ภาพลักษณ์พ่อแม่ลูกในบทละครโน...
Post on 06-Jan-2020
9 Views
Preview:
TRANSCRIPT
12 jsn Journal Vol.5 No.2 (Dec. 2015)
* ขอขอบคุณProfessorRobertBorgen,Professor Emeritus,UniversityofCalifornia,Davis,ที่กรุณาให้คำาแนะนำาที่มีคุณค่ายิ่งและตรวจทานบทความฉบับนี้
** ศาสตราจารย์ดร.,คณะอักษรศาสตร์จุฬาลงกรณ์มหาวิทยาลัย,254ถนนพญาไท,ปทุมวัน,กรุงเทพมหานคร10330,อีเมล:sirimonpornnoh@gmail.com
*** อาจารย์ดร.,คณะมนุษยศาสตร์และสังคมศาสตร์,มหาวิทยาลัยราชภัฏนครราชสีมา, 340ถนนสุรนารายณ์,ในเมือง,นครราชสีมา30000,อีเมล:winaitaiyo@hotmail.com
สิริมนพร สุริยะวงศ์ไพศาล**
วินัย จามรสุริยา***
คำ� สำ�คัญ
บทละครโน,บทละครโน
ท่ีแต่งในสมัยมุโระมะชิ,
ภาพลักษณ์ของพ่อแม่ลูก,
บทละครโนที่ ไม ่อยู ่ ใน
รายการแสดงในปัจจุบัน
บทคัดย่อ
งานวิจัยนี้ศึกษาภาพลักษณ์ของพ่อแม่ลูกในบทละครโน
สมัยอื่นซ่ึงหมายถึงเรื่องที่แต่งหลังสมัยมุโระมะชิและเรื่องที่ยังไม่มี
หลักฐานแสดงว่าแต่งในสมัยมุโระมะชิ โดยเป็นเรื่องที่แสดงความ
สัมพันธ์ระหว่างพ่อแม่กับลูก จำานวน146เรื่อง และเปรียบเทียบ
กับภาพลักษณ์ของพ่อแม่ลูกในบทละครโนที่แต่งในสมัยมุโระมะชิ
(คริสต์ศตวรรษที่ 14-16) ซึ่งเป็นผลงานวิจัยของ เสาวลักษณ ์
สุริยะวงศ์ไพศาล งานวิจัยนี้ จึงให้ภาพรวมของภาพลักษณ์ของ
พ่อแม่ลูกในบทละครโนทุกสมัย
การวิจัยได้พบว่าภาพลักษณ์ของลูกและแม่ในบทละครโน
ท้ังสองกลุ่มเป็นภาพลักษณ์ด้านบวกโดยเรื่องท่ีแต่งในสมัยมุโระมะชิ
มีภาพลักษณ์ที่โดดเด่นของลูกคือการเสียสละชีวิตเพื่อพ่อภาพลักษณ์
ท่ีโดดเด่นของแม่คือการปกป้องลูกโดยเฉพาะลูกชายขณะท่ีเรื่อง
ที่แต ่งในสมัยอื่น มีภาพลักษณ์ที่ โดดเด ่นของลูกคือ การดูแล
พ่อแม่อย่างดีภาพลักษณ์ที่โดดเด่นของแม่คือการมีอาการวิกลจริต
และเดินทางตามหาลูกซ่ึงส่วนใหญ่เป็นลูกชาย ในทางตรงกันข้าม
ภาพลักษณ์ของพ่อในเรื่องที่แต่งในสมัยมุโระมะชิเป็นด้านลบมากกว่า
ด้านบวกภาพลักษณ์ด้านลบที่โดดเด่นคือการเป็นเหตุให้เกิดภัยแก่
ชีวิตลูกหรือเป็นเหตุให้เสียชีวิตซึ่งส่วนใหญ่เป็นลูกสาวแต่เรื่องที่แต่ง
ในสมัยอื่นมีภาพลักษณ์ของพ่อด้านบวกมากขึ้นโดยเฉพาะต่อลูกสาว
ภาพลักษณ์ด้านบวกที่โดดเด่นของพ่อในเรื่องที่แต่งในสมัยอื่นคือ
การปกป้องลูก
ภาพลักษณ์พ่อแม่ลูกในบทละครโนต่างสมัย*
jsn Journal Vol.5 No.2 (Dec. 2015) 13
ภาพลักษณ์พ่อแม่ลูกในบทละครโนต่างสมัย
* Wewould like to show our gratitude to Professor Robert Borgen,Professor Emeritus, University of California, Davis,who kindly gavesuggestionsandhelpedrevisethepaper.
