春のカッコウと草原の愛 : 『ダライ・ラマ六世恋愛詩集』と『チベット女性詩集』をめぐって

This paper aims to explore the parallels and distinctions between classical and contemporary Tibetan poetry by analyzing the poems featured in two recently published works: Love Poems of the Sixth Dalai Lama and the Collection of Tibetan Women’s Poetry. Additionally, it seeks to uncover the shared poetic imagery found in both sets of poems.
The love poems of the Sixth Dalai Lama, written in the form of songs (mgur), exhibit distinctions from the classical belles-lettres (snyan ngag) influenced by Indian Sanskrit literature. They are characterized by simple rhetoric, frequent use of colloquial vocabulary, and poems structured with an even number of syllables. Despite the freedom of expression within this format, the Sixth Dalai Lama, or the author attributed to him, delicately and sometimes ironically explores romantic love within the cultural framework of the classical period. These love poems, written in song format, allow for various interpretations, giving rise to political or Buddhist interpretations with hidden meanings.
Many contemporary Tibetan poets share knowledge of classical songs, including those of the Sixth Dalai Lama, and are familiar with the theories of the Kāvyādarśa. Classical poetic imagery, such as “the cuckoo heralding spring,” often figures in modern poetry, too. However, contemporary poets skillfully express indescribable paradoxical emotions, which were not previously explored in classical literature, by transforming shared poetic imagery unique to Tibetan literature.
In the past, many carriers of Tibetan classical literature were monks or nobility who had knowledge of the Kāvyādarśa. Today, many Tibetans study the Kāvyādarśa in high school or university, allowing them to freely write poetry on the basis of their own sensibilities. Modern Tibetan poetry often discusses feminine and complex emotions in love, the struggles and joys of pregnant women and mothers, themes rarely addressed in classical poetry. However, this does not necessarily signify the secularization of poetry in modern times. Deep within the consciousness of contemporary Tibetan female poets lies the Mahāyāna Buddhist altruistic philosophy and the contemplation of saṁsāra. In modern poetry, these concepts manifest as intense expressions previously unseen in classical poetry. Understanding the essence of contemporary Tibetan poetry is impossible without insight into classical literature and Buddhist philosophy. When reading the Love Poems of the Sixth Dalai Lama and the Collection of Tibetan Women’s Poetry alternately, we find ourselves standing at the crossroads of classical and modern poetry, gaining a new perspective that delves into the depths of Tibetan spiritual and cultural heritage.