三島由紀夫「みのもの月」論 —『文藝文化』同人と「古今和歌集」—

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  • A Note on Mishima Yukio’s “Minomono-tuki” —A friend of “Bungei-Bunka” and “Kokin-wakasyu”—
  • 三島由紀夫「みのもの月」論 : 『文藝文化』同人と「古今和歌集」
  • ミシマ ユキオ 「 ミ ノ モノツキ 」 ロン : 『 ブンゲイ ブンカ 』 ドウジン ト 「 ココン ワカシュウ 」

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Based on the survey of “Mishima Yukio Bunko"　of Hijiyama University, the main　focus of this paper was placed on　the “Minomono-tsuki (moonlight on　water　surface)" involved in the “Shimizu Fumio old　stock". Shimizu left his note onto the　novel, “Minomono-tsuki" <document number　MAMi0-80>. It is generally pointed out　that “Kagerofu-no-nikki (diary of　dragonfly)" and “Hototogisu" written by　Tatsuo Hori, as well as their original　literature, “Kagerofu-Nikki"　influenced “Minomono-tsuki".　As far as　Shimizu’s note is concerned, however, it can be concluded that he recognized the　influence of “Kokin-Wakashu (Kokin poet　collection)" upon this novel. Mishima created characters filled with intelligence and culture, by citing Waka (short poetry) involved in ancient works such as “Kokin-Wakashu" or “Ise-Monogatari" into “Minomono-tsuki". And then, he described the suffering and sorrow for waiting = bearing of dynasty persons, in a multi layered or stereoscopic manner. Moreover, he succeeded to develop the story by relating images from Waka to Waka. There still remain some issues to be considered. For instance, how did Mishima learn the classics in relationship with Zen-mei Hasuda, Fumio Shimizu, or coterie of “Bungei-Bunka (literary culture)"? As a result, what kind of literary view was formed by them? Moreover, how did they reflect in this work? More precise study is necessary to answer these questions. The note of Shimizu is considered to be a very valuable clue for this purpose.

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