北原白秋の歌謡に関する一考察

A Study on the Ballads by Hakushu Kitahara - Focusing on ‘Rain of Jogashima’ in “the Collection of Hakushu Short Ballads” -

本稿では白秋の詩歌のうち歌謡について考察を加えた。まず白秋の歌謡観を確認し、その上で第１歌謡集『白秋小唄集』から「城ヶ島の雨」を取り上げて、分析を試みた。その結果、白秋の私的な生活感情が作品のうちに反映されていることが理解できた。また他の小唄にも見られる5·5·5·7の近世歌謡の韻律が巧みに取り込まれることによって、伝統と近代の調和が試みられていた。 1910年代から第一次世界大戦を挟み20年代にかけて、白秋は帝国日本の拡大とともに伝統への接近を早めていく。そこで、白秋の歌謡集からナショナリストとみなす見解があるが、伝統への接近は作品において何をどのように取入れたかが重要であろう。また、白秋が古典歌謡の韻律の摂取を初期の頃から続けていたことを見過ごすべきではない。さらに、この時期には「城ヶ島の雨」のような私的な生活感情に通じる歌謡を生み出し、民衆に共有されている。これらの要素は決して政治的なナショナリズムと直結するものではあるまい。 白秋は徐々にナショナリズムに絡め捕られてしまったのだが、10~20年代の多様な実験的な作品群にさらに光を当てていくことで、白秋詩歌の別の可能性が見えてくるのではないか。

The present article is concerned with the ballads of Hakushu Kitahara (among other genres of his poetry works). Starting with the conception of Hakushu’s view of ballads, we analyze ‘Rain of Jogashima’ included in “the Collection of Hakushu Short Ballads,” revealing that Hakushu’s private mood of life is reflected into his works. It is also found that the modern ballad style of 5-5-5-7 morae is skillfully utilized for his works, which manifests the harmony of the traditional and the modern. From the 1910’s to the 1920’s through Word War I, as Imperial Japan grew, Hakushu accelerated his approach to the tradition. In particular, although some argue that Hakushu is a nationalist based on the collection of his ballad works, it should be clarified what the approach to the tradition incorporated into his works and how it was conducted. Further, it should not go unnoticed that Hakushu had utilised the rhythm style of the traditional ballads since his early works. Moreover, during this period, Hakushu produced poems related to his mood of life such as ‘Rain of Jogashima,’ which were shared with people at the time. These factors, we argue, were never directly connected with the political nationalism. Although it is uncontentious that Hakushu finally became a nationalist, the present article raises the possibility of obtaining a new interpretation of Hakushu’s poems by shedding light on his various experimental works written in his 10-20’s.