Notes Introduction The Making of Decadence in Japan 1. Nakao Seigo, “Regendered Artistry: Tanizaki Junichiro and the Tradition of Decadence,” (Ph.D. Diss. New York U, 1992), p. 53. 2. Homi K. Bhabha, The Location of Culture. New York: Routledge, 1994, p. 122. 3. Ibid., p. 123. 4. Ibid., p. 130. 5. Kamishima Jirō, Kindai nihon no seishin kōzō [The Structure of the Modern Japanese Mind]. Tokyo: Iwanami, 1961, p. 183. Kamishima introduces the word “reiki” (encouraging reinforcement) to describe the acculturation pro- cess that appeared to further the social phenomenon of decadence in late Meiji Japan. He argues that individualism, the decay of conventional ethics, the corruption of public morals, and a collective neurosis, etc., were ubiqui- tous by the end of the Meiji period. According to Kamishima, these social fac- tors already existed in pre-Meiji Japan, but became more visible in the 1900s. These indigenous factors were not transplanted but simply “reinforced” through contact with the West. 6. In reality, Ariwara no Narihira lived in the ninth century (825–880). Ise Monogatari offers a fictional version of Narihira and places him in the context of the year 950 or thereabouts. Karaki traces Narihira’s decadent image not on the basis of biographical facts but via the fictional image created by the author of Ise Monogatari. See Karaki Junzō, Muyōsha no keifu. Tokyo: Chikuma, 1960, p. 10. 7. Fujiwara no Kusuko (?–810), a daughter of Fujiwara no Tanetsugu and the wife of Fujiwara no Tadanushi, was Emperor Heijō’s mistress. She and her brother, Fujiwara no Nakanari, vehemently opposed the Emperor’s decision to leave the throne. After retiring, the Emperor returned to Heijōkyō, but because of an amendment to the law related to the Inspector General (kansa- tsushi) that was initiated by Emperor Saga, the two emperors confronted each other. By using her political power, Kusuko intensified the antagonism between them by encouraging Emperor Heijō to declare the Heijō sento (the re-establishment of the capital in Heijō, today’s Nara). However, they were besieged by Emperor Saga’s military force, and when their attempt at striking back with the support of the Eastern squads became known, Saga was quick
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Notes
Introduction The Making of Decadence in Japan
1. Nakao Seigo, “Regendered Artistry: Tanizaki Junichiro and the Tradition of Decadence,” (Ph.D. Diss. New York U, 1992), p. 53.
2. Homi K. Bhabha, The Location of Culture. New York: Routledge, 1994, p. 122.
3. Ibid., p. 123. 4. Ibid., p. 130. 5. Kamishima Jirō, Kindai nihon no seishin kōzō [The Structure of the Modern
Japanese Mind]. Tokyo: Iwanami, 1961, p. 183. Kamishima introduces the word “reiki” (encouraging reinforcement) to describe the acculturation pro-cess that appeared to further the social phenomenon of decadence in late Meiji Japan. He argues that individualism, the decay of conventional ethics, the corruption of public morals, and a collective neurosis, etc., were ubiqui-tous by the end of the Meiji period. According to Kamishima, these social fac-tors already existed in pre-Meiji Japan, but became more visible in the 1900s. These indigenous factors were not transplanted but simply “reinforced” through contact with the West.
6. In reality, Ariwara no Narihira lived in the ninth century (825–880). Ise Monogatari offers a fictional version of Narihira and places him in the context of the year 950 or thereabouts. Karaki traces Narihira’s decadent image not on the basis of biographical facts but via the fictional image created by the author of Ise Monogatari. See Karaki Junzō, Muyōsha no keifu. Tokyo: Chikuma, 1960, p. 10.
7. Fujiwara no Kusuko (?–810), a daughter of Fujiwara no Tanetsugu and the wife of Fujiwara no Tadanushi, was Emperor Heijō’s mistress. She and her brother, Fujiwara no Nakanari, vehemently opposed the Emperor’s decision to leave the throne. After retiring, the Emperor returned to Heijōkyō, but because of an amendment to the law related to the Inspector General (kansa-tsushi) that was initiated by Emperor Saga, the two emperors confronted each other. By using her political power, Kusuko intensified the antagonism between them by encouraging Emperor Heijō to declare the Heijō sento (the re-establishment of the capital in Heijō, today’s Nara). However, they were besieged by Emperor Saga’s military force, and when their attempt at striking back with the support of the Eastern squads became known, Saga was quick
182 / notes
enough to prevent the plan. Consequently, Emperor Heijō was forced to enter the priesthood, and Kusuko committed suicide. For more details about the Incident of Fujiwara no Kusuko, see John Whitney et al., eds., The Cambridge History of Japan vol. 2: Heian Japan. Cambridge: Cambridge University Press, 1999, pp. 33–4.
8. Ibid., p. 10. 9. Ibid.10. Ibid., p. 15.11. Ibid., p. 19.12. Ibid., p. 59.13. Ibid. The Mahāyāna Buddhist belief in mappō (the law of the end of the world)
had a profound impact on the pessimistic worldview that had dominated medieval Japan. According to this belief, Japan had entered the age of mappō in 1052. People saw the rise of militant powers, including the Miyamoto and Heike clans’ hegemonies over the Imperial court in the late eleventh century, and the subsequent foundation of the Kamakura shogunate (1185–1333) as an inevitable manifestation of mappō. For a concise description of the concept of mappō, see “Part III, The Medieval Age: Despair, Deliverance, and Destiny” Sources of Japanese Tradition Vol. 1: From Earliest Times to 1600. Theodore De Bary et al., eds. New York: Columbia University Press, 2001, pp. 206–7. The idea of mappō has influenced people since the late Heian period, and Karaki suggests that the same historical consciousness was passed down to the era of war of the late fifteenth century.
14. Ibid., p. 59.15. Ibid.16. Ibid.17. Ibid.18. Orikuchi Shinobu, “Nihonbungaku hassōhō no ichimen: haikai bungaku
to inja bungaku to” [A Dimension of Ideas in Japanese Literature: Haikai Literature and Recluse Literature], Shōwabungaku zenshū vol. 4 [The Complete Collection of Shōwa Literature, vol. 4]. Tokyo: Shōgakkan, 1989, p. 235.
19. Ibid., p. 237. Orikuchi’s definition of inja is rather broad and discursive, inclusive of those who have drifted away from their social circles such as the buraikan (vagabonds or ruffians) or the kabukimono (lower-class artists).
20. Ibid., p. 235.21. Ibid., p. 242.22. Ibid., p. 237.23. Ibid., pp. 240–2.24. Ibid., p. 242.25. Karaki Junzō, Muyōsha, p. 102.26. Ibid., p. 103.27. Ibid., p. 106.28. Ibid., pp. 94–8.29. Edward Seidensticker, Kafū the Scribbler. Stanford: Stanford University Press,
1965), pp. 27–8.30. For details of Taigyaku Jiken (the High Treason Incident), see the discussion
of Kafū’s decadence and the note 24 in Chapter 3.
notes / 183
31. Nagai Kafū, “Hanabi” [Fireworks], in Nihon kindai bungaku hyōronsen: Meiji/Taishō hen [A Selection of Modern Japanese Literary Criticism: Meiji & Taishō Edition], eds. Chiba Shunji et al. Tokyo: Iwanami, 2003, p. 292.
32. Katagami Tengen, “Mukaiketsu no bungaku” [Literature Without Solutions], Nihon kindai bungaku hyōronsen: Meiji/Taishō hen [A Selection of Modern Japanese Literary Criticism: Meiji & Taishō Edition], eds. Chiba Shunji et al. Tokyo: Iwanami, 2003, p. 128.
33. Washburn, Dennis C. The Dilemma of the Modern in Japanese Fiction. New Haven: Yale University Press, 1995, p. 5.
34. Akagi Kōhei, “Yūtōbungaku no bokumetsu” [Eradication of Decadent Literature], Nihon kindai bungaku hyōronsen: Meiji/Taishō hen, eds. Chiba Shunji et al. Tokyo: Iwanami, 2003, p. 245. In “Anatomy of the I-Novel,” Hirano Ken makes distinctions between the shinkyō shōsetsu (state-of-mind novel) and the shishōsetsu (I-novel) in Naturalist writing. According to Hirano, the former can be characterized as a “harmonious type,” whereas the latter is a “destructive type.” Those criticized by Akagi, such as Chikamatsu Shūkō and Kasai Zenzō, belong to the destructive type whose writing centers on a wanton life style and desires and they ascribe to the narrative method of “non-ideal” and “non-solution” espoused by Naturalism. For details, see Tomi Suzuki’s Narrating the Self. Stanford: Stanford University Press, 1996, pp. 62–3.
35. Ibid., p. 236.36. Ibid., pp. 238–9.37. Karaki Junzō, Muyōsha no keifu [A Genealogy of Useless Men]. Tokyo:
Chikuma, 1964, p. 74.38. Akagi, “Yūtōbungaku,” pp. 240–2. Another polemic on yūtōbungaku relates to
Kobayashi Hideo’s critique of the I-novel. He argues that the Japanese I-novel (and thus Naturalism) failed to address the shakaikasareta watashi (socialized “I’). See Kobayashi Hideo zenshū vol. 3. Tokyo: Shinchō, pp. 121–2.
39. Ibid., p. 246.40. Ibid., p. 239.41. Ibid., p. 244.42. Yasunari Sadao, “’Yūtōbungaku’ bokumetsu fukanō ron” [The Impossibility
of Eradicating ‘Decadent Literature’], Kindaibungaku hyōrontaikei vol. 4 [A Collection of Modern Literary Criticism, vol. 4]. Tokyo: Kadokawa, 1971, p. 271.
43. Ibid., p. 271.44. Ibid., p. 272.45. Ibid.46. Ibid., p. 273.47. Ibid.48. Ibid., pp. 273–4.49. Miyamoto Yuriko, “1946nen no bundan: Shinnihon bungakkai ni okeru
ippanhōkoku” [The Literary Circle of 1946: General Reports to the Association of New Japanese Literature], Miyamoto Yuriko zenshū vol. 17. Tokyo: Shinnihon Shuppan, 1979, p. 190.
50. Ibid., pp. 202–4.51. Miyamoto Yuriko repeatedly employs the term “Decadentism.” I retain it
in my translation, although it should be considered equivalent to the more widely recognized term, “Decadence.”
184 / notes
52. Ibid., p. 190. My translation.53. Ibid., p. 196.54. Ibid., p. 202.55. Ibid.56. Miyamoto distinguishes between the European (French) bourgeoisie and
the Japanese bourgeoisie. Unlike the European (French), the Japanese bour-geoisie is not entirely independent of semi-feudalism, such that the laboring classes of the latter have the potential to establish the ideal of modern democ-racy. She implies that the Japanese bourgeoisie is immature and that Japanese Decadent literature is a repository for their ideological shortcomings. See, ibid., p. 204.
57. Ibid., p. 202.58. Ibid.59. Ibid., p. 196.60. Kobayashi Hideo, “Shishōsetsuron” [On the I-Novel], Kobayashi Hideo zenshū
vol. 3. Tokyo: Shinchō, 2001, p. 382.61. According to Noda Utarō, fin-de-siècle Decadence was welcomed by the
Aestheticists of Pan no kai, who understood it as “the liberal thought against obsolete feudalism,” instead of as a socio-cultural movement that refuted the bourgeoisie. See Noda Utarō, Nihon tanbiha bungaku no tanjō [The Birth of the Japan Aesthetic School]. Tokyo: Kawade, 1975, p. 5.
62. Karaki Junzō, Shi to dekadansu [Poetry and Decadence]. Tokyo: Sōbunsha, 1952, p. 32.
63. Ibid., p. 39.64. Ibid.65. Ibid., pp. 12–13. My translation.66. Friedrich Nietzsche, “The Case of Wagner,” The Birth of Tragedy and the Case
of Wagner, trans. Walter Kaufmann. New York: Vintage, 1967, p. 170.67. Ibid.68. Karaki, Shi to dekadansu, p. 12.69. Nietzsche’s philosophy was introduced to Japan by Tobari Chikufū
(1873–1955), Takayama Chogyū (1871–1902), and later by Morita Sōhei (1881–1949) via his reading of Gabriele D’Annunzio’s Il trionfo della morte [The Triumph of Death] (1894), which centers on Nietzsche’s will to power and Übermensch. In Chapter 2, we will return to the issues of Nietzschean decadence in conjunction with Morita Sōhei’s Baien [Sooty Smoke] (1909).
70. Ibid., p. 38.71. Ibid., pp. 38–9.72. Karaki, Shi to dekadansu, p. 32. Karaki refers to Paul Valéry’s idea of history
as dichotomous, wherein primitivity is the age of facts and order is the age of fictionality, as noted in Valéry’s “Preface to Persian Letters.”
73. Ibid., p. 39.74. Ibid., pp. 39–40.75. Ibid., p. 39.76. Richard Dellamora, “Productive Decadence: ‘The Queer Comradeship of
Outlawed Thought’: Vernon Lee, Max Nordau, and Oscar Wilde,” New Literary History 35.4 (2004): pp. 529–46.
notes / 185
77. Karl Marx and Friedrich Engels, The Marx–Engels Reader, ed. Robert C. Tucker. New York: Norton, 1978, p. 204.
78. Ibid., p. 205. 79. Karl Marx and Friedrich Engels, The German Ideology, ed. C. J. Arthur.
New York: International Publishers, 1970, pp. 109–14. 80. The chapters especially relevant to my analysis include “The Origins of
Capitalism and the Reformation” and “The Bourgeois World,” in Part 4, Georges Bataille, The Accursed Share vol. 1. New York: Zone Books, 2007, pp. 115–42.
81. Ibid., p. 29. 82. Ibid. 83. Georges Bataille, Visions of Excess, ed. Allan Stoekel. Minneapolis: University
of Minnesota Press, 1983, p. 124. 84. Jean-François Lyotard, Libidinal Economy, trans. Iain Hamilton Grant.
Bloomington: Indiana University Press, 1993, p. 201. 85. Michael Hardt and Antonio Negri, “Preface—Dionysus,” Labor of Dionysus:
A Critique of the State-Form. Minneapolis: University of Minnesota Press, 1994, pp. 1–2 of “Preface.”
