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Article type: Cover
1970 Volume 46 Issue 2 Pages
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Article type: Appendix
1970 Volume 46 Issue 2 Pages
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Article type: Appendix
1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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Article type: Index
1970 Volume 46 Issue 2 Pages
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Toshio Komamura
Article type: Article
1970 Volume 46 Issue 2 Pages
117-127
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Robert Lee Frost (1874-1963) depicts like Hesiod's 'chaos' what we ourselves were in "Too Anxious for Rivers," and says that the universe' the world, we, and the mind are the same in roundness in "Build Soil." Chaos and roundness being seemingly contradictory, I feel Aristotle's or Emerson's circular philosophy, and Frost's 'soul-from-soul abyss' ("A Missive Missile"), and get conscious of the vacuity as if a halo seen frequently in Frost's poetry. But a sympathetic correspondence going forth and back through this vacancy often indicates Frost's dual trend rather than the inconsistency or shyness of his thought. It may be said that, in particular, though the metaphor of "Fire and Ice" looks incoherent at a glance, he succeeds in unifying it very intelligently. The hesitation of 'passive' Frost, who has momentarily been absorbed in the aphorism reminiscent of Heraclitus, changes into 'intentional' awakening accompanied with a supposition; to Frost, man is at once a circulating existence and there is a limit to time extention-this disillusionment makes me feel instantly Pascal's discontinuity pointed out by T. S. Eliot, but Frost does not reveal so earnest a desire to enter religion as to desert the self and says it is intention, purpose and design that let man near divinity. It may be mentioned, therefore, that his stumbling denotes a conflict between passive recognition and original response, as confined in 'a pair of dauntless wings ' ("Bond and Free"). This I call Frostian duality, which is not grasped in Emerson with whom Frost gives the impression of having agreed in circularity. Fire and ice here cannot be shifted to life and death immediately, but "Provide, Provide" has the same hypothetic construction: to Frost, life is carried out in the hypothesis of death which happens in the contingency of life. Prepared to admit that the contingency of life is inevitable, he tries to make this inevitability meaningful. But he does not by force, but sometimes shows daily experience, as in "'Out, Out-'" and "Home Burial," symmetrically constructed each. Besides, Frost, with more brutal apathy than in these two poems, deals with death in "The Death of the Hired Man," and his dialogue of the 'home' gives a deeper feeling than nostalgia. Such the dramatic construction of Frost, who offers how importan the 'home' is in life and death, develops a genuine insight into the resemblance of the position of the 'home' in daily life to the relationship of the 'soul' to the flesh. Frost expounds in "Kitty Hawk" that spirit enters flesh, and that it charges into earth, which may signify the 'underground' ("Hyla Brook") of the flesh, ever fresh and fresh, and suggests his 'evolution' ("Education by Poetry") or Bergson's 'creative evolution.' Thoreau's 'pond' symbolized the 'earth's eye,' and he, analogous to Emerson, saw the soul in the eye, but Frost squeezes the site of his 'soul' into man's brain and likens it to the micrographic picture of the 'tree' ("A Never Naught Song"), I think, and seems to approach science rather than religion. Having receded from such the so-called positivism, however, he lays emphasis upon the importance of metaphor, and appeals a mystic insight as Bergson or Blake. I perceive the dualism of a circular 'microcosm' in this 'tree' participating in the current of life, which, Frost says, renders nil the whole Yggdrasil. But 'something like' which controls the waves of life is a mystery; Frost's 'spirit' walking alone like Crabbe's dreamy world, of which he will not
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Tsutomu Hagiwara
Article type: Article
1970 Volume 46 Issue 2 Pages
129-140
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As Henry James says, Hawthorne is perpetually looking for images which shall place themselves in picturesque correspondence with the spiritual facts with which he is concerned. The world that Hawthorne seeks is geeneratd by contemplation of the symbol, not by the eternal yoking-together of two realms which by definition are different in kind. In The Scarlet Letter the scarlet "A" is not only the meaning of adultery but also meaning in general. This aspect of the work is emphasized by the writer's method of circling interpretation through the minds of various characters. Hester is not the only person who wears the symbol. Pearl is also the scarlet letter both physically and mentally. She is really a kind of commentary on the symbol itself. In Dimmesdale the symbol is changed from its normal course an appears as the psychosomatic mark on his breast. In Chillingworth the effect of the symbol on body and mind is complete, because he has entirely plunged himself in a symbolic role. Needless to say, the letter A is the symbol of sin. But it is a concept that the symbol really conveys. Just as quickly as the concept is symbolized to us, our own imagination dresses it up in a private, personal conception, which we can distinguish from the communicable public concept only by a process of abstraction. We never deal with a concept without having some particular presentation of it, through which we grasp it. What we really have in mind, is always universalium in re. When we express this universalium we use another symbol to exhibit it, and still another res will embody it for the mind that sees through our symbol and apprehends the concept in its own way. In fact, it is not the essential act of thought that is symbolization, but an act essential to thought, and prior to it. Symbolization is the essential act of mind; and mind takes in more than what is commonly called thought. There are transformations of experience in the human mind that have quite different overt endings. They end in acts that are neither practical nor communal; I