著者
佐藤 温
出版者
日本近世文学会
雑誌
近世文藝 (ISSN:03873412)
巻号頁・発行日
vol.103, pp.41-57, 2016 (Released:2017-04-28)

Shunurō-shi-shō (1854) is a collection of poems by Fujimori-Kōan, a Confucian scholar of the late Edo Period. Several editions of the collection are imperfect because they were partly deleted by censors. Those editions can be classified into two types; the completely censored editions and the approximately reinstated ones which were revised in the early Meiji Period. Censorship of this poetry collection had been conducted under the guidance of the Shōheizaka Academic Institute until around 1857. Shunurō-shi-shō was checked by this agency because in some poems the author used unacceptable words and phrases related to the foreign powers which then threatened to overthrow the status quo. But as the standards of censorship were very arbitrary, the real aim of the authorities must have been not only to suppress his poems but also to degrade Kōan himself who gained reputation as an imperial loyalist. In other words, they censored his literary work as a way to prevent his political influence from becoming greater through it.
著者
荻原 大地
出版者
日本近世文学会
雑誌
近世文藝 (ISSN:03873412)
巻号頁・発行日
vol.107, pp.31-42, 2018 (Released:2018-07-31)

The legend of Sakura-Sōgorō, a farmer hero in the early Edo Period, is made into numerous stories which can be classified into the two series called “Sōdōki” and “Jizōdō.” Each of the series is further divided into three subgroups. Sakura-kajitsu-monogatari belongs to the subgroup C of the “Sōdōki” series. The little known text is pivotal in the development of the legend because of its humanistic treatment of the hero. Indeed Shōtei-Kinsui wrote his “yomihon” novel Chūyū-asakura-nikki under its inspiration. The article will draw a whole constellation of stories created from the legend and then explore its influence on popular fiction in the Edo Period.
著者
真島 望
出版者
日本近世文学会
雑誌
近世文藝 (ISSN:03873412)
巻号頁・発行日
vol.105, pp.1-15, 2017 (Released:2017-07-31)

Suzuki-Nagayori is a highly cultured master carpenter who served the Tokugawa shogunate in the early Edo Period. The carpenter became versed in poetry written in Chinese through his close relation to Hitomi-Chikudō with whom he was engaged in exchanging poems. He was instructed in waka poetry by Shimizu-Sōsen who made helpful comments on his works. He sometimes collaborated with both mentors to hold poetry exhibitions as if to embody the contemporary literary tendency of making no distinction between Japanese and Chinese writings. Suzuki also compiled a history book in the form of a comparative study of Japan, China, and Korea. He modeled it on the compilation of national history by the Hayashi clan which then caused a fad for writing history in a poetical style. In the same method he edited a poetry anthology which was remarkable for his innovative attempt to include Korean poems. In this way he played an important role in widely popularizing the Hayashi clan’s academic knowledge. His career as an intellectual will provide excellent material for studying Edo culture during the Genroku and the Kyōho Periods.
著者
吉田 宰
出版者
日本近世文学会
雑誌
近世文藝 (ISSN:03873412)
巻号頁・発行日
vol.112, pp.13-26, 2020 (Released:2021-01-31)

Nenashi-gusa (1763) is Hiraga-Gennai’s drama which was based on the death by drowning of Ogino-Yaegiri, an “oyama” kabuki actor. In the drama a kappa (a Japanese water goblin) plays an important part as a guide who sends Yaegiri to hell. There is an illustration of the kappa in the fifth volume, but very little has been said about it except in Teiri Nakamura’s Kappa-no-nihon-shi (1996). It is very likely that the author borrowed the illustration from Gotō-Rishun’s Zuikan-shashin (1757) with the aim of entertaining his acquaintances who must have noticed that it implicitly referred to the reported appearance of a kappa in the year before the publication of the drama. In addition to an analysis of the illustration, this article explores the structural similarity between Nenashi-gusa and its sequel, the probable influence of the author’s personal relations through herbal medicine on the formation of the drama, and so on.