#浮竹 十四郎

[niscuit-gravy]

i was once you soon, you will become me i can only pray the lives you carry are not a burden to you

[buffetcity]

[yagiv]

uki-fish and kyo-flower

浮竹魚十四郎，京楽春花水

Ukitake(bamboo)fish Jushiro, Kyoraku Shun(spring)Flowersui

우키사카나 쥬시로, 쿄라쿠 하나스이

[dirkcomplex]

your honor, i love them

[milapurr]

[natenatn8]

Why is fate so cruel?

[katamu63]

[chipen]

i was discussing with @heyhey-sensei how exceptionally powerful reiatsu has tangible... odors? essence? something like a personal mark or scent. we've seen differing colors, but i think just different vibes as a whole. not necessary just smell but feelings evoked, etc.

FOR EXAMPLE -

ukitake: peaches and tea leaves marked by something more bitter and medicinal / early spring mornings filled with dew / light sea foam greens and reds / comfort, warmth, benevolence, acceptance

kenpachi: bonfire smoke and cardamom / steam from a demons nostrils / the thrill before battle, the sound of blade meeting blade and a triumphant woop / deep crimson red and earthy tones / energy ( both good and bad ), battle lust, protectiveness

yoruichi: ozone, the smell before lighting strikes, and the undertones of fragrant jasmine / heat lightning on a warm july night, thunder rumbling in the distance / summer sunset tones and bright effervescent yellows / playfulness but an elder's patience, yet also the zoomies, quiet thoughtfulness, yearning for peace

/ more later i'm sleepy and the visoreds and arrancar take a bit more effort.

[wotayaminabe]

そうそう、浮竹さん巻頭歌きましたね。

当時泣くほど望んでた巻頭歌。

もう年甲斐もなく暗記しちゃったよ。

わたしはかつて　あなたであり

あなたはいずれ　わたしになる

せめてあなたの背にかかる

命の軽からんことを

前半は"Tu fui, ego eris"というラテン語の墓碑銘だという。いよいよ浮竹さん死にに行くんだな。

一般には「わたし」は死者、「あなた」は生者を指すという。人はいずれ必ず死ぬんだよという厳しい言葉。生死の堺を彷徨い続けてきた浮竹さんらしくもある。意外とそこら辺の事実を、リアリストで有名な京楽より受け止める(しかし内心引きづり気に病み続ける)浮竹さん。受け止めるゆえに、それでも前進を止めてはならないとするのが浮竹さん。時間をかけることは許すけどくすぶることを許さない(特に自分には)浮竹さん。

だって時は進むから。

後半は「背負うは大なり　それでも笑う者でありたい」という浮竹さんが扉絵になったときの詩を踏まえるのかなと思う。浮竹さんの背負う命は本当に、本当に重かったわけだけど、浮竹さんは「あなた」にはそうでないことを祈っている。…というと、霊王になる道を敷かれかけている一護を指しているのかな…。

一護の背負う命充分重いけど、霊王にされたらそれが永遠に等しい年月になるからな…。浮竹さんは一護にも銀城にも、現世に限らず大事な人との穏やかな生活を送って欲しかったんだよな。いっぱい巻き込んだけど、そのたび2人とも、心強くて優しかったから自分のこととして飛び込んでいったけども。

「せめて」という言葉で祈り始めるところ、ルキア誘拐される前も、せめてこの仮初の平穏が、少しでも長く、って祈ってて、現実には難しいことだとわかっていてもその人の幸せを祈らずにはいられない浮竹さん…浮竹さん……

[littleeyesofpallas]

So I guess this is a good time to do a recap of some old Ukitake posts: [1][2][3][4][5][6]

Ukitake[浮竹] Juushirou[十四郎] actually has one of my favorite names in the series as it feels like it says a lot about his core concept beyond what we're really given in canon. The family name reads uki-[浮]: "Floating" and take-[竹]: "Bamboo." That same "floating" is part of the word fuurou[浮浪]: "vagrant/vagabond" and a few other colloquial terms, a generally circling around a homeless person or a drifter. (In fact the other half of that compound word, [浪] is the "wave" in ronin[浪人]: "wave man/person" as in a masterless samurai.) Bamboo being a staple lumber in Japan of course but also notorious for its fast and rampant growth, as it is quick to spread and choke out other plants in an environment. The idea of "floating..." or "vagrant bamboo" gives an impression of being plentiful and common, even excessive.