** ProfessorDr.,FacultyofArts,ChulalongkornUniversity,254PhyathaiRoad,Patumwan,Bangkok10330,Thailand,e-mail:sirimonpornnoh@gmail.com
***Dr.,FacultyofHumanitiesandSocialSciences,NakhonRatchasimaRajabhatUniversity,340SuranaraiRoad,Naimuang,NakhonRatchasima30000,e-mail:winaitaiyo@hotmail.com
Sirimonporn Suriyawongpaisal**Winai Jamornsuriya***
Key wordsNohplays, Imagesof
childrenandparents,
Nohplaysof theMu-
romachiperiod,Non-
currentNohplays
Abstract
Thisresearchcomparestheimages
of childrenandparents inNohplaysof
differentperiods. It studies the imagesof
childrenandparents inNohplayseither
written after theMuromachi period or
of uncertain date (for convenience,
“plays fromother periods”), a total of
146plays. It thencompares the images
with those found in Noh playswritten
during theMuromachiperiod (C14th -16th),
a total of 133plays. The research thus
gives a comprehensive picture of the
imagesofchildrenandparentsinNohplays
ofallperiods.
Thestudyfinds that the imageof
childrenandmothers inboth groupsof
playsisapositiveone.InplaysfromtheMu-
IMAGES OF CHILDREN AND PARENTS IN NOH PLAYS FROM DIFFERENT PERIODS*
romachiperiod,themostsalient imageof
children is life sacrifice for the father,
whereas in those from other periods
the focus is usually on filial care of
parents.As formothers, inplays fromthe
Muromachiperiod,theyaremostlyshown
protectingtheirchildrenespeciallytheson;
inotherperiods, theyaredrivenevento
insanityas they search for lost children,
mostlytheson. Incontrast, inMuromachi
plays, fathers havenegative images, as
theythreatenthelifeoforactuallycause
thedeathofchildren. Inplays fromother
periods, however, fathers areportrayed
morepositively.Themostsalientoneisas
protectorsoftheirchildren.
สิริมนพร สุริยะวงศ์ไพศาล, วินัย จามรสุริยา
14 jsn Journal Vol.5 No.2 (Dec. 2015)
1 Itisratherdifficultforscholarstospecifyoragreeonthedateandauthorofaparticularplayespeciallythoseoutsidethecurrentrepertoire.Inmanycases,scholarshavenoevidencetorelyon.TakemotoMikio,HashimotoAso,ed.,NohKyougenhikkei,Gakutousha,1995,providesalistofnon-currentplaysthathavestrongevidenceaswrittenintheMuromachiperiod.Theterm“Muromachiperiod” inthisbookdoesnotnecessarily refer tothehistoricalMuromachiperiodofc.1338-1573, butrathervaguelyaroundthattime. Inthisresearch,anyplaynotlistedinthisbookfallsunderthecategoryof“playsof otherperiods”.
2 SaowalakistheformergivennameofSirimonpornSuriyawongpaisal,thefirstauthorofthepresentpaper.
1. Introduction This researchanalyzes imagesof
childrenandparents inNohplayswritten
aftertheMuromachiperiod(1336-1573)or
ofuncertaindate(forconvenience,“plays
ofotherperiods”),atotalof146plays.1 It
thencomparestheimageswiththosefrom
NohplayswrittenintheMuromachiperiod
aspresentedinSaowalakSuriyawongpaisal,
2006,“TheParent-ChildImageinNohPlays”2.
This paper thus gives a comprehensive
pictureofparent-childimagesinNohplays
ofallperiods.
2. Methodology The research follows the same
methodology and terminology used in
Saowalak’swork,whichcanbesummarized
asfollows:
1.TheNohplaysstudiedare“any
playsthatportraytheimageofthefather,or
themother,orthechild/children,orthere-
lationshipbetweenthem,nomatterwheth-
ersuchcharacterappearsas themainor
minorcharacter,orissimplyreferredtoin
theplays,nomatterwhetherparent-child
relationshipsisthemainthemeorstory-line
ornot”(SaowalakSuriyawongpaisal,2006:4)
2.Thestudyfocusesontheimage
ofthechild, father,andmotheronlyasa
child,father,andmother,andnotasaper-
sonplayinganyother role insociety that
mayalsoappearintheplay.
