本論以『奥之細道』中句文配置的関係為中心來探討俳文的各項要素,探討松尾芭蕉的俳諧記行文本質的問題。在芭蕉晩年最後一篇紀行文『奥之細道』中,「象潟」「金沢」二段是在發句和敘述文的編排方式上經過最多修改的兩個段落。『奥之細道』中尾本用貼紙所做的修正省略了本文中説明的字句,並且將發句之前的文章更改成序言的形式,同時也調整行頭的高度使其低於發句的起頭位置。芭蕉在句文的長度、内容和位置上所做的修改不僅讓『奥之細道』整體成為一篇有結構的完整紀行文,同時各段落也具有明確的主題,具有可以單獨鑑賞的特性。透過分析這些修改,本論將再度確認芭蕉所意識到的新形式的「俳諧紀行文」的格式、構想和文體,並期釐清期本質。
I researched the essence of accounts of Basho Matsuo's travels of haikai, especially of phrase/sentence placements. Therefore, I concentrate on the paragraphs of ”Kisakata” and ”Kanazawa” because the first lines and arrangements of the text were revised most.In these two paragraphs, t he master posted the revised notepaper to omit explanatory sentences of the text. Moreover, he amended the above sentence of the phrase to a preface and indented it to be lower than the first line.The master made ”Oku no Hosomichi ” more constructive by re-arrangement of phrases and sentences so that the theme became more definite and every paragraph could be appreciated respectively. Then through analyzing the styles, conceptions, articles and so on in the new form of accounts of travels which Basho had recognized, we can clarify the essence of ”Oku no Hosomichi ”.