“Soseki and Symbol”

—on its historical and theoretical backgrounds —

Abstract

　Soseki is, normally, not regarded as a symbolist, nor his works regarded to be symbolic. Nonetheless, Mr. Miyai Ichiro points out that symbol is an essential element in exploring the true meaning underlying Soseki’s texts and comprehending his works correctly.

　Although Mr. Miyai says that Soseki’s symbolic style comes out naturally and independently, it seems that his style has some specific historical and theoretical backgrounds.

　In my essay, firstly, Soseki’s historical position is examined in relation to the literary circles in the Meiji era. In a sense, he was ahead of the contemporary critics who wrote essays on symbolism. Soseki’s library catalogue reveals his earlier interest in symbolism and his good knowledge of it. He had principal English books on symbolism which were hard to obtain and therefore were valuable information in the Meiji era.

　Concerning Soseki’s view of symbolism, the most crucial point seems to be the relationship between symbol and allegory. This point can be clarified by contrasting the two essays on Baudelaire written by two representative Japanese critics who are Soseki’s contemporaries.

　Secondly, the theoretical backgrounds which influenced Soseki’s view of symbol are investigated. Occidental concepts, such as the imagination theory, empiricism, the empathy theory, Pre-Raphaelite Brotherhood are important. As for Oriental influences, Chinese poetry, Haiku theory and Zen Buddhism are crucial.

　After all, it is the Haiku theory that is most fundamental and decisive to our understanding of Soseki’s idea of symbol and his style. (Graduate Student of Japanese Literature Department of Sophia University)