《源氏物语》的家族意识
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摘要
《源氏物语》问世于11世纪初,作为日本最具代表性的古典文学作品之一,常被誉为“日本的《红楼梦》”。作者紫式部出身于没落贵族家庭。她所处的时代,正是上层贵族通过与皇室联姻不断蚕食皇权的摄关时代,所以作者的个人经历以及贵族择偶时对对方门第的重视等特征都反映在了《源氏物语》中,而女性的婚恋背后往往伴随着一部家族的兴衰史。
在现有的关于《源氏物语》的家族、门第的研究中,绝大部分都着眼于作品中男性的门第观念,从男性人物入手考察他们对于先祖遗愿的践行、门第的维护等等,而从女性人物的角度出发系统研究其家族意识的成果非常少,仅有一些散见于人物论中的关于单一人物身份意识的叙述,而这些无论是深度还是广度都是远远不够的。
在作者生活的摄关时代,贵族的婚姻形态与居住形态决定了女性与父系家族的紧密关系。女性的婚姻基本取决于娘家的门第、财力;女性婚后大多住在娘家,生活用度主要靠娘家供给;生下的孩子由娘家抚养教育;女性死后葬入父族墓地。这就是说,女性的命运及其生活方式在很大程度上取决于父族的门第。同时,女性在父系家族中也扮演着各种重要角色,直接反映了父族的门第观念与家风。因此,结合当时的婚姻习俗和文化背景,由《源氏物语》的女性形象出发,系统考察、深入分析《源氏物语》的家族意识是可行的,也是必要的。
本论拟以《源氏物语》的女性形象为研究对象,参照摄关时代的社会现状与婚姻形态,就相关材料进行梳理分析,以期厘清作者在《源氏物语》中试图由女性形象传达的家族意识,进而达到更好地理解这部小说内涵的目的。论文共分四章,分别从女性与摄关家族的荣耀,女性与家族复兴,没落贵族女性及其家族观念,没落亲王家的女性及其门第观念等四个方面加以探讨。
在第一章“女性与摄关家族的荣耀”中,主要考察弘徽殿女御、葵姬、胧月夜等三名女性在左、右大臣两大家族中起到的作用。弘徽殿女御作为右大臣家的长女,在桐壶帝尚为东宫太子时就已入宫,并为桐壶帝生下大皇子,为右大臣一家实现“摄关政治”的梦想起到了关键作用。在这一过程中,弘徽殿女御展现出比父亲更加卓越的政治才能。她辅佐儿子登上皇位并成为朱雀朝的实际掌权人。为了家族的长久荣华,她尽到了一名摄关女儿所肩负的家族责任。但是,由于弘徽殿女御及右大臣一族的政治企图,有悖于桐壶天皇的治世理念,威胁皇权,所以徽殿女御这个人物一直是作为朝廷的对立面而存在的。与此相对,左大臣的女儿葵姬则起到了烘托父亲左大臣正直形象的功能。左大臣通过女儿葵姬的婚姻展示出自己作为廷臣辅佐天皇亲政的决心。尽管葵姬的婚姻是一个悲剧,但是通过她的婚姻与死亡左大臣与光源氏结成了牢不可破的政治同盟。同样身为摄关家族的女儿,胧月夜身上背负着右大臣一族的未来,然而,胧月夜缺乏对自己身份的自觉,一方面被委以家族重任,一方面陷入与光源氏的恋爱无法自拔,为了爱情,屡屡做出违背家门利益的举动。我们从左、右大臣及其女儿身上,可以真切地体会到作者所想表达的儒家的治世观及君臣理念。
在第二章“女性与家门复兴”中,主要分析了在桐壶更衣入宫背后隐藏着的复杂的家族背景,以及明石道人对明石姬的婚姻提出苛刻要求的原因,考察了这个家族的两系为了完成祖上遗志,复兴家门所作的努力,以及两位女性在实现复兴家门的大业中起到的作用。在摄关时代,大臣们将女儿送入宫中,大多是为了攫取权力、实现自己的政治野心,然而桐壶更衣入宫时父亲已经去世,显然不是出于这个目的,而且毫无任何外戚支持的更衣,入宫后无论获得多大的恩宠,最终都将以悲剧收场。明石姬的婚姻也是如此,从一开始就注定了自身的不幸,但是两人肩负着家族复兴的责任。这种有违常规的婚姻,是她们实现先祖遗愿的必要途径。
在第三章“‘雨夜品评'与家道中落的女性”中,着重分析了“雨夜品评”的蕴含与它在作品中的影响;探讨了同样遭遇家门不幸的空蝉和夕颜两个女性完全不同的生活方式。父亲在世时,两人都是高贵门第的小姐,然而父亲的早逝改变了她们的命运。空蝉沦落为地方官的后妻;夕颜沦为头中将的外室,并因受到正妻家的恐吓而四处躲藏,无处容身。正是这样两个女子,偶然与光源氏邂逅了。空蝉怀有强烈而复杂的门第观念。这种意识一方面源自出身高贵的自豪感,另一方面则来自门第没落的自卑感,再加上对于伦理道德的坚持,使得她对于光源氏的求爱犹豫徘徊,既拒绝又难以坚持到底。而夕颜则恰恰相反,她的门第观念淡薄,试图在理想化的感情中求得解脱,脱离悲惨的现实社会。空蝉最终因为拒绝而受到光源氏的尊敬,在出家后得到了他的庇护,而夕颜则在品尝了刹那的爱情后死于非命。由此凸显了作者对空蝉的门第观念和伦理道德的褒扬,其底蕴与儒家的“女训”思想是一脉相承的。
在第四章“没落亲王家的女性及其门第观念”中,主要探讨了常陆亲王的两个女儿与末摘花的门第观念。物语中塑造了不少虽然有着高贵的皇室血统,却不幸落魄、饱尝辛酸的亲王。其中,以常陆亲王和宇治八亲王最有代表性。无论家道衰落到什么程度,他们都从容镇定,决不丧失皇室的尊严。临终前,甚至给女儿留下遗言,要求她们恪守家规,不坠家声,甚至要做好以身殉家的准备。在父亲们的门第观念的影响下,两家的女儿各自作出不同的人生抉择。末摘花坚守父亲遗言,承担了守护家门的重任,大君成为父亲八亲王亡故后的家主,继承了父亲八亲王的门第观念,为了家门家声最终选择了死亡,而中君则通过与匂皇子的婚姻,延续了一门的血脉并给家族带来了复兴的希望。三个女子尽管做法有别,但都在一定程度上继承了父亲的门第观念,守护了家门尊严,尽到了“孝女”的责任。
通过以上考察,可以看到在《源氏物语》中,作者赋予了各个阶层的女性们复杂且沉重的家族责任。在平安时代独特的婚姻形态与政治背景的影响下,与“夫家”相比,女性和“父家”的联系更加紧密。因此恪守祖训,维护家门,不坠家声便成了贵族女性道德规范。此外,与摄关时代的历史习俗相比较,尤其是在对于摄关家族女性的评价中,紫氏部不自觉的逸出了传统文化背景的制约,在对女性及其家族的评价中糅合了儒家的“忠”“孝”的思想以及儒家史观,使得作品中家族意识的体现独特而又复杂,展现了作者对于女性与家族这一问题的独特的思考。
The Tale of Genji,one of the classic works in the history of Japanese literature, was produced in the early 11~(th) century and has been considered the Japanese-version of Dreams of the Red Mansions. Its author Murasakisikibu was born in a noble family. The times she lived in was one of regency when the nobles attempt to exert their influence via marriage with the royal family. As a result, what is reflected in The Tale of Genji is the author's life experiences and the social realities such as the emphasis on family background in marriage. To some extent, the marriage of a woman is always closely tied with the ups and downs of the whole noble family.