86. Ibid. 87. Ibid., pp. 7–11. 88. Charles Baudelaire, On Wine and Hashish, trans. Andrew Brown. London:
Hesperus, 2002, pp. 15–25. 89. Jean Pierrot, The Decadent Imagination: 1880–1900, trans. Derek Coltman.
Chicago: University of Chicago Press, 1981, p. 179. 90. Ibid., p. 166. 91. Maruyama Masao, Fukuzawa Yukichi no tetsugaku [The Philosophy of
Fukuzawa Yukichi], ed. Matsuzawa Hiroaki. Tokyo: Iwanami, 2004, pp. 7–10. 92. See Fukuzawa Yukichi, “Gakumon no dokuritsu” [The Independence of
Learning], Fukuzawa Yukichi zenshū vol. 5. Tokyo: Iwanami, 1959, p. 377. 93. Ibid., p. 57. 94. Ibid., pp. 370–1. 95. Fukuzawa Yukichi, Gakumon no susume [An Encouragement of Learning].
Tokyo: Iwanami, 2005, pp. 147–8. 96. Maruyama, Fukuzawa, p. 48. 97. Ibid., pp. 43–4. 98. Thomas R. H. Havens, “Comte, Mill, and the Thought of Nishi Amane in
Meiji Japan,” The Journal of Asian Studies 27.2 (1968): p. 225. 99. Ibid., p. 228.100. Ibid.101. Ibid., p. 224.102. Hasegawa Tenkei, “Genmetsujidai no geijutsu” [Art in the Age of
Disillusionment], Nihon kindai bungaku hyōronsen: Meiji/Taishō hen, eds. Chiba Shunji et al. Tokyo: Iwanami, 2003, p. 120.
103. Ibid., p. 120–2.104. Ibid., p. 129.105. Kinoshita Mokutarō, Kitahara Hakushū, Nagata Hideo, Hirano Banri,
Takamura Kōtarō, Tanizaki Jun’ichirō, and Yoshii Isamu were the principle members of the group.
186 / notes
106. Noda Utarō. Nihon tanbiha bungaku no tanjō [The Birth of the Japanese Aesthetic School]. Tokyo: Kawade, 1975, p. 16.,
107. Ibid., p. 11.108. Ibid., p. 9.109. Noda asserts that the members of Pan no Kai advocated the aesthetic prin-
ciple of fin-de-siècle Decadence, while practicing a self-indulgent lifestyle as though it constitutes the core of Decadent aesthetics. Ibid., p. 10.
110. Ibid., p. 11111. For the translated literary works included in the first issue of Subaru, see
Noda, Nihon tanbiha, p. 340.112. Itō Sei, Nihon bundanshi vol. 13: Taitōha no hitotachi [The History of
Japanese Literary Circles Vol. 13: People of the School of Decadence]. Tokyo: Kōdansha, 1996, p. 230.
113. Noda, Nihon tanbiha, p. 102.114. Ibid., p. 182.115. Ōoka Makoto, Eureka 2.11.10. Tokyo: 1970, cited by Kawamoto Saburō in
Taishō gen’ei [Taishō Illusions]. Tokyo: Shinchō, 1997, p. 25.116. Kawamoto Saburō. Taishō gen’ei [Taishō Illusions]. Tokyo: Shinchō, 1997,
p. 31.117. Ibid., pp. 306–7.118. Ibid., p. 308.119. Ibid., p. 302.120. Miriam Silverberg, Erotic, Grotesque, Nonsense: The Mass Culture of Japanese
Modern Times. Berkeley and Los Angeles: University of California Press, 2006, pp. 4–5.
121. Ibid., pp. 4–5.122. Nii Itaru, “Modan eiji to modan raifu” [Modern Age and Modern Life],
Gendai ryōki sentan zukan Tokyo: Shinchō, 1931, reprinted in Shimarumra Teru, ed., Korekushon modan toshibunka vol. 15 Ero guro nansensu [Collection of Modern Urban Culture vol. 15: Erotic Grotesque Nonsense]. Tokyo: Umani, 2005, p. 263.
123. Ibid., p. 266.124. Yokomitsu Riichi, “Neo baabarizumu towa” [What is Neo-barbarism?],
Chūōkōron 46.11. Tokyo: Chūōkōron, 1931: pp. 244–5, reprinted in Shimarumra Teru, ed., Korekushon modan toshibunka vol. 15: Ero Guro Nansensu, p. 612.
125. Ibid., p. 612.126. Silverberg, Erotic, p. 5.127. Hashikawa Bunzō, Nihon Romanha hihan josetsu [The Prolegomena to the
Critique of the Japan Romantic School]. Tokyo: Kōdansha, 1998, p. 18.128. Ibid., p. 38.129. Yasuda Yojūrō, “Bunmeikaika no ronri no shūen nitsuite” [On the Demise of
the Logic of the Meiji Restoration], Yasuda Yojūrō senshū vol. 1 [A Selection of Yasuda Yojūrō’s Work vol. 1]. Tokyo: Kōdansha, 1971, pp. 426–7.
130. Ibid., p. 425.131. Ibid., p. 428.132. Ibid., p. 427.133. Ibid., p. 429.
notes / 187
134. Yasuda does not specify the literary groups or circles subjected to his critique, but it is possible to surmise that his critique is directed at Taishō kyōyōshugi (Taishō Eruditionism) in general, and most probably at the writers of the Shirakaba ha (School of White Birch).
135. Ibid., p. 429.136. Yasuda Yojūrō, “Imada kagayakazaru reimei” [The Dawn Yet to Shine],
Yasuda Yojūrō senshū vol. 1 [A Selection of Yasuda Yojūrō’s Work vol. 1]. Tokyo: Kōdansha, 1971, p. 434.
137. Takahashi Isao, Kibenteki seishin no keifu [The Genealogy of Sophism]. Tokyo: Sairyū, 2007, p. 157.
138. Ibid.139. See Yasuda Yojūrō’s “Konnichi no romanshugi” [Today’s Romanticism],
cited by Takahashi Isao, Kōseijutsu toshiteno taihai [Decadence as the Art of Rehabilitation]. Tokyo: Sairyū, 2007, p. 141. The essay includes the manifesto-like claim of the Japan Romantic School’s ideological stance expressed in figurative language: “Today we are driven by an invisible force to choose decadence over the utilitarian pragmatism of Japanese society and its humanitarian democracy. We know today’s transgression and deception, and therefore realize the glory of the past. We just do not intend to construct a bright future at a metaphysical level, by calling forth our golden past. We love our vitality and rejoice in today’s decadence, instead of longing for a healthy will or conscientiousness” (my translation).
140. Literary decadence is in part identified with subversive styles of rheto-ric deviating from conventions. A notable study includes Julian North’s “Defining Decadence in Nineteenth-century French and British Criticism,” Romancing Decay, Michael St. John ed. Aldershot: Ashgate, 1999, pp. 83–94. Commenting on Désiré Nisard’s Études de moeurs et de critique sur les poètes latins de la décadence (1834), North states that literary decadence subverts Classical morality and aesthetics and replaces them with descriptive details and erudite exhibitions. As a result, the style stifles “content.” Citing Matthew Arnold’s preface to Poems (1953), North states that the autono-mous operation of language threatens a common cultural heritage and so brings decadence into writing. See pp. 85–93.
141. See Robert E. Carter’s “Introduction to Watsuji Tetsurō’s Rinrigaku,” Watsuji Tetsurō’s Rinrigaku, trans. Seisaku Yamamoto and Robert E. Carter. Albany: State University of New York Press, 1996, pp. 1–6.
142. Tetsurō, Watsuji Tetsurō’s Rinrigaku, p. 9.143. Ibid., p. 25.144. Ibid., p. 26.145. Ibid., p. 33.146. Ibid., p. 309.147. Also see Part III, Chapter 8, “Rinrigaku no shosetsu sono 4” [Theories of
Ethics, Part 4], in Nishida Kitarō, Zen no kenkyū [An Inquiry into the Good]. Tokyo: Iwanami, 2003, pp. 167–82. In 1911, nearly 40 years before Watsuji’s Rinrigaku, Nishida also rejects the sheer formulation of individualism based on the pleasure-seeking nature of human beings. Refuting Bentham’s and Mill’s qualitative theories of pleasure, Nishida argues that there are altruistic interests and ideals beyond the egoistic pursuit of pleasure.
188 / notes
148. In “On Decadence,” Sakaguchi does not refer to “daraku” (literally “fall” or “downfall”) by the word, dekadansu (decadence). However, in another essay, “Dekadan bungakuron” (“On Decadent Literature”) published in the literary magazine Shinchō in 1946, Sakaguchi employs the word in katakana ( ) and explicates the notion of “daraku” that he had outlined in “On Decadence.” Thus, he appears to equate dekadansu with daraku, signifying the absence of human realities and dissimulation for the sake of empty moral values in the Japanese mentality. See the essay in Sakaguchi Ango zenshū vol. 4. Tokyo: Chikuma, 1998, pp. 207–17.
149. Sakaguchi Ango, “Darakuron” [On Decadence], Sakaguchi Ango zenshū vol. 4. Tokyo: Chikuma, 1998, p. 55.
150. Ibid., p. 55.151. Ibid.152. Shibusawa Tatsuhiko, Erosu no kaibou [The Anatomy of Eros]. Tokyo:
Kawade, 1990, p. 38.153. Ibid.154. Shibusawa, “Chi to bara sengen” [The Manifesto of Blood and Roses], Chi
to bara korekushon vol. 1 [The Collection of Blood and Roses Magazine vol. 1], Shibusawa Tatsuhiko, ed. Tokyo: Kawade, 2005, pp. 14–15. My translation.
155. Georges Bataille, Erotism, trans. Mary Dalwood. San Francisco: City Lights, 1986, p. 37.
156. For example, the first issue of Chi to bara features essays including Shibusawa Tatsuhiko’s “Gōmon ni tsuite” [On Torture], Inagaki Taruho’s “Aphrodite/Urania,” Mishima Yukio’s “All Japanese Are Perverse,” Tanemura Suehiro’s “Dokushinsha no kikai” [Bachelors’ Machinery]. Visual works include pho-tography by Hosoe Eikō and paintings by Paul Delvaux, among others.
157. Francesco Bruno, Il decadentismo in Italia e in Europa. Naples: Edizioni Scientifiche Italiane, 1998, p. 17.
158. Emilio Gentile, “The Conquest of Modernity: From Modernist Nationalism to Fascism,” trans. Lawrence Rainey, Modernism/Modernity 1.3 (1994): p. 51.
159. Walter Binni, La poetica del decadentismo. Florence: Sansoni, 1968, p. 45.160. Mario Praz, La carne, la morte e il diavolo nella letteratura romantica. Milan:
Rizzoli, 2009.161. Ibid., p. 53.162. Matei Calinescu, Five Faces of Modernity: Modernism, Avant-garde,
Decadence, Kitsch, Postmodernism. Durham: Duke University Press, 1987, p. 216. He rephrases Luigi Russo’s view from “Letteratura narrativa della nuova Italia” and “Tendenze europeizzanti della nuova letteratura italiana” Ritratti i disegni storici. Bari: Laterza, 1946, pp. 199–205.
163. Ibid., p. 217.164. Max Nordau, Degeneration, trans. George L. Mosse. Lincoln: University of
Nebraska Press, 1993, pp. 296–337.165. Jacques Le Rider, Modernity and Crises of Identity: Culture and Society in Fin-
de-Siècle Vienna, trans. Rosemary Morris. New York: Continuum, 1993, pp. 1–2.
166. Calinescu, Five Faces of Modernity, p. 154.
notes / 189
167. Charles Bernheimer, Decadent Subjects. Baltimore: Johns Hopkins University Press, 2002, p. 151.
168. The following studies interpret decadence as a phase of decay in the cyclic structure of history: Richard Gilman, Decadence: The Strange Life of an Epithet. New York: Farrar, Straus and Giroux, 1979, p. 5.; Bernheimer, Decadent Subjects, p. 5.; R. D. R Thornton, The Decadent Dilemma. London: Edward Arnold, 1983, p. 1.
169. Thornton, Decadent Dilemma, p. 1.170. David Weir, Decadence and the Making of Modernism. Amherst: University
of Massachusetts Press, 1995), p. 7.171. Ibid., pp. 7–10.172. Havelock Ellis, Views and Reviews: A Selection of Uncollected Articles,
1884–1932. London: D. Harmsworth, 1932, pp. 51–2.173. John Stuart Mill stresses the legitimacy of a society based on social utility.
He suggests that efficient labor on the part of the constituents and fair distri-bution of compensation are indispensable to the operation of a just society. See Utilitarianism. Indianapolis: Hackett, 2001, p. 90.
174. Ellis, Views and Reviews, p. 51.175. Marcel Mauss, The Gift, trans. W. D. Halls. New York: Norton, 1990, pp. 39–43.176. Roger Caillois, Man, Play and Games, trans. Meyer Barash. Urbana and
Chicago: University of Illinois Press, 2000, pp. 14–19.177. The single exception is Shimada Masashiko’s novel Taihai Shimai [Decadent
Sisters] (2005) in Chapter 7.
1 Immature Decadents: The Waste of Useless Men in Indulgences—Two Novellas by Oguri Fūyō and Iwano Hōmei
1. Okada Kōnosuke and Yamamoto Yūzō eds., Bakumatsu/Meiji no nihon keizai [Economics of the Late Edo and Meiji Periods], Tokyo: Nihon Keizai Shinbun, 1989, pp. 118—22.
2. According to Yamamura Kōzō, national economic statistics before the 1890s are not available, but the first two decades of the Meiji period saw no signifi-cant changes in Japanese economic activities as compared with the late Edo period. Also, prior to 1885, the Meiji government, burdened by post-Resto-ration debts from the Tokugawa shogunate regime, endeavored to overcome the financial burdens it had inherited. The Economic Emergence of Modern Japan. Cambridge: Cambridge University Press, 1997, pp. 42–6.
3. Ibid., p. 54. 4. Ibid., pp. 48–9. 5. Richard Ronald and Allison Alexy, “Continuity and Change in Japanese Homes
and Families,” in Home and Family in Japan: Continuity and Transformation, eds. Richard Ronald and Allison Alexy. New York: Routledge, 2011, pp. 3–4.
