日本の中空構造 Japan’s Functional Emptiness

日本のテレビの気に入り番組を挙げようと言われますと、まず思い浮かぶのはNHKで放送される「100分で名著」です。「旧約聖書」から「般若心経」まで、多岐に渡る名著を取り上げて、四回（一回ずつは25分）に渡ってその名著のテーマと文化的な価値を考察する構造となっている番組です。ちょうど三年前の正月にこの番組のスペシャルバージョンである「100分de日本人論」が放送されて、非常に興味深い座談会となりました。この座談会に参加したのは現代日本を代表する下記の4人の論客：

If I was asked to name a particular Japanese TV program that I enjoy, the first one that comes to mind is “Master Works in 100 Minutes” on NHK. The show takes famous pieces of literature, ranging from works as diverse as the Old Testament and the Heart Sutra, and then examines their cultural importance over the course of four 25 minute episodes. Three years ago NHK aired a special edition of this program during the New Year’s Holiday. Dubbed “Japanese Theory in 100 Minutes”, this fascinating panel discussion brought together four of Japan’s leading scholars today:

Source: NHK

松岡正剛（編集工学研究所所長）

斎藤環（精神科医）

赤坂真理（作家）

中沢新一（人類学者）

Seigo Matsuoka (Head of Editorial Engineering Laboratory)

Tamaki Saito (Psychologist)

Mari Akasaka (Novelist)

Shinichi Nakasawa (Anthropologist)

この四人が日本人の本質をよく表していると考える一冊を紹介し、分かりやすく解説するという特別企画でした。あまりにも深い話でもありましたので、座談会の内容をそのまま書き起こした出版物にもされました（購入済み）。

Each member of this panel discussion was asked to introduce and provide a straightforward explanation of one work they felt conveyed a unique Japanese quality. The conversation was incredibly deep, so much so that NHK decided to publish a volume that compiled everything the panelists said over the course of the discussion (a book which I have bought).

 Getting to the Core of Being Japanese

このブログではこの座談会で紹介された本を一つずつ取り上げたいですが、まずこの投稿で考察するのは斎藤環が選んで紹介した河合隼雄（かわいはやお）の「中空構造日本の深層」の単著です。この本は「日本文化の中心は、空っぽなのだ」という長年の研究において河合氏が辿り着いた独特な持論が展開されます。

I’d love to examine each of the books discussed by this panel, but for the sake of this post I will take a look at the book introduced by Tamaki Saito: Getting to the Heart of Japan’s Empty Framework by Hayao Kawai. This book lays out the original theory that Kawai arrived at after many years of research. He argues that the core of Japanese culture is in essence “empty space”.

日本の神話には、正体不明の謎の神様というのが、必ず出てくると共通点に河合氏が注目を当てました。「それぞれの三神は日本神話体系のなかで画期的な時点に出現しており、その中心に無為の神を持つという、一貫した構造をもっていることがわかる。これは筆者（河合）が “古事記”神話における中空性と呼び、日本の神話の構造の最も基本的事実であると考えるのである。」

One common feature present throughout Japanese mythology that Kawai zooms in on is the presence of an obscure divinity. “In Japanese myths, we always see three divinities appear at key moments within the narrative. The central figure of these trinities is always an idle divinity that does nothing. I (Kawai) refer to this as the “emptiness” of the Kojiki lore, and it represents the most fundamental truth within all Japanese legends.”

 

Source: NHK

河合氏が取り上げる典型の例は古事記の冒頭に登場する三人の神：アメノミナカヌシ (天之御中主)、ツクヨミ (月読)、とホスセリ (火須勢理)。アメノミナカヌシとホスセリ (火須勢理)はちゃんと有為な神として扱われている一方、ツクヨミは何もしないです。河合氏がこの神話の構造をこう説明します：「日本神話の中心は空であり、無である。このことはそれ以後発展してきた日本人の思想、宗教、社会構造のプロトタイプとなっていると考えられる。」

In his book, Kawai calls attention to three divinities that appear at the beginning of The Kojiki (Records of Ancient Matters): Amenominakanushi, Tsukuyomi, and Hoseseri. While Amenominakanushi and Hoseseri are depicted as active players in the narrative, Tsukuyomi does absolutely nothing. Kawai explains this mythological structure as follows: “The very core of Japanese myths is empty, indeed nothingness. This structure provided the prototype for the underlying make-up of all Japanese thought, religion, and society that have developed from that point (ancient times) forward.”

Source: NHK

この点について座談会の話が弾み出します。まず松岡氏が注目するのは「中心は空（うつ）である」である点です。以前この松岡氏が唱える「現（ウツツ）」が派生させる「移ろい」というコンセプトを考察する記事を書いたこともありますが、ここで松岡氏が同様のコンセプトが河合の唱える中空構造の仮説に置いて働いていると下記の通り解説します（「日本人とは何者か？」より引用）。

This point really gets the discussion moving. Matsuoka’s draws attention to the “empty core” concept and states how the “空 (kuu, void or sky)” character in the word “中空 (chuukuu)” can also be read as “utsu.” This reading is derived from that of the character “現 (utsutsu, the now)”, which in turn gives rise to the idea of “移ろい (utsuroi, change or transition)”. I have explored this idea in a previous post, so check it out if you would like to learn more. As shown below, Matsuoka argues that this same concept is at work within Kawai’s “empty core” hypothesis (quote from Getting to the Core of Being Japanese).

“中心に「ウツなるもの」を置き、それがあることによって両脇の二つが動いているという河合の仮説には納得のいくものがあります。一見空っぽだが、いざとなるとそこに何かが湧き出てきたり、力が潜んでいたりする。信号に青と赤のほかに黄色があるように、A/非Aという二尺せず、真ん中に三つ目を置くことによって、どちらも生かすのです。日本人は中空構造に無意識であるかゆえなのか、方法的なことをかなり特別に意識し、大切にしていると思います。そうしないと中空に異質なものが入ってきたときに、大変な事態になりかねない。”

“I believe there is some weight behind Kawai’s proposition of a three-part structure centered on something empty, but with that void putting the two sides into motion. At a glance it appears there is nothing but emptiness, but out of necessity this void can give rise to something, or transform into this well of latent power. A stoplight has not just red and green, but also yellow. It’s more than just A or not A; putting something in the middle allows us to keep both. Japanese people pay special attention to the processes behind things, perhaps because of this functional emptiness at work within their subconscious, and really cherish them. They have to clue in on these processes, for failure to do so can cause things to fall apart when something alien enters that void.”   

中沢氏が松岡氏のいうこの中間の特徴が日本の社会や自然に対する価値観においてどのように機能しているか、そしてどのような危険性が潜んでいるのかを下記の通りの解説を付け加えます（「日本人とは何者か？」より引用）。

Nakazawa further elaborates on this idea of putting something in the middle that Matsuoka described. In the following excerpt, he shows how this idea works within Japanese society and its view on nature, as well as the potential danger it entails (quote from Getting to the Core of Being Japanese).

Source: NHK

“宇宙を作るには三項が必要だが、三項目は潜在的で表へ出ない。日本の神話において、天と地、海と山という二元論の起源はバーチャルで、このバーチャルに一項が与えられている、というのが河合さんの基本的な直観なのではないでしょうか。人間は、自然な状態だとこの思考方法が一番合理的で、例えば中空領域を置くことで、お互い妥協を図ることができます。自分と違うものを排除するのではなく、相手の原理を自分の中に入れることが可能になってくる。”

“You need three elements to form the cosmos, but the third is this latent force that never comes to the forefront. In my view, Kawai’s basic hunch is that an extra element is added to the virtual base underlying the dualistic facets of Japanese legends, such as the pairings of earth and sky or sea and mountain. This is the most logical mode of thought for human beings in our most natural element. In allotting this empty space, we create an area where we can work things out and reach a compromise with one another. Rather than simply eliminating what is different from you, it becomes possible to take the tenets of the “other” and make them a part of your being.”

