牧水の歌における「われ」の中の「自然」―『別離』より『みなかみ』へ―

Abstract

若山牧水為日本近代著名歌人，在文學史上一般被定位為「自然主義」，然而在其短歌創作中，其實同時揉合了自然主義與浪漫主義的特質。尤其創作的初期至中期，隨著人生的不同際遇轉變，歌風也從富浪漫性的青春歌詠，漸次轉換為偏向自然主義的自我剖析之歌風。 然而在此轉換過程中，牧水的創作仍保持了一貫的主題性－對「自然」及「自我」的探尋。牧水曾自述其創作理念為「自我即詩歌」，透過詩歌展現生命真實的樣貌；且亦曾於歌論中提及其歌詠之「自然」為其「心」之表徵，且自我之「生命」根源於「自然」。是故透過解析牧水短歌中的「自然」樣貌以及「自我」與「自然」的關連性，便可反映出歌人自我探尋之進程，並貼近其創作之本質。尤其前述初期至中期歌風的轉換過程，其實也反映了歌人對自我認知的連續性變化，且自然的樣貌也隨之不斷改變，此一動態關係值得加以細細探究。 因此，本論文聚焦於初期作品『別離』『路上』至中期作品『死亡或者藝術』『水上』，透過觀察歌人實際生活狀況與心境變化、以及「身」「心」「自然」三者間的相互作用，對作品進行論證及分析，以探討「自我」與「自然」的關連性。透過如上考察，發現四部作品的創作時期其實正反映了歌人從「自我肯定」的青年期，在面臨現實衝擊後「自我批判」，思考理想的生存方式、進而重新構築自我的經過。而隨著「自我發掘」的加深，與自然的連結也從偏向精神性、形上學性的理想，漸漸轉向透過「身體」實際感受自然，最終並達到身心的統合，得以以最純粹的姿態與自然共存及調和。此外，作品中的浪漫性及自然主義性質，正是由「我」和自然調合的程度加以呈現，在自然主義性格強烈時，自然往往被變形、内化，用以呈現「我」的心境。而即便自然之樣貌不停轉變，歌人對自然的崇敬之情以及與自然相互調和之理想從未改變，與自然調和之「真實的自我」存在與否，即是歌人用以衡量自身精神狀態的度量。 本論文亦刻劃出牧水在面臨人生困境之時，總是積極探索及感受自己與外界的連結，並透過剖析及凝視這些「生命的碎片」重新認識自己，以向人生下一階段邁進的生存方式。歌人於創作中所展現之對生命的思索及追尋，以及打破自身「封閉性」的方法，都帶給廣大讀者豐富的啟示。

Bokusui Wakayama is a significant modern Japanese tanka poet. His literary works are commonly considered “Naturalistic,” and yet his tankas combine characteristics of both Naturalism and Romanticism. This is particularly exhibited in his early-stage through middle-stage works, wherein with the changes in his life, his style transitions from a romantic, celebration of youth towards a Naturalistic, self-analysis voice. Nevertheless, in such transition, Bokusui’s works have remained consistent in their themes – an exploration of “nature” and “self.” Bokusui has said that his literary philosophy is “self is poetry,” in which poems embody the true image of life; he has also mentioned in his tanka theory that the “nature” he praises is symbolic of the “heart,” and that the “life” of self is rooted in “nature.” This is why if we analyze the connection between “self” and “nature” in Bokusui’s tankas, we can see how it reflects the poet’s journey of self-exploration and how it conforms with the essence of his writing. The aforementioned transition process from early to middle stage in particular reflects the continuous changes in the poet’s self-recognition, and given the constant change in his image of nature, such dynamic relationship is even more deserving of close analysis. Therefore, this paper focuses on his works Betsuri and Rojo, from his early stage, and Shi ka Geijutsu ka and Minakami, from his middle stage, observes how the poet’s environmental and mental condition shifts as well as how “body,” “mind,” and “nature” interact, and conducts an analysis of his works to explore the connection between “self” and “nature.” Through such a study, it can be seen that the four pieces of work reveal that the poet's life during this period has gone through several changes – from the adolescent period of “self-assurance” to “self-criticism” upon experiencing impact from reality, in which he ponders on the ideal way of life and reconstructs the self. And as the “self-exploration” deepens, his bond to nature turns from spiritually and metaphysically idealistic towards physically appreciating nature with the “body” and eventually reaching an integrated state between body and mind in which his purest form coexists and harmonizes with nature. Moreover, the naturalistic and romantic characteristics in his works are a reflection of the degree of harmonization between “self” and “nature;” when the naturalistic side is stronger, nature is often transformed and internalized to express the mentality of “self.” While the image of nature is constantly changing, the poet’s reverence for nature and his ideal about harmonizing with it never changes; whether or not the “true self” harmonizes with nature is an indicator for the poet in self-assessing his spiritual state. This paper also depicts Bokusui’s philosophy of life – when faced with difficulties in life, always actively explores and experiences his connection with the outside world and, through analyzing and reflecting on those “fragments of life,” rediscovers himself so as to move on to the next phase in life. The pursuit and contemplation of life the poet exhibits in his works as well as how he can break through his own “confinement” all bring great revelation to his readers.