横光利一「春は馬車に乗って」

―その重層構造の意味―

抄録

　Around the end of the Meiji era, Scandinavian writers such as Ibsen and Björson were introduced into Japan. Alexander Lange Kielland (1849-1906), one of the eminent writers of Norway, was introduced by Seiu Hashimoto. His “The Old Raven” was published in “Teikoku Bungaku” in 1906 (Meiji 37).

　In the following years, some of Kielland’s stories appeared in other literary magazines, such as “Bunshō Sekai”, mainly translated by Akira Maeda.

　It can be said that Riichi Yokomitsu submitted his practice pieces to “Bunshō Sekai” when he was a high-school student. He was an earnest reader of this literary magazine. It has also been said that he was fond of reading Kielland’s “Novelletter”by Akira Maeda. He often referred to Kielland in his essays.

　Sei Ito found a similarity between “Haru wa basha ni notte” and “Haabet er lysegrφnt”（“Kibō wa shigatsu midori no koromo o kite”,） one of the short stories in the “Novelletter”.

　My comparative study of these two stories establishes that the imagery of the title of the former seems to have been influenced by the latter. Reading other short stories in the “Novelletter” establishes other similarities between Yokomitsu and Kielland. One similarity is in the formal structure of Kielland’s work. “Haru wa basha ni notte”，which was influenced to some degree by the “Novelletter”，shows a similar structure.

　It can be said that this structure is the chief reason for the success of this autobiographical story.