Professional Documents
Culture Documents
by
ih
We a c c e p t this t h e s i s 'as c o n f o r m i n g
S e p t e m b e r 1982
A c a r e f u l study o f t h e l i t e r a r y c a r e e r o f Kawabata Y a s u n a r i
y i e l d s an i n t e r e s t i n g s u p p o s i t i o n on t h e c r e a t i v e rhythm o f t h e
author. In a c y c l i c a l f a s h i o n of f a s c i n a t i n g r e g u l a r i t y ,
approximate f i v e - y e a r p e r i o d s b e g i n n i n g e i t h e r w i t h t h e f i r s t
l i t t l e was w r i t t e n o r p u b l i s h e d ; t h i s i s h a r d l y s u r p r i s i n g
and s i x t i e s . E l i m i n a t i n g t h e war y e a r s , we a r e l e f t w i t h f o u r
f o u r seasons o f t h e n a t u r a l c y c l e . They c o i n c i d e w i t h t h e f o u r
61) .
of Kawabata s w r i t i n g s .
1
The e a r l y works l e a d i n g up t o Kawabata's
f i r s t masterpiece, " I z u no o d o r i k o , " have h i t h e r t o been l a r g e l y
images i n K a w a b a t a s e a r l y w o r k s .
1
To g i v e b r o a d e r m e a n i n g t o t h e
A number o f g e n e r a l c o n c l u s i o n s a r e r e a c h e d on t h e s e early
Page
Abstract i
Introduction ". . iv
Conclusion 122
Notes 125
Bibliography. . . 134
-iii-
INTRODUCTION
the " I " and himself by not only stating t h a t h i s e a r l y works were
T h a t s u c h a t h i n g came t o p a s s i s u n d e r s t a n d a b l e . There i s no
-v-
of style i n the "nikki." I t h i n k i t i s s a f e t o say t h a t the style
n a t i v e Japanese b e l i e f s and W e s t e r n a p o c a l y p t i c s y m b o l i s m as
c.1693).
-vi-
the following year o f t h e same i l l n e s s . This resulted i n hiSl
grandfather's life.
-vii-
A DIARY: "JUROKUSAI NO NIKKI"
\
CHAPTER I
Kawabata s e a r l i e s t
1
surviving piece of l i t e r a r y composition
autobiographical information.
conventional d i a r y , he seems t o be p l a c i n g a v a l u e j u d g e m e n t on
my c i r c u m s t a n c e s a t home t h e s e days?"^"
of a t t e n t i o n .
3
of the author s 1
words:
But f o r c o r r e c t i o n s i n i t s w o r d i n g , t h e work r e m a i n s
as i t was w r i t t e n i n t h e o r i g i n a l when I was fourteen.
I t wouldn't have been p o s s i b l e t o r e w r i t e i t even i f
I'd wanted t o o . . . . I t ' s my o n l y s i n c e r e a u t o b i o g r a p h y ;
i t ' s a v a l u a b l e document f o r me. A l s o , i t ' s one o f my
best compositions. My l i t e r a r y a b i l i t y was n o t i n t h e
least precocious. T h i s s i m p l e s k e t c h taken from near at
h a n d o c c u p i e s a s e c u r e p o s i t i o n i n my w o r k s . ^
(The W o r l d o f Kawabata Y a s u n a r i ) in
f u l l y p r e s e n t e d us w i t h a c o m p o s i t i o n t h a t r e a d s as i f i t were t h e
d i a r y o f a s i x t e e n - y e a r - o l d , and t h e w r i t e r has s u c c e e d e d m a g n i f -
3
icently in p u l l i n g that off."
father i n the diary, but in reality her name was Tanaka Mito.
O k i k u b o t h f i t i n n i c e l y w i t h Kawabata's a e s t h e t i c sensibility.
one's p a r t i c u l a r v i s i o n o f beauty.
reincarnation.
4
F o r example, i n Kawabata's " J o j o k a " v j
& 'r* ^
i f f l ^ -
of t h e g h o s t Hanako i s s i g n a l l e d b y t h e s i m u l t a n e o u s appearance
of t h e m i r a c u l o u s g r o w t h o f a chrysanthemum f r o m a t e a b o w l .
new k i k u i t a d a k i he p u r c h a s e s a r e i n t e r c h a n g e a b l e and i n d i s t i n g -
to life."
accusations:
rework t h e original.
d e v o t e d t o an e x a m i n a t i o n o f t h e c o r r e l a t i o n between t h e l y r i c and
the "nikki."
an a t t e m p t at explanation.
in 1948. More t h a n a n y t h i n g e l s e he w a n t e d a f i n e p i e c e o f
a p p r e c i a t i o n o f j u v e n i l e and amateur l i t e r a t u r e . I f he t r e a s u r e d
same reason.
s e q u e n t t o Hasegawa's c o n t r i b u t i o n h a v e c e n t e r e d on what i s t o be
revelations contribute t o an u n d e r s t a n d i n g o f h i s p e r s o n a l i t y a s
an i n d i v i d u a l and as a w r i t e r .
(p.34)
him about the piece. "I'm sure that i t was my desire t o put down
& 7 % Q
%. (Collection o f A n c i e n t and Modern P o e t r y , 905)
stream.
14
way.
13
Shiga achieves with the " I " o f h i s works. Roy compares t h i s sense
15
of the " I " with the " I " o f a Basho h a i k u o r t h e " I " of a Western
Hasegawa I z u m i s a y s t h a t i n t h e e a r l y y e a r s of Taisho
I t I s p r o b a b l y an e x a g g e r a t i o n t o s a y t h a t t h e
c o n s c i o u s p u r s u i t o f a s t y l e b e f o r e s t y l e , an
a p p l i c a t i o n o f such b e i n g perhaps termed a n t i -
s t y l e , was Kawabata's aim; but undoubtedly
t h e c e n t r a l c o n c e r n o f Kawabata was t h e c a p t u r -
i n g o f an o b j e c t on p a p e r a t t h e i n s t a n t when
t h e o b j e c t and t h e s e l f become one, a moment
d e v o i d o f s u b j e c t i v e i n t e r p r e t a t i o n and c r i t i c i s m
w h i c h s h o u l d be c a l l e d t h e " e t e r n a l p r e s e n t . " ! 7
naoki ("direct"):
"Direct" r e f e r r e d t o a frankness of f e e l i n g
w h i c h was d e v o i d o f o s t e n t a t i o n - t h e s t r a i g h t as
o p p o s e d t o t h e s t o o p e d , t h e r e g u l a r as o p p o s e d t o t h e
b e n t , t h e e r e c t as o p p o s e d t o t h e t w i s t e d , and t h e
e a s y as o p p o s e d t o t h e l a b o r e d . On t h a t f o u n d a t i o n
he r e c o g n i z e d a m a n l i n e s s t h a t d i d n o t p e r m i t e f f e m i n a c y .
