A Japanese Mirror
Page 28
4
‘Ayamegusa’ (‘The Words of Ayame’), translated by Charles J. Dunn and Bunzo Torigoe in The Actors’ Analects, Tokyo, 1969.
5
Quoted in Earle Ernst’s The Kabuki Theatre, Hawaii, 1974, p. 195.
6
Peter Ackroyd, op. cit., p. 98.
7
Ibid., p. 57.
8
See Susan Sontag’s essay on ‘Camp’ in Against Interpretation, New York, 1967.
9
Kawai Hayao, Boseishakai Nihon no Byori, Tokyo, 1976.
10
Imaizumi Fumiko in the magazine Eureka, vol. 13, September 1981, p. 135.
11
Ibid.
12
Richard Barber, The Knight and Chivalry, New York, 1970, p. 90.
13
Mishima Yukio, Yukio Mishima on Hagakure, translated by Kathryn Sparling, New York, 1977, p. 22.
14
Ibid.
15
Mishima Yukio, ‘Onnagata’, translated by Donald Keene in Death in Midsummer and Other Stories, London, N.Y., 1976.
16
Mishima Yukio, Forbidden Colours, translated by Alfred Marks, London, 1968.
17
Inagaki Taruho, Shonenai no Bigaku, Tokyo, 1974, p. 18.
18
Ihara Saikaku, Nanshoku Okagami, translated by E. Powys Mathers and reissued in paperback as Comrade Loves of the Samurai, Tokyo, 1972.
19
Ivan Morris, The Nobility of Failure, London, 1975, p. 277.
20
Ibid., p. 276.
21
On the influence of homosexuality on the traditional theatre see Domoto Masaki, Danshoku Engekishi, Tokyo, 1976.
22
‘Kanjincho’ (‘The Subscription List’) was adapted from the No play ‘Ataka’ by Namike Gohei III and first staged in 1840.
23
‘Gikeiki’ (‘The Chronicle of Yoshitsune’), an anonymous work dating from the fifteenth century. These excerpts were translated by Ivan Morris and quoted in The Nobility of Failure, op. cit.
24
Ivan Morris, op. cit., note 5.70.
25
Sir James George Frazer, The Golden Bough, London, 1922.
8 The Hard School
1
This particular comic version of Miyamoto Musashi is by an artist named ‘Baron’ Yoshimoto.
2
‘Ketto Ganryujima’ (‘The Battle of Ganryu Island’), directed by Inagaki Hiroshi in 1955.
3
Alain Silver, The Samurai Film, London, 1977, p. 102.
4
Asahi Journal, 13 August 1982, p. 103.
5
Ibid., p. 109.
6
Ibid., p. 110.
7
Sato Tadao, Nihon Eiga Shisoshi, Tokyo, 1970, p. 391.
9 The Loyal Retainers
1
See Ruth Benedict’s chapter ‘Repaying One-Ten-Thousandth’ in The Chrysanthemum and the Sword, paperback edition, London, 1977.
2
For a witty description of this in the business world see Frank Gibney, Japan, the Fragile Superpower, revised edition, New York, 1979.
3
Chushingura was translated by Donald Keene. There is some confusion about the exact number of ronin involved in the final revenge. There appear to have been forty-six, but one disgraced retainer redeemed himself by committing suicide, hence he became the honorary forty-seventh member of the vendetta.
4
Quoted in Donald Keene’s introduction to his translation, Chushingura, New York, 1971, pp. 2–3.
5
Sato Tadao, Chushingura – Iji no Keifu, Tokyo, 1976, pp. 6–8.
6
Ibid., p. 18.
7
Ibid., p. 50.
8
See Ivan Morris, The Nobility of Failure, London, 1975.
9
Hatayama Hiroshi in the Mainichi Daily News, 2 March 1972.
10
See Maruyama Masao, Thought and Behaviour in Modern Japanese, expanded edition edited by Ivan Morris, London, 1969.
11
Ibid., p. 69.
12
Quoted in Donald Keene, op. cit., p. 18.
13
Sato Tadao, op. cit., p. 164. One of the incidents that sparked off the February uprising bears an uncanny resemblance to the tale of the forty-seven ronin: a young, fanatic Lieutenant stabbed an obstructive Major-General to death in the military headquarters. This served as an inspiration to his comrades, who felt compelled to finish the work.
14
Ivan Morris, op. cit., p. 104.
15
Ibid., p. 182.
16
One was not supposed to eat animal food on the anniversary of somebody’s death, and certainly not on the night before, which is when Yuranosuke deliberately flaunted this taboo by ordering raw octopus at the tea-house.