6. Ibid., p. 4. 7. Ibid. 8. Nagashima Yōichi, Objective Description of the Self. Aarhus: Aarhus University
Press, 1997, p. 35.
190 / notes
9. Itō Sei, Nihon bundanshi vol. 12: Shizenshugi no saiseiki [The History of Japanese Literary Circles vol. 12: The Heyday of Naturalism]. Tokyo: Kōdansha, 1996, p. 208.
10. Itō Sei, Nihon bundanshi vol. 14: Hanshizenshugi no hitotachi [The History of Japanese Literary Circles vol. 14: People of Anti-Naturalism]. Tokyo: Kōdansha, 1997, pp. 66–7.
11. Kataoka Ryōichi, “Hōmei no Shizenshugi to Tandeki,” in Iwano Hōmei, Tandeki [Indulgences]. Tokyo: Iwanami, 2009, p. 121.
12. Itō Sei, Nihon bundanshi vol. 14, pp. 68–9.13. Ibid., p. 59.14. Oguri Fūyō, “Tandeki” [Indulgences] in Fūyō Shōsetsushū. Tokyo: Saibunkan,
1911, p. 5.15. Ibid., pp. 6–10.16. Ibid., p. 60.17. Ibid., p. 63.18. The term paternalism is used by John Bennett and Iwao Ishino principally to
describe the pre-industrial economic mentality and organization based on a metaphorical father–son relation and mutual obligations between, for exam-ple, an owner of a resource or a skilled person and his apprentice or protégé. Their concept of paternalism borrows the father figure’s obligation proposed by Alvin Gouldner. As a supervisor of the son’s work and private life, he is “in the words of the workers, ‘lenient’ when he live[s] up to ‘indulgent’ behavior” (p. 225). For an in-depth discussion of paternalism in reference to Japan dur-ing this period, see Bennett and Ishino’s Paternalism in the Japanese Economy. Minneapolis: University of Minnesota Press, 1963.
19. Ibid., p. 66.20. Ibid., p. 83.21. Ibid., p. 84.22. Ibid., pp. 56–7.23. Ibid., p. 15.24. Frank A. Johnson, Dependency and Japanese Socialization: Psychoanalytic and
Anthropological Investigations into Amae. New York: New York University Press, 1993, p. 15. Referring to J. P. Gurian’s “Dependency” (in A Dictionary of the Social Sciences, eds. H. Gould and W.B. Kolb, New York: New York Free Press, 1984), Johnson argues that “dependency” is innately interdependent. It is an interactional process in which “separate entities reciprocally seek iden-tity, support, security, and/or permission from one another.”
25. Oguri, p. 46.26. Ibid., p. 95.27. Ibid., pp. 17, 35, 48, 54.28. Ibid., p. 14.29. Ibid., p. 8. My translation.30. Ibid., p. 3.31. Ibid., p. 13.32. Ibid., p. 70.33. Itō Sei, Nihon bundanshi vol. 14, pp. 173–4. Hōmei’s dedication is included
in the first edition of Tandeki published by Ekifūsha, but it is not included in other editions.
notes / 191
34. Kataoka Ryōichi, “Morita Sōhei no ichi to sakufū,” [“The Location of Morita Sōhei and His Style”], in Kataoka Ryōichi chosakushū vol. 5. Tokyo: Chūōkōron, 1979, pp. 122–3.
35. Itō Sei, Nihon bundanshi vol. 13, p. 138.36. Fūyō and Hōmei were not particularly close friends, but through their admi-
ration for Kunikida Doppo, they developed a friendship and a strong interest in confessional I-novels, such as those by Tayama Katai. See Itō’s Nihon bun-danshi vol. 12, pp. 223–5 and vol. 14, pp. 66–67.
37. Iwano Hōmei, Tandeki [Indulgences]. Tokyo: Iwanami, 2009, p. 103.38. Ibid., p. 20.39. Ibid., p. 79.40. Ibid., pp. 94–5.41. Ibid., pp. 100–1.42. Ibid., p. 108.43. Iwano, p. 65.44. Ibid., p. 68. My translation.45. Iwano, Tandeki, p. 69.46. Mario Praz, La carne, la morte e il diavolo nella letteratura romantica [The
Flesh, the Death, and the Devil in the Romantic Literature]. Milan: Rizzoli, 2009, pp. 215–321. See the genealogy and categorical dispositions of “La belle dame sans merci.”
47. Iwano, Tandeki, p. 108.48. Ibid., p. 105.49. Ibid.50. Ibid. My translation.51. Iwano, Tandeki, p. 113.52. Ibid., p. 11.53. Ibid., pp. 118–119. My translation.54. Itō Sei, Kindai nihonjin no hassō no shokeishiki [The Patterns of Modern
Japanese Mentalities]. Tokyo: Iwanami, 1993, pp. 30–9.55. Ibid., pp. 30–1.56. Ibid., p. 32.57. Ibid.58. Ibid.59. Ibid., p. 33.60. Ibid., p. 34.61. Ibid.62. Kawahara Miyako, “Fukuzawa Yukichi no Jitsugaku shisō to Kyōikukan”
[Fukuzawa Yukichi’s Thoughts on Practical Learning and Education], p. 35, accessed March 30, 2010, www.nuedu db.on.arena.ne.jp/pdf/003/03-r-003.pdf.
63. Fukuzawa Yukichi, Gakumon no susume [Encouragement of Learning]. Tokyo: Iwanami, 2005, pp. 147–8.
64. Kawahara, p. 46.65. Maruyama, Fukuzawa Yukichi no tetsugaku, p. 58.66. Ibid., p. 43.67. Ibid., p. 47.68. Ibid., pp. 48–56.69. Ibid., pp. 60–1.
192 / notes
70. Samuel Smiles, Self-Help. Oxford: Oxford University Press, 2002, p. 246. 71. Ibid., p. 246. 72. Ibid., p. 245. 73. Ibid. 74. Ibid., pp. 246–9. 75. Oguri, p. 81. 76. Ibid., p. 91. 77. Iwano, Tandeki, p. 90. 78. Nagashima, Objective Description, p. 35. 79. Iwano, “Ichigenbyōsha no jissai shōmei” [Monistic Narration in Practice], in
Iwano Hōmei zenshū vol.10. Kyoto: Rinsen, 1996, pp. 582–3. 80. Oguri, “Tandeki,” p. 17. 81. Iwano, Tandeki [Indulgences], p. 111. 82. Ibid. 83. Ibid., p. 70. My translation. 84. Ibid., p. 113. 85. Ibid., p. 118. 86. Senuma Shigeki, Meiji bungaku kenkyū. Tokyo: Hōsei University Press,
1974, p. 298. 87. Kobayashi Hideo, “Shishōsetsu ron” [On I-Novel]. Kobayashi Hideo zenshū
vol. 3. Tokyo: Shinchō, 2001, p. 381. 88. Bennett and Ishino, Paternalism, p. 227. 89. Ibid. 90. Ibid., p. 228. 91. See representative traits of fin-de-siècle Decadents, especially those of
Huysmans’s Des Esseintes. David Weir, Decadence and the Making of Modernism. Amherst: University of Massachusetts Press, 1995, pp. 83–7.
92. It is outlined by Samuel Smiles, and also within the context of Meiji Japan, by such figures as Ninomiya Sontoku (1787–1856). See Chapter 4, “Work as Ethical Practice,” in Tetsuo Najita’s Ordinary Economies in Japan: A Historical Perspective, 1750–1950. Berkeley: University of California Press, 2009, pp. 104–40.
93. Karaki Junzō, Muyōsha no keifu [A Genealogy of Useless Men]. Tokyo: Chikuma, 1964, p. 265.
94. Takahashi Toshio, “Hōmei: ‘ichigen byōsharon’ e no shiza” [Hōmei: Perspectives on Monistic Narration] in Tokuda Shūsei to Iwano Hōmei: Shizenshugi no saikentō. Tokyo: Yūseidō, 1993, p. 200.
95. Kataoka, pp. 123–5. “Hōmei no Shizenshugi to Tandeki” [Hōmei’s Naturalism and Indulgences]. In Iwano Hōmei, Tandeki [Indulgences]. Tokyo: Iwanami, 2009. (Kataoka offers a brief commentary on Tandeki, in the end of the Iwanami edition of the novella)
96. Jay Rubin, Injurious to Public Morals. Seattle: University of Washington Press, 1984, p. 184.
97. Georges Bataille, The Accursed Share vol. 1. New York: Zone Books, 2007, p. 25.
98. Ibid., p. 27. 99. Ibid., p. 25.100. Hiraoka Toshio, Nichiro sengo bungaku no kenkyū [A Study of Literature
After the Russo- Japanese War]. Tokyo: Ūseidō, 1985, pp. 8–10.
notes / 193
101. Hiraoka cites critic Kakuda Kōkōkakyaku’s “Sengo no bundan” [The Postwar Literary Circle] (1905), which observes the current state of lit-erature. Kakuda predicts the emergence of satiric novels and other work that illustrates the dual sides of life with sorrow and pleasure. See Hiraoka Toshio, Nichiro sengo bungaku no kenkyū [A Study of Literature After the Russo-Japanese War]. Tokyo: Ūseidō, 1985, pp. 11–13.
102. Akagi lists the following as decadent writers: Nagata Kimihiko, Yoshii Isamu, Kubota Mantarō, Gotō Sueo, and Chikamatsu Shūkō. Above all, Chikamatsu is repeatedly referred to as the quintessential decadent writer. See pp. 243–6.
103. Ibid., p. 238.104. Yasunari Sadao, “’Yūtōbungaku’ bokumetsu fukanō ron” [The Impossibility
of Eradicating ‘Decadent Literature’]. Kindai bungaku hyōron taikei vol. 4. Tokyo: Kadokawa, 1971, p. 271.
105. Ibid.106. Ibid., p. 272.
2 The Decadent Consumption of the Self: Naturalist Aestheticism in Morita Sōhei’s Sooty Smoke
1. Yoshimoto Takaaki, Gengo ni totte bi towa nanika [What is Beauty for Language?]. Tokyo: Chokusō, 1965, pp. 203–9.
2. Charles Bernheimer, Decadent Subjects. Baltimore: Johns Hopkins University Press, 2002, p. 58.
3. Itō Sei, Nihon bundanshi vol. 13 : Taitōha no hitotachi [The History of Japanese Literary Circles vol. 13: People of the School of Decadence]. Tokyo: Kōdansha, 1996, p. 116.
4. Oscar Wilde, “The Decay of Lying,” Aesthetes and Decadents of the 1890s, ed. Karl Beckson. New York: Vintage, 1966, p. 307.
5. Itō Sei, Nihon bundanshi vol. 13, p. 116.6. Ueda Bin, “Italia no shinsakka” [New Writers of Italy] and “Genkon no Italia
bungaku” [Current Italian Literature], Teikokubungaku 4.5 and 4.6 (1989). Reprinted in Teihon Ueda Bin zenshū vol. 3. Tokyo: Kyōiku shuppan, 1985, pp. 481–3 and pp. 484–5.
7. Ibid., pp. 482–3.8. Ibid., p. 484.9. For Italy’s modernist consolidation of the national spirit, see especially
Chapter 5, “Italianism and Modernity,” in Emilio Gentile’s La Grande Italia: The Myth of the Nation in the Twentieth Century. Trans. Suzanne Dingee and Jennifer Pudney. Madison: University of Madison Press, 2009, pp. 82–93. According to Gentile, the predominant enthusiasm was for “scientific dis-coveries, technological development,” to collectively advance the nation’s power and people’s consciousness of being national constituents.
10. Walter Binni, La poetica del decadentismo. Florence: Sansori, 1975, p. 23.11. Walter Binni, “Interventi sulla relazione di Mario Praz,” in L’Arte di Gabriele
D’Annunzio: Atti del Convegno Internazionale di Studio Venezia-Gardone-Riviera-Pescara, 7–13 ottobre 1963, ed. Emilio Mariano. Milan: Mondadori, 1968, p. 19.
194 / notes
12. See Waki Isao’s “Kaisetsu: ‘Shi no shōri nitsuite’” [Exposition: On The Triumph of Death], in his Japanese translation of D’Annunzio’s Trionfo della morte, Shi no shōri: Bara shōsetsu III. Kyoto: Shōrai, 2010, p. 390.
13. Walter Binni, La poetica del decadentismo. Milan: Sansoni, 1996, p. 79.14. Arima Tatsurō, The Failure of Freedom: A Portrait of Modern Intellectuals.
Cambridge: Harvard UP, 1969, p. 73.15. Abe Jirō, “Mizukara shirazaru shizenshugisha” [Naturalists Without Self-
Knowledge] (1910), in Nihon kindai bungaku hyōronsen: Meiji/Taishōhen. Tokyo: Iwanami, 2003, p. 143.
16. As discussed in Chapter 3, for example, we find in Nagai Kafū’s Reishō [Sneers] (1910) and Ueda Bin’s “Uzumaki” [The Vortex] (1910) the sensibilities of dil-ettantes as latecomers to social and political turmoil in the early Meiji period. In this regard, the decadents and dilettantes are indicative of a consciousness of the historico-cultural decline of society.
17. Iwasa Sōshirō, Seikimatsu no shizenshugi: Meiji yonjūnendai bungaku kō [The Naturalism of the Fin de Siècle: On Meiji 40s Literature]. Tokyo: Yūseidō, 1986, p. 15.
18. After Ishikawa Gian’s translation of the novel, the other translations followed by Ikuta Chōkō, Iwasaki Junkō, Nogami Soichi. Most recently, Waki Isao published a translation of the novel, in 2010.
19. D’Annunzio is known for an excess of opulent sensuality in his language, and it is for this reason that he is considered a representative writer of fin-de-siècle Decadence. As Arthur Symons states, the style of Decadence underlies the vivification of language, exploring ways to render nuanced sensibilities and meaning concealed beneath the face value of mundane reality. By the inter-vention of refinement and perversity enabled by language, Decadents strived to redefine epistemological worldviews that had been overriden by bourgeois values. Symons exemplifies the case in reference to Mallarmé, whose “contor-tion of [the] French language” resembles the “depravation which was under-gone by the Latin language in its decadence.” See Symons’s “The Decadent Movement in Literature,” in Aesthetes and Decadents of the 1890s, ed. Karl Beckson. Chicago: Academy Chicago Publishers, 1981, p. 124.