Most of the current research about The The Tale of Genji focuses on male characters' awareness of family status. Specifically, male characters' effort to carry out what their ancestors teach them and maintain their family status has been examined in previous research. Few studies, however, have systematically explored family status awareness from the perspective of female characters. There do have scattered accounts of identity awareness of single character, but these are far from enough in terms of both depth and width.
During the historical period in which the author lived, the marriage patterns and living situation of a noble family decides that a close relationship exists between females and their father-side family. A female's marriage is decided by the status and power of her family; a female usually lives in and economically supported by her parents' home after she gets married. A female's children are reared in her parents' home; she is to be buried in the graves of her father side family after death. That is to say, the fate and living style of a female is, to a great extent, decided by the status of her family. At the same time, females play important roles in their father side family. This is a direct reflection of family status awareness. It is necessary and practical to systematically explore the family status awareness reflected in The Tale of Genji from the perspective of female characters.
This thesis aims to focus on the female characters in the novel and the social and marital situation in their times with a view to better understand the family status awareness conveyed by these characters. This thesis falls into four chapters, and they respectively explore the novel from the following perspectives: females and the glory of the regency's families, females and family revival, females in declining noble families and their family beliefs, and females in declining royal families and their awareness of family status.
The first chapter "females and the glory of regency families "centers on the roles played by such females as Kokiden、Aoinoue、Oborodukiyo in two families. Kokiden, the elder daughter of Udaizin, has already been in the royal family and given birth to the first son for the Emperor Kiritubo when he is still a prince. She plays a critical part in the realization of Minister of the Right's family's dream of regency" . In the process, Kokiden shows more brilliant political talents than her father. She helps her son to succeed to the throne and becomes the person who holds power in the reign of Emperor Suzaku. She successfully fulfils the responsibility she has to take for the glory of her family. However, the political attempts of Kokiden and her family goes against Emperor Kiritubo's beliefs of administering a country and poses a threat to the power of the emperor. Therefore, Kokiden as a character is created as a rival for the royal rulers. In contrast, Minister of the Left shows his determination to support the emperor through her daughter Aoinoue's marriage. Despite the fact that Aoinoue's marriage is a tragedy, her marriage and death helps Minister of the Left and Genji become close allies. As daughter of the regency families, Oborodukiyo shoulders the responsibility for the future glory of the Minister of the Right's family. But Oborodukiyo lacks the awareness of her own identity: on one hand, she has family responsibility to take; on the other hand, she gets into love with Genji and does harm to her family interests again and again out of love. From the description of Minister of the Left and Minister of the Right and their daughters, we can perceive that the Confucian beliefs of running a country the author wants to express in the novel.
The second chapter "females and family revival" mainly deals with the complicated family background behind Kiritubo's entry into the royal family, and the reason why Akasinonyuudou places strict limits on Akasinoue's marriage. This chapter also explores the efforts made by the family to realize their ancestors' dreams of revival and the roles played by two females in the revival. In regency, the ministers send their daughters into the royal family in order to get power and achieve their political ambitions. However, it cannot be true of Kiritubo, for when she gets into the royal family, her father has passed away. Without support from her family, however much favor she can win, she is certain to get a tragic ending. Similarly, Akasinoue's marriage is also doomed to be tragic. But shouldering the responsibility of family revival, they have no choice but accept the unhappy marriage.
The third chapter "'Amayonosinasadame'and females in declining families" centers on the implications of Amayonosinasadame and its influence in the novel, and explores the totally different life styles of two females, Utusemi and Yuugao, whose families decline. When their fathers are alive, both of them are ladies in noble families. But their fathers' early death changes their fate. Utusemi becomes the second wife of a local official; Yuugaois reduced to be the lover of Tounotyuuzyou and is forced to hide here and there by his wife's threat. It is these two females that come across Genji. Utusemi has a strong awareness of family status which comes from her pride in being born in a noble family and from her inferiority brought about by family declining. Besides that, her adherence to moral standards makes her hesitate to make decision facing Genji's proposal. It is hard for her to refuse flatly. But Yuugao is just the other way round. She almost has no awareness of family status, and attempts to get away from real society and get relieved through ideal love. Utusemi's refusal helps her win respect from Genji and get his protection after she becomes a nun whereas Yuugao died a violent death after enjoying temporary love. This shows the author's promotion of Utusemi's family status awareness and moral standards which is closely related to the Confucian female teaching.
The fourth chapter "females in the declining families and their family status awareness" mainly explores the family status awareness of Hitatinomiya's two daughters and Suetumuhana. This novel creates a few royal people who are born into royal families but suffer a lot in their lives. Among them, Hitatinomiya and Hatinomiya are the most typical examples. To whatever extent their families have declined, they always remain calm and never lose the royal dignity. Before their death, they leave their daughters' words asking them to keep to family rules and not to bring disgrace to the family. They even require their daughters to be ready to give their lives for their family. Influenced by their father's family status attitudes, the two daughters from two families made their own choices. Suetumuhana keeps to what her father says and undertakes the responsibility of maintaining her family status. Ooikimi becomes the master in the family after her father's death, and finally chooses to sacrifice for her family. Nakanokimi brings hope to the revival of her family via her marriage with Prince Niou. Although the three females make different choices, they are all influenced by their fathers' family status awareness, protect their family's dignity and fulfill their responsibility as daughters.
