鏡花の創作方法

Abstract

This study was initiated from a question of the existing study considering Kannen Shosetsu(ideological novel) as the starting point of Kyoka’s literature. In this study, it examined the characteristic of Kyoka revealing in manuscripts excluded Koyo’s corrections among focusing on 10 pieces of manuscripts written in his own hand and corrected by Kyoka’s teacher, Ojaki Koyo, which are「Kurokabe」,「Giketsukyoketsy」,「Tsunbonoitsin」,「Hinminkrabu」,「Torikaji」,「Dabiso」,「Kaigo」,「Obentosanningmae」,「Hebikui」「Gamahousi」among Izumi Kyoka’s early works written in the 20’s of the Meiji era. Kyoka is distinctive in the tendency to develop works with familiar materials happened close to him and what is peculiar is to use a same material or episode repeatedly into several works. Also he makes a new story by mixing such material and episode in various ways and sometimes, he reflects his own image as the writer in a multi-layered way.「Kaigo」is a representative example in which various materials and images were used in a multi-layered way. This is the characteristic not only confined to his early works but also found in the works such as「Kusameikyu」and「Yukarinonna」written after the middle period. In that respect, this can be considered as Kyoka’s method for creation of novels and it shows that the peculiar method of Kyoka’s own had already somewhat established in his early works. From this point of view, such opinion to consider the so-called ideological novel represented by「Yakoujunsa」or「Gekasitsu」as the starting point of Kyoka’s literature or the existing appraisal to understand Kyoka’s literature changed from ideological novels to romantic and fantastic works will have to be reconsidered.