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太宰は私が青年時代に最も影響を受けた作家です。
あなたが書いた太宰の誇張表現を中心に書かれている論文を読みました。
太宰は標準語(明治期に生まれた東京語)で小説を書きましたが、彼の故郷は青森の田舎で、そこには私にも何を喋っているのか理解できないような「日本語」で話す老人が今もいます。
太宰はこの方言を直すために上京する際にかなりの努力をしましたが、駄目でした。
太宰本人は流暢な標準語で話しているつもりでも、津軽の人間であるとばれてしまうのです。彼は自分がそうである姿と、現実との差に愕然とします。
太宰の挫折というのは、このような些細な形で積み重ねられていきます。この些細な積み重ねが、生活を対面に置いたときに重要な意味を持つと私は思います。

太宰の作品は江戸弁で書かれている事が多いのです。私はこの江戸弁は落語から来ているものだと考えています。
太宰の誇張表現や、人間失格などのモチーフは、標準語と方言とのずれなどによるコミュニケーションの不全というものが根を張っていると私は考えています。日常生活を大切にするという信条を持ちたい人間にとって、この小さな不全の集合は致命的な事かもしれません。
しかし誰にでも通じるような、それでいて生活に根ざした言葉をもちたい、と考えることはないでしょうか。

吉田健一という日本の批評家は、太宰の作品を「彼の作品は恐ろしく読みやすいが、日本語を使いこなすだけで、日本語の発展には貢献しなかった」と評しています。
この意見は恐らく現実的で正しい意見であると思います。言葉の通じない世界(甘えの無い世界)は当たり前にあり、不全ながらも言葉でもって進展させていかなければならないからです。しかしその進展は概して物事を切り捨ててゆく作業であるはずです。太宰の表現はその切り捨てなくてはならない事項に直面したときに、過剰になっていきます。
 太宰治の言う真理というもの、ユートピアは、文学についてのある夢想をした人間にとって、誇張という形でも、一級のロマンスとして私たちの胸を打ちます。




Dazai is the writer who took an influence most in my younger days.
The thesis being written around the exaggerated expression of which you wrote was read. Though a novel was written in with the standard language (Tokyo word which was born in Meiji term), the old man who speaks in "Japanese" which can't understand what it is talking about to me as well is there in the country of Aomori now as for his home, too.
was no good though it had a considerable effort when it came to Tokyo to correct this dialect. Even thinking that it is speaking with the fluent standard language, itself comes out when it is a human being in Tsugaru. One is so, and he is shocked at the difference from a certain figure and the reality.

It is piled up that the collapse of is said by such trifling shape.
When it thinks of life, such small accumulation thinks me to have important meaning.
It is often being written in Edo dialect (old-fashioned Tokyo accent) by the work of .
I think that this Edo dialect comes from the comic story.
The thing of the inconvenience of the communication due to the deviation with the standard language and the dialect and so on thinks me to spread a root about the exaggerated expression of Dazai and the motif such as "No Longer Human ".
The meeting of this little inconvenience may be fatal for the human being who wants to have the principle that daily life is treasured.
I think that the inconvenience said like this is natural as a reality.
But, does it want to have the word which anyone understands and which therefore it was in and which took root in the life?

The Japanese critic of Kenichi Yoshida estimates the work of Dazai "Though it was terribly easy to read, his work only mastered Japanese, and his work didn't contribute to the Japanese development."
This opinion is probably realistic, and thinks to be a proper opinion.

It is because there is a world (the world which Amae is not in) which doesn't understand a word in our front and we must make inconvenience develop by the word, too.
But, that development must be the work of generally cutting down things.
The expression of Dazai becomes excessive when it faces that item that you must cut it down.
Even the form of the exaggeration does our breast for the human being who did the dream which was here about literature as a romance of the first rank for the thing of the truth which Osam Dazai is said as, the Utopia.


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