On the Connotation of "Idea" and Its Metaphor in "Killing Commendatore"

Abstract

Haruki Murakami's "Killing Commendatore" intricately divides its narrative into two pivotal chapters: "The Idea Made Visible" and "The Shifting Metaphor," both of which play a critical role in the thematic and philosophical depth of the novel. The concept of "idea" draws inspiration from Plato's Theory of Forms, particularly illustrated through the "three beds theory," where ideas represent the purest, most abstract forms of understanding and existence, transcending the physical realm. Murakami uses this philosophical backbone to explore the tangible manifestations of ideas within the novel's world, suggesting that what we perceive in reality is merely a reflection of these higher truths. On the other hand, "metaphor," as utilized throughout the novel, serves as a bridge between the abstract world of ideas and the tangible experiences of the characters. Metaphors permeate the narrative, weaving through various "idea" worlds, and acting as vessels that carry deeper meanings beyond their literal sense. This literary device enables Murakami to delve into complex themes of isolation, art, and the human condition, allowing readers to navigate through layers of meaning. The interplay between "ideas" and "metaphors" is not merely juxtapositional but is deeply interconnected. Through this dynamic interaction, Murakami crafts a universe where ideas and metaphors coalesce, creating an undercurrent of thought and reflection that invites readers into a multidimensional exploration of reality and imagination. This synthesis of philosophical inquiry and literary craftsmanship marks "Killing Commendatore" as a profound meditation on the nature of creativity and perception.