2015年12月5日 星期六

永井荷風:晴日木屐 『濹東綺譚』/美利坚物语/法兰西物语/《地狱之花》腕くらべRIVALRY: A GEISHA'S TALE

Nagai Kafu 1954

" In his total commitment to the truth,the photodrapher follows a course diffent from the abstractionst one attempted by the painter.

Verisimilitude is by no neans the photographer's concern.The important thing is how he feels about his subject matters and how strongly he reacts to them.

Photographs should always be the mirrors of the struggles the artist is going through. "



[BOOK REVIEW] 'Rivalry' of the steamy and sensitive variety
'Rivalry: A Geisha's Tale,' the first English translation of the classic Japanese novel's full text, is nostalgic and honest about the early 20th-century performers
By Bradley Winterton  /  CONTRIBUTING REPORTER

By Nagai Kafu
Translated by Stephen Snyder
165 pages
Columbia University Press

Much of Asia can still be rightly described as displaying a "massage culture." Sex, nominally disguised as massage, is offered by the attractive but impecunious young to the better-off males in establishments that have, to local eyes, nothing disreputable about them. European men discovered this age-old phenomenon with a sense of disbelief - its equivalents had long been banished, certainly in Anglo-Saxon countries, under the various manifestations of Puritanism. Thailand went on to built a tourism industry on its immemorial leisure-time habits, while in Japan the ancient structures were modified only by the arrival of general affluence. This has led to nostalgia there for the old ways, and in particular a fascination with the lifestyle and traditions of the geishas.
Rivalry: A Geisha's Tale, fresh from Columbia University Press in an English version by Stephen Snyder, is the first ever translation of the full text of the masterpiece of the early 20th century novelist and short-story writer Nagai Kafu. An earlier translation was only of a commercial edition that didn't include long erotic passages added later by the author for a private printing - he knew in advance that they'd be unacceptable to the government censor.
Nagai Kafu is a fascinating figure. Originally an editor of literary magazines specializing in the newly-fashionable French naturalism, he abandoned that work in order to embark on a life investigating Tokyo's erotic underworld. This was partly done, no doubt, for its own sake, but it was also undertaken in a spirit of devotion to the ethos of the old, pre-modern Japan, the traditions of which Kafu felt were in part preserved in the teahouses and theaters around which the geishas and other women of the night circulated.
Rivalry is a wonderful novel, with clearly distinguished characters, a swift narrative style, rich descriptions and incisive analyses of feelings and motives. It's set around 1912, and evokes a capital city already equipped with telephones, newspapers, cigarettes and trams. There are stockbrokers, new sessions of parliament and year-end sales. But still defining the life in the pleasure quarters are the ways of the Edo period which had ended over 40 years before, so that geishas continue to preside over the tea ceremony, dress with astonishing formality, and entertain rich businessmen, initially at least with performances on the shamisen.
Kafu understands perfectly well that differences of money, and hence of power, lie behind the sexual games his characters play. The geishas are contracted to the houses they work out of, and one of their main ambitions is to find a patron who will pay off this debt and set them up in financial independence. But at the same time they are young and sensual beings, falling in love with kabuki actors of their own age even while conducting by no means platonic affairs with their older clients. This is part of the rivalry of the title, and it's the main character's love for a young actor that triggers the fury of her patron, Yoshioka, even though he's by this time become tired of their sexual relationship and is looking around for new pleasure elsewhere.
It's strange that a novel as good as this has remained unpublished in English in its complete form for so long. It's true that for many decades after the extended edition was published in Japan (in 1917) passages from it would not have been permitted in, for instance, the UK. There are by no means disapproving references to oral and anal sex, for example, and the writing in general has an open-mindedness about it that is extremely refreshing. Even so, it has been through Arthur Golden's 1997 bestseller Memoirs of a Geisha - also a novel, though cast as an autobiography - that most modern readers have gotten to know about the geisha traditions. Kafu's older classic, by contrast, will please aesthetes and lovers of genuine literature far more.

