著者

諏訪 春雄

出版者

学習院大学

雑誌

調査研究報告 (ISSN:09196536)

巻号頁・発行日

vol.18, pp.1-17, 1984-03

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Theゴσγ癖(浄瑠璃ballad-drama)Kanαdehon C肋曲勿g%γα(仮名手本忠臣蔵), was first performed in 1748. It was a work comprised of and incorporating previously performed kabuki(歌舞伎)and jo"rzari based on the vengeance of the forty-sevenγσ%勿(浪人masterless samurai)of Ak6(赤穂),acastle town in Harima(播磨)province, and influenced in tu「n'the develoPment oM々σγδs乃∫9襯(赤穂浪士劇), or plays about the forty-sevenアδπ勿. Kanadehon C航s伽g%γαwas adapted for both励嘘ゴand%勿gyδshibai(人形芝居puppet theater). It also proved to be a favorite subject for novels, and was recast in the various literary modes that emerged in the Edo period, such as ukiyozoshi(浮世草子genre stories), yomihon(読本readers), sharebon(洒落本risqu6 stories), gokan(合巻 bound-together volumes), kibyo'shi(黄表紙"yellow-cover"picture booklets), kolekeibon(滑稽本humorous stories), and%吻励oπ(人情本human・interest stories). Representative examples of these various literary modes are examined in tracing the adaptive changes in Kanαdehon Chu-,shingura. To summarize, the purposes of this article are to compare these modes, includingゴσ剛γゴand kαbuki, for which Kanadehon Chu-shingurα was adapted, in order to elucidate the differences between the novelistic and dramatic renditions of this work;to distinguish the salient characteristics of the various literary modes which emerged in the latter half of the Edo period;and to show, by analyzing the complex pIot of Kanadehon C厩s痂π9%γα,・how thel national /character of the Japanese peoPle was popularly interpreted in the Edo period. A丘nal objective is to clarify「how the novelists of the time, who constituted an inte11ectual elite, and their readers conceptualized and interpreted the tale of the forty・sevenγσ7¢〃¢.