欧米の文芸理論と俳句(2) : 客観写生をめぐって

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Whether Kyoshi was really an adovocate of so-called 'kyakkanshasei', the theory of 'objective sketching from nature' in making haiku-poetry, all his life, is controversial. There are some who contend that he changed into sticking to this theory at a certain stage in his career, though he used to allow subjectivism. Some others contend that he himself did not keep to it at all while he put forward the theory to his disciples. Shuoshi, one of his best disciples, rose in revolt against Kyoshi, who then was the lord of the haiku-poetry monarchy. What drove the disciple into revolt was his master's perversity in putting forward the theory of objective sketching. Kyoshi gave more importance to Suju, another elite pupil, Shuoshi's rival, who was most loyal to his master. Kyoshi disapproved Shuoshi. The latter's theory was that in a nutshell truth in nature was one thing and that in art, another. He advocated allowing subjectivism and deformation in making haiku-poetry. After all, he broke away from his master and started a new school of his own theory. This paper shows how Kyoshi was really an advocate of the theory of 'objective sketching from nature' all his life. However, at the same time, I admit that many of his own masterpieces are of subjectivism, not consistent with his theory. The theory of 'objective sketching from nature' is originally that which Shiki, Kyoshi's master, adopted from Western painting. Kyoshi inherited it from his master. However, what he made most of along with the theory of objectivism was 'spontaneity', which sounds Oriental. On the other hand Shuoshi is more susceptible to Occidental ideas of art.
桃山学院大学の論文
1999-01-30

欧米の文芸理論と俳句(2) : 客観写生をめぐって

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