헤이안 시대 연애담에 나타난 와카의 기능 ―가덕의 요소를 지닌 이야기를 중심으로―

김태영 단국대학교 일본연구소 2020 일본학연구 Vol.60 No.-

모노가타리(物語)의 와카(和歌)는 당시의 풍속으로서의 와카 생활의 반영이기도 한 동시에, 작품 형성의 지향성을 가지고 모노가타리의 주요 장면에서 언어의 표현력에 기반한 효과를 발휘한다는 방법 의식에 의해 정위된다. 지금까지 작중와카에 관한 연구는 주로 표현론적 관점에서 이루어져 왔으며, 와카가 지닌 효용(노래의 덕)이라는 관점에서 모노가타리의 작중와카를 분석한 연구는 없었다. 이에 본고에서는 우타모노가타리(歌物語)를 중심으로 한 『겐지 모노가타리(源氏物語)』이전 작품과 『겐지 모노가타리』를 연구대상으로 삼아 남녀 교류의 양상을 중심으로 증답(贈答) 장면을 분석해 보았다. <노래의 덕> 즉 와카 덕분에 지은 죄를 용서받는다는 이야기는 설화와 칙찬집 등에서 그 예를 볼 수 있다. <가덕설화(歌徳説話)>란 현실에서 읊어진 노래에, 그 노래가 가져온 <덕>이 비현실적 요소로서 추가됨으로써 생겨난 <설화>라고 볼 수 있다. 본고에서 <가덕>과 <가덕설화>를 따로 다룬 이유이기도 하다. 분석의 결과, 『고킨슈(古今集)』「가나 서문(仮名序)」이 선언한 <와카의 덕> 즉 와카의 힘에 대한 믿음은 우타모노가타리에서 특히 전형적으로 나타난다고 볼 수 있으며, 『겐지 모노가타리』의 경우에는 주요 여성인물들이 지닌 개성이 그들이 읊은 와카에도 잘 드러나 있었다. 즉 <가덕><가덕설화>의 전형적 패턴인 ‘훌륭한 와카를 읊어 승진을 하고 처벌을 면한다’는 식의 이야기가 아니라 모노가타리의 전개방향을 반영한 와카 증답이 다채롭게 이루어지고 있고, 와카가 인물들 간의 관계의 복잡미묘한 흐름과도 매우 밀접한 관계를 맺고 있는 것을 알 수 있었다. The Waka of Monogatari is a reflection of Waka as a custom of the time, and at the same time, it plays its role with the directivity of work formation and methodical consciousness that has an effect based on the expressiveness of language in the main scenes of Monogatari. Until now, studies on Sakuchū waka have mainly been done from an expressionistic point of view, and there have been no studies that have analyzed the Sakuchū waka of Monogatari from the point of view as an utility (the virtue of song) that Waka contains. In this study, it analyzed the scene of exchanging gifts in Waka focusing on the aspect of exchanges between men and women targeting previous works of 『Genji Monogatari』 and 『Genji Monogatari』 based on Uta-monogatari. <The virtue of Song>, that is a story of being excused for sin thanks to Waka can be seen in many of the stories and Chokusen wakashū, and, in particular, the 10th volume of 『Jikkinsyo』 deals with <the virtue of song> while enumerating virtues of talent and accomplishments in general including <The virtue of Chinese poetry> and <The virtue of a song>. <Katoku Setsuwa> is a narrative created by adding <Virtue> brought into the song recited in reality as an unrealistic element. In other words, <Katoku> and <Katoku Setsuwa> need to be dealt with separately in the research, and this study analyzes <Wakawa and story with the elements of Katoku>. As a result, the belief in <The virture of Waka>, that is the power of Waka, declared by 「Kanajo」 of 『Kokin-wakasyu』 showed typically in Utamonokatari, and in case of 『Genji Monogatari』 the intense individuality of the main female figures was well illustrated in Waka they sang. In other words, it found that Waka exchanges reflecting the direction of development of Monogatari were made colorfully, and Waka is very closely related to the complex flow of relationships between characters but it’s not a story of typical pattern of <Katoku> and <Katoku Setsuwa> that recited ‘great Waka’ and got promoted or avoided punishment.

