@article{oai:kokubunken.repo.nii.ac.jp:00000347,
 author = {伊井, 春樹 and II, Haruki},
 issue = {04},
 journal = {国文学研究資料館紀要, The Bulletin of The National Institute of Japanese Literature},
 month = {Mar},
 note = {pdf, 中納言の渡唐は、転生した父への思慕の情に起因しており、その思いが母を捨て、大君と離別してまで、命を賭した海彼への航海へと彼を駆り立てたのであった。ところが親子の対面以後は急速に父への関心が薄れ、帰国してからは回想されることもない。第三皇子にしても、唐后に対してみせた、とても七、八歳の童児とは思えない超現実的な言動の後は、平凡な一人の御子にしかすぎない描写に終っている。父との再会は、中納言と唐后を結びつけるために作為されたのであり、それが果たされると、作者は次のモチーフへと筆を進めて行く。三の御子に限らず、唐后から吉野の姫君の登場にいたるまで、中納言の運命はあらかじめ構築された物語の枠組みのもとに操られるのである。登場人物の思考による内発的な物語の展開ではなく、主題性を先行させ、規定のレールを走らせるところに、作者の方法が読みとれるであろうし、平安末期物語に共通する限界でもあったと言えそうである。 

 Travel to Tang of Chunagon is caused by feeling of the yearning to his father who transmigrated and the thought drove him to a voyage to far across the sea at the risk of life to go even leave his mother, separated from Okimi. However, interest in his father faded right after the meeting, his father did not be recollected after going back to his own country. As for the third prince of the Emperor, it ends in description to hardly think to be a seven or eight year old child after a surrealistic behavior. The reunion of his father was described deliberately to relate Tang Empress to Chunagon, when it was achieved, the author kept writing to the next motif. Not only the third prince but also appearance of Tang Empress and princess of Yoshino, the fate of Chunagon is handled based on the framework of story built beforehand. The method of the author can be found not in development of the story by the intrinsic thought of the characters but in the preceded theme and running a prescribed rail. And it seems to have possibilities to be said that it was the limit that is common to a story at the end of the Heian period.},
 pages = {1--23},
 title = {浜松中納言物語の方法 ―唐后から吉野の姫君へ―},
 year = {1978},
 yomi = {イイ, ハルキ}
}