試論『三四郎』──漱石漢詩中「雲彩」之重現

Preliminary view of the Clouds in Sanshiro–Roles of the figurative Clouds in Soseki`s Chinese poetry

有關『三四郎』中「雲彩」之研究，諸家多半從女主角美禰子的角度去探討;本篇論文除了透過美禰子外，更將重點放於男主角三四郎身上，檢視與美禰子間之互動、三四郎心態上之轉變界已思考「雲彩」、「天空」在小說中所被賦予之涵義、作用。「雲彩」是漱石漢詩常見之表現，漱石受到王維、李白等中國詩人之影響，在漢詩中常將「雲彩」視為寄情支對象、理想國之象徵。筆者分析比較漱石早期漢詩及『三四郎』中「雲彩」所代表意義、象徵之異同。以新女性姿態交遊於野野宮、三四郎等知識份子間的美禰子，凝視高空、雲彩之舉，象徵漢詩中「寄情孤雲」、「縱情理想國」之境；二四郎受美禰子之指點，在作品後半部起，二人之姿態完全對換，美禰子不再眺望白雲，三四郎取而代之。不過三四郎在凝視白雲時必定回想起美禰子、兩人曾經觀賞白雲之景，透過凝視白雲，來自鄉下的三四郎成長許多，而此「白雲」除了是與漢詩中同樣的「寄情」、「理想國」之象徵，更代表了三四郎心中與美禰子共同擁有的一段回憶。

Studies on the “Clouds” in Sanshiro are usually from Mineko's perspective. However, this essay emphasizes not only Mineko's viewpoint but also Sanshiro's. We will see the subtexts and the functions of “clouds” and “sky” in this novel by examining Mineko's interaction and Sanshiro's gradual change of his state of mind. “Clouds” is always the topic in Soseki's Chinese poetry. He, influenced by Chinese poets like Wan-we, Li-bai, etc., usually regards “clouds” as the object he devotes to and as the symbol of Utopia. So, this essay compares and contrasts the meanings of “clouds” in Soseki's early Chinese poems and Sanshiro. That Mineko, a new woman and joiner among the educated, gazes in the heaven and on the clouds symbolizes the ideas of devoting oneself to the isolated cloud and indulging oneself in Utopia in Chinese poetry. In the late part of the novel, Sanshiro, influenced by Mineko, changes and so does Mineko, that is, Mineko no longer gazes on the clouds, but Sanshiro, on the contrary, does. Gazing on the clouds reminds Sanshiro of Mineko, because which is the memory both of them shared. Sanshiro who is from country grows a lot by gazing on the clouds. And, “clouds,” the symbol of devotion and ideal world, is the same as those in Chinese poetry and it refers to the thing that Sanshiro and Mineko have in common.