RIREI
Chronicle
Chronicle 2
Chronicle 3
Chronicle 4
Chronicle 5
Chronicle 6
Chronicle 7
Afar Sayama Hills, West of Tokyo
Sekinan Library Data. Photo Main Street of Kunitachi City Tokyo Japan
Sunday, 14 September 2025
Monday, 8 September 2025
Afterword. From a far way off thinking 2021
Afterword
From a far way off thinking
後記
遠いおもいから華埜井香澄先生に関するこのささやかな論考を、たとえ未熟でもできるならば書いてみたいと思い立ったのはすでに数年前からであったが、昨年2020年夏に、どうしても書いてみたいとおもうに至った大きな契機となったのは、序でも述べたように、実弟でいらっしゃる華埜井究氏のお話しとお手紙に接したことによる。ご兄弟でなければ表わすことができない先生の生涯の大切な事実が、氏の短いことばの一つ一つから、先生みずからが話されているかように私に伝わってきたからである。一昨年2019年に突然お電話したことに始まり、ご多忙の中で、お手紙をいただき、また執筆への励ましまでいただいたことに、重ねて深く感謝を申し述べます。
2018年に論考を書きはじめたいとおもいたち、先生に関する資料を調べ始めたとき、半世紀前の個人資料を調べることは予想を超えて困難であった。昨年ふたたび思い立ったとき、先生が死去されるまで勤められた和光大学の、教学支援室、附属図書館等の方々が私の要望をこまかに聴いて下さり、 本務に多忙な中で、私のために倉庫・書庫等の資料を確認し、送付してくださった。私はこのとき、この論考の作成は、もはや私一人のものではないことを深く自覚した。華埜井先生の事績は、個人的な追憶を超えて、和光大学の方々にも、またそこに学ぶ若き学生の方々にも、大学草創期の一つの明確な記録となるのではないかと感ずるようになったからである。
丘の上の小さな実験大学が残した、草創期の先生方と学生、そしてそれらを支え援助した職員の方々すべての数知れない努力の蓄積は、学ぶことの尊さと、それを実現することがいかに困難であるかをすべての人に伝えるであろう。そしてそこからまたまったく新しい飛翔がなされるであろう。また私個人の半世紀を振りかえるとき、早逝した先生は、私にとってどのようなものであったかとみずからに問う。書き続けるうちにひとつだけはっきりとしたことは、先生の姿が私の青春と折り重なるように存在していたということであった。
一度も直接お話したことがなかった先生は、一面遠い存在であったことは確かだった。ただ八歳だけ年上の先生は、私にとって、当時はまったく未確定であった生涯の主題や研究、広くいえば学問全体に対する深いあこがれを、常に身近に具現しておられた存在として映っていたのでなかったか。フランスの語学と文学、そしてその底に沈む信仰。私の20代を魅了し続けたヨーロッパの近代。書くことecriture の方法と言語そのものの未知。華埜井先生の存在は、そのいずれにも深く係わっていたように今はおもわれる。私自身がそのころ、何ものをも持たなかったがゆえに、先生の静かで端正な姿から、一つの確立を、私には多分、年を経ても決してそのようにはなれないことを感じながらも、以後深い追憶として、存し続けたのではなかったか。
古希を過ぎ、今夏6月で74歳となる私にとって、華埜井先生は変わることなく、つねに若く、端正であった。人はときに、一見間接的であるように思われながら、深い意味を帯びた追憶をもつことがあることを、この論考によって少しでも伝えることができるならば、1966年にフランス文化使節として来日し、幸運にもそのテレビ放送を視聴できたフランスの哲学者ガブリエル・マルセル Gabriel Marcel 1889-1973 が1961年にハーバード大学で行った講演「人間の尊厳」で、「本質的な問いは、自分の生涯が、見慣れた風景のように背後に展開され、しばしば模索したり、偶然に左右されたりした過去の道程を回想できるようになったときに、個人的な形で、一人称でのみ初めて提出されうるものだといえると思います。」と述べているように、私は私の提出した問いに、答えることができたのでしょうか。
TANAKA Akio
東京
2021年3月20日
2021年3月20日
Wednesday, 3 September 2025
6 Questions on Language
6 Questions on Language
- What facts do Three Conjectures for Dimension, Synthesis and Reversion show us?
