人麻呂歌集 七夕歌의 文學史的 意義

尹永水 동아시아고대학회 2011 동아시아고대학 Vol.0 No.26

본고는 일본의 고대가집 『萬葉集』卷十에 수록되어 있는 人麻呂歌集의 七夕歌 38수의 작자・제작시기・특징 등에 관한 고찰을 통하여 人麻呂歌集 칠석가의 문학사적인 意義에 대하여 고찰해 본 것이다. 人麻呂歌集 칠석가의 문학사적인 의의로서는, 무엇보다도 먼저 『萬葉集』의 칠석가 중에서 가장 이른 시기에 백제계 渡倭人의 후손인 柿本人麻呂 자신에 의해 칠석가가 제작되었고, 그것이 일본문학에 있어서 칠석가의 선구적인 역할을 하고 있다는 것이다. 그 제작시기는 天武九年(680) 이후 또는 天武持統年間(672~696)에 지어진 것이 확실하나, 백제의 망명지식인에 의한 한문학의 융성과 和歌의 발달을 가져온 近江朝(667~672) 시절에 人麻呂 자신이 직접 듣고 배웠던 중국의 七夕漢詩에 대한 한문학적인 지식을 바탕으로 天武朝에 와서 본격적으로 人麻呂歌集 칠석가를 제작했을 것으로 판단된다. 내용과 표현방법에 있어서도 人麻呂歌集 칠석가는 구승문학에서 기록문학으로, 신화적 세계에서 역사적 세계로 넘어오는 과도기에 제작된 만큼, 전대로부터 내려오는 문학적 전통과 한문학적인 자취를 남기면서 매우 독창적이고 창조적으로 노래하고 있다. 특히 중국의 칠석한시와는 달리, 일본적 전통과 현실 생활적・신화적 배경 하에 제작된 작품이 많고, 천상의 슬픈 러브스토리를 현실생활과 밀접한 인간적이고 지상적인 사랑이야기로 변용하여 노래함으로써 일본적 칠석가의 전통을 창조하고 이룩했다는 데에 문학사적 의의가 있지 않을까 생각된다.

古代日本의 七夕歌硏究 - 『万葉集』 卷十의 七夕歌를 중심으로 -

李相俊 동아시아고대학회 2002 동아시아고대학 Vol.5 No.-

There are 139 pieces of the tanabata poetry in the Manyosyu. In the tanabata poetry that the poet was known, The oldest poetry is the 8-1518~9 poetry that Yamauenookura composed. But, a tanabata poetry was composed in the kyengsin year. If it is sure that the year is 680 year, this tanabata poetry must be the oldst in the Manyosyu. Becaese the tanabata legend is the foreign legend that was imported from China, It was exotic mood in Japanese people. It was imported in accordance with fusion to the world of ancient Japan mythology. It is probable that it is not only Kakimotonohitomaro who first fused to the world of ancient Japan mythology, but also Tenmu age that it was composed. According to this variation, the tanabata poetry in the Manyosyu was composed without regard to the Milky Way in the night sky. The Milky Way of the tanabata legend was changed to the Amenoyasukawa in the world of ancient Japan mythology. because the heavenly tanabata legend was fused to the world of Yatihoko god who began to live on the earth, it was changed to the human tanabata legend.

萬葉集 七夕歌의 硏究

尹永水 동아시아고대학회 2003 동아시아고대학 Vol.8 No.-

This study takes as the subject 132 poems of the Seventh Day of the Seventh Moon in the Manyoshu and discusses the following: the characteristics of the poems of the Seventh Day of the Seventh Moon in the Manyoshu; the characteristics of the poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry; the transmission of the legend of the Seventh Day of the Seventh Moon to Japan; and the relationship between the poems and the Korean people moved to Japan in Ancient Korea. The following is the conclusion. The characteristics of the poems of the Seventh Day of the Seventh Moon are, first of all they are the only work in the Manyoshu with stars in a night sky as the theme, and the fact that all the authors are the intellectuals with noble bureaucratic background and males. Also, unlike the Chinese legend of the Seventh Day of the Seventh Moon or the Chinese poems of the Seventh Day of the Seventh Moon, other characteristics of the poems in terms of the story are: it is Gyeon Woo who crosses the Milky Way on the night of the Seventh Day of the Seventh Moon; Gyeon Woo and Jik Nyeo accept as their fate their heartbreaking love which only allows them to meet each other once a year; and there are many instances of expressions fused with Japanese myths. Thus, even though the poems of the Seventh Day of the Seventh Moon in the Manyoshu have been influenced by the Chinese legend of the Seventh Day of the Seventh Moon, there are significant differences from China. Therefore, it can be stated as Japanese transform or characteristics of the legend of the Seventh Day of the Seventh Moon. The status of the 38 poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry draw attention since they were written in the earliest period among the poems of the Seventh Day of the Seventh Moon in the Manyoshu. They are presumed to have been written after A.D. 680 or in the TenmuㆍJito Dynasty (A.D. 672~696), and the author to be Hitomaro himself. The characteristics of the poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry are that the poems are superb than other poets' work in terms of originality, and that they sing a celestial sad love story as a humanly love story on earth closely connected to the realities of life. According to the literature, the period in which the Chinese legend of the Seventh Day of the Seventh Moon was introduced in Japan is presumed to be much earlier than the TenmuㆍJito Dynasty and by the people who moved from Korea. This paper concludes that in the Omi Dynasty's (A.D. 667~672) rigorous literary pursuit, the Chinese poems of the Seventh Day of the Seventh Moon were widely introduced by the intellectual exiles from Baekje, who were competent in Chinese literature, and in this process the poems of the Seventh Day of the Seventh Moon of the Manyoshu were began to be written. Through this research it was possible to confirm that the influence of the people moved from Ancient Korea is revealed also in a Japanese ancient collection of poems, the poems of the Seventh Day of the Seventh Moon of the Manyoshu.

