This presentation examines the inspirational works of writer Miyazawa Kenji (1896 - 1933)

Holt, Jon P.

English

PDXScholar (Portland State University)

Portland State University PDXScholar World Languages and Literatures Faculty Publications and Presentations World Languages and Literatures 10-14-2012 Clanging Bells, Clanging Words: Iwate Dialect in Miyazawa Kenji's "Changa Chaga Umako" Tanka Series Jon P. Holt Portland State University, joholt@pdx.edu Follow this and additional works at: https://pdxscholar.library.pdx.edu/wll_fac  Part of the Japanese Studies Commons Let us know how access to this document benefits you. Citation Details Holt, Jon P., "Clanging Bells, Clanging Words: Iwate Dialect in Miyazawa Kenji's "Changa Chaga Umako" Tanka Series" (2012). World Languages and Literatures Faculty Publications and Presentations. 47. https://pdxscholar.library.pdx.edu/wll_fac/47 This Presentation is brought to you for free and open access. It has been accepted for inclusion in World Languages and Literatures Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: pdxscholar@pdx.edu. Clanging Bells, Clanging Words: Iwate Dialect in Miyazawa Kenji’s “Changa Chaga Umako” Tanka Series	Jon	  Holt	  Portland	  State	  University	  	  2012	  Associa8on	  of	  Japanese	  Literary	  Studies	  Annual	  Mee8ng	  “Rhetoric	  and	  Region:	  	  The	  Local	  Determinants	  of	  Literary	  Expression”	  	  The	  Ohio	  State	  University	  October	  14,	  2012	Miyazawa	  Kenji	  (1896-­‐1933)	•  Born	  in	  the	  town	  of	  Hanamaki,	  Iwate	  Prefecture.	  •  Lived	  most	  of	  his	  life	  in	  Hanamaki	  Hanamaki	  City,	  circa	  1910	Miyazawa	  Kenji	  (1896-­‐1933)	•  Educated	  in	  Morioka	  City,	  capital	  of	  Iwate-­‐ken	  	  	  	  (a	  bit	  north	  of	  Hanamaki	  city)	  Morioka	  Agricultural	  and	  Forestry	  Higher	  School	  (MAFHS)	  in	  the	  1910s	Kenji	  as	  a	  young	  student	  in	  Morioka	The	  Idea	  of	  a	  Regional	  Home	•  Hoyt	  Long’s	  view	  of	  Miyazawa	  Kenji’s	  Iihatovu	  (On	  Uneven	  Ground)	  The	  Idea	  of	  a	  Regional	  Home	•  Hoyt	  Long’s	  view	  of	  Miyazawa	  Kenji’s	  Iihatovu	  (On	  Uneven	  Ground)	  The	  Idea	  of	  a	  Regional	  Home	•  Hoyt	  Long’s	  view	  of	  Miyazawa	  Kenji’s	  Iihatovu	  (On	  Uneven	  Ground,	  2011)	  Kenji’s	  Tanka	  Period	•  Roughly	  ten	  years	  from	  1911	  to	  1921	  •  Gives	  up	  the	  form,	  begins	  wri8ng	  shi	  (à	  “mental	  sketches”)	  –  à	  1924	  collec8on,	  Spring	  and	  Asura	  (Haru	  to	  shura)	  •  Began	  to	  seriously	  compose	  at	  MAFHS,	  wri8ng	  for	  coterie	  magazine	  Azelea	  (Azaria)	  Azelea	  Friends	  Hosaka	  Kanai	  	  	  	  Miyazawa	  Kenji	  	  	  	  	  	  Kawamoto	  Y.,	  Kosuga	  K.	