芥川龍之介とエドガア・ポオ : 短篇小説の技法

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The present essay is a sequel to my previous one on Akutagawa and Poe, which appeared in the last issue of this periodical. Here, a comparative study of the two writers has been made in terms of the art of fiction. Akutagawa, first-rate writer and critic of his day, was perhaps the first in Japan to recognize the significance of Poe as a pioneer in modern fiction, and to learn a good deal from his theory of art and his craft of short story writing. By means of close examination and translation of Poe's tales, he found that the predominating qualities of Poe's mind were analytical intellect and poetic imagination combined in a remarkable manner, and that his faculty of logic, especially, played an important role in the process of his creation. As short story writers, Poe and Akutagawa had much in common. From first to last, they were objective artists, and their works were the products of their cool, calculating intellect. What they aimed at was to avoid crude naturalism or photographic realism, and to create pure fiction which was impersonal and existed separate from the author himself and his own experiences in life. They were preoccupied with the problem of form, structure and technique, for, to them, writing a story was a matter of expression rather than of thought. They thought that the value of a work of art is mainly determined by the intensity of the impression which it makes on the mind of the reader, and that the intense, soul-elevating impression is effected by the totality of effect and the artistic verisimilitude which the author might achieveby the mastery of technique. Accordingly, their works were the result of a conscious effort to establish a unique effect, and of a constant search for the best means of arriving at the desired end. In this paper, I have attempted to clarify the nature of their art through the examination of their individual works.
東京女子大学の論文

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江口裕子
東京女子大学

芥川龍之介とエドガア・ポオ : 短篇小説の技法

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