다서(茶書)에서 보는 와카 和歌의 위치

임찬수(Lim, Chansoo) 한국외국어대학교 외국문학연구소 2014 외국문학연구 Vol.- No.53

다서에서 보는 와카는 크게 4가지 면에서 그 의미를 찾을 수 있다. 첫째는 다도의 미의식이나 사상적 배경을 제공하고 있다는 점이다. 당시의 문화는 운문문학을 토대로 하고 있으며, 다도에 참여하는 통치자 귀족 중류계층의 무사나 승려 등도 와카나 연극 무용등 여러 장르의 소양을 갖추고 있었다. 따라서 와카로부터 미의식이나 표현방법을 차용하는 것은 지극히 당연한 것인지도 모른다. 둘째는 교훈적인 내용을 담을 형식을 제공하고 있다. 물론 교훈적인 내용이 다도라는 양식에서 처음으로 시작된 것은 아니지만, 음률이 있어 외우기 쉽고 오래 기억할 수 있다는 장점이 있어, 다도에 임하는 마음가짐, 도구사용 및 배치법등과 같은 내용을 와카의 형식을 빌려 표현하고 있다. 세 번째는 다인의 개인적인 감정이나 일상사를 술회하는 방식이다. 대개의 경우 다인들은 와카나 렌가에 대한 소양이 있었고, 다도를 즐기는 상류계층의 사람들은 한시나 와카 렌가를 다도모임에서 같이 즐기기도 하였다. 따라서 차를 마신 뒤에 같이 시를 읊조리거나 다회가 끝난 뒤 편지로 다회에 대한 소감을 시로 표현하였다. 네 번째는 다도구의 명칭에 사용하였다. 다 도구는 사용하는 사람에 따라 고유한 명칭을 붙이거나 전해오는 도구 명을 그대로 사용하기도 하였다. 특히 와카에서 유래된 도구의 경우에는 이미 정형화된 이미지를 통해 전통미와 권위를 부여할 수 있는 장점이 있다. 다실의 거는 족자에 와카나 묵적을 사용하는 것도 불교 사상을 다도의 근본 사상과 동일한 것으로 인식하고 있기 때문이지만, 전통성과 고전에 대한 권위의식도 작용하였다. Viewed from tea ceremony books, Waka affords four significant implications. First, Waka provides aesthetic consciousness or ideological backgrounds for tea ceremonies. The then culture was based on poetry literature and the cultured men had knowledge of Waka, play or dance. It is therefore evident that aesthetic consciousness or forms of expression were borrowed from Waka. Second, Waka embodies didactic contents. Although the didactic writing was not originated from tea ceremonies, the embedded tone and rhythm made it easier to memorize that one's attitude of mind towards attending tea ceremonies and ways to use tea services were expressed in forms of Waka. Third, Waka indicates personal feelings or relates the ordinary affairs of life. In most cases, tea-enjoying people were well-equipped with Waka or Renga. In fact, the tea-enjoying upscale were used to delight themselves with Waka or Renga during or after tea ceremonies by reciting and writing poems. Finally, Waka relates to the names of tea services and instruments. It was typical for people to give unique names or keep inherited names of tea services. Especially, tea services associated with Waka could attain classic beauty and authority through the stereotypical image. Although the Buddhist ideology laid a foundation of tea ceremonies, traditions and consciousness of authority with classics also affected the use of Waka or calligraphy in hanging scrolls in tea rooms.

