曲亭馬琴の「懲悪」と読本の世界

金學淳(Kim Hark soon) 고려대학교 글로벌일본연구원 2017 일본연구 Vol.27 No.-

本論文では、椿説弓春月と南総里見八犬伝の長編構成及び構想を勧善ではな く、懲悪に注目して分析した。勧善懲悪を江戸時代を代表する思想の観点ではな く、一つの構想の要素として捉えたわけである。また、勧善懲悪をモチーフとする 小物語の反復と連鎖が八犬伝をつらぬく構成原理になっていることについて考察し た。江戸後期では、理解水準が低い読者層のため、物語の単純化、定型化、読み切り の完結性などが求められた。馬琴の長編読本は、その完結した小さな筋立てが反復連 鎖することによって長編物となっているが、その完結した小物語のモチーフとして本 作品で注目されるのが勧善懲悪のテーマである。また、その勧善懲悪の懲悪に注 目し、悪人を中心にして考察した。 さらに、絶対的善悪論とは、弓張月の物語が内包している話型を構成する二元論 的世界観であった。その世界観に善悪の価値が結びついていた。それでは、なぜ馬琴 は二元論的世界観に着目したであろうか。本論は、その背景に、馬琴の時代、これまでの伝統的世界観(中華思想にもとづく華夷的世界観)に対立するかたちで西洋伝来の地図的世界観が現実感をもって台頭してきたことを指摘した。そして世界観の衝突と対立があり、並行現象が見られて、<知>の転換があったことを主張した。多元的世界観の衝突への驚きが見られ、そのような<知>の拡大が馬琴読本に多元的世界観(弓張月では二元論的)を意識させていったと考える。<知>の転換期といわれる時代にあって、この歴史的規定の枠組の中に、関係構造と物語内容の関連があることに着目したのである。 本論文で対象とする八犬伝には、多元論的世界観はもはや見られない。あくまでも南房総安房国という領国を物語世界とする、一元論的世界が枠組をなしている。しかし二元論的世界観と善悪の結びつきは、実は八犬伝の人物造型、すなわち善人と悪人、とりわけ悪人造型に集約されている。八犬伝においても、絶対的善悪論に支えられた勧善懲悪はつらぬかれているのであって、善人は善人、悪人は悪人として物語構成を分割する。悪人は父子、母娘といった血筋関係の間を、そして悪の霊魂(玉)が生まれ代わり死に代わる人物たちの間を遊離、憑着していく。そのような物語構成は、どうあっても二元論的世界観の縮図継承とみてよく、この悪人造型こそが馬琴に独自なものなのである。 In Bakin’s Yomihon, the view that the logic of the good triumphing over the evil and that what goes around comes around governs the work has been regarded as the common opinion. In addition, the good triumphing over the evil has been analyzed in the viewpoint of ideology of Confucianism in the Edo era. Because the writer Bakin is a writer in the Edo era, Yomihon he wrote as well has been discussed in this viewpoint. Rather than analyses of the contents of the work, antiquated ideological interpretation has been the main. However, although the Edo-era was the premodern society, the society should not be determined as only a simple Confucian society. Of course, the term the good triumphing over the evil can be seen as Confucian ideology for edification. However, it is thought that analysis of the intrinsic characteristics of the evil in the work not through such Confucian ideas is also an important job. Nakamura Yukihiko indicates that the charm of Bakin’s Yomihon is the description of evil. The writer also thinks that the evil in Bakin’s Yomihon has large width which cannot be easily understood only with Confucian ideas. Namely, it can be seen that the evil of Bakin is closely related with the context of non-Confucian society. Based on such critical mind, this thesis analyzed the world of Yumiharizuki and Hakkenden in the viewpoint of evil not in the viewpoint of good. The description of evil of Yumiharizuki has an influence on the formation of the ideology of the good triumphing over the evil. By tracing such a process, the problem of evil in the work was contemplated. The good triumphing over the evil shown in the work Hakkenden was not regarded as the purpose of edification in the Confucian society. The fact that the absolute good and evil theory governs the work was discovered by analyzing many villains who appear in the work. Especially, under the good triumphing over the evil that supports the absolute good and evil theory, the story that virtuous men were thoroughly virtuous men, and the wicked are thoroughly the wicked is composed. The wicked are in blood relationship between father and son, or between mother and daughter or spirit of evil resurrects to become the wicked. The fact that such shaping of the wicked was the characteristics of Bakin’s Yomihon was analyzed. Like the above, this thesis contemplated the good triumphing over the evil of Bakin’s Yomihon with the concept of absolute good and evil not with the traditional ideological viewpoint.