칠석가의 작중주체의 변용 : 팔대집을 중심으로

구정호 한국외국어대학교 일본연구소 2010 日本硏究 Vol.43 No.-

枾本人麻呂의 달배(月船)와 靈魂觀의 考察

高龍煥 대한일어일문학회 2004 일어일문학 Vol.23 No.-

It goes without saying that the Moon Ship in Hitomaro's poetry has a unique mythological meaning. Therefore this thesis aims at the specific study through the analysing the description on the mythology related of the songs of the weaver and the mythological profundity of the view of spirit & universal mystery in its work. So above all, the big question in Hitomaro's songs of the weaver is that the messenger of the Moon should appear as the scenery of the heavens. To know the answer for that, as examples like 「?第四天部四(the Vol.4. section 4 of Heaven)」and 「月蝕附(the paragraph of Lunar eclipse )」in 『太平御?(Taipingyulan)』, we can find the records, 「the moon rises again after its death , and ??the sun and the moon are the messengers of sky”」a star is composed of the meaning of water, and the moon is composed of the meaning of lunar atmosphere. On such a ground of the principle and philosophy, the Hitomaro's the songs of weaver is composed of the story in the relationship with Altair and weaver, in which the Altair is passing by the messenger on the Moon Ship, and the weaver is taking it. In other words, just as plant originates the valuable soul with seed, the Moon Ship's appearing in this work can make us reach the core of the mythology which can be called impersonated god as the production god. Ultimately Hiromato's designing of the Moon Ship as the month person has the original concept about mythology in his work. On the contrary, later in Tanabata songs from anonymous writer, we can draw a deduction that the effort by rhyming in 7-5 meter made the meaning twisted with the Moon as a sophisticated man on moon. From the above point, we can see the reason why the Moon's image in Hitomaro's work can be concluded into the water mood, lunatic moon. In other words, originally the moon has been considered as the characteristically mysterious power of goddess that manages the rebirth of the universe. Keeping the attribute of its inner part, the main reason that Hitomaro takes the Moon as the heavenly messenger is that the immortality of the soul described in the Moon Ships has both the fundamental meaning of the essence of making the universe and the divinity as the mythological conceiving point. Therefore in detail, Hitomaro started making his Tanabata songs in the premise that the moon can be regarded as the messenger. In more concrete approach about the role of the Moon Ships, we can discover the original source in the myth, Seo Wang Mo, in which the movement of the stars in the sky goes like the story of loom. In the myth in Japan, there is a passage that there is a temple that is weaving the god of the sun. This passage represents the god of Amaterasuoo as the person who is weaving on the loom. This points out that Amaterasuoo is very closely connected with the god's marriage story with god of sun and vestal virgin. Meanwhile we can analogize the reality of essence the Moon Ship and god of Skunabykona in the examples such as 「bird ship」which transformed to birds, the story having a relationship with Toad after coming on the ship of Metaplexis Japonica Makino. It means that the son of the god of production which belongs to the maternal line is described as the soul that has the divinity representing the birth of the universe. Thinking collectively the identity of the moon ship, we can come to the conclusion that Hiromato's Moon Ship has not only the universe philosophy of the ancient China, but the important role of the earthly world as the messenger of the moon. So above all, the big question in Hitomaro's songs of the weaver is that the messenger of the Moon should appear as the scenery of the heavens. To know the answer for that, as examples like, we can find the records, 「the moon rises again after its death」and “the sun and the moon are the messengers of sky” a star is composed of the meaning of water, and the moon is composed of the meaning of lunar atmosphere.

고대 동아시아의 칠석문화연구 : 칠석전설의 생성과 변천 그리고 향유를 중심으로

이상준 ( Sang Joon Lee ) 韓國日語日文學會 2008 日語日文學硏究 Vol.65 No.2

인마여가집칠석가 (人麻呂歌集七夕歌) 「 경진년 」 의 자료의 가치

한규헌 ( Gyu Heon Han ) 한국일본어문학회 2002 日本語文學 Vol.12 No.-

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