室町末期傳到日本的『剪燈新話』，以及同時刊行的注解書『剪燈新話句解』，對於近世的文學作品具有各種的影響，於是將『剪燈新話』所收錄的作品翻案模倣而寫成怪異小說陸續產生。荒木田麗女『怪世談』（安永七年〈1778〉成立）中的「浮草」也是屬於受『剪燈新話』中的『牡丹燈記』影響所寫成的怪異小說，但是與『牡丹燈記』象列上的其他作品相比，是王朝故事的雅文小說性質更多於怪異性，這對考察「浮草」的特色上是具有重要的意義。在對於「浮草」之根據與內容之探討尚未充分下，本文以『怪世談』「浮草」為例，透過與原作之「牡丹燈記」的具體影響關條以及同時代作品之『雨月物語』之「吉備津之釜」等比較檢討，試著再確認「浮草」之作品內容以及系譜上位置

Sentoshinwa, which was brought to Japan in the late Muromachi period, and its commentary, Sentoshinwa Kukai, had a variety of effects on the literary works of early modern period. Many weird novels, which adapted the stories of Sentoshinwa, had been created one after another. Ukikusa, one of the stories of Arakida Reijo's Ayashinoyogatari (1778), was also influenced by Botantoki of Sentoshinwa. Being compared to the other stories of Botantoki, however, the nature of Ukikusa is dynastic and elegant rather than weird. It is important for the analysis of Ukikusa's nature. The study of base and content of Ukikusa has not been enough. This paper takes Ayashinoyogatari's Ukikusa as an example, and tries to reconfirm the contents of Ukikusa and its position on the genealogy through the study of specific impact of its original work, Botantoki, and comparison of Ukikusa and its contemporary work, Kibitsu no Kama of Ugetsu Monogatari