@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002618,
 author = {熊, 慧蘇 and XIONG, Hui-su},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {23},
 month = {Mar},
 note = {pdf, Tsûzoku Tô Gensô Gundan (hereafter abbreviated Gundan) is one of the popular military tales, dating from the first half of the early modern period, that are considered to be the forerunners of the genre known as yomihon (books for reading) . According to Tokuda Takeshi, Gundan is based on such histories as Shiji Tsugan (A history of China) but the origins of the work and the various sources on which it draws have not been elucidated at all. [Nihon Koten Bungaku Kenkyûshi Daijiten, Ed. Nishizawa Masafumi, Tokuda Takeshi, Bensei Shuppan, reprinted March, 1999.]
However, the present investigation reveals that a principal source for the text is Shiji Tsugan Kômoku, and that other sources include such poems and stories as: Kutôjo, Shintôjo, Chôgonka, Chôgonka-den, Yôtaishin Gaiden, Baihiden, and Kaigen Tenpô Iji. In this study, I clarify which parts of Gundan come from classical Chinese texts and which parts are adaptations on the part of the author. Further, I also point out places in the text where the author has inserted his own interpretations even as he is quoting from classical Chinese sources. In doing so, I try to show how authorial design has shaped the creation of the text--in other words, I try to make clear the methods of translation used in the text.
I begin with a discussion of the evidence for the argument that Shiji Tsugan Kômoku is a principal source for the Gundan text. In the first place, there is the fact that Gundan, published in Hôei 2 (1705), appeared after Shiji Tsugan Kômoku (published during the Kanbun era, 1661-1673), and before Shiji Tsugan (published in Kansei 2, 1790). In the second place, of the one hundred forty-eight tales within the complete twenty-volume text of Gundan, there are seventy tales whose titles either exactly mirror, or are made up of partial quotations from, the layout (kô) of Shiji Tsugan Kômoku. In contrast, there are only a few headings in Shiji Tsugan that are similar to those of Gundan, and even those phrases that are similar are usually incorporated into the body of the text. It is thus difficult to imagine that Gundan was extracted from Shiji Tsugan.
Next, there is the story of Yô Kihi (Yang Guifei), which appears more often in literary works and unofficial histories than in the official histories of China. Gundan is no exception. In Gundan, the section pertaining to Yô Kihi differs considerably from that found in the historiographical text Shiji Tsugan Kômoku. Rather, it makes use of classical Chinese works such as those listed above, with the further addition of various authorial adaptations. Consequently, the story has been changed from a serious historiographical work to a fictionalized romance.
In this way, by skillful arrangement, the author of Gundan has taken classical Chinese histories--which the ordinary person would have found difficult to read--and turned them into entertaining, easy-to-read stories. The prose of doing so, as stated in the preface, is to educate the people in the lessons and “connect benevolence” (seichoku jinjo) of history.},
 pages = {47--65},
 publisher = {国文学研究資料館},
 title = {研究発表　『通俗唐玄宗軍談』の翻訳の方法　―その典拠と翻案の様相―},
 year = {2000},
 yomi = {ション, フィｿ}
}