3.The judgmentasapositiveor
negative image isdeterminedbytheper-
son’sdeedsor intentionsastheplaynar-
ratesthemthatbenefitsorharmstheother
party.
3. Results Among the146plays in scopeof
the research, 12plays includeaparent-
childbondbutdonotshowanypositive
orminus image.The remaining134plays
portraytheimageofthechild,father,and
motherasfollows.
3.1 The Child 3.1.1PositiveImages
A positive image of the child is
moreconspicuousthananegative image.
This is thesameresultas foundfromthe
Muromachiplays,buttherearebothsimilar
anddifferentexpressionsoffilialpiety.The
similaronesare sacrificeof life, revenge,
rescue, visiting,makingmerit for adead
15jsn Journal Vol.5 No.2 (Dec. 2015)
ภาพลักษณ์พ่อแม่ลูกในบทละครโนต่างสมัย
parent/s,caregiving,andbeingobedient.
ThreecategoriesarefoundonlyintheMu-
romachiplays:sellingoneself,willingnessto
takeoversuffering,andcontinuedlovefor
astepfather.Categoriesfoundonlyinplays
ofotherperiodsareprayingforaparent/s’
longevity,doingsuper-humandeeds,help-
ingcausereincarnationasahuman,helping
toearnaliving,extendedloveforastep-
mother,protectingafamily’sname,caring
for feelings,andmeetingexpectations. In
addition to theabovedifferent typesof
filial categories, the focusoffilial acts is
alsodifferent.Forexample,eighteenMu-
romachiplaysfeatureachild’slifesacrifice
forparent/s,whereasonly threeplaysof
otherperiodshave this element. In the
plays fromotherperiods, thecategoryof
care giving appearsmost frequently. In
summary,thestudyfindsthattheimageof
childreninbothgroupsofplaysisapositive
one. Inplays fromtheMuromachiperiod,
theimageofself-sacrificeismostcommon,
whereas in those fromotherperiods the
focusisusuallyonfilialcareofparents.
3.1.2NegativeImages
Negative imagesof the childare
overshadowed by the positive ones in
playsofalltheperiodsbothinthenumber
ofplaysandnatureofunfiliality. Similar
negativeimagesinthetwogroupsofplays
aredisobedience, andneglect of one’s
studies.Playsof laterperiodsfeaturenew
categories:givingtrouble,causingamother
tocommitsin,andnot returningparents’
benevolence.
3.1.3SonsvsDaughters
AsisthecasewiththeMuromachi
plays,playsofotherperiodsfeaturetheson
farmorethanthedaughter.Onedifference
isthatthesoninplaysofotherperiodshas
astrongerpositiveimagethanthedaughter
whereasintheMuromachiplaystheirposi-
tiveimageismoreorlessthesame.Asfor
thenegativeimage,thedaughterinplaysof
otherperiodshasanegativeimageinabout
oneeighthofall theplays featuring the
daughter,ahigherfigurethantheson.This
is theoppositeoftheMuromachiplays in
whichthedaughteralmostneverhasaneg-
ativeimage.Insummary,theoverallimage
ofthesongotbetterastimepassed,which
istheoppositeofthedaughter.
3.1.4Therecipientoffilialpiety
IntheMuromachiplays,thefather
appearsalmosttwiceasoftenasthemoth-
erastherecipientofthechild’s,particular-
lytheson’sfilialpiety,butastimepassed,
thesituationchangeddramatically.Inplays
ofotherperiods,theyareequalinthisre-
spect.Oneinterestingpointiswhetherthe
fatherandmotherenjoyfilialpietywhen
heorshe isstillaliveoronlyafterdeath.
In thecategoryof revenge, thesonseeks
revengeagainstanenemywhokilledhis
father,andso it is thedeadfatherwho is
therecipientof thisactoffilialpiety.The
ratioofdeadtolivingfatherasrecipientof
สิริมนพร สุริยะวงศ์ไพศาล, วินัย จามรสุริยา
16 jsn Journal Vol.5 No.2 (Dec. 2015)
allcategoriesisabouthalfandhalfinplays
ofbothgroups,butthemotherinplaysof
otherperiodsnotonlyenjoysherchild’s,
particularlyherson’s,filialpietymorethan
intheearlierplays,shealsoenjoysitduring
her lifetimemuchmoreoften thanafter
death.