- How is the time alive in language?
- The days when I was thinking of Energy Distance Theory
- Why is boundary necessary in language?
- Where is the change's power or energy?
- Why do you think that language has structure?
RI Kohr (TANAKA Akio)
Tokyo
Tokyo
3 September 2025
RIREI
RIREI
Afar Sayama Hills, Tokyo
DUAN Yucai and WANG Guowei
日曜はよく晴れたので、路面電車に乗って古本屋街に出かけた。広い幹線道路を十分も行くと古本屋街に入る。街路樹のイチョウは 黄葉にはまだすこし早い。左右に並ぶ茶褐色の煉瓦の建物が古い石畳の歩道と調和している。むかしは都市線で来て、古ぼけたＤ駅で 降り、石畳の歩道を南下して古本屋街に入った。だから今は楽になった。路面電車の停留所からすぐ南に、よく行く中国書籍のＮ書店 がある。ルーティーンで歩くのがいちばん楽なので、いつの間にか同じ本屋に寄ることが多くなってしまった。 Ｎ書店はこの辺の本屋の通例で間口が狭く奥に長い。通路は二つ、書棚は四列。いちばん奥に店員がいる。以前一度うろ覚えの本に ついてその在庫をたずねたことがある。そうしたら分厚い目録を黙ってぽんと渡されて、困ったことがあった。それ以来あまり不用意 にたずねることはしない。 入口付近は一通り見ているので今日は奥に入っていく。目がうす暗さに慣れるのにほんのしばらく時間がかかる。年取った大柄でめ がねをかけた店員が、図書館へでも発送する荷物なのか、黙々と作業を続けている。置いてある伝票には未知の書名がならんでいる。 Ａは邪魔にならないようにして、そのすぐ前の本棚を見ることにした。 中段のちょうど目につきやすいところにあった、大冊のうすねずみ色をした表紙の甲骨文字の辞典に手を伸ばした。手に取るとずし りと重い。独特の油のにおいがする。今はむかしのようなほんとうの油印本というのは少ないのかもしれないが、中国の本には独特な においがある。中は黒い枠取りに縦に罫線が引かれ、そこに手書きの文字が印刷されている。文字のくずしはそれほどきつくない。手 書き文字の中には、あまりに達筆すぎて読みにくいものも多いが、これならばなんとかなる。 前書きが長いのでそのいちばん終わりを見てみると、この辞典を作るのに八年かかったと書いてある。前書きのあとの目録に見出し の甲骨文字がならんでいる。本文を見ると「字形結構不明」「義不明」と書かれているのがかなりある。正直で好感がもてるので買う ことにした。これだけ重いとこれから歩くのに不便だったが、帰りにもう一度寄るのもめんどうなので、そのまま買ってしまった。 向かい側の歩道をすこし南に行くと、古い二階立ての喫茶店がある。一階は事務所のようになっていて階段を上がると店になってい る。昼食をとらずに出たので、簡単に済ますことにした。客はいつもほとんどいない。これで大丈夫なのかなとおもうが、 まだ続いて いる。 窓から下を見ると、人々が急ぎ足で歩道を通って行く。本屋の人なのか、大きな竹製の荷台を付けた頑丈な自転車をこいでいく。と きおり路面電車が過ぎて行く。この風景はもう久しく変わっていない。彼はここで犀のようにひとり歩みさまよってきた。 彼が甲骨文字に興味を持ったのは、ずいぶん前になる。どんなものでも始原というのは心惹かれるものだ。ここから文字が始まった 、 それだけで充分な根拠となった。それからしばらくは入門書や解説を読んで過ごした。或る概念とそれを表わす図形、そのデフォルメ された描出が時代とともに変化していく。 しかしまもなくして、始原の前にはなにがあるのかとおもった。なにもない。なにもないところへ向かっていってどうなるのか。概 ii 念はだんだん単純化し幼稚になっていき、その先端にはなにもない。そうおもったらあまり続ける気がしなくなってしまった。 それから引越しなどがあり、幾冊か集めた本もいつか散逸した。それなのに最近また甲骨文字のことを気にするようになったのは、 花火の版画のためだった。その画面の流動を考えているうちに、図形には時間が内在する、それを甲骨文字が示していたからだ。 版画の中で、花火はつぎつぎに打ち上げられ開いてゆく。それが無限に小さな版画の中で繰り返される。閉ざされた時間の中の出来 事と言ってもいい。文字にもこうした閉ざされた時間が内在するかもしれないとおもった。 かつて王国維の観堂集林を見ていて、ひとつの文に出会った。それは「亙」という文字について書かれたものだった。この文字には 「わたる」とか「永続する」とかという意味がある。