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
松原 哲子
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.117, pp.1-15, 2023 (Released:2023-07-31)

As a result of analyzing the paper used in early-period “kusazōshi” and cheap late-period “kusazōshi”, I show that it is likely from the black pieces in the paper, the presence of fiber clusters, etc., that “kusazōshi” fundamentally used recycled paper for the main text paper from their outset. In addition, having found largish impurities originating from blades of the riceplant here and there in “kusazōshi” paper, I point to a supposition that blades of the rice plant were used as a material. Impurities originating from wastepaper and blades of the rice plant create irregularities in the condition of the printing. However, in the paper used for “kusazōshi” – far from being called good in quality - I was able to confirm the presence of rice starch granules. Rice starch granules were normally added to improve the quality of the printing, but their discovery in early-period “kusazōshi” and cheap late-period “kusazōshi” is in amounts too low to be effective. This was paper of a quality where impurities having a negative effect on the printing were not removed. Taking into consideration that fact, I recognized that these rice starch granules were not added, but somehow got incorporated during the paper-making process. As this shows, “kusazōshi” were born as ephemeral publications also from the aspect of paper quality, and continued to develop along those lines.
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
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.