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Ryūnosuke Akutagawa Books

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“Shinsuke still remembers the stink of varnish from the used desk they bought him. Actually, with its green baize surface and shiny silver-colored drawer pulls, the desk had a nice, neat look to it at first glance, but the cloth was worn thin, and the drawers never opened smoothly. This piece of furniture was not so much a desk as a symbol of the entire household, a symbol of the constant struggle to keep up appearances.”

PovertyThe Early YearsAkutagawa S Own StoryDaidoji Shinsuke
Book:Rashōmon and Seventeen Other Stories
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“And so, by means both active and passive, he sought to repair the damage to his self-esteem. He tried first of all to find ways to make his nose look shorter. When there was no one around, he would hold up his mirror and, with feverish intensity, examine his reflection from every angle. Sometimes it took more than simply changing the position of his face to comfort him, and he would try one pose after another—resting his cheek on his hand or stroking his chin with his fingertips. Never once, though, was he satisfied that his nose looked any shorter. In fact, he sometimes felt that the harder he tried, the longer it looked. Then, heaving fresh sighs of despair, he would put the mirror away in its box and drag himself back to the scripture stand to resume chanting the Kannon Sutra. The second way he dealt with his problem was to keep a vigilant eye out for other people’s noses. Many public events took place at the Ike-no-o temple—banquets to benefit the priests, lectures on the sutras, and so forth. Row upon row of monks’ cells filled the temple grounds, and each day the monks would heat up bath water for the temple’s many residents and lay visitors, all of whom the Naigu would study closely. He hoped to gain peace from discovering even one face with a nose like his. And so his eyes took in neither blue robes nor white; orange caps, skirts of gray: the priestly garb he knew so well hardly existed for him. The Naigu saw not people but noses. While a great hooked beak might come into his view now and then, never did he discover a nose like his own. And with each failure to find what he was looking for, the Naigu’s resentment would increase. It was entirely due to this feeling that often, while speaking to a person, he would unconsciously grasp the dangling end of his nose and blush like a youngster. And finally, the Naigu would comb the Buddhist scriptures and other classic texts, searching for a character with a nose like his own in the hope that it would provide him some measure of comfort. Nowhere, however, was it written that the nose of either Mokuren or Sharihotsu was long. And Ryūju and Memyoō, of course, were Bodhisattvas with normal human noses. Listening to a Chinese story once, he heard that Liu Bei, the Shu Han emperor, had long ears. “Oh, if only it had been his nose,” he thought, “how much better I would feel!”

Self EsteemDespairResentmentSelf ConsciousnessNoseBody Dysmorphic Disorder
Book:Rashōmon and Seventeen Other Stories
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“The people of Ike-no-o used to say that Zenchi Naigu was lucky to be a priest: no woman would ever want to marry a man with a nose like that. Some even claimed it was because of his nose that he had entered the priesthood to begin with. The Naigu himself, however, never felt that he suffered any less over his nose for being a priest. Indeed, his self-esteem was already far too fragile to be affected by such a secondary fact as whether or not he had a wife.”

SufferingSelf EsteemFragileNoseBody Dysmorphic Disorder
Book:Rashōmon and Seventeen Other Stories
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“He did not why she pulled out the hair of the dead. Accordingly, he did not know whether her case was to be put down as good or bad. But in his eyes, pulling out the hair of the dead in the Rashomon on this stormy night was an unpardonable crime. Of course it never entered his mind that a little while ago he had though of becoming a thief”

HypocrisyContradictionJapanese LiteratureRashomonRyunosuke Akutagawa
Book:Rashōmon and Seventeen Other Stories
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“He did not know why she pulled out the hair of the dead. Accordingly, he did not know whether her case was to be put down as good or bad. But in his eyes, pulling out the hair of the dead in the Rashomon on this stormy night was an unpardonable crime. Of course it never entered his mind that a little while ago he had though of becoming a thief”

Social JusticeHypocrisyContradictionJapanese LiteratureMoral SuperiorityRyunosuke Akutagawa
Book:Rashōmon and Seventeen Other Stories
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“The Heian Period (794–1185) was Japan’s classical era, a time of peace and opulence, when the imperial court in Heian-kyō (“Capital of Peace and Tranquility”: later Kyoto) was the fountainhead of culture, and the arts flourished. Toward the end, however, political power slipped from the aristocracy to the warrior class, the decline of the imperial court led to the decay of the capital, and peace gave way to unrest. This was the part of the Heian Period that interested Akutagawa, who identified it with fin-de-siècle Europe, and he symbolized the decay with the image of the crumbling Rashōmon gate that dominates his story. Director Kurosawa Akira borrowed Akutagawa’s gate and went him one better, picturing it as a truly disintegrating structure, entirely bereft of its Heian lacquer finish, and suggestive of the moral decay against which his characters struggle. His film Rashōmon (1950) was based on two of Akutagawa’s stories, “Rashōmon” and “In a Bamboo Grove.” Both—themselves based on tales from the twelfth century—reach far more skeptical conclusions than the film regarding the dependability of human nature and its potential for good. (Jay Rubin)”

Japanese LiteraturePerspectivesKurosawaHeianRashomon
Book:Rashomon and Other Stories
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“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.”

SaidLostFeltMastersMountainFruitStudiosSmellOilFamiliarHillsValleysMonkeysLampsMoonlightSourSprayWaterfallsRottingMistyTripods
Author:Ryūnosuke Akutagawa
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“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!”

LongRememberDiesBlackWhitePerfectWatchesFailingHairModelsDancingBonesScreensFleshSnowFlamesSparksCarriagesChainedSnow WhiteAgonizingBlack HairLong Black Hair
Author:Ryūnosuke Akutagawa
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