By Michiko Y. Aoki, Margaret B. Dardess

Textual content followed at collage of Kansas; college of Missouri, Columbia.

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47 As noted above, Sōseki addresses the “madness” question at the very end of the Bungakuron preface, in which he expresses his “deepest gratitude to these mental disorders,” which have served as his literary inspiration. ”48 Michikusa is proof that Sōseki’s prayers had been answered. Here, the author would revisit the family crisis that ensued upon his return to Tokyo in 1903, through the troubled moods and reflections of his literary alter ego, whom he casts as follows: Kenzō felt as though his head was stuffed with crumpled paper.

When I mention the epigraphs on the walls, he remarks with an indifferent air, “What, those scribblings? Waste of time, and they completely spoil a perfectly pretty place. And besides, the scribblings of criminals are not to be trusted. ” Then I tell him about meeting the beautiful lady and how she fluently read obscure passages that were absolutely indecipherable to us. But the landlord, in a disdainful manner, says, “So what if she did? Everyone reads a guidebook before setting off. Being knowledgeable is nothing to be surprised at.

The room, after all, was absolutely crammed with books—piled onto his desk, on the floor, on the mantelpiece—everywhere! 33 chapter i We also got together on several occasions to compose haiku. Sensei, of course, would be in charge.  . Thereafter, Sensei grew all the more involved in his researches and hardly left his room. I was unaware that he’d become subject to depression (shinkei suijaku).  . It’s generally accepted that Sōseki sensei hated London and spent two miserable years there. Certainly there was a negative side to his stay, but it was not all depression and gloom.

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