曲亭馬琴の 「懲惡」 と讀本の世界『椿說弓春月』と『南總里見八犬傳』における<惡>の問題

김학순 ( Kim Hark-soon ) 고려대학교 글로벌일본연구원 (구 고려대학교 일본연구센터) 2017 일본연구 Vol.27 No.-

本論文では、『椿說弓春月』と『南總里見八犬傳』の長編構成及び構想を「勸善」ではなく、「懲惡」に注目して分析した。「勸善懲惡」を江戶時代を代表する思想の觀点ではなく、一つの構想の要素として捉えたわけである。また、「勸善懲惡」をモチ一フとする小物語の反復と連鎖が『八犬傳』をつらぬく構成原理になっていることについて考察した。江戶後期では、理解水準が低い讀者層のため、物語の單純化、定型化、讀み切りの完結性などが求められた。馬琴の長編讀本は、その完結した小さな筋立てが反復·連鎖することによって長編物となっているが、その完結した小物語のモチ一フとして本作品で注目されるのが「勸善懲惡」のテ一マである。また、その勸善懲惡の「懲惡」に注目し、「惡人」を中心にして考察した。 さらに、絶對的善惡論とは、『弓張月』の物語が內包している話型を構成する二元論的世界觀であった。その世界觀に善惡の價値が結びついていた。それでは、なぜ馬琴は二元論的世界觀に着目したであろうか。本論は、その背景に、馬琴の時代、これまでの傳統的世界觀(中華思想にもとづく華夷的世界觀)に對立するかたちで西洋傳來の地圖的世界觀が現實感をもって台頭してきたことを指摘した。そして世界觀の衝突と對立があり、幷行現象が見られて、<知>の轉換があったことを主張した。多元的世界觀の衝突への驚きが見られ、そのような<知>の擴大が馬琴讀本に多元的世界觀(『弓張月』では二元論的)を意識させていったと考える。<知>の轉換期といわれる時代にあって、この歷史的規定の樺組の中に、關係構造と物語內容の關連があることに着目したのである。 本論文で對象とする『八犬傳』には、多元論的世界觀はもはや見られない。あくまでも南房總安房國という領國を物語世界とする、一元論的世界が樺組をなしている。しかし二元論的世界觀と善惡の結びつきは、實は『八犬傳』の人物造型、すなわち善人と惡人、とりわけ惡人造型に集約されている。『八犬傳』においても、絶對的善惡論に支えられた「勸善懲惡」はつらぬかれているのであって、善人は善人、惡人は惡人として物語構成を分割する。惡人は父子、母娘といった血筋關係の間を、そして惡の靈魂(「玉」)が生まれ代わり死に代わる人物たちの間を遊離、憑着していく。そのような物語構成は、どうあっても二元論的世界觀の縮圖繼承とみてよく、この惡人造型こそが馬琴に獨自なものなのである。 In Bakin`s Yomihon, the view that the logic of the good triumphing over the evil and that what goes around comes around governs the work has been regarded as the common opinion. In addition, the good triumphing over the evil has been analyzed in the viewpoint of ideology of Confucianism in the Edo era. Because the writer Bakin is a writer in the Edo era, Yomihon he wrote as well has been discussed in this viewpoint. Rather than analyses of the contents of the work, antiquated ideological interpretation has been the main. However, although the Edo-era was the premodern society, the society should not be determined as only a simple Confucian society. Of course, the term the good triumphing over the evil can be seen as Confucian ideology for edification. However, it is thought that analysis of the intrinsic characteristics of the evil in the work not through such Confucian ideas is also an important job. Nakamura Yukihiko indicates that the charm of Bakin`s Yomihon is the description of evil. The writer also thinks that the evil in Bakin`s Yomihon has large width which cannot be easily understood only with Confucian ideas. Namely, it can be seen that the evil of Bakin is closely related with the context of non-Confucian society. Based on such critical mind, this thesis analyzed the world of Yumiharizuki and Hakkenden in the viewpoint of evil not in the viewpoint of good. The description of evil of Yumiharizuki has an influence on the formation of the ideology of the good triumphing over the evil. By tracing such a process, the problem of evil in the work was contemplated. The good triumphing over the evil shown in the work Hakkenden was not regarded as the purpose of edification in the Confucian society. The fact that the absolute good and evil theory governs the work was discovered by analyzing many villains who appear in the work. Especially, under the good triumphing over the evil that supports the absolute good and evil theory, the story that virtuous men were thoroughly virtuous men, and the wicked are thoroughly the wicked is composed. The wicked are in blood relationship between father and son, or between mother and daughter or spirit of evil resurrects to become the wicked. The fact that such shaping of the wicked was the characteristics of Bakin`s Yomihon was analyzed. Like the above, this thesis contemplated the good triumphing over the evil of Bakin`s Yomihon with the concept of absolute good and evil not with the traditional ideological viewpoint.