There's a long-standing tradition among Japan specialists of insisting that geishas were high-class entertainers most of whom would never allow the men they entertained to lay a finger on them. This is a long way from Kafu's view, and he was in an ideal position to know. Indeed, the description of one particularly outrageous senior geisha, Kikuchiyo, is so replete with sexual detail that I had to read it twice before I could believe my eyes.
But Kafu was no smut-peddler. At heart he was a lover of ancient Chinese poetry, like the writer Kurayama Nanso in the novel. Indeed, one of the characters he mocks most vigorously is Yamai, the editor of a new magazine specializing in pornographic photos. But then one of the attractions of this wonderful book is its range, even given its relative brevity and concision. There are as many different types of character, and of emotion, as there are in Tolstoy, even though Kafu's true masters were probably Maupassant and Turgenev, social realists with a sympathetic eye for subtleties of situation and nuances of feeling.
Kafu was an aesthete fascinated by sex, and predictably he had his own theory of desire. Whereas men of old sought to prove their masculinity in war or hunting, in the modern world they seek to do it by success in the fields of business and sexual predation. Yoshioka is his prime example of this, a handsome married man possessed of "an endless repertoire of obscene tricks," adept at concluding affairs, and endlessly seeking out new conquests "from girls of sixteen to women past forty." He finally finds his match in the frankly sensual Kikuchiyo.
