yuèdòuxià mù shù shí Natsume Sōsekizài小说之家dezuòpǐn!!! | |||||
夏目漱石1867 nián 1 yuè 5 rì shēng yú jiāng hù ( jīn dōng jīng )。 tā de jiā tíng zài míng zhì wéi xīn qián shì jiāng hù shì xí de “ míng zhù ” ( xiāng dāng yú jiē dào shàng lǐ cháng zhī lèi de xiǎo lì ), wéi xīn hòu , jiā dào zhōng luò。 zài zhōng xué shí kù 'ài hàn shī hàn wén， hòu zài jiā tíng de yǐng xiǎng xià gǎi xué yīng yǔ。 1893 nián bì yè yú dōng jīng dì guó dà xué yīng wén kē。 xué shēng shí qī， yǔ jìn dài hègē、 pái jù de gé xīn zhě zhèng gāng zǐ guī jié wéi hǎo yǒu， cóng shì pái jù xiě zuò。 qīng nián shí qī jiē shòu liǎo hàn wén xué suǒ yùn hán de dào dé guān niàn、 yīng guó wén xué zhōng de qǐ méng zhù yì sī xiǎng yǐ jí pái xié wén xué zhōng de wén rén qù wèi hé měi xué guān diǎn de yǐng xiǎng。 1895 nián， fàng qì dōng jīng gāo shī yīng yǔ jiào shī de jiào zhí， xiān hòu qù sì guó sōng shān shì hé jiǔ zhōu xióng běn shì dì wǔ gāo děng xué xiào rèn jiào。 1900 nián yǐ guān fèi liú xué yīng guó sān nián， guān chá dào xī fāng shè huì de zhǒng zhǒng bì bìng， tè bié shì zī běn zhù yì shè huì de“ jīn qián wàn néng”， shǐ tā gǎn dào shí fēn yàn 'è。 1903 nián huí dào rì běn , zài dōng jīng dì guó dà xué rèn jiào , bìng wéi gāo bīn xū zǐ zhù biān de zá zhì《 dù yǔ》 xiě pái jù。 dāng shí，“ dù yǔ pài” chú zhì lì yú pái jù chuàng zuò wài , hái zài tí chàng“ xiě shēng wén” , jīng cháng fā biǎo pái wén。
1905 nián xiě liǎo《 wǒ shì māo》 de dì yī zhāng , zuò wéi yī piān pái wén， zài《 dù yǔ》 shàng fā biǎo， huò dé zàn shǎng， hòu zài gāo bīn děng rén de gǔ lì xià， xiě chéng cháng piān xiǎo shuō。 tā yǐ mǐn ruì de guān chá lì， yǐ jiào shī kǔ shā mí jiā yī zhǐ“ māo” de kǒu wěn， pī pàn liǎo zǒu shàng zī běn zhù yì dào lù de míng zhì shí dài hēi 'àn de xiàn shí， tè bié shì duì tā yī xiàng suǒ yàn 'è de zī běn jiā de zhuān héng bá hù yǔ“ jīn qián wàn néng” de shì tài， jí jìn xī xiào nù mà zhī néng shì。 zhè bù zuò pǐn hái yòng màn huà shì de kuā zhāng shǒu fǎ， sù zào liǎo yī qún zì mìng qīng gāo、 fèn shì jí sú de zhī shí fènzǐ de xíng xiàng； duì tā men wán shì bù gōng de tài dù hé xíng dòng wú lì de ruò diǎn , jìn xíng liǎo tiáokǎn hé shàn xiào。 zuò pǐn qiǎo miào dì shǐ yòng liǎo yǎ yǔ、 sú yǔ、 hàn yǔ。
1906 nián zuò zhě yòu zài《 dù yǔ》 shàng fā biǎo zhōng piān xiǎo shuō《 gē 'ér》， zhè yě shì yī bù dài yòu yōu mò fěng cì tè sè de zuò pǐn。 tā yòng dì yī rén chēng de shǒu fǎ， sù zào liǎo yī gè hān zhí、 pǔ shí、 tóu nǎo yòu xiē jiǎn dān de qīng nián de xíng xiàng， bìng biǎo xiàn tā de zhèng yì gǎn hé fǎn kàng xìng， bǎo hán zhe duì shè huì shì lì de pī pàn jīng shén。 zuò pǐn yǔ yán píng yì， xī qǔ liǎo tōng sú wén xué“ luò yǔ”（ lèi sì“ xiàngshēng” de yī zhǒng qǔyì） de yòu yì chéngfèn， huá jī 'ér yòu fēng qù。 zhè bù zuò pǐn cháng qī wéi guǎng dà dú zhě suǒ xǐ 'ài。 tóng nián fā biǎo lìng yī bù zhōng piān xiǎo shuō《 lǚ sù》。
