Musashino in Tuscany Michigan Monograph Series in Japanese Studies Number 50 Center for Japanese Studies the University of Michigan Musashino in Tuscany
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Musashino in Tuscany Michigan Monograph Series in Japanese Studies Number 50 Center for Japanese Studies The University of Michigan Musashino in Tuscany JAPANESE OVERSEAS TRAVEL LITERATURE, 1860-1912 Susanna Fessler Center for Japanese Studies The University of Michigan Ann Arbor, 2004 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Copyright © 2004 The Regents of the University of Michigan Published by Center for Japanese Studies, The University of Michigan Library of Congress Cataloging-in-Publication Data Fessler, Susanna. Musashino in Tuscany : Japanese overseas travel literature, 1860-1912 / Susanna Fessler. p. cm. — (Michigan monograph series in Japanese studies ; 50) Citations translated into English. Includes bibliographical references and index. ISBN 1-929280-29-7 1. Authors, Japanese—19th century—Travel—Europe. 2. Authors, Japanese—19th century—Travel—United States. 3. Europe—Description and travel. 4. United States—Description and travel. I. Title. II. Series. PL721.T75F47 2004 895.6'8420809491404—dc22 2004051705 Book design by City Desktop Productions This book was set in Minister. This publication meets the ANSI/NISO Standards for Permanence of Paper for Publications and Documents in Libraries and Archives (Z39.48-1992). Printed in the United States of America ISBN 978-1-929280-29-2 (hardcover) ISBN 978-0-472-03830-5 (paper) ISBN 978-0-472-12801-3 (ebook) ISBN 978-0-472-90197-5 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ The light green leaves of the birch tree in Tuscany I liken to the spring in Musashino Anezaki Chofu, Hanatsumi nikki Contents Illustrations ix Preface xi Introduction 1 CHAPTER ONE A Brief History of Japanese Travel and Travel Writing 11 Uta Makura 12 Travel East and West 22 The Precedents in Kikobungaku 27 CHAPTER TWO New Lands: The Early Travelogues, 1860-80 50 Travelogues by Students 51 Nakai Oshu 52 Nomura Fumio 68 Shibusawa Eiichi 71 Travelogues by Diplomats 79 Muragaki Norimasa 82 Fuchibe Tokuzo 91 Narushima Ryuhoku and Post-Restoration Travelogues 106 Conclusion 118 CHAPTER THREE Transitions: Mid-Meiji Travelogues, 1880-1900 120 viii Contents Arisugawa no Miya Taruhito 121 Kurihara Ryoichi 125 Yamashita Yutaro 140 Yano Ryukei 150 Mori Ogai 155 Suehiro Tetcho 165 Kamata Eikichi 170 CHAPTER FOUR Assimilation: Late Meiji Travelogues, 1900-1912 178 Shimamura Hogetsu 182 Tokutomi Roka 192 Nagai Kafu 217 Anezaki Chofu 225 Conclusion 246 Glossary 251 Character List for Proper Nouns 256 Character List for Titles 262 Bibliography 272 Travelogues 272 Secondary Sources 278 Index 283 Illustrations House where Napoleon lived on the Neman River 58 Crystal Palace daguerreotype 65 Mont Blanc 66 Cascade at Bois du Boulougne 74 USS Powhatan 83 Street scene from Paris 99 Crystal Palace engraving 103 Grand Trianon, Chamber of Napoleon 112 The dairy, Versailles 113 Camel hitched to water dealer's cart in Aden 129 Native boys on the boat at Aden 130 Bay of Naples 131 The harbor at Marseilles 132 L'Arc de Triomphe 134 Place de la Concorde 135 The Tuileries 135 The Louvre 136 Napoleon's Tomb 137 The Luxembourg Palace 138 Royal Theater in Copenhagen 143 Lyons 147 x Illustrations The lake at Bois du Boulougne 153 The Medici fountains in Bois du Boulougne 153 Panorama of San Francisco, 1919 168 Yasnaya Polyana 208 Lev Tolstoy in garden 209 Tolstoy in his study 212 New York skyline, 1908 220 Brooklyn Bridge 224 Preface It was my aim in writing this book to provide information that would both be informative for the scholar and entertaining for the layper- son. Consequently, there are copious footnotes that are of primary interest to the researcher, but there is also a gentle reiteration of Japanese history—old hat for the Japanologist—in the text to help the non-expert place the context of the travelogues discussed. To avoid misconceptions and awkward terminology, I have left many Japanese terms untranslated, but I have also appended a glossary for those in need of it. Words that appear in italics in the main text are included in this glossary. In the main text, titles of Japanese works are translated into Eng- lish; if a work appears only in a footnote, then the title is given in romanization. Proper Japanese names appear with the surname fol- lowed by the given name, as is standard in Japan, except in the case of a citation of a work written in English by a Japanese, in which case the format is given name first, surname name second. Chinese char- acters (kanji) have all been converted to postwar simplified form. Chi- nese names and terms are represented in Pinyin romanization. Unless otherwise indicated, all translations are my own. I have