Based on what is mentioned above, we can see that the author places complicated and heavy family responsibilities on females from all walks of life. Different from the females in ancient China who are required to fulfill the duty of being a wife, the females in The Tale of Genji is trusted with more responsibility of being a daughter. They are more closely related to their parents' family than to their husbands' family. Besides, compared with the historical customs in the regency times, especially in the evaluation of females from regency families, the author fails to go beyond the constraints of traditional ideas. She combined Confucian notions of "faith" and "family piety" and other beliefs in her evaluation of females and their families so that the representation of family status awareness on the novel is both complicated and unique. As a result, this placing of responsibility on females partly overlaps with the historical customs at that time, and this also reflects the author's independent thinking of female-family issue.
在现有的关于《源氏物语》的家族、门第的研究中,绝大部分都着眼于作品中男性的门第观念,从男性人物入手考察他们对于先祖遗愿的践行、门第的维护等等,而从女性人物的角度出发系统研究其家族意识的成果非常少,仅有一些散见于人物论中的关于单一人物身份意识的叙述,而这些无论是深度还是广度都是远远不够的。
在作者生活的摄关时代,贵族的婚姻形态与居住形态决定了女性与父系家族的紧密关系。女性的婚姻基本取决于娘家的门第、财力;女性婚后大多住在娘家,生活用度主要靠娘家供给;生下的孩子由娘家抚养教育;女性死后葬入父族墓地。这就是说,女性的命运及其生活方式在很大程度上取决于父族的门第。同时,女性在父系家族中也扮演着各种重要角色,直接反映了父族的门第观念与家风。因此,结合当时的婚姻习俗和文化背景,由《源氏物语》的女性形象出发,系统考察、深入分析《源氏物语》的家族意识是可行的,也是必要的。
本论拟以《源氏物语》的女性形象为研究对象,参照摄关时代的社会现状与婚姻形态,就相关材料进行梳理分析,以期厘清作者在《源氏物语》中试图由女性形象传达的家族意识,进而达到更好地理解这部小说内涵的目的。论文共分四章,分别从女性与摄关家族的荣耀,女性与家族复兴,没落贵族女性及其家族观念,没落亲王家的女性及其门第观念等四个方面加以探讨。
在第一章“女性与摄关家族的荣耀”中,主要考察弘徽殿女御、葵姬、胧月夜等三名女性在左、右大臣两大家族中起到的作用。弘徽殿女御作为右大臣家的长女,在桐壶帝尚为东宫太子时就已入宫,并为桐壶帝生下大皇子,为右大臣一家实现“摄关政治”的梦想起到了关键作用。在这一过程中,弘徽殿女御展现出比父亲更加卓越的政治才能。她辅佐儿子登上皇位并成为朱雀朝的实际掌权人。为了家族的长久荣华,她尽到了一名摄关女儿所肩负的家族责任。但是,由于弘徽殿女御及右大臣一族的政治企图,有悖于桐壶天皇的治世理念,威胁皇权,所以徽殿女御这个人物一直是作为朝廷的对立面而存在的。与此相对,左大臣的女儿葵姬则起到了烘托父亲左大臣正直形象的功能。左大臣通过女儿葵姬的婚姻展示出自己作为廷臣辅佐天皇亲政的决心。尽管葵姬的婚姻是一个悲剧,但是通过她的婚姻与死亡左大臣与光源氏结成了牢不可破的政治同盟。同样身为摄关家族的女儿,胧月夜身上背负着右大臣一族的未来,然而,胧月夜缺乏对自己身份的自觉,一方面被委以家族重任,一方面陷入与光源氏的恋爱无法自拔,为了爱情,屡屡做出违背家门利益的举动。我们从左、右大臣及其女儿身上,可以真切地体会到作者所想表达的儒家的治世观及君臣理念。
在第二章“女性与家门复兴”中,主要分析了在桐壶更衣入宫背后隐藏着的复杂的家族背景,以及明石道人对明石姬的婚姻提出苛刻要求的原因,考察了这个家族的两系为了完成祖上遗志,复兴家门所作的努力,以及两位女性在实现复兴家门的大业中起到的作用。在摄关时代,大臣们将女儿送入宫中,大多是为了攫取权力、实现自己的政治野心,然而桐壶更衣入宫时父亲已经去世,显然不是出于这个目的,而且毫无任何外戚支持的更衣,入宫后无论获得多大的恩宠,最终都将以悲剧收场。明石姬的婚姻也是如此,从一开始就注定了自身的不幸,但是两人肩负着家族复兴的责任。这种有违常规的婚姻,是她们实现先祖遗愿的必要途径。
在第三章“‘雨夜品评'与家道中落的女性”中,着重分析了“雨夜品评”的蕴含与它在作品中的影响;探讨了同样遭遇家门不幸的空蝉和夕颜两个女性完全不同的生活方式。父亲在世时,两人都是高贵门第的小姐,然而父亲的早逝改变了她们的命运。空蝉沦落为地方官的后妻;夕颜沦为头中将的外室,并因受到正妻家的恐吓而四处躲藏,无处容身。正是这样两个女子,偶然与光源氏邂逅了。空蝉怀有强烈而复杂的门第观念。这种意识一方面源自出身高贵的自豪感,另一方面则来自门第没落的自卑感,再加上对于伦理道德的坚持,使得她对于光源氏的求爱犹豫徘徊,既拒绝又难以坚持到底。而夕颜则恰恰相反,她的门第观念淡薄,试图在理想化的感情中求得解脱,脱离悲惨的现实社会。空蝉最终因为拒绝而受到光源氏的尊敬,在出家后得到了他的庇护,而夕颜则在品尝了刹那的爱情后死于非命。由此凸显了作者对空蝉的门第观念和伦理道德的褒扬,其底蕴与儒家的“女训”思想是一脉相承的。
在第四章“没落亲王家的女性及其门第观念”中,主要探讨了常陆亲王的两个女儿与末摘花的门第观念。物语中塑造了不少虽然有着高贵的皇室血统,却不幸落魄、饱尝辛酸的亲王。其中,以常陆亲王和宇治八亲王最有代表性。无论家道衰落到什么程度,他们都从容镇定,决不丧失皇室的尊严。临终前,甚至给女儿留下遗言,要求她们恪守家规,不坠家声,甚至要做好以身殉家的准备。在父亲们的门第观念的影响下,两家的女儿各自作出不同的人生抉择。末摘花坚守父亲遗言,承担了守护家门的重任,大君成为父亲八亲王亡故后的家主,继承了父亲八亲王的门第观念,为了家门家声最终选择了死亡,而中君则通过与匂皇子的婚姻,延续了一门的血脉并给家族带来了复兴的希望。三个女子尽管做法有别,但都在一定程度上继承了父亲的门第观念,守护了家门尊严,尽到了“孝女”的责任。
通过以上考察,可以看到在《源氏物语》中,作者赋予了各个阶层的女性们复杂且沉重的家族责任。在平安时代独特的婚姻形态与政治背景的影响下,与“夫家”相比,女性和“父家”的联系更加紧密。因此恪守祖训,维护家门,不坠家声便成了贵族女性道德规范。此外,与摄关时代的历史习俗相比较,尤其是在对于摄关家族女性的评价中,紫氏部不自觉的逸出了传统文化背景的制约,在对女性及其家族的评价中糅合了儒家的“忠”“孝”的思想以及儒家史观,使得作品中家族意识的体现独特而又复杂,展现了作者对于女性与家族这一问题的独特的思考。
The Tale of Genji,one of the classic works in the history of Japanese literature, was produced in the early 11~(th) century and has been considered the Japanese-version of Dreams of the Red Mansions. Its author Murasakisikibu was born in a noble family. The times she lived in was one of regency when the nobles attempt to exert their influence via marriage with the royal family. As a result, what is reflected in The Tale of Genji is the author's life experiences and the social realities such as the emphasis on family background in marriage. To some extent, the marriage of a woman is always closely tied with the ups and downs of the whole noble family.
