earticle

영어

This study explores how the mind functions in late adulthood by examining the change in Toson’s consciousness during the 1930s using “Dew of a Peach” (1936), his sixth and last miscellany. After Toson focused on the life within the walls including himself and his family between his return from France in 1916 and the late 1920, he started “life outside the walls” in the 1930s as his children became older and increasingly independent. As he became more socially engaged, he revealed his devotion to being a “public leader”, concerned with the country and people beyond the immediate concerns of the safety and comfort of himself and his children. He also demonstrated his “globalist consciousness” in arguing for harmony with neighboring countries and Japan’s opening up to the world. “Dew of a Peach” clearly demonstrates Toson’s externally-oriented energy in the 1930s through his transformation from “within the walls to outside the walls”. His later works, “Pilgrimage” (1940) and “Gate to the East” (1943) maintain his orientation toward openness for acceptance of and harmony with the world outside. This study reexamines the status of “Dew of a Peach” in the literature and concludes that the work establishes elderly consciousness and should become a new standard in elucidating the life and the work of late adulthood.

일본어

本稿は6番目の最後の感想集“桃の雫”(1936)を通じて1930年代の藤村意識を考察し、老年の精神世界を探ってみようとした。藤村の場合、1916年にフランスから帰国した後、家族に忠実で20年代まで屋内に集中している姿を見せるが、子どもたちが成長して独立し始めた1930年ごろから屋外へ出てきた以来、新しい“外部的な生”が始まったことが分かる。対外活動が始まると、私と子どもの安危から脱し、国家と国民を心配する“社会的指導者の面貌”を見せたり、周辺との調和と和合が必要であることを述べ、ひいては開かれた心で全世界に開放しなければならないという“汎世界的な認識”も見せた。このように“桃の鈴”は1930年代,屋内から屋外へ進んだ藤村の外エネルギーが最もよく表現された作品だった。以後,“巡礼”(1940)と最後の作品である“東方の門”(1943)にも受容と調和という開かれた意識が相変わらず続いていた。 本稿を通じて“桃の雫”の位相を再照明することができた。要するに“桃の雫”は老年の全般的な意識世界を確立した作品として晩年の生と作品を解明する新しい基準になければならない。