馬琴史伝物読本の構想 -史伝物模索期の作品を中心に-

洪晟準 단국대학교 일본연구소 2012 일본학연구 Vol.37 No.-

바킨의 요미혼 중에서 역사적 인물의 외전(外伝) 성격을 띠는 작품은 사전물로 분류된다. 사전물 요미혼은 7작품이 있는데, 이들은 성립 시기 순으로 전기와 후기로 나뉘고, 전기는 사전물 모색기라고 불린다. 모색기에 쓰인 사전물 요미혼은 진세쓰유미하리즈키(椿説弓張月), 라이고아자리카이소덴(頼豪阿闍梨怪鼠伝), 슌칸소즈시마모노가타리(俊寛僧都嶋物語) 의 세 작품이다. 바킨은 사전물 요미혼의 첫 작품인 유미하리즈키(弓張月)의 창작을 통하여 중국 연의소설(演義小説)을 따른 바킨류(馬琴流)의 연의체(演義体)를 확립시켰다. 이 연의체의 특징은 시대나 인명 등을 정사(正史) 그대로 작품에 이용한다는 점에 있다. 그리고 바킨은 사실(史実)에 허구(虚構)를 넣을 때에 반드시 근거를 제시하는 집필 태도를 보이고 있다. 유미하리즈키의 다메토모(為朝), 가이소덴(怪鼠伝)의 요시타카(義高), 시마모노가타리(嶋物語)의 슌칸(俊寛) 등 각 작품의 주인공은 `사실은 생존해 있었다'고 하는 허구화에 의하여 그려진다. 이들 인물에게 생존설이 존재한다는 점에서 허구에도 문헌상의 근거가 필요하다고 하는 바킨류의 생각을 엿볼 수 있다. 또한, 주인공의 외면적, 내면적 특징을 나타내는 사료(史料)의 유무에 의하여 인물조형의 방법이 달라지고 있다. 사전물 모색기 세 작품의 사실에 더해지는 허구에는 사료에 보이는 허구와 바킨이 새롭게 창작한 허구가 있다. 시대 배경을 사서(史書) 그대로 두고 사실에 허구를 더하여 역사의 이면(裏面)을 그리는 것이 사전물 요미혼의 방법이다. In Bakin's Yomihon, works which have a lateral biography of a historical person are categorized into Shidenmono. There are seven works in Shidenmono Yomihon. They are divided into the former part and the latter part in order of completion time. And then, the former part is called a seeking period of Shidenmono. There are three works of Shidenmono Yomihon, "Chinsetsuyumiharizuki”, "Raigouajarikaisoden”, "Shunkansozushimamonogatari”. Bakin established his own Engitai following Chinese story for popular reading by creation of "Yumiharizuki”which was his first work of Shidenmono Yomihon. The feature of Engitai is using the real age or name of official history. And Bakin has writing attitude that suggests grounds when he adds fiction to fact. The main character of each work, Tametomo of "Yumiharizuki”, Yoshitaka of "Kaisoden”, Syunkansozu of "Shimamonogatari”, is portrayed by fictionalization which is `actually they were alive'. In that sense, we could find Bakin's idea that needs grounds of precedent literature even in fiction. The way of modeling person also varies by historical sources of external and internal feature of the main character. Three works of a seeking period of Shidenmono have fiction from historical sources and fiction created by Bakin. It could be the way of Shidenmono Yomihon like using history as it is and portraying an inside history.