20. A prominent example is the partial translation of The Triumph of Death by Ueda Bin (1905). It attempts to preserve D’Annunzio’s Parnassian aestheti-cism in the Japanese language. See “Enjo monogatari” [The Story of a Sensual Woman] and “Gakusei” [The Voice of Music], which highlight The Triumph of Death, in Ueda Bin Shū [The Collected Works of Ueda Bin], pp. 115–24.
21. Itō Sei, Nihon bundanshi vol. 13, p. 116.22. Tsutui Yasutaka, Danuntsuio ni muchū [Infatuated with D’Annunzio]. Tokyo:
Chūōkōron, 1989, p. 17.23. Gabriele D’Annunzio, Trionfo della morte. Milan: Mondadori, 1995, p. 382.24. Makimura Ken’ichirō, “Shōsetsu ‘Baien’: Morita Sōhei to Hiratsuka Raichō–
Tochigi Shiobara Onsen” [The Novel Sooty Smoke: Morita Sōhei to Hiratsuka Raichō–Tochigi Shiobara Spa,” accessed December 14, 2012, www.asahi.com/travel/traveler/TKY200611110128.html.
25. Itō Sei, Nihon bundanshi vol. 13, p. 128.26. For a detailed account of the relationship between Morita and Hiratsuka and
their joint suicide attempt, see Itō Sei’s Nihon bundanshi vol. 12: Shizenshugi
notes / 195
no saiseiki [The History of Japanese Literary Circles vol. 12: The Heyday of Naturalism]. Tokyo: Kōdansha, 1996, pp. 91–117.
27. Morita Sōhei, “Konosaku no koto” [On This Work, The Postscript to Baien], Baien [Sooty Smoke]. Tokyo: Iwanami, 2006, p. 305.
28. Morita Sōhei, Baien. Tokyo: Iwanami, 2006, p. 29.29. Ibid., p. 37.30. Ibid., p. 87.31. Ibid., pp. 276–7.32. Ibid., p. 289.33. Ibid., p. 301.34. Suzuki Sadami, “Nihonshugi ni okeru kojinshugi” [Individualism in Japanese
Nationalism], Kojin no tankyū, ed. Hayato Kawai. Tokyo: NHK, 2003, p. 165.35. Ibid., p. 169.36. Janet A. Walker, The Japanese Novel of the Meiji Period and the Ideal of
Individualism. Princeton: Princeton University Press, 1979, p. 4.37. Walker refers to Prince Genji of the Tale of Genji and the priest Yoshida Kenkō
of Tsurezuregusa as quintessential examples of early individuals expressed in literary texts. Ibid., p. 5.
38. Walker, The Japanese Novel, pp. 26–8.39. Oka Yoshitake, “Generational Conflict After the Russo-Japanese War,” in
Conflict in Modern Japanese History: The Neglected Tradition, eds. Tetsuo Najita and J. Victor Koschmann. Princeton: Princeton UP, 1982, p. 199.
40. Ueno Chizuko, “Modern Patriachy and the Formation of the Japanese Nation State,” in Multicultural Japan: Palaeolithic to Postmodern. Cambridge: University of Cambridge Press, 1996, p. 215.
41. Ibid., p. 219.42. Ibid., p. 215.43. Jay Rubin, Injurious to Public Morals. Seattle: University of Washington Press,
1984, p. 59.44. Walker, The Japanese Novel, p. 12.45. Ibid., p. 82.46. Kitamura Tōkoku, “Jinsei ni aiwataru towa nanno iizo” [What Does the
Challenge of Life Mean?], in Tōkoku zenshū vol. 2. Tokyo: Iwanami, 1950, p. 121. My translation.
47. Kitamura, “Naibu seimei ron” [The Philosophy of Inner Life], in Tōkoku zenshū vol. 2. Tokyo: Iwanami, 1950, pp. 242–3.
48. Oka, “Generational Conflict,” p. 119.49. Cited by Tomi Suzuki in Narrating the Self, p. 38, from Takayama Chogyū,
“Bunmei hihyōka to shite no bungakusha” [The Man of Letters as Critics; Jan. 1901], in Meiji bungaku zenshū vol. 40: Takayama Chogyū, Saitō Nonohito, Anesaki Chōfū, Tobari Chikufū. Tokyo: Chikuma, 1970, p. 63.
50. Suzuki, “Nihonshugi,” pp. 178–9.51. Takayama Chogyū, “Biteki seikatsu o ronzu” [Theorizing Aesthetic Life], in
Nihon kindai bungaku hyōronsen: Meiji/Taishōhen. Tokyo: Iwanami, 2003, p. 79.
52. Anesaki Chōfū, “Chogyū ni kotauru no sho” [A Response to Chogyū], cited by Senuma Shigeki, Meiji bungaku kenkyū. Tokyo: Hōsei University Press, 1974, p. 401.
196 / notes
53. Kataoka Ryōichi, “Morita Sōhei no ichi to sakufū” [The Location of Morita Sōhei and His Style], in Kataoka Ryōichi chosakushū vol. 5. Tokyo: Chūōkōron, 1979, p. 377.
54. Morita, Baien, p. 20.55. Ibid., p. 43.56. Ibid., p. 38.57. Ibid., p. 8.58. Ibid., p. 30.59. Sugiura Minpei, “Dekadansu bungaku to ‘ie’ no mondai” [Decadent
Literature and Problems of Patriarchal Household], in Sakkaron [On Writers]. Tokyo: Kusakisha, 1952, p. 210.
60. Senuma Shigeki, “Nihonshugi ni okeru ‘ie’” [Conventional Households in Naturalism], in Shōwa bungaku zenshū vol.33. Tokyo: Shōgakkan, 1989, p. 861.
61. Ibid., p. 862.62. Kataoka, “Morita,” p. 379.63. According to Iwasa Sōshirō, the 1910s is the period when modern Japanese
fiction began to incorporate images of the femme fatale as the result of the reception of fin-de-siècle Decadent literature. Tayama Katai’s Futon (1907 = Meiji 40 nen), Morita Sōhei’s Baien (1909 = Meiji 42 nen), and Mori Ōgai’s Seinen (1910 = Meiji 43 nen) formed a genealogy of femmes fatales, for their depictions of women who are either neurotic, corrupt, or both, and some of whom meet their death in the novel’s pages. See Iwasa’s chapter “Meiji no famu fataru tachi” [Femme Fatales of the Meiji Period] in Seikimatsu no shi-zenshugi: Meiji yonjūnendai bungaku kō [Fin-de-Siècle Naturalism: On Meiji 40s Literature], pp. 82–104.
64. Morita, Baien, p. 77.65. Ibid., p. 87.66. Barbara Spackman, Decadent Genealogies: The Rhetoric of Sickness from
Baudelaire to D’Annunzio. Ithaca: Cornell University Press, 1989, p. 38.67. Ibid., p. 153.68. Ibid., p. 275.69. Nicoletta Pireddu, Antropologi alla corte della bellezza: Decadenza ed economia
simbolica nell’Europa fin de siècle [Anthropologists at the Court of Beauty]. Verona: Edizioni Fiorini, 2002, pp. 8–10.
70. Glenn Willmott, Modernist Goods: Primitivism, the Market, and the Gift. Toronto: University of Toronto Press, 2008, p. 14.
71. Morita, Baien, p. 88.72. Sharon H. Nolte and Sally Ann Hastings, “The Meiji State’s Policy Toward
Women, 1890–1910,” in Recreating Japanese Women, 1600–1945, ed. Gail Lee Bernstein. Berkeley: University of California Press, 1991, p. 152.
73. Ibid., p. 158.74. Horiba Kiyoko, Seitō no jidai: Hiratsuka Raichō to atarashii onnatachi [The
Epoch of the Bluestocking]. Tokyo: Iwanami, 1988, p. 19.75. Ibid., p. 249.76. Ibid., p. 191.77. Ōmoto Izumi, “Morita Sōhei ‘Baien’: sono yokubō no yukue” [Morita Sōhei’s
Baien: The Trajectory of Its Desires], Kokubungaku: kaishaku to kanshō 73.4 (2008): pp. 29–30.
notes / 197
78. Itō Sei, Nihon bundanshi vol. 12, pp. 100–1. 79. Morita, Baien, p. 250. 80. Ibid., p. 289. 81. Horiba, p. 180. 82. Saeki Junko, Iro to ai no hikaku bungakushi. Tokyo: Iwanami, 1998, pp. 324–6. 83. Itō Sei, Nihon bundanshi vol. 13, p. 116. 84. Morita, Baien, p. 163. My translation. 85. Ōmoto, “Morita Sōhei ‘Baien’,” p. 28. 86. Morita, Baien, p. 242. My translation. 87. Spackman, Decadent Genealogies, pp. vii–viii. 88. Morita, Baien, p. 259. My translation. 89. Ibid. 90. Ibid., pp. 222–3. My translation. 91. It seems that Morita borrows D’Annunzian locution from the following
passage: Io penso che morta ella raggiungerà la suprema espressione della sua bellezza.
[ . . . ] Ella diventerebbe materia di pensiero, una pura idealità. Io l’amarei oltre la vita, senza gelosia, con un dolore pacato ed eguale (D’Annunzio, Il trionfo della morte, pp. 168–9).
[I believe that in death her beauty will reach its supreme perfection. [ . . . ] I should love her better than in life, free from jealous doubts, with a serene and changeless sorrow. She would then become an object of thought—purely ideal!] (D’Annunzio, The Triumph of Death. Trans. Georgina Harding. London: Dedalus, 1990, p. 139).
92. Another example of Morita’s imitation of D’Annunzian locution can be found in Yōkichi’s dramatic letter on page 174.
93. Morita, Baien, p. 85. 94. Ibid., p. 246. 95. See Morita’s postscript to Baien, p. 305. 96. Accustomed to Naturalist realism, readers around 1910 were puzzled as to
whether Sooty Smoke should be classified as a mere personal confession or as art. For representative criticisms of the time, see Tashiro Hayao, “Geijutsu e no shōnin: Baien dōjidaihyō o chūshin ni’ [The Recognition of Art: Focusing on the Contemporary Criticism on Baien], in Kenkyūronshū: Research Journal of Graduate Students of Letters. Sapporo: Hokkaidō University Press, n.d., p. 2.
97. Natsume Sōseki, cited by Itō, Nihon bundanshi vol. 13, p. 131. 98. Natsume Sōseki, Sorekara [And Then]. Tokyo: Shinchō, 2007, p. 199. 99. Kamei Hideo, Transformation of Sensibility: The Phenomenology of Meiji
Literature. Trans. Michael Bourdaghs et al. Ann Arbor: Center for Japanese Studies, University of Michigan, 2002, p. 138.
100. Kamei, pp. 135–158.101. Ibid., p. 379.102. Ibid., p. 301.103. Ibid., p. 302. My translation.104. Itō, Nihon bundanshi vol. 13, p. 130.105. Gabriele D’Annunzio, The Triumph of Death. Trans. Georgina Harding.
London: Dedalus, 1990, p. 130.
198 / notes
106. Morita, Baien, p. 223. The passage echoes Kitamura Tōkoku’s “Naibu seimeiron” [The Philosophy of Inner Life], in which Buddhist pessimism based on a philosophy of impermanence and Christian optimism based on a soteriological worldview are considered equally the nature of human mind. See the essay in Tōkoku zenshū vol. 3. Tokyo: Iwanami, 1950, p. 238.
107. Kataoka, “Morita,” p. 383.108. Ibid., p. 380.109. Morita, Baien, p. 132. My translation.110. Ibid., p. 160.111. Haniya Yutaka, Haniya Yutaka shisōronshū vol. 2. Tokyo: Kōdansha, 2001,
p. 225.112. Ibid., p. 226.113. Morita, Baien, p. 290.114. Ibid., p. 235. Tomoko’s epilepsy links her to Ippolita of The Triumph of
Death. Both cases can be seen as a fin-de-siècle sign of female hysteria.
3 Decadent Returnees: The Dialogic Labor of Sensibility in Nagai Kafū’s Sneers and Ueda Bin’s The Vortex
1. Itō Sei, Nihon bundanshi vol. 15: Kindaigeki undō no hossoku [The History of Japanese Literary Circles vol. 15: The Inauguration of the Modern Movement of Drama]. Tokyo: Kōdansha, 1997, pp. 181–2.
2. The essay “Kizokushugi to Heiminshugi” [Aristocratism and Populism] was first published in the July and September 1911 issues of Kyōto kyōiku [Kyoto Education], Ueda Bin, Teihon Ueda Bin zenshū vol. 5. Tokyo: Kyōku Shuppan, 1985, pp. 57–69.
3. Ibid., pp. 61–2. 4. Ibid., p. 65. 5. Ibid., pp. 63–4. 6. Ibid., p. 64. 7. Ibid. p. 65. 8. Richard Gilman, Decadence: The Strange Life of an Epithet. New York:
Farrar, Straus and Giroux, 1979, p. 101. 9. Théophile Gautier, “Preface to ‘The Flowers of Evil,’” in The Flowers of
Evil, ed. Charles Baudelaire, trans. Keith Waldrop. Middletown: Wesleyan University Press, 2006, pp. 17–18.
10. Richard Dellamora, “Productive Decadence: ‘The Queer Comradeship of Outlawed Thought’: Vernon Lee, Max Nordau, and Oscar Wilde.” New Literary History 35.4 (2004): p. 530.
11. Charles Baudelaire, “The Poem of Hashish,” On Wine and Hashish. London: Hesperus, 2002, p. 75.
12. M. M. Bakhtin, “Discourse in the Novel,” The Dialogic Imagination. Austin: University of Texas Press, 1981, pp. 312–13.
13. Ibid., p. 315. 14. The Kichōsha [Returnees] stories include Fukagawa no uta [The Song of
Fukagawa] (1909), Botan no kyaku [The Peony Garden] (1909), Kanraku [Pleasure] (1909), Donten [Cloudy Weather] (1909), Kitsune [The Fox]
notes / 199
(1909), Kangokusho no ura [Behind the Prison] (1909), Sumidagawa [The River Sumida] (1909), Shinkichōsha nikki [The New Diary of a Returnee] (1909), and Reishō [Sneers] (1909–10).
