This essay was published in the journal Shin Kōron in February, 1906. As the title suggests, in it Aizan writes about the books that influenced him when he was growing up.
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As a youth, I read Risshi-hen (Nakamura Masano’s translation of Samual Smiles’ book Self-Help) and realized that even someone like me had a place in this world where I could make my mark. I turned my aspirations toward historical writing after encountering the works of Rai San’yō and Arai Hakuseki. Upon gaining the ability to read English, I avidly studied the collected works of Macaulay and histories of England. I was inspired by Carlyle to join the battle of life, and by Emerson to find a foundation for spiritual peace and purpose. Although I am a Christian and once, over a decade ago, considered becoming a minister, even then, so-called theological texts held no interest for me. I believed that cultivating religious experience was better achieved by reading the sacred scriptures of the world such as the Bible, the Buddhist Canon, and Taoist texts than by studying books on theology.
One day, the late Hara Hōitsuo visited me and urged me to read Hugo’s Les Misérables. I promptly purchased a copy, and once I began reading, I became so engrossed that I lost all track of time, even neglecting my meals. I also developed a profound interest in the writings of Ogyū Sorai; indeed, I felt that had I lived in his era, I would surely have become one of his keenest disciples. I believe that compared to my former self, I have certainly reached a new level of understanding since reading the Sorai-shū (Collected Works of Sorai). Recently, upon examining the writings of Ito Jinsai and his son, I realized that Jinsai stands a cut above even Sorai, a discovery that leaves me utterly overwhelmed with admiration. The Shiki (Records of the Grand Historian) has also been of immense benefit to me. Conversely, despite its renown, Kumazawa Banzan’s Daigaku Wakumon (Questions on the Great Learning) failed to stir much interest or inspiration in me. I love the Shiki more than Zuo Zhuan (The Commentary of Zuo), and I find the writings of Huainanzi, with their accessibility, more appealing than the often-obscure texts of Laozi and Zhuangzi.
Regarding classical Chinese poetry, I prefer Li Bai to Du Fu, and in the era following Li Bai and Du Fu, I favour Han Yu and Su Shi; however, when it comes to the poetry of the Ming and Qing dynasties, I have resigned myself to the fact that it lies beyond the grasp of a layman like me, something I cannot hope to understand.
As for Japanese fiction, there is little worth reading beyond the works of Murasaki Shikibu, Ihara Saikaku, and Kyokutei Bakin; in China, I find only Jin Ping Mei to be a work of truly monumental significance. Among the celebrated writers of the modern era, I admire the four figures of Kōda Rohan, Ozaki Kōyō, Yamada Bimyō, and Tokutomi Roka, followed closely by Nakae Chōmin and Futabatei Shimei. I recall reading the inaugural issue of Kokumin no Tomo atop Mt. Asuwa in Fukui; yet, in the time it took to ascend and descend the mountain, I
failed to truly perceive the beauty of the surrounding landscape, so utterly captivated was I by the text.
A novelist ought to study the works of Kōyō extensively. However, I do not consider Konjiki Yasha (The Golden Demon) to be a masterpiece. Yet, his recent work possesses a profound charm; one cannot help but marvel at the unflagging creative energy they display. I hold them in the highest regard. Indeed, the proprietor of the lending library I frequent knows of my fondness for them and regards me as an enthusiast. Whenever a new piece of his is published, I invariably wish to read it. As for Kōda Rohan, I have never once seen anyone who could truly be his equal.
The scenery of Suruga is truly to be cherished; Mount Fuji, rising majestically before one’s eyes, is a sight of unparalleled splendour. I do not know if this meets the intent of your inquiry, but I have taken the liberty of sharing my impressions at length. Yours truly, etc.
