earticle

영어

This paper purports to make a fuller scrutiny of [Syoten][Ryoujin] which are Chinese characters representing the “husband”. Although these characters were so-called written language which had been used from ancient times in China, [Ryoujin], in particular, had a colloquial Chinese element partly employed in China popular literature. Furthermore, [Syoten][Ryoujin] had also played a role as a polysemy having multiple meanings other than “husband”. These words flowed into in Japan at relatively early times, and appeared to have a similar semantical usage with China. However, as times went on, they were inclined to mean “husband” at large in early modern and modern literatures. [Syoten][Ryoujin] were blooming in the literary works of Japan’s early modern and modern times, but falling off gradually after Showa period. The problem is that although there were various meanings in China and Japan, their meaning was reduced to the semantical resister of the “husband”. This is likely to be brought by the fact that the main storyline of literary works centers around the relationships between men and women. But this semantical phenomenon can be a kind of cultural transformation. This paper argues that by using the borrowed unfamiliar characters like [Syoten][Syohu][Ryoujin][Ryouhu] instead of Kana and a Chinese character such as [夫], Japanese writers intended to show up their knowledge and thereby to pursue a variety of notation of Chinese characters.

일본어

本稿では、｢おっと｣を表す漢字表記の｢所天・良人｣について考察した。中国では古い時代から用いられてきた所謂文言であったが、特に｢良人｣の場合は中国俗文学で用いられることもあって白話的要素もあった。さらに、両語は｢おっと｣以外に多義語としての役割をも担っていた。　 日本にも比較的早い時期に流入し、中国と同じような意味用法であったと思われるが、時代が下り近世や近代の文学作品では｢おっと｣の意味用法にかたよっていることがわかる。 日本の近世や近代の文学作品に現れている｢所天・良人｣は、この時期に花を咲かせた。昭和期以後は徐々に用いられなくなる。問題は、中国では多様な訓があったにもかかわらず、日本では｢おっと｣系に片寄っていて意味の縮小が見られたことである。このことは、文学の性質上、男女関係の物語が多いことにも起因すると思うのだが、一種の変容ともいえよう。 かなや｢夫｣のような漢字表記をすれば済むところを、あえて普通の読者には馴染みのない｢所天｣｢所夫｣｢良人｣｢良夫｣の訓借字を用いることにより、作家の知識を表したり、文学における漢字表記の多様性(豊富さ)を表したりする効果があったものと思われる。