H e r e we s e e an u n d e r s t a n d i n g o f t h e l i t e r a r y v a l u e o f
simplicity, i n contrast to sentimentality.18
of Kawabata's "nikki."
Manyoshu style.
S a e k i ' s r e f e r e n c e t o how t h e p r e s e n t t e n s e o f t h e d i a r y
author i n h i s l a t e r w r i t i n g s n a t u r a l l y s u g g e s t s more u n i v e r s a l
I t h i n k b y t u r n i n g f o r a moment t o a s t u d y done on t h e W e s t e r n
f a t h e r i n t h e manner o f an e x t e n d e d lyric.
Yukiquni Nakamura
t contends t h a t Komako a c t s t h e p a r t o f t h e shite
prose.
20
By r e t u r n i n g t o Ralph Freedman s 1
a n a l y s i s of the lyrical
b a s e d on a c t u a l p e o p l e s u g g e s t s an author-protagonist - "object"
Shimamura i s , o f c o u r s e , n o t m y s e l f . He i s n o t h i n g
b u t a f o i l t o t h e g e i s h a , Komako. T h i s i s a t once
t h e f a i l u r e as w e l l as t h e s u c c e s s o f t h e n o v e l . I
e n t e r e d d e e p l y i n t o t h e c h a r a c t e r o f Komako and o n l y
v e r y s h a l l o w l y i n t o Shimamura. In t h a t sense i t i s
t r u e r t o s a y t h a t i n many ways I am Komako r a t h e r t h a n
Shimamura. I c o n s c i o u s l y t r i e d t o k e e p Shimamura a t
a d i s t a n c e f r o m me as I w r o t e . A l s o , t h e e v e n t s and
f e e l i n g s e x p r e s s e d a r e t h e p r o d u c t s o f my imagination
r a t h e r t h a n o f any l i v e d e x p e r i e n c e s . The f e e l i n g s
o f Komako i n p a r t i c u l a r a r e t h e embodiment o f my own
sadness.25
21
s e n s i t i v i t y w h i c h Kawabata d e m o n s t r a t e s s o m a s t e r f u l l y i n h i s
.&a^ _ 9i sjt_i•
,,
0 > J Cha wa y o i . T a n p a k u de y o i . A m a r i
o i s h i s u g i r u mono wa i k a n . A j i ^ ^ i s h i . - T a b a k o wa?" (p. 14)
" I i h i t o ne."
" S o r e wa s o , i i h i t o r a s h i i . " .
"Honto n i i i h i t o ne, I i h i t o wa __L he," (p. 220)
"He's n i c e , i s n ' t h e . "
" T h a t ' s t r u e , he does seem n i c e . "
"He r e a l l y i s n i c e , i s n ' t h e . I t ' s n i c e t o know
n i c e people, i s n ' t i t . "
sound i n b o t h o f t h e p a s s a g e s .
reading G e n j i m o n o g a t a r i a n d Makura no s S s h i e v e n t h o u g h he c o u l d -
a n d Makura no s o s h i c o u l d be t r a c e d b a c k t o n o r i t o .
water.
stream.
genetically earned.
Perceptionist method
1. terseness
2. noun-ending lines
4. a d e t a c h e d manner
it s h o u l d a l s o be m e n t i o n e d t h a t we c a n make a t h e m a t i c connection
husband.
is of considerable importance.
y o u n g Kawabata h a s t u r n e d t h e s o u n d o f u r i n e i n t o t h e s o u n d o f t h e
28
so u n l i k e l y a situation.
habit o f b e i n g i n c o n t a c t w i t h "mud" o r o f p a s s i n g t h r o u g h i t a s
right t o be c a l l e d a religion at a l l .
29
o n e n e s s i n Mahayana B u d d h i s m i s s u p p o r t e d b y a p a n t h e i s t i c world
v i e w : t h e One i s i n a l l t h i n g s , a n d c o n v e r s e l y a l l t h i n g s a r e t h e
the lotus:
B u d d h i s t s s a y t h a t DharmaJcaya i s i n a l l t h i n g s ,
i n t h e same way a s t h e one a n d u n d i v i d e d moon
i s r e f l e c t e d i n w a t e r , i n t h e o c e a n a s w e l l as
i n m i l l i o n s o f dewdrops, o r e v e n i n d i r t y
puddles. I n e a c h r e f l e c t i o n t h e moon i s w h o l e
and u n d i v i d e d . 3 2
The o n e n e s s o f t h e s o u n d o f w a t e r f o r "Bonbon" c a n c l e a r l y
f i n d - i t s c o n c e p t u a l r o o t s i n b o t h S h i n t o a n d Buddhism. The
will be an i m p o r t a n t f e a t u r e o f l a t e r Kawabata w o r k s .
to her.
as f a r b a c k as t h e K o j i k i ^ ^ f£ (Record o f A n c i e n t M a t t e r s , 712),
heart!). 3 3
r e c i t a t i o n of "Namu amida butsu," the " I " says, "to me, the l i g h t
of the lamp turned dark." (p.25) The undated entry of the diary
appropriate to learn that the old man passed away i n the night.
One o f t h e c l u e s t o t h e m e a n i n g o f f o r g e t f u l n e s s he does
d i a r y was b e i n g w r i t t e n h a s g r a d u a l l y b e e n d i s a p p e a r i n g f r o m t h e
literature.
• DEATH AND THE VIRGIN: "CHIYO" TO "KAGARIBI"
CHAPTER I I
overtones.
s l e e p i n g b o d i e s o f young v i r g i n s . The b a c h e l o r i n t h e s u r r e a l i s t i c
h e r arms f o r a n i g h t .
