近世文藝

草双紙の本文料紙の紙質

―高精細デジタル顕微鏡の観察結果を手掛かりに―

松原哲子

2023 年 117 巻 p. 1-15
発行日: 2023年
公開日: 2023/07/31

DOIhttps://doi.org/10.20815/kinseibungei.117.0_1

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As a result of analyzing the paper used in early-period “kusazōshi” and cheap late-period “kusazōshi”, I show that it is likely from the black pieces in the paper, the presence of fiber clusters, etc., that “kusazōshi” fundamentally used recycled paper for the main text paper from their outset. In addition, having found largish impurities originating from blades of the riceplant here and there in “kusazōshi” paper, I point to a supposition that blades of the rice plant were used as a material.
Impurities originating from wastepaper and blades of the rice plant create irregularities in the condition of the printing. However, in the paper used for “kusazōshi” – far from being called good in quality - I was able to confirm the presence of rice starch granules. Rice starch granules were normally added to improve the quality of the printing, but their discovery in early-period “kusazōshi” and cheap late-period “kusazōshi” is in amounts too low to be effective. This was paper of a quality where impurities having a negative effect on the printing were not removed. Taking into consideration that fact, I recognized that these rice starch granules were not added, but somehow got incorporated during the paper-making process.
As this shows, “kusazōshi” were born as ephemeral publications also from the aspect of paper quality, and continued to develop along those lines.

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常磐津「男江口女西行　花吹雪富士菅笠」考

―富士太郎と廓咄を中心に―

古川諒太

2023 年 117 巻 p. 17-29
発行日: 2023年
公開日: 2023/07/31

DOIhttps://doi.org/10.20815/kinseibungei.117.0_17

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Tokiwazu “Otoko-Eguchi-Onna-Saigyō-hanafubuki-Fuji-no-sugegasa”, which was first performed as the first number in Koizome-Sumidagawa at the Edo Ichimura-za in the third month of Hōreki 8 (1758), is a dance drama incorporating content from the Noh Eguchi into the world of Fuji-Asama-mono, with tales from the pleasure quarters as highlight. This piece is epochal in that it uses a youth called Fujitarō as the vengeful protagonist who did not appear in preceding Fuji-Asama-mono. After its first performance, the piece was reperformed many times, was adopted by many “kibyōshi” and “gōkan”, and Fujitarō even became named as the main role of Fuji-Asama-mono in Sekai Kōmoku; so great can we consider its influence upon the formation of the world of Fuji-Asama-mono. Also, the shikata-banashi method of oral and physical expression used in the tales of the pleasure quarters in this piece links to the performing arts since Genroku Kabuki, yet this piece also uses multilayered devices such as yatsushi and kakikae. We can also see this method of multilayered physical expression used in later shosagoto representative of Tenmei Kabuki, including several shosagoto composed by Nisōji.

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『戯動大丈夫』『通者茶話太郎』の成立に関する一考察

―寛政期「河太郎物」の刊行計画と丸派の狂歌師―

野澤真樹

2023 年 117 巻 p. 31-44
発行日: 2023年
公開日: 2023/07/31

DOIhttps://doi.org/10.20815/kinseibungei.117.0_31

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This paper handles the issues regarding the creation of Taware-masurao and Suiha-chawatarō.
Due to the existence of a different version of Suiha-chawatarō housed in the Tokyo Metropolitan Library, there is a high possibility that the text of Suiha-chawatarō was revised before its publication in Kansei 8 (1796). “Hokku” and “kyōka” by multiple composers are recorded in the illustrations of each volume of Taware-masurao and Suiha-chawatarō. Seeking the origins of both works from the “hokku” and “kyōka” authors and the names in the forewords and postscripts, in Suiha-chawatarō we can see features revealing the involvement of “kyōka” masters from the Gan-pa school, and for that reason we can surmise that revisions to the text were made to avoid publication without permission and subsequent suppression.
There is a record in Osaka-honya-nakama-kiroku regarding a work called “Yawa-Tarōichidaiki” as a similar kind of work to Kawatarō-ichidai-banashi which had permission for publication rejected. It has long been considered the predecessor of Taware-masurao. However, from the statements made in the work, there is a possibility that Taware-masurao was produced assuming publication without permission, so that it is more likely that “Yawa-Tarō-ichidaiki” provided the base rather for Suiha-chawatarō.

