謠曲에서의 和歌 역할

Abstract

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.