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【文語のエロティシズム】〜蒲原有明『有明集』から「愛欲の詩　四篇」を。

 　文語（明治期）の色気を求めて土井晩翠から探索を始めたが、「詩人」のバロディーが浮かんだだけで、格調高いがエロティシズムは残念ながら見出せず、続く詩人として「蒲原有明」を読んでみた。 　複雑な語彙やリズムを駆使した象徴派詩人として、『独絃哀歌』『春鳥集』『有明集』などを発表。薄田泣菫と併称され、北原白秋、三木露風らに影響を与えた。 　 蒲原有明（Wikipedia) 　死とエロスの香り漂う「われ迷ふ」を作曲してみたが歌で終わるのが物足りなく、朗読することに。 　文語の色気をご堪能あれ。 **The Eroticism of Literary Japanese** — Four Poems of Desire from Kambara Ariake’s *Ariake-shū* In search of the sensuality of Meiji-period literary Japanese, the exploration began with Doi Bansui. But aside from the parody “The Poet,” what emerged was grandeur and dignity rather than eroticism. So the search moved on to Kambara Ariake, one of the major poets who emerged after Doi Bansui. A Symbolist poet known for his intricate vocabulary and rhythms, Ariake published such collections as *Dokugen Aika*, *Shunchōshū*, and *Ariake-shū*. Often mentioned alongside Susukida Kyūkin, he went on to influence poets including Kitahara Hakushū and Miki Rofū. from "Kambara Ariake (Wikipedia)"　 蒲原有明（Wikipedia) A musical setting was first made f...
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【誤字熟語/Typo Tropes~Definition of word】レプ離婚(れぷりこん）“Repli-Gone” JP & EN Version

【誤字熟語/Typo Tropes~Definition of word】レプ離婚(れぷりこん）“Repli-Gone” JP & EN Version

 日本語の慣用句を言葉遊びのように言い換えて、俳句（川柳）で世相を描こうとする詩的試みです。英訳とともにお楽しみください。


This is a poetic attempt to depict the state of the world with its haiku (senryu), by paraphrasing Japanese idioms like wordplay. Please enjoy it together with the English translation.


【レプ離婚】

　「rep（レプ）」、つまり、「複製」「複写」「繰り返し」をする・させる・させられることに対して三行半を突きつけるだけでなく、「離婚」などというネガティブなレッテルに尻込みするでなく、堂々と「ボッチ」を誇り、とかく同調圧力－－その多くが事の真偽・正邪より、体面・利害に重きを置く危険で稚拙な精神性－－に蝕まれがちなテレビ大好きっ子たち－－その多くが、戦後の高度経済成長を支えてきた従順・勤勉なクレージー・キャッツ世代－－の、哀れなほど「長い物には巻かれろ」魂の蒙を啓く、実に救世主的なソーシャルかつパーソナルな距離感との契り。


添いトゲの

床にお別れ

レプ離婚


“Repli-Gone” 

　　We not only serve a final notice of divorce to “Rep”—referring to “replication,” “duplication,” and “repetition,” whether doing, having someone do, or being made to do—but also embrace the label of “divorce” without fear, proudly upholding solitude as something to be celebrated, standing against the kind of social pressure that, more often than not, is driven by a dangerous and immature mindset that prioritizes appearances and self-interest over truth or morality, the same pressure that tends to affect TV-loving individuals, particularly those from the Crazy Cats generation, who obediently and diligently supported Japan’s postwar economic growth but now tragically embody a pitiful mentality of “follow the leader, no matter what,” and what we seek is to awaken them by choosing to make a truly messianic sense of social and personal distance our companion. 


Farewell to the bed 

Of spikes we once shared in pain. 

Repli-Gone, vax free.


【Note】

The term "Repli-Gone," used in the essay and haiku, is a play on words, combining "Rep"—short for replication, duplication, or repetition—with the concept of "divorce" (離婚, りこん in Japanese). This expresses a symbolic break from cycles of repetition, both in personal and social contexts. The haiku's closing line, "Repli-gone, vax free," further emphasizes this separation in a satirical way.






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