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to London University. For two unhappy years in London, he seems to have done nothing but read an almost incredible number of books on every conceivable subject and, at the same time, make himself an authority on eighteenth-century literature. His only social contacts with the British appear to have been a weekly private English lesson with W J. Craig—subsequently the editor of the Arden Shakespeare—and a single tea party given in Dulwich by the wife of a missionary whom he had met on the ship bringing him to England. It is, therefore, perhaps not surprising that Sōseki formed a poor opinion of English social life and that back in japan he was widely rumored to have gone mad.

      In 1903 he returned to Tokyo and, shortly thereafter, in fulfillment of the terms of his London scholarship, served four years as a lecturer in English literature at Tokyo Imperial University. During this period he began writing. He had formed various useful literary friendships while he was a student at the university, and, though his close friend Shiki had died in 1902, the editorial board of the influential literary magazine Hototogisu (Cuckoo), which Shiki had founded, still included many men who were Sōseki’s personal friends.

      Takahama Kyoshi—one of the editors of Hototogisu, but not a close friend of Sōseki—allegedly asked Soseki to write something for the magazine. Accordingly, during 1904, Sōseki produced his first short story, which he called I Am a Cat. Takahama read it, told Sōseki that it was no good, and, when Sōseki asked for an explanation, provided comment in considerable detail. Today it seems ludicrous that one of the three or four best novelists ever to write in japanese should have been glad to receive guidance from such a relatively insignificant figure as Takahama. However, we must remember that, at that time, Takahama was a well known, well-established, and very influential editor (a man with the sensitivity to divine Sōseki’s promise and the kindness to give him guidance), while Sōseki was a virtually unknown young man who had just produced his first, and really rather odd, short story. In any event, Sōseki appears to have accepted the advice (though he later stated that he could not remember what that advice had been) and rewrote the story. Takahama liked the second version and published it in the January 1905 issue of Hototogisu.

      Sōseki had not intended to write more than that single short story, which is now the first chapter of a very long book, but Takahama was so pleased with its immediate success that he persuaded Sōseki to write further installments. The subsequent ten chapters that make up I Am a Cat were thus successively published in Hototogisu’s issues for February, April, June, July, and October 1905 and for January, March, April, and August 1906. The seventh and eighth chapters appeared together in the issue for January 1906. This somewhat curious account of the origin and development of Sōseki’s famous novel rests primarily upon Takahama’s testimony in his later book Soseki and I, but there is no reason to doubt that it is substantially correct. The actual book of I Am a Cat was first published in three-volume form, the volumes appearing in October 1905, November 1906, and May 1907. The first single-volume edition was published in 1911.

      Takahama’s account of how this story came to be a novel explains the unevenness, even jerkiness, of the early parts of the book. Indeed, though the first chapter is adequately articulated into the total work, it is as clear from that chapter’s ending as from Sōseki’s own later remarks—“When the first chapter appeared in Hototogisu, it was my intention to stop there”—that he originally meant to write no more. There are, moreover, one or two minor points in that first chapter that an ungenerous critic might highlight as inconsistent with subsequent portions of the book. The second chapter, nearly the longest of them all, shows Sōseki still feeling his way towards the right chapter length. He did not really hit his stride until the third chapter, which finally established the tone, length, and character of the remaining eight.

      The circumstances of the book’s construction no doubt largely account for its rambling structure and discursive content; however, Sōseki must very quickly have realized that the technique used by Laurence Sterne for the construction of The Life and Opinions if Tristram Shandy would very neatly solve his own problems. Though Sōseki’s total book is held together by the continuing theme of a nameless eat’s observations on upper-middle-class Japanese society of the Meiji period, the essence of the book resides in the humor and the sardonic truth of those various observations, not in the development of the story. The eat’s eventual drunken death in a water-butt comes without any particular reason or structural build-up, and one is forced to the conclusion that Sōseki simply drowned his hero because he had run out of sufficiently humorous observations to offer on Meiji society. Consequently, it is possible to take almost any single chapter of the book as an isolated short story.

      It is also worth stressing the apparent oddity of choosing for the main character in one’s first published writing a stray kitten, and a stray kitten world-weary from the moment of its birth. However, much of the charm of I Am a Cat resides in its diverting presentation of a eat’s view of mankind. The satire is of man in general but the associated case for the superiority of cats, however entertainingly and persuasively put, is not inexhaustible; so that the unique cat-ness of the opening chapters simply could not be maintained in its original and beguiling purity throughout the further chapters demanded by a happily insulted public. Sōseki himself was clearly alive to these considerations, for as early as the opening paragraph of the third chapter the cat apologizes to readers for his growing resemblance to a human being and for his consequent new tendency to criticize humanity as though he, too, were human. Thus the satire beginning in Chapter 3 is less specifically feline. In yet later chapters the eat’s viewpoint becomes almost totally human, while the object of satire narrows from mankind in general (albeit as exemplified in Meiji, middle-class society) to a concentrated satirization of the particularities of that particular society. By· a combination of sheer literary skill and a seemingly endless inventiveness, Sōseki contrived to maintain the vitality of his book throughout eleven chapters and some quarter million words: but one understands why, eventually, he had no choice but to drown his hero. It would, however, be unreasonable to denigrate the first-rate satire of the later parts of I Am a Cat simply because they lack the full felinity, the quite exceptional beguilement, of the earlier parts of the book. Moreover, one has only to read Sōseki’s other comic novel Botchan (The Young Master), of 1906, with its entirely human style of human satire, to realize that, however much humanity seeps in to soften the later portions of I Am a Cat, even their most uncatlike passages contain that glint, that claw-flash under velvet, which stamp them ultimately aluroid. In addition, choosing a kitten for the main character has a two-fold meaning as Soseki was, in fact, himself a stray kitten. As soon as he was born, Sōseki’s parents had put him out to nurse. In his first year he was adopted by the Shiobara family. He only rejoined his own family when the Shiobaras were divorced some eight years later. And even then he only learned that his parents were his parents from the whisperings of servants. Sōseki lived his life as do all those who feel themselves born middle-aged.

      While at the university Sōseki wrote several other books, notably Botchan (a satire reflecting his teaching experience at Shikoku), but he disliked university life and, rightly, considered himself very poorly paid. He accordingly resigned as soon as he could (1907) and became the literary editor of the Asahi Shimbun. He continued in that journal’s employment, publishing several novels as serials in its pages, until his death in 1916 from complications arising from the stomach troubles that plagued the last ten years of his life.

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      Sōseki Natsume is generally recognized in Japan as the best writer of prose to have emerged during the century since contact was re-established with the outside world in 1868. Despite the lateness of his development as a novelist (he was only just short of forty when his first book was published), Sōseki rapidly achieved, and has since maintained, widespread recognition as the best of modern Japanese novelists. His literary reputation reflects not only the variety, quality, and modernity of his novels, but the high regard still paid to his works of scholarly criticism, to his enchanting essays, and, especially, to his poetry. His haiku, strongly influenced by his personal friend Masaoka Shiki, were once considered outstanding but, though they continue to be included in anthologies of modern haiku, their diminutive form was not the natural mode for the expression of his genius. His poems in English, poor imitations of the poorest style of Edwardian poetry, are appalling. But his many excellent poems in Chinese, some written even in the month before his death, are the last (or,

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