著者

森谷 裕美子

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要. 文学研究篇 = The bulletin of the National Institute of Japanese Literature. 人間文化研究機構国文学研究資料館 編 (ISSN:18802230)

巻号頁・発行日

no.45, pp.183-200, 2019-03

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狐は歌舞伎と浄瑠璃によく登場する動物である。近世演劇において、狐はどのように登場し、どのような役割を果たしているのであろうか。拙稿では元禄期(宝永期を含む)を中心として、狐の関わる作品を概観しその特徴を考察する。狐の登場する作品は、元禄期を通じて頻繁に舞台にかけられている。作品を概観すると狂言の「釣狐」系統の作品が多いことに気づく。「釣狐」は、観客にとっても馴染み深く、話の筋にもあまり影響をもたらさずに一場面に取り入れることができ、利用しやすかったのではないか。役者評判記の評文を見ると、狐は滑稽な場面によく登場している。所作、軽業で演じられることも特徴の一つである。そして、日本古来の狐ではない「殺生石」以外においては、悪い狐は少ない。歌舞伎役者、大和屋甚兵衛は、狐の演者として評価が高く、甚兵衛により、狐の演技の基盤が作られたと言えるかもしれない。一方、浄瑠璃作品においては、善狐が多いものの、滑稽な場面が少ない。「丹州千年狐」、「天鼓」においては、狐の親子の情愛が描かれ、それは人間の感情とは変わることがない。神の使いでもあり動物でもある狐は、聖俗の両面があり、観客はいろいろな狐の姿を楽しんだ。The Fox is an animal that often appears in Kabuki and Jōruri plays. How fox appears in the early modern theater and what kind of roles did he played?In this article, we stepped back and looked at the big picture of works performed in the Genroku period (including the Hōei period) in which fox appeared. The works in which fox appeared were frequently performed during the Genroku period. We noted that Tsuri-gitsune (one of the works of Kyōgen) have been adopted in many works. Tsuri-Gitsune would had been easy to use perhaps because the work could be incorporated into a scene without affecting the story and since the audiences back then were familiar with the work. According to a review in the Yakusha-hyoban-ki (Reputation notes of Kabuki actors), foxes are commonly appearing in ridiculous scenes. They are also characterized by poses and movements almost danced as well as acrobatics. The bad foxes are few, except Sessho-seki which is not an ancient Japanese fox. A kabuki actor, Yamatoya Jinbee had a high reputation as actor playing a fox. Jinbee might had laid the groundwork of the fox's acting.On the other hand, in Jōruri works, there are many good foxes, but there are less ridiculous scenes. In Tanshu-sennen-gitsune and Tenko, the affections of the fox parent and child are depicted which no difference from human sentiments.Since fox had double sides as a secular animal and as a holy creature, the audiences must had enjoyed the various appearances of the fox in those days.

著者

一戸 渉

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要. 文学研究篇 = The bulletin of the National Institute of Japanese Literature. 人間文化研究機構国文学研究資料館 編 (ISSN:18802230)

巻号頁・発行日

no.45, pp.63-91, 2019-03

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本稿は白河藩第三代藩主にして、幕府老中首座を務め寛政の改革を主導した松平定信(一七五八~一八二九)の晩年における文事、とりわけ定信自身が「細写」と呼ぶ、主として豆本形態での歌書の写本製作活動の総体的把握を目指したものである。まず桑名市博物館所蔵のものを中心とする定信作製の細写本二十八点(現存未詳のものも含む)について整理を試み、適宜書誌解題を付した。続いて、定信が筆写した書物がほぼ歌書に限られていることから、歌書製作の伝統的様式としての豆本形態について概観した。更に、定信自身がこうした細写本製作をどのようなものとして捉えていたのかについて、定信の抱いていた文学観の検証と併せて、定信自身の言説と行動とのあいだに見られる落差や不整合に着目しながら一定の解釈を試みた。その結果、定信はつまるところ当時の倫理観とは相容れない要素を含み持つ王朝文学の風雅な世界を愛好しつつも、あくまで治者として係累や周囲のひとびとに自己を道徳的に見せようと心を砕いており、その結果として、一見すると矛盾や強弁にも見える言動を行っていたものと結論付けた。This article aims at a comprehensive understanding of the elaboration of the Kasho (Waka book) manuscripts by Matsudaira Sadanobu (1788 -1829), a daimyō of the Shirakawa Domain who served as chief of the council of Elders of the Bakufu and led the Kansei Reforms. Among his writings in the later years, we put weight on ones in the mame-bon (miniature book) style which Sadanobu called saisha (minutely written). First we organized 28 of the saisha manuscripts made by Sadanobu, mainly of the Kuwana City Museum collection (including extant unidentified ones), and attached bibliographical information when necessary. Subsequently, we reviewed the mame-bon style as a traditional style of kasho manuscript making since books handwritten by Sadanobu are almost limited to kasho.We tried to obtain certain interpretation on Sadanobu's perspective toward the roles the manuscript making played in literature together with the validation of Sadanobu's view of literature, while paying attention to differences and or inconsistencies between Sadanobu's discourse and his behavior. We concluded that contradictions and or bullish claims might have been seen in his behavior due to the differences between his duties and his personal preferences. Specifically, Sadanobu had to represent himself morally as the ruler to his dependents and to people surrounding him while he loved the elegant world of dynasty literature which had incompatible elements with the ethics of the time.