The personal name, Juushirou[十四郎] just reads "14(th) Son" which always implied he came from a large family. A profile in the back of vol. 18 long ago confirmed he had brothers and sisters, but curiously all younger than him. The implication seemed clear that as a sickly person from a big family, he was poor and that there were 13 prior children who died before him, which is really the only reason you'd name a child the way they did. This feels like it works in tandem with the family name to again emphasize a family of many, but also almost expendable. The big family is also why he's got an affinity for children

That said it always felt to me like the backstory should have been more grim? Like rather than just praying to a god to save his life, it seemed more like he should have been a sacrifice made to ensure the family line continued. Like first 13 kids died, they were afraid he was their last chance, but he was sickly, so they sacrificed him to basically ensure the next ones would come out alright. Hence the kids younger than him surviving in spite of the ominous past implied by his name.

(Also the "shiro" phonetics in his name as a homonym with shiro[白]:white point to his hair. Kubo makes an explicit joke about this as Toshiro, also white haired, shares a similar wordplay, his name Toshirou[冬獅郎] meaning "Winter Lion Son.")

Then there's his shikai, Sougyo-no-Kotowari[双魚理] which reads "PairFish's Reason/Logic/Natural way of things." (sougyo-kyu[双魚宮] is the Japanese name of the constellation Pisces.) It appears to be an allusion to daoism/onmyodo, and the yin-yang diagram of balance, and this theme gets built upon by other contextual information like the zanpakutou arc's designs borrowing from onmyoji, and Ukitake's presence in conjunction with fish imagery and metaphor in the Jaws of Hell arc.

The little preamble to that chapter, about the two fish in balance until one dies and then the other grows bigger, is itself synonymous with sougyo-no-kotowari: The Natural Order of Two Fish.

The release command [波悉く我が盾となれ]: "All Waves be my shield," [雷悉く我が刃となれ]: "All LightningBolts be my blade" is fairly straight forward and just evokes the image of a stormy sea, which actually seems to have surprisingly little to do with the rest of the themes in play? I mean sure, waves and fish and floating, but when the floating and fish are less than literal the waves and lightning without any additional reading feel kind of out of place?

Of note: the onymoji was a prestigious class of sort of advisor in the japanese imperial court was at its peak in the Heian period, the long standing era of peace in ancient Japan that came just before the descent into the civil war of the Sengoku period. (Subsequently the onmyoji lost most of their power and clout during the waring states period as power shifted from the imperial court to the shogunate.) They were associated with and consulted for a wide range of things from medicine, to architecture, to city planning and meteorology, and divination, and perhaps most well loved by media, as exorcists. This ties into things like his beyond bankai form in Bleach Brave Souls where they opt for a more shinto purification theme, in either case making him fit something of a paragon role as Shinigami as ""cleansing"" hollows rather than destroying them.

Actually those shinto motifs all link to the recent addition of shinto themes in Mimihagi pretty directly, but I'll get to that in a bit...

It's worth noting that with Kyoraku's emphasis on a leisurely city life in the capital(Kyoto), and the onmyo mystic themes of Sougyo-no-kotowari, Kyoraku and Ukitake appear to both represent aspects of the Heian period, and thus cultures that predate the Sengoku period, and the rise of the samurai, lending to their role as two of the most senior members of the gotei 13.

People often forget but technicaly Ukitake was the first captain we were introduced to, well before Byakuya showed up, the Captain title just wasn't present at the time. When Rukia has her flashback to a then uncertain event while Ichigo fights Grandfisher, it's Ukitake she's hearing speak and that we catch just a brief glimpse of the back of the head of. Like I said there were no captain ranks in the story a that point, so he just appears as long flowing white hair over an all black shihakusho. I think his hair was always meant to help him embody an element of balance between black and white, and thus the very series title: Bleach.