노 이론서의 와카십체 수용양태 연구

임찬수(Lim, chan soo) 동아시아일본학회 2017 일본문화연구 Vol.0 No.64

노 곡목 중에 와카(和歌)를 소재로 한다든지, 와카 한 수를 주제로 삼아 와카설화를 바탕으로 줄거리를 구성한 작품들이 많다. 그래서 제아미(世阿弥)는 와카 재능의 필요성을 강조하였고, 더 나아가 젠치쿠는 와카십체(和歌十体)를 각 곡목에 대응시키면서 곡목과 가체의 미의식을 연계시키는 작업을 시도하기도 하였다. 이처럼 와카나 한시를 연기에 적용한 이유는 광언기어(狂言綺語)라는 사상에 근거하고 있기 때문이다. 와카를 통해 불교와 인연을 맺어 불도에 귀의하려는 생각이다. 또 한 가지는 속(俗)에서 벗어나는 방법으로 시심(詩心)을 강조했다는 점이다. 연기와 와카가 융합되어 유현지상의 세계를 연출할 수 있다고 보았던 것이다. 와카의 미의식을 연기에 도입한 젠치쿠는 시가문학이 소유하고 있었던 서정성을 연기이론에 적용하려고 하였다. 각 가체의 풍정(風情)을 가론서로부터 인용하고, 이를 각 곡목에 대비시켜 연기의 근본과 사상적 배경인 유현지경(幽玄地境)을 넓히려고 시도한 것이다. It was common and natural for Noh performers to have some knowledge of Waka or Renga. Many works of literature used Waka poems as a theme and presented their fables. Zeami underscored the necessity of having a poetic talent for Waka and Zenchiku also quoted from Waka or corresponded to Waka in his books. Such a backdrop for regarding poems as indispensable is the ideology of “Kyoeongieo” which implies that Waka is able to bond people with Buddhism and help them devote to Buddhist doctrines. Another reason is that poetic turns of mind were emphasized as a way out from the secular world. Integrating acting and Waka was seen to produce the world of “Yuhyungisang”. The musical aspects of performance are also closely related to Waka. It is because reading Waka aloud was associated with the rhythms of Noh’s works. Zenchiku introduced the poetic forms of Waka in an attempt to impose fundamental meanings on reflection of performance. The recognition of Waka as a basic element of acting was to stress mental attitudes for Waka-based sense, poetic views, and naturalistic observations.

쇼군 무네타카 친왕(宗尊親王)의 인생역정과 와카 작의의 상관관계 고찰 : 『쥬쇼오교에이(中書王御詠)』의 의의와 영향을 중심으로

윤승민(Yoon, Seong-Min) 일본어문학회 2021 일본어문학 Vol.95 No.-

宗尊親王は鎌倉幕府の第六代の将軍であるが、波乱万丈な人生を生きた人物である。幕府側が待ち侘びた皇族将軍として10歳で鎌倉に迎えられたが、それから15年後、幕府に対する謀反の疑いで突然将軍の座から廃される。彼は特に和歌に優れており、鎌倉歌壇の中心的な人物としても活躍していた。親王が詠んだ歌は約3000首にも至り、多数の歌集も存在する。『中書王御詠』は親王が将軍の地位から追放される前後の歌を集めた歌集で、358首のなかでこの歌集にのみ載せられている歌が241首であり、資料としての価値も高いといえる。その中でも将軍追放というあまりにも衝撃的な事件の後に詠まれた歌には親王の主観的でリアルな感情が如実に表れていると思われる。 特に帰京後の心境を詠んだ｢述懐｣の部分に、｢憂し｣｢憂き身｣｢憂き世｣という歌語が多くみられるが、それはほかならぬ当時の親王の苦しく辛い状況の表出であろう。一方、栄辱を味わった宗尊親王の、人生の最も劇的な瞬間に作られた歌を、また為家に合点や評詞を求めて集めたということでは、親王の和歌に対する熱意をも感じられる。 Munetaka Shin’no, the sixth shogun of the Kamakura shogunate, overcame a number of drastic events in his life. He ascended the throne in Kamakura as an emperour shogun when he was 10, but 15 years later after this ascension, he was dethroned all of sudden due to the suspect of treason. He particularly excelled in composing waka, and he was one of the central figures in the waka-world of the Kamakura era. He composed about 3,000 waka songs, including a number of waka collections. The waka collection Chushoogyoei includes the waka songs composed around at the time when Munetaka Shin’no abdicated. This collection includes 358 waka songs, and of these, 241 waka songs are included only in this collection; the collection is thus seen as a valuable resource. Especially, the waka songs composed after he abdicated vividly portray his subjective and real emotions. In particular, the part “jukkai,” which describes his feelings after he returned to the capital, contains a number of waka terms such as ushi, ukimi, and ukiyo; these words reflect his bitter emotions at the time. On the other hand, the collection also conveys his exuberant attitude towards waka in that it includes the waka songs created when he experienced the most drastic events and that it is based on the criticism from Tameie.