mean the actions we call ritual. Ritual is essentially the active termination of a symbolic transformation of experience. It is not prescribed for a practical purpose, not even that of social solidarity, though such solidarity may be one of its effects. It was Freud who recognized that ritual acts are not genuine instrumental acts, but are motivated primarily a tergo, and carry with them, a feeling not of purpose but of compulsion. They must be performed, not to any visible end, but from a sheer inward need. Empirically senseless, they are none the less important and justified when we regard them as symbolic presentations rather than practical means. They are spontaneous trans-formations of experience. All the characters are the persons who feel down to some realm of reality that contains their ultimate life-symbols and dictates activities which may acquire ritual value. Many symbols in the work may be said to be charged with meanings. They have many symbolic and signific functions, and these functions have been integrated into a complex so that they are all apt to be sympathetically invoked with any chosen one. The letter A is such a charged symbol: the actual instrument of Dimmesdale's death, hence a symbol of suffering; first laid on his shoulders, an actual burden, as well as on both grounds a symbol of his accepted moral burden. The life of a symbol is a smooth and skillful shuttling to and fro between sign-functions and symbolic functions, a steady interweaving of sensory interpretations, influences, imaginative prevision, factual knowledge, and tacit appreciations. Dreams can possess it at night and work off the heaviest load of self-expression needs, and evaporate before the light of day.
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Shitsuu Iwase
Article type: Article
1970 Volume 46 Issue 2 Pages
141-152
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In The Golden Bowl Henry James reached the final vision of American values by portraying Maggie whose inherent qualities, especially her "passion for order," triumphed over Amerigo's personal power. James's primary concern in The American Scene is with the investigation of that vision on the actual American scene, which he visited shortly after the publication of the novel, and for the first time during twenty years. As a book of travel, The American Scene records how his civilized sensibility met with the actual American realities, human and social. If his novel is composed of the "story" as an action plus his, or his character's individual view of it, then The American Scene reveals more of his creative method of amalgamating life with consciousness than his novels. With less demand of fictional creation of plots and characters, James enjoys his boundless freedom of observing and interpreting of objects before him. Here, James is an Emersonian figure of Man Seeing in whom what he sees makes not only the stuffs of his consciousness, but also the stuffs of the book of his impressions. No example could speak more of what he calls the "terrible law of the artist" where "seeing" becomes "doing." It is easy to see that his numerous impressions of the great energy of a democratic, materialistic, and commercial society lead him to a search for the meaning of the American culture. This aspect of his cultural cirticism is closely related to his method, and indeed, that criticism could not have been rendered without his particular complicated style of verbal expression through which he represents his sense of the cultural "Style" of America. So, unless we have a full understanding of his method of creation and representation, we will misunderstand his criticism, not to speak of the subject of the book. As the phrase "felicity forever gone" shows, The American Scene can be read as a book of despair, because the pre-Civil War values in which James and his American innocents had been raised were lost as the result of the national worship of the god of business. His words of despair repeat what he said in Hawthorne by observing that America had not "items of high civilization." In revisiting America, he perceives again the "apparent void" to be the keynote of the scene. However, because of its overwhelming void, he is aware of the emergence of the new sense of values which is not found in Europe. That is to say, where the American sensibility struggles for a substitution for the European sense of tradition of life, he discovers the growth of the consciousness that simple and commonplace objects and institutions can be made to expand their functions and to bear rich and complex meanings. Here is an apology for the Jamesian consciousness. The subject of The American Scene is to consider by what and to what extent the substitution is being achieved throughout the country. Whatever meaning we may read out of James's judgment of the American energy, we must start with the acceptance of his "point of view and his relation to his subject," and by so doing can we evaluate the significance of his criticism of America.
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Article type: Article
1970 Volume 46 Issue 2 Pages
153-156
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1970 Volume 46 Issue 2 Pages
156-159
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1970 Volume 46 Issue 2 Pages
159-162
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1970 Volume 46 Issue 2 Pages
163-166
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1970 Volume 46 Issue 2 Pages
166-172
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
175-178
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1970 Volume 46 Issue 2 Pages
179-182
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1970 Volume 46 Issue 2 Pages
182-185
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1970 Volume 46 Issue 2 Pages
185-189
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1970 Volume 46 Issue 2 Pages
189-193
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1970 Volume 46 Issue 2 Pages
193-196
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1970 Volume 46 Issue 2 Pages
196-199
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
266-270
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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1970 Volume 46 Issue 2 Pages
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