15. Edward Seidensticker, Kafū the Scribbler. Stanford: Stanford University Press, 1965, p. 34.
16. Stephen Snider, Fictions of Desire. Honolulu: University of Hawaii Press, 2000, p. 55, and Rachael Hutchinson, “Occidentalism and the Critique of Meiji: The West in the Returnee Stories of Nagai Kafū,” Japan Forum 13.2 (2001): p. 206.
17. Yoshida Seiichi, Nagai Kafū. Tokyo: Nihon Tosho Sentā, 1971, p. 70.18. Isoda Kōichi, Nagai Kafū. Tokyo: Kōdansha, 1980, p. 113.19. Nagai Kafū’s five-year stay in the West has been discussed in detail by numer-
ous critics, including Isoda Kōichi, Yoshida Seiichi, and Edward Seidensticker. Some of their biographically centered criticisms suggest that the writer’s rejec-tion of Meiji modernity was caused by his extensive stays in the United States and France. The social maturity of the West (primarily France and Britain), grounded on established individualism, capitalism, and the co-existence of traditions with the present, undoubtedly influenced Kafū’s life and writing. Though my analysis owes much to their seminal research, I situate Reishō as a conspicuous bridge between dichotomies such as the East (Japan) and the West, pre-modernity and modernity, etc. In this regard, along with Isoda’s commentary cited above, Rachael Hutchinson’s essay “Occidentalism and the Critique of Meiji: The West in the Returnee Stories of Nagai Kafū” provided me with a point of departure from previous studies on Kafū’s works.
20. Komori Yōichi, Yuragi no nihon bungaku [Japanese Literature in Fluctuation]. Tokyo: NHK Books, 1998, pp. 172–3.
21. Ibid., p. 175.22. Barbara Spackman, Decadent Genealogies: The Rhetoric of Sickness from
Baudelaire to D’Annunzio. Ithaca: Cornell University Press, 1989, pp. 38–9.23. Karaki Jun’zō regards Kafū as clearly decadent (decadan no to), the last literati
in the genealogy of bunjinbokkyaku—the Edo literati who retire from main-stream social life for the artistic life. See Muyōsha no keifu, p. 74.
24. Critics such as Matsumoto Hajime attribute Kafū’s decadence to his failure to vindicate the leftists who were convicted for their plot to assassinate the Meiji Emperor. See Matsumoto Hajime, Kafū gokuraku. Tokyo: Sanseidō, 1998, p. 39. The incident, recalled as Taigyaku Jiken [the High Treason Incident] (1910–1), resulted in mass arrests and the execution of socialist-anarchist thinkers, most notably Kōtoku Shūsui. Afterwards, Japan’s intellectual arena became far more repressive for political dissidents. See Nagai’s essay “Hanabi” [Fireworks], in Nihon kindai bungaku hyōronsen: Meiji/Taishō hen. Tokyo: Iwanami, 2003, pp. 286–97.
25. Ibid., p. 29226. Ibid., pp. 292–3.27. Satō Haruo, Shōsetsu Nagai Kafū den [A Novelistic Biography of Nagai Kafū].
Tokyo: Iwanami, 2009, p. 264.28. Robert M. Kaplan, “Being Bleuler: The Second Century of Schizophrenia,”
Australasian Psychiatry 16.5 (2008): p. 309.29. Nagai Kafū, Reishō [Sneers]. Tokyo: Iwanami, 1950, p. 5.
200 / notes
30. Ibid., p. 5.31. Ibid., p. 6.32. Ryū Kenki. Kichōsha Kafū [The Returnee Kafū]. Tokyo: Meiji Shoin, 1993,
p. 103.33. Nagai, Reishō, p. 8.34. Ibid., p. 11.35. Ibid. My translation.36. Ibid., p. 10.37. Ibid., p. 47. Kōu refers to the essay “Fukagawa no uta” [The Song of Fukagawa]
(1908) as his own work. It is apparently derived from the actual essay by Kafū, and thus Kōu can be considered the alter ego of the author.
38. Ibid., p. 59. D’Annunzio and Pascoli were the major exponents of Italian Decadentism (il decadentismo italiano), an offshoot of the pan-European fin-de-siècle Decadence. Its heyday spanned the years 1880 to 1910, though more as a sporadic literary phenomenon than as a movement. Though the aesthetics of Decadentism had much in common with those of Baudelaire, Verlaine, and Gautier, the linguistic style diverged from that of its French counterpart. Critics such as Marina Paladini Musitelli and Mario Moroni view Italian Decadentism as playing the role of a modern oracle calling atten-tion to “a variety of signs of an epochal crisis of values” in post-Risorgimento Italy (p. 69). Advocating anti-naturalistic poetics, the movement’s exponents wrestled with the domination of positivism and pragmatism. In this regard, Italian Decadentism pursued a goal more socio-ideologically charted than the other European cases of Decadence. Giovanni Pascoli is especially relevant to our discussion in Chapter 3, above all for his frequent use of dialogism in poetry. His poetic essay Il fanciullino [The Little Child] (1897) takes the form of a dialogue between the child and the poet. It privileges intuition and sense perception as viable poetic resources and in this way succeeds in creating an imaginary intersubjective community. Whereas there is no evi-dence that Kafū and Ueda had access to this work, all these writers and poets share a temperament and style that are distant from the solipsism and strong Romantic subjectivity still prevalent in fin-de-siècle Decadence.
39. Ibid., p. 45.40. Ibid., pp. 46–7.41. Ibid., p. 134.42. Ibid.43. Ibid., p. 137.44. Ibid., p. 138. My translation.45. M. M. Bakhtin, The Dialogic, p. 308.46. Nagai, Reishō, p. 54.47. Ibid., p. 56.48. Ibid. My translation.49. Nagai, Reishō, pp. 124–5.50. Ibid., p. 129.51. Ibid., p. 5952. Ibid., p. 200.53. Ibid., p. 103.54. Ibid., p. 204. My translation.
notes / 201
55. Ibid.56. Yamauchi Yoshio, the postscript to Uzumaki, by Ueda Bin Tokyo: Shiratama,
1950, pp. 225–7.57. Kaichōon includes translations of poems by Mallarmé, Baudelaire, Verlaine,
D’Annunzio, Rossetti, and Browning. In the preface to the book, Ueda men-tions that he employed “shichigo-chō” [a 7–5 syllable pattern], a traditional tanka and haiku scheme, to render the elegance of the Parnassians. In contrast with this renowned poetry collection, Uzumaki takes a form of modernized prose fiction.
58. See Naruse Masakatsu, “Taishōbungaku no mondaiten” [Problems in Taishō Literature], in Taisho no Bungaku, ed. Nihon Bungaku Kenkyū Shiryō Kankōkai. Tokyo: Yūseidō, 1988, p. 61.
59. In the opening line of Chapter 8 of “The Vortex,” Ueda refers to the sensuous pleasure shared by a group of men and women depicted in Watteau’s paint-ing, The Embarkation for Cythera. It shows the author’s interest in the playful nature of Rococo culture, implying that the novella assimilates its worldview. See Ueda Bin, “Uzumaki” [The Vortex], in Teihon Ueda Bin zenshū vol. 2. Tokyo: Kyōiku Shuppan, 1985, pp. 513–4.
60. Ibid., p. 504.61. Ibid., p. 514.62. Ueda mentions the philosophy of Panta Rhei as a key concept in comprehend-
ing modernity. See “Dokugo to taiwa” [Monologues and Dialogues] (1915), in Teihon Ueda Bin zenshū vol. 5. Tokyo: Kyōiku Shuppan, 1985, p. 259.
63. Ueda, “Uzumaki,” p. 517.64. Ibid., p. 517.65. Ibid., p. 518. For the original English passage, see “Conclusion” in Walter
Pater’s The Renaissance. Oxford: Oxford University Press, 1998, p. 152.66. For a full account of Ueda’s aestheticism as influenced by Pater, see Yano
Mineto’s essay, “Ueda Bin Sensei” [Teacher Ueda Bin], Ueda Bin shū. Tokyo: Chikuma, 1966, pp. 388–90. For Pater’s passage, see “Conclusion” in The Renaissance, p. 153.
67. Ueda, “Uzumaki,” pp. 519–20.68. Ibid.69. Ibid., p. 520.70. Ibid., p. 519.71. Ibid., p. 520.72. Ibid.73. Pater, p. 153. In Chapter 11 of “Uzumaki,” Ueda refers to this passage by Victor
Hugo, but he wrongly cites it as “the thoughts of a British thinker.” See p. 520.74. Ibid., p. 524.75. Ibid., pp. 535–6.76. Ibid., p. 523.77. Ibid., pp. 537–8.78. Ibid., p. 539.79. Ibid.80. Ibid., pp. 512–13. The third-person narrative notes the ghastly case of the
famous kabuki actor Tanosuke who cut off his limbs to fit the part he was assigned to play. His death after the stage symbolizes the end of the Tokugawa theatrical play, epitomizing the fate of contemporary art in general.
202 / notes
81. Ibid., p. 545. 82. Ibid., p. 549. 83. Ibid., p. 558. 84. Ibid., p. 561. 85. Ibid., p. 570. 86. Ibid. 87. Ibid., p. 584. 88. Ibid., p. 593. 89. Ibid., p. 595. 90. Ibid., p. 596. 91. Ibid., p. 595. My translation. 92. Ibid., p. 596. 93. Ibid., p. 597. My translation. 94. Ibid., p. 598. 95. Maurice Merleau-Ponty, “Phenomenology of Perception,” Basic Writings, ed.
Thomas Baldwin. New York: Routledge, 2004, p. 153. 96. Elaine Gerbert, “Space and Aesthetic Imagination in Some Taishō Writings,”
Japan’s Competing Modernities: Issues in Culture and Democracy 1900–1930, ed. Sharon A. Minichello. Honolulu: University of Hawaii Press, 1998, p. 70. She gives an example of the nativist anthropology developed by Yanagita Kunio and Orikuchi Shinobu.
97. Mihai I. Spariosu, The Wreath of Wild Olive. Albany: State University of New York Press, 1997, p. 29.
98. Ueda, “Uzumaki,” p. 344. 99. According to Noda Utarō, Ueda was closely associated with the Group of
Pan inasmuch as he contributed to its literary magazine Subaru (Pleiades) and attended its meetings. The group owes its interest in Symbolist and Parnassian work largely to Ueda. See Noda’s Nihon tanbiha bungaku no tanjō, p. 125 and p. 406.
100. Ibid., p. 344.101. Dennis Washburn, The Dilemma of the Modern in Japanese Fiction. New
Haven: Yale University Press, 1995, p. 2.
4 Taishō Malaise as Decadence: Self-Reclusion and Creative Labor in Satō Haruo’s A Pastoral Spleen and
Tanizaki Jun’ichirō’s A Fool’s Love
1. Gautier’s well-known preface to Baudelaire’s Flowers of Evil (1857) explains this essence of Decadence: “The style of decadence [ . . . ] is nothing else than art arrived at that extreme point of maturity produced by those civilizations which are growing old with their oblique suns [!]—a style that is ingenious, complicated, learned, full of shades of meaning and research, always pushing further the limits of language, borrowing from all the technical vocabular-ies, taking colors from all palettes, notes from all keyboards, forcing itself to express in thought that which is most ineffable, and in form the vaguest and most fleeting contours; listening, that it may translate them, to the subtle confidences of the neuropath, to the avowals of aging and depraved passion,
notes / 203
and to the singular hallucinations of the fixed idea verging on madness.” In Charles Baudelaire, Flowers of Evil. Trans. Keith Waldrop. Middletown: Wesleyan University Press, 2006, pp. 17–18.
2. Jean Pierrot, The Decadent Imagination: 1880–1900. Trans. Derek Coltman. Chicago: University of Chicago Press, 1981, p. 179.
3. Ibid., p. 166. 4. Charles Baudelaire, On Wine and Hashish. Trans. Andrew Brown. London:
Hesperus, 2002, pp. 15–25. 5. Seiji M. Lippit, Topographies of Japanese Modernism. New York: Columbia
University Press, 2002, p. 206. 6. Kawamoto Saburō. Taishō gen’ei [Taishō Illusions]. Tokyo: Shinchō, 1997,
p. 308. 7. In this chapter, the title of the novella is referred to as “A Pastoral Spleen: Or
the Sick Rose,” in accord with the original title in Japanese. To quote passages from the novella, I rely on the following text: The Sick Rose: A Pastoral Elegy. Trans. Francis B. Tenny. Honolulu: University of Hawaii Press, 1993.
8. A faithful translation of the original title Chijin no ai is “A Fool’s Love.” In my analysis in this chapter, I refer to Tanizaki Jun’ichirō, Naomi. Trans. Anthony H. Chambers. New York: Vintage, 2001.
9. Hirotsu Kazuo, “‘Den’en no yūutsu’ no sakusha” [The Author of “A Pastoral Elegy”], in Hizotsu Kazuo zenshū vol. 8. Tokyo: Chūōkōron, 1974, p. 267. In praise of A Pastoral Elegy, Hizotsu notes that Satō’s unconscious overrides his consciousness, and that this imbalance constitutes the substance of the novella (p. 264). In contrast, Tanizaki appears too rational, his imagination overcontrolled in his writing (pp. 268–9). Despite the difference, Hirotsu privileges the writers’ thematic focus on modern malaise.
10. Satō published the first half of Den’en no yūutsu under the title Yameru bara [A Sick Rose] in the literary magazine Kuroshio in 1918. After the magazine rejected the second half of the novella, he destroyed the manuscript. Later, he rewrote the second half, and the complete version of the entire novella was published under the title Kaisaku Den’en no yūutsu in 1920 in Chūgai. For a detailed history of this publication, see Fujita Shūichi, Den’en no yūutsuron: Taishōki no kansei [A Pastoral Elegy: Sensibilities of the Taishō Period]. Tokyo: Yōyōsha, 1988, pp. 20–1. My current study is based on the final version of the entire novella.
11. Shimada Kinji, “‘Den’en no yūutsu’ kō” [On the Pastoral Elegy], in Nihonbungaku niokeru kindai [Modernity in Japanese Literature]. Tokyo: University of Tokyo Press, p. 258.