“その例として典型的なのが、日本の風景は、中間領域を残しておくことが基本になっています。人間と、山の生き物。二つが重なり合うところに里山を作る。里山は中間領域ですから、人間にとっても、昆虫や魚、動物にとっても素晴らしい住処（すみか）にも成り得る。生き物の要求する生存条件を認めているわけです。計算や計画といった合理性で出来上がった世界には、中間がありません。ところが日本人の社会は中間性というものをベースにできていますので、その点は人類の期待、希望の星でもあります。しかしそのことに無自覚のままだと、70前の戦争と同じような状況に突入してしまう可能性もあるという、両刃（もろは）の剣でもあるのです。”

“Japanese landscapes provide us with great examples of this principle at work, for they are based on the idea of leaving some form of middle ground. This is the satoyama (里sato for “village” and 山yama for “mountain”) concept, or the idea of a place where human beings and life on the mountain come together. A satoyama holds the potential to be a truly wonderful place for all life—human beings, insects, fish, and animals—precisely because it is a middle ground. It’s an acknowledgement of all the conditions for subsistence that living things seek. On the other hand, there is no middle ground in a world rooted in the rationality of calculation and planning. In a certain respect, Japanese society stands as a beacon of hope for people of all humanity because it is based on this idea of allowing for room in the middle. That said, this very characteristic is a two-edged sword. If we are completely oblivious to this, we could fall headlong into the same set of circumstances as that war 70 years ago.”

そこから赤坂氏がその三項構造の考察を下記の通り続きます。中沢氏と同のようにこの三項構造は人間にとって一番自然な思考法と主張しつつ、過去に日本人がその構造に無自覚になるとどの悲惨を招いてしまうかを指摘します（「日本人とは何者か？」より引用）。

Akasaka continues this examination of the three-part structure at work. Just like Nakazawa, she believes this is the most natural mode of thought for human beings. At the same time, she also draws attention to Japan’s past and the tragic consequences of becoming oblivious to this structure (quote from Getting to the Core of Being Japanese).

Source: NHK

“日本人は「神」がわからない、世界で例外的な民族である」などというふうに、日本人自身の間でも、言われます。が、私は、この場合に「神」と言われている一神教の神という概念（そして善悪二元構造）は、危機の時代の思考の飛躍から生まれたものであって、人間の自然状態では「三項構造」を出してくるのではないかと思っています。この点は、中沢新一先生に確認しましたが、そうだということでした。”

“There are those who say—including some Japanese people—the fact we don’t understand “God” makes us one of the world’s unusual races. The God I’m referring to in this instance is of the monotheistic religious tradition based on a dualistic structure of good and evil. I’ve always held that this form of religion bursts forth from the intellectual currents of ages of crisis, and that the natural mode of thought for human beings is more aligned with a three part structure. Indeed, Professor Nakazawa has reaffirmed that is the case.”

“日本人が近現代まで、三項構造でやってこられたのなら、それは幸せなことだとも言えると思います。その三項構造の思考パターンを無意識に下敷きにして、天皇を神であり中心とした国を、明治（時代）に作りました。それはまさに天皇を「責任があって、責任がない立場」、つまり「三項構造の真ん中」のように中空構造につくるやり方でした。それは良い悪いではなく、ただの「構造」です。けれど、ただの構造であるからこそ、それが「利用」されるとき、誰にも止められず、誰の責任も問えない悲惨が発生します。それは入力したものが自動的に達成されるブラックボックスのようです。そして、そのことがうまく説明できなかったために、日本人は戦後、戦争のことについて口をつぐむことになりました。そして語れないひずみも、現在進行形でたまる一方です。あれほどの失敗は、まさに構造から来ていたと思います。そして、構造を用いるのにあまりに無自覚であったことから、来ていたと思います。その意味で思想的な「危機の時代」は、今も続いています。”

“Perhaps this three-part structure is what enabled Japanese people to endure into modernity. In that regard, I guess we could say we were blessed. In the Meiji era (1868-1912), Japan created a nation state with the Emperor as the divine head in the center, a system unwittingly based on that very three-part structure mode of thought. This approach led to the creation of a system that placed the Emperor in a position of “both responsibility and no responsibility.” It was a reflection of this empty core concept. This is not a question of good or bad; in the end it is just a system. However, when this system is “used,” it can court disasters that no one can stop or take the blame for. It’s like this black box that automatically carries out whatever is put inside it. Japanese people were unable to effectively explain the nature of this system after the war, and this failure has caused us to remain silent on the issue. The strain wrought by this silence continues to pile up today. I believe the system is root of that grave mistake of the past. Indeed, the fact we were so oblivious to this system being used is what led to that mistake. In that sense, we still find ourselves in an intellectual ‘age of crisis’.”

Source: NHK

上記の三人が話したように、河合氏が唱える中空構造は柔軟性に長けた思考方法でありながら、一長一短もあり、それを自覚して上手くコントロールする必要があると斎藤氏が論じます。一方、外来のものというレッテルを張ったまま共存していくという長所があります。漢字はまさにその象徴です。「漢の字」が示すように、中国の字でもありながら、日本語に当てはまって1500年以上に使い続けられています。また、中空構造によって日本文化的なものを並行して温存されていくメリットもあります。かつての神仏習合はその典型的な例でしょう。朝鮮半島を通して日本に入ってきた大陸の宗教である仏教が道を排除することなく、妙な形で習合し、それぞれの宗教が欠ける点を補い合う日本の風土に適した独特な宗教の構造を醸し出しました。

Just as these three scholars explained, the empty-core structure described by Kawai is an incredible flexible method of thought. However, it is not without its faults. Saito argues that the important thing is to recognize both its merits and faults, and work to effectively manage them. One advantage of this system is that it incorporates elements from the outside, finds a way to make them coexist, yet also retain a vestige of their roots. We see this exemplified by the use of kanji in Japan. The very characters used to form the word 漢字 (kanji) make it clear where their roots lie. 漢 represents kan or han, which implies Chinese, and 字 for ji indicates written characters. While they were adapted to Japanese language and have been in use for over 1500 years, they’ve never lost that foreign label. Another merit of the empty-core structure is that it finds a way to preserve Japanese elements alongside those that enter from the outside. A classic example of this is 神仏習合 (shinbutsu-shuugo), or the fusion of Buddhism and Shinto. Buddhism entered Japan via the Korean peninsula. Instead of eliminating Shinto, Japan found a singular way to meld this continental religion with its own native beliefs, cultivating a unique system in which each religion made up for what the other lacked.

他方では、中空構造に潜む危険性に対して河合氏が警鐘を鳴らしたと斎藤氏が言います。その中心が空であることは、一面極めて不安であり、何かを中心に置きたくなるのも人間の心理傾向であると言えます。上記の赤坂氏の話でその傾向が招いた悲惨も触れました。河合氏も次の警告を残しました。「今度中心への侵入を許した場合、日本の中空構造はもはや機能しないのではないか。」河合氏の言葉を念頭に、日本人は全存在をかけた生き方から生み出されてきたものを、明確に把握してゆこうとしなければならいのはこの四人が至った結論です。これからの日本はこの教訓をどのように活かせるのかを拙僧も見守っていきたいと思います。

On the other hand, Saito shows how Kawai also warned of the danger inherent in this empty-core structure. The fact that there is nothing in the middle gives rise to a highly unstable quality. When faced with such instability, Kawai claims that human nature makes us want to put something in this middle ground. As we saw earlier, Akasaka touched upon the grave outcome of this tendency. Kawai leaves the following warning in his book: “The next time we let something encroach upon this middle space, Japan’s empty-core may very well cease to function.” With these words in mind, the four scholars concluded that the key is for all Japanese people to maintain a clear awareness of this structure, born of the living modus created over their entire existence. As we head into the future, I intend to see how Japan applies this lesson.

