著者

野田 康文

出版者

日本比較文学会

雑誌

比較文学

巻号頁・発行日

vol.42, pp.7-21, 2000

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<p> In Ōoka Shohei's <i>Musashino Fujin</i> (<i>The Lady Musashino</i>, 1950), the preceding literary texts by Radiguet and Stendhal appear in the form of quotation or hint, and those texts organically relate to the contents and constitution of the plot of Ōoka's story. This paper seeks to examine the intertextual aspects of Ōoka's creative methodology, focusing in particular on the relationship between <i>Musashino Fujin</i> and Stendhal's <i>La Chartreuse de Parme</i> (<i>The Charterhouse of Parma</i>, 1839).</p><p> In part one, in order to demonstrate the importance of analyzing <i>Musashino Fujin</i> in relation to <i>La Chartreuse de Parme</i>, I look at the ground swell of interest in Stendhal's works in Japan after World War ll, as well as the parallel relationship between Ōoka's translating of <i>La Chartreuse de Parme</i> and the structuring of <i>Musashino Fujin</i>. In addition, I give examples of how the text of <i>La Chartreuse de Parme</i> is interwoven in the text of <i>Musashino Fujin</i>.</p><p> In part two, by comparing the different usage of the theme of "vow" important to the latter half of both works, I analyze the divergence in narrative created through this interweaving of texts. In contrast to <i>La Chartreuse de Parme</i> in which a tragedy comes as "the punishment of God" after a vow made to the Madonna is broken, in <i>Musashino Fujin</i> a tragedy as "the accident" occurs when the attempt is made to uphold a vow undertaken in the absence of God. In conclusion of these analyses, I suggest that while the text of Stendhal's <i>La Chartreuse de Parme</i> is woven into the text of <i>Musashino Fujin</i>, Ōoka plays with the meaning of the theme of "vow" in order to emphasize differences in culture and periodization existing between the texts in a critical manner.</p>