《宇津保物語》中的俊蔭女兒人物造型──「天人」格、「国母」格的理想女性形像（Ideal Female Image of the Daughter of Kiyowara no Toshikage in Utsubo Monogatari: From Deva to Mother of the Empire）

『うつほ物語』における俊蔭の娘の人物造型──「天人」格、「国母」格の理想的な女性像──

讀者應該可以想像得到《宇津保物語》作者在創作物語故事和型塑許多主要人物的過程中，有意透過描繪秘琴傳承人藤原仲忠這一位具備生動活躍人物特質的理想男性形象，來達成日本歷史上第一部長篇物語的主要意義和統一性。另一方面，在仲忠的人物造型和他的活躍事蹟描寫所支撐的物語暗地裡，也不能忘記俊蔭女兒＝仲忠母親在物語中所發揮的重要角色功能。貴宮被多達十六名男性貴族視為理想女性不斷地求婚，雖然她拒絕了追求者，最終以政略結婚的形式入宮，成為皇太子妃，後來位居「國家父母」的皇后，但她始終嚮往以仲忠為主的秘琴一族生活樣貌，僅剩抱怨宮廷生活的局促和不方便的描述，而其身影逐漸地從故事的正面舞台銷聲匿跡。相比之下，從第一卷就已出現的俊蔭女兒，雖是潛伏存在於物語暗地裡的人物，但如果將她在全篇物語中，具備被比擬作輝夜姬的天人性、容姿美、富母子間的慈愛、藤原兼雅的最愛妻子、心胸寬厚能接納兼雅的眾小妾、秘琴一族的指導者以及她後來榮獲堪稱「國母」格地位的「尚侍」女官職等等的描述，一併考慮進來，便可以看出她的理想女性形象，在整部物語中確實發揮了重要的角色扮演。更可以說她在整部物語的故事情節中，其人物造型被型塑成一位，在任何境遇下皆會開花，在隱蔽處境中都能閃耀發光的人物。
In Utsubo Monogatari (Tale of the Hollow Tree), the author, in advancing the narrative and characterization, uses the ideal male image and the many abilities of Fujiwara no Nakataka, who is the heir to the magical kotos (harps), to elaborate and expand intricately intertwined sub-plots into Japan's first full-length monogatari, or fictional prose narrative. Underneath the characterization of Nakataka and vivid portrayals of his encounters, however, the female role and image of the daughter of Kiyowara no Toshikage, who is Nakataka's mother, cannot be overlooked. The beautiful Atemiya, daughter of lord Minamoto no Masayori, is viewed as the ideal woman; she has attracted 16 competing suitors from noble families, who all try to win her hand through extravagant courtship. In the end Atemiya refuses them all and strategically marries the Crown Prince. She enters the Palace, eventually becomes empress, and is regarded as the ''mother of the empire.'' Despite her stature, Atemiya continues to long for a lifestyle centered on Nakataka and the magical kotos. She starts to complain about life in the Palace, which she feels is filled with restrictions and inconveniences, until she gradually disappears from the narrative. By comparison, the image of the daughter of Kiyowara no Toshikage is in stark contrast with that of Atemiya. Toshikage's daughter, who happens to be Nakataka's mother, plays a secondary role in the narrative and remains in the background despite first appearing in Chapter 1. She is the wife of Fujiwara no Kanemasa and the love of his life. In a sense, she is comparable to the female protagonist Kaguya Hime in Taketori Monogatari (The Tale of the Bamboo Cutter), who is a celestial being with god-like characteristics. Toshikage's daughter has extra-ordinary beauty, shows motherly affection, and has a generous heart as she is accepting of Kanemasa's concubines. She also teaches the secret of the magical kotos to her son Nakataka and her granddaughter Inumiya. She is eventually appointed naishi no kami, the highest government post for a court lady. The above contributes to her ideal female image, and she does play an important role in the narrative as one who flourishes despite harsh circumstances.

『うつほ物語』の作者は、多くの主要登場人物の造型と物語を創り上げる流れの中で、秘琴伝承者の藤原仲忠を、生き生きとした人物特質を持つ理想的な男性像として描くことにより、日本史上初の長編物語の主な意義と統一性を求めたと考えられよう。一方、仲忠の人物造型とその活躍ぶりが物語を支えている陰に、俊蔭の娘＝仲忠の母の占める重要な役割があることも忘れてはならない。十六名にも及ぶ多くの男性貴族に理想的な女性として求婚されたあて宮は、十数人の求愛を拒んで政略結婚の形で入內し、皇太子妃、のち皇后という「国の親」になったが、仲忠が中心とした秘琴一族の生活ぶりに憧れ、宮廷生活の窮屈さと不自由に対する愚痴を漏らしながら、次第に物語の表舞台から姿を消していく。これに対して、首巻から登場した俊蔭の娘は、物語において陰の存在であるが、かぐや姫にも擬えられる天人性、美質、母子間の慈愛、藤原兼雅の最愛の妻、兼雅の妻妾を受け入れる心の寛大さ、秘琴一族の指導者や最後に得た「尚侍」の「国母」格の地位などを考え合わせてみれば、実に物語全般にわたり重要な役割を果たしている理想的な女性像であり、置かれた場所でひっそり花をつけるような、隠れた場所で輝く「光」のような人物造型となっていると考えられるのである。