眾所周知，芥川龍之介有非常多的作品是取材自日本的說話與中國的故事。芥川龍之介以嶄新的視點創作出與原文本相異的結尾而受到矚目。《龍》這一部作品與《宇治拾遺物語》卷十一第六〈蔵人得業猿澤池的龍之事〉兩者之間有決定性的相異之處。《宇治拾遺物語》中，龍並沒有出現，但是在芥川的作品中對於藏人得業惠印來說，龍順利昇龍。芥川為何讓龍昇天呢？將把回避掉昇龍的《宇治拾遺物語》這本作品的特性也考慮進去，並從芥川初期時的別篇作品來進行推測、考察昇龍的理由。

It is well known that Ryunosuke Akutagawa frequently selected materials from Japanese folktales and Chinese historical anecdotes, transforming them into his own literary works. In such cases, particular attention is often given to how Akutagawa’s unique perspective leads to an ending that differs from the pre-existing text. In the case of "The Dragon (Ryu)", a crucial difference can be observed when compared to "Uji Shūi Monogatari", Volume 11, Tale 6, "The Story of the Chamberlain Tokugyō and the Dragon of Sarusawa Pond." In "Uji Shūi Monogatari", the dragon does not actually appear, whereas in Akutagawa’s version, the chamberlain Tokugyō Eiin witnesses a dragon ascend into the sky. This constitutes a fundamental divergence between the two works. Why, then, did Akutagawa choose to depict the dragon’s ascent? By considering the nature of "Uji Shūi Monogatari", which deliberately avoids portraying the dragon’s ascension, and by examining Akutagawa’s other early works, this study will explore the reasoning behind his decision to alter the story’s conclusion.

芥川龍之介; 說話; 《龍》; 《宇治拾遺物語》; 〈昇龍〉

Akutagawa Ryunosuke; folktales; "The Dragon"; "Uji Shūi Monogatari"; "Dragon ascension"