解讀岩野泡鳴「五部作」《斷橋》之附錄──著眼於文本生成的過程

A Study of the Appendix in Dankyo from the Pentalogy by Iwano Hōmei: The Process of Text Formation

岩野泡鳴的生涯代表長篇「五部作」，文本經過多次修改、發表以及出版，其最終型態為新潮社出版的《泡鳴五部作叢書》。此叢書之第二部《斷橋》收有〈附錄〉，乃本文中被刪除的部分，變成了四則短篇小說。本論文以其中一篇〈阿鳥的苦痛〉為中心，進行文本比較，藉由其改稿方式，來探討泡鳴的意圖，並試問〈附錄〉存在的意義。文本共有三種：最初以短篇小說形式發表的A，連載長篇小說的一部分B，以及最後〈附錄〉所收的文本C。經過比較，由於B整體的主角是田村義雄，泡鳴依據自身小說理論「一元描寫」進行詳細而徹底的修改，將阿鳥設定為唯一的焦點人物，因而有了C；A在發表當時因人物的心理描寫獲得文壇好評，泡鳴便繼續深化心理描寫的手法，B因此而生。透過〈附錄〉文本的生成過程，我們可以看到泡鳴在不同的階段嘗試不同的小說寫法，這個特徵亦是理解「五部作」文本其複雜形成過程與方法演變的關鍵。

The Series of Hōmei's Pentalogy published by Shinchosha Publishing Corporation is the final form of Iwano Hōmei's Pentalogy, his representative novel. In the series, the second part Dankyo contains an appendix, which presents the texts that are deleted from the main body of the novel. These texts has be published for three times. A being previously published as a short story, B included in a serial novel, and C, the last part, serving as the appendix. This study conducts an intertextual analysis on “The Suffering of Otori”, one of the short stories in the Appendix, to explore how Iwano revises the texts and why the Appendix exists. The analysis shows that C is revised to solely focus on Otori in the story based on the Theory of One-Dimensional Narrative proposed by Iwano himself, while B greatly increases psychological descriptions of the characters compared to A. From the text formation of the Appendix, it is clear that Iwano attempts in different ways at different stages, which epitomes the formation of the Pentalogy.