17
Mishima Yukio, Yukoku (Patriotism), translated by Geoffrey Sargent. Mishima later turned this story into a rather gory film, starring himself as the suicidal hero.
18
See John Nathan, Mishima; A Biography, London, 1975.
19
Mishima Yukio, op. cit., p. 103.
10 Yakuza and Nihilist
1
Taoka Mitsuru, the son of Taoka Kazuo, the most powerful gang boss in Japan before he died in 1981.
2
It is significant that all popular samurai heroes, Miyamoto Musashi, Kondo Isamu, Horibe Yasubei, etc., were raised in very humble homes.
3
See the article by Yamane Sadao in the Kyobashi Film Senta programme of January 1982.
4
See Watanabe Takenobu’s contribution to Ninkyo Eiga no Sekai, Tokyo, 1969, pp. 29–55.
5
Jingi Naki Tatakai, directed by Fukasaku Kinji in 1973.
6
The theme song from Jinsei Gekijo.
7
Yamamoto Jocho, Hagakure, quoted in Yukio Mishima on Hagakure, N.Y., 1977, p. 89.
8
Mishima Yukio, op. cit., p. 89.
9
Ibid.
10
Ninkyo Eiga no Sekai, p. 76.
11
‘Showa Kyokyakuden’, directed by Ishii Teruo in 1963.
12
See Donald Richie and Ian Buruma, The Japanese Tattoo, Tokyo and New York, 1980.
13
In Gendaishi Techo (a journal), September 1966.
14
Donald Richie, Japanese Cinema, New York, 1971, p. 75.
15
Quoted in Paul Schrader, Yakuza-Eiga in Film Comment, February 1974.
16
Kadensho.
17
Kurt Singer, Mirror, Sword and Jewel, London, 1973, p. 35.
18
Antonin Artaud, Le théâtre et son double, Paris, 1938.
19
Zankoku no Bi, Tokyo, 1975, p. 21.
20
Sato Tadao, Nihon Eiga Shisoshi, Tokyo, 1970, p. 393.
21
Ibid.
11 Making Fun of Father
1
R. H. Blyth, Japanese Life and Character in Senryu, Tokyo, 1960.
2
George de Vos, Socialization for Achievement, London, 1973, p. 480.
3
Harumi Befu, Japan, An Anthropological Introduction, paperback edition, Tokyo, 1981.
4
Mikiso Hane, Peasants, Rebels and Outcasts, New York, 1982, p. 69.
5
Harumi Befu, op. cit., p. 39.
6
Ibid., p. 41.
7
Sato Tadao, Nihon Eiga Shisoshi, Tokyo, 1970, p. 147.
8
Kawai Hayao, quoted in Sei to Kazoku, 25 August 1976, p. 131.
12 Souls on the Road
1
Kotei no Furusato (Home at the Bottom of the Lake).
2
Quot
ed in Sawagi Kotaro’s article in a special issue on film of Jinsei Dokuhon, Tokyo, 1979, p. 114.
3
Mikiso Hane, Peasants, Rebels and Outcasts, New York, 1982, pp. 266–77.
4
In the arts magazine Bijutsu Techo, June 1975, p. 237.
5
Manyoshu, translated by the Nippon Gakujutsu Shinkokai. Reissued by Columbia University Press in 1965.
6
‘Matteimashita!’, ‘We waited for this!’ is a ritual shout from the audience at climactic moments in the Kabuki theatre.
