「角田柳作が語りかけるもの」（２） ｜ パネルディスカッション ドナルド・キーン（コロンビア大学名誉教授）：結果の1つは、アジアはわからないところだと、われわれと関係のないところだという間違った考え方です。もう誰もそういう話はしないです。あるいはヨーロッパのことを少しないがしろにすることもあります。例えば、私が初めて日本文学を教えていたころは、『源氏物語』の話をしたら、ルイ14世の宮廷のことを考えてください、と言いました。ルイ14世の非常に華麗な宮殿があったことを知って、似ている面もあると思いましたが、今、平安朝を教えていると、ルイ14世を知らないという人が多くなりました。それは一時的な現象かもしれませんが、とにかくド・バリーさんが始めた仕事、つまり『日本思想の源泉』などで、西洋の思想について考え方が随分変わったと思います。もう東洋を無視することはできなくなりました。 内海孝（東京外国語大学教授）：先に皆さんに少しずつ自己紹介を兼ねてお話をしていただき、その後にディスカッションに移りたいと思っています。次は、角田柳作からすると孫弟子になります、キーン先生の愛弟子である東アジア図書館のエミー・ハインリック館長にお願いします。 エミー・V・ハインリック（コロンビア大学東アジア図書館館長）：The first half of my heritage from Tsunoda sensei comes from being Professor Keene’s student, the student of his student. I was also De Bary sensei’s student and was reminded by watching him speak just now that when I transferred to Barnard College, my brother had just graduated from Columbia University and had taken the core curriculum course that Professor De Bary developed. My brother said, “if you want to consider yourself educated in the second half of the 20th Century, you need to know about Asia. Here are my books, take this course”. The second half of the course I read genji mono gatari and waka and I was hooked. I think the teaching methods of both Keene sensei and De Bary sensei, in their different ways, derive from the teaching of Tsunoda sensei. I remember with particular clarity taking a final examination in Professor Keene’s course on classical Japanese and being requires to translate a waka I had never seen before. Keene sensei provided the meanings of words we may not have known, but the examination required the students to find the meaning of the poem, which is of course a different thing. I remember how happy I felt finding out that could actually read a poem I had never seen before. I went out and bought myself a present in celebration. It is not a coincidence that I think of Tsunoda sensei and poetry at the same time, and I will say a little more about that in a few moments. Overall, the most enduring and pervasive portion of Professor Keene’s teaching and I think this does derive form Tsunoda sensei, was respect for the subject matter. In fact, in the same class on classical Japanese, I remember Keene sensei warning a student about to translate a poem in class, “be careful, this is one of my favorite poems”. And I can still remember the first waka I memorized in that class by Ono no Komachi [japanese, 12:00]. The point that De Bary Sensei made and that Donald Keene makes is that the learning is not just in the mind, it is in the heart as well. As Professor Keen’s students, we were expected to be careful always and to treat the literature we were learning with respect. Furthermore, Professor Keen encouraged me to engage in my research on a personal level. I was not only to study tanka as an observer, and my dissertation topic was the tanka of Saito Mokichi, but was encouraged to try to write it myself as a way to more fully understand the structure of the form. It frightened me, very much, it took me six months to finally do it. It frightened me, but I did join a tanka kai, and I imagine that this insistence upon the full experience of the subject of one’s study might derive as well from Tsunoda sensei’s teachings. Twenty years ago I joined the staff of the C. V. Starr East Asian Library at Columbia University, and have been the Director of the library for 18 of those years. During the course of my work there, I have learned of the great importance of Tsunoda sensei’s achievement. His work in building the collection is well known and well documented by the fine scholars who are participating in this celebration of his life. But it is not only at Columbia and at Waseda that his memory is honored. I was recently at a conference on the development of East Asian library collections in the United States, at the University of California at Berkeley, where many library directors discussed the history of their collections. Tsunoda sensei’s name came up often in relation to the founding of Japanese Studies and Japanese library resources in the United States. He was ahead of his time in many ways, and prescient in his understanding of the need to educate Americans about Japan. Columbia’s Japanese collection was one of the first in America, and remains one of the best. The donations of books he solicited for the library remain central to the collection. Among the materials are those he solicited and received from the Imperial Household Collection, Edo period publications covering the Japanese intellectual tradition from the earliest histories – the Kojiki and the Nihon Shoki – through the Imperial poetry anthologies, the Kogetsusho as edited by Kitamuri Kigen, through Tokugawa period instructional texts. In a remarkable essay about this collection of materials, Tsunoda Ryusaku wrote: “a lucid distillation of the history of the Japanese literary and intellectual traditions. It is maybe eight pages, and it starts at the beginning, and goes to the Tokugawa period, and you feel that nothing has been left out.” So I was not surprised to learn, as I recently read, that when Tsunoda sensei was arrested in 1941 on suspicion of being a spy, the examining judge ended by asking him if he was a poet. Japanese poetry itself revels in, and excels in, distilling experience, and Tsunoda sensei seems to have excelled in distilling knowledge. Finally, I would like to end by saying that I derive great satisfaction in receiving as a legacy from Tsunoda sensei the combination of scholarship and librarianship. It was his gift to Columbia that the two endeavors seem to be intimately connected, and I am honored to have this opportunity to honor his memory for that endowment of Tsunoda sensei to Columbia University.