뉴미디어 시대의 일본 서브컬처 고찰

조주희 ( Joo Hee Cho ) 한국일어일문학회 2012 日語日文學硏究 Vol.83 No.2

Light Novel, one of the typical Japanese sub-culture in the 21st Century, is a literary genre which various classes of authors make in a contemporary sense for teenagers. Formally, Light Novel employs novel writing technique by using text, but it expanded the reading classes and created the culture of consuming the reading by visually complete reformation of text through characterizing short dialogues of cartoons, animations, illustrations, and function of symbols. By the way, the type of novels with illustrations has a rich history, and its genealogy can be found in Yomihon of the latter part of modern times. In other words, Light Novel is the 21st Century\`s edition of Yomihon. These two genres have two kinds of common. One is, these two genres achieved rapid growth with the development of media. And the other is, the aims of these two genres\` are the readers who need easier and lighter reading matters. That is, Yomihon was more common with the development of printing and publication, and Light Novel has become popular with the development of new media such as mobile phone and internet. The real shape Yomihon and Light Novel is the high strategy of the publishers superficially meeting readers\` hopes, but actually, considering the 2nd class of readers like merchant of the latter part of modern times, and teenagers as consumers. Especially, in Light Novel, character modeling highlights the desires of Japanese young people of these days. A couple of an introvert principal boy, and active, androgynous beauty is the key word which express modern Japanese outlook of man-woman indirectly. This genre will keep expanding and developing, but the positive evaluation of this genre in view of literal history as well as the position as sub-culture depends on solving and improving the problems of sexual discrimination which is over-shadowed by fancy cover and excessively commercialized sexuality of heroines.

근세중기 문인문학에 나타난 운문과 산문의 상호관계 : 아키나리(秋成)·데이쇼(庭鐘)·아야타리(綾足)를 중심으로

김경희 韓國外國語大學校 外國學綜合硏究센터 日本硏究所 2013 日本硏究 Vol.0 No.58

In this study, I looked upon the inter-boundary-ness between verses and proses. Specifically, how the verse literatures like haikai, waka, kanshi, and, others, were expressed in the representative prose literature, yomihon works was contemplated. By means of that, I tried to make clear of the iner-relativity between arears of two literature genres, and, simultaneously, to examine the common cultural base which was shared by contemporary men of letter, which was a prerequisite of yomihon making. with Ueda Akinary as the central figure, closely related in Akinary exchange zone, contemporary representative writers, Tsuga Teisyo and Takebe Ayatari were also catched in the eye, and therefore, their major works, Harusame-monogatari, Hanabusa -zousi, Nishiyama-monogatari were analyzed. In each work, key word extraction and analyzation of rhetoric expression technique which used waka were followed by identifing process of haikai technique. As before, modern era literature studies mostly ended up in the native area of the genre, and they did not reach to the point that can enough light up the entire aspects of many sided literature activities of edo era men of letters. In this point, a study meant to look into corelation between each proper literature areas would be a very organic approach. Through this study, accomplishment which suggest the organic relations between preceded modern era verse literature study and yomihon study could be expected. Furthermore, how the foundation of the phenomenon, the expanding of literature genre to various forms in Japanese modern times, were established could be examined. This try to reveal corelations with other genres getting out of before independent genre study could be said as a rare approach in domestic or abroad, and the fruits would be highly usable study in home and foreign academy.

