夏目漱石写生文观意义新解

The New Interpretation of Natsumesouseki’s Viewpoints on Sketch

在日本明治初期,包括"文学"这个词汇自身在内的一系列由西方传来的"文学"概念,如"小说"、"现实主义"、"自然主义"等都只是作为"名称"存在,其内涵则被人们根据已有的相关本土文学资源而改编。坪内逍遥在《小说神髓》中对"小说"的定义便反映了这一点。这种作法显示出当时文坛对西方舶来品的推崇及试图通过整合本土资源以与西方抗衡的复杂心理。从明治十几年开始延续到四十年代的"写生文"运动也深刻体现了这种心理。这场由"俳句革新"开始的运动始终处于"俳句"等传统文类与"小说"这种现代文类的夹缝之中。在这样的大环境下,夏目漱石的写生文观就显得意义非凡。本文通过对漱石有关写生文观的梳理,并结合具体的文本分析,指出他从《文学论》开始的对写生文观的把握,体现了其对"文学"概念本身的始终如一的怀疑。他通过使用充满前近代俳谐趣味的表现手法、丰富的汉语词汇等语言,从根本上超越了文类的限制,触及"文学"的本质。

In the early years of Meiji,a series of "literary" concepts,such as "novel","realism","naturalism" and even the word "literature",were used merely in literary terminology,while their connotations were adopted by Japanese on the basis of the already-existing native literary resources.This found expression in the definition of "novel" given by Tubouchisyouyou in his The Essence of Novel.This practice revealed the complex psychological dilemma of the Japanese literary world,which esteemed literary words and th...