A collection of volumes written by Ryutei Tanehiko. First published in 1829 (Bunsei 12), 38 volumes published in 1842 (Tenpo 13) (volumes 39 and 40 remain unpublished drafts and are incomplete). Illustrated by Utagawa Kunisada. The title is a reference to the original, Murasaki Shikibu's "The Tale of Genji," and is a reference to the adaptation, with "Murasaki Shikibu-like" (imitation of Murasaki Shikibu) and "Countryside Genji" (in the countryside) (adding a vulgar touch). Hanagiri (Kiritsubo) was the favorite of Ashikaga Yoshimasa (Emperor Kiritsubo) and gave birth to Mitsuuji (Hikaru Genji), but she died of illness due to the stress of Toyoshino-mae (Kokiden). To avoid Yoshimasa's partiality, Mitsuuji pretends to have had an affair with his mother-in-law Fujikata (Fujitsubo) and pretends to be a lover, secretly inquiring about the whereabouts of the three lost treasures. After learning of Yamana Sozen's intention to become Shogun, Mitsuuji takes Murasaki (Lady Murasaki), the daughter of a concubine of Yusa Kunisuke, who Sozen is trying to win over to his side, as a hostage, and after the death of Aoi no Ue, Mitsuuji takes her as his legal wife. Mitsuuji approaches Katsuragi (Lady Oborozukiyo) and spreads rumors of an affair, and is deliberately exiled to Suma, where he takes Asagiri (Akashi), the daughter of Sozen's younger brother Soenyu, as his lover, and returns to the capital to thwart Sozen's ambitions. Later, he retrieved the treasured sword, Kogarasumaru, from Sozen's daughter, Asagao, and added the Gyokuto mirror and the imperial scroll that he had already retrieved from Mihara (Minamoto no Naishi) and Akogi (Rokujo no Miyasudokoro), surrendering to the three treasures. Mitsuuji then became the shogun's guardian. He broke up a love affair between Yūgirimaru (Yūgiri) and Takanao's (To no Chujo) daughter, Karigane (Kumoinokari), and became estranged from Takanao. However, he adopted Takanao's illegitimate child, Tamakuzu (Tamakazura), and made her the wife of Hirokado (Higekuro no Taisho). The story is set in the Muromachi period, and the plot is based on the usual plot of a gokan (combined volume) of a family turmoil and a dispute over valuable treasures. With the help of artist Kunisada, the book is filled with gorgeous, Kabuki-style illustrations, which were enthusiastically received by female readers at the time. The depiction of this gorgeous and splendid world gave rise to the theory that it was modeled on the Ooku (the palace of the inner palace), and the book was eventually put out of print, and is therefore left unfinished. [Masahiro Tanahashi] "Commentary on Edo Literature Series 8: Sharebon and Kusazoshi Collection" Reprint Edition (1970, Kodansha)" ▽ "Complete Collection of Japanese Masterpieces 20 and 21: Genji of the Inaka Dormitory, Volumes 1 and 2" (1928, Dosho Publishing Association) Part 4, Part 1, Written by Ryutei Tanehiko, Illustrated by Utagawa Kunisada, Published in 1831 (Tenpo 2), Owned by the National Diet Library "Genji from the Countryside" Ryutei Tanehiko's autograph manuscript, Vol. 4, illustrated by Utagawa Kunisada, around 1830 (Bunsei 13), owned by the National Diet Library "Nishimurasaki Genji" (manuscript) Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend |
柳亭種彦(りゅうていたねひこ)作の合巻(ごうかん)。1829年(文政12)初編刊、1842年(天保13)38編刊(39、40編は未刊草稿のまま、未完)。歌川国貞(くにさだ)画。書名は、原典である紫式部の『源氏物語』に対し、翻案の意から「似せ紫式部」、通俗性を加えた意で「田舎源氏」としたものである。足利義正(あしかがよしまさ)(桐壺(きりつぼ)帝)の寵愛(ちょうあい)を受けて花桐(桐壺)は光氏(みつうじ)(光源氏)をもうけながらも、富徽前(とよしのまえ)(弘徽殿(こきでん))に対する心労のあまり病没する。義正の偏愛を避けて、光氏は義母藤方(藤壺)と不義をしたとみせ猟色を装い、ひそかに紛失した3種の宝の行方を尋ねる。そのうち将軍職をうかがう山名宗全の魂胆を知った光氏は、宗全が味方に引き込もうとする遊佐国助(ゆさくにすけ)の妾腹(しょうふく)の娘紫(紫上)を人質にとり、二葉上(葵上(あおいのうえ))の死後は正妻に迎える。桂樹(かつらぎ)(朧(おぼろ)月夜)に近づき浮名を流し、わざと須磨(すま)に流された光氏は、そこで宗全の弟宗入の娘朝霧(明石(あかし))を恋人に迎え、ふたたび都に戻り宗全の野望を砕く。のち宗全の娘朝顔(槿(あさがお))から宝刀小烏丸を取り戻し、すでに水原(みはら)(源典侍(げんのないし))と阿古木(あこぎ)(六条御息所(ろくじょうのみやすどころ))から取り返していた玉兎(ぎょくと)の鏡と勅筆の短冊をあわせ、ここに3種の宝をそろえた光氏は、将軍の後見役となり、夕霧丸(夕霧)と高直(たかなお)(頭中将(とうのちゅうじょう))の娘雁金(かりがね)(雲井雁(くもいのかり))との恋仲を裂いたことから高直と疎遠になるが、高直の隠し子玉葛(たまくず)(玉鬘(たまかずら))を養女とし氾廉(ひろかど)(髭黒大将(ひげくろのたいしょう))の妻とする。時代を室町時代に移し、御家(おいえ)騒動と重宝の詮議(せんぎ)という合巻の常套(じょうとう)的構想で筋の展開を図り、画工国貞の力を借りて全体に歌舞伎(かぶき)的趣向の汪溢(おういつ)する艶麗(えんれい)な挿絵を配したことが、当時の婦女子読者に熱狂的に迎えられるところであった。その絢爛(けんらん)華麗な世界の描出が大奥モデル説を生み、やがて絶版に処され、ために未完に終わっている。 [棚橋正博] 『『評釈江戸文学叢書8 洒落本・草双紙集』復刻版(1970・講談社)』▽『『日本名著全集20・21 偐紫田舎源氏 上下』(1928・同書刊行会)』 第4編 上 柳亭種彦作 歌川国貞画 1831年(天保2)刊国立国会図書館所蔵"> 『偐紫田舎源氏』 柳亭種彦自筆稿本 第4編 歌川国貞画 1830年(文政13)ごろ国立国会図書館所蔵"> 『偐紫田舎源氏』(稿本) 出典 小学館 日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について 情報 | 凡例 |
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