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Ki No Tsurayuki a Poszukiwanie Tożsamości Kulturowej W Literaturze Japońskiej X Wieku

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Ki No Tsurayuki a Poszukiwanie Tożsamości Kulturowej W Literaturze Japońskiej X Wieku Title: Ki no Tsurayuki a poszukiwanie tożsamości kulturowej w literaturze japońskiej X wieku Author: Krzysztof Olszewski Citation style: Olszewski Krzysztof. (2003). Ki no Tsurayuki a poszukiwanie tożsamości kulturowej w literaturze japońskiej X wieku. Kraków : Wydawnictwo Uniwersytetu Jagiellońskiego Ki no Tsurayuki a poszukiwanie tożsamości kulturowej w literaturze japońskiej X wieku Literatura, język i kultura Japonii Krzysztof Olszewski Ki no Tsurayuki a poszukiwanie tożsamości kulturowej w literaturze japońskiej X wieku WYDAWNICTWO UNIWERSYTETU JAGIELLOŃSKIEGO Seria: Literatura, język i kultura Japonii Publikacja finansowana przez Komitet Badań Naukowych oraz ze środków Instytutu Filologii Orientalnej oraz Wydziału Filologicznego Uniwersytetu Jagiellońskiego RECENZENCI Romuald Huszcza Alfred M. Majewicz PROJEKT OKŁADKI Marcin Bruchnalski REDAKTOR Jerzy Hrycyk KOREKTOR Krystyna Dulińska © Copyright by Krzysztof Olszewski & Wydawnictwo Uniwersytetu Jagiellońskiego Wydanie I, Kraków 2003 All rights reserved ISBN 83-233-1660-0 Wydawnictwo Uniwersytetu Jagiellońskiego Dystrybucja: ul. Bydgoska 19 C, 30-056 Kraków Tel. (012) 638-77-83, 636-80-00 w. 2022, 2023, fax (012) 430-19-95 Tel. kom. 0604-414-568, e-mail: wydaw@if. uj. edu.pl http: //www.wuj. pl Konto: BPH PBK SA IV/O Kraków nr 10601389-320000478769 A MOTTO Księżyc, co mieszka w wodzie, Nabieram w dłonie Odbicie jego To jest, to niknie znowu - Świat, w którym przyszło mi żyć. Ki no Tsurayuki, testament poetycki' W świątyni w Iwai Będę się modlił za Ciebie I czekał całe wieki. Choć nie ma już łudzi. Co sto lat by czekali. Minamoto no Kimilada odpowiedź na testament Tsurayukiego1 1 Powyższy wiersz, zamieszczony w prywatnej antologii Ki no Tsurayukiego [Tsurayukishu) pod numerem 878, opatrzony został komentarzem (por. [32]): ż.ożaCD-C? tt!! *9 (¿('t **9 J Yonaka kokorobosoku oboe tsune no kokochi mo sezarikereba, Minamoto no Kimi- tada ason no molo ni kono nta o namu yomite yarikeru, kono aida ni yamai omoku narinikeri (it- ciężkiej chorobie, w dodatku będąc przygnębionym sprawami tego świata, [Tsurayuki] ułożył dla Minamoto no Kimitada taką pieśń). Utwór ten uważa się za tzw. jisei - testament poetycki Tsurayukiego. Por. też: [53], s. 184. O ile nie zaznaczono inaczej, wszystkie cytaty z japońskiego i chińskiego zostały przetłuma­ czone przez autora niniejszej rozprawy. " Wiersz zamieszczony pod numerem 699 w antologii Tsurayukishu. Spis treści Wstęp........................................................................................................................................ 9 Rozdział I. Teoretyczne podstawy metodologii badań twórczości Ki no Tsurayukiego.... 15 1. Problem określenia normy w literaturze starojapońskiej............................... 16 2. Poetyki normatywne w Chinach i w Japonii.................................................. 16 3. Geneza gatunku literackiego nikki.................................................................. 23 Rozdział 2. Zarys biografii Ki no Tsurayukiego na tle najważniejszych wydarzeń z wczesnej epoki Heian........................................................................................ 27 1. Rozwój kultury japońskiej w II połowie IX wieku ...................................... 27 2. Zarys genealogii rodu Ki................................................................................... 32 3. Najważniejsze fakty z biografii Ki no Tsurayukiego.................................... 34 Rozdział 3. „ Pamiętnik z Tosy” - analiza językowa i kompozycyjna............................... 47 1. Zarys historii badań nad rękopisem dzieła...................................................... 47 2. Budowa utworu.................................................................................................. 53 3. Pamiętnik z Tosy jako utwór eklektyczny....................................................... 56 4. Rola wierszy w Pamiętniku z Tosy.................................................................. 60 5. Podsumowanie - nowatorstwo Tsurayukiego w Pamiętniku z Tosy........... 64 Rozdział 4. „ Kanajo, czyli wstęp do Kokinshu "jako manifest literacki młodej kultury kokuju bunka........................................................................................................ 65 1. Tlo historyczne powstania poetyki Kanajo.................................................... 65 2. Ogólna charakterystyka tekstu......................................................................... 67 3. „Pieśni japońskie wyrastają z nasienia serc ludzkich i wypuszczają tysiące liści-slów” - pytanie o istotę poezji................................................... 