王国維は言う、その甲骨文字において、上下に引かれた 二本の水平な線は川岸で あり、その間に一艘の三日月型の小舟がある、小舟は両岸の間を行き来する、それで「わたる」とかその行き来が「くりかえし行なわ れる」という意味になる、と。 王国維が漢字の中に時間が内在することを構造として明示したと感じたとき、その精密な推論に打たれはしたが、そのときはそのま まに過ぎた。それが今、花火の版画によって白日の下によみがえってきた。 観堂集林を彷徨の日々にもとめたときは、かろうじてその一部を理解しえただけだったが、そこには、希望が一条の藁のように輝く ことが予感されていた。それが今現実となった。 観堂集林釈西において、「西」という字が鳥の巣であることを示し、史籒篇疏證では「中」という字が旗が風で同方向になびく状態 であることを示した。すなわち鳥は日没に巣に帰り、旗は集団の中心で風になびく。まさしく文字の中に時間がながれていた。特に 「中」の字形で旗が左右になびくものを同一の風では起こりえない現象だとして、その字形には伝写の誤りがあり、譌字であるとした。 王国維の文はどれも比較的短いが、割注の一点一点の資料がその背後に広大な史実を想起させる、めくるめくような 鋭い見解に満ち ていた。文学においても人間詞話で微細精密に言う、空中の音、相中の色、水中の影、鏡中の象、言に尽有りて意は無窮たり、と。言 語の有限と意味の無限に触れる。また言う、「細雨流光を湿す」の五字は皆能く春草の魂を撮るものなり、と。王国維は １８７７年に 生まれ、１９２７年に没する。研ぎ澄まされた天稟で近代を生きた、あるいはみずからが近代そのものを築いたのか。 部屋に帰ってもとめてきた辞典を通読しているうちに、「育」の甲骨文字に惹きつけられた。この字は上が出産する女性の形象、下 が生まれてくる子の形象ということがはっきりわかる。古形では従って子は逆さまに書かれている。資料によっては出産時の羊水を明 示しているものもある。つまりこの字の原義は出産そのものだが、出産後はすぐに養育が始まる。従って「そだてる」という意味が出 てくると記されていた。この文字に内在する時間という観念からすれば、出産の準備から出産そのもの、そして養育というふうにとる ことができる。 気になったので、この字についてあらためて、王国維が小学においてもっとも服膺した段玉裁の説文解字注で見てみると、逆さまの 子は善くないので、それを善くさせるべき意味を持つものだ、と書かれていた。その説明は、 「逆さまの子」という部分に原資料の面 影を残してはいるが全体としては抽象的で、原資料が持つ出産の具体的な経過を示す図形とそこに内在するとおもわれる時間からは、 かなり離れてしまったものになっていた。 稀代の碩学、段玉裁は１８１５年に没する。１８９９年発見の甲骨文字は遂に未見だった。
DUAN Yucai and WANG Guowei For the memory of Book shop streets at Kanda, Tokyo
DUAN Yucai and WANG Guowei For the memory of Book shop streets at Kanda, Tokyo
From Author;
This essay is translated by Google.
So ambiguous sentences are seen.
I humbly beg your pardon.
Original text is Japanese.
Refer to the next please.
https://hillswest.blogspot.com/2024/04/duan-yucai-and-wang-guowei.html
It was a sunny Sunday, so I took the tram and went to the used bookstore district. After walking along the wide main road for ten minutes, you will enter a used bookstore district. The ginkgo trees on the street are still a little early in their leaves turning yellow. The brown brick buildings on either side blend in with the old cobblestone sidewalks. Once upon a time, I took the City Line, got off at the old D station, and headed south along the cobblestone pavement into the used bookstore district. So it's easier now.
