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。- 例
- 「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。）
- 詩において、節の最後を、語尾が同音節である単語(fallとhall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。
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.
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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- Using the context of the sentence before the Kakekotoba and after it to create a new meaning.
- 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
- 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
- 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
[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
- ^ Shirane, Harou. Traditional Japanese Literature. page 161, Columbia University, New York, 2007
- ^ Shirane, Harou. Traditional Japanese Literature. page 163, Columbia University, New York, 2007
- ^ Shirane, Harou. Traditional Japanese Literature. page 1157, Columbia University, New York, 2007
[edit] External links
- Zhivkova, Stella. Figurative Elements in Koto and Bunraku Music and Their Analogues in Related Forms of Japanese Culture. Osaka University, Japan.
- Balloon_rhetoric. A-play-on-words
- Lai Pei Kit. Teacher Lai's Chinese classroom
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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”
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”
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