1907 nián《 zhāorì xīn wén》 shè yán qǐng tā wéi tè pìn zuò jiā， tā biàn fàng qì liǎo dà xué jiào shòu de zhí wèi， chéng wéi zhí yè zuò jiā。 zhí dào qù shì de dà yuē 10 nián de shí jiān lǐ， xiān hòu xiě liǎo 10 duō bù cháng piān xiǎo shuō， jūn zài《 zhāorì xīn wén》 shàng liánzǎi。《 sān sì láng》、《 qí hòu》、《 mén》 shì tā zhōng qī chuàng zuò de sān bù qū。《 sān sì láng》 (1908) jìn sì yú“ jiào yǎng xiǎo shuō”， xiě nóng cūn qīng nián sān sì láng zài dōng jīng dà xué qiú xué de shēng huó hé tā duì nǚ xìng de 'ài mù， biǎo xiàn yī gè nóng cūn qīng nián de chéngzhǎng guò chéng。《 qí hòu》（ 1909） miáo xiě yī gè dà xué bì yè shēng jǐng dài zhù， jiāng suǒ 'ài de nǚ láng sān qiān dài ràng gěi péng yǒu píng gāng， zì yǐ wéi zhè shì“ yīng xióng de” xī shēng jīng shén。 jǐ nián hòu， píng gāng yǔ sān qiān dài cóng wài dì huí dào dōng jīng， dài zhù zhú jiàn rèn shí dào zì jǐ yǐ wǎng de xíng wéi shì xū wěi de， tè bié shì liǎo jiě dào píng gāng yǐ biàn chéng yī gè yōng sú bù kān de rén hé sān qiān dài de hūn hòu shēng huó bìng bù xìng fú， biàn xiàng sān qiān dài biǎo bái liǎo 'ài qíng， bìng hé tā chóngxīn jié hé。 dài zhù rèn wéi zhè yàng zuò shì huí fù dào“ zì rán” ( zhēn shí )， dàn jiēguǒ què bù néng bù yǔ shì sú dào dé fā shēng zhèng miàn chōng tū。 zuò pǐn suī rán shì miáo xiě 'ài qíng， dàn zhù tí shì zài shuō míng rì běn jìn dài shè huì réng shòu zhe qiáng dà de fēng jiàn lì liàng de shù fù。《 mén》 (1910) shí jì shàng shì《 qí hòu》 de xù piān， miáo xiě zhù rén gōng zōng zhù hé 'ā mǐ zhè duì xiǎo zī chǎn jiē jí chū shēn de fū fù de 'àn dàn de shēng huó， yǐ shēn kè de xīn lǐ miáo xiě fǎn yìng liǎo chōng pò fēng jiàn shù fù hòu xiǎo zī chǎn jiē jí zhī shí fènzǐ jīng shén shàng zāo shòu de yā yì hé tòng kǔ。 zhè sān bù zuò pǐn dū yǐ xiàn shí zhù yì de chuàng zuò fāng fǎ， jiē shì liǎo rì běn jìn dài shè huì cún zài de zhǒng zhǒng wèn tí， bèi rèn wéi shì rì běn jìn dài wén xué zhōng jù yòu shēn kè sī xiǎng xìng de zuò pǐn。 wǎn qī xiě liǎo《 guò liǎo chūn fēn shí jié》 (1912)、《 xíng rén》 (1912～ 1923)、《 xīn》 (1914)、《 dào cǎo》 (1915) děng cháng piān xiǎo shuō。《 míng 'àn》 (1916) shì tā shēng qián wèi wán chéng de zuò pǐn。 zhè xiē zuò pǐn dà duō yǐ xì nì de xīn lǐ fēn xī， miáo xiě zhī shí fènzǐ jīng shén shàng de gū dú hé lì jǐ zhù yì de chǒu 'è。
xià mù shù shí yī shēng zhù yòu liǎng bù wén lùn、 dà liàng pái jù、 jǐ bǎi shǒu hàn shī , ruò gān suí bǐ hé shū xìn， dàn zài wén xué shàng de zuì dà gòng xiàn shì yǐ tā shí jǐ bù cháng piān xiǎo shuō hé dà pī duǎn piān xiǎo shuō shù qǐ pī pàn xiàn shí zhù yì wén xué de fēng bēi， gěi hòu lái de zuò jiā yǐ shēn kè de qǐ dí。 xià mù yī shēng jiān chí duì míng zhì shè huì de pī pàn tài dù , yǐ tā de jù yòu xiān míng gè xìng de、 fēng fù duō cǎi de yì shù cái néng , zài rì běn jìn dài wén xué shǐ shàng zhàn yòu zhòng yào de dì wèi。 1916 nián 12 yuè 9 rì shì shì。