Just south of the tram stop is N Bookstore, a Chinese book store that I often go to. I find it easiest to walk as a routine, so before I knew it, I ended up stopping at the same bookstore often. N Bookstore is customary for bookstores around here, with a narrow frontage and a long back. There are two aisles and four rows of bookshelves. There is a clerk at the very back. Once before, he came across a book that he vaguely remembered and asked what it had in stock. Then, a thick catalogue was handed to me without a word, which caused me some trouble. Since then, I have not asked questions carelessly. I've looked all around the entrance, so today I'm going to go inside. It takes a while for my eyes to adjust to the dim light.
A large, old, bespectacled clerk continues to work silently on the package, probably to be shipped to the library. The slips that were left there are listed with unknown book titles. A moved out of the way and decided to look at the bookshelf right in front of it. I reached for the oracle bone dictionary on the pale grey cover of a large volume that was easily visible in the middle row. It feels heavy when you pick it up. It has a unique oil smell. There may not be many true oil-sealed books like those of olden days, but Chinese books have a unique sense of him.
Inside, there is a black frame with vertical ruled lines, and handwritten letters are printed on them. The lettering is not that bad. Many handwritten letters are so skilful that they are difficult to read, but this one is manageable. The preface is long, so if you look at the end, it says that it took eight years to create this dictionary. In the catalogue after the preface, there are oracle bone characters for headings. Looking at the text, there are quite a few that are written as ``the shape of the letters is quite unknown'' or ``the meaning is unknown.'' He decided to buy her because she was honest and likable. It was inconvenient to walk if it was this heavy, but I didn't want to stop by again on the way home, so I just bought it.
If you go a little south on the opposite sidewalk, you'll find an old two-story coffee shop. The first floor is like an office, and going up the stairs is a store. Since I left without having lunch, I decided to take it easy. There are always very few customers. I think this is okay, but he's still here. I look down from the window and see people rushing along the sidewalk. Perhaps he is from a bookstore, as he pedals a sturdy bicycle with a large bamboo carrier attached. he asked as the tram passed by. This scenery has not changed for a long time.
He has wandered here alone like a rhinoceros. He became interested in oracle bone script a long time ago. The origin of anything is fascinating. This is where writing began, and that alone was enough evidence. After that, I spent some time reading introductory books and explanations. A certain concept, the shape that represents it, and its deformed depiction change with the times. But soon I wondered what lay before the beginning. Nothing. What happens when you go to a place where there is nothing? Concepts become increasingly simple and childish, and there is nothing beyond them.
Once I thought about it, I didn't feel like continuing. Then I moved, and some of the books I had collected were lost. However, recently I have become concerned about oracle bone characters again because of the fireworks prints. As I was thinking about the flow of the screen, I realized that time was inherent in the shapes, and the oracle bone characters showed this. In the print, fireworks are launched and opened one after another. This is repeated in infinitely small prints. You could say that it happened within a closed period of time. I thought that this kind of closed time might exist in the written word as well.
He was once looking at Guantang jilin in the Kingdom of Wei, and he came across a sentence. It was written about the character ”``gen''``（亙）. This character has the meaning of "to cross'' or "to last forever". WANG Guowei says that in the oracle bone script, the two horizontal lines drawn up and down are the banks of the river, and between them is a small crescent-shaped boat, which goes back and forth between the two banks. SO the meaning became "to be repeated.'' When he felt that WANG Guowei had clearly demonstrated the immanence of time in kanji as a structure, he was struck by his precise reasoning, but at that time he was completely lost. Now, with the prints of fireworks, it has been brought back to light. When he returned to Guantang jilin during his wandering days, he could barely understand a part of it, but there was a feeling of hope shining like a ray of straw for him.
That has now become a reality. In the Guantang jilin, the character ``west'' indicates a bird's nest, and in the another paper, the character ``chu'' indicates that the flag is waving in the same direction in the wind. . That is, the birds return to their nests at sunset, and the flag flutters in the wind at the centre of the group. Time truly flowed through the words. In particular, the character shape for "zhong" (中), in which the flag flutters from side to side, is a phenomenon that cannot occur in the same wind, and the character form is said to have been erroneously copied and to be a ”wei” （譌）character.