Stephen Snyder is to be thanked both for translating this half-forgotten novel at all, and for doing it so compellingly. He is, incidentally, also the author of a critical book on Kafu entitled, appropriately enough, Fictions of Desire.






 譯者: 陳德文出版社: 花城出版社 出版年: 2012
 《晴日木屐(日本唯美大師閒踏晴日木屐漫遊記趣)》是日本唯美​​派開山祖永井荷風的散文代表作,首次全譯了深受周作人喜愛的專集《晴日木屐——東京散策記》。荷風腳踏晴日木屐,手拿蝙蝠傘,走遍東京大街小巷及郊外,詳敘見聞及心跡,特別記錄了在現代文明社會的衝擊之下,遭受嚴重摧殘的日本傳統文化和古代遺存;以悲惋的情調表達了對江戶世俗生活的回味與嚮往,凸顯了一個傳統文人在社會轉型時期的文化批判眼光。 《晴日木屐(日本唯美大師閒踏晴日木屐漫遊記趣)》文字細膩,筆調感人。
棄之如木屐說到木屐,日本也常提我們的謝靈運。這位一千五百多年前的南朝人物"常著木屐,上山則去其前齒,下山則去其後齒",此法是否真可行,好像不曾有人用實踐檢驗。白川靜以研究漢字著名,他說謝公屐叫蠟屐,腳底的板與板下的齒用蠟連接。我漠然想,大概像卯與榫一般嚴絲合縫,塗蠟潤滑,才容易把齒卸下或裝上。至於日本的木屐,參觀作坊,卻是把一塊木頭從中曲折鋸開,便初具一對形狀,再精削細磨。底板鑿三孔,繫帶作人字,據清末廣東人黃遵憲的體驗,"必兩指間夾持用力乃能行".這人字不能倒過來,所以上山下山都只有一個趿拉法。周作人"覺得比廣東用皮條絡住腳背的還要好,因為這似乎更著力可以走路",於是他穿了和服木屐,拄根文明棍,很是自在。謝靈運時代鞋類已頗多,木屐"以木為之,施兩齒",是專門用來踐踏泥濘的,恐怕不適於登山,此公玩風流罷了。從出土文物來看,木屐很早隨稻作從中國江南傳入日本,但晉人陳壽在《三國志》中記載,日本"皆徒跣",就是說木屐傳入是傳入了,日常卻未必就用它來走路。或許踏地作響,用以驅鬼,用以敬神,踏起歌來又可以代替鼓聲,且歌且舞。平日里人們不是打赤腳,就是穿"草鞋"或者"草履".社會進步,草履不斷地改良創新,你看見女人穿和服嬝娜如隨風飄去,倘若是正裝,她內八字拖沓的就應該是這玩藝兒。木屐的齒有高有低,高齒木屐的一大功用是平地出恭,類似於吾鄉早年的茅房用方磚兩塊,左右墊腳。歌舞昇平的江戶時代也過了一半,已經是18世紀中葉,刨鑿之類工具發達,這才出現了專門做木屐的作坊。於是,木屐在女人當中流行,二十年後男人也跟風。本來木屐和雨傘相配,對付有雨一街泥,後來卻成為時尚,晴天也穿出來聽響。還造出三個齒的,塗了黑漆,妓女之超女拖曳著遊行。 1901年,這一年警察開始練車,騎腳踏車巡街,當局頒布禁止跣足令,街頭巷尾便響徹踢裡踏拉聲。也有了板與齒拼裝而成的,例如晴日木屐。永井荷風寫過隨筆《晴日木屐》,他趿拉著這種木屐逛街,是東京天氣全然沒有信用的緣故。戰敗後物資匱乏,人們只有木屐可穿,1955年生產九千三百萬雙,創歷史紀錄。此後經濟起飛,男女老少穿上了皮鞋。 1964年舉辦奧運會,大街小巷都鋪上柏油,木屐就成了長物,蔽與不蔽,統統被棄之,天下闃然。前幾天觀看日本鐵道攝影展,一張老照片吸引了眼球,但興趣並不在火車,而是鐵道邊站成一排看火車風馳的孩子,木屐不良於跑,被他們別在腰里或拎在手上,此景題為木屐的記憶似更妙。在學校裡身上製服,腳下木屐呱噠呱噠,屬於粗野形象,有傷風紀,現今只有大學拉拉隊的隊長還弄成這副模樣。不過,有一個人物卻令我佩服,他叫島正博,上學穿木屐被老師申斥,回家動腦筋,在底板上嵌入橡膠墊靜音,從此走上發明之路,1965年開發全自動手套編織機。商店裡賣的毛衣,款式繁多,袖子不是後縫上的,而是像木屐一樣整體成型,這種編織機也是他發明。二胡不知從什麼時候起成為中國的國粹,把木屐算作日本的國粹我們也應該無話可說,並且為棄之而惋惜。而今只有夏日里看煙火,女孩裹上輕薄的和服,光著白白的腳丫拖木屐,風情猶存,但她們偶一為之,嬌呼腳趾疼。

