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春馬改十返舎一九作合巻『貧福交換欲得』の 書誌と創作法について ―一九作貧福もの黄表紙『貧福蜻蛉返』との比較を端緒に―
강지현 단국대학교 일본연구소 2018 일본학연구 Vol.54 No.-
First of all, I picked up three texts and discussed the bibliographical doubts about Gokan “HinpukuTorikaebaya”. Then, I compared the first Ikku’s Kibyosi “HinpukuTonbogaeri” which is said to be the basis of reprocessing. As a result, because of having diverted all five main motifs developed in the previous work, there was plenty room to be criticized as “reprocessing” from the current viewpoint. On the other hand, when increasing only ten sheets of previous work to twenty sheets, I discussed how to read as a different work, not just a augmented work, depending on many new tastes adopted. Specifically, similar motifs concentrate on scenes where perverse person appears and is active in previous work, and the method of reprocessing is remarkably used. Meanwhile, a new story is created with Kinpira, Daikokuten, Seven lucky gods and Poor gods appearing and a different story is constructed, even with the same characters, while giving a “personality” which was not in the previous work, It was also “Gesaku” which can be enjoyed as another work such as making reality an absurd incident by explaining circumstances in detail. 春馬改十返舎一九作合巻『貧福交換欲得』について、先ずは底本三種を取り上げ書誌的疑義事項を論じた。それから、焼き直されたといわれる初代一九作貧福もの黄表紙『貧福蜻蛉返』と比較してみた。その結果、先行作に展開する主要モチーフ五つを全部転用しているので、今の観点で所謂「焼き直し」と批判される余地が十分ある反面、十丁に過ぎない先行作を二十丁に増やすに際して取り入れられた新しい多くの趣向によって、只単なる増補作や改作ではなく、別の作品のような印象をも与えることを論じた。具体的には、先行作にも登場する天の邪鬼が活躍する場面に類似趣向が集中し、焼き直しの手法が著しく駆使される。一方、金平・大黒天・七福神と貧乏神という新しい人物を登場させて別の話柄を構築したり、同じ登場人物であっても先行作にはみられなかった「性格」を付与しつつ、事細かく前後を説明するので荒唐無稽な事件にも現実味を持たせるなど、焼き直しとして容易く結論付けるには躊躇される、別の作品として楽しめる側面もある戯作であったわけである。抑も、作者春馬が天の邪鬼と大黒天、正直者と欲張り者、福の神と貧乏神という二重構造を思い立った際、同趣向と創作譚は裏表のように作用せざるを得ない創作手法であったのだろう。
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