I think there was always an implicit siniste quality to the idea of "Balance" underlying the shinigami that Kubo tried to gesture towards with the general vibe of the Soul Society -v- Rukongai dynamics, the Shibas, that flicker of a twist in the Fullbringer arc that Ichigo just ignored, and even with a lot of the loose and ultimately unfulfilled themes he set up for the TYBW arc with Yhwach's plans for a new world and Juugram's Balance schrift.

Oh I forgot the whole MIMIHAGI bit, despite teh being the whole subject of this week's episode:

東流魂街七十六地区『逆骨』に伝わる単眼異形の土着神。

An indigenous God of Grotesque/Suspicious Single-eye passed down in East Rukongai 76(th) zone "Sakahone(Reverse Bone)"

太古の昔、天より瀞霊廷に落ちて来た霊王の右手を祀ったとされるもので、自らの持つ「眼」以外のすべてを捧げた者に加護をもたらすと言い伝えられている。

(In)Ancient Times, From Heaven to the Seireitei the fallen right hand of the Rei-Oh is said to have been enshrined.

浮竹の行った『神掛』は、体内に宿るミミハギ様の力を全身の臓腑へと広げる事で、全ての臓腑をミミハギ様に捧げ、その依り代になる儀式である。

Ukitake's performed "Kamikake(God debt)" was, the power of MIMIHAGI dwelling in the body spreading to the whole of the viscera/entrails, offer up all of your entrails to MIMIHAGI-sama, it is a ceremony/ritual to become a Yorishiro*

『神掛』を成功させた浮竹は、霊王の右腕そのものとなった。

Ukitake succeeded at/with "Kamikake", he had become the right hand of the Rei-Oh.

*i don't have a more concise way to translate this... the translation listed run something like "object representative of a divine spirit"/" object to which a spirit is drawn or summoned"/"object or animal occupied by a kami​" and it's specifically a shinto thing.

When you see big deified trees with the shimenawa ropes and shide paper talismans, those trees are yorishiro. or rather they're Shintai, because a Yorishiro is a thing capable of being host to a kami, the Shintai is after they've been deified. (And technically when you do that to a person it would be called Yorimashi, not Yorishiro. I don't know if that's meant to specifically dehumanize Ukitake or if its a broad enough term that it doesnt really make a difference. Although if you really wanted to stretch it you could argue that Ukitake is an object and not a person because he did die from his illness and the thing deified wasn't a "living" person it was a corpse. Which would very curiously position him as an inversion of Ichigo, who was human, "died" in that his soul was deliberately severed from his body, but continued to operate as nominally human while getting to dip a toe into the shinigami powers and the spirit world.)

These little eye catch data cards really aren't giving us anything new huh?

[yagiv]

doodle ukitake

[shikasekki]

BLEACH KARAKTER İSİM ANLAMLARI VE KARAKTER UYUMU - BÖLÜM 2

8 - 山本元柳斎 重國 (Yamamoto Genryūsai Shigekuni)

Yamamoto'nun adı normalde Shigekuni ancak sonrasında Genryūsai lakabını alarak ismi yerine bunu kullanmayı tercih ediyor. "重國" yani "Shigekuni" ismini incelersek "重" "bereketli" anlamına geliyor. "國" ise "ülke". O yüzden mecaz olarak bakarsak Yamamoto'nun ilk adı için "bereketli topraklar" diyebiliriz. "元柳斎" yani "Genryūsai" lakabını incelersek kanjilerin tek başına "söğüt" ve "arıtmak" gibi anlamları var ancak bir bütün olarak bu ismi çevirmek pek mümkün değil. Ama "Kutsal Söğüt" diyebiliriz. Bu lakabı da kurduğu "Genryū" isimli okuldan sonra alıyor.

Yüzündeki yara izinden ötürü aldığı diğer lakabı ise "丿字斎" yani "Eijisai". Bunu da tam olarak çevirmek mümkün değil. Bu lakabı alma sebebi yüzündeki izin "丿" şeklinde olması.

Soyismine gelirsek "山" "yama" yani "dağ" demek. "本" "moto" yani "bir şeyin temeli, kaynağı" anlamına gelmektedir. Bir bütün olarak incelediğimizde ise "dağın etekleri" anlamına geliyor. Hem "Kutsal Söğüt" hem de "dağın etekleri" Yamamoto'nun bilgeliğini gösteriyor.