3.1.5Therecipientofunfiliality
InMuromachi plays, the father
enjoysason’sfilialpietymoreoftenthan
doesamotherandhe isalsoaffectedby
achild’sunfiliality less thanamother. In
playsfeaturingtheson’srevenginghisdead
father’senemy,whichisquitecommon,it
isthemotherwhosuffers.Inplaysofother
periods,asalreadyseen,themotherequal-
lyenjoysthechild’sfilialpiety,butwhen
it comes to suffering fromunfiliality, the
motherstillhastoendurethis.
3.2 Fathers 3.2.1Positiveimages
Unlikewhat is found in theMu-
romachiplays, inplaysofotherperiods,
positive imagesof fathersaremorecom-
mon than negative ones. Categories of
positiveimagessharedwiththeMuromachi
plays includeseeking revenge,protecting,
searchingasaninsanepersonorotherwise,
andcreatingmerit foradeadchild.New
categoriesaregivingprioritytoachildover
duty,caring,forgiving,andgivingencourage-
ment,whilethecategoryofsacrificing life
isnotfoundinplaysofotherperiods.The
father in theplaySekidobelongs to two
categories:protectingandgivingpriorityto
thechildoverduty.Heindeedstandsout
amongalltheplaysinbothgroupsasheis
theonlysamuraiwhoeversurrenderstoan
enemyinordertosavehisson’slife.
3.2.2 Recipients of the fathers’
benevolence
In plays of other periods, sons
appear farmoreoften thandaughtersas
recipientsofa father’sbenevolence.The
situation did not changemuch in later
periods.
3.2.3Negativeimages
Thecategoriesof threatening the
life of or actually causing thedeathof
children,deserting,andcausing longsep-
arationare found inbothgroupsofplays.
Anotherpointof similaritiesbetweenthe
twogroupsisthatthereareplaysthatfea-
turethefathers’positiveandminusimages
in thesameplay.Furthermore,all these
playsalwaysdepicttheminusimagesfirst.
Forexample,thefatherinKitano kazuraki,
ofotherperiods,goesouttosearchforhis
daughterafterdesertingherbecauseofthe
stepmother’sslander.
3.2.4Thechildwhosuffers
Daughters suffermore than the
sons fromharmdoneby fathers inboth
groupsofplays,but inplaysofotherpe-
riods, thepicture looks a littlebrighter.
Thegapbetweenthedaughtersandsons
becomes smaller.Moreover, inplaysof
17jsn Journal Vol.5 No.2 (Dec. 2015)
ภาพลักษณ์พ่อแม่ลูกในบทละครโนต่างสมัย
3 ToaBuddhist,makingsomeoneleavethepriesthoodisnotapositiveimage.Butasstatedbefore,thejudgmentasapositiveornegativeimageisdeterminedbytheperson’sdeedsor intentionsastheplaynarratesthemthatbenefitsorharmstheotherparty.Inthiscase,themother’sdeedwillbenefitthechild.Evenifitharmsthefather,thisisnotwithinthescopeofthisresearchwhichstudiesonlythechild–parents’relations.
otherperiods,thereisnofatherwhoactu-
allyintendsandsucceedsinkillinghisown
daughterwithhisownhandasin Nureginu,
aMuromachiplay.
3.3 Mothers 3.3.1Positiveimages
Mothers inplaysofotherperiods
maintainthestrongpositiveimagesseenin
Muromachiplays,althoughthedegreeof
their loveanddedicationmayseem less
commendableorextreme.Inlaterperiods
theyno longersacrificetheir livesnordo
they sell themselves for the sakeof the
children.Themost frequently foundsto-
riesaboutthemothers’attachmentdepict
howtheybecomederangedwhilesearch-
ing for their lostchild.Newcategoriesof
mothers’positiveimagesarehowtheygive
encouragementtotheirson,askapriestto
educatetheson,andsuccessfullyurgethe
fathertoleavehispriesthoodinordertogo
homeandsupporthisson.3
3.3.2Recipientsof themothers’
dedication
Thesituationdidnotchangeastime
passed.Lessthanonetenthofalltheplays
inbothgroupsthatportraymother-daugh-
terrelationsfeaturehowdaughtersreceive
benevolencefromtheirmothers.Almostall
ofthemotherlyloveanddedicationwent
totheson.
