Ryunosuke Akutagawa
Akutagawa Ryūnosuke (芥川 龍之介) was one of the first prewar Japanese writers to achieve a wide foreign readership, partly because of his technical virtuosity, partly because his work seemed to represent imaginative fiction as opposed to the mundane accounts of the I-novelists of the time, partly because of his brilliant joining of traditional material to a modern sensibility, and partly because of film director Kurosawa Akira's masterful adaptation of two of his short stories for the screen.
Akutagawa was born in the Kyōbashi district Tokyo as the eldest son of a dairy operator named Shinbara Toshizō and his wife Fuku. He was named "Ryūnosuke" ("Dragon Offshoot") because he was born in the Year of the Dragon, in the Month of the Dragon, on the Day of the Dragon, and at the Hour of the Dragon (8 a.m.). Seven months after Akutagawa's birth, his mother went insane and he was adopted by her older brother, taking the Akutagawa family name. Despite the shadow this experience cast over Akutagawa's life, he benefited from the traditional literary atmosphere of his uncle's home, located in what had been the "downtown" section of Edo.
At school Akutagawa was an outstanding student, excelling in the Chinese classics. He entered the First High School in 1910, striking up relationships with such classmates as Kikuchi Kan, Kume Masao, Yamamoto Yūzō, and Tsuchiya Bunmei. Immersing himself in Western literature, he increasingly came to look for meaning in art rather than in life. In 1913, he entered Tokyo Imperial University, majoring in English literature. The next year, Akutagawa and his former high school friends revived the journal Shinshichō (New Currents of Thought), publishing translations of William Butler Yeats and Anatole France along with original works of their own. Akutagawa published the story Rashōmon in the magazine Teikoku bungaku (Imperial Literature) in 1915. The story, which went largely unnoticed, grew out of the egoism Akutagawa confronted after experiencing disappointment in love. The same year, Akutagawa started going to the meetings held every Thursday at the house of Natsume Sōseki, and thereafter considered himself Sōseki's disciple.
The lapsed Shinshichō was revived yet again in 1916, and Sōseki lavished praise on Akutagawa's story Hana (The Nose) when it appeared in the first issue of that magazine. After graduating from Tokyo University, Akutagawa earned a reputation as a highly skilled stylist whose stories reinterpreted classical works and historical incidents from a distinctly modern standpoint. His overriding themes became the ugliness of human egoism and the value of art, themes that received expression in a number of brilliant, tightly organized short stories conventionally categorized as Edo-mono (stories set in the Edo period), ōchō-mono (stories set in the Heian period), Kirishitan-mono (stories dealing with premodern Christians in Japan), and kaika-mono (stories of the early Meiji period). The Edo-mono include Gesaku zanmai (A Life Devoted to Gesaku, 1917) and Kareno-shō (Gleanings from a Withered Field, 1918); the ōchō-mono are perhaps best represented by Jigoku hen (Hell Screen, 1918); the Kirishitan-mono include Hokōnin no shi (The Death of a Christian, 1918), and kaika-mono include Butōkai(The Ball, 1920).
Akutagawa married Tsukamoto Fumiko in 1918 and the following year left his post as English instructor at the naval academy in Yokosuka, becoming an employee of the Mainichi Shinbun. This period was a productive one, as has already been noted, and the success of stories like Mikan (Mandarin Oranges, 1919) and Aki (Autumn, 1920) prompted him to turn his attention increasingly to modern materials. This, along with the introspection occasioned by growing health and nervous problems, resulted in a series of autobiographically-based stories known as Yasukichi-mono, after the name of the main character. Works such as Daidōji Shinsuke no hansei(The Early Life of
“He disliked his own lies as much as his parents', but still he continued to lie -- boldly and cunningly. He did this primarily out of need, but also for the pathological pleasure of killing a god.”
“El idiota cree que todos son idiotas menos él.”
“As you can imagine, those who had fallen this far had been so worn down by their tortures in the seven other hells that they no longer had the strength to cry out.”
“Great robber though he was, Kandata could only trash about like a dying frog as he choked on the blood of the pond.”
“Directly beneath the Lotus Pond of Paradise lay the lower depths of Hell, and as He peered through the crystalline waters, He could see the River of Three Crossings and the Mountain of Needles as clearly as if He were viewing pictures in a peep-box.”
“I could have sworn that the man's eyes were no longer watching his daughter dying in agony, that instead the gorgeous colors of flames and the sight of a woman suffering in them were giving him joy beyond measure.”
“The pale whiteness of her upturned face as she choked on the smoke; the tangled length of her hair as she tried to shake the flames from it; the beauty of her cherry-blossom robe as it burst into flame: it was all so cruel, so terrible!”
“Still more horrible was the color of the flames that licked the latticed cabin vents before shooting skyward, as though - might I say? - the sun itself had crashed to earth, spewing its heavenly fire in all directions.”
“Chained inside the carriage is a sinful woman. When we set the carriage afire, her flesh will be roasted, her bones will be charred: she will die an agonizing death. Never again will you have such a perfect model for the screen. Do not fail to watch as her snow-white flesh erupts in flames. See and remember her long black hair dancing in a whirl of sparks!”
“He was said to have survived starvation by eating human flesh, after which he had the strength to tear out the antlers of a living stag with his bare hands.”
“People used to say that on moonless nights Her Ladyship's broad-skirted scarlet trousers would glide eerily along the outdoor corridor, never touching the floor.”
“He felt so lost, he said later, that the familiar studio felt like a haunted valley deep in the mountains, with the smell of rotting leaves, the spray of a waterfall, the sour fumes of fruit stashed away by a monkey; even the dim glow of the master's oil lamp on its tripod looked to him like misty moonlight in the hills.”
“Isn't there someone kind enough to come strangle me in my sleep?”
“..he understood far more deeply than anyone else the loneliness that lurked beneath his jaunty mask.”
“17. ButterflyA butterfly fluttered its wings in a wind thick with the smell of seaweed. His dry lips felt the touch of the butterfly for the briefest instant, yet the wisp of wing dust still shone on his lips years later.”
“I don't have the strength to keep writing this. To go on living with this feeling is painful beyond description. Isn't there someone kind enough to strangle me in my sleep?”
“Não tenho consciência de qualquer espécie, nem mesmo artística. Sensibilidade é tudo que tenho.”
“...O-suzu left whatever work she was doing at her sewing machine and dragged Takeo back to O-yoshi and her son.How dare you behave so selfishly! Now tell O-yoshi-san that you are sorry. Get down on the mats and make a proper bow!”
“...we could see the parapet of Ryougoku Bridge, arching above the waves that flickered in the faint mid-autumn twilight and against the sky, as though an immense black Chinese ink stroke had been brushed across it. The silhouettes of the traffic, horses and carriages soon faded into the vaporous mist, and now all that could be seen were the dots of reddish light from the passengers' lanterns, rapidly passing to and fro in the darkness like small winter cherries.”
“I could wish for nothing more than to die for a childish dream in which I truly believed.”
“I have heard unsavory rumors about you and the umbrella-maker's daughter”
“A man sometimes devotes his life to a desire which he is not sure will ever be fulfilled. Those who laugh at this folly are, after all, no more than mere spectators of life.”