狂言の待遇表現

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概要

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• The kyogen is a form of drama. The characters of this drama are basically conscious of its audience, and consequently they make honorific expressions.The honorifics are naturally conscious of the audience, and they consist of the terms of politeness and the terms of humility [Kenjogo Dainishu] such as Gozaru and Zonzuru. As I have attempted to analyze in my previous paper, the main causes of these expressions lie in the fact that the players have to be conscious of ”the Buke society as the patron” which is appropriately named by Mr. Koji Ikeda. But the players, who are conscious of the audience, do not always make the honorific expressions. That is to say, the characters of gamblers and the situations of dmnkards need not make such honorific expressions. Thus there are not a few examples which do not make the honorific expressions. As for these expressive phenomena, the two causes can be pointed out. First of all, we can ascertain the cause in which the author does not use the honorifics for the audience in order to reflect the characters'psychology and as a kind of rhetorical expression. To be more precise, in the so-called Shinwa-bun [the sentences of inner thoughts], the author deliberately does not use the honorifics for the audience as in the literary works because his characters do not have their own listeners ．　Secondly we can point out the case which is shown by the characters through the peculiar actions and through the Utai. As to the Utai, it can be supposed that it has a definite form and that it accordingly does not adopt the honorific expressions which need special care for the audience ．　With these analyses I have proposed the peculiar nature of the Taigu expressions in the Kyogen and the actual aspects of the honorific expressions ．　

• 2005-02-15

著者

• 阿部 八郎

  山形大学人文学部

関連論文

• 作者の姿勢 : 竹取物語の場合
• 書評 村上充著「衝突、変化する山形県最上地方の方言 : 言語地理学的にアプローチ」
• 狂言の待遇表現
• 御伽草子の心話文
• 書承の問題点 - 直接の書写本三点を手掛がかりにして (二)表現について
• 書承の問題点 - 直接の書写本三本を手掛がかりにして (一)表記について

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