Most of the current research about The The Tale of Genji focuses on male characters' awareness of family status. Specifically, male characters' effort to carry out what their ancestors teach them and maintain their family status has been examined in previous research. Few studies, however, have systematically explored family status awareness from the perspective of female characters. There do have scattered accounts of identity awareness of single character, but these are far from enough in terms of both depth and width.
During the historical period in which the author lived, the marriage patterns and living situation of a noble family decides that a close relationship exists between females and their father-side family. A female's marriage is decided by the status and power of her family; a female usually lives in and economically supported by her parents' home after she gets married. A female's children are reared in her parents' home; she is to be buried in the graves of her father side family after death. That is to say, the fate and living style of a female is, to a great extent, decided by the status of her family. At the same time, females play important roles in their father side family. This is a direct reflection of family status awareness. It is necessary and practical to systematically explore the family status awareness reflected in The Tale of Genji from the perspective of female characters.
This thesis aims to focus on the female characters in the novel and the social and marital situation in their times with a view to better understand the family status awareness conveyed by these characters. This thesis falls into four chapters, and they respectively explore the novel from the following perspectives: females and the glory of the regency's families, females and family revival, females in declining noble families and their family beliefs, and females in declining royal families and their awareness of family status.
The first chapter "females and the glory of regency families "centers on the roles played by such females as Kokiden、Aoinoue、Oborodukiyo in two families. Kokiden, the elder daughter of Udaizin, has already been in the royal family and given birth to the first son for the Emperor Kiritubo when he is still a prince. She plays a critical part in the realization of Minister of the Right's family's dream of regency" . In the process, Kokiden shows more brilliant political talents than her father. She helps her son to succeed to the throne and becomes the person who holds power in the reign of Emperor Suzaku. She successfully fulfils the responsibility she has to take for the glory of her family. However, the political attempts of Kokiden and her family goes against Emperor Kiritubo's beliefs of administering a country and poses a threat to the power of the emperor. Therefore, Kokiden as a character is created as a rival for the royal rulers. In contrast, Minister of the Left shows his determination to support the emperor through her daughter Aoinoue's marriage. Despite the fact that Aoinoue's marriage is a tragedy, her marriage and death helps Minister of the Left and Genji become close allies. As daughter of the regency families, Oborodukiyo shoulders the responsibility for the future glory of the Minister of the Right's family. But Oborodukiyo lacks the awareness of her own identity: on one hand, she has family responsibility to take; on the other hand, she gets into love with Genji and does harm to her family interests again and again out of love. From the description of Minister of the Left and Minister of the Right and their daughters, we can perceive that the Confucian beliefs of running a country the author wants to express in the novel.
The second chapter "females and family revival" mainly deals with the complicated family background behind Kiritubo's entry into the royal family, and the reason why Akasinonyuudou places strict limits on Akasinoue's marriage. This chapter also explores the efforts made by the family to realize their ancestors' dreams of revival and the roles played by two females in the revival. In regency, the ministers send their daughters into the royal family in order to get power and achieve their political ambitions. However, it cannot be true of Kiritubo, for when she gets into the royal family, her father has passed away. Without support from her family, however much favor she can win, she is certain to get a tragic ending. Similarly, Akasinoue's marriage is also doomed to be tragic. But shouldering the responsibility of family revival, they have no choice but accept the unhappy marriage.
The third chapter "'Amayonosinasadame'and females in declining families" centers on the implications of Amayonosinasadame and its influence in the novel, and explores the totally different life styles of two females, Utusemi and Yuugao, whose families decline. When their fathers are alive, both of them are ladies in noble families. But their fathers' early death changes their fate. Utusemi becomes the second wife of a local official; Yuugaois reduced to be the lover of Tounotyuuzyou and is forced to hide here and there by his wife's threat. It is these two females that come across Genji. Utusemi has a strong awareness of family status which comes from her pride in being born in a noble family and from her inferiority brought about by family declining. Besides that, her adherence to moral standards makes her hesitate to make decision facing Genji's proposal. It is hard for her to refuse flatly. But Yuugao is just the other way round. She almost has no awareness of family status, and attempts to get away from real society and get relieved through ideal love. Utusemi's refusal helps her win respect from Genji and get his protection after she becomes a nun whereas Yuugao died a violent death after enjoying temporary love. This shows the author's promotion of Utusemi's family status awareness and moral standards which is closely related to the Confucian female teaching.
The fourth chapter "females in the declining families and their family status awareness" mainly explores the family status awareness of Hitatinomiya's two daughters and Suetumuhana. This novel creates a few royal people who are born into royal families but suffer a lot in their lives. Among them, Hitatinomiya and Hatinomiya are the most typical examples. To whatever extent their families have declined, they always remain calm and never lose the royal dignity. Before their death, they leave their daughters' words asking them to keep to family rules and not to bring disgrace to the family. They even require their daughters to be ready to give their lives for their family. Influenced by their father's family status attitudes, the two daughters from two families made their own choices. Suetumuhana keeps to what her father says and undertakes the responsibility of maintaining her family status. Ooikimi becomes the master in the family after her father's death, and finally chooses to sacrifice for her family. Nakanokimi brings hope to the revival of her family via her marriage with Prince Niou. Although the three females make different choices, they are all influenced by their fathers' family status awareness, protect their family's dignity and fulfill their responsibility as daughters.