All of the texts in WANG Guowei are relatively short, but each piece of information in the small annotation is filled with dazzling and sharp insights that evoke a vast historical reality behind them. Even in literature, we can say in fine detail in human speech, the sounds in the air, the colons in the sky, the shadows in the water, the image in the mirror, the will is limitless because words are exhausted. It touches on the finiteness of language and the infinity of meaning. He also says that the five characters in the phrase "drifting light to moisten the light"' capture the spirit of Spring grass. He was born in 1877 and died in 1927. Did he live in the modern era with his honed talent, or did he himself create the modern era?
When he returned to his room, he read through the dictionary he had picked up, and was drawn to the oracle bone character for "yu"（育）. It is clear that the upper part of this character represents a woman giving birth, and the lower part represents a child being born. In the old form, the child is therefore written upside down. Some documents clearly show amniotic fluid at the time of birth. In other words, the original meaning of this character is childbirth itself, but care begins immediately after birth. Therefore, it was written that the meaning of "to grow"' appears.
Considering the concept of time inherent in this character, we can understand him from preparation for childbirth to childbirth itself to child rearing. I was curious about this character, so I took a look at the explanatory annotations for the Duan Yucai, which WANG Guowei taught most in elementary school, and found that since an upside-down child is not good, it has the meaning of making it good. It was written that. Although the explanation retains some traces of the original material in the ``upside-down child'' part, it is abstract as a whole, and combines the original material's figures showing the specific process of childbirth with the idea that there is something inherent in it. It had become quite distant from the time when it was revealed.
Duan Yucai, a rare scholar, died in 1815. The oracle bone script discovered in 1899 had never been seen before.
April 04, 2024 Reprint
TAKEUCHI Gaishi Mathematician of Japan 1926-2017
TAKEUCHI Gaishi sent me the Road to Meaning through mathematics
My youth has been fond of mathematics since high school, but I have been frustrated over and over again, trying to keep him away, but because of the irresistible charm, I got hurt again and loses the power. It was a day I kept new feeling. It was come from TAKEUCHI's “What is a set?” published by Kodansha as a book of Blue Bucks in 1976.
This book explains the most basic concept of set in mathematics from Cantor, which was the starting point, to the latest in modern set theory in a very easy-to-understand manner. However, it may be necessary to annotate the expression that it is easy to understand .
As a second high school language teacher, I spent three years from 1976 to 1978 at Tokyo Metropolitan Ome Higashi High School in Ome City, Tokyo, where I met a young math teacher. He taught mathematics as a lecturer at Tokyo University of Science after completing a master’s course, but felt the limits of his abilities and chose to start again as a high school teacher and was assigned to Ome Higashi High School. He was thinking of taking a PhD at Kyoto University if he had the ability, but he told me that he hadn’t had the ability to do so. In such a story, when I told him about Gaisi Takeuti’s book, it seemed interesting, so he asked me to study together, so in my spare time after school, the blackboard In a room, he became a teacher and I became a student, and from the beginning of the book, the two of us examined the potential problems one by one.
One of the hearts of this book was to describe how the numbers 1-9 are generated by set theory. I couldn’t understand some of them by myself, so I asked him, a teacher with a blackboard on his back. After thinking for a while, he tried to write the solution on the blackboard, but he ran around and replied, “I don’t know this.” I couldn’t have understood that he was a university lecturer. He said it was “difficult” and the study of the day was over, which was the final study session of this set theory.
Since then, I have talked with him on various topics. He was always polite because I was a little older. He didn’t break his stance when I told him to speak more normally. In March 1979, I changed from the same school to a part-time job at Tokyo Metropolitan Agricultural High School in Fuchu City, and from April I became a major student in Wako during the daytime. He was soon transferred to Tokyo Metropolitan High School, one of the leading colleges in Hachioji, and one night he met him by train for the first time in a while. He asked me about the situation in the language department of the national university and told him what I knew. He certainly thought I would continue to study the language.
.....................................................................................................
The generation of numbers from 1 to 9 by set theory certainly contained something that I could not understand at the time. Even though he majored in mathematics, in the situation of set theory at the end of the 1970s, it seemed to be quite difficult to understand unless he was a specialist. Long after 2008, I wrote a Paper called Generative Theorem to answer this long-standing homework. I needed von Neumann Algebra von Neumann algebra at this time. This Paper is a little long, so I will show the Link destination below. I haven’t seen him who studied with him for a long time, but what are you doing?