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『斯波遠説七長臣』考

小笠原広安

2023 年 117 巻 p. 45-58
発行日: 2023年
公開日: 2023/07/31

DOIhttps://doi.org/10.20815/kinseibungei.117.0_45

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Shibaensetsu-shichininkarō (published Bunsei 4; 1821) is a “yomihon” of 5 kan / 6 satsu and is an Oie-sōdōmono (stories of feuds within samurai families) based on Sugawara-denju-tenaraikagami, etc. Although its frog monster draws attention, it has received low acclaim to date.
However, the true villain is concealed until the last part (kan) of the story, and this device of a surprise ending could be called a new departure in “yomihon”. I investigate how initially, this work was scheduled to be published by a different publisher in a total of 9 kan, and due to the sudden change, the 5 kan were written hurriedly. Next, I focus on the illustration and Chinese poem placed at the beginning of the 4^th kan, and demonstrate how the “Sewing corpus” of 7-5 meter is used in the scene that corresponds to the illustration, and how the Chinese poem is cited from Qing poem Nulang-ci, etc., seeing a perspective toward women. The advertisement at the end of the work for “Senjokō” fragrance, of the shop of Ōshima Den’emon, one of the publishers, also suggests an awareness of female readers. It also introduces Tamenaga-Shunsui’s critique of Kokuga, indicating the artistic contact between the two of them. In these ways, I show this work to be an ambitious work by Kokuga seeking new expression, and planning an expansion of readership.

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太閤記物の切附本における種本利用に関して

伊藤美幸

2023 年 117 巻 p. 59-72
発行日: 2023年
公開日: 2023/07/31

DOIhttps://doi.org/10.20815/kinseibungei.117.0_59

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In this paper I point out “kiritsuke-bon” of Taikōki-mono which have each of “yomihon”, “gōkan” and “jitsuroku” as source books. I consider the changes from the aspects of both main text and illustration using an example of a “kiritsuke-bon” with “jitsuroku” as source book.
As a result of comparison with preceding works, I am able to confirm Mashiba-gunkōki, Mashiba-kunkōzue and Hashiba-unshōroku as “kiritsuke-bon” with “yomihon” Ehon-taikōki as source book, and Ehon-taikōki (Shoendō version) as “kiritsuke-bon” with “gōkan” Kanayomi-taikōki as source book. Although these “kiritsuke-bon” have copy and paste-type excerpts from the text of the source book, I am able to identify differences in perspective in their selection, as well as confusion of multiple source books. It is clear that there is no simple oneto- one correlation between source book and “kiritsuke-bon”.
Also, in “kiritsuke-bon” Hiyoshimaru-tanjōki that has “jitsuroku” Shinsho-taikōki as source book, changes are seen in the main text that assume the establishment of typical ways of depicting themes, suggesting a situation where stories were shared among readers of the time. I also recognized direct use of “jitsuroku” in “kiritsuke-bon”, which shows the nature of “kiritsuke-bon” as disseminators of “jitsuroku” and “kōdan”.

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日本近世文学会創立七十周年記念シンポジウム「独自進化する？日本近世文学会の研究―回顧と展望―」報告

中嶋隆, 山本嘉孝, 河村瑛子, 陳捷, ボナヴェントゥーラルペルティ, 廣瀬千紗子, 飯倉洋一, 藤原英城

2023 年 117 巻 p. 73-90
発行日: 2023年
公開日: 2023/07/31

DOIhttps://doi.org/10.20815/kinseibungei.117.0_73

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日本近世文学会創立七十周年記念シンポジウム覚醒するゆりかご―「創立七十周年記念シンポジウム」傍聴記

篠原進

2023 年 117 巻 p. 91-97
発行日: 2023年
公開日: 2023/07/31

DOIhttps://doi.org/10.20815/kinseibungei.117.0_91

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日本近世文学会創立七十周年記念シンポジウム「独自進化する？日本近世文学会の研究―回顧と展望―」傍聴記

岡部祐佳

2023 年 117 巻 p. 99-106
発行日: 2023年
公開日: 2023/07/31

DOIhttps://doi.org/10.20815/kinseibungei.117.0_99

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