This paper examines the creative process of Miyazawa Kenji’s classical-style poem, "Small Knitwear and Salted Fish" from the perspective of a "poetics of self-reflection" to clarify its thematic development. The poem was initially conceived from Miyazawa's experiences with irrigation projects and drought issues in 1928, but its theme transformed significantly as it was revised. A draft from around 1931 shows a critical perspective on farmers trapped in a commercial economy and their indulgence in alcohol. In a draft from around 1933, following his setback as an engineer at the Tohoku Crushed Stone Factory, he reflected more deeply on his earlier attempt to impose his own ideals on the farming villages. As a result of this introspection, the motif of 'Small knitwear' became central to the poem. Ultimately, Miyazawa pulled back from a critical perspective on the farmers, condensing his past activities, thoughts, and self-reflection into multi-layered symbolic phrases like "mo-gusa-hana-gashi" (a compound poetic image). This paper demonstrates that "Small Knitwear and Salted Fish," which attempts to integrate self-criticism with poetic sublimation, represents a pinnacle of Miyazawa Kenji’s later creative work.
