No.90 殷富門院大輔「見せばやな 雄島のあまの 袖だにも 濡れにぞ濡れし 色は変はらず」
見せばやな 雄島のあまの 袖だにも 濡れにぞ濡れし 色は変はらず
殷富門院大輔
the sea does not change their sleeves — look what has changed mine
the sea does not change their sleeves — look what has changed mine
キーワードKeywords
殷富門院大輔Inpumon-in no Taifu — No. 90 女房・姫Court Lady
殷富門院亮子に仕えた女房。歌合や歌会に多く名を連ねた。
A lady-in-waiting to Inpumon-in, whose name appears repeatedly in the contests and gatherings of her day.
みせばやな をじまのあまの そでだにも ぬれにぞぬれし いろはかはらず
Miseba ya na Ojima no ama no Sode dani mo Nure ni zo nureshi Iro wa kawarazu
現代語訳Modern Japanese
お見せしたいものだ。雄島の海人の袖でさえ、あれほど濡れても色は変わらないのに——わたしの袖は涙で色まで変わってしまった。
コンセプトConcept
比較対象に「毎日海水に濡れる漁師の袖」を選び、それでも変色しないと示してから自分の袖を出す歌。証拠の提示順が巧み。
情景The Scene
The fisherfolk of Ojima soak their sleeves in seawater every day of their lives and the cloth keeps its color. She would like to show him hers, which has changed — and to let him work out what has been running down it.
日本の美意識Japanese Aesthetic
見立て （みたて）
あるものを、別のものとして意図的に見る技法。山を干した衣に、紅葉を絞り染めに読み替える。巨大なものを身体の尺度に引き寄せ、抽象を触れるものに変える。
Mitate (Comparative Evidence)
A control case is established before the claim is made, which is why the claim lands. Give the audience the baseline first; the deviation then needs no explanation.