日本的學界對引用的研究迄今為止可分為明示（quotation）以及暗示（allusion）兩種。兩者亦皆有相關的研究論著，但這次拙論又嘗試由新的視點來探討，即作者會在作品裡明示其引用甲作品，又同時暗示引用乙作品。以往在研究《源氏物語總角卷》中匂宮與他同母姊姊長公主談話的場面時，皆只提到其與《伊勢物語》的關係而已。總角卷本文中「授琴」的語句表面上明示其引用自《伊勢物語》，但暗喻方面卻又與另兩個作品有關，即表層是《宇津保物語》，深層部分則是《篁物語》。閱讀總角卷，勢必得讀出敘事者這樣二重、甚至三重的意義。

Studies of intertextuality in Japan usually separate quotations and allusions. In this paper I juxtapose both and propose that a quotation from another text may be an allusion to still other texts at the same time. For example, intertextual studies of Nioh-no-Miya’s conversation with his sister Onna-ichi-no-Miya in Genji Monogatari Agemaki-No-Maki have related the scene exclusively to Chapter 49 of Ise-Monogatari. That scene, however, is connected not only to Ise-Monogatari on the surface, but also to Takamura-Monogatari and Utsuho-Monogatari.