9 - 京楽 次郎 総蔵佐 春水 (Kyōraku Jirō Sōzōsa Shunsui)

Adının tam karşılığı olarak "Kyōraku Ailesinin Her Şeye Sahip/Gizleyen Yardımcı İkinci Oğlu Shunsui" diyebiliriz. İlk adına değinmeden önce "総蔵佐" lakabına değinmek istiyorum. Serinin Wikipedia sayfasında "Sakuranosuke" olarak yazılmış ancak kanjileri bu şekilde okuduğumuzda ortaya çıkan anlam bizim için anlamsız oluyor. O yüzden kanjilerin doğru okunuşu "Sōzōsa" olmalı. Anlamı da "Her Şeye Sahip/Gizleyen Yardımcı" demek. Bu da Kyōraku'nun geçmişine bir gönderme olabilir. İsmine geri dönersek "春水" yani "Shunsui" "kaynak suyu" anlamına gelmektedir. Ancak asıl olay soyisminde yatıyor. "京" yani "Kyō" "şehir", "楽" yani "raku" "rahatlık, eğlence" demek. Buradan Kaptan Shunsui'nin zengin yani şehirli rahatına da düşkün biri olduğunu anlıyoruz. :)

10 - 浮竹 十四郎 (Ukitake Jūshirō)

Shunsui'den bahsettikten sonra Kaptan Jūshirō'ya değinmemek olmazdı. "十四郎" yani "Jūshirō" aslında "14.Oğul" demek. Shunsui'de olduğu gibi burada da asıl olay aslında biraz soyisminde yatıyor. "浮竹" "yüzen bambu" demek aslında ama "浮" kanjisinin çok yaygın olmasa da "fazlalık" gibi bir anlamı da var. Ukitake'nin hikayesine baktığımızda alt sınıf bir aileden geldiğini ve 5 erkek 2 kız kardeşi olduğunu görüyoruz. Ancak isminin anlamı "14.oğul" olduğuna göre büyük kardeşleri vefat etmiş gibi görünüyor. Bunun yoksulluk gibi pek çok sebebi olabilir. Soyismindeki "bambu" göndermesine bakıldığında bambular dayanıklı ve uzun ömürlü bitkilerdir. Ama aynı zamanda işgalci bir yapıları da vardır ve bambuların diğer bitkilerin yapraklarına değmemesi gerekir. Aksi halde o bitkileri soldurur. Buradan Ukitake'nin bir bambu gibi hayatta kaldığını ancak diğer kardeşlerinin bunu başaramadığını ve tabiri caizse "solduklarını" görebiliriz. "Jūshirō" ismindeki "shiro" kısmı ise "beyaz" anlamına geldiği için muhtemelen hastalığına ve saçlarına bir gönderme. Soyismindeki "浮" kanjisinin "fazlalık" anlamına gelebiliyor olması da muhtemelen yine Ukitake'nin güçsüz bünyesine yani "işe yaramaz"lığına bir gönderme.

11 - 卯ノ花 烈 - (Unohana Retsu) aka 卯ノ花 八千流 (Unohana Yachiru)

"烈" yani "Retsu" "yanan, güçlü, şiddetli" gibi anlamlara gelmektedir. Unohana'nın geçmişini bilenler bu ismin ona oldukça yakıştığını bilecektir. :) "八千" yani "Yachi" "8000", "流" yani "ru" "stil" anlamına gelmektedir. Yani aslında söylenmek istenen muhtemelen "8000 tane (kılıç kullanma) stili". Unohana'nın tecrübesine ve gücüne baktığımızda, ilk Kenpachi olduğunu da göz önünde bulundurursak o zamanları için uygun bir isim. Soyismine dönersek "卯", "U" Çin astrolojisinde tavşanı temsil ettiği gibi aynı zamanda sabah 05.00 - 07.00 saatlerini de temsil ediyor. "ノ" burada aitlik bildiren bir ek. "花" yani "hana" ise "çiçek" demek. Yani soyismini "tavşan çiçeği" gibi çevirebiliriz ama ben tavşandan ziyade sabah saatlerine atıfta bulunduğunu düşünerek Türkçede "sabah sefası" olarak bilinen çiçeğe gönderme yapmayı tercih ediyorum. İngilizcesi "morning glory" olan bu çiçek sabahları açıyor ve eski zamanlarda Çin'de tıbbi alanda kullanılıyordu. Eh Unohana da Dördüncü Bölük kaptanı. :)

