曲亭馬琴の読本における創作と評論の関わり–『南総里見八犬伝』と『開巻驚奇侠客伝』を中心に–

從創作與評論的關聯來看曲亭馬琴的讀本小說──以《南總裡見八犬傳》與《開卷驚奇俠客傳》為中心（The Relationship between Creation and Criticism in the Novels of Kyokutei-Bakin: Focused on 'Nasou Satomi Hakken-den' and 'Kaikan Kyouki Kyoukaku-den'）

江戶讀本小說的代表作家曲亭馬琴（明和四〈1767〉年～嘉永元〈1848〉年）以翻案改寫《三國演義》以及《水滸傳》等白話小說而聞名。惟其並非單方面接受這些中國的先行文學作品，同時亦致力於發展有別於中國小說家及評論家的自身獨到見解。「翻案」係以模仿為主，讀本小說家雖從此一創作模式出發，卻藉由重新審視白話小說與自身作品之間的差異，進而逐漸形成自己特有的小說観。本文擬探討此一演變過程。具體將透過曲亭馬琴對《水滸傳》的詮釋、他在《犬夷評判記》中對自身作品的評論，以及與殿村篠齋、木村黙老等小說同好之間的交流，來探討「評論」在讀本小說創作上所扮演的關鍵角色。外來的白話小説不僅是適合翻案改寫的題材，同時帶動評論風氣的產生，更進一步促成了文壇內外各方知識份子之間的交流。曲亭馬琴的《南總里見八犬傳》與《開卷驚奇俠客傳》等代表作，便是在這股以白話小說為媒介而觸發的多元知識交融之下的產物。 Kyokutei-Bakin (1767-1848) is one of the most representative Yomihon writers in the Edo period of Japan, especially famous for his adaptation of the novels written in colloquial Chinese, such as ”Romance of the Three Kingdoms” and ”Water Margin.” However, he is not merely accepting these preceding works from China one-sidedly, but also devoted to making his own point of view, which is different from that of Chinese novelists and critics. This paper focuses on the process during which the Yomihon writer starts from adaptation, usually a form of imitation, and goes on to relativize the original, as an attempt to form his own concept about writing novels.Kyokutei-Bakin's interpretation of ”Water Margin,” his criticism towards his own works in ”Keni Hyoubanki,” as well as his interchange with like-minded people, such as Tonomura-Jousai and Kimura-Mokurou, are going to be discussed. The novels from China not only serve as a good subject for adaptation, but also bring about the development of criticism, thus making possible the interchange between intellectuals from different fields. Kyokutei-Bakin's famous works, including ”Nansou Satomi Hakken-den” and ”Kaikan Kyouki Kyoukaku-den” are all given life due to such mediation of Chinese novels.