夏目漱石　初期の漢詩 : 叙景表現を中心として : 第二章　第四節（承前）

In this paper, I will focus on Soseki’s Chinese poems before studying in the Western and consider its scenic descriptive expression. I discuss about the color expression in the second chapter. In the first section, I have already explained the complementary color relationship between “red and green”, and in the second and third sections, I have explained “white”, which is the most frequent color type. From the previous article （Bulletin, No. 84）, as the fourth section, I will study the blue, which is the second most frequent after white. At that time, “Seizan （青山）”, which is the most compounded word that “blue” describes, was put on the subject of the discussion, and it was the cut end to study “blue” in Soseki poetry. Firstly, the motif of “Seizan （青山）” was roughly divided into three types. （1） The object of natural beauty, （2） The topos of cloistered appeal, and （3） the place of burial. （1） and （2） have already been discussed in No. 84, and this paper is a discussion on （3）. As discussed in （2）, “Seizan （青山）” in Soseki’s poem often means “hometown”, but “hometown” has an element of burying the bones of ancestors since ancient times. Therefore, the meaning of “Seizan （青山）” as a graveyard is mediated by “hometown”, but both fact and fiction are included in Soseki’s feelings for “hometown”, and they are intricately refracted. While retroactively tracing the authorities related to the death of “Seizan （青山）,” I pointed out that his thoughts would also lead to his misanthropic view. The “Sorrow”, which is written in Soseki poetry until the end of the year of death, is expressed that in a straightforward manner, but the darkness of “blue”, which is opposed to “white” in brightness, benefits the expression of “sorrow”, furthermore argued that they would be leaded to death. Finally, I compared “Hekizan （碧山）” with “Seizan （青山）”. “Hekizan （碧山）” is almost synonymous with “Seizan （青山）”, but it has more religious mystery than “Seizan （青山）”’s supernatural nature. For Soseki, who was revived from “30 minutes of death” during the period of Izu’s great illness, it was regarded as sacred mountain, a symbol of immortality. Furthermore, it was pointed out that Soseki’s favor for “Heki （碧）” is recognized, but that there may be a more beautiful aesthetic meaning than “the mere of the blue”, which is “The beauty of blue”, and the influence of Zen Buddhism that “Hekigan （碧巖）” has. It can be said that Soseki recognized the fundamental meaning of existence, so-called “the power of color,” which is not just a superficial beauty in color.