<金太郎もの>草双紙考 -『貧福交換欲得』･『大江山酒顛童子談』を主軸に-

Abstract

The character of Kintaro in the early Kusazoushi are maintained until the late Kusazoushi to establish the genealogy of Kusazoushi of "Kintaro's group". In this context, I was able to trace traces of the absorption of his son, Sakatano Kintoki, in the typical representations of Kintaro Sakata's childhood and the extermination of ghosts, although they are few, from the early Kusazoushi. Then, Syunba’s Gokan "Hinpuku-torikaebaya" printed in the 1845, the representations of father and son become united. Kinpira, who appears in all four scenes in a way that deviates from the main plot, borrows the image of his father, Kintoki, as a heavy drinker, fearless, and the extermination of ghosts, and develops a new story that has nothing to do with the existing legend. Sakatano Kintoki in Ikku’s Gokan “Oeyama-shutendojidan” published in 1820, develops a story that conforms to the image of fearless, and the extermination of ghosts through all 10 scenes. In other words, the characters from the world of the Shutendoji story were used as the basis for a multilayered weaving of characters from other worlds as well. They mix historical facts by adding hypothetical people and events to historical figures and events, or by borrowing historical figures that do not match their time periods or ages. Thus, as one end of the "Kintaro's group" lineage, in the late Edo period, "Kintaro's group" Gokan was created in which Kintoki or Kinpei contributed to the plot as supporting role.