Abstract
This essay takes up the Maigetsushō, a forged text on theories of waka poetry attributed to Fujiwara no Teika (1162–1241), a poet regarded as representative of medieval Japan. A number of factors can be considered evidence that this text was a forgery. The text emerged during a time of fierce quarrelling amongst Teika's descendants who had divided themselves into various factions. What was a matter of extraordinary importance for these factions was claim of ownership of Teika's actual writings on waka poetics. Despite the competing factions’ desires to keep secret from each other the precious teachings gained from this text, the Maigetsushō transcended the circumstances of its creation and went on to become widely circulated. That it was composed in an epistolary style can be understood as the reason for its survival. I posit that the epistolary form effected in the reader a sense that they were listening to Teika’s ‘voice.’ Furthermore, I argue that the text’s author had no intentions to craft a forgery per se; rather, the forger believed with conviction that Teika would have spoken these words had he still been alive in their time.
This is a preview of subscription content, log in via an institution to check access.
Similar content being viewed by others
Notes
I use ‘poetry’ to mean the traditional Japanese verse form waka and ‘poet’ to mean a composer of waka. Waka are short poems in 5 lines of 5-7-5-7-7 syllables; it was the preeminent literary form in premodern Japanese society.
Nihon kokugo daijiten 日本国語大辞典, s.v. 毎月抄 and Nihon daihyakkazensho日本大百科全書, s.v. 毎月抄. Sekai daihyakkajiten 世界大百科事典, s.v. 毎月抄. To access these dictionaries online, see Japan Knowledge: japanknowledge.com/library.
Translator’s note: ‘Cormorant’ and ‘Heron’ are a reference to the two boxes that allegedly held these documents, each with a waterbird figure inlay on their covers.
Translator’s note: Watanabe provided a modern Japanese paraphrase in addition to the original text. Both were used to make the English translation.
‘Ason’ or ‘Lord’ was a title that indicated court rank in premodern Japan, in this case for third rank and above.
The original text is taken from Hosakawa’s manuscript, published in Karonshū, Hosokawake eisei bunko sōkan (1984).
Waka hishō burui,in Karonshū,Hosokawake eisei bunko sōkan, 145.
Translator’s note: Watanabe provides a modern Japanese paraphrase alongside the original. English translations of Maigetsushō are from Brower (1985). Minor adjustments have been made to match Watanabe’s paraphrase. In the second sentence, ‘repeatedly…over these last years’ has been removed; the word nenrai is not in the manuscript that Watanabe cites.
The selected quotations of text from Maigetsushō below in fact frequently cite Shunzei’s statements. However, it is likely that these were also transmitted by way of forgery.
The earliest record has Reizei Tamehide (d. 1372) as the copyist, wherein he signed himself as ‘chamberlain’ (jijū 侍従). Tamehide held the position of chamberlain sometime between 1330 and 1336.
The suit concerns the selection of the compiler of the fourteenth royal anthology, the Gyōkuyōshū, Nijō Tameyo (1250–1338) had presented to the court in Engyō 3 (1310) as an objection to Emperor Fushimi’s decision to name Kyōgoku Tamekane 京極為兼(1254–1332) as compiler.
Collection of Hiroshima University Library, MSDaikoku 2182, Maigetsushō, fol. 21v. Accessed via https://kokusho.nijl.ac.jp/biblio/100302223/1?ln=ja.
Translator’s note: The author provides modern Japanese paraphrases for these quotations as well, which I have used in making the English translation.
See a letter dated to Ken’nin 3 (1203) in Nakata (1976), held at the Atami Musuem of Art, for a facsimile.
Waka hishō burui,in Karonshū, Hosokawake eisei bunko sōkan, 174-75.
Translator’s note: Emphasis by Watanabe. I have changed Brower’s translation of the closing phrase “with deep respect” to “sincerely” to distinguish it from the closing phrase “with deepest respect” written in Literary Sinitic discussed earlier in this article.