12 - 更木 剣八 (Zaraki Kenpachi)

Zaraki'nin bir adı yok. Soyismi yaşadığı Zaraki bölgesinden geliyor. " 更" yani "Zara" "alışmamış, yepyeni" gibi anlamlara gelirken "木" yani "ki" "ağaç" demek. Unohana'nın ardından yetişen "yeni" kenpachi olduğu anlamını çıkarabiliriz. "剣八" yani "Kenpachi" ise bir isim değil, bir unvan. Kılıç kullanımında en güçlü shinigamiler için kullanılır. "剣" yani "Ken" "kılıç" demek. "八" yani "hachi" ise "sekiz" demek. Yani "sekiz kılıç" anlamı çıkıyor. Burada Yachiru ismindeki 8000 anlamıyla buradaki 8'in bir bağlantısı olduğunu düşünüyorum açıkçası. Muhtemelen Unohana'nın 8000 kılıç kullanma stili olması onun ilk kenpachi olarak normalin kaç katı güce sahip olduğunun bir göstergesi.

13 - 藍染 惣右介 (Aizen Sōsuke)

Geldik bakalım Aizen'e. Bizi bu konuda asıl ilgilendiren kısım soyadı aslında. Çünkü Sōsuke adının kanjilerini incelediğimiz ortaya çok da anlamlı bir bütün çıkmıyor. En azından ben bulamadım. Bulan olursa DM kutum açık. :') O yüzden tek tek adının kanjilerine değinmeyeceğim. Gelelim soyadına. "藍染" soyadının tam çevirisi "Indigo rengi" anlamına gelmektedir. Indigo, mor-mavi ağırlıklı bir renk olmakla birlikte seride Aizen'le özdeşleşmiştir.

Indigo renginin anlamına gelirsek. En temel iki anlamı "bilgelik" ve "önsezi". Sezgilerin kuvvetli oluşuna atıfta bulunan bu renk. Üçüncü gözün açık olması anlamına gelmektedir. Bu ne demek? Indigo, Ajna olarak da bilinen 6.çakrayı temsil etmektedir. Yani sezgilerimizle, psişik durumumuzla alakalı olan bu çakra "üçüncü gözümüzü" açmaktadır. Bakalım Aizen'in üçüncü gözü ne zaman açılmış?

"愛染" bunların yanı sıra Budist bir terimdir ve Budizm'deki Ragaraja'nın Japon Budizm'indeki karşılığı olan Aizen Myō-ō'nun içinde geçmektedir. (Tam hali 愛染明王 veya 愛染妙王) Aizen Myō-ō Japon Budizm'inde aşk ve şehvetin tanrısıdır. Bunun yanında o da üç gözlü olarak bilinir. Ayrıca Aizen Myō-ō başka birkaç tanrı gibi elinde Budizm'de "Cintamani" Japon Budizm'inde ise "宝珠" "Hōju" olarak bilinen dilekleri yerine getiren bir taşla tasvir edilmiştir. Fandomda pek çok hayran bu taşı "Hōgyoku"ya benzetmektedir.

Gelecek bölümlerde görüşmek üzere.

- Shishi

[mxargent]