 永井 荷風  断腸亭日乗Danchōtei Nichijō

Nagai Kafū (永井 荷風), born Nagai Sōkichi (永井 壮吉), December 4, 1879 - April 30, 1959, was a Japanese novelist, playwright, essayist, and diarist. His works are noted for their depictions of life in early 20th-century Tokyo, especially among geisha, prostitutes, cabaret dancers, and other denizens of the city's lively entertainment districts.
Among his major works are:
  • American Stories (あめりか物語, Amerika Monogatari, 1908)
  • Geisha in Rivalry (腕くらべ, Ude Kurabe, 1916-1917)
  • A Strange Tale from East of the River (濹東綺譚, Bokutō Kidan, 1937)
A Strange Tale from East of the River (濹東綺譚, Bokutō Kidan, 1937) 中文翻譯收入:『永井荷風選集』陳薇譯,北京:作家出版社,1999


  • His diaries, especially Danchōtei Nichijō (断腸亭日乗, written 1917-1959)

シュウカイドウ 秋海棠 瓔珞草 断腸花 ...

だんちょう-か ―ちやうくわ 3 【断腸花】


Diarist watched a storm gather over Japan
The pink flowers of shukaido hardy begonias are blooming modestly in a nearby park. Said to be shade-loving, these flowers light up the gloom cast by the towering trees.
Shukaido are also called "Danchoka," which translates as "heart-rending flowers." The name is said to derive from their seemingly mournful appearance.
The novelist Nagai Kafu (1879-1959) loved these flowers and had them planted in his garden, and named his residence Danchotei. It was there that he wrote his famous diary titled "Danchotei Nichijo," for an impressive 42 years from before World War II to the day before his death. The diary attests to his uncompromising liberalism.
His first entry, dated Sept. 16 exactly 90 years ago, reads: "Sept. 16: These endless autumn rains remind me of the tsuyu rainy season."
Nagai had no interest in keeping up with the times, but his insight into what was happening in the world was sharp and accurate. While haunting bars and red light districts, he observed bluntly of the Japanese invasion of China: "Hopelessly stuck in a prolonged war, (the government) has suddenly started calling it a holy war--a most egregious misnomer."
On another day, he was barely able to contain his loathing for his own compatriots: "Oh America, I beseech thee to rise up at once and give these savage people a chance to repent."
And upon hearing of Emperor Hirohito's radio address to concede Japan's defeat in World War II, Nagai wrote: "Just what I needed (to hear)... We all celebrated, got drunk, and went to sleep." A hermit in spirit, Nagai was wide awake to reality.
Reportedly, he wrote his diary with the intent of eventually publishing it. I wonder if he would have started a blog in this present age.
There are currently more than 8 million Internet bloggers in Japan, and they are said to have a combined readership of about 40 million people. Anyone can voice their opinions in public today, but one downside of this is that anyone can verbally abuse others.
In "Danchotei Nichijo," Nagai hardly made personal attacks. The master wordsmith must have been fully aware of how hurtful words could be if used as a weapon for personal attack.
--The Asahi Shimbun, Sept. 16(IHT/Asahi: September 24,2007)

現代日本文學大系23 永井荷風集 (一) (二) 東京: 筑摩書房 1969


永井 荷風(ながい かふう、1879年(明治12年)12月3日 - 1959年(昭和34年)4月30日)は、日本の小説家。本名は永井 壮吉(ながい そうきち、旧字体:壯吉)。金阜山人(きんぷさんじん)・断腸亭主人(だんちょうていしゅじん)ほか。

濹東綺譚』上海三聯  2012 第一頁就有打字錯誤



《地獄之花》收有《地獄之花》、《隅田川》、《兩個妻子》等6篇小說。荷風文筆圓熟,作品流露著纏綿悱惻的情調和色情趣味,在社會上引起一股享樂主義潮流。此外還有《大窪通迅》(1913)、《斷腸亭雜稿》(1918)、《荷風隨筆》(1927)等隨筆集。 作者: [日] 永井荷風譯者: 譚晶華/ 郭潔敏ISBN: 9787532750788   定價: 30.00元出版社: 上海譯文出版社裝幀: 平裝出版年: 2010-8內容簡介——物哀文化江戶情趣的風俗畫——唯美反俗精神下的文明批評《地獄之花》由六篇中短篇小說構成,成書於一九〇二年,作品深受左拉的自然主義文學影響,字裡行間無不充滿作者自身生活和人生看法的影子。 《地獄之花》通過一位女教師的遭遇,反映了明治時代女性決心衝破世俗觀念、爭取自由幸福的思想。 《隅田川》通過一個青年棄學而憧憬藝人生活的故事,以甜美的詩情、懷古的幽思描寫了隅田川畔的風土人情。 《梅雨前後》是一篇描寫咖啡館女招待生活的風俗小說。 《墨東趣譚》以隨筆風格敘述了老作家與妓女的交往,通過對景緻、風俗的描繪以及對戰爭、世態的諷刺表達了作者的人生觀點。 《積雪消融》寫一個女招待在積雪消融的日子到曾經拋棄妻兒、現又落魄的父親家後產生的溫暖父女情。 《兩個妻子》通過描寫兩個丈夫出軌的妻子的一喜一憂,再現了當時有閒階級的生活。作者簡介永井荷風(1879—1959)   日本唯美派文學代表作家。一九〇二年以自然主義傾向小說《地獄之花》登上文壇,代表作有小說《梅雨時節》和隨筆集《斷腸亭雜稿》等,作品不少描寫花街柳巷生活,抨擊了明治末年社會的庸俗及醜惡,充滿唯美注意和懷舊之風。第二次世界大戰中作品被禁,一九五二年獲日本政府頒發的文化勳章,一九五四年當選為藝術院會員。目錄前言地獄之花隅田川梅雨前後『濹東綺譚』  積雪消融兩個妻子永井荷風:法蘭西物語目錄船和車羅納河畔秋的街景馴蛇人晚餐燈光節之夜霧之夜面影重逢獨旅揮別巴黎黃昏的地中海哈科特新加坡的數小時西班牙料理橡樹落葉——小品集碑文休茶屋.裸美人戀人夜半舞蹈美味午後舞女永井荷風:美利堅物語

