<論文>寺山修司の短歌創作における「定型」について

Abstract

This paper attempts to analyze the tanka poetry of Shuji Terayama (1935-1983) from the perspective of his attitude toward the traditional formal style. Terayama was awarded first prize in a tanka contest in 1955. It helped him to establish his reputation as a tanka poet. He created tanka for the following ten years, and in 1965, he published his third collection of tanka poetry, “To Die in the Country, ” which turned out to be his last collection of tanka. In his early days, Terayama solidly relied on the traditional formal style of tanka. He understood tanka as an inevitable style, believing it allowed him to express precisely what he wanted to depict. However, his attitude towards the traditional formal style eventually changed. In the postscript of his second collection of tanka poetry written in 1962, he critically reflects on how he excessively trusted the tanka style. At the same time, he began developing a concept of “poetry as a symbol” and persistently depicted his hometown as a weird agricultural village. It was the practice of “poetry as a symbol.” The distinction between free verse and tanka poetry becomes meaningless. Moreover, he tried to create a metaphysical “I, ” but his attempt to ground this theory in tanka failed. This is why he broke with tanka by publishing his complete works of tanka in 1971.