Index
‘Abashiri Bangaichi’, ref1
actors, actresses, ref1, ref2, ref3; Arashi Kanjuro, ref4; Atsumi Kiyoshi, ref5; Bando Mitsugoro, ref6; Hidari Sachiko, ref7: Ichikawa Danjuro, ref8; Kobayashi Akira, ref9, ref10; Miura Tomokazu, ref11; Mochizuki Yuko, ref12; Morishige Hisaya, ref13; Nakamura Kinnosuke, ref14; Ryu Chishu, ref15; Sawada Kenji, ref16; Takahashi Hideki, ref17; Takakure Ken, ref18, ref19, ref20, ref21, ref22, ref23, ref24, ref25, ref26; Tanaka Kinuyo, ref27; Tani Naomi, ref28, ref29; Tsuruta Koji, ref30, ref31, ref32; Wakayama Tomisaburo, ref33, ref34; Yamaguchi Momoe, ref35; Yoshisawa Ayame, ref36
Adam and Eve, ref1
Adams, F. O., ref1
adolescence ref1, ref2, ref3
Adonis, cult of, ref1
‘Adventures of Puppy …’, ref1
aesthetics, Japanese, ref1, ref2, ref3
‘Aguri’, ref1, ref2
Ama no Uzume see Dread Female …
Amaterasu, see Sun Goddess
anonymity, ref1, ref2
anshin, ref1
anxiety, sexual, ref1, ref2, ref3, ref4, ref5, ref6, ref7, ref8
appearances, obsession with, ref1
aristocracy, ref1, ref2, ref3, ref4
army revolt (1936), ref1, ref2, ref3, ref4
art, ref1, ref2, ref3, ref4, ref5, ref6
Artaud, Antonin, ref1
artificiality, ref1, ref2, ref3
artisans, ref1, ref2, ref3
arts, traditional, ref1, ref2
Asano Naganori (baron) (see also ‘Chushingura’), ref1
authority (see also government): maternal, ref1, ref2, ref3; paternal, ref4, ref5
authors, Japanese: Chikamatsu Monzaemon, ref1, ref2, ref3, ref4; Higuchi Ichiyo, ref5, ref6, ref7, ref8; Ihara Saikaku, ref9, ref10, ref11, ref12, ref13, ref14, ref15; Izumi Kyoka, ref16; Kafu (Nagai Kafu), ref17; Kara Juro, ref18; Kawabata Yasunari, ref19; Mishima Yukio, ref20, ref21, ref22, ref23, ref24, ref25, ref26; Murasaki Shikibu, ref27; Nosaka Akiyuki, ref28, ref29, ref30; Takeda Izumo, ref31, ref32: Tamenaga Shunsui, ref33; Tanizaki Junichiro, ref34, ref35, ref36, ref37; Terayama Shuji, ref38; Tsuruya Namboku, ref39; Watanabe Takenobu, ref40; Yamamoto Jocho, ref41; Yoshiyuki Junnosuke, ref42
bakumatsu, ref1
Banzuin Chobei, ref1, ref2
baseball, ref1
bathing, ref1
beauty (see also bishonen): artificial, ref1, geisha ref2, transvestite, ref3, ref4, ref5; of violence, ref6, ref7
Benkei (warrior monk), ref1, ref2
‘Bicycle Thieves’ (De Sica), ref1
‘Bird of Passage’ series, ref1, ref2
bishonen, ref1, ref2
‘Black Snow’, ref1
blood: as pollution, ref1, ref2; yakuza, ref3
‘blood festivals’, ref1
‘Blue Angel, The’, ref1
‘Bored Bannerman …’, ref1, ref2
bow, ceremonial, ref1
bribery, ref1
Bridge of Dreams, The, ref1
‘Broken Drum’, ref1
Buddhism, ref1, ref2; doll-women and, ref3; Mizoguchi influenced by, ref4; and morality, ref5; and nature, ref6; and prostitutes, ref7; sexual ambivalence in, ref8; and Shinto, ref9; symbols of in films, ref10, ref11, ref12; women in, ref13; Zen, ref14, ref15, ref16, ref17, ref18, ref19
Buretsu, Emperor, ref1
censorship, ref1, ref2
ceremony: social, ref1, ref2; in yakuza films, ref3, ref4, ref5
Chaplin, Charlie, ref1
character-building, ref1
cherry blossoms, ref1, ref2, ref3, ref4
child-rearing, ref1, ref2
childhood, ref1, ref2, ref3, ref4, ref5
children, ref1, ref2, ref3, ref4, ref5, ref6
Child’s Play, ref1
‘Chivalry Films’, ref1
‘Chohichiro Tenka Gomen’, ref1
Christianity, ref1, ref2, ref3
‘Chushingura’, ref1, ref2, ref3, ref4
class, ref1, ref2, ref3, ref4
coffee-shop, ref1
Colours of Spring …, ref1
comic-books: erotic, ref1; fathers in, ref2, ref3; salarymen in, ref4
comic-strip, Sachiko’s Happiness, ref1
comics: boy’s, koha heroes in, ref1; girls’, bishonen in, ref2, ref3, horror in, ref4, ref5
communication, silent, ref1
company structure, ref1, ref2, ref3, ref4
‘Company Director Series’, ref1
compassion, ref1
conformity: and children, ref1, ref2; conflicts with achievement, ref3; pressures for, ref4, ref5, ref6, ref7, ref8; rebellion against, ref9
