2022年4月13日 星期三

川端康成「抒情歌」の〈香〉から. 川端康成没後50年で新資料 初恋描いた「篝火」の草稿、断片6枚





川端康成没後50年で新資料 初恋描いた「篝火」の草稿、断片6枚
川端康成の作品で繰り返し描かれているカフェの女給、伊藤初代との悲恋。今回確認されたのは、また別の断片6枚で、主人公が恋人のいる岐阜に到着した場面が描かれていました。





異界をまねく--川端康成「抒情歌」の〈香〉から (特集 〈香り〉のすがた)


Imagining the Foreign World: Yasunari Kawabata's "Incense" from "Lyric Song" (Special Feature: "Aroma")

2人の新婚旅行初夜の同時刻、突然香水の匂いを霊能力で嗅いだ。


「太古の民の汎神論」と世間から笑われても、「私」はいつか人間は再び、もと来た道を逆に引き返すようになるかもしれないとも思い、万物流転を唱えたレイモンド・ロッジの「香のおとぎ話」も、




Sir Oliver Joseph Lodge, FRS[1] (12 June 1851 – 22 August 1940) was a British physicist and writer involved in the development of, and holder of key patents for, radio. He identified electromagnetic radiation independent of Hertz's proof and at his 1894 Royal Institution lectures ("The Work of Hertz and Some of His Successors"), Lodge demonstrated an early radio wave detector he named the "coherer". In 1898 he was awarded the "syntonic" (or tuning) patent by the United States Patent Office. Lodge was Principal of the University of Birmingham from 1900 to 1920.



Raymond (1889–1915),


. After his son, Raymond, was killed in World War I in 1915, he visited several mediums and wrote about the experience in a number of books, including the best-selling Raymond or Life and Death (1916).[24] Lodge was a friend of Arthur Conan Doyle, who also lost a son in World War I and was a Spiritualist.


Lodge was a Christian Spiritualist. In 1909, he published the book Survival of Man which expressed his belief that life after death had been demonstrated by mediumship. His most controversial book was Raymond or Life and Death (1916). The book documented the séances that he and his wife had attended with the medium Gladys Osborne Leonard. Lodge was convinced that his son Raymond had communicated with him and the book is a description of his son's experiences in the spirit world.[25] According to the book Raymond had reported that people who had died were still the same people when they passed over, there were houses, trees and flowers and the Spirit world looked similar to earth but there is no disease. The book also claimed that when soldiers died in World War I they had smoked cigars and received whisky in the spirit world and because of such statements the book was criticised.[26] Walter Cook wrote a rebuttal to Lodge, titled Reflections on Raymond (1917), that directly challenged Lodge's beliefs in Spiritualism.[27]




Raymond or Life and Death, 1916
Christopher, 1918
Raymond Revised, 1922




『宗教問答』宍倉保訳 普光社 1911
『死後の生存』高橋五郎訳 玄黄社 1917
『心霊生活』藤井白雲訳 大日本文明協会事務所 大日本文明協会刊行書 1917
『レイモンド 冥界通信』高橋五郎訳 宇宙霊象研究協会 1918
『他界にある愛児よりの消息』野尻抱影訳 新光社 心霊問題叢書 1922
『レイモンド 人間永生の証験記録』野尻抱影訳 奎運社 1924
『レイモンド 死後の生存はあるか』野尻抱影訳 人間と歴史社 1991
『科学より観たる信仰の本質』大野芳麿訳 洛陽堂 1921
『死者は生きている』抄訳.編 今村光一 叢文社 1975






「太古の民の汎神論」と世間から笑われても、「私」はいつか人間は再び、もと来た道を逆に引き返すようになるかもしれないとも思い、万物流転を唱えたレイモンド・ロッジの「香のおとぎ話」も、「科学思想の象徴の歌」であり、物質が不滅ならば、智恵の浅い女の身でありながらも悟っていた「魂の力」だけ滅んでしまうとするのは矛盾だと感じた。


そして「私」は「魂」という言葉を、「天地万物を流れる力の一つの形容詞」と感じ、動物を蔑む因果応報の教えを、「ありがたい抒情詩のけがれ」と感じた。エジプト死者の書ギリシャ神話はもっと明るい光に満ち、月桂樹に姿を変えたダプネーや、福寿草に生まれ変わったアドーニスのように、アネモネ転生はもっと朗らかな喜びのはずと「私」は思った。


Even though people laughed at "The ancient people's pantheism", "I" thought that humans might one day return to the way they originally came from, so Raymond Lodge advocated all logistics. "The fairy tale of incense" is also a "song of a symbol of scientific thought", and if the material is immortal, only "the power of the soul" that has been realized while being the body of a woman with little wisdom will be destroyed. Felt like a contradiction.






And "I" felt the word "soul" as "an adjective of the power that flows through all things in heaven and earth", and the teaching of causal retaliation that despises animals as "thankful lyrical scribble". The books of the Egyptian dead and Greek myths were full of brighter light, and I thought that the reincarnation of Anemone should be a more cheerful joy, like Dapne, who turned into a laurel, and Adonis, who was reborn in Fukujukusa. ..





Hishikawa Moronobu (Japanese: 菱川 師宣; 1618 – 25 July 1694)[1] was a Japanese artist known for popularizing the ukiyo-e genre of woodblock prints and paintings in the late 17th century.[2]

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