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Mirrors on the Walls, Eyes in the Sky: 13 Tales by Miyazawa Kenji

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Mirrors on the Walls, Eyes in the Sky: 13 Tales by Miyazawa Kenji University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2009 Mirrors On The alW ls, Eyes In The kyS Derek Petrarca University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the East Asian Languages and Societies Commons Petrarca, Derek, "Mirrors On The alW ls, Eyes In The kS y" (2009). Masters Theses 1911 - February 2014. 275. Retrieved from https://scholarworks.umass.edu/theses/275 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. MIRRORS ON THE WALLS, EYES IN THE SKY: 13 TALES BY MIYAZAWA KENJI A Thesis Presented by DEREK PETRARCA Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS MAY 2009 JAPANESE MIRRORS ON THE WALLS, EYES IN THE SKY: 13 TALES BY MIYAZAWA KENJI A Thesis Presented By Derek Petrarca Approved as to style and content by: ______________________________________ Stephen Miller, Chair ________________________________________ Amanda Seaman, Member ________________________________________ Stephen M. Forrest, Member ____________________________________ Zhongwei Shen, Director Asian Languages and Literatures Department of Languages, Literatures and Cultures ____________________________________ Julie Candler Hayes, Chair Department of Languages, Literatures and Cultures ACKNOWLEDGEMENTS This project would not have been possible without the help and guidance of Professors Stephen Miller, Amanda Seaman, Stephen Forrest, and Doris Bargen, and the rest of the department of Asian Languages and Literatures at the University of Massachusetts Amherst. Special thanks are also in order to David Petrarca and Annette Pashley for the kind of unconditional support that only parents can provide, to Emily Cousineau for giving it all meaning just by being herself, and to Matt Coppellotti for being a great friend for no reason whatsoever. This is and always has been for my nephew, Dave “Buggies” Petrarca III. iii ABSTRACT MIRRORS ON THE WALLS, EYES IN THE SKY: 13 TALES BY MIYAZAWA KENJI MAY 2009 DEREK PETRARCA, B.A., UNIVERSITY OF MASSACHUSETTS AMHERST M.A., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Stephen Miller Translations of thirteen assorted fairy tales by early 20th century Japanese poet/author Miyazawa Kenji. These tales are preceded by a short analytical introduction that explores the presence of "the agent of the outside" in the majority of the author's work and how this literary concept serves to encourage the reader to escape subjective viewpoints. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS................................................................................................. iii ABSTRACT ...................................................................................................................... iv CHAPTER 1. ANALYTICAL INTRODUCTION................................................................................1 The Odd Duck – Introduction..................................................................................1 How to Contribute Without Saying Anything..........................................................6 A Tale By Any Other Name.....................................................................................8 Mirrors on the Walls, Eyes in the Sky – The Agent of the Outside.......................13 Agents of the Outside in this Collection................................................................20 Finding Kenji's Voice: Translating Miyazawa Kenji.............................................29 2. TRANSLATIONS.........................................................................................................34 A Mouse Tale: Fuu and Professor Bird-box...............................................34 A Mouse Tale: Ku.......................................................................................40 A Mouse Tale: Xe.......................................................................................50 Akita Highroad...........................................................................................59 Gingko Nuts...............................................................................................62 Kenjū’s Grove............................................................................................67 Night of the Festival...................................................................................77 Official Government Business...................................................................84 Shellfire......................................................................................................93 v The Ant and The Mushroom.....................................................................118 The Four Forests.......................................................................................122 The Porcelain-Berries and the Rainbow...................................................133 The Wildcat and the Acorns.....................................................................138 BIBLIOGRAPHY............................................................................................................149 vi CHAPTER 1 ANALYTICAL INTRODUCTION The Odd Duck – Introduction. Early in the twentieth century, Hanamaki, Japan was a place where the long since settled dusts of the past had been hardly stirred by the whirlwind of modernization to the south. A world on the fringes of a rapidly modernizing, industrializing, nationalizing Japan, the small Iwate community enjoyed a few choice glimpses of the fruits of the last 50 years of rapid change. There were streetlights and telegraph poles adorning dusty roads, though for the most part the concepts of the modern era were a vague set of ideas reserved for the backs of the minds of a select and privileged few. For the rest of the population of Hanamaki, the farming poor, the big talk of the modern age was little more than an annoyance, detached from the real business of farming the land and surviving. It was in this town that Miyazawa Kenji was born on August 27 th , 1896. The eldest son of a successful merchant family that thrived off of the economic suffering of the local farmers, Miyazawa was an outsider even to these marginalized locals. Hanamaki was a place so far removed from the ports and centers of development that the locals simply couldn’t keep pace with the changing demands of the time. The area had been basically pushed back and forgotten. Although the people of present day Hanamaki look fondly upon the family name of Miyazawa, it is documented that the farmers of the time had little affection for the merchant family and their pawn shop. 1 As is often reflected in his poetry written during his years dedicated to helping improve the lot of the farmers, the locals had little tolerance and patience for the “teacher turned seed 1 Toriyama Toshiko. Kenji no Gakkō (Tokyo: Sanmaku Shuppan, 1996), 15. 1 collector” 2 and often saw him as little more than the spoiled rich boy frivolously playing farmer. As if this were not enough, Kenji 3 spent the majority of his life in a 'classic father- son split,' 4 at ends with his father regarding ethics and core religious philosophy. These differences resulted in radically conflicting ideologies and life plans between the two men. This is not to say that the author was completely cut off from his family. On the contrary, Kenji's continued acceptance of his family's financial support, which he put towards education and travel, suggests in some manner at least that there was civility among the Miyazawas. 5 Never were things completely peaceful between Kenji and his father, though. Even within his own family the author remained, at least in some regard, an outsider. As an adult and a teacher, it is said that Miyazawa seemed to live in “another universe,” 6 and was sometimes ostracized by his peers who did not understand his viewpoints and lifestyle. He remained a man seemingly unable to conform to any one particular set of cultural norms, instead dabbling in nearly every pursuit available to him. This openness to learning and diversity has become one of Kenji's most oft-celebrated attributes. 2 Hiroaki Sato. Miyazawa Kenji: Selections (Berkeley: University of California Press, 2007), 147. 3 In keeping with the tradition in recent Japanese scholarship, the author at hand is in this collection sometimes referred to by his given name. This is rather strange by most standards: a fact I more than readily admit. Even in Japan it is unusual to discuss a figure by his first name unless the scholar has actual familiarity or intimacy with the subject at hand. The majority of sources I have dealt with discussing Miyazawa Kenji, however, have referred to him as simply “Kenji.” Personally I believe this to be due to the internalization of “Kenji” within Japanese scholarship as a concept that extends beyond the lifetime of a single historical figure. As I am not a Japanese scholar but would like to put forth this same feeling, I have sometimes referred to the author by his given name, sometimes by his family name. 4 Pulvers, Roger. "Miyazawa Kenji, Rebel with a Cause" Japan Quarterly 43 no. 4 (1996): 30. 5 Toriyama, Kenji no Gakkō, 54. 6 Ibid , 72. 2 Since the start of scholarship into Miyazawa's life there
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