@inproceedings{oai:kokubunken.repo.nii.ac.jp:00004072,
 author = {李, 澤珍 and LEE, Taekjin},
 book = {第４３回　国際日本文学研究集会会議録, PROCEEDINGS OF THE 43rd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {43},
 month = {Mar},
 note = {pdf, Waranbegusa is a treatise on Kyōgen, written by Ōkura Toraakira （1597－ 1662）. Toraakira, in this treatise, describes his own Kyōgen theory, such as the performance practices of actors, but also cites many passages and narratives from Japanese and Chinese texts to support his claims. One of these texts is Isoho Monogatari, a Japanese translation of Aesop’s Fables.   After its first edition in 1624, Isoho Monogatari was not only published in old moveable-type editions （kokatsuji-ban） at least nine times, but also in 1659 in woodblock, which was relatively easy to reprint. This suggests that Isoho Monogatari attained a wide circulation in the Edo period.   Most studies, however, have only pointed to the existence of Isoho Monogatari ’s fables or similar stories in other literary works, without focusing on the reception of Isoho Monogatari in the literature of the Edo period. This study seeks to analyze Washi to katatsumuri no koto （The Eagle and the Snail）, one of the fables from Isoho Monogatari in Waranbegusa, in order to clarify the actual conditions of the reception of Aesop’s Fables during the Edo period.   The storyline of Washi to katatsumuri no koto is as follows. An eagle hunted a snail but could not break its shell. When the eagle was in trouble, unable to break the shell, a crow advised the eagle to fly very high and drop the snail, which led the eagle to get its meal. And at the end of the story, there is a moral that it is important to accept the opinions of wise men, no matter how powerful one is.   The full text of this fable is contained within the notes to the preface of Waranbegusa, and according to previous studies, its purpose was to teach actors that it is important to ask people even from other schools if one has any questions during training and performance practices. However, the fable in Waranbegusa is related to the context of the preface, in contrast to Isoho Monogatari, where each fable stands alone as its own story.   Considering the contexts of the preface with the change of situation in the Nohgaku scene of the early 17th century, this fable serves to show off the superiority of the author’s own school rather than as a moral in Waranbegusa.},
 pages = {106--128},
 publisher = {人間文化研究機構　国文学研究資料館},
 title = {研究発表　大蔵虎明『わらんべ草』の『伊曽保物語』受容},
 year = {2020},
 yomi = {イ, テクジン}
}