b e a u t y h a p p e n t o be v i r g i n s as w e l l . I n Yama no o t o f o r example,
p r o v i d e me w i t h a s e n s e of salvation." 1
Of t h e t h r e e D a g h e s t a n T a r t a r s , a l l b r o t h e r s , t h e
e l d e r two were w e l l - d e v e l o p e d men, w h i l e t h e y o u n g e s t ,
A l i , was n o t more t h a n t w e n t y - t w o a n d l o o k e d s t i l l
younger. He s l e p t b y my s i d e , and when I o b s e r v e d
his frank, i n t e l l i g e n t countenance, t h o r o u g h l y n a t u r a l ,
I was a t o n c e a t t r a c t e d t o h i m and t h a n k e d my f a t e
t h a t I h a d h i m f o r a n e i g h b o u r a n d n o t some o t h e r
prisoner. H i s whole s o u l c o u l d be r e a d i n h i s beaming
countenance. H i s c o n f i d e n t s m i l e had a c e r t a i n c h i l d -
ish simplicity. H i s l a r g e b l a c k eyes e x p r e s s e d such
f r i e n d l i n e s s , such t e n d e r f e e l i n g , t h a t I always took
p l e a s u r e i n l o o k i n g a t h i m : i t was a r e l i e f t o me i n
moments o f s a d n e s s a n d anguish....How t h i s y o u n g man
p r e s e r v e d h i s tender heart, h i s n a t i v e honesty, h i s
f r a n k c o r d i a l i t y w i t h o u t becoming p e r v e r t e d and c o r r u p t -
ed d u r i n g h i s p e r i o d o f h a r d l a b o u r i s q u i t e i n e x p l i c a b l e
. . . . C h a s t e a s a y o u n g g i r l , e v e r y t h i n g t h a t was f o u l ,
c y n i c a l , shameful, o r u n j u s t f i l l e d h i s f i n e b l a c k eyes
w i t h i n d i g n a t i o n , a n d made them f i n e r t h a n e v e r . 2
s h o u l d be d e s c r i b e d as t h e e m a n a t i o n o f a s p i r i t u a l light, my
body t u r n e d cold."^
of artistic sensibility.
The ultimate experience o f misogi i s t o bathe completely
36
or angelic world midway between the human and the divine.""' Fiery
p u r i f y i n g power.
According to him, musu means "to beget" and b i refers to the sun.
K i y o n o > | f j ( f i e l d of p u r i t y " ) .
M
The manuscript was eventually turned into two s t o r i e s : the one I've
magazine. It has a rather curious plot. The " I " of the story
that the hero feels a sense of fear and unnaturalness about the
unfolding events. When the young man receives from the deceased
his classmate as well. The conclusion " I " comes to is"that he has
ation.
Another possible source of i n s p i r a t i o n for the element of the
supernatural i n "Chiyo" can be uncovered i n the wealth of Japanese
c l a s s i c a l l i t e r a t u r e which deals with the subject. Kawabata must
c e r t a i n l y have appreciated the presence of ghosts i n Genji monogatari
yff. (The Tale of Genji,C. 1008), p a r t i c u l a r l y the vengeful s p i r i t
Kawabata produced which dealt with these two ideas was "Jojoka"
of the supernatural.
Minus the scholarship found i n "Joj5ka," "Chiyo," e s p e c i a l l y
tion. When the hero of the story returns from his Izu t r i p , he
notices that the cherry blossoms have f a l l e n and senses the smell
short story from the prosaic to the poetic. The lines are shorten-
With the smell of the new leaves, the hero suddenly finds
he begins to believe that he's not the only one who has been
40
Y e s t e r d a y my f r i e n d and I t h o u g h t o f how we h a d
n e r v o u s l y gone t o t a k e a l o o k a t t h e p l a c e C h i y o _ h a d
appeared. When s h e came c l o s e , f r o m a r o u n d t h e o t h e r
s i d e o f t h a t b e a u t i f u l f a c e we c o u l d o n l y s e e a g h o s t l y
apparition. From b e h i n d h e r , a p a l e h a n d came f o r t h
and b e c k o n e d u s . We c o u l d n ' t t h i n k o f h e r as b e i n g a
person of t h i s world.^
come t o an u n d e r s t a n d i n g o f t h e n a t u r e o f t h e v e n g e a n c e . Failure
to a c h i e v e an u n d e r s t a n d i n g i n o r d e r t o a p p e a s e t h e g h o s t means
n o r m a l l y b o r d e r s on t h e w o r l d o f t h e s u p e r n a t u r a l .
Chiyo would eventually vanish from Kawabata's world and turn into
smell i s one facet Kawabata works with: "I suddenly caught the scent
the trademarks of the writer. For example, a few lines after the
to hear the sound of soya beans being parched on the other side of
the concourse. Her actually being able to hear this sound seems
"subjective" r e a l i t y .
The subject matter for the short story was mostly obtained
"Shokonsai."
q u o t e d a b o v e f r o m w h i c h he t o o k t h e q u o t a t i o n , he w o u l d h a v e
g i v e n t h e r e a d e r a more a c c u r a t e p i c t u r e o f w h a t K a w a b a t a was
i n o t h e r words i n l o c a t i o n s s u c h as the A y a k u s a p l a y h o u s e s , t h a t
into the story two other horseback r i d e r s : the star of the show,
Omitsu.
from humans than fauna i s and, for Kawabata, the less human the
45
symbol of purity.
The reading for Otome includes the meanings of "stop" and
experiences.
Otome.
46
long dialogue between Otome and Omitsu near the end of the t h i r d
role time plays i n the story. Having not seen each other f o r some
time, Otome repeats i n amazement the fact that Omitsu has grown up.
In a worried tone of voice, Otome three times asks Omitsu how old
of the troupe. Otome t e l l s her i t ' s time Omitsu quit the circus.
piece Yuki guni. The symbolic name he gives the main character i s
ultimately takes i t s t o l l .
47
The scene ends with Omitsu being awakened from her faraway
Two men bring out a long red cloth and stretch i t tight across
horses over the red cloth. It becomes apparent that the distance
wire and begins to skip through i t from the back of her circling
both Omitsu and the reader. Omitsu falls from a standing position
up into the sky, the sense o f movement has been upwards. Omitsu's
dream direction has likewise been up: "she had mounted a flying
horse and soared to dreams i n the sky." In the final scene how-
ever, with the tempo of the work increasing, the upward motion of
heaven has been transposed to the circus ring, and the action inside
whose time has been frozen just a t t h e peak of her virginal charms.
female characters.
work i t s t i t l e .
loss of his father and mother, and l a t e r his grandmother and sister
died when I was two and my mother died the following year, I don't
piece Kawabata wrote soon after his acceptance of the Nobel prize
The catchword the author comes up with for the effect of the early
to accept h i s fate:
As with the sudden, complete disappearance of t h i r t y
or forty pictures of my father, i t ' s best not to distress
myself over my dead r e l a t i v e s . It's best to avoid s e l f -
examination of the orphan complex within me. (p.64)
Unfortunately i n "Abura" the author never does stray very
far from a cerebral investigation into how and why he has emotion-
photographs being h i s own father. For the " I " of "Abura" sensuous
o f the e f f e c t o f s e n s o r y e x p e r i e n c e s on h i m a s an i n f a n t makes h i m
He n o t o n l y s u c c e e d e d i n having the l i g h t e x t i n g u i s h e d b u t he a l s o
t y p e s o f f o o d p r o d u c t s he d i s l i k e s , rape s e e d o i l seems t o h a v e a
f r o m my h a v i n g b e e n s a t u r a t e d (shimikonde ita 3f ^ A ^ c V £ ) w i t h
U n d e r s t a n d i n g o f t h e u s e o f o i l as an e m b l e m a t i c object
53
dimension with the thought that the o i l has permeated the body
through the years which have prevented him from attaining happiness.
eat the food without any trouble. The " I " once more r e f l e c t s on
To achieve happiness, the " I " of "Abura" has had to wash himself
Shinto terminology, the young man hopes that a pure heart (joshin
ing one hundred tapers of o i l . " (p.65) Kawabata's " I " has achieved
Theatre."