 

筆者の撮影

Author photo

喜捨（きしゃ）The Joy of Letting Go

Source: 800 Pound Production

スターウォーズエピソード4:　新たななる希望を始めて見たのはいつごろだったのかはっきり覚えていませんが、その映画が拙僧に焼き付けた印象は一生に渡って鮮明に映え続けています。印象的なシーンはあまりにも多いですが、その中で特に思いを寄せるのはルークにとって初めてフォースと触れ合ってその力を呼び寄せるシーンです。曹洞宗の僧侶である枡野俊明が著した「スターウォーズ　禅の教え」の前書きにはこのシーンを取り上げて、そこに窺える禅の教えを下記の通り解説します。

I don’t quite remember how old I was when I first saw Star Wars Episode 4: A New Hope. However, the indelible impression it left has remained vividly etched within my mind throughout my entire life. There are a number of memorable scenes in the movie, but one that I am particularly fond of is the scene in which Luke has his first experience with the Force and calls upon its power. The Buddhist priest Masuno Shunmyou (Soto sect of Zen) highlights this scene in the preface to his book Zen Wisdom from Star Wars, and provides the following discussion on the elements of Zen teaching it exhibits.

「一隻眼」を備える～智慧を持ち、一切の事物の本質を見る～

Unfettered eyes: The wisdom to see all things for what they are

禅の教えを読み解いた「スターウォーズ」エピソードIV、V、VIの中には、印象的なシーンがいくつもありました。中でもルークがオビ=ワンから初めてフォースの手ほどきを受ける場面は、「禅」と共通することが特徴的に現れています。ミレニアムファルコンの中でライトセーバーを使って修行を受けるルーク。そんなルークにオビ=ワンは、目隠し付きのヘルメットを渡し、「目は君を惑わすんだ。視覚を信じてはならん。」と、完全に視界を奪ってライトセーバーを使うよう教えます。これを見て私は「一隻眼」という禅語が思い浮かべました。

A number of scenes in the original Star Wars trilogy struck me in how they reflect Zen teachings. One that really left a deep impression on me was when Obi Wan gives Luke his first lesson in the ways of the Force. Watching that scene unfold, I felt that much of what Obi Wan says resonates with Zen concepts as we see Luke learn how to wield a lightsaber on the Millennium Falcon. Obi Wan hands him the helmet with the blast shield, effectively covering his eyes, and tells him “Your eyes can deceive you. Don’t trust them.” When I first saw this scene, the Zen word Isseki Gan (一隻眼) popped into my head.

Source: 田川悟郎書道 (Goro Tagawa Calligraphy)

仏教では、肉眼（通常の目）、天眼（未来を予知する目）、慧眼（一切の真理を見極める眼）、法眼（大宇宙の怒りに沿って真実を照らす眼）、仏眼（仏心で融通無碍に真実を照らす眼）の五つの真実を見抜く眼があるとしています。そして、「一隻眼」はこのすべてを兼ね備えており、智慧をもって一切の物事を見える特殊な能力のある眼（略）。オビ=ワンは、ルークに「一隻眼」を備えた人物になってほしいと願い、肉眼に惑わされないようにヘルメットをかぶせたのでしょう。ルークが「一隻眼」を備えた人物になり得たかどうか、「スターウォーズ」をご覧になっている皆さんにはお分かりのことだと思います。(以上)

Buddhism holds that there are five sets of eyes used to perceive the truths in Buddhism. First is the naked eyes (肉眼, niku-gen), which are used to see the world around us. Next we have the heavenly eyes (天眼, ten-gen). These eyes are for predicting what is to come. The third set is the wisdom eyes (慧眼, e-gen), which enable us to ascertain all forms of truth. The fourth is the dharma set of eyes (法眼, ho-gen). They shed light on the truth rooted in the reason underlying the macrocosms. Finally we have the Buddha eyes, which signify a merciful heart unhindered that illuminates the truth. That said, there is one set of eyes that encompasses these all. The Japanese word is一隻眼 (isseki-gan), and it describes possessing unfettered eyes with the special power to see all things by applying the wisdom we possess. I believe that Obi Wan was steering Luke in this direction, hoping that he would become a person endowed with unfettered eyes truly capable of seeing things (i.e. the Force) for what they really are. Thus, he covered Luke’s eyes with blast shield to ensure his sight would not cloud his view of the Force. For those of us who have seen the entire saga, we know how Luke ultimately did with this lesson. (End of quote)

さて、エピソード6が終わった時点でルークは本当に一隻眼が備えていたのでしょうか？最後のジェダイの展開を念頭に考えますと、その答えは「いや、まだ」と拙僧が思います。それはなぜかと言いますと、枡野僧侶が取り上げる上記のシーンに潜めているオビ=ワンの意図がヒントを与えます。では、上記の枡野僧侶の話の延長で仏教の基礎の知恵が網羅していると言われる般若心経のフィルターを加えて考察したいと思います。

Had Luke truly learned to look at the world (galaxy) with unfettered eyes by the end of Episode 6? Personally, I do not feel he had quite reached that point, given what we see unfold in The Last Jedi. I believe Obi-Wan’s intent within the scene that Masuno highlights above shows us why that is the case. Here I would like to expound upon the points Masuno raised by introducing an additional filter: the Heart Sutra, which is said to encompass all basic tenets of wisdom in Buddhism.

 

Artist: Loundraw

日テレの衝撃のスターウォーズ展　(From Nippon TV "Mind Blowing Star Wars Exhibit")

般若心経によりますと、私達が見るものは、経験に基づいて「心が決めているだけ」のものであり、そのもの実体はありません。私達は特定の概念を作り、その関連性の中で世界を見ています。この般若心経のフィルターを通して上記のシーンを改めて見ますと、オビ=ワンがルークに諭そうとしているのは概念に囚われずに世界（銀河）を見ることではないかと思います。ミレニアムファルコンの中でオビ=ワンの教訓を受けたルークが概念からの解放への第一歩を踏み出しました。だからこのシーンの最後にオビ=ワンがルークにこう言います：「より大きな世界（概念に狭まれず世界）に最初の一歩を踏み出したのだ」。

According to the Heart Sutra, all that we see is based on the definitions we create in our minds through our own experiences. These concepts have no actual substance. The relationships between the specified preconceptions we conjure form the framework by which we view the world. When we apply this Heart Sutra filter to the above scene, we see that Obi-Wan is trying to impress upon Luke the importance of viewing the world (galaxy) with eyes unclouded by preconceptions. Thanks to this lesson Obi-Wan imparts on the Millennium Falcon, Luke is able to take his first step towards freeing himself from preconceived notions. That’s why Obi-Wan says “You’ve taken your first step into a larger world (one unfettered by concepts)” at the end of this scene.

ただし、この大きな一歩を踏み出したものの、ルークは概念に囚われ続けます。まずはダゴバにてヨーダの下（もと）で修行を積むときのある失敗を経験します。フォースを使って沼に沈んだ己のX-Wingを浮かせて陸に移動するようにとヨーダに命じられ、やるのではなく「試みよう」とするルークは業が上手く運ばず、失敗に終わります。その失敗を招いたのはいうまでもなく概念でした。X-Wingのような大型の物体は機械を使わずフォースの力のみで浮かせて移動するのは無理（自分の経験から見て）と決めづけ、その結果自分に宿るフォースの力を阻む概念を作り上げてしまいました。ヨーダがフォースに信を置く手本を見せる目的はルークを諭すと同時に概念の無意味さを理解させるためでした。

However, even after taking his first major step into a larger world, Luke continues to cling to preconceptions. We see him encounter failure in his training with Yoda on Dagobah. Yoda tells him to use the Force to raise his sunken X-Wing from the swamp and move it to dry land. Luke “tries” instead of merely doing as he is told, and as a result he fails to complete the task handed to him. He convinces himself that that it is impossible (based on his own experience) to move a large object like an X-Wing using only the Force and not a machine. In short, he conjures up a preconception that inhibits the potential of the Force within him. In showing Luke what it means to put one’s trust in the Force, Yoda not only aims to admonish Luke, but also make him understand how pointless such preconceptions are.

