고우타이(小謡)「다카사고야(高砂や)」의 성립과 수용양상 (Research of 「Takasagoya(高砂や)」)

서지정보

· 발행기관 : 한국일본문화학회
· 수록지 정보 : 日本文化學報 / 68호 / 293 ~ 308페이지
· 저자명 : 김현욱

초록

結婚式をはじめ、お祝いの場や送別会などで小謡が謡われるのは、古くから伝わる日本社会の伝統である。謡いは、貴族たちの酒宴とお祝いの場で祝福の意味を込めて謡われ、同時に武士なら備えるべき必須教養であった。これは、一般大衆にも拡散されて娯楽文化の一つとなり、江戸中期以降は、小謡が宴会には欠かせない余興となった。結婚式でお祝いと幸福を祈るために小謡を謡う風習は、現代にいたるまで日本の各地に残っている。古くから結婚式で謡われた小謡は、能「高砂」の謡、特に、「高砂や」という曲である。小謡のなかでも「高砂や」という小謡が大衆に愛され、お祝いの場で用いられてきた背景は何だろうか。その答えは、祝言能の祝福と賛美という主題と関係があるであろう。小謡「高砂や」の典拠である能「高砂」は、世阿弥の書いた作品で、和歌の神である住吉明神が国家泰平を祈願する、代表的な祝言能である。特に、住吉と高砂の相生の松と関わる、長寿と夫婦和合のイメージが影響しているのである。さらに、能「高砂」はもちろん、小謡「高砂や」が現代日本の大衆からも変ることなく愛され謡われ続けてきた理由として、浮世絵、落語、俳諧などの多様な文芸ジャンルのなかで、中心素材として用いられ、持続的に大衆に親しまれてきたということも看過できない。

영어초록

With a perspective view of Noh’s popularization, Noh ‘Takasago’ and ‘Utai’ were centrally researched in this paper based on how after the Muromachi(室町) era to the modern period accepted Noh. ‘Takasago’ is a one of the Noh pieces that have popularized throughout the Muromachi era to today. Noh has standpoint which known as an art only opened to a specific classes such as warriors. However, Noh has continued as the public entertainment, and especially ‘Utai’ was spread out to a mass culture. ‘Utai’ was first considered as basic knowledge among warriors, sooner or later it began to spread out to the public. Also, ‘Goutai’ was selected for an educational use at ‘Terakoya’ where they educated people. ‘Utai’ became popular in the entire region, and at parties or weddings participants commenced to sing a song ‘Suegen Utai’ which includes the meaning of the celebration. Even today, the Goutai ‘Takasagoya’ is a popular song at weddings. However, the Goutai ‘Takasagoya’ does not include any meaning of blessing in the song. Moreover, the song contained words such as ‘Shadow(影)’ and ‘Drift Apart(遠クナル)’. Instead, a Goutai ‘Shigainami’ included meaning of blessing and preferred to be use in any celebrational parties. Notwithstanding the meaning, why does ‘Takasago’ indicates weddings? The answer may found in the topic of Noh ‘Takasago’. Mainly, Sumiyoshi and Takasago‘s ’Aioi(相生)’ pine story, an image of a marriage couple who lived long and concorded together may reflected. After Muromachi, Noh ‘Takasago’ was found in a mass culture as the main subject. ‘Takasago’ has been a subject in ‘Utekoyagoutai engraving(寺子屋小謡図版画)’ by Utamaro(歌麿), Rakugo ‘Takasagoya(高砂や)’, Haikai(俳諧) by Dakai Kito(高井几董), and novels from Natsume Soseki(夏目漱石). Based on diffusion and fame of ‘Utai’, acceptance of Noh ‘Takasago’ in mass culture appeared.

참고자료

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