The maiden Tekona of Mama i n Katsushika and the maiden Unai were
both courted by more than one man. Lamenting the r i v a l r y over their
1969.
A month following the appearance of h i s t r a n s l a t i o n of "After
the Theatre," Kawabata exhibited h i s own f i c t i o n a l interest i n g i r l s
in t h e i r mid-teens with a short story c a l l e d "Issetsu" — j5>p ("A
Passage") published i n the March, 1922, issue of Shinshicho. In
the story, the fifteen-year-old g i r l Fusayo i s the focus of atten-
tion of two young men friends, Muroki and Ihara. She i s representa-
t i v e of the type of g i r l who continually turns up i n Kawabata's
early l i t e r a t u r e . For example, Ihara speaks of Fusayo i n words
which might have applied to Omitsu i n "Shokonsai" and which might
have been spoken by the student i n Kawabata's l a t e r "Izu no odoriko"
in reaction to the dancer: "The question which couldn't be c l e a r l y
answered was how much of the adult and how much of the c h i l d were
12
to be found i n two sides of the g i r l , her heart and her body."
was caused by the loss of her mother. The author again shows a
was the poem about Tekona o f Mama who drowned h e r s e l f at the mouth
of water m i r r o r s t h i s e a r l i e r m o t i f .
of e f f e c t h e r e d i t y p l a y s i n a mother-daughter r e l a t i o n s h i p . Similar
a$ w en f ). 1 5
in the same f o r m .
has with a female c o u s i n who also teases him about his role as
way the " I " of the story's close relationship with death.
line of "Abura." "I don't remember a thing about the funerals for
embarrassed." (p.72)
with the once living; these images are at least as "real" to him
as the once living themselves are. For the "I" of "Soshiki," the
become blurred.
more famous later works. For example, at the end o f the first
train near the end o f Yama n o oto, the main character Shingo
of h i s m o t h e r a n d f a t h e r o c c u r r e d when he was o n l y an i n f a n t , he
when he r e a d t h e news o f h e r d e a t h t o h i s n e a r l y b l i n d g r a n d f a t h e r .
only within the hand itself that memory o f Komako i s locked up.
of his grandfather's death comes from the fact that the young man
is now the sole remaining member of the family. In the last line
"undertaker."
Before the " I " makes this admission that provides the three
to the y o u n g man. The fact that this i s the first time in his life
to pick up the ashes, the " I " discovers a slight fire still burning
pieces o f s e l f - a n a l y s i s are.
d a z z l i n g rays o f the sun shine down from between the open spaces
the water.
works. In the midst o f death, the " I " has s u f f e r e d nosebleeds and
alignment." ^ 1
Hori I c h i r o g i v e s much t h e same m e a n i n g t o mountain
The " I " h a s made h i s way t o two places ideally suited to act
white."
Kawabata's use of red and white symbolism reminds one of the
Michiko being the f i c t i t i o u s name Kawabata most often used for Chiyo.
66
("Of Birds and Beasts," 1933). The t a x i the " I " of the short story
It surely i s n ' t mere coincidence that the car following the taxi
"Nanpo no h i " does. The t i t l e he gave the work was "Shinsei" jpif Bj| .
f a m i l i a r e a r l y Kawabata f i r s t - p e r s o n n a r r a t i v e .
in Yanagase.
which appears eight times i n the f i r s t section and only three times
scene near t h e end of the second section, the second half i s given
fantasies.
section.
impact, i t should be pointed out that the exact same words are
the s u b j e c t i s n o t d i s c u s s e d , M i c h i k o r e t a i n s an a u r a o f pristine
end as well.
decidedly mundane.
town p o o r l y l i t up in lights.
CHAPTER I I I
0 ^ 'J" it 'J%
1m ("A S h o r t T r e a t i s e on the H i s t o r y of
Japanese Novels").
In a l i n e o f r e a s o n i n g w h i c h r e v e a l s Kawabata's v i s i o n of the
fate.
ment.
divine nature which concludes the work. I t ' s not surprising then
the tower i n the first section and up t o the heavens i n the con-
cluding passage.
verbosity.
at l e n g t h on some topic.
The old friend contends that the worst t h i n g about the earth-
t h e s e n d i n g o f t h e dead t o t h e moon t h r o u g h t h e h e a v e n s i n a f l o w e r
man go t o t h e t r o u b l e o f d e p i c t i n g t h e dream o f a j o u r n e y t o
up t h e c o n c e p t o f metempsychosis:
80
T o g e t h e r w i t h t h e dream o f a j o u r n e y t o p a r a d i s e
i n a n c i e n t t i m e s i n J a p a n , t h e r e was an a p p e a l i n g
b e l i e f h e l d by t h e p e o p l e . A princess i n a previous
l i f e i s a b e g g a r i n t h i s l i f e and a l i n n e t i n a
f u t u r e one, and i n t h e n e x t w o r l d a w h i t e l i l y o f
the v a l l e y . I t was s a i d t h a t a p o e t i n t h i s l i f e
i s a Buddha i n a f u t u r e l i f e and was a w h i t e r a t i n
a previous l i f e . What do y o u t h i n k o f t h i s t h e o r y
o f m e t e m p s y c h o s i s ? (p.102)
the same t h i n g .
at this point that the old friend offers his final thoughts on
I t ' s n o t t h e i d e a o f man b e i n g r e b o r n as a
p e n g u i n o r an e v e n i n g p r i m r o s e t h a t I f i n d
f a v o r w i t h ; what p l e a s e s me more i s t h e
t h o u g h t t h a t an e v e n i n g p r i m r o s e and man
a r e one. I t i s i n t h i s way o n l y t h a t t h e
w o r l d o f t h e h e a r t o f man, i n o t h e r words
l o v e , m i g h t become e x p a n s i v e and f r e e . The
one i s t h e many and a l l t h i n g s and t h e i r
s p i r i t s a r e p a r t o f one d e i t y , (p.104)
the story again. Kawabata l i n k s the two men and the s e t t i n g with
the s u r r o u n d i n g view from the top of the tower. The focus of the
n a r r a t o r d e s c r i b e s two u n i v e r s i t y s t u d e n t s who a r e g a z i n g a t
traveling performers.