Born as Natsume Kinnosuke in the town of Babashita in the Edo region of Ushigome (present Kikui, Shinjuku), Sōseki began his life as an unwanted child, born to his mother late in her life. His parents foisted him off on a former household servant (Shiobara Masanosuke) and his wife, by whom he was brought up until the age of nine. He returned to his household and was welcomed by his mother although regarded as a nuisance by his father. His mother died when he was fourteen, and his two eldest brothers died in 1887, intensifying his sense of insecurity.[citation needed]
Sōseki attended the First Tokyo Middle School (now Hibiya High School), where he became enamored with Chinese literature, and fancied that he might someday become a writer. However, his family disapproved strongly of this course of action, and when Sōseki entered the Tokyo Imperial University (now the University of Tokyo) in September 1884, it was with the intention of becoming an architect. He began studying English at that time, feeling that it might prove useful to him in his future career.[citation needed]
In 1887, Sōseki met Masaoka Shiki, a friend who would give him encouragement on the path to becoming a writer, which would ultimately be his career. Shiki tutored him in the art of composing haiku. From this point on, Sōseki began signing his poems with the name Sōseki, which is a Chinese idiom meaning "stubborn". In 1890, Sōseki entered the English Literature department, and quickly became a master of the English language. Sōseki graduated in 1893, and enrolled for some time as a graduate student and part-time teacher at the Tokyo Normal School.[citation needed]
Sōseki began teaching at Matsuyama Middle School in Shikoku, in 1895, which is the setting of his novel Botchan. Along with fulfilling his teaching duties, Sōseki published haiku and Chinese poetry in a number of newspapers and periodicals. He resigned his post, in 1896, and began teaching at the Fifth High School in Kumamoto. On June 10 of that year, he married Nakane Kyoko.[citation needed]
Natsume Soseki's lodgings in Clapham, South London
In the United Kingdom, 1901-1903
In 1900, the Japanese government sent Sōseki to study in Great Britain as "Japan's first Japanese English literary scholar". He visited Cambridge and stayed a night there, but gave up the idea of studying at the university because he could not afford it on his government scholarship. He had a miserable time of it in London, spending most of his days indoors buried in books, and his friends feared that he might be losing his mind. He also visited Pitlochry in Scotland.
