その詩作の耽美主義から耽美主義に転向し、『道程』(1914)で口語自由詩を確立。 著名な『智恵子抄』が出版されたのは妻･智恵子の死後の 1941 年。
Born in Tokyo. Known more as a poet perhaps, but was also a sculptor like his father Kōun (famous for the statue of Saigo Takamori in Ueno Park and the "Old Ape" bronze exhibited at the world Exposition). He was a devotee of August Rodin and even translated and edited Words of Rodan(1916). As a poet, he began as an exponent of aestheticism but shifted to idealism, perfecting his colloquial free verse style in his Dotei (1914, The Journey). The well-known collection Chieko-shō(1941) was not published until 3 years after the death of his wife, Chieko, but were composed some 30 years before.
|『智恵子抄』 より||From Chieko-sho|
TO A PERSON
Of you leaving——
Like the bearing of fruit before blooming,
Like the sprouting of seed before sowing,
Like summer skipping on to spring,
It's contrary to reason, against all of Nature,
So don't you carry out this thing, I beg you.
A husband cast in the usual mold,
And you, with that curly script of yours,
It makes me cry even to think
That you, who are as timourous as a wee bird,
And all the same, as fickle as a gust of wind,
Are going off to be married.
How I dread the thought
Of you leaving——
Why is it that you so readily,
How should I put it—— consent
To being pawned off in this way,
Up for sale, yes indeed.
From the world of the one and only
To one among tens of thousands,
Defeated by some man.
Defeated all for nothing.
The disgrace of it.
As if, yes,
As if a painting by Titian
Was being hawked in Tsurumaki-town.
Do I feel lonesome? Saddened?
—— no, it isn't like that.
But rather like watching those gloxinia flowers,
Those great big flowers you brought me,
Like watching them rot away before me.
And once having left me, you too rotting away.
It's like watching the journeying birds in the sky,
Like fixing my gaze at where they're headed,
A sad, self-destructive feeling, like the crashing of waves.
—And still it's not an infatuation.
It's not. It's not.
Though I never know at the start what's what,
I dread the thought
Of you leaving ——
And that you'll be wed, no less,
To have done whatever another man pleases.
(composed 7/15/1912. originally entitled "To Ms. N")
'TWAS A NIGHT
In the gas stove, a fire is burning.
Oolong tea, wind, a wispy evening moon.
—— That's it. —— How things stand in this world.
The kind of earnestness they want is ceremonial attire.
Artifice over what's natural.
Standing at full attention.
They've given up souls in the toss-up of this world.
Once the naked soul they knew, warm or cold ——
But you see this, and it's nothing to wonder at.
That's how things stand in this world.
All embrace many a mundane feeling,
in a gathering of dreadful, cold-hearted, myopic men.
And so, those who think to live life true
—— are always, still, and forever more ——
considered un-genuine, ironically.
And be persecuted, like you.
lacking a shred of sincerity.
would exclaim in shock at the sight of us,
and hurl all sorts of insults. To bide their time.
Sincerity-lackers fiddle with the corpus delecti of the act,
and leave us actors in the act by the wayside.
It's the world that's the one that deserves scorn,
and the dwarves in the whirl of it ought be ashamed.
We must carry out the deed to be done,
take the road to be taken,
respecting only rules of our own,
and attain oneness with nature, stay or go, sit or stand.
The power of the highest good lies in self-belief.
Let's not be startled by our ugly-as-toad brethren.
But find them visions of grotesque beauty.
Let them savor our love for them.
We must defeat the calamity.
And live life natural and free.
Like the blowing wind, the fleeting cloud, never to betray.
Destingy and inner need and the dictates of reason.
Nature is wise.
Nature is attentive to detail.
So quit troubling over the others, those misfits,
Come, how about a meager meal in Ginza, as usual?
TWO OF US BENEATH A TREE
YOU GROW PRETTIER BY THE [DAY]
CHIEKO PLAYING WITH PLOVERS
|『道程』 より||From Journey|