馬琴読本の死の場面と仁義八行 -『俊寛僧都嶋物語』と『頼豪阿闍梨怪鼠伝』を中心に-

洪晟準 단국대학교 일본연구소 2016 일본학연구 Vol.47 No.-

바킨 요미혼은 선인과 악인을 명확히 구별하는 특징을 지니지만, 모든 인물이 선인과 악인으로 확연하게 나뉘는 것은 아니다. 선인과 악인이 얽혀있는 바킨 요미혼의 복잡한 구성을 지탱하는 것은 인의팔행의 덕목이라고 생각된다. 『슌칸소즈시마모노가타리(俊寛僧都嶋物語)』에는 아들에게 인의팔행의 덕목이 결여되어 있기 때문에 죽음을 선택할 수밖에 없는 인물이 그려져 있으며, 이 죽음의 선택이 주인공의 운명이나 이야기 전개에 큰 영향을 미치고 있다. 예를 들어 가메오(亀王)의 아버지인 구로이 사부로(黒居三郎)는 이야기 전개 상 중요한 위치에 있지 않은 인물이지만, 그의 죽음은 그 속에 보여 지는 인의팔행의 덕목에 의하여 이야기 전개에 있어 매우 큰 역할을 하고 있다. 『라이고아자리카이소덴(頼豪阿闍梨怪鼠伝)』에서는 주인공 요시타카(義高)와 충신 유키우지(行氏)가 효에 대하여 논의를 주고받는다. 유키우지는 주군 요시나카(義仲)의 계략을 위하여 스스로를 희생하는데 그는 죽은 후에 요시타카 앞에 나타나 그를 훈계하기 시작한다. 그것은 부모의 명복은 빌지 않고 부모의 원수를 갚기 위한 것에만 집착하는 행위에 대한 훈계라고 볼 수 있다. 결국 요시타카는 원수를 갚지 못하게 되는데, 여기에서 그는 부모에 대한 효심 때문에 원수를 갚으려 했음에도 불구하고 불효자에 불과한 인물이었다는 식으로 그려지고 있다. 이상과 같이 바킨 요미혼에 있어서 인의팔행의 덕목은 특히 주변 인물의 죽음의 장면에서 강조되어 주인공의 운명에 영향을 미친다. 따라서 죽음의 장면은 이야기가 인의팔행을 중심으로 전개되는 계기로서 작용하고 있다고 볼 수 있다. Bakin's Yomihon has feature of distinguishing the good from the bad, but all of characters are not divided into two groups definitely. To support the complex plot of Bakin's Yomihon the good and the bad entangled is the eight virtues of the confucianism. Characters who choose death inevitably because of a lack of the eight virtues of the confucianism to son appear in "Shunkansozushimamonogatari". The choice of death affects the fate of main character or development of a story. For example, Kuroi Saburo who is the father of Kameou was considered unimportant person, but indeed his death is the big role by the eight virtues of the confucianism. Yoshitaka and Yukiuji discuss the filial duty in "Raigouajarikaisoden". Yukiuji sacrifices for Yoshinaka's scheme, and after his death he moralizes Yoshitaka. It seems admonition of obsession of revenge without praying for his father. Finally, Yoshitaka cannot revenge. Even though he had to revenge for his filial duty, he was drawn the only person who is not good with parents. In Bakin's Yomihon, the eight virtues of the confucianism is emphasized in death scenes of extras, and then it effects the destiny of main character. Therefore the story centers on the eight virtues of the confucianism with death scenes.