See Tanaka (2010). Generally speaking, medieval authors began using sōrō as a copula in their letters from the Kamakura period (1185–1333) onward.
Translator’s note: Sometimes translated as ‘folktales’ or ‘anecdotes,’ setsuwa were a Japanese medieval form of storytelling often involving the supernatural and the divine.
Waka hishō burui, in Karonshū,Hosokawake eisei bunko sōkan, 169-70.
Translator’s note: I have altered Brower’s translation of the text to ‘Record of the Bright Moon.’
Waka hishō burui, in Karonshū,Hosokawake eisei bunko sōkan, 147.
Translator’s note: Slight adjustments were made to Brower’s translation in order to fit more closely to Watanabe’s interpretation of the text.
References
Atkins, Paul S. 2017. Teika: The Life and Works of a Medieval Japanese Poet. Honolulu: University of Hawai‘i Press.
Brower, Robert H. 1985. ‘Fujiwara Teika’s Maigetsushō.’ Monumenta Nipponica 40, no. 4, 399–425.
Chimoto Hideshi 千本英史. 2013. ‘“Gi” narumono no “shatei”’「偽」なるものの「射程」. Ajia yūgaku” アジア遊学 161, 4–5. Bensei shuppan 勉誠出版.
Eco, Umberto. 2018. ‘Machigai o iu koto, uso o tsuku koto, gizō suru koto,’ 間違いを言うこと、嘘をつくこと、偽造すること. Translated into Japanese by Wada Tadahiko. In Unberuto Eko no sekai bunmei kōgi ウンベルト・エーコの世界文明講義, translated by Wada Tadahiko, Ishida Satoko, Kokubo Marie, Shibata Mizue, Takada Kazuhiro, and Yokota Sayaka, Iwanami shoten. 244–280. First published as Sulle spalle dei giganti: Lezioni alla Milanesiana 2001–2015.
Fujihira Haruo 藤**春男. 1997. Fujihira Haruo Chosakushū 1藤**春男著作集第1巻 Shinkokin kahū no keisei 新古今歌風の形成,” 255–283. Kasama shoin 笠間書院. (1969. Meiji shoin明治書院).
Fujihira Haruo 藤**春男. 2002. Maigetsushō. In Karonshū 歌論集.Shinpen nihon koten bungaku zensyū 新編日本古典文学全集 87, edited by Hashimoto Fumio橋本不美男, Ariyoshi Tamotsu有吉保,Fujihira Haruo 藤**春男, 491–510. Shōgakukan小学館.
Fukuda Hideichi 福田秀一. 1972. Chūsei waka-shi no kenkyū中世和歌史の研究, 525–596. Kadokawa shoten角川書店.
Fukuda Hideichi 福田秀一,Satō Tsuneo 佐藤恒雄. 1971. Eiga no ittei 詠歌一躰. In vol. 1 of Karonshū 歌論集 (Chūsei no bungaku 中世の文学), edited by Hisamatsu Sen’ichi 久松潜一, 347–371. Miyai shoten三弥井書店.
Gomi Fumihiko 五味文彦. 2000. Meigetsuki no shiryōgaku 明月記の史料学, 39–161. Seishi shuppan青史出版.
Hashikawa Hiroyuki橋川裕之. 2009. ‘Save the Voice: On the Origins of Athanasios’ Letter Collection’ 声を救う-アタナシオス書簡集の起源について. Waseda Institute for Advanced Study Research Bulletin 早稲田大学高等研究所紀要1: 5–41.
Hisamatsu Sen’ichi 久松潜一.1961. Maigetsushō. In Karonshū Nougakuronshū 歌論集 能楽論集.Nihon koten bungaku taikei 日本古典文学大系 65, edited by Hisamatsu Sen’ichi 久松潜一, Nishio Minoru西尾実, 126–139. Iwanami shoten 岩波書店.
