pillow words, are figures of speech used in Japanese waka poetry, where epithets are used in association with certain words. Their usage is akin to “grey-eyed Athena” and other epithets in the Ancient Greek epics of Homer. The set phrase can be thought of as a “pillow” for the noun or verb it describes, although the actual etymology is not fully known.







The term “pillow shot” was coined in connection with Ozu’s work by the critic Noël Burch in his book To the Distant Observer: Form and Meaning in the Japanese Cinema: “I call these images pillow-shots, proposing a loose analogy with the ‘pillow-word’ of classical poetry.” In a note, Burch cites Robert H. Brower and Earl Miner thus: “Makurakotoba or pillow-word: a conventional epithet or attribute for a word; it usually occupies a short, five-syllable line and modifies a word, usually the first, in the next line. Some pillow-words are unclear in meaning; those whose meanings are known function rhetorically to raise the tone and to some degree also function as images.” So (by analogy) a pillow shot serves as a visual “nonsense-syllable” or non sequitur that creates a different expectation for the next scene.




まくらことば【枕詞】


a conventional (poetic) epithet; a “pillow word”

まくら‐ことば【枕詞/枕言葉】

    昔の歌文、特に和歌に用いられる修辞法の一。一定の語句に冠してこれを修飾し、または語調を整える言葉。普通は5音、まれに3音・4音などのものもある。「あしひきの」「たらちねの」「ひさかたの」など。冠辞。
    前置きの言葉。
    寝物語。枕物語。
    「二つならべて―ぢゃ」〈西鶴大矢数

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