Kenji’s	  Tanka	  Period	•  First	  issue	  of	  Azelea:	  	  1917,	  the	  year	  of	  the	  Fes8val	  poems	  (they	  run	  in	  issue	  #1)	  •  Strong	  interest	  in	  “rensaku”	  –  January	  of	  that	  year,	  his	  longest	  rensaku	  to	  date,	  the	  “Hinoki	  (Cypress)	  Days”.	  	  A	  series	  of	  16	  poems	  wricen	  across	  7	  (+1?)	  days	  from	  January	  1st	  through	  the	  7th	“Changa	  Chaga	  Umako”	  Fes8val	•  Morioka,	  Iwate-­‐ken	  Fes8val.	  	  Morioka	  people	  call	  it	  “Chagu-­‐Chagu	  Umako”	  •  Tradi8onally	  was	  held	  on	  the	  5th	  day	  of	  the	  5th	  month.	  	  (S8ll	  prac8ced.	  	  Now	  à	  mid-­‐June)	  •  Celebrates	  “Horse	  Culture”	  of	  which	  Nanbu-­‐han	  (Iwate-­‐ken	  and	  surrounding	  regions)	  •  Small	  children	  ride	  horses	  and	  parade	  through	  Morioka	  streets	  from	  Hachimangu	  Shrine	  to	  downtown	  Morioka	  (seat	  of	  Nanbu-­‐han)	  “Changa	  Chaga	  Umako”	  Fes8val	Kenji’s	  Changa	  Chaga	  Umako	  Tanka	•  4	  tanka	  poems	  wricen	  in	  Iwate	  dialect	  (Iwate-­‐ben)	  •  Originally	  8	  poems	  in	  Azalea,	  	  •  later	  compiled	  (reduced)	  in	  a	  Song	  Manuscript	  (Kakô)	  by	  Kenji	  in	  1920,	  perhaps	  with	  inten8on	  to	  formally	  publish,	  but	  he	  never	  did.	  Changa	  Chaga	  Umako,	  Poem	  1	夜明けには	  まだ間あるのに	  下の橋	  ちやんがちやがうまこ見さ出はたひと	  	  Though	  we	  s8ll	  got	  8me	  before	  dawn	  at	  Shimo-­‐no-­‐Hashi	  Bridge	  People	  already	  out	  to	  see	  the	  Changa-­‐Chaga	  Lil’	  Riders	  From	  a	  four-­‐tanka	  sequence	  (from	  大正６年5月より)	  Shin	  Miyazawa	  Kenji	  kashû,	  edited	  by	  Kurihara	  Atsushi	  and	  Sugiura	  Shizuka	  (Sôkyû	  Shorin,	  2006)	  92	Changa	  Chaga	  Umako,	  Poem	  [1]	夜の間から	  ぢやんがぢやがうまこ	  見るべとて	  下の橋には	  いつぱい人立つ	  	  From	  the	  crack	  of	  dawn	  Changa-­‐Chaga	  Lil’	  Riders	  –	  	  	  Thinking	  ah’d	  go	  see	  ‘em	  but	  at	  Shimo-­‐no-­‐Hashi	  Bridge	  there’s	  a	  bunch	  of	  people	  standin’	  Alternate	  version	  of	  poem	  1,	  found	  in	  Azelea	  (from	  the	  original	  eight-­‐poem	  rensaku)	Changa	  Chaga	  Umako,	  Poem	  2	ほんのぴやこ	  夜明けががつた雲のいろ	  ちやんがちやがうまこ　橋渡て来る	  	  The	  color	  of	  clouds	  	  turned	  just	  a	  bit	  now	  with	  the	  dawn	  and	  Changa-­‐Chaga	  Lil’	  Riders	  come	  a-­‐crossin’	  the	  bridge	  Changa	  Chaga	  Umako,	  Poem	  3	いしよけめに	  ちやんがちやがうまこはせでげば	  夜明げの為が	  泣ぐあいよな気もす	  	  With	  al	  lem’s	  might	  Changa-­‐Chaga	  Lil’	  Riders	  come	  out	  chargin’	  so	  meybe	  it’s	  cause	  it’s	  dawn	  but	  ah’m	  feelin’	  like	  ah’m	  gonna	  cry	  Changa	  Chaga	  Umako,	  Poem	  [3]	いしよけめに	  ちやんがちやがうまこはせでげば	  夜明げの為が	  泣ぐ ai	  よな気もす	  	  With	  al	  lem’s	  might	  Changa-­‐Chaga	  Lil’	  Riders	  come	  out	  chargin’	  so	  meybe	  it’s	  cause	  it’s	  dawn	  but	  ah’m	  feelin’	  like	  ah’m	  gonna	  cry	  Orthographical	  Strategies	  in	  	  “Eiketsu	  no	  asa”	  (early	  1920s)	Orthographical	  Strategies	  