바킨 요미혼에 나타난 교훈성과 서민 교화적 태도

홍성준 한국일본사상사학회 2016 일본사상 Vol.0 No.31

19세기에 들어서 일본은 서적의 간행과 유통이 활발해지고 독서를 즐기는 사람이 증가하여 출판업이 대성황을 이루었다. 또한 글을 읽고 쓸 줄 아는 사람이 증가함에 따라 교화적인 내용을 담은 작품이 다수 간행되었으며, 희작자(戯作者)들 사이에서도 심학물(心学物)이 인기를 끄는 등 교훈적인 내용이 포함된 작품이 유행하게 되었다. 교쿠테이 바킨(曲亭馬琴)은 그 시기에 가장 인기 있었던 작가 중 한 명으로 방대한 독서량과 풍부한 지식을 바탕으로 수많은 작품을 집필하였다. 그는 특히 유교의 인의팔행(仁義八行)과 권선징악, 불교의 인과응보와 윤회사상을 기본 바탕으로 한 요미혼 작품의 집필에 열정적이었으며, 유교사상과 불교사상을 바탕으로 하여 교훈적인 내용을 작품에 도입하였다. 또한 무사 집안 출신이었던 바킨은 독자보다 자신이 지식적으로 우위에 서 있다고 생각하여 그들을 婦幼라 칭하며 그들을 적극적으로 교화하려는 태도를 보였다. In 19th Century, the publication and distribution has become active and the people who enjoy reading have increased, ant then publishing business was a great success in Japan. Also, in accordance with the increase people who know how to read and write, works claimed edifying story have been published a lot. That contains the content of didactic work became popular among the writers, for example, Shingakumono. Kyokutei Bakin is one of the most popular writers in that period who was working on his countless works based on vast amount of reading and a wealth of knowledge. Especially, he was passionate about writing Yomihon based on the eight virtues and the rewarding of virtue and the punishment of evil of the conucianism, punitive justice and concept of reincarnation of Buddhism. He has adopted didactic contents based on Confucian ideals and Buddhist thought into his work. And also Bakin from Samurai family had actively attitude for edification readers called Fuyo with thought standing superior to them.

바킨 작품 속에 나타난 여성상 고찰

홍성준 단국대학교 일본연구소 2017 일본학연구 Vol.50 No.-

교쿠테이 바킨(曲亭馬琴)의 요미혼(読本) 작품의 사상적 바탕은 유교의 권선징악 사상이며, 이는 유교 덕목이 강조되고 등장인물이 선과 악으로 이분된다는 것을 뜻한다. 근세문학의 대표적인 여성상을 지카마쓰 몬자에몬(近松門左衛門)과 우에다 아키나리(上田秋成)의 작품을 통해서 보면, 지카마쓰는 남편에 대한 순애보적인 사랑을 다하는 여성을, 아키나리는 절개를 굳건히 지키는 열녀(烈女)를 이상적인 여성으로 그리고 있다. 바킨 작품 중 특히 사전물(史伝物) 요미혼에 나오는 여성은 선녀(善女)와 악녀(悪女)로 나눌 수 있다. 그 중에서도 선녀는 열녀, 효녀라는 수식어가 따라 붙는 경우가 많으며, 열녀의 경우에 정절, 죽음, 전투라는 자격 요건 중 하나가 충족되어야 한다. 또한 바킨의 권선징악은 선인과 악인을 명확히 구분 짓고 그것을 뒤집지 않는 방식으로 도식화되어 있는데, 특히 여성에게 엄격하게 도덕적 언행이 요구되었다. 그 예로 유녀에게는 선의 업보가 주어지지 않는다거나, 정절을 지키느냐 지키지 않느냐에 따라 선과 악의 업보가 각각 주어진다거나 한다는 점을 들 수 있다. 주지하다시피 바킨의 작품세계에 있어 ‘효’가 가장 중요한 덕목인 점에는 틀림이 없지만, 여성의 권선징악을 중심으로 보면 ‘정절’이 우선시된다. 바킨 작품 속의 여성상을 논할 때 중요한 덕목은 바로 ‘정절’인 것이다. The didactic morality of the Confucianism is philosophical background of Kyokutei Bakin’s Yomihon, and it means emphasis of the virtue of the confucianism and dividing characters into two parts. The representative and ideal woman’s images through Chikamatsu Monzaemon and Ueda Akinari’s works, are woman who loves purely to husband on Chikamatsu and a virtuous woman on Akinari. The woman appeared Bakin’s works, especially Shidenmono Yomihon, can be classified into the good and the bad. The good means a virtuous woman and a devoted daughter among others, and a virtuous woman must be satisfied one of the condition of eligibility which is chastity, death, battle. And then Bakin’s didactic morality distinguishes the good and the bad clearly without switching, and is gived strict moral standard for woman. For example, being not given reward to Yujo, or being given reward or bad result in accordance with keeping chastity or not. As you know, filial duty is the most important virtue generally for Bakin’s work’s, but his works put priority on chastity focusing on the didactic morality of woman. The most important virtue is chastity when talking the woman’s image.