謠曲에서의 和歌역할

임찬수(Lim chan-soo) 한국외국어대학교 외국문학연구소 2004 외국문학연구 Vol.- No.18

The use of famous phrases or Waka in the scenarios not only has an advantage of polished styles and adoption of established images, but also is an essential rhetoric to connote lines by a tune. Since Nho theories suggest a specific way to adopt and quote Waka, it is not an exaggeration to say that they must be an important assignment in production. In addition, they are an appropriate instrument to express 'subtle languages' that Noh theories refer to. An aesthetic sense of the Nho is beauty of subtlety. It is a taste of elegance, beauty, dignity and nobility. Thus acting becomes subtle or powerful, depending on how to use words and phrases. If the Chinese poetry delivers a solid and manly image, the Waka is womanly and amiable. In this sense, the Waka that is largely quoted from love poems such as Genji Monogatari and Ise Monogatari was to bring about the beauty of subtlety. As each work is reviewed, the Waka was adopted to develop contents as a motif or a material, and it appeared mainly in the introduction of a work. The Waka that used to represent the protagonist's feelings should have been located at a climax part, but this rule was not always kept. Integrated into the image of the Waka, the Nho multiplies a protagonist's pitiful and pathetic feelings by quoting from a piece of a poem or interweaving it with many songs like a series. The quotations from the Waka within the Nho shed some light on the artificiality of producers or playwrights. The Nho quotes only a part of poem in line with the story of songs, having nothing to do with the original meaning of the Waka. It also shifts a retrospective song into a love song by only borrowing a substance without considering the circumstances and events where the Waka is made, changes a song of autumn into places to meet and separate, and alters the contents of mourning to reminiscence.

와카(和歌)에 대한 밀교적 해석

정천구(Jung Chun koo) 한국일본불교문화학회 2013 일본불교문화연구 Vol.- No.8

『샤세카슈(沙石集)』는 중세 일본의 대표적인 불교설화집으로, 무주 이치엔(無住一圓, 1226∼1312) 이 편찬하였다, 이 책의 권5에는 일본의 고유한 시기인 와카(和歌)기 대거 수록되어 있어 주목을 끄는데, 특히 이와카에 대해 이치엔이 밀교적 해석을 덧붙이고 있어 고찰할 필요가 있다. 외카애 대해서는 가인들에 의해 문학적으로 해석되어 왔으나, 이치엔처럼 밀교와 관련지어 해석한 경우는 드물었다. 물론 이치엔 이전에 사이교(西行) 법사나 지엔(慈圓) 등과 같은 승려들에 의해서 와카가 진언과 관련이 있다는 것이 암시되거나 간략하게나마 거론된 적은 있다. 그러나 이치엔은 더욱 심도있게 해석을 하여 일종의 가론(歌論)을 마련하였다, 이치엔은 와카에 총지의 덕이 있다고 하면서 와카와 진언이 하나라는 주장을 하였다. 이러한 주정의 근거로는 다음과 같다. 첫째는 기원에서 일본 토착의 신이 부르기 시작한 노래가 와카이고, 그 신은 부처나 보살과 다르지 않은 존재이므로 와카는 곧 부처의 말씀과 같다는 것이다. 둘째는 와카의 글자 수 서른 한 자가 『대일경』의 서른 한 품과 같다는 것이다. 셋째는 "입에서 나온 말은 모두 진언이다"는 것을 틀어 와카 또한 입으로 나온 말이므로 진언과 다르지 않다고 한 것이다. 이치엔의 해석은 그대로 중세적 사유의 전환을 보여주는 것이다. 중세전기에는 문명권의 중심부와 주변부가 우열의 판제에 있어서 주변부는 중심부에서 공동문어인 한자와 보편종교인 불교를 받아들여서 높이 받들며 열등한 처지에 있었으나, 중세가 진행되면서 차츰 자국의 문화를 새롭게 인식하면서 중심부와 대등하다는 인식을 하기에 이르렀다. 그렇게 문명권의 문화는 서로 대등하다는 인식을 잘 보여주는 것이 와카에 대한 밀교적 해석이었다. 즉, 주변부의 노래인 와카가 문명권에서 공통적으로 창작되던 한시와 다르지 않고 와카에 담은 뜻이 불교의 핵심과 통할 수 있다는 것을 근거로, 중심부와 주변부는 대등하다는 것이었다. Muju Ichien(無住一圓, 1226∼1312) wrote a book titled Shasekishu(沙石集) in which is comprised many tales concerned with Buddhism and explanations for its tales. Especially, he compiled a hundred Waka(和歌) in volumn 5 and explained them in detail and in depth. WaKa is poetry native to Japan from ancient times, and has been explained from the viewpoint of literature by many poets. But Ichien explained it from the viewpoint of Tantrism(密敎). He was not originated in its explanation and inspired by predecessors who are Buddhists of Sagyo(西行) and Jien(慈圓). They suggested or explained briefly that Waka is connected with Dharni(眞言). Ichien said that Waka has the virtue of Dharni, and insisted that waka is the same with Dharni. His explanation is based on following facts. First, originally waka was sung by the native god who is not different from Budda or Boddhisattva. Therefore waka is the same with words laid tongue of Buddha. Second, waka is composed with 31 syllables, and its number is the san1e with chapters of Great Sun Sutra(大日經) which is the fundamental Sutra in Tantrism. Third, on the ground that all words from the tongue are Dharni, he insisted that waka sung by a spoken language is not different with Dharni. The explanation of Ichien indicated that a way of thinking was changing in n1iddle ages. Early in the middle ages, there was a relationship of superiority or inferiority between the center and the periphery of the civilization. In the East Asia, the people in the periphery had to adopt Chinese character and Buddhism to aspire to attain to the cultural society. It was because they were in inferiority. But they were getting to recognize their native culture from the other viewpoint, and finally attained to the awakening that the culture of the center and the periphery is equal in value. Ichien showed that equality in his Tantric explanations of Waka.