keeping w i t h t h e s y m b o l i s m Kawabata h a s e s t a b l i s h e d i n e a r l i e r
d r y a f t e r h a v i n g b e e n dampened b y t h e w i n d a n d r a i n . Found on t h e
The movement i n t h e g a r d e n o f t h e b r i g h t r e d l i n e s
on t h e wet new t o w e l s drew a f o n d l o o k f r o m Ohana,
and i t was enough t o c a u s e h e r a s l i g h t f e e l i n g o f
sadness. T h e r e h a d n o t been u n t i l now s u c h a v i v i d
c o l o r at the s h e l t e r . I t was n e a r noon on a b r i g h t
autumn day and t h e w e a t h e r was p e r f e c t f o r d r y i n g
o u t t h e t o w e l s dampened by t h e e a r l i e r w i n d and r a i n ,
(p.106)
the short story, but the seemingly haphazard manner Kawabata has
of a beggar woman's b a b y .
people from each other, the n a r r a t o r ' s tone i n part two reveals
of o t h e r s a n d show no d e s i r e t o s e a l t h e m s e l v e s o f f from t h e r e s t
of them.
t h e b r o t h e r s a r e a r r e s t e d by p o l i c e on g a m b l i n g charges, the
be t a k e n as p a r a b l e s o f t h e t h e s i s p r e s e n t e d by t h e f r i e n d . In
or p r e - r a t i o n a l a b i l i t y t o d i s c o v e r b e a u t y i n what w o u l d custom-
" U n l i k e C o n f u c i a n i s m o r Buddhism, S h i n t o i s m d o e s
n o t i n d u l g e i n any o f t h e n o i s y d e b a t e s o v e r Good
a n d E v i l , o r o v e r R i g h t and Wrong," Norinaga says
" I t i s a l l - i n c l u s i v e , b o u n t i f u l , and g r a c i o u s —
e x a c t l y what p o e t r y aims a t . " In s h o r t , l i t e r a t u r e
h e l p s ^ o n e t o r e t u r n t o b a s i c h u m a n i t y , as S h i n t o i s m
does.
work on m e t e m p s y c h o s i s a n d t h e o n e n e s s o f c r e a t i o n , Tatsue o f
The B u d d h i s t d o c t r i n e o f t r a n s m i g r a t i o n c a n
a l s o be t a k e n a s a s y m b o l o f m o r a l l i f e i n t h i s
world. T h a t a hawk s h o u l d be r e b o r n a s a man,
o r a man a s a b u t t e r f l y o r as a Buddha, i s t h o u g h t
t o be i n r e t r i b u t i o n f o r c o n d u c t i n t h e p r e s e n t
life.
T h i s way o f t h i n k i n g i s a s t a i n on an o t h e r -
wise p l e a s i n g l y r i c poem.5
(p.114)
opening scene.
of a d i v i n e n a t u r e i n t h e e a r l y w o r k s o f Kawabata. The m a n i f e s t a -
As i f h e r e y e s were washed i n c l e a r w a t e r ,
Ohana f u l l y s t r e t c h e d t h e l i n e o f h e r b e a u t i f u l
t h r o a t a n d l o o k e d up a t t h e l i g h t s . Her eyes
i n s t a n t l y looked f a r o f f t o the east. At that
moment, t h e b l u e l i g h t s u d d e n l y f e l l and d i s -
appeared from t h e n i g h t sky. In t h e midst o f
t h i s s u r p r i s e , t h e r e d l i g h t was h i d d e n b y a
r a i n c l o u d a n d t h e sound was gone f r o m t h e
night turned cloudy.
Ohana f e l t t h a t s h e was a l o n e on t o p o f
the t a l l t o w e r , a n d i t seemed t o h e r t h a t h e r
h e a r t h a d gone a n d j o i n e d t h e l i g h t s t h a t move
i n t h e s k y . A p p a r e n t l y remembering f o r t h e
f i r s t t i m e t h a t a man was n e x t t o h e r , s h e
dropped h e r head (kushi o o t o s h i t e % y& L
l i t e r a l l y , " d r o p p e d h e r comb") t o h i s c h e s t
and c r i e d , (p.115)
forever.
ed s i s t e r s p a s s by t h e h o u s e on a p i l g r i m a g e . The sixteen-year-
t a k e t o S h i n s u k e i n h o p e s t h a t he w i l l t a k e c a r e o f t h e boy, and
a well.
she c a n sleep.
One o f t h e y o u n g men s p o k e .
"What h a p p e n e d ? It's f u l l of frogs! "
" I t ' s j u s t l i k e F r o g P a r a d i s e 1"
"Frog Paradise!"
"Frog Paradise!"
The y o u n g men a n d women c h a n t e d i n u n i s o n .
J i z a e m o n was f l o a t i n g on t o p o f a wave o f
frogs. E v e n on t o p o f t h e d e a d body c o u n t l e s s -
f r o g s s a t l i n e d up t r i u m p h a n t l y i n a row. (p.130)
reverberations.
sister's eyes are c l e a r , but the younger s i s t e r ' s eyes are muddy
concern.
white (shiroi) that modifies the full moon i n t h e title but the
94
money b e c a u s e h i s f a t h e r h a d d i e d o f t u b e r c u l o s i s . Reverberations
comment c a u s e s t h e g i r l s t o l o o k up t o t h e e v e n i n g s k y . An
A t t h a t moment, t h e e y e s o f O n a t s u whose e y e l i d s
p r e s e n t e d a m o r b i d l i n e were m i r a c u l o u s l y s h i n i n g
clearly. The w h i t e f u l l moon o f t h e summer s k y
i n t h e m o u n t a i n d e p t h s was l i g h t l y s u p e r i m p o s e d
on h e r b l a c k p u p i l s , (p.147)
a n e o u s l y merges w i t h t h e e v e n i n g m o u n t a i n s o f t h e snow c o u n t r y :
95
eye became a w e i r d l y b e a u t i f u l b i t o f p h o s p h o r e s c e n c e on t h e s e a
of e v e n i n g mountains.'^
symbol o f s p o t l e s s 'clearness'." ^ 1
Araki r e f e r s t o t h e f i r s t few
p a g e s o f Kawabata's N o b e l P r i z e a c c e p t a n c e s p e e c h w h i c h include
spiritual pollution.
the " I " nor the f a t h e r o f Yaeko. She i s S h i z u e who i s three years
" S h i r o i , " we later learn that Onatsu shares a similar fate with
h e l p s t h e y o u n g man c l e a n s e h i m s e l f o f t h e s p i r i t u a l pollution
originally caused by h i s p a r e n t .
of the " I . " The " I " l a t e r i n part five describes Shizue being
Kawabata d e s c r i b e s t h e s t o n e s o f t h e r i v e r b e d as h a v i n g t u r n e d
falling." (p.172)
W h i l e f r i g h t e n e d by t h e p r e s e n t i m e n t o f two
d e a t h s , I h e l d O n a t s u i n an a t t e m p t t o b r i n g
b a c k X ^ h e w o r l d o f r e a l i t y t h i s g i r l who d i d n ' t
a p p e a r t o be l i v i n g i n a w o r l d o f r e a l i t y .
