江戶川亂步 「陰獸」之考察──探詢身為偵探小說家的〈我〉

Edogawa Rampo“Inzyu”: Consider“I”who is a detective novelist

松村喜雄在其著作『亂步叔叔』（晶文社、1992.9）提及，江戶川亂步的作家活動可分為四個時期來做探討；然而，停筆十四個月後，在昭和三年發表的，「陰獸」被歸類為第二期，乃江戶川亂步的作家生崖中到達頂點的時期。這自然表示，「陰獸」此一作品在江戶川亂步的作家活動當中所佔的重要性。亂步本身也承認，集結了第一時期所創作的作品花招的「陰獸」是他的有力創作。只是，由第一人稱〈我〉所闡述的此作品，正因為在故事的最後以〈我〉對案件的解決產生疑惑而結尾，因此招致眾多評論的批評。受此影響，亂步曾一度更改了「陰獸」的結束部分；但又在二十幾年之後的作品集中回復原狀。因此，本論文在重讀由〈我〉所闡述的整個案件過程的同時，也試著重新觀測成為爭議焦點的結尾部分，以貫徹對「陰獸」的考察。

Mr. Matsumura said that Rampo Edogawa had four phases in hiswriter activity, in his book “Uncle Rampo” (syobunsya, September. 1992).“Inzyu” which is one of the representative works of Rampo belongs to thesecond phases. And the second phase was the best time of Rampo.In brief, “Inzyu” is the most important work of Rampo.“Inzyu” is a compilation of the works which were written at the firstphase. However, this work which was a first person narrative receivedmuch criticism because it was over by doubt to the case in the end._Underthe influence, Rampo changed the part of the last of the work once, but,20 several years later put it backed._In this article, I will read the plot of acase told with the first person narrative again, and reconsider the endingpart which became an argument.