本居宣長『字音仮字用格』の基礎 : 「喉音三行辨」の本質  [in Japanese] A New Interpretation of Ko-on Sangyoben as the Theoretical Basis of Mojigoe no Kanazukai by Motoori Norinaga  [in Japanese]

本稿の主題は『字音仮字用格』の冒頭に位置する「喉音三行辨」を分析することである。第一に,「喉音三行辨」の理論的位置を明らかにする。第二に,「喉音三行辨」の理解に必要不可欠な二つの図表を分析する。解釈の骨子は次のやうになる。宣長は喉音三行をまづ区別して,それを「喉音三行分生図」により表現する。そして,その区別した三行を関係づけるために「軽重」の概念を導入し,その関係を「喉音軽重等第図」により表現する。特に,その「軽重」の概念が雅楽の「唱歌」に着想を得たものであり,それが音の高低を意味すること,即ち「いえあおう」と高音から低音へといふ序列をなすこと,を述べる。

The purpose of this paper is to analyze Ko-on Sangyoben (On the Distinction of the Three Columns of Guttural Sounds), the first chapter of Mojigoe no Kanazukai (The Pronunciation and Kana Spelling of Chinese Characters) by Motoori Norinaga. First, I examine the theoretical significance of Ko-on Sangyoben in the system of Mojigoe no Kanazukai. Second, I present a new interpretation of Ko-on Sangyoben by analyzing two diagrams contained in it : Ko-on Sangyo Bunshozu (The Derivative Differentiation of the Three Columns of Guttural Sounds) and Ko-on Keicho Todaizu (The Order from Light to Heavy of the Three Columns of Guttural Sounds). The point is as follows : Norinaga distinguished three types of guttural sounds (a-column, ya-column and wa-column) in the kana syllabary chart, and illustrated his idea that the a-, ya- and wa- columns were derived from the a-column, in Ko-on Sangyo Bunshozu. He also described the relationship among three types of guttural sounds in Ko-on Keicho Todaizu, using a new concept, "light and heavy", derived from the solmization in Japanese ancient court music, meaning "high-pitched and low-pitched".