I was l i s t e n i n g t o s o u n d s f l o w i n g t o t h e
b o t t o m o f t h e s i l e n c e , (p.174)
section o f t h e e s s a y i s d e v o t e d t o Kawabata's i n t e r p r e t a t i o n of
He w o u l d h a v e a l a n g u a g e f o r t h e n o v e l t h a t
would r e f l e c t immediately the i n c h o a t e s t a t e
o f a man's t h o u g h t s , f e e l i n g s , and s e n s o r y
e x p e r i e n c e . . . . I n such a language, the s e e r i s
not y e t s e p a r a t e d from t h e seen, t h e s p e a k e r
from t h e spoken. To i l l u s t r a t e h i s p o i n t ,
Kawabata p r o v i d e s a sample s e n t e n c e o r two
("My e y e s were r e d r o s e s " as p r e f e r a b l e t o
"My e y e s saw r e d r o s e s " ) , b u t u n f o r t u n a t e l y
t h i s t e n d s t o muddle t h e d i s c u s s i o n more t h a n
clarify it.14
work.
the
c l o s e l y Kawabata's "My eyes
A
were r e d r o s e s " s a m p l e s e n t e n c e i n the
CHAPTER IV
It i s perhaps a l i t t l e ironic t h a t K a w a b a t a s r e p u t a t i o n as
1
a
diary (nikki).
"I" i s a universal " I " ; and the persona of the " I " merges w i t h that
104
of the traveler.
this universal " I " has taken on the persona of the traveler.
information:
105
traveler.2
Provinces , C.1693):
e n c o u n t e r o l d age as t h e y draw t h e h o r s e a r o u n d
o n c e more by t h e b i t , t h e y a l s o s p e n d t h e i r ^
d a y s i n t r a v e l and make t h e i r home i n w a y f a r i n g .
p e d d l e r s i n Shimoda t o m i g r a t o r y b i r d s r e t u r n i n g t o t h e nest.
retinue.
for their respective selves other than t o take t o the road. In the
trip." 6
7
allurement in loneliness."
words on loneliness.
p l a c e i n t h e t e a - h o u s e n e a r Amagi Pass:
109
An o l d man w i t h t h e p a l e c o m p l e x i o n o f a drowned
p e r s o n was s i t t i n g c r o s s - l e g g e d n e a r t h e f i r e s i d e .
His eyes, y e l l o w and decayed t o t h e p u p i l s , w e a r i l y
t u r n e d i n my d i r e c t i o n . With a mountain o f o l d
l e t t e r s and p a p e r bags b u i l t up a r o u n d him, y o u
c o u l d s a y he was b u r i e d i n w a s t e p a p e r . The s i g h t
of t h i s man who c o u l d h a r d l y be t h o u g h t o f a s l i v i n g
s t o p p e d me i n my t r a c k s . . . A p p a r e n t l y h e h a d come t o
l i v e a l i f e o f s t a r i n g a t t h e l e t t e r s and p a p e r bags
t h a t s u r r o u n d e d h i m w i t h o u t t h r o w i n g one o f them
away. The m o u n t a i n o f o l d w a s t e p a p e r h a d been b u i l t
up o v e r a p e r i o d o f many y e a r s . I l o o k e d a t t h e open
f i r e , n o t r e p l y i n g t o t h e o l d woman. A c a r c r o s s i n g
t h e m o u n t a i n shook t h e h o u s e . With i t b e i n g t h i s
c o l d f o r autumn and snow a b o u t t o f a l l on t h e p a s s ,
I w o n d e r e d why t h e o l d man h a d n t come down f r o m t h e
1
m o u n t a i n s . tpp-Aoo -01)
and i n " I z u " a s w e l l . Later i n "Izu", the creek near the " I ' s " inn
heralds t h e d i s t a n t b e a t i n g o f a t a i k o w i t h i t s ominous m e a n i n g
of o l dletters a n d p a p e r bags a c t s on b o t h a c o n c r e t e a n d s y m b o l i c
he proviJes
the mountain's t r a v e l e r s of l i f e .
h e l p t o p u t h e r on t h e t r a i n b o u n d f o r Ueno o n c e t h e y arrive at
Aren't we t o assume t h a t t h e o r p h a n e d g r a n d c h i l d r e n a r e f a t e d t o
attributes; t h e d a n c e r r e p r e s e n t s a c o n f l u e n c e o f g i r l i s h and
womanly a t t r i b u t e s . I n a c o n v e r s a t i o n between t h e d a n c e r a n d t h e
Oshima:
"Even i n thewinter?"
She l o o k e d a t t h e o t h e r woman a n d l a u g h e d uncer-
tainly.
d a n c e r e x h i b i t s when t h e g i r l b r i n g s t e a up t o them a t t h e i n n i n
Yugano:
We went up t o t h e s e c o n d f l o o r a n d l a i d down o u r
baggage. The s t r a w c a r p e t i n g a n d t h e d o o r s were worn
and d i r t y . The l i t t l e d a n c e r b r o u g h t up t e a f r o m b e l o w .
As s h e came t o me t h e t e a c u p c l a t t e r e d i n i t s s a u c e r .
She s e t i t down s h a r p l y i n an e f f o r t t o s a v e h e r s e l f ,
but she succeeded o n l y i n s p i l l i n g i t . I was h a r d l y
p r e p a r e d f o r c o n f u s i o n so extreme.
takes. He i s r e l i e v e d o f a s e n s e o f a n g u i s h when s h e i s s u d d e n l y
"One s m a l l f i g u r e r a n o u t i n t o t h e s u n l i g h t
and s t o o d f o r a moment a t t h e edge o f t h e p l a t -
f o r m c a l l i n g s o m e t h i n g t o u s , arms r a i s e d a s
though f o r a plunge i n t o t h e r i v e r . I t was t h e
l i t t l e dancer. I looked a t her, a t t h e young
l e g s , a t t h e s c u l p t u r e d w h i t e body, a n d s u d d e n l y
a d r a u g h t o f f r e s h w a t e r seemed to; wash o v e r my
heart. I laughed h a p p i l y . She was a c h i l d , a
mere c h i l d , a c h i l d who c o u l d r u n o u t n a k e d i n t o
t h e s u n a n d s t a n d t h e r e on h e r t i p t o e s i n h e r
delight at seeing a friend. I l a u g h e d on, a
s o f t , happy l a u g h . I t was a s t h o u g h a l a y e r o f
d u s t h a d been c l e a r e d f r o m my h e a d . And I l a u g h e d
on a n d o n . I t was b e c a u s e o f h e r t o o - r i c h h a i r
t h a t s h e h a d seemed o l d e r , a n d b e c a u s e s h e was
dressed l i k e a g i r l of f i f t e e n or sixteen. I had
made an e x t r a o r d i n a r y m i s t a k e i n d e e d . '^-2
of p u r i f i c a t i o n by w a t e r a c k n o w l e d g e s an u n d e r c u r r e n t of Shinto
i d e a s w h i c h p e r m e a t e t h e work. The s i g h t o f t h e n a k e d d a n c e r i s
this c o n n e c t i o n , t h e p u r g a t i o n o f h i s impure t h o u g h t s as he
sibly eliminated:
"But a l l he w o u l d have t o do w o u l d be t o g e t
a gold tooth. Then y o u ' d n e v e r n o t i c e , " t h e
d a n c e r ' s v o i c e come t o me s u d d e n l y . I looked
back.