伝説のジェダイ：ルークスカイウォーカー (Legendary Jedi: Luke Skywalker)

日テレの衝撃のスターウォーズ展　(From Nippon TV "Mind Blowing Star Wars Exhibit")

時を経た最後のジェダイのルークを見ると、この教訓はまだ完全に染み込んでいません。その逆に、新たに築き上げた概念に囚われています。それはダースベーダーの「伝説」とフォースの暗黒面の性質に対する概念です。ある意味で、その概念は師匠のヨーダが言い残したあの言葉から生み出されました：「一度暗黒の道にはまったら永遠に支配されてしまうぞ、お前の運命はな。」甥であるベンソロの中に繰り広げる闇を見たルークは、そこからのベンは永遠に暗黒面に支配され悪業と成してしまう運命（さだめ）が待っていると決めつけ、その「未来」を阻止するためベンを抹殺するしかないと考えました。自分自身が作り上げた概念が間違った行動を招いて、その結果ルークが阻止しようとした未来が現実となりました。

Luke still hasn’t fully learned this lesson by the time we see him in The Last Jedi. Rather, we find him held captive to a new concepts: his own preconceptions concerning the nature of the Dark Side of the Force and the legend of Darth Vader. In a certain respect, these ideas stemmed from the words that Yoda had uttered to him on Dagobah: “If once you start down the dark path, forever will it dominate your destiny.” When Luke saw the darkness spreading within his nephew Ben Solo, he assumed that it would forever dominate his path and destine him to commit horrific deeds. Thus, he decided the only way prevent this future from occurring was to murder him. This preconception that Luke built up within his mind led him to take the wrong course of action, which in turn ultimately brought about the very future he sought to avert.

最後のジェダイのアイマックスポスター (The Last Jedi Imax Poster)

その間違った行動に対する悔やみをあまりにも重く感じたルークは、フォースとの繋がりを遮断することにしました。そして、レイがアクトに来てフォースについて指導を求めても、彼女に宿る暗黒面を見てベンの二の舞が訪れるではないかと恐れたルークがジェダイの道に導くことを拒みました。レイが去る後にジェダイの遺産をぶっ壊すと決意したルークはちょうどそのときヨーダと再会します。そして、ヨーダと交わす会話で「概念は足枷であり、捨てるべし」と遂に理解します。枡野僧侶によりますと、禅に置いてこれは「喜捨」という表現が用いられています。「喜捨」はつまり「惜しむことなく喜んで捨てること」という意味です。喜捨の意味に悟ったルークはやっと「一隻眼」を取得し、オビ=ワンとヨーダが見せようとしたフォースの無限さを実感します。

The guilt of this mistake weighed so heavily on Luke that he decided to cut himself off from the Force. When Rey comes to Ahch-To in search of guidance in how to use the Force, Luke refuses to show her the ways of the Jedi because of the glimpses of darkness he sees within her. After Rey leaves, he decides to destroy the remnants of the Jedi order, and it is in this very moment he has reunion with Yoda. Speaking with his former master, Luke finally understands that preconceptions are nothing more than fetters that we must abandon. In his book on Zen and Star Wars, Priest Masuno describes this realization by using the Zen word “ki-sha (喜捨)”, which literally means “joyfully abandon regret”. When Luke accepts this notion of ki-sha, he obtains the unfettered eyes that allow him to experience the infinite potential of the Force that Obi Wan and Yoda attempted to show him.

喜捨。ヨーダがこの言葉の意味をよく分かっていました。だから最後に雷を落としてフォースの木を破壊します。「木（フォースの一面）を見て、森（フォースの全体）を見ず。」

Ki-sha (the joy of letting go). Yoda knew what that was all about. That’s why he summoned the lightning at the end to destroy the Force tree. You simply can’t see the forest (Force) for the trees (one aspect of the Force).

スターウォーズに反映される禅の考え方 Zen Thought Reflected in Star Wars

映画「スター・ウォーズ」の最新作、エピソード８「最後のジェダイ」の公開に伴って、毎日新聞が興味深い特集を掲載しました。「私とスター・ウォーズ」というテーマで、各界のファンにスターウォーズに対してどのような思いを寄せているかを語ってもらったという企画でした。その一人は禅僧の枡野俊明でした。彼は禅とスターウォーズの共通点は下記の通り語りました。

"The Last Jedi", the eighth installment in the Star Wars saga, is now out in theaters everywhere. The Japanese newspaper Mainichi Shinbun ran a special feature in which they asked people from different professions to talk about their own connection with the saga. One individual they spoke with was Masuno Shunmyou, a Zen priest. He described the connections he sees between Star Wars and Zen.

枡野俊明

Masuno Shunmyo

「スター・ウォーズは禅の影響を受けていると聞いたのですが本当ですか」。出版社の人にそう聞かれたのは数年前のことです。過去の作品を見ると、禅の考え方が反映されていることに驚かされました。人間の心をどう置き、どう世の中(銀河系の中)に向かっていけばよいのかを盛んに問いかけているように思えます。

A few years back a representative from a publishing company contacted me and said, “I’ve heard there are Zen influences in the Star Wars saga. Is that true?” I remember how surprised I was when I watched the original trilogy and noticed elements of Zen thought clearly reflected in the films. They are filled with scenes in which we see people grapple with how to set their mind and face the world (galaxy) in which they live.   

　この映画は、一言でいうと因縁の物語です。因とは物事の原因、縁とは人との関係や条件です。仏教には善因善果、悪因悪果という言葉があります。努力して良い原因を作っていくと、良い結果に結びつく。悪い原因を作ると、どんどん悪い方へ行く。同じ所から始まっても、一方は悪の権化であるダース・ベイダーのようになり、一方は、宇宙に平和をもたらすために戦う。因縁をどう結ぶかが非常に大切だと教えてくれます。

I believe the Star Wars saga can be succinctly described by the word in-en (因縁). The character 因 (in) represents the idea of “pretexts” that cause things to happen, while 縁 (en) refers to the connections and criteria by which we interact with others. In Buddhism we have the four character words 善因善果 (zen-in zen-ka) and 悪因悪果 (aku-in akka). Efforts to create good pretexts (善因) will ultimately lead to favorable outcomes (善果). On the other hand, sowing ill-intentioned pretexts (悪因) hasten your journey down the path of evil. The starting point is the same but the actions taken lead to different paths, as we see in Star Wars. There is Darth Vader, the embodiment of evil. We also have those who fight in order to bring peace to the galaxy. The Star Wars saga shows us why it matters how we choose to connect 因 (in, pretext) and 縁 (en, relationships).

人間はどう生きていくべきかを突き詰めているという点では、禅は哲学に近い。しかし、それを自分の体で実践して納得しようとするところに、禅と哲学の違いがある。だから、禅は「学ぶ」のではなく「行い」なのです。その「行」を修めることが修行。スター・ウォーズでは、神秘的な力であるフォースの使い手ジェダイになろうとする者が、学ぶのではなく、体得しようとする場面にも禅との共通性が見いだせます。

There is definitely a close affinity between Zen and philosophy, for both explore the question of how people are supposed to lead their lives. The key difference is that Zen stresses reaching understanding through physical experience. In that regard, Zen is more synonymous with “action” rather than “learning”. This action is cultivated through ascetic practice. We can see a similarity with wielders of that mysterious power known as the Force who strive to become Jedi in Star Wars. Instead of study, they seek understanding through experience (action).