12. Yasuda Yōjūrō, Satō Haruo. Tokyo: Nihon Tosho Sentā, 1993, p. 68.13. Ibid., p. 99.14. Satō Haruo, Den’en no yūutsu [A Pastoral Spleen]. Tokyo: Shinchōsha, 2000,
p. 141.15. Kawamura Masatoshi, “Den’en no yūutsu,” Kokubungaku: kaishaku to kanshō
67.3 (2002): p. 99.16. Shimada, “‘Den’en no yūutsu’ kō”, p. 217.17. Hirotsu Kazuo’s essay “Shinjin Satō Haruo-shi,” (A New Writer, Mr. Satō
Haruo),” published in the magazine Yūben [Eloquence], November 1918, is rep-resentative of the criticism that Den’en no yūutsu received upon publication.
204 / notes
18. Satō Haruo, The Sick Rose, p. 16.19. Ibid., pp. 16–17.20. Satō, Den’en no yūutsu, pp. 67–8.21. Fujita, Den’en no yūutsuron: Taishōki no kansei, p. 114.22. Satō, The Sick Rose, , p. 8.23. Ibid., p. 16.24. With the examples of Kunikida Doppo’s Musashino [The Field of Musashino]
and Wasureenu hitobito [Unforgettable People] (1898), Karatani Kōjin states that the scenery in literary discourse since then has accommodated an epis-temological position (ninshikitekina fuchi) of space that was not present in realism (shajitsu shugi). See Karatani’s Nihon kindai bungaku no kigen [The Origin of Modern Japanese Literature]. Tokyo: Kōdansha, 1988, pp. 24–5.
25. Angela Yiu, “Beautiful Town: The Discovery of the Suburbs and the Vision of the Garden City in Late Meiji and Taishō Literature,” Japan Forum 18.3 (2006): pp. 320–2.
26. Satō, Den’en no yūutsu, p. 90.27. Satō, The Sick Rose, p. 17.28. Satō, Den’en no yūutsu , p. 32.29. Ibid., p. 33.. 30. Hayashi Hirochika, “Den’en no yūutsu,” in Miyoshi Yukio ed. Nihon no kin-
dai shōsetsu. Tokyo: University of Tokyo Press, 1986, p. 207.31. According to Christopher Hill, the surge in discussion of neurasthenia in
Japan took its place in the late Meiji period. It stems from the rapid changes in social life after 1868. Those impacts on individuals who faced transforma-tions of social institution, along with Japan’s relationship to the European model of modernization, resulted in “an endemic ‘ideology fatigue’” (p. 247). After the Russo-Japanese War, reflecting this collective psychological reaction by intellectuals, novels featuring the motif of neurotic individuals prolifer-ated in such works as Natsume Sōseki’s Wagahai wa neko de aru [I am a Cat] (1905), Tayama Katai’s Futon [The Quilt] (1907), and Shimazaki Tōson’s Haru [Spring] (1908) (p. 243). See Hill’s “Exhausted by Their Battles with the World: Neurasthenia and Civilization Critique in Early Twentieth-Century Japan” in Nina Cornyetz and J. Keith Vincent eds. Perversion and Modern Japan. New York: Routledge, 2010, pp. 242—58. Published a decade after the post-Russo-Japanese War period, Satō’s A Pastoral Elegy clearly inherits the neurotic tendency prevalent in the late Meiji works.
32. Satō, The Sick Rose, p. 60.33. Unagami Masaomi, “Satō Haruo no bijutsukan” [The Art Museum of Satō
Haruo], Rōman [The Romantic] 2.2 (1973): p. 46.34. Satō, Den’en no yūutsu, pp. 101–2.35. Ibid., pp. 110–112.36. Kawamoto, Taishō gen’ei, pp. 286–7.37. Ibid., p. 282.38. Ibid.39. Ibid., p. 283.40. Satō, Den’en no yūutsu, p. 64.41. Ibid., pp. 120–3.42. Satō, The Sick Rose, p. 76.
notes / 205
43. Fujita, Den’en no yūutsuron: Taishōki no kansei, p. 111.44. Satō, Den’en no yūutsu , p. 127.45. Mephistopheles’s words are Francis B. Tenny’s translation based on the
Japanese translation used by Satō. Tenny notes that a direct English transla-tion from the German would differ slightly. See The Sick Rose, p. 84.
46. Satō, Den’en no yūutsu, p. 128.47. Ibid., p. 89.48. Ibid., p. 15.49. Ibid., p. 128.50. Ibid., pp. 127–8.51. Kawamura, “Den’en no yūutsu,” p. 99. Kawamura states that A Pastoral Spleen
is in essence a collage of the protagonist’s Romantic and Decadent solipsism cast in terms of a diseased rose.
52. Ibid., p. 90.53. Ibid., p. 91. The translator Francis B. Tenny notes that the poem is a quota-
tion from Rose Leaves, by the Tang poet Chu Guang-yi (AD 700–760). The poem is an English rendition by the translator.
54. Ibid., p. 93.55. Shimada Kinji points to the influence of D’Annunzio on A Pastoral Spleen,
though without specifying any of the Italian writer’s works, p. 253.56. Satō, The Sick Rose, p. 97.57. Dan Kazuo, “Kaisetsu” [Commentary], in Den’en no yūutsu. Tokyo: Shinchō,
2000, p. 177.58. Satō, “Dekadan ni taisuru awatadashii ichikōsatsu” [A Brief Reflection on
Decadence], in Teihon Satō Haruo zenshu vol. 19. Tokyo: Rinsen, 1988, p. 144.
59. Odaka Shūya, Seinenki: Tanizaki Jun’ ichirō ron [The Maturity: On Tanizaki Jun’ichirō]. Tokyo: Sakuhinsya, 2007, p. 259. The incident originates in the triangle relationship among Tanizaki, his wife Chiyo, and Satō Haruo. Because Tanizaki felt that there was a mismatch between his personality and that of introverted Chiyo, he planned to divorce her. In addition, he also promised to marry her off to his best friend, Satō, who was in love with her. However, Tanizaki revoked the promise, and as a result he and Satō broke off their friendship in 1921. In 1930, though, after the friends had reconciled, Satō and Chiyo married. A detailed though fictionalized account of this story is given in Satō’s novel Kono mittsuno mono [These Three Things] (1926).
60. Ibid., pp. 228–9.61. Ibid., p. 230.62. See Odaka Shūya’s Sōnenki: Tanizaki Jun’ ichirō ron [The Maturity: On
Tanizaki Jun’ichirō]. Tokyo: Sakuhinsha, 2007, pp. 236–45, and Hosoe Hikaru’s Tanizaki Jun’ ichirō: Shinsō no retorikku [Tanizaki Jun’ichirō: The Rhetoric of Abysmal Psyche]. Osaka: Izumi, 2004, pp. 595–605. Their biographically centered analysis considers Tanizaki’s complex relation with his wife Chiyo, by drawing on the Jungian notion of anima. To this extent, Hosoe, for example, reads Jōji and his fetishizing of Naomi’s body as a projec-tion of the author himself. This interpretation is certainly helpful in com-prehending Tanizaki’s work given that his pursuit of artistic Decadence is intertwined with his real-life experience, which is also the case for Oscar
206 / notes
Wilde. However, our analysis in this chapter concentrates on the semantic dimensions of economic practices as shown in the discussion itself.
63. See Chapters 1 and 3 on the shift in Nagai Kafū’s artistic style.64. Odaka, Sōnenki, p. 245.65. Saeki Shōichi, Monogatari Geijutsu ron [On the Art of Storytelling]. Tokyo:
Kōdansha, 1979, pp. 169–70.66. Ibid., p. 113.67. Ibid., p. 135.68. Hardt, Michael, and Antonio Negri. Labor of Dionysus: A Critique of the
State Form. Minneapolis: University of Minnesota Press, 1994, pp. 1–2 of “Preface.”
69. Ibid.70. Ibid., pp. 7–11.71. Tanizaki Jun’ichirō, Chijin no ai [A Fool’s Love]. Tokyo: Chūōkōron, 2007,
pp. 9–10.72. Ibid., p. 11.73. Ibid., p. 13.74. Ibid., p. 12.75. Ibid., p. 27.76. Ibid., p. 30.77. Ibid., pp. 33–4.78. Johan Huizinga, Homo Ludens: A Study of the Play Element in Culture. Boston:
Beacon Press, 1950, pp. 9–10.79. Ibid., p. 9.80. Ibid., p. 13.81. Tanizaki, Chijin no ai, p. 27.82. Ibid., p. 30.83. Ibid., p. 8.84. Jun’ichirō Tanizaki, Naomi, Trans. Anthony H. Chambers. New York:
Vintage, 2001, p. 68.85. Tanizaki, Chijin no ai, p. 142.86. Here, we can recall the idea that Jōji is a “yielder,” which is pointed out by
Komori Yōichi and Margherita Long, whose readings of A Fool’s Love base largely on the protagonist’s humiliated male psyche and geopolitical values. See Komori, “Tanizaki raisan—tōsō suru disukūru [In Praise of Tanizaki—embattled discourses] in Kokubungaku 38.4 (December 1993), p. 12, and Long, This Perversion Called Love. Stanford: Stanford University Press, 2009, pp. 48–9. Our reading in this chapter agrees with the view and adds a socio-economic perspective to it. Jōji yields also to the limit of his economic condi-tions and social standing as the corporate worker.
87. Nakamura Mitsuo, Tanizaki Jun’ ichirō ron [On Tanizaki Jun’ichirō]. Tokyo: Nihon Tosho Sentā, 1984, p. 155.
88. Tanizaki, Chijin no ai, p. 102.89. Ibid.90. Saeki, Monogatari, pp. 178–9.91. Ibid., pp. 179–80.
notes / 207
92. Jean Baudrillard, Simulacra and Simulation. Trans. Sheila Faria Glaser. Ann Arbor: University of Michigan Press, 1994, pp. 3–6.
93. Referring to Hegel’s Jenenser Realphilosophie, Hardt and Negri point out that the capitalist accumulation of resources leads to the abstraction of labor and differentiates “the enjoyment of labor” from “the enjoyment of its fruits,” thereby resulting in “the most general alienation” (p. 58).
94. Saeki, Monogatari, pp. 185–6. 95. Tanizaki, Chijin no ai, p. 29. 96. Ibid., p. 32. 97. Ibid. 98. Ibid., p. 40. 99. Ibid., p. 56.100. Ibid., pp. 35, 61.101. Ken K. Itō, Visions of Desire: Tanizaki’s Fictional Worlds. Stanford: Stanford
University Press, 1991, p. 81.102. Tanizaki, Chijin no ai, pp. 51–2.103. Ibid., pp. 68–72.104. Ibid., p. 73.105. Ibid., p. 75.106. Tanizaki, Naomi, pp. 71–2.107. Ibid., p. 74.108. Tanizaki, Chijin no ai, p. 115.109. Ibid., p. 142.110. See my Chapter 6.111. Ibid., pp. 182–3.112. Tanizaki, Naomi, p. 161.113. Ibid., p. 207.114. Tanizaki, Chijin no ai, pp. 345–6.115. Nakamura, Tanizaki, p. 161.116. Komori Yōichi, Seikimatsu no yogensha: Natsume Sōseki [The Prophet of the
Fin de Siècle]. Tokyo: Kōdansha, 1999, p. 102. According to Komori’s com-ments on Sōseki, the Decadents’ realization of desire and pleasure presumes an intricate process of negating energy consumption when not a spontane-ous act by the subject is dispensed for his or her personal interest or pleasure. In this semiotic reading, the late Meiji period on, as represented by Sōseki, Decadent literature represents a critical response to the capitalist modernity of Japan. Such an interpretation proposes a new assessment of the works of Taishō Decadence. For example, Kōno Taeko unequivocally considers Tanizaki to be an optimistic hedonist who acts on the principle of “utterly positive desire” (mattaki kōtei no yokubō). This view limits the issue to per-sonal desire and appears to dismiss the socio-economic context at work in Naomi. See her Tanizaki bungaku to kōtei no yokubō [Tanizaki’s Literature and the Desire of Affirmation]. Tokyo: Chūōkōron, 1980, p. 61.
117. Komori Yōichi, Seikimatsu no yogensha, pp. 103–4.118. Ibid., p. 104.119. Ibid.
208 / notes
5 Decadence Begins with Physical Labor: The Postwar Use of the Body in Sakaguchi Ango’s The Idiot and
Tamura Taijirō’s Gateway to the Flesh
1. Sakaguchi Ango, “Darakuron” [On Decadence]. Sakaguchi Ango zenshū vol. 4. Tokyo: Chikuma, 1999, p. 157.
2. Matsumoto Tsunehiko, “‘Hakuchi’ ron no maeni” [Before the Discussion on The Idiot], Kokubungaku to kaishaku [Japanese National Literature and Interpretation] 71.11 (2006): pp. 103–5. Matsumoto lists notable examples, such as novellas and essays by Sakaguchi (“Izuko e” [To Where?], “Ma no taikutsu” [Diabolic Boredom], “Dekadan bungakuron” [On Decadent Literature], “Nikutai jitai ga shikō suru” [The Flesh as the Thinking Subject], “Watashi wa umi wo dakishimeteitai” [I Want to Keep Holding the Sea] that express Ango’s view that the body is a subjective entity independent of rationality.
3. Ibid., p. 107. 4. Sakaguchi Ango, Sakaguchi Ango zenshū vol. 4. Tokyo: Chikuma, 1998, p. 53.
(From here on abbreviated as SAZ 4.) 5. Sakaguchi Ango, “Discourse on Decadence.” Trans. James Dorsey, Literary
Mischief: Sakaguchi Ango, Culture, and the War. Lanham: Lexington, 2010, pp. 176–7. The original is in SAZ 4, pp. 53–4.
6. Ian Smith, “Sakaguchi Ango and the Morality of Decadence,” accessed April 5, 2006, http://mcel.pacificu.edu/aspac/papers/scholars/smith/.
7. Max Nordau, Degeneration. Trans. George L. Mosse. Lincoln: University of Nebraska Press, 1993, p. 301. Nordau cites Paul Bourget’s view that strong individualism is injurious to the organic structure of society.