T h e y were o b v i o u s l y t a l k i n g a b o u t my c r o o k e d
teeth. C h i y o k o must h a v e b r o u g h t t h e m a t t e r up,
and t h e l i t t l e d a n c e r s u g g e s t e d a g o l d t o o t h f o r
me. I f e l t no r e s e n t m e n t a t b e i n g t a l k e d a b o u t
and no p a r t i c u l a r n e e d t o h e a r more. The c o n -
v e r s a t i o n was s u b d u e d f o r a t i m e .
"He's n i c e , i s n ' t he," t h e g i r l ' s v o i c e came
again.
"He seems t o be v e r y n i c e . "
"He r e a l l y i s n i c e . I l i k e h a v i n g someone s o
nice."
She had an open way o f s p e a k i n g , a y o u t h f u l ,
h o n e s t way o f s a y i n g e x a c t l y what came t o h e r
t h a t made i t p o s s i b l e f o r me t o t h i n k o f m y s e l f
as, frankly, "nice." I l o o k e d up anew a t t h e
m o u n t a i n s , s o b r i g h t t h a t t h e y made my e y e s a c h e
a little. I had come a t n i n e t e e n t o t h i n k o f
m y s e l f as a m i s a n t h r o p e , a l o n e l y m i s f i t , and i t
was my d e p r e s s i o n a t t h e t h o u g h t t h a t h a d d r i v e n
me t o t h i s I z u t r i p . And now I was a b l e t o l o o k
upon m y s e l f as "a n i c e p e r s o n " i n t h e e v e r y d a y
s e n s e o f t h e e x p r e s s i o n . I f i n d no way t o
d e s c r i b e what t h i s meant t o me. The m o u n t a i n s
grew b r i g h t e r - we were g e t t i n g n e a r Shimoda a n d
t h e s e a . 1^
1 1 6
"passive" position. One way of looking at the " I ' s " r o l e has been
validity.
level of sorrow.
"I's" final, distant view of the dancer from the ship finds her
whole.
nature.
p a r t o f i t s a p p e a l i s due t o a number o f h a i k u - l i k e p a s s a g e s , a n d
e n c e s i n some o f t h e s e p a s s a g e s c o u l d be a c c u s e d o f m a k i n g t o o
point.
P r o s t i t u t e s and p r i e s t
S l e p t under a r o o f l e n t a beauty
By b u s h c l o v e r a n d moon. ^
akin to h i s own:
I came t o s e e t h a t t h e l i f e o f t h e t r a v e l i n g
p e r f o r m e r was n o t t h e f o r b i d d i n g one I h a d
imagined. R a t h e r i t was e a s y - g o i n g , r e l a x e d ,
c a r r y i n g w i t h i t t h e s c e n t o f meadows and
m o u n t a i n s . ^*
120
disparate statuses.
embrace s u c h a concept, b u t he w o u l d a l s o p o i n t o u t t h a t t h e r e i s
of ablution.
CONCLUSION
there t o the o l d man i n " I z u " who looks like a drowned person.
the "perceived o b j e c t " i n the lyrical novel. The " o b j e c t " becomes
and the dancer represented manifestations of the " I ' s " own loneli-
n e s s and sadness.
Chapter I
10
Yoshimura, p. 28.
^Yamamoto, p. 21.
1
12
Yamamoto, p.58.
13
Nakamura Mitsuo, "Kawabata Yasunari" i n Kawabata Yasunari,
ed. Sato K5zo (Tokyo: Chikuma Shobo, 1977).
"^Kobayashi Hideo, "Kawabata Yasunari" i n Kawabata Yasunari,
ed. Sato K6z5 (Tokyo: Chikuma Shobo, 1977), p.57.
126
16
Saeki Sh5ichi, "Kawabata Y a s u n a r i no b u n t a i " in Chikuma
Shobo's Kawabata, p. 140.
1 7
Saeki, pp.140-141.
18
Tsunetsugu Muraoka, S t u d i e s i n S h i n t o Thought, t r a n s . Delmer
Brown a n d James T . A r a k i ( T o k y o : M i n i s t r y o f E d u c a t i o n , 1 9 6 4 ) , p . 1 1 5 .
20
Freedman, pp.2-3.
22 - -
Isogai, " ' J u r o k u s a i no n i k k i 1
t o sofu" i n Shokon no s e i s h u n ,
23
Freedman, p.18.
24
Freedman, p.20.
25
The t r a n s l a t i o n i s by F r a n c i s Mathy, "Kawabata Y a s u n a r i ,
B r i d g e - B u i l d e r t o t h e West," Monumenta N i p p o n i c a , XXIV ( 1 9 6 9 ) , p . 2 1 2 .
26
B o t h t h e p a r a p h r a s i n g o f t h e p a s s a g e f r o m "Bunsho n i t s u i t e "
and t h e q u o t a t i o n f r o m S h i n b u n t o k u h o n a r e t a k e n f r o m Yamamoto s1
Kawabata Y a s u n a r i , p p . 1 4 - 1 5 .
27
Hasegawa I z u m i , Kawabata Y a s u n a r i . Y o k o m i t s u R i i c h i I s s h u
(Tokyo: Kadokawa S h o t e n , 1 9 7 2 ) , s u p p l e m e n t a r y n o t e , a s q u o t e d i n
Shokon no s e i s h u n , p . 2 2 1 .
28 —
S a s a b u c h i T o m o i c h i , "Kawabata b u n g a k u t o s h u r u r e a r i z u m u , "
Seiki, A p r i l , 1969 i n Kawabata Y a s u n a r i , e d s . N i h o n Bungaku K e n k y u
S h i r y o K a n k o k a i (Tokyo: Y u s e i d o , 1 9 7 3 ) .