19세기 에혼요미혼(絵本読本)에 그려진 이순신

김준배 한국일본언어문화학회 2019 일본언어문화 Vol.46 No.-

In this paper, we will look at how Yi Sun-sin is depicted in some of the books of the 19th century published for the purpose of commerciality. Especially, the main target genre that I want to deal with in this article is Ehon-Yomihon, which was a genre that had a commercial purpose. In the course of the commercialization of the Imjin war of early modern Japan, it will be possible to confirm how Yi Sun-sin is depicted in the genre of Ehon-Yomihon. In the study of the above objects, it was confirmed that the exaggeration, the creation and the quickness for commercials as commercial publishing continued or created the heroism of Yi Sun-sin in Japan in the 19th century. It is interesting to note that Yi Sun-sin’s image, which was drawn in commercial publishing, continued until the end of the 19th century, despite the lowered value of these materials. Their influence was so great that it suggests that commercial distribution books through publishing have had a lasting effect on the image of Imjin war and Yi Sun-sin in modern Japan.

曲亭馬琴『括頭巾縮緬紙衣』의 考察 : 『羇旅漫録』『蓑笠雨談』의 椀久 考証 内容의 利用을 中心으로

강성국 韓國外國語大學校 外國學綜合硏究센터 日本硏究所 2014 日本硏究 Vol.0 No.59

Kyokutei Bakin went around Nagoya, Kyoto, Osaka and Ise etc. from 9th May to 24th Aug 1802 and during his visits he collected information on the local customs, dialects, historical monuments and personalities which he noted in his works "Kiryomanroku" and "Saritsudan". As a Yomihon writer, gathering facts that may form the basis for his works later, could have been one of the most stimulating aspect to Bakin's visits. Infact, five years later he happens to have revealed the details he collected on "Wankyu" at Osaka in his work "Kukurizukin chirimenkamiko". This paper discusse show Bakin used the information on Wankyu as documented in "Kiryomanroku" and "Saritsudan" and analyze his intentions and technique as to how they are used in his work "Kukurizukin chirimenkamiko". In "Kukurizukin chirimenkamiko", the scene where Jissoji elaborates on the "Tomb of So-Tatsu" and the one where Wankyu meets Matsuyama at a red light district, both of them are inspired by the actual accounts that were noted by Bakin during his travels. Among these, the former scene was written while being conscious of the Intellectual class as its reader and the same can be verified from the relevant context. Just before this scene, the story that unfolds so far is written in "Joruri style" in order to earn appreciation of the "Women and child" readers and at the same time had an encoded message for the readers that of being mocked at by the Intellectual class since there was no special literary style adopted. However, the next scene that follow, consists of an objective writing style where Jissoji lectures on the tomb and can be thought to have been written while being mindful of the Intellectual readers. Regarding the latter scene, the main characters like "Wankyu", "Matsuyama", "Nozaki", "Naoroku" etc., all correspond with the real life personalities and this gives rise to the possibility that Bakin might have set all the characters in this novel based on this theory. Further, changing the first ever scene of meeting between Wankyu and Matsuyama into a scene of their re-union demonstrates the capability of Bakin as an author.