3.3.3Negativeimages
OnlyoneMuromachiplayportrays
anegativeimageofamother.Inthatplay,
theparentscausethedeathofthedaugh-
ter’spartner.Anegativeimageofamother
isalso rare inplaysofotherperiods.One
play,Chihiro no hama,narrateshowthe
mother, togetherwiththefather,obstruct
theirdaughter’slove,causinghertodrown
herself. InKosodegoi, themotherdisowns
hersoncausinghimtoroamthecountry,
butshedoes it forthesakeoftheson in
thehopethathewillgiveuphisintention
ofrevenge,whichwouldfinallybringhima
deathsentence.
4. Discussion In comparisonwith fathers, sons,
and daughters,mothers have the best
images inbothgroupsofplays.Theyare
more attached anddedicated than the
fathers to their children.This conclusion
mayreflecttherealityofJapanesesociety,
or,forthatmatter,mostsocieties.Another
possibilitywouldbe that theplayspre-
sentanidealizedimageofamother’srole,
whichmaynot reflect the realityofhow
mothersactuallybehaved.Whicheveristhe
สิริมนพร สุริยะวงศ์ไพศาล, วินัย จามรสุริยา
18 jsn Journal Vol.5 No.2 (Dec. 2015)
4 Forexample,wefindnovelsdepictinghowthewiveshadaffairs,orlefttheirhusbands.SeeOsawaMachiko,2010.
case,itisinterestingtonotethisfindingin
Nohplays.Alltheplaywrights,actors,cho-
rus,musiciansweremale.Thesignificant
patronswerealsomalesandsotheplays
wereproductsof apredominantlymale
world. This situationmaypartly explain
whybothgroupsofplaysdepictfather-son
relationsmoreoftenthanfather-daughter,
mother-son,ormother-daughterrelations.
ConfucianandBuddhistmisogynymayalso
beafactor.Maleplaywrights,however,did
nottrytopresentmorepositiveimagesof
fathers thanofmothers,orperhaps they
chosenot todistort the realpicture.The
maleNohplaywrightshadandexpressed
theirfaithinwomen,or,moreprecisely,in
theirmothers.Unlikemodernwriters,they
consistentlypresent idealized imagesof
mothers.4Naturally, inallsocietiesneither
mothersnorfathersareperfectallthetime.
Unfortunatelywe are all human,which
meansweallmakemistakes. It’s interest-
ing tonotethatmodernwritersaremore
willingtodiscussflawedmothersthanwere
theauthorsoftheNohplays.
Theabovefindingaboutthemoth-
ers’ images iscommontothetwogroups
ofplays,but,infact,therearequiteafew
interestingdifferencesworthdiscussing.
Thefirstissueistheelementofreligionand
miracles.Approximately40%ofplaysof
otherperiods,butonlyaround16%ofMu-
romachiplaysdepict thiselement.There
maybe twopossibleexplanations.One
wouldbe thatbelief inmiraclesbecame
morecommonandsotheplays reflected
thisnewreality.Theotherwouldbethat,in
laterperiods,religions,bothBuddhismand
Shintoism,playedalesserroleinJapanese
society,andsoNohplays,whichhadbeen
onekindoftoolforspreadingfaithinreli-
gions,cametoplaceevenmoreemphasis
onthisfunction.
Ifwe furtheranalyze theelement
of religionandmiracles inplaysofother
periods,wefind that theplaysprobably
reflect theJapanesesocietyafter the17th
centurywhen Buddhismwas oversha-
dowedby ShintoismandConfucianism.
ComparedwithMuromachi plays, there
aremoreplaysofotherperiodsthatdepict
miraclesof reunionand resurrectionthat
areconnected todivinepowerofShinto
deities.Therearealsomorestoriesabout
rewardsforfilialchildrenthathaveorigins
fromChina,includingstoriesaboutthesage
Mencius(孟宗),EmperorShun(舜).
Inthisregard,wefindthiselement
of religionandmiraclesdiffers from the
“this-world thinking and realistic sense
of themerchant townsmen” (Kawatake
Toshio,1971:7) intheKabukiandBunraku
theateroftheEdoperiod.
Parent-Child relations appear in
several forms in Japanese literature. For
example,parent-child relations inNihon
19jsn Journal Vol.5 No.2 (Dec. 2015)
ภาพลักษณ์พ่อแม่ลูกในบทละครโนต่างสมัย
5 InMuromachiplays,weseethiskindofchildinTomoakiraandNagara no hashi.ThespiritofthesoninTomoakirawhodiedsacrificinghislifeforhisfathercomestobegapriesttoprayforhisfather’ssalvation.ThespiritofthedaughterinNagara no hashisayssheiswillingtotakeoverthesufferingsofhisdeceasedfather.
