<研究論文>安部公房「保護色」の素材と方法 --シュルレアリスムとマルクス主義理論の実践として--

Abstract

本稿は、第二次戦後派として知られる作家・安部公房の「保護色」(昭和二十六年五月)の成立過程を考察するものである。安部が収載を望んだ雑誌『群像』に、本作が掲載されなかった要因は何か。本稿では、石川淳に宛てて書かれた書簡に着目し、その内実を探った。その結果、安部がアポリネールやレヴィ=ブリュルからシュルレアリスムの「方法」を学び、パンネコックからマルクス主義理論という「傾向」を学んだことを見出した。本作発表当時、検閲体制は既に終了していたが、その体制下で創刊した『群像』にあっては、「当局」を批判する「思想」が示された作品の発表は控えるという意識が働いたといえる。もう一点注目すべきは、「保護色」以降のほぼすべての著作が、雑誌や新聞などに掲載されるようになったことである。一つには、当時の安部が共産党員文学者の立場にあり、著作を発表する媒体や機会が入党以前よりも増えたことが挙げられるが、それと同時に神話や童話に取材し、そこに自身の思想を仮託することが多くなったことも奏功したと考えられる。「保護色」での実践を通して、安部は自身の作家活動に関する新たな方法を見出し得たといえる。

This paper intends to examine the background of "Hogoshoku (Protective Coloration)" written by Abe Kobo, a renowned postwar generation writer. Why was this work not published in Gunzo, a belletristic literature magazine, as Abe had hoped? This paper focuses on a letter written by Abe to Ishikawa Jun and investigates the facts surrounding it. The results showed that Abe learned the "methodology" of Surrealism from Apollinaire and Lévy-Bruhl and absorbed the "inclination" of Marxist theory from Pannekoek. When he presented this work, the previous regime with its strict censorship rules had already ended. However, as Gunzo had been launched under that regime, the publisher was unwilling to publish a work that showed Abe's "thoughts" in a way that criticized the "authorities." Another important point is that almost all of Abe's writings after "Hogoshoku" were published in newspapers and magazines. Abe gained significantly more opportunities to publish his literature in a wider range of media after he obtained a position as a scholar of literature for the Communist Party. Around the same time, he also started gathering information about myths and fairy tales. He wrote stories based on this information and attempted to reflect his thoughts through them. This was also the reason for his eventual success. This paper proposes that Abe might have found a new way of writing that suited him better owing to his experiences with "Hogoshoku".