Viorica Marian, 'The Power of Language: How the Codes We Use to Think, Feel, and Communicate Shape Our Lives' / Kunio Tsukamoto (ed.), 'Seisho Senshu: One Thousand Selected Masterpieces from a Millennium of Poetry from the Hakuchi and Shucho Eras to the Azuchi-Momoyama Period'
☆mediopos3333 2024.1.2
Psycholinguist Viorica Marian states that
the human brain is built not only for a native language but
to handle multiple languages.
Multilingual individuals who use multiple languages
open doors to creativity through that ability,
may delay the onset of dementia,
and by being able to view language from a bird's-eye perspective,
gain opportunities for metacognitive processes and rational thinking,
as well as the potential to improve the brain's executive functions,
though such research findings have been reported.
Needless to say, such abilities
are not something that can only be obtained by being multilingual.
Simply using multiple languages on a daily basis
does not necessarily deepen the 'power of language'.
Viorica Marian's research
shows the potential of the abilities
gained through the opportunity of being multilingual,
and does not mean that 'multilinguals are superior to monolinguals in ○○'.
While learning a new language other than one's native tongue is important,
as Mutsumi Imai, the supervisor and commentator of this book, suggests,
it 'should not be for the utilitarian purposes of individuals or nations alone.
One should not teach grammar and vocabulary in isolation from culture,
nor should the goal be simply to become able to construct sentences in that language.
If the goal is merely to generate sentences that convey information according to correct grammar,
ChatGPT is sufficient.'
In other words, what is important when learning a language is
not developing skills that merely replace an automatic translator,
which remains horizontal and practical,
but rather learning consciously in a direction that can be called vertical,
as if mastering the workings of language that contain cultural depth.
Even in the study of one's native language,
it is important to reach the historical and cultural depths of language,
which cannot be obtained through almost unconscious language learning
for daily communication.
Furthermore, rather than just learning the standard form of the native language,
if one can distinguish and use multiple dialects,
and become conscious of the linguistic expressions in each,
that could also be said to be a form of multilingualism.
Now, in that sense,
for the New Year, I have taken up Kunio Tsukamoto's 'Seisho Senshu' (One Thousand Selected Masterpieces), which can approach the essence of Japanese waka poetry.
(The five New Year waka at the beginning are quoted and introduced below.)
This is an outstanding work among the many anthologies edited by Kunio Tsukamoto,
such as 'Hyakku Sansan,' 'Ocho Hyakushu,' 'Shika Bijutsukan,' and 'Shugin Hyakushu,'
and as it states, 'One thousand selected masterpieces from a millennium of poetry from the Hakuchi and Shucho eras to the Azuchi-Momoyama period,'
it serves as 'the essence of tanka from the late 17th century to the present day.'
In the 'Preface to the Thousand Poems,' Kunio Tsukamoto says,
'The core of my concept was, above all, the beauty and ugliness of the universe called waka, woven and brewed by these thousand poems.'
It is compiled as an anthology that will continue to have eternally new life, such that
'following the sections of spring, summer, autumn, winter, love, and miscellaneous, this water vein of rhythm that runs, foams, and surges to the end of the volume, the drama within the thousand-year picture scroll drawn in characters, from beyond that, from the bottom of that... the soul of Japanese poetry that will never perish, or rather, must not be allowed to perish, that is, our aspirations and the form of poetry as it should be, will likely emerge clearly.'
Is it not learning expressions that approach such depths of language
that is an important aspect of mastering the 'power of language'?
To learn a language
is to deepen the language,
not just to use it as a tool.
Familiarizing oneself with such an 'anthology'
can be an opportunity to open up the possibilities of language,
which can never be obtained through the practical aspects
gained by placing oneself in a multilingual linguistic situation.
Even if it is said that 'having a new language changes the world,'
the scenery seen from that 'window' differs completely
depending on what kind of 'window' of 'language' one opens.
The point is what kind of 'scenery' one wants to see.
It is difficult for what is gained solely by being multilingual
to transcend utilitarian things.
■ Viorica Marian (Supervised and commented by Mutsumi Imai, translated by Naomi Sakurada)
'The Power of Language:
'Thinking, Values, Emotions'
Why does having a new language change the world?' (KADOKAWA 2023/12)
■ Kunio Tsukamoto (ed.), 'Seisho Senshu'
- One thousand selected masterpieces from a millennium of poetry from the Hakuchi and Shucho eras to the Azuchi-Momoyama period'
(Toyambo Hyakka Bunko, Toyambo 1983/4)
(From Viorica Marian, 'The Power of Language' - 'Introduction')
'Psycholinguistics is the study of the relationship between the workings of the mind and language. (...)
This book aims to integrate research on language and the brain by myself and other researchers, and to view it through the prism of multilingualism.'
“The very idea that there exists a strict classification for everything—whether it be brain function, color, or human type—that transcends human interpretation might itself be an illusion created by language. It does not matter whether those categories existing in this world are 'real.' What is important are the linguistic and conceptual categories that we humans have created. They influence fields such as perception, science, and prejudice.”
