『ラーマナ王物語』研究 : 修辞法の分析と後半部の訳註

This article contains an annotated Japanese translation of the Rā ma ṇa’i gtam rgyud of Zhang zhung chos dbang grags pa, together with an introductory analysis of its rhetoric. The first half of the Rā ma ṇa’i gtam rgyud is translated in our previous paper. Therefore the remaining portion appears here.
Like many other Tibetan texts written in poetic verse, the Rā ma ṇa’i gtam rgyud is composed in accordance with the theory of Daṇḍin’s Kāvyādarśa. Poetic ornaments (rgyan, alaṁkāra) such as simile(dpe, upamā), metaphors (gzugs can, rūpaka), poetic fancy (rab rtog, utprekṣā), concise speech (bsdus brjod, samāsokti), repetition of syllables (zung ldan, yamaka) and so forth, all of which are prescribed in the Kāvyādarśa, appear throughout the work. But what attracts our attention is that Chos dbang grags pa frequently uses a rhetorical device that is not prescribed by Daṇḍin. Don grub rgyal, a twentieth century scholar and writer, calls it “an implicit metaphor” (sbas pa’i gzugs can). This is a metaphor where what compares (dpe) is explicitly stated but the subject of comparison (dpe can) is not, as in lag sor nyi ’od tshogs kyis ni pad ma’i tshal ’di mngon par phye (“The fingers of their hands, bundles of sunlight, made this lotus garden [= the box Sītā was trapped in] bloom.”).
This technique, which gives the readers a sense of intermingling reality and illusion, has the effect of intensely expressing the emotions of each character. The fact that implicit metaphors are used so often indicates that the Rā ma ṇa’i gtam rgyud is written for the readers who already know the plot of the story.
The reason that the Rā ma ṇa’i gtam rgyud is written by the Dge lugs Buddhist monk scholar Chos dbang grags pa is not clear. It is unlikely that the author composed this work for enlightening or educational purposes. Rather he must have created this work for the purpose of self-discipline or for the completion of his ideal world of art. At the root of the Rā ma ṇa’i gtam rgyud must have been the spirit of l’art pour l’art.