Based on what is mentioned above, we can see that the author places complicated and heavy family responsibilities on females from all walks of life. Different from the females in ancient China who are required to fulfill the duty of being a wife, the females in The Tale of Genji is trusted with more responsibility of being a daughter. They are more closely related to their parents' family than to their husbands' family. Besides, compared with the historical customs in the regency times, especially in the evaluation of females from regency families, the author fails to go beyond the constraints of traditional ideas. She combined Confucian notions of "faith" and "family piety" and other beliefs in her evaluation of females and their families so that the representation of family status awareness on the novel is both complicated and unique. As a result, this placing of responsibility on females partly overlaps with the historical customs at that time, and this also reflects the author's independent thinking of female-family issue.
引文
[1]四辻善成:一條兼良.源氏物语古註积大成6河海抄·花鸟余情[M].东京:日本(?)书セソタ一.1978.10.
[2]本居宣长著:早坂礼吾,北小路健解题·翻刻.源氏物语玉の小櫛[M].东京:国书刊行会,1974.
[3]池田龟鑑.新讲源氏物语(日向一雅监修解题;源氏物语研究叢书第14-15卷)[M].东京:クレス出版.1997.10.
[1]关于《源氏物语》的研究史,主要参考了以下文献:重松信弘.源氏物语の心[M].东京:佼成出版社,1990年.
上原作和.人物で読む源氏物语 第1卷[M].东京:勉诚出版.2005.
秋山虔.源氏物语作中人物论の定位[J].国文学.1991,36(5):6-11.
增田繁夫.源氏物语作中人物论の视角[J].国文学.1991,36(5):12-16.
北京日本学研究中心文学研究室.世界语境中的《源氏物语》[M].北京:人民文学出版社.2004.2.9-15.
折口信夫.折口信夫全集第十四卷[M].东京:中央公论社.1966.229-230.
[1]阿部秋生.源氏物语研究序说[M].东京:东京大学出版会,1959.
[2]秋山虔.源氏物语の世界:その方法と达成[M].东京:东京大学出版会.1964.12.
[3]日向一雅.源氏物语の主题--[家]の遗志と宿世の物语の构造[M].东京:桜枫社,1983.5.
[4]日向一雅.源氏物语の凖(?)と话型[M].东京:至文堂.1999.3.
[1]关于平安中期的婚姻习俗,主要参考了以下文献:胡洁.平安贵族的婚姻习俗与《源氏物语》[A].北京日本学研究中心文学研究室.世界语境中的《源氏物语》[C].北京:人民文学出社,2004.2.270-284.
工藤重矩.平安朝の結婚制度と文学[M].東京:風間書房.1994.
增田繁夫.源氏物语と贵族社会[M].东京:吉川弘文馆.2002.8.66-105.
山中裕.平安朝文学の史的研究[M].东京:吉川弘文馆,1974.4.
[2]藤原実资.小右记[M].东京:日本史籍保存会.1915.4-1915.5.宽仁2年10月16日条.
[3]坂本太郎著:汪向荣、武寅、韩铁英译.日本史概说[M].北京:商务印书馆出版.1992.8.133.
[1]关于紫式部的生平,主要参考了以下文献:角田文衛.紫式部伝:その生涯と[源氏物語][M].京都:法藏館,2007.1.
今井源衛.今井源衛著作3紫式部の生涯[M].東京:笠間書院.2003.7.
高文汉.中日古代文学比较研究[M].济南:山东教育出版社,1999.12.
北京日本学研究中心文学研究室.世界语境中的《源氏物语》[M].北京人民文学出版社.2004.2.
北京日本学研究中心文学研究室.《日本古典文学大辞典》[M].北京人民文学出版社,2005.3.
[1]本文采用角田文卫学说。此外,关于紫式部的生年另有天禄元年(970)、天延三年(975)、天元元年(978)等学说;关于卒年,另有长和三年(1014)、宽仁三年(1019)等学说。
[2]角田文衛.紫式部伝:その生涯と[源氏物語][M].京都:法藏館,2007.1.4-40.
[3]当时的女子称谓通常用父兄的官名冠以姓氏。
[1]紫式部等著;林岚、郑民钦译.王朝女性日记[M].石家庄:河北教育出版社,2002.6.355.
[2]此事《日本纪略》、《今昔物语集》及《古事谈》中均有记载,其中《古事谈》最为详细。越前守为大国的国守,在级别和待遇上都和淡路守有很大差别。
[1]清水好子.源氏の女君增補版[M].東京:塙新書,1999.117.
[1]丰子恺.源氏物语[M].北京:人民文学出版社,2002.<杨桐>卷,226页。本论文中引用的译文均取自以上丰子恺译本,以下简称丰译本,标注卷名。其中部分笔者认为不恰当之处,据日本小学馆新编古典文学全集本(紫式部.源氏物語(新编日本古典文学全集20-25)[M].東京:小学館,2004.)作修正,一下简称小学馆本。
[2]日向一雅.源氏物語の凖(?)と話型[M].東京:至文堂.1999.3.69-70.
[1]中田武司.源氏物語古注集成第11卷 岷江入楚(中院通勝著)1[M].東京:桜枫社,1980.2-1984.1.
[2]丰译本<桐壶>卷,3页
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[2]丰译本<花宴>卷,176-177页
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[2]#12
[1]丰译本<红叶贺>卷,161页
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[2]同上202页
[1]丰译本<葵姬>卷,211页
[2]关于作品中悼亡的分析,笔者曾在[[源氏物語]幻卷の光源氏と元(?)の悼亡詩]]一文中作详细论述。请参照所附外文论文。
[3]#12
[1]丰译本<花宴>卷,180页
[2]同上182页
[1]丰译本<葵姬>卷,216-217页,此处划线处丰译本原为“栉笥姬”,译本注释说“栉笥姬又称胧月夜,是右大臣的女儿”,此处据小学馆本做更正,日文原为“御匣殿”,这是一个宫中女官职名,故改用原字。下同。
[2]後藤祥子.源氏物語の史的空間[M].東京:東京大学出版会,昭和61年.
[1]丰译本<杨桐>卷,229页,笔者做适当更正。丰译本划线处原为“已入朱雀帝后宫”。
[2]後藤祥子.源氏物語の史的空間[M].東京:東京大学出版会,昭和61年.