Hosokawa Yūsai 細川幽斎. Waka hishō burui和歌秘抄部類. In Karonshū歌論集. Hosokawake eisei bunko sōkan 細川家永青文庫叢刊, 143–176. Kyūko shoin汲古書院, 1984.
Ishihara Chiaki石原千秋. 1995. ‘Tegami no kigōgaku’ 手紙の記号学. Gobun 語文92: 17–36.
Iyanaga Nobumi 彌永信美. 2020. ‘Gisho to inyō/Gisho to hyōi: kanbun butten, chūsei Nihon no “shūkyō” bunken no nakade’ 偽書と引用/偽書と憑依-漢文仏典、中世日本の「宗教」文献の中で. Gisho no sekai 偽書の世界, Yuriika ユリイカ 12: 60–71.
Kawahira Hitoshi川**ひとし. 2008. Chūsei waka tekisuto ron 中世和歌テキスト論, 316–349. Kasama shoin 笠間書院.
Kimishima Aki 君嶋亜紀. 2006. ‘Maigetsushō no honkadori-ron nitsuite’ 『毎月抄』の本歌取論について. 国語と国文学83–8: 29–44.
Komine Kazuaki 小峯和明. 2021. ‘“Gisho” no isō: gisaku no kairo, hyōi suru sakusha’〈偽書〉の位相-偽作の回路・憑依する作者. In ‘Sakusha’ towa nani ka: keishō, sen’yū, kyōdōsei 〈作者〉とは何か: 継承・占有・共同性, edited by Haruo Shirane ハルオ・シラネ, Suzuki Tomi 鈴木登美, Komine Kazuaki 小峯和明, and Toeda Hirokazu 十重田裕一, 29–47. Iwanami shoten 岩波書店.
Kubota Jun 久保田淳. Maigetsushō毎月抄. In vol. 1 of Karonshū 歌論集 (Chūsei no bungaku 中世の文学), edited by Hisamatsu Sen’ichi 久松潜一, 347–371. Miyai shoten三弥井書店.
Matsumura Yūji 松村雄二. 1997. ‘“Maigetsushō” shinsaku-sei eno iwa’『毎月抄』真作性への違和. In Wakabungaku no dentō 和歌文学の伝統, edited by Ariyoshi Tamotsu有吉保, 217–234. Kadokawa shoten.
Miwa Masatane三輪**胤. 1994. Kagaku hiden no kenkyū 歌学秘伝の研究. 311–325. Kazama shobō 風間書房.
Nakagawa Mayumi 中川真弓. 2021. ‘Hachiman Meibutsu “Teika, Tameie ryōhitsu” kō: Iwashimizu hachimangū gon no bettō Tanaka Sōsei ganmon-gun no hitotsu toshite’ 八幡名物「定家・為家両筆」考-石清水八幡宮権別当田中宗清願文群の一つとして. Chūsei bungaku 中世文学66: 31–41.
Nakata Yūjirō 中田勇次郎, ed., 1976. Shodō geijutsu 16: Saigyō, Fujiwara no Shunzei, Fujiwara no Teika 書道芸術16: 西行 藤原俊成 藤原定家, 152–53. Teika’s letters, 152–153 and 235–236; Shunzei’s letters 68–69 and 212. Chūō kōronsha **公論社.
Ōsumi Kazuo大隅和雄. 2017. Chūsei no koe to moji Shinran no tegami to ‘Heikemonogatari’ 中世の声と文字 親鸞の手紙と『**家物語』. 14–52. Shūeisha集英社.
Peirano Garrison, Irene. 2012. The Rhetoric of the Roman Fake: Latin Pseudepigrapha in Context. Cambridge: Cambridge University Press.
Sakai Kimi 酒井紀美. 2017. Yume no Nihon-shi 夢の日本史, 1–21. Bensei shuppan.
