@article{oai:kokubunken.repo.nii.ac.jp:00000651,
 author = {江戸, 英雄 and EDO, Hideo},
 issue = {30},
 journal = {国文学研究資料館紀要, The Bulletin of The National Institute of Japanese Literature},
 month = {Feb},
 note = {俊蔭の物語を読むと、未踏の世界を前進する超人的な偉大さと、望郷の念と父母への思いに心を切なくする等身大の感情とが俊蔭の人物像をかたどっていることに気付かされるが、いったい、このような人物像は、どのようにして創造されたのであろうか。一般に、『うつほ物語』は天元元年（九七八）以降、一条朝の初期までの約一○年間に成立したと推定されている。これは日本の対外交流史の中で、入唐求法僧から入宋巡礼僧への転換期に相当する。本論では、物語の基層にある入唐（宋）僧の伝記・説話の類に目を向けてその発想形式の種々相を分析することから始めるが、そのうえで俊蔭の人物像が入唐求法僧と入宋巡礼僧のそれぞれの相貌を合わせ持っていることを示す。そしてこの物語にとっては、琴の音をたずねる旅人を誕生させたことが、渡唐した人々の諸伝に見えるような発想形式を取り込んで一つの物語に織りあげ、しかもそこからこの物語独自の新しいストーリーを書き進めていく可能性を拓く、自由でのびやかな創造性を獲得する決定的な契機となったことを論じる。

　A story of Toshikage gives us a realization that his personality was made from both his greatness of advancing the world never trodden and his nostalgia and emotions which yearning for his parents as he is. What on earth how such a 
character of his was made? Generally it was presumed that “Utsuhomonogatari（うつほ物語）was formed for ten years from Tengen 1st (978) to early years of Ichijyo-cho. In that period, the way of exchange with a foreign country changed from a Pilgrimage to China in search of the Law to a pilgrimage priest to Song.　 Focusing on a biography at first, a narrative of priests who went to Tang (Song) which is a foundation of this story, then the various phases of the genre of idea were analyzed. With that in mind, it is indicated that Toshikage had both characters of a Pilgrimage to China in search of the Law and a pilgrimage priest to Song. It was discussed that making a character as a traveler seeking for the strains of the harp might be the decisive opportunity to get free and easy creativity in this story, taking in genre of ideas in episodes of people visiting Tong, then finished weaving it in one story. Also this opened up new possibilities to keep writing original, new story.},
 pages = {23--52},
 title = {琴の音をたずねる旅人 ―長篇の序章、俊蔭の物語―},
 year = {2004},
 yomi = {エド, ヒデオ}
}