“Regarding the effects of acquiring a language other than one's native tongue, various things have been learned from research around the world. Here are a few examples.
• For the elderly, being multilingual delays the onset of Alzheimer's disease and other forms of dementia by four to six years, and strengthens 'cognitive reserve' (a state where the brain is less likely to show symptoms even when in a state of dementia).
• For children, learning a second language allows them to understand at an early stage that the relationship between an object and the name used to call it is arbitrary. For example, even for the same cow's milk, it is called 'milk' in English, 'leche' in Spanish, and 'moloko' in Russian. Or, one could even create their own preferred name. Reality and the symbols that represent that reality are not the same. Understanding this provides the skill to view language more objectively, which in turn helps solidify the foundation for training more advanced metacognitive processes and rational thinking.
• Throughout one's life, acquiring two or more languages leads to an improvement in the brain's executive function, making it easier to focus on what is important and ignore what is not.
• People who are proficient in multiple languages can see connections between things that others cannot. As a result, their scores improve on tasks involving creativity and divergent thinking (thinking that leads to creative ideas by thinking broadly).
• Using a language other than one's native tongue increases the likelihood of making decisions that are more logical and more beneficial to society as a whole.”
(From Viorica Marian's 'The Power of Language' — 'Commentary' by Mutsumi Imai)
“What psychologists want to know is 'how language is operated.' Questions include: 'How does the brain work when a person uses language?', 'How do people learn language?', 'As a result of learning language, how does the structure of the human brain and the way it processes information change, and how does thinking transform?', and 'What is the relationship between language and culture?' (...)
The author seems to have originally started her research on humans who use language from consultations and treatments for people with difficulties in language operation or learning, such as aphasia or language learning disabilities. However, she is particularly interested in the workings of the minds of people who use multiple languages—multilinguals—and in this book, she is attempting to clarify the essential characteristics of 'humans who use language' from that angle (or so I read it).”
“The conclusion that 'multilinguals are superior to monolinguals in XX' does not mean that monolinguals cannot acquire XX.”
“We must not forget that there are many different types of bilinguals and multilinguals. The 'multilinguals' targeted by the author of this book refer to people who use multiple languages on a daily basis. (...) I myself could probably be called a bilingual. I have been speaking and writing in English for a long time, and I am actually better at writing academic papers in English. However, I currently live in Japan and use Japanese almost all the time, both in my university work and in my private life. As such, I hardly fit the image of a bilingual depicted by the author. I do not think my ability to switch attention is superior to that of a monolingual Japanese person. When I think about things outside my own field of research, such as politics, medicine, or economics, in English, I do not think I can make better judgments than when I think in Japanese. In the first place, my English vocabulary outside of my specialized field is not that rich, so I cannot think precisely and rigorously.”
“The state of bilingualism and multilingualism is extremely diverse, and it is better not to think of the bilinguals depicted in this book as the stereotype of a bilingual. I would like to point out that there is no need to blindly panic that you must start multilingual education for your children immediately.
Foreign language education is an important issue for Japan today, and there is no doubt that the entire society needs to put more effort into foreign language learning. However, this should not be solely for the utilitarian purposes of individuals or the country, such as being necessary for entrance exams, being advantageous for work, or stimulating the economy. One should not aim to teach grammar and vocabulary in isolation from culture, with the goal simply being to be able to create sentences in that language. For sentence generation that merely conveys information according to correct grammar, ChatGPT is sufficient.”
(From Kunio Tsukamoto (ed.), 'Seisho Senshu' — 'Preface to the Thousand Poems') *Kanji characters have been changed to modern kana usage
“Naturally, a personal selection is not the true meaning of an anthology. The core of my concept was, to the end, the beauty and ugliness of this universe called Waka, woven and brewed by a thousand poems. Following the divisions of spring, summer, autumn, winter, love, and miscellaneous, this vein of rhythm that runs, bubbles, and surges until the end of the volume, this drama within a thousand-year picture scroll drawn in letters—from beyond it, from its depths, the soul of Japanese poetry that will never perish, or rather, must not be allowed to perish—that is, our aspirations and the form of poetry as it should be—will likely emerge clearly. For those with a heart, an anthology will continue to hold new life for eternity.”
(From Kunio Tsukamoto (ed.), 'Seisho Senshu' — 'Postscript to the Clear Recitation') *Kanji characters have been changed to modern kana usage
“Compiling an anthology was a god-defying act of manifesting 'order,' 'beauty,' 'luxury,' and 'pleasure' in the dimension of linguistic art, and making them my own. What I first attempted long ago were 'Hyakku Sansan' (Kodansha) and 'Ocho Hyakushu' (Bunka Shuppankyoku); the former gathered the essence of modern haiku, and the latter the essence of ancient poems into one volume, indulging in appreciation by thoroughly following my own tastes. That was in 1974. Since then, regarding the classics, I have counted 'Setsugetsuka' (Yomiuri Shimbun), 'Ryoya Biman' (Kawade Shobo Shinsha), or 'Kimi ga Aiseshi' (Misuzu Shobo), and for those including both classical and modern, I have greedily piled up volumes such as 'Shika Bijutsukan' (Bungeishunju), 'Shugin Hyakushu,' and 'Jugyoku Hyakkasen' (Mainichi Shimbun). If one were to add similar hundred-selection works, the number of anthologies in the broad sense already exceeds a dozen. And with each and every one of these volumes, I have been accompanied by intense attachment as well as an indelible feeling of dissatisfaction, always waiting and hoping for a more satisfying, profound volume.”