와카세계를 통해 본 일본 헤이안시대 연애풍류 -헤이안시대 중기작품을 중심으로-

남이숙 동아시아고대학회 2019 동아시아고대학 Vol.0 No.54

In this article, the trend of romantic relationship was studied, focusing on Waka in the mid-Heian age. In Heian age, for being a person of a romantic turn of mind, people needed to know how to recite Waka passionately. In the beginning of dating, Heian men and women were unable to meet face-to-face. Moreover, even after the marriage, there was a tradition that the couple lived separately and a husband had to visit a wife’s house for having sexual relationship. The viral exchanges of Waka in every level of romantic relationship was caused for these reasons. The trend of romantic relationship was based on Waka, and people tried to express their emotion and feelings with it. However, only expression of emotion was not good enough for recite decent Waka. They had to understand vibes of seasons and natures. Using these metaphors as a base was thought as an aesthetic sense that people needed to have. This aesthetic sense was caused by Kokinwakashu. The preface of this anthology Kana describes that songs (Waka) has power can make life of people better with an aesthetic sense based on nature. Heian people learned how to appreciate nature and how to express their feeling through Kokinwakashu. They introduced using waka as a way of communication for these reasons. Moreover, the aesthetic sense which is based on Kokinwakashu is inherited still in modern generation. 본고에서는 헤이안 중기 작품 속의 와카를 중심으로 일본 헤이안 귀족들의 연애풍류에 관해 고찰해 보았다. 헤이안시대 풍류인은 정열적인 와카를 읊을 줄 알아야 한다는 조건이 있었다. 연애 초기 남녀가 직접 대면할 수 없었고 결혼해서도 부부가 따로 지내며 남자가 여자의 집을 방문하는 방처혼이었기 때문에 연애의 모든 단계에서 와카의 증답이 행해지고 있다. 자신의 심정을 와카로 표현하는 것이 당시의 연애 흐름이지만, 심정표현만으로 완성도 높은 와카를 읊을 수는 없다. 자신을 둘러싼 계절이나 자연이 빚어내는 정취를 잘 이해하고 이를 바탕으로 자신의 심정을 잘 표현해야 하는 풍류의식을 지니고 있어야 했다. 이러한 풍류의식(미의식)은 『고킨와카슈』에서 비롯된 것이라 할 수 있다. 이 가집의 서문인 仮名序에서 기술하고 있는 바와 같이 당시 가인들은 ‘노래는 인간의 삶을 풍요롭게 하고 행복하게 하는 힘이 있다’고 믿었으며, 『고킨와카슈』 세계를 참고하여 자연을 감상하는 안목을 기르고 연애 감정 표현 방법도 습득하여 생활 속에 의사소통의 수단으로 와카를 도입했다. 이러한 『고킨와카슈』 기반의 풍류의식은 헤이안시대만이 아니라 후대에까지 면면히 이어져 오늘날까지 계승되고 있다.

