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Spring Miscellany: And London Essays
For the first time, English readers have access to Soseki's "Spring Miscellany." Originally published as "Eijitu Shohin" in serial form in the Asahi newspaper in 1909, before appearing in book form, "Spring Miscellany" is an pastiche of twenty-five sketches, referred to as shohin (little items), heir to the great zuihitsu tradition of discursive prose. These personal vignettes are clearly autobiographical and reveal Soseki's kaleidoscopic view of his private world and his interest in authentic, unadorned self-expression.
The stories range from from episodes from his youth to his adult musings. Of special interest are the accounts of Soseki's stay in England between 1900 and 1902, where he attended University College, studied privately with W. J. Craig, editor of the Arden Shakespeare, and immersed himself in studying eighteenth-century literature. It was not a happy time for Soseki--he described his stay as "like a poor dog that had wandered into the company of wolves"--but, as with all great writers, he managed to turn adversity into raw material for his art and to give us insight today into the life of an expatriate Japanese scholar at the turn of the century.
In his Introduction to the work, Sammy Tsunematsu, founder and curator of the Soseki Museum in London, provides a fresh perspective on Soseki as a man and a writer, as well as an insightful commentary on the work itself.
The stories range from from episodes from his youth to his adult musings. Of special interest are the accounts of Soseki's stay in England between 1900 and 1902, where he attended University College, studied privately with W. J. Craig, editor of the Arden Shakespeare, and immersed himself in studying eighteenth-century literature. It was not a happy time for Soseki--he described his stay as "like a poor dog that had wandered into the company of wolves"--but, as with all great writers, he managed to turn adversity into raw material for his art and to give us insight today into the life of an expatriate Japanese scholar at the turn of the century.
In his Introduction to the work, Sammy Tsunematsu, founder and curator of the Soseki Museum in London, provides a fresh perspective on Soseki as a man and a writer, as well as an insightful commentary on the work itself.
180 pages, Kindle Edition
First published January 1, 1909
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About the author
Natsume Sōseki
884 books3,241 followersNatsume Sōseki (夏目 漱石), born Natsume Kinnosuke (夏目 金之助), was a Japanese novelist. He is best known for his novels Kokoro, Botchan, I Am a Cat and his unfinished work Light and Darkness. He was also a scholar of British literature and composer of haiku, kanshi, and fairy tales. From 1984 until 2004, his portrait appeared on the front of the Japanese 1000 yen note. In Japan, he is often considered the greatest writer in modern Japanese history. He has had a profound effect on almost all important Japanese writers since.
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Displaying 1 - 8 of 8 reviews
September 19, 2014
This 28-title paperback comprising Natsume Soseki's 20 Spring Miscellany and 8 London Essays should be, I think, a good introduction to his other famous novels, for instance, Botchan, Sanchiro, I Am a Cat, etc. as well as a supplementary one to his "The Tower of London: Tales of Victorian London." Reading his first category seemed a bit perplexing at first since it required the readers’ own decision, therefore, the following 8 titles in his second one could be a guide to relieve your trouble in recognizing them; my pure misunderstanding being that the Essays should be Nos. 21-28, that is, after the Miscellany Nos. 1-20 but, in fact, we could read the following numbers as his personal London recollections while living there from 1900 to 1902 (p. 7).
6. The Boarding House
7. Odor of the Past
9. A Sweet Dream
10. Impressions
15. Fog
20. In Bygone Days
25. Craig Sensei
26. The Carlyle Museum
27. Diary of a Bicycle Rider
Indeed, it is quite obviously tedious to write the reviews on the whole 20 Spring vignettes; however, I would write on a few ones in which I found uniquely informative or inspiring. First, This extract from ‘The Persimmon’ has revealed an intrinsic notion of Japanese characters:
“… Behind the surrounding wall of the house, there is a pine tree. At the approach of winter, a gardener comes to gather up the dead pine needles and uses them to cover the beds of the little garden.” (pp. 29-30)
A reason is that they have found the use of seemingly useless ‘dead pine needles’ as the barriers to presumably protect their vegetable beds in the garden; thus I cannot help admiring their practicality when I read this part since I have never known about such use from the pine needles before.
As for his private tutor on English literature, Mr. William James Craig, he was respectful as a Japanese student to a European teacher but, interestingly, he felt ill at ease after Mr Craig’s remark as written to reveal his annoying exasperation, for instance:
I should have really thanked Mr Craig for his compliment because he counted me among those who understood poetry, but the way he treated me remained very condescending; for me he remained a person prattling on mechanically. (p. 114)
I think there might have been something happen due to, possibly, a conflict of culture or nonverbal communication and Soseki kept docile like a good student from Japan. From his reaction, we could understand his situation in London because it was “not a happy time for Soseki – he described his stay as “like a poor dog that had wandered into the company of wolves”--” (back cover) So I could not help wondering why he said so and what "the wolves" did to increase his adversity instead of welcoming and helping him as a student from abroad; thus, it was a bit complex and we need to read or find out more on a few key issues then between the two countries in terms of politics, racism, phobia, etc. so that we find any clue on his bitter reaction.