　今、禅に対する関心は、世界的に高まっています。これまで物質的な豊かさが、人間の豊かさや幸せを形成していると考えられてきました。でも、物があふれても決して豊かではない。それでは際限がないことに気づき始めた。禅は心の豊かさが一番大切で、物ではないと言い続けてきました。そこが着目されているようです。この映画の生みの親であるジョージ・ルーカス監督もまた、そうした生き方を作品を通して伝えてきた気がするのです。

Today more people around the world are taking an active interest in Zen. Throughout history people have put stock in material wealth as the basis for affluence and happiness. However, they find that an abundance of possessions does not make them rich, and begin to realize that this material wealth will never be enough. Zen stresses that it is spiritual wealth, not material, that matters most. People in this day and age are starting to clue into that. I believe that the father of the saga George Lucas was trying to show people this alternative approach to life through his Star Wars films.

ヨーダの教えに窺える東洋思想 Eastern Thought Underlying Yoda’s Teachings

 

''おまえと違ってわしにはフォースがついておる。強力な味方じゃ、それはな。生命がそれを生み出し、育てるのじゃ。そのエネルギーはわしらを取り囲み、結び付けておる。わしらは輝ける存在じゃ。粗雑な物質ではない。周囲のフォースを感じるのじゃ。ここにも、お前と儂の間にも、あの木にも、岩にも。どこにもある。そう、陸地とあの船の間にもじゃ。''

“And well you should not, for my ally is the Force. And a powerful ally it is. Life creates it, makes it grow. Its energy surrounds us and binds us. Luminous beings are we, not this crude matter. You must feel the Force around you. Here, between you, me, the tree, the rock—everywhere. Yes, even between the land and the ship.”

スターウォーズのファンではなくても、ジェダイマスターであるヨーダのこの有名なセリフを聞いたことがある方は多いではないかと思います。フォースはあらゆるものに宿り、その力を意識して「受け入れる」ようにとルークを諭すときヨーダがこのセリフを言いますが、西洋国においてはこのヨーダがルークに授ける教訓はやや聖書めいた節になっていると言っても過言ではないと思います。このシーンではスターウォーズにおけるフォースという信義の基本的な思想はヨーダを通して説明されていますが、日本に来るまでその思想の「原点」についてあまり深く考えることはなかったです。でも、日本の文化と芸術に鮮明に反映されている宗教観を勉強するにつれて、その名言には東洋思想の影響が濃く映っていることに気づきました。

These famous lines are uttered by the Jedi master Yoda, and whether or not you’re a Star Wars fan, I’m sure many of you have heard this dialogue at some point. In the film, Yoda utters these words to Luke in attempt to get him to recognize the Force in all things and embrace its power. It’d be no exaggeration to say that this lesson Yoda imparts to Luke has taken on a Biblical status in Western countries today. Speaking through Yoda, this scene pretty much lays out the philosophy underlying the doctrine of the Force in Star Wars. I never really contemplated the origins of this philosophy before I came to Japan. However, as I studied the religious thought and worldview that is vividly reflected within Japanese culture and art, I came to realize the profound undertones of Eastern intellectual thought within the Force doctrine.

 

古代日本では「古神道」という信仰があって、それは現在の神社神道の礎ともなっている「自然崇拝」でした。そして、6-7世紀の間に主に渡来人の経由で仏教を始め、大陸の宗教が日本に伝導され植え付けられました。外来の宗教の「移植」によって当然なことに神道との「軋轢」が生じましたが、日本が選んだ道は「否定・除外」ではなく、「受け入れ・融合」のものでした。この道が生み出したのは日本の独特の神仏習合の宗教観でしたが、そのチャンプルーに「神（神道）」と「仏（仏教）」のほかに、「道教」という材料も混在していました。この記事の頭に述べたマスターヨーダの名言にはこの三つの宗教の思想が凝視されているではないかと思います。では、その一つずつの宗教とスターウォーズにおけるフォースという信義との関連を検証してみたいと思います。

The main religion of ancient Japan is referred to as “Old Shinto”, a system of beliefs centered around nature worship that formed the basis of present day “Shrine-based Shinto”. The 6-7th centuries saw the introduction of Buddhism and other religions from the continent via torai-jin, the Japanese term used to refer to immigrants from mainly the Korean peninsula. Naturally the introduction of these foreign-born religions gave rise to friction with Shinto, but Japan ultimately elected the path of accommodation and fusion rather than outright rejection and exclusion. This casserole of religions that came to coexist in Japan not only included Shinto and Buddhism, but also Taoism. I believe the quote by Master Yoda at the beginning of this post reflects elements of all three of these religions. Here I will take a look at each and how they relate to the doctrine of the Force in Star Wars.

まず、日本にて一番長い歴史を持つ神道から検証します。神道には「依代・憑代 (よりしろ)」という考え方があります。それは、あらゆる物に神・精霊や魂などのマナ（外来魂）が宿ると考える自然崇拝の宗教観の表れです。多くの神社の境内に見られる大きな神木がその考え方を象徴します。この神木は、榊や梛木（なぎ）のような革厚で光沢のある葉を持つ常緑の広葉樹であり、そこに神が降臨して依り憑くと信じられています。要するに、神聖かつ神秘的な力が宿るものを意味します。これはヨーダがいう自然なものに存在する（宿る）フォースのことと連想するではないかと思います。また、ジェダイ寺院の中庭に立派に聳え立つ「フォースの樹」のイメージも思い浮かべます。その名称の意味通りに、その樹にはフォースが宿り、まさに神道における依代との考え方に重ねます。

The first we have is Shinto, which is the oldest religion in Japan. One concept that is present in Shinto is the idea of yori-shiro. This concept is rooted in nature worship, and expresses the belief that supernatural power in the form of gods, spirits, or souls (collectively known as mana) can inhabit all things. The large sacred trees seen on the grounds of many shrines are a representation of this idea. Divinities are believed to descend and inhabit these trees, which are usually a type of flowering evergreen or Asian bayberry tree with thick bark and glossy leaves. That’s basically what yori-shiro is all about; the idea of a sacred and mystical power that dwells within things. This is seemingly reflected within what Master Yoda says when he describes how the Force exists (resides) within natural objects. Another image that comes to mind is the stately “Force Tree” that stood in the inner garden of the Jedi Temple. Just as the name implies, the Force was said to dwell within this tree, which coincides nicely with the Shinto concept of yori-shiro.

より東洋哲学的なフィルターを通してヨーダの名言を吟味しますと、道教の面影も窺えます。以前読んだことがあるブログにはこの点について詳しく解説されていますが、まずそこに載っている記事が指摘するのは「フォース」と道教における「気」の類似性という点です。道教は老子という古代中国の哲学者の思想に基づいて創立されたと言われていますが、老子の生涯にまつわる伝説と謎が多く、その詳細は歴然としません。これを念頭に置きつつ、その記事に下記の老子が言い残したとされている言葉を引用しています。

The vestiges of Daoism also become apparent when we apply the filter of Eastern philosophy to this famous quote of Yoda. This point is discussed to great length on a blog post that I have previously read. One thing the article points out is the striking resemblance between the notion of Ki within Daoism and the Force. Daoism supposedly emerged from the thought of Laozi, a philosopher in ancient China. However, much of Laozi’s life is enveloped by legend and mystery, and the truth is not much is known about him. Bearing that in mind, the article contains the following quote attributed to Laozi:

「道が之（気）を生み、徳が之を蓄え、物が之を形作り、勢いが之を成す。これにより万物において、徳を貴び、道を尊ばないものはない。道の尊、徳の貴は命ぜられることなく常に自然なればこそである。ゆえに道が之を生み、徳が之を見守り、之を伸ばし、之を育て、之を成し、之を熟し、之を養い、之を覆う。生み出しながら我がものとせず、成しながら功を誇らず、長じていながら仕切ることがない。これを「玄徳」という。」

“The way gives rise to Ki, virtue causes it to accumulate, objects give it form, and momentum generates it. Given this, all things under Heaven cherish virtue, with none forsaking the way. The respect for the way and loftiness of virtue are not preordained. They simply exist because they are naturally occurring. This is why the way gives rise to Ki, why virtue nourishes it, causes it to grow, nurtures it, encompasses it, refines it, cultivates it, and enshrouds it. Though virtue also emanates from within us, it is not ours to possess. While it underscores our deeds, we are not to boast of them. This virtue continually matures, yet never reaches full fruition. This is what we consider to be pure virtue.”