69 4. Geneza wiersza.................................................................................................. 70 5. Funkcje wiersza.................................................................................................. 72 6. Kiedy powstaje pieśń japońska?...................................................................... 73 7. Podsumowanie - nowatorstwo Tsurayukiego w Kanajo............................... 74 Rozdział 5. „ Przedmowa do wierszy japońskich [komponowanych] z okazji wyprawy Jego Cesarskiej Wysokości nad rzekę Oi" - turnieje poetyckie a teoria wiersza................................................................................................................... 75 1. Tło historyczne powstania utworu................................................................... 75 8 2. Przebieg turnieju poetyckiego nad rzeką ói................................................... 77 3. Podsumowanie - wymowa poetyki znad rzeki Oi......................................... 80 Rozdział 6. Przedmowa do antologii „Shinsen waka” - testament krytycznoliteracki Tsurayukiego a nostalgia za przeszłością........................................................ 81 1. Tło historyczne powstania tekstu.................................................................... 81 2. Shinsen wakajo jako „poetyka starca”............................................................ 83 3. Nowatorstwo Tsurayukiego w Shinsen wakajo.............................................. 86 4. Podsumowanie - Przedmowa do antologii „Shinsen waka" jako testament krytycznoliteracki Ki no Tsurayukiego......................................... 87 Wnioski..................................................................................................................................... 89 Aneks - przekłady analizowanych utworów........................................................................ 95 Ki no Tsurayuki, Kanajo, czyli przedmowa do „Kokin wakashil”................................... 95 Ki no Tsurayuki, Przedmowa do wierszy [komponowanych] z okazji wyprawy Jego Cesarskiej Wysokości nad rzeką Oi...................................................................................... 111 Ki no Tsurayuki, Przedmowa do antologii „Shinsen waka" ........................................... 113 Ki no Tsurayuki, Pamiętnik z Tosy....................................................................................... 115 Bibliografia............................................................................................................................. 145 Summary.................................................................................................................................. 151 Wstęp Literatura to ogromne zadanie dla rządzących narodami, a jednocześnie wspaniałe przedsięwzięcie, które nigdy nie upadnie. Cao Pi, Dian lun. Lun wen (Eseje. O literaturze)1 Celem niniejszej pracy jest ukazanie roli, jaką odegrała twórczość Ki no Tsu- rayukiego (872-945) - poety i krytyka literackiego, tworzącego w Japonii w I połowie X wieku - w procesie desinologizacji ówczesnej literatury japoń­ skiej. W szczególności zaś praca ta ma wyjaśnić na podstawie analizy najważ­ Oryginalny tekst: J Gai wen zhang, jing guo zhi da ye, bu xiu zhi sheng shi. Lun wen jest jedyną zachowaną do naszych czasów częścią składające­ go się z pięciu zwojów konfucjańskiego traktatu ITłfttmiJ Dian lun (Traktaty) i jedną z ważniej­ szych prac krytycznoliterackich w starożytnych Chinach. Cao Pi (187-226), syn Cao Cao, jako cesarz Wen panował w latach 220-226 na tronie państwa I® Wei, łącząc talent polityczny z wybit­ nymi zdolnościami literackimi. Jako pierwszy w Chinach określił społeczną rolę literatury w kon­ cepcji wen zhang jing guo (rządzić krajem za pomocą literatury). Pozostawił po sobie około 40 wierszy, kilka tekstów prozą i omawiany traktat z teorii literatury, uważany za pierwszą systemową krytykę literacką w Państwie Środka. Por.: [3]; [4], s. 634. Konieczne jest jeszcze parę uwag na temat zapisu ideograficznego i zasad transkrypcji cytowa­ nych w niniejszej pracy tekstów chińskich i japońskich (zarówno klasycznych, jak i współcze­ snych). W zapisie ideograficznym autor postanowił przestrzegać zasady używania współczesnych znaków japońskich, a nie ich archaizowanych form. To samo dotyczy klasycznych tekstów chiń­ skich, przy których zrezygnowano ze stosowania uproszczonych, używanych obecnie w ChRL ideogramów (tzw. jian ti zi). Przy transkrypcji tekstów chińskich posłużono się międzyna­ rodowym systemem zapisu zwanym łłfS1 pin'yin (choć trzeba pamiętać o umowności takiego systemu zapisu w odniesieniu do tekstów starochińskich - właśnie z tego względu zrezygnowano z zaznaczania tonów w transkrypcji cytatów chińskich), a z kolei w przypadku cytatów z japoń­ skiego - przyjętą powszechnie transkrypcją Hepbuma. Te same reguły zastosowano do transkrypcji tekstów starożytnych, choć autor zdaje sobie sprawę z istnienia
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