고보리 엔슈(小堀遠州) 편지에 나타난 와카 분석

Abstract

While Koborienshu was the greatest architect and interior designer of his time, he was also extremely passionate about Waka. He worshiped the medieval poet, Teika and after learning from one of his descendants, Tameyori, himself wrote Waka, Kyoka, and Haikai, together with other poets with whom he had tea meetings. Koborienshu also recited Waka to mourn a dead friend; imitated 47 classical pieces of Kyoka on a trip to Kyoto; and wrote Haikai and Renku, interacting with cultured men. In addition, in 48 of the 148 letters, he poured out his feelings through Waka, Haikai, and others. The Waka in his letters followed the classical pattern, which represented his attitude of reciting the phrases of classical pieces as they were. Many of the songs were rooted in Kokinshu. It was also characterized by the use of homonyms to investigate the multiplicity of meanings. In his travel books, the overall composition followed the form of Tosanikki, but the written songs were markedly influenced by Isemonogatari. Besides, one can find his deep passion for classical Waka from his act of borrowing Waka phrases on tea ceremony tools and the use of the place name of Utamakura.