“Regardless of whether they were included or not in the anthologies previously edited by me, Kunio Tsukamoto, and without concern for such matters, I spent about a year on the selection of poems, with the premise of thoroughly covering excellent poems and masterpieces. The title had been in my mind for some time. I proposed 'Seisho Senshu' without hesitation and obtained Mr. Sato's ready consent. The upper limit of the era from which to select poems was the latter half of the 7th century, the Hakuchi and Shucho eras, and I went through the period of the twenty-one imperial anthologies in detail, setting the lower limit at the beginning of the 1600s, the era of renga and haikai. I decided to select the essence of tanka from the latter half of the 17th century to the present on another occasion, and considered only the densification of the thousand poems in this book.”
(From Kunio Tsukamoto (ed.), 'Seisho Senshu' — 'Spring') *Kanji characters have been changed to modern kana usage
Akishino Gesshōshū, One Hundred Poems of the Grass of Folly, One Hundred Poems of the Hermit of Nishinomiya, Twenty Poems of Spring
1. In the dawn when the dream of winter fades, the reality of spring is the first thing I see. — Fujiwara no Yoshitsune
A work from the twenties of the 12th-century genius poet, author of the Shinkokinshū Kana Preface, and Regent of Gokyōgoku. This is the first of his one hundred poems, capturing the excitement of welcoming spring through the vivid correspondence between winter, spring, and reality. 'To be startled' here means to wake up. However, the author's characteristic touch lies in the fact that this 'spring' does not necessarily imply a time of diffusion. Yoshitsune held pen names such as 'Hermit of Nishinomiya,' 'Fisherman of the South Sea,' and 'Shikibu Shishō Akishino Gesshō.'
Kōgon-in Goshū, Winter, Morning Snow
2. The morning sun casting shadows on the snow-covered branches, glowing with color; now, indeed, I feel the spring of flowers. — Kōgon-in
The first prince of Emperor Gofushimi. He was enthroned by Hōjō Takatoki during Emperor Godaigo's visit to Kasagi, becoming the first emperor of the Northern Court, though he reigned for only two years. At thirty-six, he personally compiled the Fūgashū, a collection highly praised as a great imperial anthology, under the supervision of Emperor Hanazono. In 'Morning Snow,' he hallucinates the view of a peak blooming season in the snowscape illuminated by the sun. From the caesura at the third phrase to the connection with 'flowers,' the poem glows as if brushed with pale crimson. His poetic style, possessing both dignity and shadow, is outstanding.
Sōkonshū, 2, The Morning of the Second Day of the First Month, Eikyō 2
3. The clear sunlight does not fade, spring chills, and the light snow in the garden is fine and thin. — Shōtetsu
The highlight is the meticulous expression of the light snow's accumulation as 'fine and thin.' It is a cold, desolate scene, like looking at a dense ink wash painting. Shōtetsu was an outstanding poet of the first half of the 15th century, but he was disliked and not a single poem of his was included in the Shinzoku Kokinshū, the last of the twenty-one imperial anthologies completed in his era. However, in his personal collection, the Sōkonshū, his poetic soul and talent, which never ceased to yearn for the great poet Teika, shine with an extraordinary light.
Shinkokinshū 2, Spring I, Poems of the Beginning of Spring
4. Dimly, spring seems to have come to the sky; mist trails over Mount Kagu in the heavens. — Emperor Gotoba
The brilliant emperor who was the sole compiler of the Shinkokinshū. He excelled in both literature and martial arts, and his genius for waka was exceptional, especially from his one-hundred-poem sequence at age twenty. 'Mount Kagu in the Heavens' was written in the third year of Genkyū (1206) when he was twenty-six. It is a honkadori (allusive variation) of Kakinomoto no Hitomaro's poem: 'On Mount Kagu in the heavens, this evening, mist trails, spring seems to have arrived.' With its expansive second phrase and clean caesura at the third, the poem possesses the style of royalty and is likely one of the finest poems on the arrival of spring among the twenty-one imperial anthologies.
Poems of the Late Great Daitōin-den
5. Snow still lingers, wandering over the grass; hail scatters, and the spring wind grows hazy. — Shōhaku
Snow, hail, mist, and wind swirl in an invisible vortex above the newly sprouting grass. It is a mental landscape of early spring created solely by words. In 'lingers and wanders,' we see the ingenuity unique to a renga master. He loved peonies passionately and gathered them in his garden, hence his other name, Botan-ka (Peony Flower) Shōhaku. Born in Izumi and living in Ikeda, Settsu, he received the Kokin Denju (secret oral traditions of the Kokinshū) from Sōgi. Among the more than two thousand poems in his personal collection, the Shōmunsō, remain works that are newer than his master's, with brilliant contrasts of light and shadow.