この老子（とされる）言葉を読んだとき、まず頭の中に浮かんだのは「生けるフォース」と「宇宙のフォース」の関連性でした。ミディ＝クロリアンの故郷の星に訪れたヨーダに向けてフォースの女官達の一人である平静がフォースの在り様についてこう伝えた：「命は宇宙のフォースの力となり、宇宙のフォースは命を再生する」。この言葉はまさに上記の老子の「道が之を生み、徳が之を蓄え、物が之を形作り、勢いが之を成す」とよく似ています。ここで「道」と「徳」は用いられていますが、「道＝徳」と読み替えることもできますし、日本語に置いては「virtue」という単語はその二つの字の組み合わせで成り立っています（道徳）。そして、上記の老子の言葉と挫折しているルークにヨーダが言う言葉を照らし合わせますと、その類似性が一目瞭然になります。「ゆえに道が之を生み、徳が之を見守り、之を伸ばし、之を育て、之を成し、之を熟し、之を養い、之を覆う」を再び読みますと、まるで反響のように「生命がそれを生み出し、育てるのじゃ。そのエネルギーはわしらを取り囲み、結び付けておる。」というセリフに連想します。

When I read this passage to attributed to Laozi, the first thing that came to mind was the relationship between the Living Force and the Cosmic Force. Serenity, one of the Force Priestesses, described the nature of the Force in the following manner to Yoda when he came to the home world of the midichlorians: “Life passes from the Living Force into the Cosmic Force and becomes one with it. One powers the other. One is renewed by the other." These words resemble what Laozi says in the passage above in describing the origins of Ki: “The way gives rise to Ki, virtue causes it to accumulate, objects give it form, and momentum generates it.” Here Laozi mentions both the way and virtue, but they are essentially referring to the same thing and can be interpreted as thus. Even more interesting is that the two kanji used to create the word “virtue” in Japanese, “道徳 (do-toku)” are the same as the characters used to refer to the way (道, do) and virtue (徳, toku). Now when we compare what Master Yoda says to a despondent Luke on Dagobah to the words of Laozi, we find a striking parallel. “Life creates it, makes it grow. Its energy surrounds us and binds us” seemingly echoes the interrelationship to which Laozi alludes: “the way gives rise to Ki… virtue nourishes it, causes it to grow… encompasses it… cultivates it, and enshrouds it.”

最後は仏教の面影です。あの名シーンの邦訳は非常に興味深い言葉が用いられて、その言葉は仏教に基づいた世界観を仄めかします。その言葉はヨーダがルークにいうセリフの最後に登場します：「ここにも、お前と儂の間にも、あの木にも、岩にも。どこにもある。そう、陸地とあの船の間にもじゃ。 」ここに注目が惹きつけるのは「間（あいだ）」というたった一文字で成り立つ言葉です。「間（あいだ）」を英語にしますと「space」や 「space between」という意味になりますが、その意味を成す別の読み方「ま」もあります。日本の歴史・文化・思想史を長年に渡って研究してきた松岡正剛はこの「間（ま）」という言葉の意味は歴史の流れに伴って変遷してきたと指摘します。“上代および古代初期においては、「間」は最初のうちは「あいだ」を指す言葉ではなかった。もともと「ま」という言葉は「真」という字があてられていた。「真」という言葉は、真剣とか真理とか真相とかというふうに使われるように、究極的な真なるものをさしていたのです。”

Finally we come to the visages of Buddhism within Yoda’s thoughts. The Japanese translation of that scene employs a pretty profound word that evokes a world view rooted in Buddhist thought. This word comes up in the final part of what Yoda says to Luke: “Koko ni mo, omae to washi no aida (間) ni mo, ano ki ni mo, iwa ni mo. Doko ni mo aru. Sou, rikuchi to ano fune no aida (間) ni mo ja (Here, between you, me, the tree, the rock—everywhere. Yes, even between the land and the ship).” The Japanese word that caught my attention consists of the single character read as aida (間). The word aida can be translated into English as “space” or “the space (between)”, but that same character can also be read as ma. Seigo Matsuoka—a scholar that has devoted his entire career to the study of Japanese history, culture, and intellectual thought—points out how the meaning of ma has changed over the course of history. “In ancient times and early antiquity the word ma (間) did not imply the meaning of aida (space, space between). Instead, the kanji character originally used for ma was 真. This character implies the meaning expressed in words such as 真剣 (“shinken”, or “earnest, solemn, sincere”), 真理 (“shinri”, or “(a) truth), and 真相 (“shinso”, or “(the) truth''). In short, the word ma conveyed the idea of some ultimate truth.”

仏教においてその究極的な真なるものを挙げますと般若心経が唱える「色即是空」という真理です。つまり、この世界は「空（くう）」であるとのことです。この「空（くう）」を直訳しますと「empty」や「void」となりますが、なんかいまいちの訳になり、それで空が指す意味がなかなか訳出されないと拙僧が思います。この文脈において空が指すのは「概念」であり、その概念がないことを理解しますと見方が180度転換します。つまり、我が見るすべてが実態を持たない「概念」に過ぎず、その概念から解かれるとこの世界は常に移ろいでいることに気づきます。これはまさにヨーダがいう「You must unlearn what you have learned (今まで学んできたことを念頭から払う必要がある)」のことです。陸地とX-wingの間は「空」でもありますが、そこにフォースが常に移ろいでいて、流れています。その流れには形は無い、だからそのフォースに対して概念に囚われて見てはいけないとヨーダがルークに諭そうとしています。遂にルークがその真理に悟りますと、繰り広げる空（そら）の如くフォースの無限さを理解できて、その時まで足枷となっていた概念から解放されます。

The ultimate truth within Buddhism is expressed by the four kanji construct in the Heart Sutra: “色即是空 (shiki soku ze kuu, or “all form is emptiness”). The last character of this construct, 空 (kuu), implies that all things in this world are without form. This is a tricky character to translate into English, for a literal translation churns out words like “empty” and “void”, both of which fail to fully convey the idea of kuu. The word kuu in this context is used in reference to “concepts” or “ideas”, and the fact that we must realize they do not exist. Once we understand this, we can see the world in an entirely different light. In short, everything that we see is nothing more than “concepts” that have no substance or entity. When we break free from these concepts, we come to see that the world is transitory, in a state of constant change. This liberation from concepts is what Yoda means when he tells Luke that “you must unlearn what you have learned.” The space between the X-wing and the shore may be just that… nothing but open space. However, therein flows the Force, and it is transitory in nature. That flow has no form, which is what Yoda admonishes Luke to realize. One must not look at the Force while still held captive to concepts. Luke eventually arrives at this truth and comes to understand that much like the sky that spreads overhead, the Force is equally expansive and unbound. This realization frees him from the shackles of concepts that had previously stifled his understanding.