"Kill them with kindness" Wrong. CURSE OF MINATOMO NO YORITOMO

アイウエオカキクケコガギグゲゴサシスセソザジズゼゾタチツテトダ ヂ ヅ デ ドナニヌネノハヒフヘホバ ビ ブ ベ ボパ ピ プ ペ ポマミムメモヤユヨrラリルレロワヰヱヲあいうえおかきくけこさしすせそたちつてとなにぬねのはひふへほまみむめもやゆよらりるれろわゐゑを日一国会人年大十二本中長出三同時政事自行社見月分議後前民生連五発間対上部東者党地合市業内相方四定今回新場金員九入選立開手米力学問高代明実円関決子動京全目表戦経通外最言氏現理調体化田当八六約主題下首意法不来作性的要用制治度務強気小七成期公持野協取都和統以機平総加山思家話世受区領多県続進正安設保改数記院女初北午指権心界支第産結百派点教報済書府活原先共得解名交資予川向際査勝面委告軍文反元重近千考判認画海参売利組知案道信策集在件団別物側任引使求所次��半品昨論計死官増係感特情投示変打男基私各始島直両朝革価式確村提運終挙果西勢減台広容必応演電歳住争談能無再位置企真流格有疑口過局少放税検藤町常校料沢裁状工建語球営空職証土与急止送援供可役構木割聞身費付施切由説転食比難防補車優夫研収断井何南石足違消境神番規術護展態導鮮備宅害配副算視条幹独警宮究育席輸訪楽起万着乗店述残想線率病農州武声質念待試族象銀域助労例衛然早張映限親額監環験追審商葉義伝働形景落欧担好退準賞訴辺造英被株頭技低毎医復仕去姿味負閣韓渡失移差衆個門写評課末守若脳極種美岡影命含福蔵量望松非撃佐核観察整段横融型白深字答夜製票況音申様財港識注呼渉達良響阪帰針専推谷古候史天階程満敗管値歌買突兵接請器士光討路悪科攻崎督授催細効図週積丸他及湾録処省旧室憲太橋歩離岸客風紙激否周師摘材登系批郎母易健黒火戸速存花春飛殺央券赤号単盟座青破編捜竹除完降超責並療従右修捕隊危採織森競拡故館振給屋介読弁根色友苦就迎走販園具左異歴辞将秋因献厳馬愛幅休維富浜父遺彼般未塁貿講邦舞林装諸夏素亡劇河遣航抗冷模雄適婦鉄寄益込顔緊類児余禁印逆王返標換久短油妻暴輪占宣背昭廃植熱宿薬伊江清習険頼僚覚吉盛船倍均億途圧芸許皇臨踏駅署抜壊債便伸留罪停興爆陸玉源儀波創障継筋狙帯延羽努固闘精則葬乱避普散司康測豊洋静善逮婚厚喜齢囲卒迫略承浮惑崩順紀聴脱旅絶級幸岩練押軽倒了庁博城患締等救執層版老令角絡損房募曲撤裏払削密庭徒措仏績築貨志混載昇池陣我勤為血遅抑幕居染温雑招奈季困星傷永択秀著徴誌庫弾償��像功拠香欠更秘拒刑坂刻底賛塚致抱繰服犯尾描布恐寺鈴盤息宇項喪伴遠養懸戻街巨震願絵希越契掲躍棄欲痛触邸依籍汚縮還枚属笑互複慮郵束仲栄札枠似夕恵板列露沖探逃借緩節��骨射傾届曜遊迷夢巻購揮君燃充雨閉緒跡包駐貢鹿弱却端賃折紹獲郡併草徹飲貴埼衝焦奪雇災浦暮替析預焼簡譲称肉納樹挑章臓律誘紛貸至宗促慎控贈智握照宙酒俊銭薄堂渋群銃悲秒操携奥診詰託晴撮誕侵括掛謝双孝刺到駆寝透津壁稲仮暗裂敏鳥純是飯排裕堅訳盗芝綱吸典賀扱顧弘看訟戒祉誉歓勉奏勧騒翌陽閥甲快縄片郷敬揺免既薦隣悩華泉御範隠冬徳皮哲漁杉里釈己荒貯硬妥威豪熊歯滞微隆埋症暫忠倉昼茶彦肝柱喚沿妙唱祭袋阿索誠忘襲雪筆吹訓懇浴俳童宝柄驚麻封胸娘砂李塩浩誤剤瀬趣陥斎貫仙慰賢序弟旬腕兼聖旨即洗柳舎偽較覇兆床畑慣詳毛緑尊抵脅祝礼窓柔茂犠旗距雅飾網竜詩昔繁殿濃翼牛茨潟敵魅嫌魚斉液貧敷擁衣肩圏零酸兄罰怒滅泳礎腐祖幼脚菱荷潮梅泊尽杯僕桜滑孤黄煕炎賠句寿鋼頑甘臣鎖彩摩浅励掃雲掘縦輝蓄軸巡疲稼瞬捨皆砲軟噴沈誇祥牲秩帝宏唆鳴阻泰賄撲凍堀腹菊絞乳煙縁唯膨矢耐恋塾漏紅慶猛芳懲郊剣腰炭踊幌彰棋丁冊恒眠揚冒之勇曽械倫陳憶怖犬菜耳潜珍