GENERATION THEOREM
There is another memory in this generation from 1 to 9. I’ve written it several times, but to repeat it, it’s a conversation with Professor Eiichi Chino, who was studying structural linguistics when he was a research student at Wako. After the lecture one day, I suddenly had a conversation with the teacher near the entrance. The teacher asked me what I was studying now. When I replied that I was thinking about Professor Gaisi Takeuchi, who was devoted to it, and briefly thought about the internal structure of meaning, for example, how 1 to 9 are generated. Seriously, “Stop that, it’s not what we think, it’s what Wittgenstein and others think,” he said in an angry manner. I was surprised at the teacher’s reaction for a moment, but responded “I understand” on the spot.
The Prague Linguistic Circle of Prague was formed in Prague in the 1920s, where Sergej Karcevskij wrote “Asymmetric Duplexity of Linguistic Symbols”, which made predictions about the global structure of meaning in language, but then language. The pursuit of the semantic structure in was not finally made. Despite being one of the most important things in language, it was so difficult to find out what it meant.
After World War II, Roman Jakobson was building a conceptual anthropology in the United States, and he met Claude Levi-Strauss, who envisioned a new structural linguistics and blossomed there. Since it was difficult to pursue, we proceeded in the phonetic direction such as phonology or phonemes. Later in 1973, Jakobson wrote the Japanese translation of ESSAY DE LINGUISTIQUE GENERALE, Misuzu Shobo, 1973, in which he proposed the concept of semantic minimum, the central description of which is 137 pages in Japanese. From page 140, but on page 139, Jakobson states:
“If the study of word structure was limited to a list of grammatical meanings on the one hand and to phonemes and their underlying discriminatory special catalogues on the other hand, then a review of the sound aspects of a given language. In order to do so, the meaning itself should be correct, even if it does not matter, as long as the meanings are clearly distinguished from each other, and also in the study of conceptual aspects. , The expression of meaning itself would be correct to say that it does not matter as long as the meanings are distinguished from each other, but these two extremes never exhaust the linguistic material. . “
After that, we will move on to the theory of phonemes, which is the combination of phonemes. His perception at this time did not go into the internal structure of the meaning itself. It is probably difficult to hope for further progress in the usual way.
In summary, I think it is probably impossible to describe the structure of the meaning of natural language in natural language. Throughout the 20th century, the internal structure of meaning itself could not be pursued as a clear collection of logic. My conclusion is that if it could be pursued, it would have to rely on the super language of foundations of mathematics or the mathematics itself. Therefore, I chose the mathematical direction. Super language is now a field of logic, and I think its roots must still depend on mathematics.
But I have always paid close respect to Jakobson’s achievements. His book “General Linguistics” Misuzu Shobo, 1973 and “Language Sound Form Theory” Iwanami Shoten 1986 have been on my desk for quite some time. And the greatest benefit from him was strongly influenced by his semantic minimum meaning minimal body, and in 2008 I dedicated a piece of his Paper, From Cell to Manifold, to him.
CELL THEORY FROM CELL TO MANIFOLD FOR LEIBNIZ AND JAKOBSON
Let’s return to TAKEUCHI Gaishi.
It is “What is a set?”. For me, after reading this book, mathematics decided to consider the language. Professor Gaisi Takeuchi has shown to me the importance of continuing mathematics no matter how difficult it may be, and aiming for the difficult peak of meaning. I wrote his Paper called Growth of Word in 2006 and put the name of Professor Takeuchi in the title.
GROWTH OF WORD DEDICATED TO TAKEUCHI GAISHI
“Mathematics Seminar” February 2018 Special Feature Gaisi Takeuchi and Foundations of Mathematics Nihon Hyoronsha 2018, Professor Takeuchi’s idea “Similar to the sunset …” still keeps my heart strike. If I hadn’t met my teacher’s book, What is a Set, in 1976, my return to mathematics might have been delayed. I would like to quote a part of that essay below.
“When I try to remember my encounter with mathematics now, most of the things that come to my mind are not something that has been completed, and I couldn’t do it well no matter how hard I tried, or I missed it while thinking about doing it. It may be that my encounter with mathematics did not mean that I did not meet mathematics. “
” The wonderfulness of encountering mathematics does not diminish its appeal no matter how many times I meet it. “
TANAKA Akio
4 March 2021
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