竹西寛子さんの随筆集（文献 1）を読んでいたところ、「世阿弥」と題する文があり、そこには世阿弥作の『井筒』（物語の粗筋などが文献 2 にある）をたいそう褒めてあった。私がこれまでにライブで見た能は、多分これ一つである。伯母（母の兄嫁）が能の師範を取得した記念の舞台に母と招かれ（妻は子育てに忙しく、留守番をしていた）、京都・観世会館で 1970 年 11 月 1 日に見て、なかなか感動したと覚えている。能の中でも格別よい作品を鑑賞させて貰ったのだということが、いま竹西さんの随筆で分った。
上掲の写真は、そのときに私が撮った拙い出来のものである。伯母がシテを舞い、趣味で鼓をしていた伯父が、舞台向って左の方で鼓を打っている（いずれも、いまは故人）。シテは、前段では里の女（実は紀有常の娘の霊、一枚目の写真）で、後段では有常の娘の夫・在原業平の形見の衣装姿（二枚目の写真）である。
これらの写真を貼ったアルバムのページには、前段に出て来る短歌「筒井筒 井筒にかけし まろがたけ 生いしけりしな 妹見ざるまに」をローマ字綴りで記し、私の英訳と思えるものも記してある（英文記事中の訳詩を参照されたい）。いま文献 2 を見ると、「昔あなたと遊んでいた幼い日に、井筒と背比べした私の背丈はずっと高くなりましたよ。あなたと会わずに過ごしているうちに」という口語訳がある。こ訳と比べると、訳詩には、意味の少し異なるところがある。訳詩が私のものであれば、伯父が予め書き送ってくれた『井筒』の概要に基づいているかと思うが、昨年まで所在の分っていたその概要書が、残念ながら、いま見当たらない。
文 献
Reading Hiroko Takenishi's collected essays (Ref. 1), I have found a piece entitled "Zeami," in which she highly praises Zeami's work Izutsu. Probably, I have watched only a single live Noh play until now, and it is Izutsu. My mother and I were invited by my aunt-in-law to the performance in memory of her getting the Noh teacher license, held at Kanze Kaikan, Kyoto, on November 1, 1970 (my wife were busy taking care of our little daughters and stayed home). I was quite impressed by that Noh play, and now Takenishi's essay has proved that my impression was a proper one.
Photos above are my poor shots on that occasion. My aunt-in-law played shite (the main role), and my uncle played tsuzumi (Japanese drum) at the left of the stage (both of them now deceased). Shite is a village woman (in fact, the spirit of Ki no Aritsune's daughter) in Part 1 of the play (upper photo) and is in the dress of her husband, Ariwara no Narihira, in Part 2 (lower photo).
Next to these photos in an album of mine, I wrote a tanka "Tsutsu izutsu izutsu ni kakeshi maro ga take oishikerishi na imo mizaruma ni," which appeared in Part 1. There I also wrote an English version of this poem (probably translated by me), "Long ago / I played with you / by the well / putting sleeves on it. / I have now grown taller / while not seeing you." Now, I see the following literal translation of the tanka in Ref. 2: "The wooden frame [of the well]... I was shorter than the frame [when we last compared our heights], but I have outgrown it in your absence." Comparing with this translation, I find that the above English poem includes a little different meaning. Provided that I had made it, the English poem might have been based on the outline of Izutsu my uncle had written and sent me before the day of the performance. I knew where I put the document of the outline until last year but, regrettably, do not find it now.
References
上掲の写真は、そのときに私が撮った拙い出来のものである。伯母がシテを舞い、趣味で鼓をしていた伯父が、舞台向って左の方で鼓を打っている（いずれも、いまは故人）。シテは、前段では里の女（実は紀有常の娘の霊、一枚目の写真）で、後段では有常の娘の夫・在原業平の形見の衣装姿（二枚目の写真）である。
これらの写真を貼ったアルバムのページには、前段に出て来る短歌「筒井筒 井筒にかけし まろがたけ 生いしけりしな 妹見ざるまに」をローマ字綴りで記し、私の英訳と思えるものも記してある（英文記事中の訳詩を参照されたい）。いま文献 2 を見ると、「昔あなたと遊んでいた幼い日に、井筒と背比べした私の背丈はずっと高くなりましたよ。あなたと会わずに過ごしているうちに」という口語訳がある。こ訳と比べると、訳詩には、意味の少し異なるところがある。訳詩が私のものであれば、伯父が予め書き送ってくれた『井筒』の概要に基づいているかと思うが、昨年まで所在の分っていたその概要書が、残念ながら、いま見当たらない。
文 献
- 竹西寛子, 「あはれ」から「もののあはれ」へ (岩波, 2012).
- 「井筒 (能)」, ウィキペディア：フリー百科事典 [2012年8月23日 (木) 03:16].
Reading Hiroko Takenishi's collected essays (Ref. 1), I have found a piece entitled "Zeami," in which she highly praises Zeami's work Izutsu. Probably, I have watched only a single live Noh play until now, and it is Izutsu. My mother and I were invited by my aunt-in-law to the performance in memory of her getting the Noh teacher license, held at Kanze Kaikan, Kyoto, on November 1, 1970 (my wife were busy taking care of our little daughters and stayed home). I was quite impressed by that Noh play, and now Takenishi's essay has proved that my impression was a proper one.
Photos above are my poor shots on that occasion. My aunt-in-law played shite (the main role), and my uncle played tsuzumi (Japanese drum) at the left of the stage (both of them now deceased). Shite is a village woman (in fact, the spirit of Ki no Aritsune's daughter) in Part 1 of the play (upper photo) and is in the dress of her husband, Ariwara no Narihira, in Part 2 (lower photo).
Next to these photos in an album of mine, I wrote a tanka "Tsutsu izutsu izutsu ni kakeshi maro ga take oishikerishi na imo mizaruma ni," which appeared in Part 1. There I also wrote an English version of this poem (probably translated by me), "Long ago / I played with you / by the well / putting sleeves on it. / I have now grown taller / while not seeing you." Now, I see the following literal translation of the tanka in Ref. 2: "The wooden frame [of the well]... I was shorter than the frame [when we last compared our heights], but I have outgrown it in your absence." Comparing with this translation, I find that the above English poem includes a little different meaning. Provided that I had made it, the English poem might have been based on the outline of Izutsu my uncle had written and sent me before the day of the performance. I knew where I put the document of the outline until last year but, regrettably, do not find it now.
References
- Hiroko Takenishi, 'Aware' kara 'Mono no aware' e (Iwanami, 2012). In Japanese.
- Izutsu, Wikipedia: The Free Encyclopedia (April 9, 2012, at 16:59).
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