出版日期:2010 年1月永井荷風(1879-1959),日本唯美主義文學的代表作家。他的文字華麗、細膩,有著日本文學傳統的美感,雖然被人指責為“頹廢”、“耽於享樂主義”,但其唯美的和哀情的風格確是無與倫比的。荷風是最早接受西方文化的日本人之一,在經歷深層的文化碰撞所帶來的心靈折磨和震撼之後,卻成了日本江戶社會文化的守望者。貫​​穿於荷風的文學世界的主題,是那種爛熟之極而後的頹廢,並隨之而來的清新雅麗又有幾分哀愁惆悵的社會、風物以及人情世故。荷風的代表作有小說(《地獄之花》(1902)、..船艙夜話牧場小道山岡上醉美人長發春和秋雪的歸宿林間壞朋友舊恨夢醒一月一日芝加哥二日夏之海深夜的酒落葉夜之女夜間漫步六月夜的夢.西雅圖的一夜夜霧夏之海(初稿)

Nagai Kafū (永井荷風) 1879-59 斷腸亭記/地獄之花/散文選

中國出版的永井 荷風書 都選同一張 怪

此段日美戰爭初 的日記有翻譯

十 二月十 二日。開戦布告と共に街上電車その他到処に掲示せられし広告文を見るに、屠れ英米我等の敵だ、進め一億火の玉だとあり。或人戯にこれをもじり、むかし英米 我等の師、困る億兆火の車とかきて、路傍の共同便処内に貼りしと云う。現代人のつくる広告文には、鉄だ力だ国力だ、何だかだとダの字にて調子を取るくせあ り。まことにこれ駄句駄字といふべし。哺下向嶋より玉の井を歩む。両処とも客足平日に異らずといふ。


永井 荷風散文選
陳德文譯 天津:百花文藝 1997

『地獄の花』、金港堂(1902)/ 『明治の文学 25 永井荷風・谷崎潤一郎』、筑摩書房(2001)ISBN 9784480101655 所収

坂口安吾記事にもチラリと書きましたが、ただいま古典文学に夢中!学生時代は、名作と呼ばれる文学は強制されない限り、ほとんど読まない人間でし たが、試 験勉強する必要がなくなって”超”久しい今日、何を思ったか急に日本の文豪と呼ばれる作家の作品を読みたくなり、このところいろいろな本に手を伸ばしてい ます。

・・・な~んて言っても、それは短いものに限りますが(笑)それと、内容が暗くないこと!これ、わたしにとっては本を読む際、最重要点だっ たりします。いくら素晴らしい文学でも、読後に気力を失うようなものはダメダメなのです。さて、前置きが長くなりましたが、つまり、本作も、暗い内容では ありません。ちょっと、ヒュルリラ~ッと北風が吹くようなもの哀しさはあるものの、それよりも、平成に生きる者としては、昭和初期の変わりゆく東京の描写が、なんともノスタルジックかつ新鮮。そちらの方がインパクト大のため、最後まで面白く読むことができました。これ、一応フィクションではありますが、著者の経験談といってもいいくらいな印象です。
たった80余ページという本作。物 語は、小説家の”わたくし”が、新たな作 品の構想を練るため、日課のごとく、ぶらりぶらりと下町散歩を楽しんでいるところから始まります。ある日、彼はひとりの女性と出会います。彼女は、推定 20代後半の和風美人。時代がどんどん西洋化するなか、古風な髪結い姿をしている彼女を、主人公は一目で気に入ります・・・。
彼 女がどんな人間なのか、そして何故に本作のタイトルは聞き慣れない「墨東綺譚 」なのか、というのは、それは読んでからのお楽しみ、とした方がいいと思いますので伏せます。ただ、これは完全に大人向けですね。なぜなら、主人公のトシ は58歳。当時にすれば初老であり、残された人生をどう生きるか的な迷いが描かれていますし、主人公と女性の関係も、ちょっとフツーではないからです。
こんな主人公なので、さぞ面白おかしい物語なのだろうと読み進めると、意外にも後は穏やかに何が起きるということなく結末へ・・・となるのですが、東京の下町の描写にかなりの紙面を割いているところをみると、著者は消えつつある明治・大正時代の残り香を描くことが目的だっ たのだと思わされます。本作、実は永井荷風の代表作だそうです。何気なく買っただけなのに、ラッキー!!しかし、わたしが心打たれたのは、20ページにも 及ぶ作者あとがき(作後贅言)だったりします。変わり行く銀座の街について、そして作者自身のことについて語られているのですが、なんとも言えない味があ ります。ですので、お読みになる方は、ぜひとも作者あとがきも、お忘れなく!!
「墨東綺譚 」永井荷風(新潮文庫)