8. Sakaguchi Ango, “Dekadan bungakuron” [On Decadent Literature]. SAZ 4, p. 213.
9. Ibid.10. Ibid.11. Ibid., p. 214.12. J. Victor Koschmann, Revolution and Subjectivity in Postwar Japan. Chicago:
University of Chicago Press, 1996, p. 57.13. Tamura Taijirō, “Nikutai ga ningen de aru” [The Flesh Is the Human Being],
in Nihon kindai bungaku hyōronsen Shōwahen. Tokyo: Iwanami, 2004, p. 367.
14. Ibid., p. 368.15. Ibid. Translation is Koschmann’s, p. 58.16. Ibid., pp. 370–1.17. With an explicit reference to Dostoevsky’s The Idiot (1869) in the novel’s title,
however, Sakaguchi’s female character offers a subversive version of human innocence. Unlike Prince Myshkin, who is characterized by altruism, self-sacrifice, and asexuality, Ango’s female character, “the Idiot,” provides the novella with a conscious subversion of the widely known figure.
18. Sakaguchi, “Darakuron,” SAZ 4, p. 53.19. For a discussion of Ango’s relationship with Buddhism, see Karatani Kōjin’s
“The Irrational Will to Reason: The Praxis of Sakaguchi Ango.” Trans. James Dorsey, in James Dorsey and Doug Slaymaker, eds., Literary Mischief: Sakaguchi Ango, Culture, and the War. Plymouth: Lexington, 2010, pp. 23–33.
notes / 209
20. Elizabeth English, Vajrayoginī: Her Visualizations, Rituals, and Forms. Boston: Wisdom, 2002, p. 40.
21. Ibid., p. 41.22. Ibid.23. Mircea Eliade, Symbolism, The Sacred, and The Arts, ed. Diane Apostolos-
Cappadona. New York: Crossroad, 1985, p. 83.24. Ibid.25. Ibid.26. Gilles Deleuze, Essays Critical and Clinical. Trans. Daniel W. Smith and
Michael A. Greco. Minneapolis: University of Minnesota Press, 1997, p. 82.27. Ibid., p. 84.28. Ibid., p. 1.29. Akasaka Norio, Ijinron josetsu [An Introduction to Aliens]. Tokyo: Sunakoya,
1985, p. 114.30. Renouncing his divinity, Emperor Hirohito made a speech known as the
Ningen sengen that was broadcast on national radio, on January 1, 1946.31. Sakaguchi, “A Short Essay on the Emperor,” SAZ 4, p. 86.32. In particular, Emperor Hirohito (1901–89), who reigned during the period of
1926 to 1989.33. Sakaguchi, Tennō shōron [A Short Essay on the Emperor], SAZ 4, p.86. 34. Ibid.35. Ibid., p. 87.36. Hierotheos Kykkōtēs, English–Greek and Greek–English Dictionary. London:
Humphries, 1942, p. 223.37. Ōshima Hitoshi, “Kobayashi Hideo, Apologist for the ‘Savage Mind,’”
Comparative Literature Studies 41.4 (2004): pp. 509–10.38. Sakaguchi, “Yokubō ni tsuite” [On Desire], SAZ 4, pp. 141–2.39. Ibid., pp. 140–1.40. Sakaguchi Ango, “The Idiot.” Trans. George Saitō, in Ivan Morris ed., Modern
Japanese Stories: An Anthology. Tokyo: Tuttle, 1962, p. 398.41. Sakaguchi, “Darakuron,” SAZ 4, p. 55. 42. Yōrō Takeshi. Shintai no bungakushi [A Literary History of the Body]. Tokyo:
Nihon Tosho Sentā, 1992, p. 53.43. Ibid., p. 91.44. Sakaguchi, “Hakuchi,” SAZ 4, p. 6545. Sakaguchi, “The Idiot,” p. 401. The original is in SAZ 4, p.7446. Sakaguchi, “Hakuchi,” SAZ 4, p. 72.47. Shukumi Lin, “Moraru to yobu atarashii gainen no sōzō: ‘Hakuchi’ to Ango
no sengo” [Creation of the New Notion Named the Moral], in Sakaguchi Ango Kenkyūkai ed., Ekkyōsuru Ango [Ango Who Deterritorializes]. Tokyo: Yumani, 2002, p. 101.
48. In the novella, Sakaguchi employs the terms “idiocy” and “madness” almost interchangeably (e.g., see p. 68). However, he usually describes the woman as “the Idiot,” whereas her husband is called “the Madman.”
49. See Chapter 8, “The New Division,” for a discussion of the gradual confine-ment of madmen in the eighteenth century. Michel Foucault, Madness and Civilization: A History of Insanity in the Age of Reason. Trans. Richard Howard. New York: Vintage, 1965, pp. 221–40.
50. Sakaguchi, “Hakuchi,” SAZ 4, pp. 67–8.
210 / notes
51. Ibid., p. 64.52. Ibid., p. 73.53. Cixous, Hélène, “The Newly Born Woman,” The Hélène Cixous Reader, ed.
Susan Sellers. New York: Routledge, 1994, p. 39.54. Shōji Hajime, Sakaguchi Ango. Tokyo: Chūsekisha, 2004, p. 207.55. Sakaguchi, “Hakuchi,” SAZ , p. 76.56. Ibid., p. 77.57. Ibid., p. 66.58. Ibid., p. 70.59. Ibid., p. 58.60. Ibid., p. 75.61. Sakaguchi, “The Idiot,” p. 407. The original is in SAZ 4, p. 79.62. Sakaguchi, “Hakuchi,” SAZ 4, p. 79.63. Ibid., p. 80.64. Ibid., p. 73.65. Michel Foucault, Discipline and Punish: The Birth of Prison. Trans. Alan
Sheridan, New York: Vintage, 1995, p. 144.66. Sakaguchi, “The Idiot,” p. 409. The original is in SAZ 4, p. 82.67. Sakaguchi, “Hakuchi,” SAZ 4, p. 84.68. Ibid.69. Ibid.70. Ibid.71. Sakaguchi, “The Idiot,” p. 415. The original is in SAZ 4, p. 72.72. Ibid.73. Takeda Taijun, “Metsubō nitsuite” [On Annihilation], in Kindai bungaku
hyōronsen: shōwahen [The Collected Works of Modern Japanese Literary Criticism: Shōwa Edition]. Tokyo: Iwanami, 2004, pp. 391–2.
74. Ibid., pp. 395–6.75. Ibid., p. 398.76. Ibid.77. Ibid., pp. 398–9.78. Onishi Yasumitsu, Tamura Yasujirō no sensō bungaku [Tamura Yasujirō’s
Literature of War]. Tokyo: Kasama, 2008, p. 162.79. Tamura Taijirō, “Nikutai ga ningen de aru” [The Flesh Is the Human Being],
pp. 366–7.80. Onishi, p. 162.81. Tamura Taijirō, Nikutai no mon [Gateway to the Flesh]. Tokyo: Kadokawa,
1988, p. 9.82. John W. Dower, Embracing Defeat: Japan in the Wake of World War II. New
York: Norton, 1999, p. 139.83. Tamura, Nikutai no mon, p. 8.84. Ibid., p. 9.85. Ibid., p. 14.86. Ibid., p. 10.87. Ibid., pp. 12–13.88. Ibid., p. 8.89. Ibid., p. 10.90. Ibid., p. 19.
notes / 211
91. Ibid., pp. 22–3. 92. Ibid., p. 23. 93. Sakaguchi, “Darakuron,” SAZ 4, pp. 52–3. 94. Ibid., p. 36. 95. Ibid., p. 27. 96. Ibid., p. 18. 97. Ibid., p. 27. 98. Ibid., p. 37. 99. Ibid., p. 40.100. Ibid., p. 42.101. Ibid., p. 43.102. Ibid., p. 41.103. Ibid., p. 9.104. Ibid., p. 43.105. These factors are discussed in depth in Chapter 6, particularly in reference
to Bataille and Lyotard.
6 Decadence as Generosity: Squander and Oblivion in Mishima Yukio’s Spring Snow
1. Mishima’s tetralogy Hojō no umi [The Sea of Fertility] consists of Haru no yuki [Spring Snow] (1965), Honba [Runaway Horses] (1967), Akatsuki no tera [The Temple of Dawn] (1970), and Tennin gosui [The Decay of the Angel] (1970). The four novels were first serialized in the magazine Shinchō in 1965 to 1970, and subsequently published in book form.
2. Mishima Yukio, “Hōjō no umi nitsuite” [On The Sea of Fertility], in Mishima Yukio zenshū vol. 35. Tokyo: Shinchō, 2003, p. 411. The essay was originally published in the evening edition of Mainichi shinbun, February 26, 1969.
3. Ibid. 4. Nibuya Takashi, “Mishima to riarizumu” [Mishima and Realism], Eureka
11 (2000): p. 102. 5. Ibid., p. 105. 6. The chapters most relevant to my analysis are “The Origins of Capitalism
and the Reformation” and “The Bourgeois World,” in Part 4, Georges Bataille, The Accursed Share vol. 1. New York: Zone Books, pp. 115–42.
7. Marcel Mauss, The Gift. Trans. W.D. Halls. New York: Norton, 1990, pp. 33–46.
8. Georges Bataille, Visions of Excess. Ed. Allan Stoekl. Minneapolis: University of Minnesota Press, p. 124.
9. Nicoletta Pireddu, Antropologi alla corte della bellezza: Decadenza ed eco-nomia simbolica nell’Europa fin de siècle [Anthropologists at the Court of Beauty: Decadence and Symbolic Economy in fin-de-siècle Europe]. Verona: Edizioni Fiorini, 2002, p. 11.
10. Max Nordau, Degeneration. Trans. George L. Mosse. Lincoln: University of Nebraska Press, 1993, p. 301. He cites Paul Bourget, Essais de Psychologie contemporaine. Paris: Alphonse Lemerre, 1883, p. 24.
11. Ibid., p. 301.
212 / notes
12. Ibid., pp. 298–337.13. Ibid., p. 313.14. Ibid., p. 322.15. Ibid., pp. 323–4.16. Ibid., p. 325.17. See Georges Bataille’s “The Notion of Expenditure,” in Visions of Excess. Ed.
Allan Stoekl. Minneapolis: University of Minnesota Press, pp. 116–29, and Jean-François Lyotard’s Libidinal Economy. Trans. Iain Hamilton Grant. Bloomington: Indiana University Press, 1993, especially Chapter 2, “Tensor,” pp. 43–94.
18. Bataille, Visions of Excess, p. 118.19. Mishima, Yukio, “‘Erochishizumu’—Jyoruju Bataiyu cho, Muro Junsuke
yaku” [Eroticism—by Georges Bataille, Trans. Muro Junsuke], in Mishima Yukio zenshū vol. 31. Tokyo: Shinchō, 2006, pp. 411–15. This book review was published in 1955, shortly after Muro’s translation of Bataille’s Eroticism was published. In Mishima’s reading, Bataille’s eroticism begins with the premise that “life” (sei) is essentially discontinuity (hirenzokusei) of individuals. In this presumption, eroticism functions as a sort of rupture that deconstructs the social structure governing the order of discontinuous individuals. In so stating, Mishima views that Bataille’s eroticism is potentially a breakthrough in the impasse of intellectualism (shuchi shugi), as it sheds light on the con-tinuity (renzokusei) of death and individual lives obscured by intellectualism (pp. 412–13).
20. Harry D. Harootunian, Japan in Crisis: Essays on Taishō Democracy. Princeton: Princeton UP, 1974, p. 10.
21. Nakamura Mitsuo and Mishima Yukio. Taidan: Ningen to Bungaku [Dialogue: Human Beings and Literature]. Tokyo: Kōdansha, 2003, p. 145.
22. Mishima Yukio, “Haru no yuki nitusite” [On Spring Snow], Mishima Yukio zenshū vol. 35. Tokyo: Shinchō, 2003, p. 515.
23. Mishima Yukio, Haru no yuki [Spring Snow], in Mishima Yukio zenshū vol. 13. Tokyo: Shinchō, 2006, pp. 12–13.
24. Mishima was an avid reader of Oscar Wilde. See “Osukaa Wairudo ron” [On Oscar Wilde], in Mishima Yukio zenshū vol. 27. Tokyo: Shinchō, 2003, pp. 290–1.
25. Mishima, Haru no yuki, p. 7.26. Mishima Yukio, Spring Snow. Trans. Michael Gallagher. New York: Vintage,
1990, p. 15.27. Mishima, Haru no yuki, pp. 171–2.28. Ibid., p. 149.29. Ibid., p. 22.30. Bataille, Visions of Excess, p. 117.31. Ibid., p. 123.32. Ibid., pp. 128–9.33. Mishima, Spring Snow, p. 373.34. Ibid.35. Ibid., p. 306.36. Mauss, The Gift. For a detailed discussion of potlatch, see Chapter 2, pp.
19–46. According to this seminal anthropological study, the essence of
notes / 213
potlatch consists of three obligations: “to give, to receive, [and] to recipro-cate” (p. 39). In ancient societies, including the Kwakiutl, the Haïda, and the Tsimshian, the practice of potlatch signifies a basic act of “recognition” in “military, judicial, economic, and religious” spheres designed to elicit a sense of gratitude among constituents (p. 40). Destruction of one’s wealth in public is inextricably attached to the notion of “honour” (p. 37). In Mauss’s view, as a form of economy, the gift exchange of potlatch is an interstitial phenomenon between “total services” that take place at the level of community, such as clan to clan or family to family, and a “purely individual contract” of the market economy based on selling and the circulation of money (p. 46).
37. Bataille, The Accursed, p. 67.38. Ibid., p. 68.39. Ibid., p. 69.40. Mishima, Haru no yuki, p. 218.41. Ibid., p. 187.42. Lyotard, Libidinal, p. 201.43. Mishima, Spring Snow, p. 246.44. Nicoletta Pireddu, “‘Il divino pregio del dono’: Andrea Sperelli’s ‘Economy of
Pleasures,’” Annali d’Italianistica 15 (1997): p. 178. In the article, Pireddu ana-lyzes the representation of unproductive expenditure in Il Piacere by Gabriele D’Annunzio, of whom Mishima was an avid reader and a great admirer.
