特集「ナショナリズムの表現」 : 曲亭馬琴の対外意識 : 「水滸後伝批評半閑窓談」の評論を手がかりに

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  • キョクテイ バキン ノ タイガイ イシキ スイコ コウデン ヒヒョウ ハンカン ソウダン ノ ヒョウロン オ テガカリ ニ
  • Feature Article : Expression of Nationalism : Kyokutei Bakin’s Foreign Consciousness : Clues held by the Critique, “Suiko Koden Hankan Sodan”

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There are many parts of Kyokutei Bakin’s yomihon, titled Chinsetsu yumihari tsuki (Crescent Moon), fabricating the journey of Minamoto no Tametomo to Ryukyu, which are based on the hakuwa shosetsu (Chinese vernacular tale), Shui Hu Hou Zhuan. This is a later volume of Shui Hu Zhuan (The Water Margin), in which the heroes of Liang Shan Po headed by Li Jun proceed to Siam. It is inscribed as a work by a Song Dynasty old regime supporter, however this is merely a pretext, and is considered to be of the hand of a Ming Dynasty supporter fearing the restrictions imposed by the Shin Dynasty government. As a work born from the sadness of losing ones kingdom, but including the storyline of finding a new world in foreign lands, its interpretation would have differed according to the reader’s point of view. For example, Bakin draws attention to the fact that Yamada Nizaemon was active in Siam at roughly the same time that Suiko koden appeared, and tried to connect the tale of Li Jun with the evidence of a Japanese. On the other hand, the thinkers of modern-era China, including Hu Shi, found Li Jun’s conquest of Siam in Suiko koden to be suggestive of the Zheng Cheng-Kung administration based in Taiwan which continued to resist the Shin Dynasty. Foreign consciousness and nationalism were exhibited point-blank on both sides. In particular in Bakin’s historical-biographical yomihon such as Chinsetsu yumihari tsuki, we see that the original influence comes from Zheng Cheng-Kung. Suiko koden may have received similar influence, yet his intention to then find influence from a Japanese reflects the paradoxical nature of nationalism.

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  • 国際日本学

    国際日本学 8 189-200, 2010-08-10

    法政大学国際日本学研究所

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