近世文藝

『葛の松原』の語る「古池」句について

―付・関連資料の報告二件―

深沢眞二

2023 年 116 巻 p. 1-14
発行日: 2023年
公開日: 2023/01/31

DOIhttps://doi.org/10.20815/kinseibungei.116.0_1

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I give a new interpretation of how to understand the episode of the birth of the “Furuike” verse mentioned in Kuzu-no-Matsubara, taking on Yasuyuki Nakamori’s recent research into Shikō. In this paper, I suggest that the volume of Kuzu-no-Matsubara is recognized as a work of theory that reflects Bashō’s view of “haikai” in his last years, and that received Bashō’s consent on its publication. In Bashō’s last years, there was a stance of seeking possibilities for, and evaluating, diverse interpretations of “hokku” with his pupils. Hence the episode of the birth of the “Furuike” verse discussed by Shikō was not a fact; rather, it was something that Shikō interpreted freely and used in his explanation of “Kajitsu” theory (the theory on the method vs. content of an expression), gaining the approval of Bashō. Furthermore, based on the research by Akira Morikawa in recent years, I report on two pieces of material relating to the Chiyokura family in Narumi of Owari province: Mizu-no-oto, the book published by Shiseki in Ryōta’s pupilage, and Narumi-shōmon-sagen, an essay written by Andō Naotarō. Both pieces of material are relevant to the poem slip Shō-ō-shinseki passed down by the Chiyokura family, and I investigate the issue of the addressee, “Chisoku-sama”.

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『拾遺御伽婢子』作者をめぐる一考察

―柳糸堂と夏目氏―

小田島由佳

2023 年 116 巻 p. 15-26
発行日: 2023年
公開日: 2023/01/31

DOIhttps://doi.org/10.20815/kinseibungei.116.0_15

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Shūi-otogi-bōko Volume 5 Part 2 “Gishi-chūshi (Retainer’s death of loyalty)” more or less coincides, in recorded content, with material thought to have originated in the Natsume family. On the other hand, among the military records thought to have circulated at the time, there is no sign of a detailed record of the death in battle of Natsume-Yoshinobu.
Volume 1 Part 5 “Matsugo ni zaigō wo arawasu sō (Priest who exposed his sin at his end)” identifies temples and centers on content criticizing avaricious acts by priests. A descendant of Natsume-Yoshinobu’s third son, Nobutsugu, during the Genroku Era, was feudal lord of the area around Senkō-ji Temple, which features as stage in Volume 1 Part 5. Also, it can be assumed that Nobutsugu’s family residence was near to present-day Ishiwara in Sumida Ward, and that is not contradicted by the location given for the author in the preface.
From those points, I concluded that the probability is high that Genroku-Era hatamoto, Natsume-Yoshiakira, is the author, “Ryūshidō”. Through a method of slipping military stories into tales of the mysterious, it is likely attempting to celebrate the military feats of the ancestors. This work can be described as testimony for the involvement of hatamoto-level warriors in ukiyo-zōshi creation during the Genroku Era.

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『本朝酔菩提全伝』の再検証

―岩芝をめぐって―

小林俊輝

2023 年 116 巻 p. 27-42
発行日: 2023年
公開日: 2023/01/31

DOIhttps://doi.org/10.20815/kinseibungei.116.0_27

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Santō Kyōden’s yomi-hon, Honchō-suibodai-zenden has been discussed centering on Ikkyū to date, and has been given a low appraisal from the aspect of its composition. This paper newly focuses attention on “Iwashiba”, who, like Ikkyū, appears in every part, and reconsiders the composition of the work centering on both characters.
In the first section, I show Iwashiba’s position, along with Ikkyū, as “traverser” stepping across the short stories in the work, and highlight how the whole world inside the work is supported by both of them.
Following on, in the second section, I discuss how the work possesses an aspect of “biography” of the two, since characters given detailed depiction throughout the work in both text and illustration are limited to Ikkyū and Iwashiba.
Finally, in the third section, I confirm, from the characters who appeared in the previous work, Inazuma-byōshi, that it is bound by Buddhist salvation, and indicate that the unfolding storyline of Bukki-gun is projected onto the scene where Iwashiba, the root of all evil, receives salvation from Ikkyū. By carrying out a re-examination bringing in Iwashiba in this way, I reached the conclusion that Honchō-suibodai-zenden is a yomi-hon work that has a composition deserving re-evaluation.

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シンポジウム「〈見せる／魅せる〉近世文学」報告

金子馨, 長田和也, 中西保仁, 林知左子, アレッサンドロビアンキ, 南清恵, 加藤弓枝, 木越俊介

2023 年 116 巻 p. 43-57
発行日: 2023年
公開日: 2023/01/31

DOIhttps://doi.org/10.20815/kinseibungei.116.0_43

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シンポジウム「〈見せる／魅せる〉近世文学」傍聴記

石上阿希

2023 年 116 巻 p. 59-68
発行日: 2023年
公開日: 2023/01/31

DOIhttps://doi.org/10.20815/kinseibungei.116.0_59

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