[3]丰译本<杨桐>卷,229页
[1]丰译本<杨桐>卷,230-231页
[2]同上242-243页
[1]丰译本<须磨>卷,278-279页
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[1]#12
[1]丰译本<须磨>卷,286-287页
[1]丰译本<须磨>卷,287页
[2]丰译本<明石>卷,300页
[1]丰译本<明石>卷,307:308-309页
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[1]丰译本<航标>卷,326页
[1]丰译本<新菜>卷,689页
[2]国學院大學.国文註釈全書第3卷·花鳥余情[M].東京:すみや書房,1967.11.252.
[3]丰译本<新菜>卷,689-690页,划线部分丰译本原为“佛教经典”,笔者据小学馆本作适当修改。
[1]秋山虔.播磨前司、明石の入道[A].秋山虔[ほか].講座源氏物語の世界第3集[C].东京:有斐閣.1991.
[2]丰译本<紫儿>卷,97页
[1]日向一雅.源氏物語の主題--「家」の遺志と宿世の物語の構造[M].東京:桵楓社.1983.5.52.
[1]丰译本<帚木>卷,20页
[2]丰译本<夕颜>卷,94页
[1]藤井貞和.源氏物語の始原と現在[M].东京:三一書房,1972.147.
[2]日向一雅.源氏物語の準拠と話型[M].东京:至文堂,1999.3.249
[1]丰译本<帚木>卷,23;23-24页
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[3]同上
[1]鈴木日出男.源氏物語の世界[M].东京:風间書房.2001.
[2]#12
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[2]丰译本<末摘花>卷,142页
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[1]小泉和子.室内の家具と歷史[M].东京:中央公論社,1995.3.
[1]丰译本<末摘花>卷,143-144页
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[1]丰译本<蓬生>卷,351页
[1]#12
[2]丰译本<蓬生>卷,351页
[3]同上
[1]丰译本<蓬生>卷,356页
[2]丰译本<末摘花>卷,145页
[1]丰译本<蓬生>卷,348页
[2]日向一雅.源氏物語の主題--「家」の遗志と宿世の物語の構造[M].東京:桵楓社.1983.5.
[1]丰译本<桥姬>卷,934页
[1]丰译本<桥姬>卷,937页
[2]同上934页
[3]同上938页
[4]同上
[1]丰译本<桥姬>卷,941页
[2]同上943页
[1]丰译本<桥姬>卷,953页
[2]丰译本<柯根>卷,961页
[3]同上
[4]同上963页
[1]丰译本<柯根>卷,964-965页
[2]同上965页
[1]助川幸(?)郎.宇治の大君と女一の宮[J].中古文学.61.1998.5
[2]森一郎.源氏物語作中人物論集[C].東京:勉誠社.1993.
[3]丰译本<柯根>卷,964页
[1]丰译本<总角>卷,990页
[2]同上990页
[1]丰译本<总角>卷,992页
[2]同上984页
[1]丰译本<总角>卷,991页
[2]同上993页
[3]工藤重矩.平安朝の結婚制度と文学[M].東京:風间書房.1994.
[1]丰译本<总角>卷,991页
[2]同上1007页
[3]当时婚俗,男子要在新婚后连续三晚到女方处,第三日妻方准备三日饼,并设宴让男子和家人见面,方算正式结婚。
[1]丰译本<总角>卷,1019页
[1]丰译本<总角>卷,992-993页
[2]同上1006页
[1]丰译本<总角>卷,1010页
[2]同上1024页
[1]丰译本<总角>卷,1025页
[2]日向一雅.源氏物語の主題--「家」の遺志と宿世の物語の構造[M].东京:桵楓社.1983.5.
[3]丰译本<总角>卷,1014页
[1]四辻善成;一條兼良.源氏物語古註釈大成6河海抄·花鳥余情[M].東京:日本図書セソタ一,1978.10.
[2]本居宣長著;早坂礼吾,北小路健解題·翻刻.源氏物語玉の小櫛[M].東京:国書刊行会,1974.
[3]池田亀鑑.新講源氏物語(日向一雅監修解題;源氏物語研究叢書第14-15卷)[M].東京:クレス出版,1997.10.
[4]重松信弘.源氏物語の心[M].東京:佼成出版社,1990年.
[5]上原作和.人物で読む源氏物語 第1卷[M].東京:勉誠出版.2005.
[6]秋山虔.源氏物語作中人物論の定位[J].国文学,1991,36(5):6-11.
[7]重松信弘.源氏物語の心[M].東京:佼成出版社,1990年.
[8]上原作和.人物で読む源氏物語 第1卷[M].東京:勉誠出版,2005.
[9]增田繁夫.源氏物語作中人物論の視角[J].国文学,1991.36(5):12-16.
[10]北京日本学研究中心文学研究室.世界语境中的《源氏物语》[C].北京:人民文学出版社,2004.2.
[11]折口信夫.折口信夫全集第十四卷[M].東京:中央公論社.1966.
[12]阿部秋生.源氏物語研究序說[M].東京:東京大学出版会,1959.
[13]秋山虔.源氏物語の世界:その方法と達成[M].東京:東京大学出版会.1964.12.
[14]日向一雅.源氏物語の主題--「家」の遺志と宿世の物語の構造[M].東京:桵楓社.1983.5.
[15]日向一雅.源氏物語の準拠と話型[M].東京:至文堂,1999.3.
[16]胡洁.平安贵族的婚姻习俗与《源氏物语》[A].北京日本学研究中心文学研究室.世界语境中的《源氏物语》[C].北京:人民文学出版社,2004.2.270-284.
[17]工藤重矩.平安朝の結婚制度と文学[M].東京:風間書房.1994.
[18]增田繁夫.源氏物語と貴族社会[M].東京:吉川弘文館,2002.8
[19]山中裕.平安朝文学の史的研究[M].東京:吉川弘文館.1974.4.
[20]藤原実資.小右記[M].東京:日本史籍保存會.1915.4-1915.5.
[21]坂本太郎著:汪向荣、武寅、韩铁英译.日本史概说[M].北京:商务印书馆出版,1992.8.
[22]角田文衛.紫式部坛:その生涯と『源氏物語』[M].京都:法藏館,2007.1.
[23]紫式部等著;林岚、郑民钦译.王朝女性日记[M].石家庄:河北教育出版社,2002.6.
[24]今井源衛.今井源衛著作3紫式部の生涯[M].東京:笠間書院.2003.7.