in	  	  “Eiketsu	  no	  asa”	  (early	  1920s)	Changa	  Chaga	  Umako,	  Poem	  4	下の橋	  ちやんがちやがうまこ見さ出はた	  みんなのながさ	  おどともまざり	  	  At	  Shimo-­‐no-­‐Hashi	  Bridge	  mixed	  in	  them	  all	  who	  came	  out	  to	  see	  Changa-­‐Chaga	  Lil’	  Riders	  there’s	  my	  lil’	  brother,	  too	  •  Open	  men8ons	  Iwate	  places	  even	  in	  early	  poetry	  and	  prose	  – Nanatsumori	  Hills	  (Morioka	  area)	  – Nakatsugawa	  River	  (Morioka)	  •  Hara-­‐kentai-­‐ren	  Warrior	  Dances	  –  	  (former	  Esashi	  county)	  Other	  Celebra8ons	  of	  Iwate	  Culture	  in	  Kenji’s	  1917	  tanka	  (and	  later	  poetry)	Haratai-­‐Kenbai-­‐Ren	  (Sword	  Dancers	  of	  Haratai)	Ide-­‐Kenbai-­‐Ren	  (Sword	  Dancers	  of	  [Esashi]),	  1917	•  Hara-­‐kentai-­‐bu	  Warrior	  Dances	  –  	  (Ide	  village,	  part	  of	  Esashi	  county)	  	  剣舞の	  赤ひたたれは	  きらめきて	  うす月しめる地にひるがえる	  Red	  robes	  of	  the	  Sword	  Dancers	  glow	  and	  flap	  on	  the	  ground	  against	  a	  swath	  of	  pale	  moonlight	  From	  a	  three-­‐tanka	  sequence,	  上伊手剣舞連	  (from	  大正６年７月より)	  Shin	  Miyazawa	  Kenji	  kashû,	  edited	  by	  Kurihara	  Atsushi	  and	  Sugiura	  Shizuka	  (Sôkyû	  Shorin,	  2006)	  102		  うす月に	  むらがり踊る剣舞の	  異形きらめきにこころ乱れぬ	  In	  faint	  moonlight	  my	  heart	  flucers	  at	  the	  glow	  given	  off	  by	  the	  Sword	  Troupe	  all	  dancing	  together	Sword	  Dancers	  of	  [Esashi],	  tanka	  #2	  (1917)	Sword	  Dancers	  of	  Haratai	  [Esashi],	  1923	  shi	  	•  原体剣舞連	  (mental	  sketch	  modified)	  	  	  	  	  	  	  	  	  	  dah-­‐dah-­‐dah-­‐dah-­‐dah-­‐sko-­‐dah-­‐dah	  	  	  	  	  	  	  	  	  …..	  	  Well	  known	  shi	  in	  Spring	  and	  Asura	  collec8on	  Sword	  Dancers	  of	  Haratai	  [Esashi],	  1923	  shi	  	•  原体剣舞連	  (mental	  sketch	  modified)	  	  	  	  	  	  	  	  	  	  dah-­‐dah-­‐dah-­‐dah-­‐dah-­‐sko-­‐dah-­‐dah	  こんや異装のげん月のした	  鶏の黒尾を頭巾にかざり	  片刃の太刀をひらめかす	  原体村の舞子たちよ…	  dah-­‐dah-­‐dah-­‐dah-­‐dah-­‐sko-­‐dah-­‐dah	  under	  the	  mysterious	  and	  strange	  costumed	  moon	  tonight	  decorated	  with	  headdresses	  of	  black	  chicken	  tailfeathers	  You	  Dancers!	  You	  who	  brandish	  the	  one-­‐handed	  swords	  of	  Haratai	  Village!	  	Conclusions	  What	  the	  use	  of	  dialect	  tells	  us	  about	  Kenji’s	  works	•  Da8ng	  Kenji’s	  early	  “regional”	  moves	  •  Reconsidering	  Kenji’s	  “Worldview”	  	  	  	  	  	  	  	  	  à	  “Cosmic	  View”	  	  	  	  	  I	  welcome	  your	  comments	  and	  suggesEons	  joholt@pdx.edu	  Thank	  you!	  

Clanging Bells, Clanging Words: Iwate Dialect in Miyazawa Kenji\u27s  Changa Chaga Umako  Tanka Series

https://pdxscholar.library.pdx.edu/cgi/viewcontent.cgi?article=1047&context=wll_fac

Clanging Bells, Clanging Words: Iwate Dialect in Miyazawa Kenji\u27s Changa Chaga Umako Tanka Series

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