29
T s u r u t a K i n y a and Hasegawa I z u m i i n c o n v e r s a t i o n , " ' J u r o k u s a i
n o n i k k i ' n o k a n s a t s u t o k i r o k u , " K o t e n t o q e n d a i , May 1 9 7 3 , p . 2 1 4 .
30
Hasegawa, Kawabata Y a s u n a r i r o n k o , pp.116-121.
127
31
See Makoto Ueda, L i t e r a r y and A r t T h e o r i e s i n J a p a n ,
( C l e v e l a n d : P r e s s o f W e s t e r n R e s e r v e U n i v . , 1967) pp.196-213.
32
Kitaro Nishida, I n t e l l i g i b i l i t y and t h e P h i l o s o p h y o f
Nothingness, trans. R o b e r t S c h i n z i n g e r (Tokyo: Maruzen, 1 9 5 8 ) ,
p. 1 6 .
33
See Tsunetsugu, S t u d i e s i n S h i n t o Thought, p.31.
128
CHAPTER I I
3. Kawabata Y a s u n a r i , Kawabata Y a s u n a r i z e n s h u , V o l . IX
(Tokyo: S h i n c h o s h a , 1969), p.283.
4. Kawabata, p . 313.
6. J e a n H e r b e r t , S h i n t o : A t t h e F o u n t a i n - H e a d o f J a p a n
(London: G e o r g e A l l e n & Unwin L t d . , 1967), pp.67-68.
16. F r y e , p.203.
Chapter I I I
^ H a d o r i T e t s u y a h a s p r o d u c e d a f i n e p i e c e o f s c h o l a r s h i p on
t h e s e two c o n c e p t s i n Kawabata's l i t e r a t u r e i n h i s "Kawabata
Y a s u n a r i t o b a n b u t s u i c h i n y o . r i n n e t e n s e i s h i s o , " Kokuqo t o
Kokubunqaku, March, 1966.
4
U e d a , p.212
6
Herbert, pp.67-68.
7
K i n y a T s u r u t a , "The F l o w - D y n a m i c s i n Kawabata Y a s u n a r i ' s
Snow C o u n t r y , " Monumenta N i p p o n i c a , XXVI, p.253.
8
Kawabata, Snow C o u n t r y , t r a n s . Edward S e i d e n s t i c k e r (New
Y o r k : B e r k l e y P u b l i s h i n g C o r p . , 1960), p . 16.
9
Frye, p.152.
1 1
K a w a b a t a , J a p a n t h e B e a u t i f u l and M y s e l f (Tokyo: Kodansha
I n t e r n a t i o n a l L t d . , 1969), pp.71-72.
13
T a k e d a K a t s u h i k o , Kawabata bungaku t o s e i s h o (Tokyo: KySiku
Shuppan S e n t a , 1971).
1 4
Miyoshi, p . 9 7.
131
C h a p t e r IV
3
M a t s u o Basho, The Narrow Road T h r o u g h t h e P r o v i n c e s , t r a n s .
E a r l M i n e r i n J a p a n e s e P o e t i c D i a r i e s , comp. E a r l M i n e r ( B e r k e l e y
and L o s A n g e l e s : U n i v e r s i t y o f C a l i f o r n i a P r e s s , 1 9 6 9 ) , p . 1 5 7 .
4
Kawabata, "The I z u D a n c e r , " t r a n s . Edward S e i d e n s t i c k e r i n
The I z u D a n c e r and O t h e r S t o r i e s (Tokyo: T u t t l e , 1974), p.10.
^ibid, p.12.
6
ibid., p.25.
7
M i k i K i y o s h i , "Kodoku n i t s u i t e " i n T e t s u g a k u t o jinsei
(Tokyo: K o d a n s h a Bunko, 1971), pp.463-64.
"The i d e a o f t h e c i r c u l a r p a t t e r n a s w e l l a s much o f t h e
p r e v i o u s commentary on Bash5's Oku no h o s o m i c h i was g l e a n e d f r o m
N o b u y u k i Y u a s a ' s i n t r o d u c t i o n t o h i s t r a n s l a t i o n s o f BashS t r a v e l
d i a r i e s i n The N a r r o w Road t o t h e Deep N o r t h a n d O t h e r T r a v e l
S k e t c h e s (Harmondsworth, E n g l a n d : P e n g u i n Books, 1 9 6 6 ) .
q
Kawabata, "The I z u D a n c e r , " p.22.
1 0
ibid., pp.12-13.
11
ibid., p.13.
12
ibid., p.16,
13
ibid., p.27.
14
i b i - d . , pp. 25-26.
1 5
T h e f o l l o w i n g s e c t i o n d e a l i n g w i t h Basho's a r t o f w r i t i n g
h a i k u i s b a s e d on m a t e r i a l I g a t h e r e d f r o m two b o o k s by Makoto
Ueda: Zeami, Basho, Y e a t s , Pound: A S t u d y i n J a p a n e s e a n d E n g l i s h
P o e t i c s (The Hague: Mouton and Co., 1965) and L i t e r a r y and A r t
Theories i n Japan (Cleveland: Press o f Western Reserve U n i v e r s i t y
1967).
132
1 6
Kawabata / "The I z u D a n c e r , " pp.28-29.
17 —
Hasegawa I z u m i , Kawabata Y a s u n a r i r o n k o (Tokyo: M e i j i Shoin,
1965), p.275.
I Q
Kawabata, "The I z u D a n c e r , " p.12.
1 9
Matsuo, p.188.
if).
2 1
ibid, pp.21-22.
2 2
ibid., p.29.
Conclusion
"'"Freedman, p.vii.
2
Watsuji Tetsuro, Koji junrei (Tokyo: Iwanami Bunko,
1979), p.264.
BIBLIOGRAPHY
1 Primary Sources
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The Existence and D i s c o v e r y o f Beauty. T r a n s . V. H. Viglielmo.
Tokyo: Mainichi Shinbunsha, 1969.
The House o f t h e S l e e p i n g Beauties and O t h e r S t o r i e s . Trans.
Edward S e i d e n s t i c k e r . T o k y o : Kodansha, 1969.
The I z u Dancer and O t h e r S t o r i e s . Tokyo: Tuttle, 1974.
Japan the B e a u t i f u l and M y s e l f . T r a n s . Edward Seidensticker.
T o k y o : Kodansha, 1969.
"Lyric Poem." T r a n s . F r a n c i s Mathy. Monumenta N i p p o n i c a . Vol.XXN/j
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Snow C o u n t r y . T r a n s . Edward S e i d e n s t i c k e r . New York: Berkley
Publishing Corp., 1960.
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Araki Hiroyuki
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Buchanan, Daniel Crump. J a p a n e s e P r o v e r b s and S a y i n g s . Norman:
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Fernandez, Jaime. "The Unreality o f L o v e : Time and D e a t h i n
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135