漱石心目中的「桃花源」──以「草枕」為題材

The Land of Peach Blossoms' in Soseki's Eyes: Centering on Kusamakura

夏目漱石於『草枕』執稿時曾表示，該小說係展現漱石「部份藝術觀及人生觀的小說」。誠如漱石所言，『草枕』全篇透過主角畫家的內心旁白、抑或是與女主角那美的對話等，對自己的藝術觀作了一翻透徹的闡述、並表達了其人生觀。大多研究學者也針對這些內容、比較東西方藝術之特質、對『草枕』的架構及主題等作了諸多詮釋。『草枕』的場景與陶淵明的『桃花源記』極為雷同，這點已是不爭之實，然而或許正因為過於明顯除了前田愛、佐佐木充之外鮮為一般研究學者所重視，而這兩位學者也忽略陶淵明的存在，把重點放在『草枕』中畫家的出遊為何是由山路進入、由水路返回的架構？本稿以『草枕』中畫家之出遊地與『桃花源記』之空間、人、物之架構、以及陶淵明之「悠然見南山」一詩等為中心，比較漱石與淵明對「桃花源」詮釋的異同，並以『草枕』中畫家所作的兩篇漢詩（漱石於八年前所作之漢詩）、及『草枕』執筆當時漱石的心境等為佐證資料，進而探討漱石所謂的「人生觀」之實質。

Natsume Soseki indicated that Kusamakura was a novel presenting ”part of his outlook on art and life”. Indeed, through the inner aside of the hero painter and his dialogue with the heroine Nami, Soseki made a systematic and thorough exposition of his outlook on art and life. It's clear that the scenes and story of Kusamakura are very similar to those of Tao Yuan-ming's Peach-Blossom Springs (Tokagenki). But actually no scholars pay attention to this, except Maeda Ai and Sasaki Mitsuru. Even they ignore the existence of Tao. They only focus their discussion on the route of the painter's journey. Centering on the locale of the journey, the space and structure of Tao's Peach-Blossom Springs, and on Tao's famous poem ”picking chrysanthemums under the eastern fence, leisurely I look up and see the Southern Mountains”, this paper tries to compare the similarities and differences of the interpretations of ”the Land of Peach Blossoms” between Tao and Soseki. At the same time, using the two Chinese poems written by the painter in Kusamakura and the mental state of Soseki when he wrote the novel as evidence, we'll discuss ”the Land of Peach Blossoms” in Soseki's eyes, and his outlook on life.