Ryōiki,acollectionofBuddhist stories,of
theearlyHeianperiod(794-1185)arequite
differentfromthose inNohplays.Accord-
ing toNaitōAyako (2000:70-78), inNihon
Ryōiki,holdingmemorialservicesforones,
deceasedparents is thenormal formof
filialpiety.Neithercaregivingnorfinancial
supportareexpected.Naitōexplains thatthis isbecauseduringthatperiodparents
and grown-up childrenwere financially
independent.Naitōconcludesthat,atthattimewhereas living parents supported
andprotectedtheirchildren,afterdeatha
child’sdebttoparentswasrepaidbyhold-
ingmemorialservices for them.This form
offilialpietyisdifferentfromConfucianism,
whichrequireschildrentobothtakegood
careoftheparentswhile livingaswellas
makemeritforthedeceasedparents.
Asthisresearchdemonstrates,filial
behavior inNohplaysofbothgroupsis in
accordancewithConfucianteachings.How-
ever,tobemoreaccurate,itgoesbeyond
Confucianism.Children inNohplays are
filialevenafter theirowndeath. Inone
playofotherperiods,Hyakumanben, the
spiritofayoungsonpleads forapriest’s
assistance in revenginghis father’sdeath.
Hehadtriedtodoitduringhisownlifetime
butdiedbeforethetaskwasaccomplished.
This lingering attachment causeshim to
agonizefurtherintheafterworld.Thanksto
hisposthumousfilialdevotion,heisfinally
successful.His spiritactuallycutsoff the
enemy’shead.5
Having compared parent-child
relations inNohplaysofdifferentperiods,
the researchwill bemoremeaningful
whenwetakeonestepfurthertocompare
thoseimageswithpracticesinthepresent
globalized Japanese society. At first
glance,onemight think thatpresent-day
Japanesesocietyisalmosttotallydifferent
fromthatofthetimewhenNohplayswere
writtenintheMuromachiperiodandlater,
andsothenatureoffilialpietymustalso
beverydifferent.Thatmaynotbetotally
wrong, but a closer look reveals some
continuities.
Filialpracticescontinue inmodern
Japan. Japanesestill valuecreatingmerit
fordeceasedparentsandvisiting family.
ThemassivereturnhomeduringtheObon
festival shows how Japanese carry out
thesepractices.Theglobalizedworldof
fastandconvenienttechnologymakesfilial
pietyeasiertoperform.Makingphonecalls
or showingone’s face throughskypecan
alsobecountedasformsoffilialpiety.As
fortakingcareofagedparents,workingchil-
drenareaidedbythealternativesofday
carecentersand long-termoldpeople’s
สิริมนพร สุริยะวงศ์ไพศาล, วินัย จามรสุริยา
20 jsn Journal Vol.5 No.2 (Dec. 2015)
centers. Justbecausechildrenno longer
sacrificetheirlivesfortheirparentsorseek
revengeona father’senemy,weshould
notconclude thatpresent-day Japanese
arelessfilialthaninthepast.Formsoffilial
pietynaturallychangedwithtimeasdidthe
natureofparents’benevolence.Parental
lovemaybeuniversalandnotboundby
time,buttodayJapaneseparentsmaynot
expecttorelyontheirchildrenforfinancial
supportduringtheiroldage.Theyarecon-
tentto liveontheirsavingsandpensions
soasnottobecomeburdensontheirchil-
dren.
5. Conclusion This paper is a comprehensive
studyoftheparent-childrelationsandim-
ages intheNohplaysthatalsocompares
thoseof theMuromachiperiodwithones
fromothertimes.AnoldJapaneseproverb
adoptedfromChinasays, furuki wo tazune
atarashiki wo shiru,(oronkochishin 温故知
新),whichmeanswemuststudythepast
inorder tounderstand thepresent. The
imagesofthechildren,fathers,andmoth-
ersintheNohplaysmay,tosomeextent,
giveusabetter insight into theJapanese
families in the contemporary globalized
Japan.Theresearchshouldalsobeasig-
nificantcontributiontothefieldofgender,
whichhasbecomeoneof thesignificant
fociinthestudyofJapaneseliterature.The
papergivesapictureofdifferencesinmoth-
er-sonrelations,mother-daughterrelations,
father-son relations, and father-daughter
relations. It alsooffersavividpictureof
Japanesewomen from theMuromachi
through theTokugawaperiods. Japanese
womenhavebeensaidtobesubordinate
andsubmissivetomen,playinganinferior
roleinsociety,butthispaperoffersasome-
whatdifferentpicture.Weseemotherswho
arebraveenoughtohelp their sonsfight
orfightseekingrevengefortheirsons,and
motherswhoroamthecountryforyears,in
oneplayofotherperiodsforthirtyyears,to
lookfortheirbelovedchildren.Wealsosee
bravedaughterswhofight, sacrifice their
life,sell themselves,ordaretochallenge
theauthority,all for the fatherormother
orboth.