However, I liked his sense of humor when he kept his readers amused by describing how he tried to ride a bicycle as revealed from an excerpt:
It was in vain that I clung on to it. The wheels did not even turn halfway round. I emitted a variety of exclamations and silently appealed for help. The result was as expected. My instructor came over to me and said, “Come along, I’ll hold you firmly. Get up!” But no sooner was I on the saddle than I was back on the ground. “I told you so. You bent your knees! This time you are going to seat yourself gently on the saddle and hold the handlebars with both hands. All right? Are you ready? I’ll give the machine a push. Take hold of it while moving, and start pedaling!” So there was the learner, trembling with fear, being pushed forward. Just when everything was in place and the movement had been started, something happened which was not allowed for – a fall on the gravel. Who but God could have foreseen it? Extreme stupefaction took possession of me. (pp. 136-137)
In addition, what do you think when you read this sentence? “My hair, caused to bristle by my anger at receiving this absurd order, rose up to meet the inside of the top of my protective helmet.” (p. 135). Surprisingly, I found it informative since I did not have any idea on the helmet and thought it had been in use since some 60-70 years ago but Soseki, as a bicycle rider, needed to wear it for his safety more than a century ago in England.
In brief, this book would delight Soseki readers with his various scattered and autobiographical episodes; therefore, they would eventually enhance their admiration, respect and awe while reading his works, in other words, his readers could not help appreciating them and longing to read more.
6. The Boarding House
7. Odor of the Past
9. A Sweet Dream
10. Impressions
15. Fog
20. In Bygone Days
25. Craig Sensei
26. The Carlyle Museum
27. Diary of a Bicycle Rider
Indeed, it is quite obviously tedious to write the reviews on the whole 20 Spring vignettes; however, I would write on a few ones in which I found uniquely informative or inspiring. First, This extract from ‘The Persimmon’ has revealed an intrinsic notion of Japanese characters:
“… Behind the surrounding wall of the house, there is a pine tree. At the approach of winter, a gardener comes to gather up the dead pine needles and uses them to cover the beds of the little garden.” (pp. 29-30)
A reason is that they have found the use of seemingly useless ‘dead pine needles’ as the barriers to presumably protect their vegetable beds in the garden; thus I cannot help admiring their practicality when I read this part since I have never known about such use from the pine needles before.
As for his private tutor on English literature, Mr. William James Craig, he was respectful as a Japanese student to a European teacher but, interestingly, he felt ill at ease after Mr Craig’s remark as written to reveal his annoying exasperation, for instance:
I should have really thanked Mr Craig for his compliment because he counted me among those who understood poetry, but the way he treated me remained very condescending; for me he remained a person prattling on mechanically. (p. 114)
I think there might have been something happen due to, possibly, a conflict of culture or nonverbal communication and Soseki kept docile like a good student from Japan. From his reaction, we could understand his situation in London because it was “not a happy time for Soseki – he described his stay as “like a poor dog that had wandered into the company of wolves”--” (back cover) So I could not help wondering why he said so and what "the wolves" did to increase his adversity instead of welcoming and helping him as a student from abroad; thus, it was a bit complex and we need to read or find out more on a few key issues then between the two countries in terms of politics, racism, phobia, etc. so that we find any clue on his bitter reaction.
However, I liked his sense of humor when he kept his readers amused by describing how he tried to ride a bicycle as revealed from an excerpt:
It was in vain that I clung on to it. The wheels did not even turn halfway round. I emitted a variety of exclamations and silently appealed for help. The result was as expected. My instructor came over to me and said, “Come along, I’ll hold you firmly. Get up!” But no sooner was I on the saddle than I was back on the ground. “I told you so. You bent your knees! This time you are going to seat yourself gently on the saddle and hold the handlebars with both hands. All right? Are you ready? I’ll give the machine a push. Take hold of it while moving, and start pedaling!” So there was the learner, trembling with fear, being pushed forward. Just when everything was in place and the movement had been started, something happened which was not allowed for – a fall on the gravel. Who but God could have foreseen it? Extreme stupefaction took possession of me. (pp. 136-137)
In addition, what do you think when you read this sentence? “My hair, caused to bristle by my anger at receiving this absurd order, rose up to meet the inside of the top of my protective helmet.” (p. 135). Surprisingly, I found it informative since I did not have any idea on the helmet and thought it had been in use since some 60-70 years ago but Soseki, as a bicycle rider, needed to wear it for his safety more than a century ago in England.
In brief, this book would delight Soseki readers with his various scattered and autobiographical episodes; therefore, they would eventually enhance their admiration, respect and awe while reading his works, in other words, his readers could not help appreciating them and longing to read more.
February 11, 2013
Natsume has a dull time of it in Clapham.
"I could not help finding it pitiful that a gentleman with a moustache should be forced to take exercise on a lady's bicycle, even if, as I admit, this moustache did not inspire respect."
"I could not help finding it pitiful that a gentleman with a moustache should be forced to take exercise on a lady's bicycle, even if, as I admit, this moustache did not inspire respect."
January 15, 2023
i'm slowly becoming a fan of natsume soseki's works
June 14, 2025
Una amiga japonesa me dijo que algo que le gustaba mucho de Soseki es como dice cosas un poco ridículas o tragicómicas de manera muy formal o elegante, como si fuesen algo muy importante. Me gustó lo mismo. Me gustó también notar que fue un señor, al parecer, muy emo. Un señor japonés antiguo emo. Deseo aprender más de él, de entenderlo mejor, y en el camino, ojalá entender un poco mejor la forma de vivir las emociones de las personas japonesas.
June 18, 2008
Fantastic short fiction, plus gripping impressions and very funny meditations on living in England circa 1902/03. This is a must for Soseki fans!
March 29, 2010
Especially amusing- a 1902 essay on the author's experience learning (or attempting to learn) bicycle riding whilst living in London.
October 27, 2012
900 - 2012
October 23, 2016
It's good to know more of Sseki's deep thinking...
Displaying 1 - 8 of 8 reviews