Vanitas vanitatum, omnia vanitas.

漱石先生逝世一百周年,久违地刷一发日本文学

Hearn had argued that the "heart" of the Japanese could be grasped through his "life sketching" techniques, but Soseki demonstrates the reverse. If someone wishes to keep a secret, Soseki would argue, you can never discern it unless that person tells you. In Soseki's "Kokoro," Sensei's wife, Shizu, never learns from her husband the true cause of the death of someone identified only as "K." Nor would the narrator, a younger man known only as Watashi, understand the hidden secret of Sensei if the older man had not explicitly written down his life story for him.

The human heart or psyche in other words can be impenetrable. This is nothing to do with what an Orientalist of the day may have called "the mysterious Japanese," but is a universal constant of the human condition . . . 

Soseki argues that a novel's potential for accessing and analyzing the interior thoughts of a character offers writers a means of probing the human psyche. In other words, the most significant barrier is not, as Hearn once believed, any form of cultural wall between Japan and the rest of the world, but the wall that existed between the psyche of one individual and the people around them.

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其实这篇文章写得最有意思的是漱石和正岡子規的关系。漱石在我这儿论喜好度大概最多也就能凑合着排进日本作家里的前五吧,他大部分的作品都只能断断续续勉强看完,可又一直觉得他的功底特别深厚,还认定了谁要是连这都看不出来那一定是瞎。没想到有人会用萨列里和莫扎特来形容他和另一个文人的关系,他还是负责演萨列里的那个。他竟然还有这一面!(产生了一种可以说是惊喜的微妙心情。

关于《心》这部作品本身,对作者后文分析出来的deliberate manipulation of external reality as a cover for turbulent inner motives云云还是不太赞成,太西洋理论了。但就摘录的这段里谈到的心的障壁来说,于我多少还是可以算心有戚戚焉吧。

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