He lived in four different lodgings, only the last of which, lodging with Priscilla and her sister Elizabeth Leale in Clapham (see the photograph), proved satisfactory. Five years later, in his preface to Bungakuron (The Criticism of Literature), he wrote about the period:
The two years I spent in London were the most unpleasant years in my life. Among English gentlemen I lived in misery, like a poor dog that had strayed among a pack of wolves.[citation needed]
He got along well with the Leale sisters, who shared his love of literature (notably Shakespeare and Milton) and spoke fluent French, much to his admiration. The Leales were a Channel Island family, and Priscilla had been born in France. The sisters worried about Sōseki's incipient paranoia and successfully urged him to get out more and take up cycling.
Despite his poverty, loneliness, and mental problems, he solidified his knowledge of English literature during this period and returned to Japan in 1903.
After his return to the Empire of Japan, he replaced Koizumi Yakumo (Lafcadio Hearn) at the First Higher School, and subsequently became a professor of English literature at Tokyo Imperial University, where he taught literary theory and literary criticism.[citation needed]
Literary career
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Sōseki's literary career began in 1903, when he began to contribute haiku, renku (haiku-style linked verse), haitaishi (linked verse on a set theme) and literary sketches to literary magazines, such as the prominent Hototogisu, edited by his former mentor Masaoka Shiki, and later by Takahama Kyoshi. However, it was the public success of his short story Wagahai wa neko de aru ("I Am a Cat") in 1905 that won him wide public admiration as well as critical acclaim.[citation needed]
He followed on this success with short stories, such as Rondon tō ("Tower of London") in 1905 and the novels Botchan ("Little Master"), and Kusamakura ("Grass Pillow") in 1906, which established his reputation, and which enabled him to leave his post at the university for a position with Asahi Shimbun in 1907, and to begin writing full-time. Much of his work deals with the relation between Japanese culture and Western culture. Especially his early works are influenced by his studies in London; his novel Kairo-kō was the earliest and only major prose treatment of the Arthurian legend in Japanese. He began writing one novel a year until his death from a stomach ulcer in 1916.
Obverse of a 1984 series 1000 Japanese yen banknote
Major themes in Sōseki's works include ordinary people fighting against economic hardship, the conflict between duty and desire (a traditional Japanese theme; see giri), loyalty and group mentality versus freedom and individuality, personal isolation and estrangement, the rapid industrialization of Japan and its social consequences, contempt of Japan's aping of Western culture, and a pessimistic view of human nature. Sōseki took a strong interest in the writers of the Shirakaba (White Birch) literary group. In his final years, authors such as Ryūnosuke Akutagawa and Kume Masao became close followers of his literary style.[citation needed]
Major works
Sōseki's major works include:
Year Japanese title English title Comments
1905 吾輩は猫である Wagahai wa Neko dearu I Am a Cat
倫敦塔 Rondon Tō The Tower of London
薤露行 Kairo-kō Kairo-kō
1906 坊っちゃん Botchan Botchan
草枕 Kusamakura The Three-Cornered World
(lit. The Grass Pillow) latest translation uses Japanese title
趣味の遺伝 Shumi no Iden The Heredity of Taste
二百十日 Nihyaku-tōka The 210th Day
1907 虞美人草 Gubijinsō The Poppy
1908 坑夫 Kōfu The Miner
夢十夜 Yume Jū-ya Ten Nights of Dreams
三四郎 Sanshirō Sanshiro
1909 それから Sorekara And Then, a novel
1910 門 Mon The Gate
思ひ出す事など Omoidasu Koto nado Spring Miscellany
1912 彼岸過迄 Higan Sugi Made To the Spring Equinox and Beyond
行人 Kōjin The Wayfarer
1914 こころ Kokoro Kokoro
私の個人主義 Watakushi no Kojin Shugi My Individualism A famous speech
1915 道草 Michi Kusa Grass on the Wayside
硝子戸の中 Garasu Do no Uchi Inside My Glass Doors English translation, 2002
1916 明暗 Mei An Light and Darkness, a novel Unfinished