Harumi Befu (1971:167-8) states
thatthe“genesisoftheon(恩)relationship
is found in theparent-child relationship,
whereparentsgivelifetothechild,provide
nurturance, and socializehim.Thechild
is then forever indebted to theparents...
Insofarasparentsexpectthechildtorepay
thedebt in sociallyaccepted forms, the
childmustbehaveaccordingly ifhe isnot
tohurt theparents’ feelings andconse-
quentlyalienatehimselffromthem.”Befu
(1971:170)alsostatesninjō (人情) refersto
aperson’snaturalfeelingsandinclinations,
whichmayormaynotbe inaccordwith
giri (義理) [meaning socialobligation]. If
conflictarises“therearethreealternatives:
21jsn Journal Vol.5 No.2 (Dec. 2015)
ภาพลักษณ์พ่อแม่ลูกในบทละครโนต่างสมัย
one,tosuppressone’sprivatefeelingsand
honormoralprinciples;two,tocloseone’s
eyesfrommoralobligationsandfollowthe
dictatesofone’sfeeling;andthree,toan-
nihilateoneselfthroughcommittingsuicide,
beingableneither to ignore thesociety’s
moralobligationsnorsuppressone’smoral
desires.”
InalltheNohplaysstudiedinthis
research, those three terms,on, giri, and
ninjō,almostneverappear,theonlyexcep-
tionbeingtheuseofonintheplays Saku-
rai,Sakurai no eki,andShigemori.Although
the termsarenotused,wefindchildren
repaying thedebt theyowe to theirpar-
ents.Theystrictlycarryouttheirgiriwithout
hesitation.Conflictsbetweengiriandninjō arepresentedonlyintheplaysManjū andSekido.InManjū,thefatherobeyshislord’scommand,eventhoughitmeanskillinghis
ownson.Incontrast,thesamuraifatherin
Sekidosurrenderstotheenemyinorderto
savehisson’slife.Thus,intheformer,the
fatherchoosesgiri,whereasinthelatter,he
takestheoppositecourse,choosingninjō. Because every one of usmust
be someparents’child, andmanyofus
become somechild’s fatherormother,
readingaboutotherchildren, fathers,and
mothers fromthepastand inadifferent
cultureisinterestingandpotentiallyinspir-
ing.Itmayprovidegoodmodelstofollow,
orevenofferhintstohelpsolveproblems
withinone’sownfamily.Modernfilmsthat
take family lifeas topicsalwaysseemto
attractagoodaudience.Synopsesof the
279Nohplaysstudiedinthisresearcharein
thismannervaluable.Wearenotsurprised
to readabout vicious stepmotherswho
makeplans to take the stepson’s life in
suchplaysasKatana (no shou),Meimeichō,butatthesametimeweareimpressedby
thestepmotherinShōgiseishuwhoasksthe
executionertotakethelifeofherownson
soastosaveherstepson.6Heractionfinally
bringsaboutpardontobothsons.
Onefinalconclusionwemaydraw
fromthis research is that ithasshownat
least the following threepoints that re-
mainedconsistent throughout the span
ofapproximately600years fromtheMur-
omachiperiod.First, thestronglypositive
imageof the child andmother remains
unchanged. Second, father-son relations
arefeaturedmostoften.Finally,thefamily
membermostoftenportrayed is theson,
followedby the father, and themother.
Daughtersappear leastoften.Thesethree
featuresseemto reflectJapanesesociety
ofthepastandhelpunderstandtheforma-
tionofmodernsociety.
6 Wemayberemindedofthestepmotherandbiologicalmotherinthemodernfilm“Stepmom”byChrisColumbus(starringJuliaRoberts),inwhichtheymoveustodeeplyappreciatemotherlyloveanddedication.
