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狐の嫁入物黄表紙『ひでりあめきつねのよめいり』二種小考

A study of the two works of “Hideriame-kitsuneno-yomeiri”, which is Kibyoshi of marriage of a fox spirit

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A study of the two works of “Hideriame-kitsuneno-yomeiri”, which is Kibyoshi of marriage of a fox spirit Kang, JiHyun Among the series of works in the Genealogy of intermarriage of a different kind, this paper focuses on “Hideriame-kitsuneno-yomeiri” by Tsusyo(①) and “Hideriame- kitsuneno-yomeiri” by SomahitoI(⑮), while also taking up various other works, I have attempted to discuss the styles of both writers, focusing on their works. As a result, I was able to reinforce the previous research that ① and ⑮, which have the same reading of the book title, have no relation to adaptation Also, for the first time, I was able to show that ⑮ was the work of Somahito. As a basis for this, by taking up the bibliography, the content of the text, and the style of the text, I have determined that although it is conceivable that the name of book ⑮ may have been inspired by Tsusho ①, the content was not referenced, and that ① and ⑮ are two different works with no influence relationship. Specifically, Tsusyo devotes a lot of space to developing scenes unrelated to the wedding ceremony. Therefore, the style is novel or abrupt. However, the style of Somahito has become a rut by placing more emphasis on traditional rituals. It is presumed that this is the result of the 26 years and the difference in the author’s intentions between the early yomeirimono kibyoshi and the later yomeirimono kibyoshi where the style was established.

Abstract

A study of the two works of “Hideriame-kitsuneno-yomeiri”, which is Kibyoshi of marriage of a fox spirit Kang, JiHyun Among the series of works in the Genealogy of intermarriage of a different kind, this paper focuses on “Hideriame-kitsuneno-yomeiri” by Tsusyo(①) and “Hideriame- kitsuneno-yomeiri” by SomahitoI(⑮), while also taking up various other works, I have attempted to discuss the styles of both writers, focusing on their works. As a result, I was able to reinforce the previous research that ① and ⑮, which have the same reading of the book title, have no relation to adaptation Also, for the first time, I was able to show that ⑮ was the work of Somahito. As a basis for this, by taking up the bibliography, the content of the text, and the style of the text, I have determined that although it is conceivable that the name of book ⑮ may have been inspired by Tsusho ①, the content was not referenced, and that ① and ⑮ are two different works with no influence relationship. Specifically, Tsusyo devotes a lot of space to developing scenes unrelated to the wedding ceremony. Therefore, the style is novel or abrupt. However, the style of Somahito has become a rut by placing more emphasis on traditional rituals. It is presumed that this is the result of the 26 years and the difference in the author’s intentions between the early yomeirimono kibyoshi and the later yomeirimono kibyoshi where the style was established.

참고문헌 (8)

  1. 市島謙吉, "新群書類従 第七 書目", pp.195~462 (1906), 国書刊行会
  2. 康志賢, "異類の嫁入物系譜における通笑作黄表紙と一九作合巻の相互関係について—『去ル御子様御望ニ付猫嫁入』・『化物の娵入』・『怪談ねこの娵入』を中心に", 日本語文学, 103, pp.193~221 (2023), 日本語文学会
  3. 康志賢, "猫の嫁入物の通笑作『去ル御子様御望ニ付猫嫁入』から楚満人作『朧月猫の嫁入』へ、その典拠の利用法について", 日語日文学研究, 130, pp.171~200 (2024), 韓国日語日文学会
  4. 小池正胤・叢の会, "江戸の絵本Ⅲ", pp.1~341 (1988), 国書刊行会
  5. 棚橋正博, "黄表紙総覧 前編", pp.176~ (1986), 青裳堂書店
  6. 棚橋正博, "黄表紙総覧 後編", pp.395~ (1989), 青裳堂書店
  7. 中野三敏, "近世子どもの絵本集 上方編", pp.209~222 (1985), 岩波書店
  8. "日本国語大辞典"[URL]

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