译者: 谭晶华
作者: [日] 永井荷风
ISBN: 9787532707898
页数: 384
定价: 12.50元
出版社: 上海译文出版社
丛书: 日本文学丛书
装帧: 平装
出版年: 1994-7/


《地狱之花》由六篇中短篇小说构成,成书于一九〇二年,作品深受左拉的自然主义文学影响,字 里行间无 不充满作者自身生活和人生看法的影子。 《地狱之花》通过一位女教师的遭遇,反映了明治时代女性决心冲破世俗观念、争取自由幸福的思想。《隅田川》通过一个青年弃学而憧憬艺人生活的故事,以甜美 的诗情、怀古的幽思描写了隅田川畔的风土人情。《梅雨前后》是一篇描写咖啡馆女招待生活的风俗小说。《墨东趣谭》以随笔风格叙述了老作家与妓女的交往,通 过对景致、风俗的描绘以及对战争、世态的讽刺表达了作者的人生观点。《积雪消融》写一个女招待在积雪消融的日子到曾经抛弃妻儿、现又落魄的父亲家后产生的 温暖父女情。《两个妻子》通过描写两个丈夫出轨的妻子的一喜一忧,再现了当时有闲阶级的生活。

1965年8月7日周作人在給鮑耀明的信中說:"我對於明治時代文學者佩服夏目漱石與森鷗外,大正以下則有谷崎君與永井荷風, 今已全變為古人了,至於現代文學因為看不到,所以不知道,其實恐怕看了也不懂的也。"這裡"不懂"一語似乎應該以他談及石原那書時所說的"極為遠隔"和" 殊無興趣"來理解,實在也還是時代不同使然罷。(《周作人與鮑耀明通信集》鮑耀明編,河南大學出版社2004年4月版)

Kafu the Scribbler: The Life and Writings of Nagai Kafu, 1879–1959 -永井荷風(他的作品大陸翻譯不少;他筆下的東京當然是翻譯者寫作的重要資料)Seidensticker - Stanford, Calif., Stanford University Press, 1965
讀本 Modern Japanese Stories: An Anthology
I Morris, E Seidensticker, M Kuwata - Tuttle, 1962

第三章 東方主義的洗禮
一 作為"東方"的中國

西原大輔『 谷崎潤一郎與東方主義-- 大正日本的中國幻想』趙怡譯,

断腸亭記 河北教育 2002


永井 荷風 断腸亭日乗Danchōtei Nichijō

Nagai Kafū (永井 荷風), born Nagai Sōkichi (永井 壮吉), December 4, 1879 - April 30, 1959, was a Japanese novelist, playwright, essayist, and diarist. His works are noted for their depictions of life in early 20th-century Tokyo, especially among geisha, prostitutes, cabaret dancers, and other denizens of the city's lively entertainment districts.
Among his major works are:
  • American Stories (あめりか物語, Amerika Monogatari, 1908)
  • Geisha in Rivalry (腕くらべ, Ude Kurabe, 1916-1917)
  • A Strange Tale from East of the River (濹東綺譚, Bokutō Kidan, 1937)
A Strange Tale from East of the River (濹東綺譚, Bokutō Kidan, 1937) 中文翻譯收入:『永井荷風選集』陳薇譯,北京:作家出版社,1999

照理當再讀先生的文,。再看先生的畫。然而又何必如此呢?我在心裡,像永井荷風的父親,每逢蘇軾 生日必邀老友聚飲、吟詩。先生的靈是東洋的,然而先生或許也了解里爾克論風景吧!

2013年12月5日 · Panchiaochen ·

2013年12月5日 · Panchiaochen ·