Medieval Japanese songs and Chinese : About the word shinko in Sōan-koutashū

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  • 中世歌謡と漢語 : 『宗安小歌集』の語彙「しんこ」をめぐって
  • チュウセイ カヨウ ト カンゴ : 『 ソウアンショウカシュウ 』 ノ ゴイ 「 シンコ 」 オ メグッテ

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This article attempts to reinterpret the 38th song of the kouta songbook Sōan-koutashū, which is said to be from between the Kanginshū in the late Middle Ages and the Ryūtatsubushi Kouta in the early modern period. First, the word しんこ shinko used in kouta has traditionally been interpreted as 尽期 jingo, but after reexamining its validity and grounds, the interpretation of 真箇 shinko rather than 尽期 jingo is presented. Second, the two expressions, 月をふんては and 風雨の来 are considered. In particular, emphasis is placed on the reinterpretation of the 38th song with its strong relationship with Chinese poetry. First, as a result of investigating old dictionaries and Japanese dictionaries since the modern era, it became clear that the word 尽期 jingo does not have the meaning of future eternity and eternity which were the conventional interpretations. The misunderstanding of the meaning of the word arose from the misunderstanding of 尽未来（際） jinmirai/jinmiraisai that was taken up in the Setsuyōshū. Next, based on the fact that 心可揺 shinkoyo that appears in Jihpên fêng t'u chi means heart sincerity, I consider the 真箇（个） shinko that can be found in literature such as Chinese poetry and shōmono. I explore the possibility of understanding しんこ shinko as 真箇 shinko, which is also listed in the old dictionary. As a result, it can be determined that 真箇 shinko is more suitable for しんこ shinko in Sōan-koutashū than 尽期 jingo. Finally, I compare 月をふんては and 風雨の来 with 踏月 tōgetsu and 風雨来 fūurai in Chinese poetry, and reinterpret the 38th song based on the interpretation of 真箇 shinko. As a result, it was shown that the interpretation would be "an admirer who visits on a rainy day is one who is sincere." From the above consideration, しんこ shinko in Sōan-koutashū should be understood as 真箇 shinko instead of 尽期 jingo, and the songs in the collection that use Chinese expressions are traditional Japanese view of romance but given a new flavor with the introduction of Chinese-style expression. It is concluded that the 38th song is a mixture of Japanese and Chinese created by someone who likes Chinese poetic expression.

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