“kill them with kindness” Wrong. CURSE OF RA 𓀀 𓀁 𓀂 𓀃 𓀄 𓀅 𓀆 𓀇 𓀈 𓀉 𓀊 𓀋 𓀌 𓀍 𓀎 𓀏 𓀐 𓀑 𓀒 𓀓 𓀔 𓀕 𓀖 𓀗 𓀘 𓀙 𓀚 𓀛 𓀜 𓀝 𓀞 𓀟 𓀠 𓀡 𓀢 𓀣 𓀤 𓀥 𓀦 𓀧 𓀨 𓀩 𓀪 𓀫 𓀬 𓀭 𓀮 𓀯 𓀰 𓀱 𓀲 𓀳 𓀴 𓀵 𓀶 𓀷 𓀸 𓀹 𓀺 𓀻 𓀼 𓀽 𓀾 𓀿 𓁀 𓁁 𓁂 𓁃 𓁄 𓁅 𓁆 𓁇 𓁈 𓁉 𓁊 𓁋 𓁌 𓁍 𓁎 𓁏 𓁐 𓁑 𓀄 𓀅 𓀆

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虚子自選揮毫『虚子百句』を読む ⅩⅣ

花鳥誌2025年2月号より転載

日本文学研究者

井上 泰至

　26　上人の俳諧の灯や火取蟲

　『ホトトギス』明治三十九年七月号「東京俳句界」の項に「六月十九日星ケ岡茶寮に於て、碧梧桐送別を兼ね小集。灯取虫十句」とある中の一句。「灯取蟲」の表記で初出。『五百句』には「明治三十九年六月十九日。碧梧桐送別句会。星ヶ岡茶寮」と注記、下五はやはり「火取蟲」。『定本虚子全集』二巻（昭和二十四年五月）も同じ。

　『ホトトギス』初出によれば、送別会の同席者は、他に鳴雪・鼠骨・繞石・浅茅・碧童・六花・鉄露・乙字・水巴・不喚楼・江戸庵・松浜。

　一句の「上人」とは大谷句仏（本名光演、東本願寺法主）を指す。河東碧梧桐は、明治三十九年から明治四十四年にかけて、二度の全国俳句行脚を行う。その初回の出立は句仏のお声掛かりだったのであり、その碧梧桐を送り出す会での句だった。

　最初は虚子に声をかけたが、漱石の成功で虚子は小説に興味を移しており、代わりに碧梧桐を推薦したのであった。碧梧桐は旅に出るや新傾向俳句を宣伝しだし、結果として虚子と袂を分かつことになる。

　句仏は、子規門で虚子の人格も信頼し、この二年後の明治四十一年には法主となり、日本画の大家竹内栖鳳らのパトロンにもなっていく。明治三十八年からは、関西の新派俳句雑誌『懸葵』の実質的主宰となるが、虚子・碧梧桐の対立に際してはどちらにも与せず、昭和初年まで俳壇に大きな影響力を有した。

　一句は、碧梧桐の俳諧行脚のパトロンと言ってよい句仏を想起し、飛蛾の来る灯の下で、句作にふけるか、句座を設けていることだろうと想像した挨拶句である（清崎敏郎『人と作品　高濱虚子』）。

　飛蛾といってもこの句の場合、日本画家速水御舟の「炎舞」（大正十四年）を思い浮かべる。闇の中、炎とともに舞う蛾が描かれ、火柱は上昇気流を起こし、蛾の「舞」を鼓舞し、蛾たちは各々が別の方向に飛んでいる。生物学に詳しい昭和天皇は、この作品の蛾の写生に賛辞を送ったが、それを取り巻く熱気もまた、蛾と炎に纏わりついており、あたりの「空気」をも写実している。

