芥川龍之介《杜子春》試論——以杜子春的意志為中心

Akutagawa Ryunosuke “Toshishun”: Consider the resolution of the chief character Toshishun

芥川龍之介的《杜子春》由於是以（童話）的方式創作，因此長期被讀者們單純地視為〈通俗道德〉的故事。然而，芥川的《杜子春》卻獲得了較其所改編的中國唐代原作小說《杜子春傳》更高的評價。本論文則首先不硬性將《杜子春》定義為兒童讀物，而著眼在其與原作最大的三個不同點，順著故事情節的進行，重新地再解讀該文本。其次，更進一步思考仙人「鐵冠子」這個不可欠缺的角色所隱含的真正用途，文本中的獨特會話形式所具有的意義，以及，偶而會在故事中現身的「說書者」的存在等，並期望能找出不同於〈通俗道德〉的另一種新的解讀，以及對芥川童話的新觀點。

Akutagawa Ryunosuke's “Toshichun” (July, 1918) carried by the child magazine “Red bird” has been read as a moral story by readers, because it was written as a fairy tale. However, the workmanship is evaluated than the novel “Toshishunden” of Chinese Tang Dynasty considered to be the original. Therefore it is not a work only as for teaching children morality and ethics.Do not prescribe “Toshishun” with fairy tale rigidly first, and by the main subject, aims at three biggest differences – “the intention that Toshishun wants to become a hermit”, “the reason that failed in the trial”, “the ending of the story” - with the original “Toshishunden”. Then, read over the text again with care in the three places along the flow of the plot.And, go to find the new one side of the Akutagawa’s fairy tale which is not morals children’s story while examining various problems such as the true role of the hermit who is the character indispensable in the story, the meaning of a unique conversation form exchanged in the text, and the existence of “narrator” of the story that sometimes tum up.