와카, 일본전통언어문화 텍스트로서의 가능성

남이숙(南二淑) 한국일본문화학회 2019 日本文化學報 Vol.0 No.83

In this article, we considered the nature and phases of Waka. We then looked at how these traditional language cultures were inherited by later generations and influenced modern culture, centering on the formalities of waka, utamakura, and Hongkadori. Waka is the foundation of Japanese literature and culture, and has influenced other forms of expression, contributing greatly to the development of modern Japanese literature. The Waka form of 5 · 7 · 5 · 7 · 7 has produced many rhyme forms and played a major role in expressing the spirit peculiar to the Japanese and has a significant influence on the Japanese language. Utamakura, written in waka, has contributed to the creation of a new local culture by giving literary inspiration to younger poets such as bassou. Hongkadori is an ancient and sophisticated technique that reflects the history of the antecedent Waka, and is also a source of new literature creation for later writers. In this respect, it is worth utilizing Waka as a textbook for traditional Japanese culture.

哀傷歌における時間の問題 -兼輔と貫之の贈答歌を中心に-

이상민 중앙대학교 일본연구소 2024 日本 硏究 Vol.- No.60

“Aisyouka” laments the inevitable parting at death that everyone who is born will face. In this paper, I analyze the wakas Fujiwarano Kanesuke and Kino Tsurayuki exchanged during their long-standing relationship, as they mourned Kanesuke’s wife’s death. I explore how people in ancient times perceived separation from their loved ones through wakas, how they recognized it over the passage of time, and how they interpreted the relationship between the living and the dead. First, by estimating the approximate years spanning the two poets’ exchange of wakas and speculating about Kanesuke’s deceased wife’s lineage, I elucidate the circumstances surrounding the wakas. I also examine the feelings and emotions these songs evoked, particularly given that they were exchanged at the end of the year. I sought to reveal the underlying cause of the sorrow the two poets must have felt. Next, by comparing the sense of time in Kanesuke’s waka, which reads “ともにしかへる,” with that in Tsurayuki’s waka, which reads “年のくれなば,” I show that the primal cyclical sense of time associated with the changing seasons coexisted with a linear perception of time that did not regress due to the introduction of the calendar. In Tsurayuki’s waka, the living transition towards a future that continually advances with the flow of time, while the dead remain as entities standing on an extended timeline. I find that although Tsurayuki’s “Aisyouka” resonates with survivors’ grief, it also appeals to the unalterable logic of time that everyone must face, with the aim of rescuing the bereaved from the sorrow of separation.

「防人歌(사□모리노우다)」연구

박상현(Park, Sang-hyun) 한국일본문화학회 2015 日本文化學報 Vol.0 No.67

This study investigated the Korean translation of Sakimorinouta(防人歌) in a syntactic manner. The translations of Sakimorinouta released during the Japanese colonial period include Sakimorinouta (translated by Seo Doo-soo), Korean abridged translations of Manyoshu(万葉集) and One Hundred Patriotic Poems in Korean Translation (by Kim Eok). The translations published after the national liberation include Manyoshu in Korean Translation (Kim Sa-yeop), Manyoshu (Koo Chung-ho) and Recitation of One Thousand Lines of Manyoshu (Koh Yong-hwan, Kang Yong-ja). A comparative study on these translations revealed the position of Sakimorinouta in the translation history of waka(和歌). First, Seo Doo-soo’s text was the first Korean translation of Sakimorinouta. Second, Seo Doo-soo’s Sakimorinouta was a complete translation of the waka. Third, he added notes to this waka for the first time in the translation history of waka since the modern times. In fact, he expressed his view on this waka and how it should be introduced to Joseon through the notes.