That erotic triangles form the basic geometry of Sôseki's later novels is well documented and the subject of repeated critical inquiry. Frequently neglected in this much-used device is the male-male side of the love triangle and the possibility of homosocial desire. Employing Eve Sedgwick's analytical framework of gender asymmetry and erotic triangles, this paper will investigate the bond between male rivals in Sôseki's novels and explore the author's validation/delegitimization of those bonds within a Meiji/Taishô cultural and literary milieu that afforded little or no space for expressing such relationships. If relations between men specify the term patriarchy, are Sôseki's fictional triangles then structures for enabling men to dominate women? Is there evidence of patriarchal heterosexuality's "traffic in women" merely to cement the bonds of men with men? Is Or is Sôseki proposing an alternative to the "charmed circle" of normative heterosexuality? How do Sôseki's triangles differ from the conceptualizations of Sedgwick and Girard in their examples from Western literature? Some of Sôseki's literary representations of desire seem to conform to their models (Sorekara, Mon, Kôjin, Kokoro), whereas others challenge them (Gubijinsô, Nowaki, Meian). These are some of the questions posed by Sôseki's treatment of erotic triangles that will be addressed in an attempt to map the changing landscape of literary representations of male-male sexuality in Meiji-Taishô Japan.