[25]高文汉.中日古代文学比较研究[M].济南:山东教育出版社,1999.12.
[26]北京日本学研究中心文学研究室.日本古典文学大辞典[M].北京:人民文学出版社,2005.3.
[27]清水好子.源氏の女君增補版[M].東京:塙新書,1999.
[28]丰子恺.源氏物语[M].北京:人民文学出版社,2002.
[29]紫式部.源氏物語(新編日本古典文学全集20-25)[M].東京:小学館.2004.
[30]中田武司.源氏物語古注集成第11卷岷江入楚(中院通勝著)1[M].東京:桵楓社.1980.2-1984.1.
[31]#12
[32]吳松梅.「源氏物語」幻卷の光源氏と元稹の悼亡詩[J].國學院大學紀要.46.2008.2.45-60.
[33]#12
[34]後藤祥子.源氏物語の史的空間[M].東京:東京大学出版会.昭和61年.
[35]#12
[36]国學院大學.国文註釈全書第3卷·花鳥余情[M].東京すみや書房,1967.11.252.
[37]秋山虔.播磨前司、明石の入道[A].秋山虔[ほか].講座源氏物語の世界第3集[C].东京:有斐閣,1991.
[38]藤井貞和.源氏物語の始原と現在[M].東京:三一書房.1972.
[39]鈴木日出男.源氏物語の世界[M].東京:風間書房.2001.
[40]#12
[41]#12
[42]小泉和子.室内の家具と歷史[M].東京:中央公論社,1995.3.
[43]助川幸(?)郎.宇治の大君と女一の宮[J].中古文学,61,1998.5
[44]森一郎.源氏物語作中人物論集[C].東京:勉誠社,1993.
[45]工藤重矩.平安朝の結婚制度と文学[M].東京:風間書房.1994.
[46]秋山虔、小町谷照彦.源氏物語図典[M].東京:小学館.2005.4.
[47]秋山虔、 室伏信助.源氏物語必携事典[M].東京:角川書店.1998.12.
[48]日向一雅.源氏物語の世界[M].東京:岩波書店,2006.6.
[2]本居宣长著:早坂礼吾,北小路健解题·翻刻.源氏物语玉の小櫛[M].东京:国书刊行会,1974.
[3]池田龟鑑.新讲源氏物语(日向一雅监修解题;源氏物语研究叢书第14-15卷)[M].东京:クレス出版.1997.10.
[1]关于《源氏物语》的研究史,主要参考了以下文献:重松信弘.源氏物语の心[M].东京:佼成出版社,1990年.
上原作和.人物で読む源氏物语 第1卷[M].东京:勉诚出版.2005.
秋山虔.源氏物语作中人物论の定位[J].国文学.1991,36(5):6-11.
增田繁夫.源氏物语作中人物论の视角[J].国文学.1991,36(5):12-16.
北京日本学研究中心文学研究室.世界语境中的《源氏物语》[M].北京:人民文学出版社.2004.2.9-15.
折口信夫.折口信夫全集第十四卷[M].东京:中央公论社.1966.229-230.
[1]阿部秋生.源氏物语研究序说[M].东京:东京大学出版会,1959.
[2]秋山虔.源氏物语の世界:その方法と达成[M].东京:东京大学出版会.1964.12.
[3]日向一雅.源氏物语の主题--[家]の遗志と宿世の物语の构造[M].东京:桜枫社,1983.5.
[4]日向一雅.源氏物语の凖(?)と话型[M].东京:至文堂.1999.3.
[1]关于平安中期的婚姻习俗,主要参考了以下文献:胡洁.平安贵族的婚姻习俗与《源氏物语》[A].北京日本学研究中心文学研究室.世界语境中的《源氏物语》[C].北京:人民文学出社,2004.2.270-284.
工藤重矩.平安朝の結婚制度と文学[M].東京:風間書房.1994.
增田繁夫.源氏物语と贵族社会[M].东京:吉川弘文馆.2002.8.66-105.
山中裕.平安朝文学の史的研究[M].东京:吉川弘文馆,1974.4.
[2]藤原実资.小右记[M].东京:日本史籍保存会.1915.4-1915.5.宽仁2年10月16日条.
[3]坂本太郎著:汪向荣、武寅、韩铁英译.日本史概说[M].北京:商务印书馆出版.1992.8.133.
[1]关于紫式部的生平,主要参考了以下文献:角田文衛.紫式部伝:その生涯と[源氏物語][M].京都:法藏館,2007.1.
今井源衛.今井源衛著作3紫式部の生涯[M].東京:笠間書院.2003.7.
高文汉.中日古代文学比较研究[M].济南:山东教育出版社,1999.12.
北京日本学研究中心文学研究室.世界语境中的《源氏物语》[M].北京人民文学出版社.2004.2.
北京日本学研究中心文学研究室.《日本古典文学大辞典》[M].北京人民文学出版社,2005.3.
[1]本文采用角田文卫学说。此外,关于紫式部的生年另有天禄元年(970)、天延三年(975)、天元元年(978)等学说;关于卒年,另有长和三年(1014)、宽仁三年(1019)等学说。
[2]角田文衛.紫式部伝:その生涯と[源氏物語][M].京都:法藏館,2007.1.4-40.
[3]当时的女子称谓通常用父兄的官名冠以姓氏。
[1]紫式部等著;林岚、郑民钦译.王朝女性日记[M].石家庄:河北教育出版社,2002.6.355.
[2]此事《日本纪略》、《今昔物语集》及《古事谈》中均有记载,其中《古事谈》最为详细。越前守为大国的国守,在级别和待遇上都和淡路守有很大差别。
[1]清水好子.源氏の女君增補版[M].東京:塙新書,1999.117.
[1]丰子恺.源氏物语[M].北京:人民文学出版社,2002.<杨桐>卷,226页。本论文中引用的译文均取自以上丰子恺译本,以下简称丰译本,标注卷名。其中部分笔者认为不恰当之处,据日本小学馆新编古典文学全集本(紫式部.源氏物語(新编日本古典文学全集20-25)[M].東京:小学館,2004.)作修正,一下简称小学馆本。
[2]日向一雅.源氏物語の凖(?)と話型[M].東京:至文堂.1999.3.69-70.
[1]中田武司.源氏物語古注集成第11卷 岷江入楚(中院通勝著)1[M].東京:桜枫社,1980.2-1984.1.
