摘要
第四代鶴屋南北所寫的『東海道四谷怪談』以阿岩的鬼故事為題材，描述忠貞女子阿岩的「怨靈」，在被丈夫民谷伊右衛門殺害後尋求報復的故事。而阿岩對伊右衛門慘烈的復仇場面反映出江戶後期的頽廢風格，至今仍然給予觀眾強烈的印象。另一方面，『假名手本忠臣蔵』是以元禄赤穂事件為題材，而『四谷怪談』則是『假名手本忠臣蔵』之諷刺作。從此立場來看，「武士道」與「復仇」不只是從根本去支撐此一作品的重要主題，也是瞭解該作品的關鍵詞。而本稿則從「義」與「惡」的觀點出發，以南北所寫的『四谷怪談』之初次公演劇本為對象，探討其與『忠臣蔵』的關係， 並考察「武士道」與「復仇」的面相。
並列摘要
Yondaime Tsuruya Nanboku's ”Tokaido Yotsuya Kaidan,” which is famous for its ghost story of ”O-Iwa,” portrays a duteous woman O -Iwa, whose spirit holds a grudge and seeks revenge after being killed by her husband. The magnificent revenge scene reflects the decadent fun in the late Edo period and still makes a strong impression on audiences at present.However, the ”Kanadehon Chunsinkura” is based on the story of the Genroku Ako incident, and the Yotsuya Kaidan is a parody of Kanadehon Chunsinkura. From this perspective, Bushido and revenge are not only important themes for fundamentally supporting, but also key words for understanding, this work. From the viewpoints of morality and evil, this paper intends to study the way of Bushido and revenge by taking the script of Yotsuya Kaidan from its first performance and focusing on its relationship with Chunsinkura.