purposely chosen to use the masculine pronoun "he" as the generic marker for human beings where "one" is awkward. I know that feminists will be offended by this and wryly remark that I am bow- ing to the patriarchy. In my defense, I will say that in English "he" is xii Preface acceptable for this use, and to use "she" when the sex of the subject is indeterminate calls attention to a nugatory aspect of the text. Chapter one is a revised version of "Early Overseas Travel and Travel Writing in Japanese," in The Journal of Intercultural Studies, no. 26 (1999), pp. 20-44. Many people have provided assistance in the production of this work. The University at Albany presented me with a Faculty Research Assistance Program grant, which helped procure many of the primary sources. The interlibrary loan staff at the University at Albany was also extremely helpful in their untiring efforts towards tracking down obscure manuscripts. My colleagues in the East Asian Studies Department—Charles Hartman, Jim Hargett, Tony DeBlasi, Shirley Chang, Mark Blum, Sachiko Funaba, and Michiyo Kaya Wojnovich— have been tremendously supportive of this project, and have provided many valuable comments and suggestions on the work-in-progress. Mike Rich and Pat Caddeau generously read an earlier draft of the manuscript and gave many helpful suggestions. Will Thomas patiently proofread draft after draft, providing yet more suggestions. Without all these people, the work would be a much lesser product, but the errors and omissions that are undoubtedly still buried within it are fully my responsibility. Introduction 1 o address any topic, one must define the concept. Many literary critics have attempted to delineate what constitutes a travelogue, but there is no universal agreement on the issue. Some writers, in dis- cussing travelogues, quickly diverge onto the idea of a mental jour- ney, and equate that with a physical journey. An author, it is proposed, makes a journey in the process of relating a narrative (and the reader, likewise, makes a journey in reading the text), but this definition would then make almost any text a travelogue, and one is left with little in the way of useful defining characteristics. Likewise, many writers chose to describe their own evaluation and perusal of literature as a "journey" through texts, as is revealed by such titles as A Journey in Search of the Self: Reading Children's Literature,1 A Journey to the Liter- ature of Sakhalin,2 and A Mud Hen s Journey of Collected Literary Crit- icisms: Solzhenitsin, Yasuda Yojuro, Shimao Toshio, and Others.3 These figurative uses of the term "journey" aside, I propose that the unifying factor and defining characteristic of all travelogues is that they record a physical journey from one point to another. This jour- ney can be short or long, domestic or abroad, solitary or accompanied, new or repeated, and for one or more of any number of purposes, such as work, leisure, or study. A travelogue is not necessarily a factual 1. Jibun sagashi no tabi : jido bungaku o yomu (Kyoto: Kamogawa shuppan, 1993). 2. Saharin bungaku no tabi (Sapporo: Kyodd bunkasha, 1994). 3. Sakka ronshu kuina no tabi : Sorujenitsuin, Yasuda Yojuro, Shimao Toshio hoka (Tokyo: Yumani shobo, 1994). 2 Introduction account of a journey—in many cases, authors fictionalize some of their specific experiences while adhering to the general truths of the journey. The line between travelogues and travel fiction, then, is drawn between the records of journeys actually taken and those only con- ceived of in the comfort of one's home. This necessarily eliminates works such as Jonathan Swift's (1667-1745) Gulliver's Travels and Alexander Pope's (1688-1744) The Dunciad, but does not eliminate Richard Halliburton's (1900-39) The Flying Carpet or Matsuo Basho's (1644-94) Narrow Road to the Deep North. Given this broad definition, it is not surprising that the resulting travelogues vary widely, but each and every one is an account of a physical journey. In Japanese literature, the broadest term for travelogues is kikobun- gaku, a genre that overlaps diary literature (nikki bungaku) but is not a concentric subset; there are diaries that do not narrate a journey, and there are journeys that are not recorded in diary form. A "travel diary" is a travelogue that is necessarily narrated in the first person, and often follows the events of a journey in a chronological fashion. The style of the travel diary is often one of daily, dated installments. In Japanese literary studies, these two genres of kikobungaku and diary literature are often mentioned in the same breath, and placed together in volumes of collected works.4 It is virtually impossible to study one without touching on the other, as many of the canonical masterpieces of Japanese literature, such as The Diary of the Waning Moon (c.