スターウォーズの宇宙観を生み出したルーカス氏がこのヨーダの名言に敢えてこの深遠な意味を込めたかを立証するのは難しいが、視点を変えて違うフィルターを通してスターウォーズを見ると、新たな発見が窺えてきます。それはこの物語が文化を超越する普遍性が潜在している証ではないかと拙僧が思い、また何度もスターウォーズを見て考察する醍醐味はそこにあると思います。

Admittedly, it is difficult to ascertain whether Lucas himself infused this depth of meaning within this cosmic saga that he created. That said, new discoveries await those who change their vantage point when examining Star Wars. I believe this is a testament to the universality inherent within the Star Wars saga, and what makes repeat viewings of the films all the more worthwhile.

日本限定の最後のジェダイのチラシ "The Last Jedi" Japanese Theater Pamphlet

最期のジェダイの公開日が迫る中、新たななチラシが日本の映画館に配布されています。こういうチラシは日本の独特な広報方法でもあり、かなり質の高いB5用紙で仕上げています。通常はその表面は映画館の内外に飾るポスターと同様のデザインになっており、その裏面に映画の粗筋やキャラ紹介のが載っています。今年の夏の頭に配布された「第一弾」の最後のジェダイのチラシは海外でも話題になりましたので、今回は気になる海外の方のために簡単な英訳を認めてみました。英訳はチラシのい裏面の下に記載されています。

The release date for The Last Jedi (TLJ) is fast approaching, and with it a new pamphlet to promote the film has been distributed to theaters across Japan. These kind of pamphlets, which are printed on high quality B5 paper, represent a unique approach to advertising films here in Japan. The frontside is generally the same as the posters that are displayed about the theater, while the backside bears an overview of the film or an introdution to the characters. The "Ver. 1.0" pamphlet that was distributed early this summer garnered alot of attention from fans overseas, so I decided to whip up a simple translation for those interested to see what this one has to say. The translation is posted below the photo of the pamphlet's backside.

''光か、闇か (Hikari ka, Yami ka) The Light... or the Dark". The Japanese title for the film "最後のジェダイ (Saigo no Jedi)" can be seen in the middle of the Star Wars logo.

A Mind-blowing Chapter of the Star Wars Saga Unlike Any Ever Seen Is about to Unfold

The Force Awakens (TFA) set off a global sensation when it hit theaters, shattering box office records in the US. This winter the world will once again be brimming with fervor and excitement over the release of The Last Jedi (TLJ), the latest installment in the series. Picking up where TFA left off, TLJ adds a new chapter to the rich lore of the Star Wars saga.

The Jedi… Stewards expected to bring peace to the galaxy

Fear has swept across the galaxy with the rise of the First Order. Amidst this turmoil, two young powerful Force users have emerged. There is Rey, a girl all alone on distant world whose destiny was forever changed by a chance encounter with BB-8. She joins him and the Resistance, and in doing so awakens the Force within her. Then there is Kylo Ren, born of heroes of the Resistance. Turning his back on his parents, he decides to take up the mantle of Darth Vader. A startling fate awaits these two Force wielders, with each feeling the pull of both the Light and the Dark. Luke Skywalker, the legendary Jedi, has finally come out of hiding. What impact will his return have on the galaxy?

The man behind the camera for this mind-shattering tale of the Star Wars saga is Rian Johnson, one of Hollywood’s up-and-coming bright young directors. TLJ continues to follow the exploits of Rey, Kylo, and other characters introduced in TFA. It also adds a mysterious and captivating air to the figure of Luke Skywalker, the very soul of the saga who made his appearance in the final scene of Episode VII. In addition to these now familiar faces, TLJ introduces us to a new host of characters such as the porgs, an adorable species of birdlike creatures that have already won the hearts of many fans across the globe.

The Light… or the Dark… That is the decision that must be made when immeasurable power is obtained.

言語を通してもう一つの自分と出会う Language opens the portal to your other self

言語を習うのは言葉の置き換えの式を覚えることに非ず、その言語の成り立つ語彙の文化的な背景を理解してそれ受け入れるプロセスではないかと個人的に思っています。その文化的な背景は価値観としてその言葉に反映されて、その言葉に潜在する機能を存分に引き出せるためにまず自分をその背景を受け入れなければなりません。そこで重要になるのは「適応力」です。そして、その新な言語を自分のものにすると新な自分がそこに存在すると気づいて、その発見こそが自分が見る世界の視野をさらに広めてくれます。敢えて言いますと、そこで新なアイデンティティを取得することになります。

Studying a language entails far more than learning the formula for switching out words. I've always felt that the process of learning a language other than your own requires you to understand the cultural backdrop underlying the words which make up that language. This backdrop is reflected within the sense of values that the language espouses, and it is something that you must accept in order to unlock the inherent potential of that language. The key within this process is the ability to adapt. When you make the language your own, you discover that another "you" exists within that language. At the same time, that realization works to broaden your own view of the world. In short, this mastery of another language is essentially the process of obtaining an entirely new identity.

拙僧の場合はその新な自分をもっと「知る」ために取得したその言語をあらゆる形で模索しようとしてきました。その模索に当たって多岐に渡るすべを試みてみましたが、何よりも自分を研磨するのは俳句を詠むことです。このポストでこの2,3年に渡って詠んでみた俳句をまとめてみましたので、その模索のプロセスと一緒に堪能して頂けたら幸いです。

I have set myself to explore every possible aspect of the language I have mastered in my quest to better know the "other me" which exists within that language. Of all the different exploratory methods I've employed in this particular endeavor, the one which I felt has helped to further polish me as an individual is the task of writing haiku. This post presents a collection of haiku I have written over the last couple of years, so I encourage anyone interested in this exploratory process to read through them.

もくもくと
雲の移ろい
月の下
Ever so silent
The passing of the clouds
Under the moon.

蝉の声
夜(よ)に響き渡る
初夏来たり
Cicadas in song
Ringing clear across the night
Early summer now


夜(よ)が明ける
彷徨う雲間
変幻自在
Night gives way to dawn
Meandering clouds above
Everchanging form


波紋の輪
月光の如く
繰り広げ
A rippling ring travels
Just like the moonlight
Emanating out

夜の酒
心を癒す
雨の音
Evening sake
Bringing solace to the heart
The sound of rain drops

風が凪ぐ
初秋の朝に
快い
Breeze, ever so calm
This early autumn morning
Blissful tones abound

そびえ立つ
富士山の如く
浮雲よ
Rising loftily
Evoking Mt. Fuji's grace
Clouds up in the sky

儚いよ
安土にて見ず
幻(まぼろし)や
Ever so fleeting
The world seen from Azuchi
Nothing but a dream

*この最後の俳句は明智光秀にちなんで句です。明智光秀に関して興味のある方はまずウィキペディアの記事をご参照してください。
The last haiku here is a reference to Akechi Mitsuhide.Those interested in learning more about him should visit the Wikipedia page. 

家紋に込められた意味 Family Crests: More than Meets the Eye

＊この記事も元々「Pen」雑誌の2009年の9月号に掲載された記事です。英文は数年前に拙僧が翻訳したものです。また、記事の最後にある注釈は拙僧が作成したものです。

This article originally featured in the September 2009 issue of the Japanese magazine “Pen”. The English is a translation I did a few years back. I also wrote the footnotes at the end of the article. 

現代ではあまり意識すろこともない家紋。だが、戦国時代にあっては生死を分かつほどの重要性をもっていた。その美しい意匠の成り立ちを探る。

One rarely notices traditional family crests in modern-day Japan. However, family crests were literally a matter of life and death during the Sengoku (Warring States) period. In this, family crests are to be appreciated for far more than their aesthetic value.

真田家の家紋：六文銭

Sanada Clan Family Crest: Roku-mon sen (Six Pence)

 六文銭は仏教の世界でいう「六道銭」のこと。死んで三途の川を渡る時の渡し賃を意味した。真田氏は死をも厭わぬ決意で望んでいたことを示す。拙僧はうちの結婚式で羽織にこの家紋を付けて頂きました。

The six mon (pence) is a reference to the six coins placed on caskets of the dead in a Buddhist context, equal to the price of passage across the Sanzu (Styx) River. This family crest symbolized the Sanada clan’s resolve, unshaken even in the face of death. I chose to have this family crest put on my kimono for our wedding ceremony.

