蕭涵珍。〈李漁與江戶文藝：論笠亭仙果的《清談常磐色香》及《美目与利草紙》〉。《民俗曲藝》189 (2015.9): 119-55。
Shiau Han-chen. “Li Yu and Edo Literature: With a Focus on Ryutei Senka’s Seidan Tokiwa No Iroka and Mimeyori Zōshi.” Journal of Chinese Ritual, Theatre and Folklore 189 (2015.9): 119-55.
The late Ming writer Li Yu’s works had an extensive influence on Edo literature. In this article, I will discuss Ryutei Senka’s Seidan tokiwa no iroka, and Mimeyori zōshi. Parts of their plots are adapted from Li Yu’s drama Naihetian. I will explore the relations between the three works, their characteristics and value in order to examine a facet of Li Yu’s influence on the Edo literature.
Seidan tokiwa no iroka, was published in 1831. It depicts common people’s romances and interpersonal relationships of the Edo era. Also known as Honchō Naikaten (“Naihetian of our country”), the author’s intention to emulate Li Yu had been quite obvious. Senka adapted Seidan tokiwa no iroka into Mimeyori zōshi between 1842 and 1847. In the prefaces of the first and second volume, he had mentioned that his plots derived from Naihetian. In the epilogue, Senka also describes the protagonist’s bizarre incident of going through physical transformation in the original play.
More than simply borrowing content from Li Yu’s plays, in Seidan tokiwa no iroka and Mimeyori zōshi, Senka also wove in cultural elements from traditional Japanese and Chinese literature, giving the two works an exotic style that is at once fresh and yet familiar. In particular, the anecdote of Ono no Komachi and the legend of Yang Guifei add a sense of reality and local elements to the fictional Mimeyori zōshi. Furthermore, Mimeyori zōshi contains several advertisements for the face powder label Biensennyo-ko, indicating influences from commercial publishing houses.
Through these two works, we not only perceive the ways Senka adapted Li Yu’s drama, but also gain a view of the cultural interchange between China and Japan in the late Edo period.