สิริมนพร สุริยะวงศ์ไพศาล, วินัย จามรสุริยา
22 jsn Journal Vol.5 No.2 (Dec. 2015)
Play title
Fathers’ imagesin 48 plays
Mothers’ imagesin 33 plays
Children Imagesin 84 plays
34positive images
21minusimages
32positive images
1minus image
77positive images
12minusimages
Akutagawamonogurui /Asukagawa(kou) /Batourui /Biragata /Bugakushoujou /Chihironohama / /Chikurou /Chiyozuruhime /Chuujouhime / /Fuefukikawa / /Fuenomaki / / /Fumimonogurui / / /Funamodoshi /Futatabinowaranbe /Genzaidoujouji /Goetsu / /Gyoushun / /Hadakaoni /Hakozakimonogurui /Hanamaru /HanamiSoga /Harutoki / /Hatsusemonogurui /Hikonoyama /Hira / /Horo(kou) /Hotokezakura /Hyakumanben /IchiyaKagekiyo /Ikutamonogurui /IkutaTadanori /Imaizumi /Inabashoujou /Isozaki(kou)Isozaki(hei)
6. Appendix
Listofthe146playsofotherperiodsshowingimagesin134plays
23jsn Journal Vol.5 No.2 (Dec. 2015)
ภาพลักษณ์พ่อแม่ลูกในบทละครโนต่างสมัย
Play title
Fathers’ imagesin 48 plays
Mothers’ imagesin 33 plays
Children Imagesin 84 plays
34positive images
21minusimages
32positive images
1minus image
77positive images
12minusimages
Iwashiromonogurai /Iwatoshoujou /Izumoshoujou /Izumyoujin /Juuren(kou) / /Juuren(otsu) / /Kagamigaike /Kanao / /Kanazawashoujou /KanrataifuKaribaSoga /Karukaya /Kasasagi /Kasatorikyoujo /KatamiAtsumori / /KirikaneSogaKitanokazuraki / / /Kobiragata /Koshikibu / /Kosodegoi / / /Koubu孝婦 /Koubu厚婦 / /KouyaAtsumori /KowatamonoguruiKumazakishirou /Kurama’iri /Kuruijishi / / /Kusunotsuyu /Masegiku / / /Matsurahime /Meimeichou /Minatogawa (GenzaiKusunoki) /Misaki / /Miyajimonogurui /Morichika /Mousou /Myoujuukihan /Nadachi / /
สิริมนพร สุริยะวงศ์ไพศาล, วินัย จามรสุริยา
24 jsn Journal Vol.5 No.2 (Dec. 2015)
Play title
Fathers’ imagesin 48 plays
Mothers’ imagesin 33 plays
Children Imagesin 84 plays
34positive images
21minusimages
32positive images
1minus image
77positive images
12minusimages
Nakayamamonogurui /Nanakusa /Nao’ie / /Naritsune /NarumidoushinNinkei /OkkakeSuzuki /Omoidegawa / /Onoenomae /Orihime /Reishoujo /Rokkakudou(otsu) /Rouben /RuisenkouSadaderaSahogawa /Sahogawakyoujo / /Saijaku /Sakurai /Sakurainoeki / /SakuramakiSanjatakusenSanninkou(kou) /Sanninkou(otsu) /Sarashinamonogurui /Sasayakinohashi / /Sassatsushoujou /SatomeguriSayoginuta /Sekido /Senjo /Serata /Shichininshoujou /ShigureKomachi /Shimameguri(otsu) /ShinobuzuriShiohimonogurui /Shiratakinomae /Shishido / /
25jsn Journal Vol.5 No.2 (Dec. 2015)
ภาพลักษณ์พ่อแม่ลูกในบทละครโนต่างสมัย
Play title
Fathers’ imagesin 48 plays
Mothers’ imagesin 33 plays
Children Imagesin 84 plays
34positive images
21minusimages
32positive images
1minus image
77positive images
12minusimages
Shitsukenohashi /Shoujoumae /Shoukyuu / / /Shutokushoujou /Sorawarabe /Sotonohamanenbutsu /Suhounonaiji /Sumiregusa /Sumiyoshigama /Sumiyoshinoonna /Susonozuka /Suzukimonogurui /TaimenSoga /Taketoshi / / /Tamahori /Tamatori / /Tamazakishoujou /Tametomo /Tangomonogurui /Taoyamesennin /Tateri /Tatsutamonogurui /Tokiwamondou /Toushinbou / /Tsukushimonogurui /Unohanamonogurui /Ushi /WadaSakamori / /Wakakusa /Wasuregusa /Wataraimonogurui /Yukibikuni /Yumitsugimonogurui / / / /Yoroi /
top related