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.
Abstract
明末清初作家李漁的作品，廣泛影響了江戶文藝的創作。本文以翻改李漁《奈何天傳奇》部分情節的笠亭仙果《清談常磐色香》、《美目与利草紙》為中心，探討三作間的關聯性、作品的特徵與價值，藉此檢視李漁對江戶文藝影響的一個側面。
1831年出版的《清談常磐色香》是描繪江戶庶民的愛情與人情糾葛的「人情本」。從別名《本朝奈何天》可知仙果仿效李漁《奈何天傳奇》的顯著意圖。1842至1847年間，仙果改寫《清談常磐色香》，完成了合卷《美目与利草紙》。在初編、二編的開頭都提及故事構想源自《奈何天傳奇》，內文尾聲更記述了原作主角移形換貌的特殊經歷。
《清談常磐色香》、《美目与利草紙》在挪借李漁戲曲內容的同時，也雜揉了諸多中日文化要素，為作品帶來熟悉的親切感與新鮮的異國趣味。其中，小野小町與楊貴妃的軼事傳說，更為虛構的作品增添了真實感與地方色彩。此外，《美目与利草紙》刊載了粉底「美艷仙女香」的廣告，反映出商業出版的影響。
透過對二作的分析，不僅能理解仙果對李漁戲曲的受容，更能一窺江戶時代中日文化的交流樣貌。
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.