太宰治「清貧譚」(『新潮』1941.1)は、「かの聊斎志異の中の一篇」(筆者注「黄英」)に基づき、「二十世紀の日本の作家」である「私」が「不逞の空想を案配し」た「創作」である。この物語には「異類婚‧恩返しという原典の伝承的モチーフ」が見られ、「大筋は家を富ませることに向けて菊作りの超人性を発揮する報恩譚」として読めなくもない。だが、太宰によって改変された三人の登場人物の言動に着目すればするほど、この「愛情あふれる」「報恩譚」にいささか違和感を感じざるを得ないのである。本稿は登場人物の言動に着目し、原典からの改変を比較したうえで、この「妙な」「一家三人」の構図と同時代東亜情勢との接点を明らかにする。更に「清貧」という言葉の持つ反語的意味を抽出し、「新体制」という「ロマンチシズム」の底に秘し隠されている、戦時下日本の政治的・経済的(リアリズム)問題を浮き彫りにしたい。いわば、日中関係が緊張している時期に、あえて中国「文学の古典」を題材にしつつ、内閣の唱える「新体制」を茶化す作品を「創作」することこそ、太宰治という「二十世紀の日本の作家」の「不逞」の作為ではなかろうか。|Osamu Dazai's "Seihintan" ([Xin Zhao] 1941.1) is based on one piece (Huang Ying) of Strange Stories from a Chinese Studio and is a rewritten "creation" of "wild imagination" of "a Japanese writer in the 20^(th) century" (I) Since the rewriting is significant, we find that most studies in the literature are comparative papers of the original work and related to the writers' attitude during the period of the war after comparison and writing intention. Based on the literature, when studying the work, it is a common view to not follow the literal "Qing Ping" of Saino Suke. The literature is full of studies on the relationship among the characters. Of particular note is "Type of the strange story of Japanese marriage" that was proposed by Kimura Sayo (2012.3). As for "the topic strange marriage‧gratitude from the original work", it literally appears in Osamu Dazai's "Seihintan". The whole work can be concluded as exhibiting an "exceptional chrysanthemum planting capacity, the tale of gratitude to glorify the family". However, when we probe into the behavior of the three characters revised by Osamu Dazai, we recognize the conflict with "the tale of gratitude" This study thus focuses on the behavior of characters. First, we compare the difference and similarity with the original work. For a "new system", we explore the meanings in the same period and analyze the underlying complicated and profound political issue of East Asia from this "tale of gratitude" of "love stories" during that era