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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