『夜鶴庭訓抄』の変遷過程

抄録

This article examines from a new perspective the Yakaku teikun sho 夜鶴庭訓抄, an early Japanese treatise on calligraphy by Fujiwara no Koreyuki 藤原伊行 (?-1175), the sixth head of the Sesonji 世尊寺 lineage. On the basis of past research, it has been shown that there are considerable differences in orthography and content between early manuscripts of the medieval period and popular editions of the early modern period.
  Distinctive features of early manuscripts of the medieval period such as those held by Shoren'in 青蓮院 and the Archives and Mausolea Department of the Imperial Household Agency include the fact that they are written in Chinese characters mixed with katakana 片仮名 and use polite expressions. In contrast, popular editions of the early modern period, typified by the version included in the Gunsho ruiju 群書類従, are written in Chinese characters mixed with hiragana 平仮名 and use plain expressions. Another major characteristic of popular editions of the early modern period is that while placing increasing emphasis on secret teachings by the use of the word hisetsu 秘説, an attempt is in fact made to universalize its content.
  In this article, I take up the manuscript held by the Historiographical Institute at the University of Tokyo as a lead for bridging the gap between early manuscripts of the medieval period and popular editions of the early modern period. This is an early modern manuscript, and while it is written in Chinese characters mixed with hiragana, characteristic of early-modern popular editions, it uses words and phrases found in early manuscripts of the medieval period, and polite expressions can also be found. In addition, by supplementing missing passages from other manuscripts, it became possible to give an outline of the text predating that included in the Gunsho ruiju. By interposing this manuscript held by the Historiographical Institute, changes from early manuscripts of the medieval period to popular editions of the early modern period and the relationship between the two become clearer, and it becomes possible to get an idea of the vicissitudes of the Yakaku teikun sho as a text.