現代人にとって「家紋」とは、結婚式披露宴や葬式で和装する時くらいしか意識しないのではないでしょうか。家紋のルーツをたどると、だいたい平安時代中期まで遡ることが出来る。もとは公家が牛車などに、自家の標識として採用したものであったという説が有力である。しかし、平安時代末期になると、保元の乱・平治の乱などが打ち続き、敵味方の区別をつけることや、戦場での活躍を示すための証明が必要になった。そこで、独自の図像を作成し、旗などにあしらったのが、武士の家紋のルーツといわれている。
For most people in Japan today, family crests aren’t really a part of their daily lives. The only time one may catch a glimpse of these traditional symbols is at a wedding or maybe a funeral. When one examines the history of these symbols, one discovers that family crests have been in use since the Heian period*1 (794-1185). Scholars believe that family crests were first adopted by nobles, and used on their ox carts as a way of identifying themselves (a nice analogy would be imagining a glorified business card or logo). However, with the outbreak of the Hogen revolt in 1156*2, the Heian period gave way to an age of civil war and social unrest, with the capital and much of the country transformed into a battlefield. In order to tell friend from foe, as well as provide proof of one’s exploits in battle, a “badge” to identify oneself was needed. Thus, many samurai set about to creating their own unique design and using this insignia on their own personal battle flags. This marks the beginning of family crests as we know (in Japan at least). 

戦国大名の権威を表し、家の格を示すシンボル
A symbol of Sengoku daimyo (lord) authority and family status

南北朝期から室町期にかけては一族・庶子であっても家紋をもち、爆発的にその数が増えた。そのために、「見聞諸家紋」という家紋を集成した書物が作られ、武士たちには群雄の家紋を識別する能力が求められた。家紋のデザインは実に豊富で、植物を中心としながら、動物、天文地理、器具、建造物などを図案化した。後ろ向きのウサギや鍵など、ユニークなモチーフも多数、存在する。戦国時代になると、天皇や将軍が戦国大名に家紋を与えることがあった。これを「賜与」という。そのため、戦国大名は複数の家紋を使い分けることとなった。一般的に、正式な場で用いる家紋を「定紋（じょうもん）」といい、そのほかの家紋を「副紋」と称した。
Between the Nambokucho period*3 (1336-1392) and the subsequent Muromachi period (1336-1573: overlaps with the Nambokucho period because one of the Imperial regencies was merely the puppet of the reigning Ashikaga shogunate), the number of family crests literally exploded, as even the descendants of illegitimate children of the nobility adopted their own crest. As a result, a book was published in which all the prominently used family crests were massed into a single volume. This book was called the Kenbun Shokamon (literally translates to “The various family crests one comes across”), and its creation signified the need for samurai to readily distinguish the family crests of their adversaries. 

家紋のデザインは実に豊富で、植物を中心としながら、動物、天文地理、器具、建造物などを図案化した。後ろ向きのウサギや鍵など、ユニークなモチーフも多数、存在する。戦国時代になると、天皇や将軍が戦国大名に家紋を与えることがあった。これを「賜与」という。そのため、戦国大名は複数の家紋を使い分けることとなった。一般的に、正式な場で用いる家紋を「定紋（じょうもん）」といい、そのほかの家紋を「副紋」と称した。

There are literally thousands of family crests, rich in variety and style. Though most designs incorporate a plant-oriented motif, other items were also used, such as animals, astronomical elements, tools and weapons, as well as buildings. There were even some incredibly original designs that probably turned more than a few heads on the battlefield, such as the backwards facing rabbit, and even a key.　Entering the Sengoku period, the Imperial Court or the Shogun would often confer special family crests upon distinguished samurai families. This was called shiyo*4, and in turn resulted in many daimyo using multiple family crests. For formal occasions the family crest that was used was referred to as the joumon (literally “the specified crest”), while the other crests used were called fukumon (or “sub-crests”). 

例えば、中国地方を代表するセンゴク大名の毛利氏は、家紋として「一文字に三つ星」を使用していたが、ほかにも正規町天皇から賜与された。家紋は、天皇家や将軍家の権威を高める道具としても使われたのである。
An example of this in practice is the Mori family, who rose to prominence and ruled over the Chukoku region (western Honshu, which is the main island of the Japanese archipelago). For their joumon, they used the “ichimonji ni mitsuboshi” (three stars beneath one line), but they also used the “go-shichi kiri” (5 and 7 paulownia leaves) as their fukumon. This is the crest the Imperial Court bestowed upon their family. Family crests were also used by the Shogun and the Imperial Court to boost their own prestige and authority. 

 

毛利家の家紋：一文字に三つ星

Mori Clan Family Crest: “Ichimonji Ni Mitsuboshi” (Three Stars beneath One Line)

このように、家紋は比較的、自由に使用することが出来たが、戦国末期になると、豊臣秀吉が天皇家の「桐」や「菊」の使用を禁止したと言われている。また、徳川家康は自らの権威を高めるため、徳川以外が菱紋を使用することを禁止している。
Up until this point, one was practically free to choose whichever family crest they desired. However, towards the end of the Sengoku period, Toyotomi Hideyoshi began to impose restrictions on family crests, specifically forbidding the use of “kiri” and “giku” (paulownia and chrysanthemum, respectively) motifs for family crests. Later, Tokugawa Ieyasu would prohibit the use of the hollyhock motif, assigning it as the official family crest for the shogunate in efforts to boost the shogunate’s authority and legitimacy.

江戸時代に入ると、自家の格を明示する服装の決まりができるため、家紋の儀礼上、必要になった。時代も平和だったために、この頃からさらに数が増え、デザインとしても発達していくことになる。
The Tokugawa reign (1603-1867) came to be known as the Edo period (Edo being the capital, now present day Tokyo). During this time, family crests became a necessary formality, with the insignia sewn onto one’s kimono as a means of identifying both their family and indicating their social status. This time was a period of peace, leading to the rise in the number of designs and variations employed for family crests. 

石田氏：大一大万大吉

Ishida Clan Family Crest: Dai-ichi Dai-man Dai-kichi (1 for 10,000, 10,000 for 1)
文字による珍しいデザイン。大は天下の意味し、天下は一人が万人のために、万人が一人のために努力すれば、皆が吉（幸福）になるという願いが込められている。

This crest sports a unique design composed entirely of kanji characters. It conveys the desire for one man to work for the happiness of 10,000 people, with those individuals returning the favor

このように、家紋は単なる飾りではなかった。歴史を振り返ってみれば、戦いでの標識や権威の象徴、そして自家を示すシンボルとして、重要な意味をもっていたことがわかるだろう。
In conclusion, it is readily apparent that family crests were far more than a decorative accessory implemented to accent one’s wardrobe. Upon examining the historical roots of these symbols, one discovers that family crests were an important symbol that fulfilled an important role. The family crest not only indicated one’s family identity, but also acted as a symbol on the battlefield and legitimate representation of authority.

1. http://en.wikipedia.org/wiki/Heian_period
Please pardon me for taking the easy route and citing wiki. But rather than pester you with lengthy footnotes, I encourage you to click the links and read on if you are interested. While I cannot guarantee that wiki is accurate, it is a good place to start.

2. http://en.wikipedia.org/wiki/Hogen_Rebellion 

3. http://en.wikipedia.org/wiki/Nanboku-chō_period
I was a little disturbed to see that the English entry on wiki is far more detailed than its corresponding Japanese entry. Guess that goes to show where the emphasis of historical study lies.

4. 賜与 This kanji compound doubles up two verbs that both mean “to give”, though the first kanji carries a far more formal, essential regal connotation.