Junichiro Tanizaki

“The ancients waited for cherry blossoms, grieved when they were gone, and lamented their passing in countless poems. How very ordinary the poems had seemed to Sachiko when she read them as a girl, but now she knew, as well as one could know, that grieving over fallen cherry blossoms was more than a fad or convention.”

“When she treads on my grave and feels as if she’s trampling on that doting old man’s bones, my spirit will still be alive, feeling the whole weight of her body, feeling pain, feeling the fine-grained velvety smoothness of the soles of her feet. Even after I’m dead I’ll be aware of that. I can’t believe I won’t. In the same way, Satsuko will be aware of the presence of my spirit, joyfully enduring her weight. Perhaps she may even hear my charred bones rattling together, chuckling, moaning, creaking. And that would by no means occur only when she was actually stepping on my grave. At the very thought of those Buddha’s Footprints modeled after her own feet she would hear my bones wailing under the stone. Between sobs I would scream: “It hurts! It hurts! … Even though it hurts, I’m happy—I’ve never been more happy, I’m much, much happier than when I was alive! … Trample harder! Harder!”

“When I saw the illustration a new idea came to me. Might it not be possible to have Satsuko’s face and figure carved on my tombstone in the manner of such a Bodhisattva, to use her as the secret model for a Kannon or Seishi? After all, I have no religious beliefs, any sort of faith will do for me; my only conceivable divinity is Satsuko. Nothing could be better than to lie buried under her image.”

“After looking at myself in the mirror, I looked at Satsuko. I could not believe that we were creatures of the same species. The uglier the face in the mirror, the more extraordinarily beautiful Satsuko seemed. If that ugly face were only uglier, I thought regretfully, Satsuko would look even more beautiful.”

“I wouldn’t mind being injured if that would bring Satsuko pleasure, and a mortal injury would be all the better. Yet to think of being trampled to death, not by her but by her dog…”

“When I was at the University I knew a law student named Yamada Uruu. Later he worked for the Osaka Municipal Office; he’s been dead for years. This man’s father was an old-time lawyer, or “advocate,” who in early Meiji defended the notorious murderess Takahashi Oden. It seems he often talked to his son about Oden’s beauty. Apparently he would corner him and go on and on about her, as if deeply moved. “You might call her alluring, or bewitching,” he would say. “I’ve never known such a fascinating woman, she’s a real vampire. When I saw her I thought I wouldn’t mind dying at the hands of a woman like that!”Since I have no particular reason to keep on living, sometimes I think I would be happier if a woman like Oden turned up to kill me. Rather than endure the pain of these half-dead arms and legs of mine, maybe I could get it over and at the same time see how it feels to be brutally murdered.”

“It’s odd, but even when I am in pain I have a sexual urge. Perhaps especially when I am in pain I have a sexual urge. Or should I say that I am more attracted, more fascinated by women who cause me pain?”

“Perhaps I am already tired of life—I feel as if it makes no difference when I die. The other day at the Toranomon Hospital when they told me it might be cancer, my wife and Miss Sasaki seemed to turn pale, but I was quite calm. It was surprising that I could be calm even at such a moment. I almost felt relieved, to think that my long, long life was finally coming to an end.”

“The older we get the more we seem to think that everything was better in the past.”

“There are those who say that when civilization progresses a bit further transportation facilities will move into the skies and under the ground, and that our streets will again be quiet, but I know perfectly well that when that day comes some new device for torturing the old will be invented.”

“There are those who hold that to quibble over matters of taste in the basic necessities of life is an extravagance”

“When I lived on the Bluff in Yokohama I spend a good deal of my leisure in the company of foreign residents, at their banquets and balls. At close range I was not particularly struck by their whiteness, but from a distance I could distinguish them quite clearly from the Japanese. Among the Japanese were ladies who were dressed in gowns no less splendid than the foreigners’, and whose skin was whiter than theirs. Yet from across the room these ladies, even one alone, would stand out unmistakably from amongst a group of foreigners. For the Japanese complexion, no matter how white, is tinged by a slight cloudiness. These women were in no way reticent about powdering themselves. Every bit of exposed flesh—even their backs and arms—they covered with a thick coat of white. Still they could not efface the darkness that lay below their skin. It was as plainly visible as dirt at the bottom of a pool of pure water. Between the fingers, around the nostrils, on the nape of the neck, along the spine—about these places especially, dark, almost dirty, shadows gathered. But the skin of the Westerners, even those of a darker complexion, had a limpid glow. Nowhere were they tainted by this gray shadow. From the tops of their heads to the tips of their fingers the whiteness was pure and unadulterated. Thus it is that when one of us goes among a group of Westerners it is like a grimy stain on a sheet of white paper. The sight offends even our own eyes and leaves none too pleasant a feeling.”

“Whenever I see the alcove of a tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light. For the beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls, so that the light drawn into its forms dim shadows within emptiness. There is nothing more. And yet, when we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway.”

“Meiner Meinung nach ist es die Art von uns Ostasiaten, die Umstände, in die wir einbezogen sind, zu akzeptieren und uns mit den jeweiligen Verhältnissen zufriedenzugeben. Deshalb stört uns das Dunkel nicht, wir nehmen es als etwas Unabänderliches hin; wenn es an Licht fehlt, sei's drum – dann vertiefen wir uns eben in die Dunkelheit und entdecken darin eine ihr eigene Schönheit. Demgegenüber sind die aktiven Menschen des Westens ständig auf der Suche nach besseren Verhältnissen. Von der Kerze zur Lampe, von der Lampe zum Gaslicht, vom Gaslicht zum elektrischen Licht fortschreitend, streben sie unablässig nach Helligkeit und mühen sich ab, selbst den geringfügigsten Schatten zu verscheuchen.”

“Und wer unbedingt diese Unansehnlichkeit betrachten will, der wird zugleich jegliche vorhandene Schönheit zunichte machen, gerade wie wenn er ein Licht von hundert Kerzenstärken auf die Wandnische eines Teeraums richtete.”

“Wir sind der Meinung, Schönheit sei nicht in den Objekten selber zu suchen, sondern im Helldunkel, im Schattenspiel, das sich zwischen Objekten entfaltet.”

“Das, was man als schön bezeichnet, entsteht in der Regel aus der Praxis des täglichen Lebens heraus. So entdeckten unsere Vorfahren, die wohl oder übel in dunklen Räumen wohnen mussten, irgendwann die dem Scvhatten innewohnende Schönheit, und sie verstanden es schließlich sogar, den Schatten einem ästhetischen Zweck dienstbar zu machen. Tatsächlich gründet die Schönheit eines japanischen Raumes rein in der Abstufung der Schatten. Sonst ist überhaupt nichts vorhanden.”

“Während die Abendländer den Schmutz radikal aufzudecken und zu entfernen trachten, konservieren ihn die Ostasiaten sorgfältig und ästhetisieren ihn, so wie er ist - könnte man, wenn man wollte, beschönigend sagen; aber wie auch immer, es ist unser Schicksal, dass wir nun einmal Dinge mit Spuren von Menschenhänden, Lampenruß, Wind und Regen lieben oder auch daran erinnernde Farbtönungen und Lichtwirkungen.”

“With lacquerware there is an extra beauty in that moment between removing the lid and lifting the bowl to the mouth, when one gazes at the still, silent liquid in the dark depths of the bowl, its colour hardly differing from that of the bowl itself. What lies within the darkness one cannot distinguish, but the palm senses the gentle movements of the liquid, vapour rises from within, forming droplets on the rim, and the fragrance carried upon the vapour brings a delicate anticipation ... a moment of mystery, it might almost be called, a moment of trance.”