Satō Hiro'o 佐藤弘夫. 2002. Gisho no seishin-shi: shinbutsu, ikai to kōkansuru chūsei 偽書の精神史 神仏・異界と交感する中世, 5–235. Kōdansha.
Tanaka Hiroki 田仲洋己. 2008. Chūsei zenki no kasho to ka** 中世前期の歌書と歌人, 699–734. Izumi shoin.
Tanaka Yutaka 田中裕. 1969. Chūsei bungaku-ron kenkyū 中世文学論研究, 189–250. Hanawa shobō.
Tanaka Masakazu 田中雅和. 2007. ‘Fujiwara Teika no gohō to yōgo no sentaku’ 藤原定家の語法と用語の選択. In Kokugo goi-shi no kenkyū 国語語彙史の研究, edited by Kokugo goi-shi kenkyūkai 国語語彙史研究会, 135–150. Izumi shoin.
Tanaka Masakazu. 2010. ‘Fujiwara Teika no chojutsu-shiryō ni okeru “haberi” “saburahu” ni tsuite : “Maigetsushō” no iwakan’ 藤原定家の著述資料における「侍」「候」について-『毎月抄』の違和感. In Kotengo kenkyū no shōten 古典語研究の焦点, edited by Tsukimoto Masayuki 月本雅幸, Fuji'i Toshihiro 藤井俊博, and Hizume Shūji 肥爪周二, 655–673. Musashino shoin.
Terashima Tsuneyo 寺島恒世. 2020. ‘Ushintei no seiritsu’ 有心体の成立. In Waka-shi no chūsei kara kinsei e 和歌史の中世から**世へ, edited by Asada Tōru 浅田徹, Ogawa Takeo 小川剛生, Kanechiku Nobuyuki 兼築信行, Kansaku Ken’ichi 神作研一, Tabuchi Kumiko 田渕句美子 and Horikawa Takashi 堀川貴司, 241–260. Kachōsha 花鳥社.
Teruoka Yasutaka暉峻康隆. 1953. ‘Nihon no shokantai shōsetsu’ 日本の書簡體小説. In Kinsei bungaku no tenbō **世文学の展望. 101–175. Meiji shoin明治書院.
Watanabe Yumiko 渡邉裕美子. 2012. ‘Tsugiuta no Seiritsu’ 続歌の成立. Chūsei bungaku 57: 64–73.
Watanabe Yumiko 渡邉裕美子. 2013. ‘“Maitsuki hyakushu o yomu” to iu koto: “Maigetsushō” no jidai’〈毎月百首を詠む〉ということ-『毎月抄』の時代. Nihon bungaku 日本文学62, no. 7: 2–15.
Yamanishi Shōhei 山西商**. 1990. ‘Chūsei karon niokeru “keiko” kō’ 中世歌論における「稽古」考. In Hamaguchi Hiroaki kyōju taishoku kinen kokubungaku ronshū 濱口博章教授退職記念国文学論集, edited by Hamaguchi Hiroaki kyōju taishoku kinen kokubungaku ronshū kankō-kai 濱口博章教授退職記念国文学論集刊行会, 155–172. Izumi shoin.
Acknowledgements
The author wishes to thank Eric Esteban for translating this contribution and Christina Laffin for their editorial assistance.
Author information
Authors and Affiliations
Corresponding author
Additional information
Publisher's Note
Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.
Translated by Eric Esteban.
Rights and permissions
Springer Nature or its licensor (e.g. a society or other partner) holds exclusive rights to this article under a publishing agreement with the author(s) or other rightsholder(s); author self-archiving of the accepted manuscript version of this article is solely governed by the terms of such publishing agreement and applicable law.
About this article
Cite this article
Watanabe, Y., Esteban, E. Hearkening to the 'voice' of Teika: Authors and readers of poetry treatise forgeries in medieval Japan. Postmedieval (2024). https://doi.org/10.1057/s41280-024-00317-2
Accepted:
Published:
DOI: https://doi.org/10.1057/s41280-024-00317-2