Earticle

本研究では、「紅涙」の意味用法について、近代を中心に考察した。この「紅涙」は、近世には主に読本に用いられ、用例も少ないのであるが、女性の流す涙という意味用法を持っている。近代、特に明治期には実に多くの「紅涙」の例が見られ、それ以前に比べ音読みの「紅涙」が大部分を占めている点が異なる。「紅涙」は種々のジャンルにわたっていて、近世よりは近代の方がはるかに広範囲に用いられている。まず、「繁昌記」は幕末から流行しているが、事実上の幕末の作品『繁昌後記』から見られるようになる。意味用法は、美しい芸妓が流す「紅涙」であるのが特徴である。明治初期の翻訳文学にもかなりの「紅涙」の例がある。政治的性格を持つ作品が多かったが、やはり実に美しい女性が流す涙であることが分かった。日本人による小説も翻訳作品と別段変りはなく、殆んどが美人の女性や普通の女性が流す涙であった。しかし、必ずしも女性専用のものではなく、特に戦争文学で痛切の思いを表わす涙として男性も「紅涙」を流している。また、少数ではあるが評論․感想文には男性․女性を問わない中立的な表現もあった。 男性の「紅涙」の使用は相対的に女性の使用に比べ少ないけれども、小島がいうような和習ではない中国風の使い方が定着したわけではないのである。小島の意見は、用例の少なさからきた誤解であったと思われる。この現象は、現代における使用状況からも裏付けられる。 現代の人は「紅涙」に馴染んでいないようでありながらも、色々な意味用法で用いている。まず依然として女性が流す涙として表現しているが、明治期に比べ、美しいという要素は弱く、平凡な女性の涙になっている。男性が流す「紅涙」は多くはないが、注目すべきは「日本人の紅涙」「国民の紅涙」のように、特に男女の区別をしない中立的な用法が大幅に増えていることである。また、「子女」「男女」のような共用的なものもあり、明治期の用法(幸田露伴)を引き継いでいるとも言えるが、大幅に増えていることが異っている点である。このように男女を問わない用法の多様化が進んでいる一方、「紅涙」とつながる述語は「しぼる」が大部分を占めていて画一化の様相もみられる。これは、ネットからの抽出であるので、明治期の文学と直接的に対比させるのは無理があるが、「紅涙」の使用の流れを把握することはある程度出来たと思われる。このように、「紅涙」はひっきりなしに変容していることが分かった。

필자는 이 글을 통해 1814년 절강성 해녕현 유보화가 쓴 《홍루원몽》의 서사전략과 그 의의를 분석해보고자 한다. 《홍루원몽》은 홍루몽 속서의 맥락을 따르면서도 동시에 19세기 초 절강 지역의 문인으로서 지역의 위기의식을 담아 소설을 완성한 것으로 보인다. 먼저 소설의 제1회 임대옥의 환혼 서사로 시작하여 소설의 제2회의 벽안의 서양인이 임대옥을 찾아와 그녀에게 재물을 주고 떠나는 장면을 살펴보고, 마지막으로 소설의 제9-10회, 제23-27회에 걸쳐 있는 해적 소탕 서사를 검토하겠다. 소설에서는 여성 인물의 활약으로 서양인이 돌아가고 해적들이 소탕되지만, 이는 위기 극복이 어려운 현 사회에 대한 경고로도 읽을 수 있다. 종합하자면, 본 소설은 속서의 틀을 유지하고 있지만 절강 지역 문인으로서 저자의 현실 비판과 풍자가 강한 작품으로 보인다. 19세기 독자들은 이를 《홍루몽》과 유사한 세정소설로서 기대하였지만 필자는 《홍루원몽》을 시대적 위기에 대한 경고와 풍자를 담고 있는 소설로 볼 것을 제안한다.

This paper analyzes the narrative strategy of the Honglouyuanmeng, which was published in 1814, written by Yu Baohua. Focusing on three unusual features in Honglouyuanmeng, which are the summoning of spirit, the foreigners, and the pirates, this paper points out that Honglouyuanmeng is not only a sequel of Hongloumeng, but also a creative work that conveyed the author’s worries about the crisis of Zhejiang provinces in 19th century. Honglouyuanmeng constructs a women-leading narrative. After the summoning of Lin Daiyu, who is the leading character in the novel, the threatening foreigners were sent back to their motherland, and the bold pirates were swept out by Lin Daiyu and her female companions. However, through these special features and narrative strategy, this paper argues that this novel also can be seen as a metaphor that the Qing government would not overcome the crisis of the foreigners or the pirates in the 19th century. Honglouyuanmeng was known as a sequel of Hongloumeng, and the reader in the 19th century usually expected the sequel should trail the narrative of Hongloumeng. However, with its distinguishing narrative features, Honglouyuanmeng contains criticism and sarcasm toward the Qing society and also warn the readers that a crisis is coming and will not be easily overcome.

A term ‘love’ was a concept that Empire Japan had transmitted western term ‘love’ to colonized Chosun. The word ‘love’ symbolizes modernity in western. Chunhee(La Dame aux camelias, 1848, by Alexandre Dumas Fils) is a issuing novel. The work, Chunhee is a story not dealing with normal men and women, but prostitutes. Chunhee had carried in the newspaper, ≪Maeil-sinbo≫ from September 21, 1917. to January 16, 1918. This novel had already flow into Japan and China. It had influenced them the sensation of ‘Modern Love’. However since the space was different, it was different to be influenced. The term ‘love’ had translated as ‘to love’ in colonized Chosun in 1910's. It means not as a noun, but as a verb. Therefore ‘to love’ is totally different from an concept ‘love’ in the past. It was included all of behaviors that loved and acted between men and women. The term, ‘love’ was changing owing to the term of modern love, ‘to love’. In the first place, ‘love’ was just the concept of presenting about emotions. As time goes by, It had been turned into the concept of presenting about love behaviors. After all, this term had begun to include the eruption of desires in colonized female readers. ‘To love’ that mixed with behaviors and desires in 1910's had prepared 1920's, as a era of ‘to love’.

This paper examines the formation and fragmentation of youth literary subjectivity in 1950s China by focusing on Honglou (紅樓), a student literary journal launched at Peking University in 1957. Emerging in the brief liberalizing moment of the “Double Hundred Policy,” Honglou sought to revive the youthful spirit of the May Fourth Movement by channeling young intellectuals’ love, idealism, and even their melancholy and critical reflections into poetry. The journal’s trajectory diverged dramatically after the May 19th Student Movement of 1957—some members advanced the ideals of critical inquiry and democratic expression by founding a new journal, Guangchang (廣場), while others aligned themselves with the Party line and participated in the Anti-Rightist Campaign. This internal split not only marked the disintegration of Honglou but also exemplified a broader realignment of youth intellectuals between critical engagement and ideological conformity during and after this pivotal era. Finally, this paper explores how the legacy of Honglou continued to resonate in the literary reinvention of youth subjectivity in the post-Mao period.