Confucianism: control of masses by, ref1, ref2, ref3; Idealist School of, ref4; morality, ref5, ref6, ref7, ref8
conscience, ref1
corruption, ref1
countryside, migration from, ref1
courtesans, ref1, ref2
culture, Buddhist-inspired, ref1; foreign, ref2, ref3; popular and official, ref4, ref5, ref6, ref7; primitive, renaissance in, ref8; Shinto-inspired, ref9
Dannoura, battle of, ref1
Days of my Youth, ref1
‘Dazzling Desert, The’, ref1
death (see also suicide): as act of individualism, ref1, ref2; cult, ref3, ref4; father’s, ref5; as pollution, ref6, ref7, ref8; gory details of, ref9; as punishment, ref10; purification through, ref11; ‘Red Army’ attitude to, ref12; and sex, ref13, ref14; sincerity proved by readiness for, ref15; wish, ref16; and yakuza heroes, ref17, ref18, ref19, ref20
‘demokurashi’, ref1
department stores, ref1
depersonalization, ref1
‘Diary of a Mad Old Man’, ref1
‘Disturbance’, ref1
divorce, ref1
‘Dojoji’, ref1
doll-women, ref1, ref2
‘Double Suicide at Sonezaki’, ref1
Dread Female of Heaven, ref1, ref2
drifters, ref1, ref2, ref3, ref4, ref5
‘Drifters on the Mainland’, ref1
drinking, ref1
‘Drunken Angel’, ref1
duty, see giri; social obligations
Edo period (see also culture; government, Tokugawa): end, ref1; pornographic art, ref2; prostitution, ref3, ref4; yakuza origins in, ref5
education, ref1, ref2, ref3; spiritual, ref4, ref5, ref6, ref7
Ejima-Ikushima affair, ref1
Ekin (artist), ref1, ref2
‘Elegy to Fighting’, ref1
elevator girls, ref1
emotions: death-bed statements of, ref1; Japanese ruled by, ref2, ref3; natural images used in, ref4; outlets for, ref5, ref6; personal, suppression of, ref7; restraint on, in drama, ref8; silent communication of, ref9; sublimated, ref10, ref11; supremacy over reason, ref12, ref13, ref14
emperor, ref1, ref2, ref3, ref4
Enka, ref1
ethics, ref1, ref2, ref3
etiquette, ref1, ref2, ref3; breaches of, ref4, ref5; and prostitution, ref6, ref7
family: fathers’ role in, ref1; groups structured like, ref2, ref3, ref4, ref5; moral attitudes to, ref6, ref7; and social change, ref8; system, ref9
fanaticism, ref1
fantasies: adolescent, ref1, ref2; of demon women, ref3; in massage parlours, ref4; and reality, ref5, ref6, ref7; violent and sexual, ref8
farce, ref1
fate, ref1, ref2, ref3, ref4, ref5, ref6
father-figure, yakuza, see oyabun
father-son relation
ships, ref1
fathers, ref1
‘feminisuto’, ref1
femme fatale, ref1
‘Fighting Without Nobility’, ref1
film-directors: Adachi Masao, ref1; Imamura Shohei, ref2, ref3, ref4; Kinoshita Keisuke, ref5; Kirosawa Akira, ref6, ref7; Mizoguchi Kenji, ref8, ref9, ref10, ref11; Oshima Nagisa, ref12, ref13; Ozu Yasujiro, ref14, ref15, ref16; Shinoda Masahiro, ref17; Suzuki Seijun, ref18, ref19; Takechi Tetsuji, ref20; Uchida Tomu, ref21; ref22; Wakamatsu Koki, ref23, ref24; Yamada Yoji, ref25
films (see also actors, film-directors,): bishonen in, ref1; censorship, ref2; demon women in, ref3, ref4, ref5, ref6; doll-women in, ref7; drifters in, ref8; fathers in, ref9; foreign imagery in, ref10, ref11; mothers in, ref12, ref13, ref14; pornographic, ref15; realism in, ref16; spiritual education in, ref17; traditional marriage in, ref18; versions of ‘Chushingura’, ref19; violence in, ref20, ref21, ref22, ref23, ref24, ref25; yakuza, ref26, ref27, ref28
‘floating world’, ref1
Flowers in the Shade, ref1
‘Fool’s Love, A’, ref1, ref2
Forbidden Colours, ref1
foreigners, ref1, ref2, ref3
form, ref1, ref2
formality, ref1
furusato (childhood home), ref1, ref2
gaman, ref1; of yakuza, ref2, ref3, ref4, ref5, ref6
gangsters, see yakuza
Ganryu Island, ref1, ref2
gardens, ref1
geisha, ref1
genitals, female, ref1, ref2, ref3, ref4
ghosts and spirits, ref1