　一句は、上人の俳諧への情熱の気分をも飛蛾で描いてみせた虚子らしい主観句ということになろうか。おのずと上人の姿は、画や彫刻の形象のイメージを以て、「聖性」を帯びてくる。

　なお、星ヶ岡茶寮は、現東京都千代田区永田町二丁目（当時は東京市麹町区）にあった料亭。元々日枝神社の境内に属した小高い丘にあり、夜には星がよく見えたことから「星ヶ岡」と呼ばれていた。明治維新による江戸から東京への変化の中で氏子が減少した日枝神社は社域を維持することが出来ず、境内の一部を東京府に寄付することにした。府は明治十四年ここに麹町公園を設置し、市民の憩いの場として提供する。特にこの公園の一部が非常に風光明媚な場所であるとして、この地に茶寮を開いて要人達の会合の場とすることとなり、同年に「星岡茶寮」を設立して、当時を代表する茶人を招聘して華��や政官財の要人に茶道を教授させ、上級階級の社交場としての体裁を整えたのであった。

　27　我心或時軽し芥子の花

　『ホトトギス』大正三年六月初出では「芥子」。『五百句』では「罌粟」。『高浜虚子全集』（改造社）十一巻では「罌粟」。『五百句』には「大正三十二年五月三日。虚子庵例会」と注記。当日は、虚子の他、半美、零餘子、豊川、拙童（亡くなった四女六の弔いをした導師）、隆子が参加。芥子の題での一題十句の作の一つで、他に、

　　牡丹いたむ心に芥子の花軽し 　　白芥子の咲かで散りたる我子かな 　　傍に塵塚なすや芥子の花 　　雨の中に萌す明るさ芥子の花

等がある。

　句会当日は、前月に四女六が三歳で夭折したばかり。六は生来病弱であったが、肺炎を病んで、脳に後遺症が残り、やがて六の病状を、妻糸にはその冷淡を責められながら諦めてしまったりして、虚子にとっては悔恨の残る痛切な出来事が多々あった。 （「落葉降る下にて」大正四年）。

　『ホトトギス』昭和十三年五月号の「俳句外国語訳註原文」には、

我心……自分の心は、大いなる責任を感じて居るとか若しくは憂に沈んで居るとかいふわけで常に重く感じて居るのであるが、 或時軽し……その鬱陶しい重い心も、或時はその責任を忘れ憂を、晴れやかに軽くなる時がある。 罌粟の花……その心の晴れやかに軽くなつた時分にたまたま罌粟の花の咲いているのが目に映る、罌粟の花も明るく華やかに又かろやかな感じがする花である、といふのである。明るい華やかなさうして軽い罌粟の花とその軽く晴れやかになつた時の心が一にして二ならぬやうな感じを詠つたのである。

と自句自解している。

　虚子揮毫の名作小諸虚子記念館所蔵の十二ヶ月句屏風にも掲句はあり、「鶯や文字も知らずに歌心」「二三子や時雨るる心親しめり」の「心」の字がくつろいだ草書体であるのに対し、掲句の揮毫の「心」はかっちりと楷書で書かれていたことが印象深い。「心」と「罌粟」の字の間に十分空白を置いて揮毫している点も注目され、先の自句自解とあわせ考えるに、重い虚子の「心」と罌粟の花の晴れやかに軽く揺れているのとが対比されている感がある。『自選自筆虚子百句』の揮毫には句を並べる屏風と違って、そのような書き分けはない。しかし、「心」の字と「罌粟」の字の間にかなりの余白がある点は同じである。

『虚子百句』より虚子揮毫

27　我心或時軽し芥子の花 28　大蟇先に在り小蟇後へに高歩み

国立国会図書館デジタルコレクションより

＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

井上 泰至（いのうえ・やすし） 　 １９６１年京都市生まれ 日本伝統俳句協会常務理事・防衛大学校教授。 専攻、江戸文学・近代俳句

著書に 『子規の内なる江戸』（角川学芸出版） 『近代俳句の誕生』 （日本伝統俳句協会） 『改訂雨月物語』 （角川ソフィア文庫） 『恋愛小説の誕生』 （笠間書院）など 多数

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