語りの起源としての〈母なるもの〉という言説 『鬼平犯科帳』の「浅草・御お厩うまや河が岸し」と「老盗の夢」 (Japanese)

This article focuses on two of the first short stories from The Case Files of Onihei by Shotaro Ikenami (1923-1990), "Oumaya Riverbank in Asakusa" (1967) and "An Elderly Burglar's Dream" (1968), and aims to show that the discourse of motherhood serves as both the motive of the author and the origin of the narrative at the nascent stage of The Onihei series. The notion of motherhood in this case indicates the root of human existence from which we emerge, by which we are supported, and to which we return. In "Oumaya Riverbank," the main figure named Iwagoro, an ex-burglar, is torn between two types of paternal principles, one being those of the Special Operation Forces he now belongs to as a spy, and the other being those of a group of burglars led by the boss, Ebisaka-no-Yohei. Caught in this double-bind, Iwagoro ends up leaving Edo with his family for, most probably, his hometown in Ecchu (Toyama), which is expected to embrace him as securely as his dead mother. From here arises his aspiration for maternal principles of motherhood following his flight from the conflict of paternal principles. In "An Elderly Burglar's Dream," the major character named Kinosuke, another ex-burglar, is attracted to three women of large build all of whom resemble his deceased mother, who was once nicknamed "Sumo-wrestling beauty." The passage of his life is opened and guided by these three women until he is consequently thrown into ruin and enshrined in the imago of his own mother, in other words, motherhood. Seen from these perspectives, it can be said that both "Oumaya Riverbank in Asakusa" and "An Elderly Burglar's Dream" share an identical structure so deeply rooted in the author's belief in the myth of motherhood that they should be read as sequential variants, though they feature unrelated stories. [ABSTRACT FROM AUTHOR]

本稿は池波正太郎（1923-1990）による『鬼平犯科帳』の最初期の二篇、「浅草・御お 厩うまや河が 岸し 」（1967） と「老盗の夢」(1968)に着目し、『鬼平』シリーズの端緒には、〈母なるもの〉という言説が作者の動 因＝語りの起源として働いていることを論証する。ここで〈母なるもの〉と言うのは、我々がそこか ら生まれ、それによって支えられ、そこへ帰っていく、人間存在の根源という意味である。. 「浅草・御厩河岸」では、元盗賊の岩五郎が二種類の父性原理に引き裂かれている。第一は、現在 その密偵を務めている盗とう賊ぞく改あらため方かたの父性原理、第二は、首領・海老坂の与兵衛が率いる盗賊一味のそ れである。このダブルバインドに囚われた岩五郎は、家族もろとも江戸を離れ、最後には、自分を亡 き母のように包んでくれる越中（富山）の故郷へ向かったように描かれている。ここには、父性原理 の闘争から逃れ、母性原理の象徴としての〈母なるもの〉に憧れる主人公が認められる。「老盗の夢」 では、やはり元盗賊の喜之助が、「相撲すもう小町」と呼ばれた亡き母を思わせる三人の大女に魅せられて いる。喜之助の人生航路は、この三人の女によって開かれ導かれるが、その結果、喜之助は落命し、 母の心象（imago）、つまり〈母なるもの〉に包まれる。. これらの観点から見れば、「浅草・御厩河岸」と「老盗の夢」は不連続の物語でありながら、〈母な るもの〉の神話への作者の信仰に深く根差した二つの変奏として「ひと繋がり」に読まれるべき同一 の構造を備えていたと言える。. [ABSTRACT FROM AUTHOR]

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