Shimamura Hougetsu

Critic, director, and leader of the early new drama movement. Born on January 10, 1871 in Shimane Prefecture. Maiden name Sasayama, real name Takitaro. Graduated from the Literature Department of Tokyo Senmon Gakko (the precursor to Waseda University). During his time at school, he was taught by Tsubouchi Shoyo and Onishi Hajime, and was strongly drawn to literature and aesthetics. He later became a lecturer at his alma mater, lecturing on beautiful rhetoric and other subjects, while also presiding over the "Monday Supplement" of the Yomiuri Shimbun, making a name for himself in the literary world and gaining recognition as a critic. In 1902 (Meiji 35), he studied abroad in England and Germany. While studying aesthetics and psychology, he also developed an interest in theater and music. After returning to Japan in 1906, he founded the Literary Association with the aim of initiating a cultural reform movement with his teacher Shoyo. He republished Waseda Bungaku and published the critique Torawaretaru Bungei (Captive Literature). He also defended the emerging field of naturalist literature, exerting a major influence on the literary world and becoming a pioneer of modern literary criticism. He later gradually leaned toward contemplative thought, which aimed to unify truth and beauty, and his collection of critiques, Kindai Bungei no Kenkyu (Research on Modern Literature) (1909), is a representative collection of his work. In 1909, the Literary Association opened a theatrical research institute and began training male and female actors. Based on his experiences at theatrical performances during his stay in Europe, Hogetsu directed Ibsen's A Doll's House and Sudermann's Hometown, pursuing a modernist approach to theater, which put him at odds with Shoyo's moderate approach to reforming national theater. He also had a romantic relationship with actress Matsui Sumako, who had also attended the institute, which came to light, and he resigned as the association's secretary. In 1913 (Taisho 2), he broke off relations with his mentor, left his teaching job and family, and formed the Geijutsuza with Sumako. The following year, with the big success of "Resurrection" based on an original work by Tolstoy, he gradually turned to popular theatre, but at the same time, he also staged research plays, aiming to unify the "dual path" of art and economics. He made a great contribution to the popularization and development of new theatre in the Taisho period and to making it a profession, but he died suddenly of influenza on November 5, 1918, halfway through his career. Two months later, Sumako followed him, by hanging.

[Hiroyuki Fujiki]

"Complete Works of Hogetsu, 8 volumes (Reprint edition, 1979, Japan Library Center)" ▽ "Complete Works of Meiji Literature 43: Shimamura Hogetsu and Other Works" (1967, Chikuma Shobo)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

評論家、演出家、初期新劇運動の指導者。明治4年1月10日島根県に生まれる。旧姓佐々山、本名滝太郎。東京専門学校（早稲田(わせだ)大学の前身）文学科卒業。在学中、坪内逍遙(しょうよう)、大西祝(はじめ)の指導を受け、文学、美学に強くひかれた。のち母校の講師となり美辞学などを講じ、かたわら『読売新聞』の「月曜付録」を主宰、文壇に気を吐き評論家として認められた。1902年（明治35）イギリス、ドイツに留学。美学、心理学を学びながら、演劇、音楽に関心を寄せた。帰国後の1906年、師逍遙と文化革新運動をもくろんで文芸協会を設立、『早稲田文学』を復刊して、評論『囚(とら)はれたる文芸』を発表、さらに新興の自然主義文学を擁護する論陣を張り文壇に大きな影響を与え、近代文芸批評の確立者となった。のちしだいに真と美の統一を目ざす観照主義に傾いたが、評論集『近代文芸之研究』（1909）はその代表的論集。文芸協会は1909年演劇研究所を開設して、男女俳優の養成を始め、抱月は滞欧中の観劇体験をもとにイプセン作『人形の家』、ズーダーマン作『故郷』などの演出にあたり、近代劇路線を歩み、逍遙の穏健な国劇改良路線と対立した。また研究所出身の女優松井須磨子(すまこ)との恋愛問題も表面化し協会幹事を辞任。1913年（大正2）恩師と決別し、教職、家庭も捨て、須磨子と芸術座を結成、翌年トルストイ原作『復活』の大当りでしだいに通俗劇へ向かったが、一方で研究劇も上演して芸術と経済の「二元の道」の統一を図った。大正期の新劇の普及発展と職業化に大きく貢献したが、業なかばにして、大正7年11月5日流行性感冒から急逝した。2か月後、須磨子はその後を追って縊死(いし)した。

［藤木宏幸］

『『抱月全集』全8巻（復刻版・1979・日本図書センター）』▽『『明治文学全集43　島村抱月他集』（1967・筑摩書房）』

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