[2]丰译本<桐壶>卷,3页
[1]丰译本<桐壶>卷,13-14页
[2]同上16页
[1]丰译本<桐壶>卷,18页
[2]丰译本<红叶贺>卷,174-175页
[1]丰译本<杨桐>卷,248页
[2]同上248-249页
[1]丰译本<杨桐>卷,253-254页
[1]丰译本<桐壶>卷,16-17页
[1]丰译本<桐壶>卷,18页
[2]丰译本<花宴>卷,176-177页
[1]丰译本<桐壶>卷,18页
[2]#12
[1]丰译本<红叶贺>卷,161页
[2]丰译本<葵姬>卷,185、186页
[1]丰译本<葵姬>卷,197、199页
[2]同上202页
[1]丰译本<葵姬>卷,211页
[2]关于作品中悼亡的分析,笔者曾在[[源氏物語]幻卷の光源氏と元(?)の悼亡詩]]一文中作详细论述。请参照所附外文论文。
[3]#12
[1]丰译本<花宴>卷,180页
[2]同上182页
[1]丰译本<葵姬>卷,216-217页,此处划线处丰译本原为“栉笥姬”,译本注释说“栉笥姬又称胧月夜,是右大臣的女儿”,此处据小学馆本做更正,日文原为“御匣殿”,这是一个宫中女官职名,故改用原字。下同。
[2]後藤祥子.源氏物語の史的空間[M].東京:東京大学出版会,昭和61年.
[1]丰译本<杨桐>卷,229页,笔者做适当更正。丰译本划线处原为“已入朱雀帝后宫”。
[2]後藤祥子.源氏物語の史的空間[M].東京:東京大学出版会,昭和61年.
[3]丰译本<杨桐>卷,229页
[1]丰译本<杨桐>卷,230-231页
[2]同上242-243页
[1]丰译本<须磨>卷,278-279页
[1]丰译本<航标>卷,323-324页
[1]丰译本<桐壶>卷,1页
[1]丰译本<桐壶>卷2-3页
[1]丰译本<桐壶>卷,1-2页
[2]同上第8页
[1]丰译本<紫儿>卷,96-97页
[1]#12
[1]丰译本<须磨>卷,286-287页
[1]丰译本<须磨>卷,287页
[2]丰译本<明石>卷,300页
[1]丰译本<明石>卷,307:308-309页
[1]丰译本<明石>卷,318-319页
[1]丰译本<航标>卷,326页
[1]丰译本<新菜>卷,689页
[2]国學院大學.国文註釈全書第3卷·花鳥余情[M].東京:すみや書房,1967.11.252.
[3]丰译本<新菜>卷,689-690页,划线部分丰译本原为“佛教经典”,笔者据小学馆本作适当修改。
[1]秋山虔.播磨前司、明石の入道[A].秋山虔[ほか].講座源氏物語の世界第3集[C].东京:有斐閣.1991.
[2]丰译本<紫儿>卷,97页
[1]日向一雅.源氏物語の主題--「家」の遺志と宿世の物語の構造[M].東京:桵楓社.1983.5.52.
[1]丰译本<帚木>卷,20页
[2]丰译本<夕颜>卷,94页
[1]藤井貞和.源氏物語の始原と現在[M].东京:三一書房,1972.147.
[2]日向一雅.源氏物語の準拠と話型[M].东京:至文堂,1999.3.249
[1]丰译本<帚木>卷,23;23-24页
[1]丰译本<帚木>卷,43页
[1]丰译本<帚木>卷,45-46页
[2]同上47页
[3]同上48页
[1]丰译本<帚木>卷,49页
[2]同上
[3]同上50页
[1]丰译本<帚木>卷,51页
[1]丰译本<空蝉>卷,54-55页
[2]丰译本<夕颜>卷,67页
[3]同上
[1]鈴木日出男.源氏物語の世界[M].东京:風间書房.2001.
[2]#12
[1]丰译本<夕颜>卷,61-62页
[1]丰译本<夕颜>卷,65-66页
[1]丰译本<夕颜>卷,70页
[2]同上70-71页
[1]丰译本<夕颜>卷,71页
[1]丰译本<夕颜>卷,72-73页
[1]丰译本<夕颜>卷,75-77页
[2]同上77页
[1]丰译本<末摘花>卷,129页
[1]丰译本<末摘花>卷,142页。此处划线部分丰译本原为“桌上放着几只中国产的青磁碗盏”,笔者据小学馆本以及河添房江氏在下文中之考证稍作改译.
[2]丰译本<末摘花>卷,142页
[1]丰译本<末摘花>卷,144页
[2]同上147页
[3]同上151页,此处译文笔者根据小学馆本稍作改动。
[1]小泉和子.室内の家具と歷史[M].东京:中央公論社,1995.3.
[1]丰译本<末摘花>卷,143-144页
[2]同上135页
[3]同上136页
[4]同上137页
[1]丰译本<蓬生>卷,347-348页
[1]丰译本<蓬生>卷,348页
[2]同上347-348页
[1]丰译本<蓬生>卷,351页
[1]#12
[2]丰译本<蓬生>卷,351页
[3]同上
[1]丰译本<蓬生>卷,356页
[2]丰译本<末摘花>卷,145页
[1]丰译本<蓬生>卷,348页
[2]日向一雅.源氏物語の主題--「家」の遗志と宿世の物語の構造[M].東京:桵楓社.1983.5.
[1]丰译本<桥姬>卷,934页
[1]丰译本<桥姬>卷,937页
[2]同上934页
[3]同上938页
[4]同上
[1]丰译本<桥姬>卷,941页
[2]同上943页
[1]丰译本<桥姬>卷,953页
[2]丰译本<柯根>卷,961页
[3]同上
[4]同上963页
[1]丰译本<柯根>卷,964-965页
[2]同上965页
[1]助川幸(?)郎.宇治の大君と女一の宮[J].中古文学.61.1998.5
[2]森一郎.源氏物語作中人物論集[C].東京:勉誠社.1993.
[3]丰译本<柯根>卷,964页
[1]丰译本<总角>卷,990页
[2]同上990页
[1]丰译本<总角>卷,992页
[2]同上984页
[1]丰译本<总角>卷,991页
[2]同上993页
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[1]丰译本<总角>卷,991页
[2]同上1007页
[3]当时婚俗,男子要在新婚后连续三晚到女方处,第三日妻方准备三日饼,并设宴让男子和家人见面,方算正式结婚。
[1]丰译本<总角>卷,1019页
[1]丰译本<总角>卷,992-993页
[2]同上1006页
[1]丰译本<总角>卷,1010页
[2]同上1024页
[1]丰译本<总角>卷,1025页
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[3]丰译本<总角>卷,1014页
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