45. For this interpretation, I disagree with Michiko Wilson’s interpretation of Mishima as a misogynistic writer. According to her, the writer’s female char-acters are “doomed to outlive” the male characters, thereby underscoring the aestheticized premature deaths of the male victims (p. 172). Although Wilson states that Mishima reduces his heroines to the “unthinkable” (p. 176), Satoko in Spring Snow plays an indispensable role in Kiyoaki’s psycho-logical development through her renouncement of personal history, body, emotion, and social privileges. See Wilson’s “Three Portraits of Women in Mishima’s Novels,” Journal of the Association of Teachers of Japanese 14.2 (1979): pp. 157–81.
46. See Takahashi Eiri’s “’Hōjō no umi’ o yomu to iu monogatari” [The Tale of Reading The Sea of Fertility], Eureka 11 (2000): pp. 134–45, and David Pollock’s “Arayuru mono e no hihyō” [Critique of Everything], Eureka 11 (2000): pp. 146–63. Both critics consider Kiyoaki to be a man of action. For example, Pollock describes the protagonist as comparable to “a shite” of Noh drama, juxtaposing him with the passive observer, Honda (p. 152). Nonetheless, Kiyoaki presents himself with a considerable sense of hopeless-ness in the face of the insurmountable authority of patriarchy.
47. Mishima, Spring Snow, p. 365.48. For example, Mishima often expresses the protagonist’s fascination with
dying young in Confessions of a Mask. Refer to the episode in which the pro-tagonist regrets that his poor physique had prevented him from entering the army. Confessions of a Mask. Trans. Meredith Weatherby. New York: New Directions, 1958, p. 139.
49. Jacques Derrida, The Gift of Death and Literature in Secret. Chicago: University of Chicago Press, 2008, pp. 41–2.
50. Ibid., pp. 45–6.
214 / notes
51. Ibid., p. 48.52. Mishima, Spring Snow, p. 373.53. Mishima, “Hōjō no umi ni tsuite” [A Note on The Sea of Fertility], p. 411. To
frame the entire tetralogy, Mishima expounds the narrative development in regard to the philosophy of Yogācāra (yuishiki, consciousness-only) developed by Mahāyāna Buddhism.
54. Lyotard, Libidinal, p. 61.55. Ibid., p. 145.56. Ibid. Italics are Lyotard’s.57. Mishima, Spring Snow, p. 451.58. Roger Caillois. Man, Play and Games. Trans Meyer Barash. Urbana and
Chicago: University of Illinois Press, 2000, pp. 14–19.59. According to Shibusawa Tatsuhiko, Mishima understood the concept of
decadence quite broadly and he explicitly showed his infatuation with it. As Shibusawa points out, in his postscript written as editor to the literary jour-nal, Hihyō [Criticism] (1968), Mishima attests to his discursive understand-ing of the term. As Shibusawa points out, in this short paragraph, Mishima employs the term “decadence” six times, a repetition that can be understood as reflecting his unsettled and complicated conceptualization of the term. See Shibusawa’s Mishima Yukio Oboegaki [The Memoirs of Mishima Yukio]. Tokyo: Chūōkōron, 2002, pp. 58–9.
60. Shibusawa, Chi to bara korekushon vol.1 [A Collection of Blood and Roses Magazine vol. 1]. Tokyo: Kawade, 2005, p. 38.
61. Ibid.62. Ibid., p. 22.63. Ibid., p. 15.64. Shibusawa, Mishima Yukio Oboegaki [The Memoirs of Mishima Yukio].
Tokyo: Chūkō, 2002, pp. 60–61.65. Ibid., p. 59.66. Ibid.67. Sadoya Shigenobu, Mishima ni okeru seiyō [The West in Mishima’s Work].
Tokyo: Tokyō Shoseki, 1981, p. 148.68. Mishima Yukio, “Erochishizumu” (book review of Bataille’s Eroticism), in
Mishima Yukio hyōron zenshū vol. 1. Tokyo: Shinchō, 1989, p. 506.69. Sadoya, p. 14570. Pireddu, “’Il divino pregio del dono’: Andrea Sperelli’s Economy of Pleasures,”
p. 182.71. Ibid.72. Although Mishima’s novella “Misaki nite no monogatari” [A Story at the
Cape] (1947) was influenced by D’Annunzio’s The Triumph of Death, there is no evidence that the Japanese writer actually read the entire trilogy, The Romance of Roses, which also includes The Child of Pleasure and The Innocent.
73. Edward S. Brinkley, “Homosexuality as (Anti)Illness: Oscar Wilde’s The Picture of Dorian Gray and Gabriele D’Annunzio’s Il Piacere,” Studies in Twentieth Century Literature 22.1 (1998): p. 79.
notes / 215
74. Gabriele D’Annunzio, Il Piacere [The Child of Pleasure]. Milan: Mondadori, 1995, pp. 34–7.
75. David Weir, Decadence and the Making of Modernism. Amherst: University of Massachusetts Press, 1995, p. 124.
76. See Charles Bernheimer’s accessible interpretation of Cesare Lombroso’s misogynistic study in La donna delinquente: la prostituta e la donna normale (1893), in Decadent Subjects, pp. 146–9. Bernheimer’s interpretation is based on the French translation of Lombroso’s work, La femme criminelle et la pros-tituée. Trans. Louise Meille. Paris: Alcan, 1896.
77. Ibid., p. 147.78. Spackman states that “Something speaks through the subject, but in the pre-
Freudian texts that are the most ambitious proponents of this discourse, it is not language, not yet the unconscious. Behind the disturbed syntax, the disturbing contents of decadent texts, there hides a diseased, degenerate body. Post-Freudian symptomatic readings rely on an analysis of psychic mecha-nisms to interpret texts, and nineteenth-century medicolegal anthropological studies (as their authors call them) ground their interpretive code on a descrip-tion of somatic reaction, not the unconscious. These pre-Freudian texts are as blissfully unaware of that dark continent as they are of discipline to boundar-ies” (p. 1).
79. Tsutui Yasutaka, Danuntsuio ni muchū [Infatuated with D’Annunzio]. Tokyo: Chūōkōron, 1989, pp. 11–46.
80. Ibid., p. 135.81. Mishima, Haru no yuki, p. 166.82. Barbara Spackman, Decadent Genealogies: The Rhetoric of Sickness from
Baudelaire to D’Annunzio. Ithaca: Cornell University Press, 1989, p. 42.83. Charles Bernheimer, Decadent Subjects. Baltimore: Johns Hopkins University
Press, 2002, p. 150. He cites Cesare Lombroso and Ferrero, La femme crim-inelle, p. 409.
84. Gabriele D’Annunzio, The Child of Pleasure. Trans. Georgina Harding and Arthur Symons, London: William Heinemann, 1898, p. 53.
85. Mishima, Spring Snow, p. 88.86. Mishima, “Erochishizumu,” p. 506. My translation.87. Shibusawa, Mishima Yukio Oboegaki, p. 57.88. Mishima Yukio, “Amerikateki Dekadansu: Tōi koe, tōi heya” [American
Decadence: Other Voices, Other Rooms], in Mishima Yukio zenshū vol. 28. Tokyo: Shinchō, 2003, p. 469. The essay was published in May 7, 1955, as a book review of Truman Capote’s Other Voices, Other Rooms in Toshoshinbun.
7 Capitalist Generosity: Decadence as Giving and Receiving in Shimada Masahiko’s Decadent Sisters
1. Here, the distinction between the bare life and the communal human life can assimilate Giorgio Agamben’s dualism located in the Greek terms zoē and bios. The former refers to “the simple fact of living common to all living beings
216 / notes
(animals, men, or gods)” and the latter “the form or way of living proper to an individual or a group.” Homo Sacer. Trans. Daniel Heller-Roazen. Stanford: Stanford UP, 1998, p. 1.
2. Jean-François Lyotard, Libidinal Economy. Trans. Iain Hamilton Grant. Bloomington: Indiana UP, 1993.
3. For the postwar leftist literary debates on the construction of subjectiv-ity through realism, see J. Victor Koschmann’s Chapter 2: “Literature and Bourgeois Subject” in Revolution and Subjectivity in Postwar Japan. Chicago: University of Chicago Press, 1996, pp. 41–57. His discussion of the Kindai bungaku group offers a detailed analysis of the problem of subjectivity, the responsibilities of writers, and their adherence to a Marxist–Leninist episte-mology and the aesthetics commensurate with it.
4. To my knowledge, Shimada does not claim any concrete interconnectedness between Taihai shimai and Sakaguchi Ango’s “Darakuron.” However, the author appears to be highly conscious of Ango’s postwar critique against the totalitarian regime of wartime, particularly in the final six paragraphs of “On Decadence,” which concern the postwar recovery of humanity via a moral downfall. See “Darakuron” [On Decadence] in Sakaguchi Ango zenshū vol. 4. Tokyo: Chikuma, 1999, pp. 58–60. Also, Shimada’s depiction of comfort facilities appears to be indebted to John W. Dower’s Chapter 4 in Embracing Defeat: Japan in the Wake of World War II. New York: Norton, 1999, pp. 123–39.
5. Sakaguchi, “Dekadanron,” p. 58. 6. Kobayashi Takayoshi, Shimada Masahiko: Koimonogatari no tanjō. Tokyo:
Bensei, 2010, p. 227. 7. According to Hayakawa Noriyo’s essay, “Senryōgun no ian to baishunsei
no saihen” [Comforting the Occupation Army and the Reorganization of Prostitution], soldiers, from the highest to the lowest-ranked, expected to receive sexual services in Japan after that country’s defeat in August 1945. At the time, the Japanese Cabinet feared the uncertainty of the national polity, and out of necessity it issued an official notification, “Gaikokugun chūtonchi ni kakaru ianshisetsu nitsuite” [On Comfort Facilities in Foreign Militaries’ Stations], on August 18. For details, see Hayakawa’s essay in Senryō to sei: seisaku, jittai, hyōshō [Occupation and Sex: Policies, Realities, Symbols], ed. Kanō Mikiyo et al. Tokyo: Inpakuto, 2007, pp. 45–78.
8. Duus Masayo, Haisha no okurimoto: kokusaku ianfu o meguru senryōka hishi [The Gift of the Defeated: A Secret History Surrounding National Comfort Women]. Tokyo: Kōdansha, 1979, p. 4.
9. Ibid., p. 23.10. Shimada Masahiko, Taihai shimai [Decadent Sisters]. Tokyo: Bunshun, 2008,
p. 54.11. Ibid., pp. 140–1.12. Ibid., pp. 149–50.13. Ibid., p. 139.14. Ibid., p. 113.15. Ibid., p. 127. My translation.16. Ibid., p. 128.17. Ibid., p. 133.
notes / 217
18. Jean Baudrillard, Symbolic Exchange and Death. Trans. Iain Hamilton Grant. London: Sage, 1993, p. 5.
19. Ibid., p. 133.20. Ibid., p. 191.21. Ibid., p. 197.22. Ibid., p. 198.23. Ibid., p. 137.24. Ibid.25. Shimada, Taihai shimai, p. 192.26. Ibid., 71.27. Ibid. My translation.28. Ibid., p. 177.29. Ibid., 181. My translation.30. Ibid., p. 71.31. Ibid.32. Ibid., p. 338.33. Ibid., pp. 117–18.34. Ibid., pp. 212–13.35. Ibid., pp. 334–5.36. Ibid., p. 54.37. Ibid., pp. 51–2.38. Ibid., p. 60.39. Ibid., p. 83.40. Ibid., pp. 250–5.41. Michael Hardt and Antonio Negri, Labor of Dionysus: A Critique of the State
Form. Minneapolis: University of Minnesota Press, 1994, p. 7.42. Ibid., p. 8. Italics added by Negri and Hardt.43. Ibid., p. 9. Negri and Hardt suggest the following references as indices to an
analysis of female affective labor: Nancy Hartsock, Money, Sex and Power: Toward a Feminist Historical Materialism. Boston: Northeastern University Press, 1985, pp. 234–40; Hilary Rose, “Hand, Brain, and Heart: A Feminist Epistemology for the Natural Sciences,” Women and Religion 9.1 (1983): 3–90; and Micaela Di Leonardo, “The Female World of Cards and Holidays: Women, Families, and the Work of Kinship,” Signs 12.3 (1987): 440–53.
44. Ibid., p. 239.45. Ibid., p. 194.46. Ibid., pp. 206–18.47. Ibid., pp. 258–60.48. Shimada Masahiko, “Transcritique and Poietique of Novels,” Kokubungaku
44.9 (1999): p. 22.49. Ibid.
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Abe Jirō, 60Aestheticism
defined, 8–9, 10growth of Decadence and, 11, 21Naturalism and, 20, 57–8, 60–1,
62, 66; see also Sooty Smoke [Baien] (Morita)
Against Nature [A rebours] (Huysmans), 29, 107, 114, 161, 179
Agamben, Giorgio, 215n1Aguri [Aoi hana] (Tanizaki), 105Akagi Kōhei, 7, 8, 11, 55Akutagawa Ryūnosuke, 21, 104, 109alea, 33, 123, 156, 164American Stories [America Monogatari]
(Kafū), 9And Then [Sorekara] (Sōseki), 72, 124Anesaki Chōfū, 66Ara Masato, 130“Aristocratism and Populism”
[“Kizokushugi to Heiminshugi”] (Ueda), 80–1, 88
Ariwara no Narihira, 2–3, 85artificial paradise [paradis artificiels]
Baudelaire on, 17, 18, 31, 41–2, 103–4
defined, 34, 103–5, 123–5see also Fool’s Love, A [Chijin no ai]
(Tanizaki); Pastoral Spleen, A [Den’en no yūutsu] (Satō)
“Art in the Age of Disillusionment” [“Genmetsujidai no geijutsu”] (Hawegawa), 20
Awakening from Love [Koizame] (Oguri), 39
Baju, Anatole, 30Bakhtin, Mikhail, 79, 82, 88, 93Barrès, Maurice, 52, 87, 98Bataille, Georges
Blood and Roses, 26–7Spring Snow (Mishima) and, 147,
148, 150, 152, 153, 157–60, 163unproductive expenditure and,
15–16, 29, 54Baudelaire, Charles
on artificial paradise [paradis artificiels], 17, 18, 31, 41–2, 103–4
Flowers of Evil, 202–3n1influence of, 9, 15, 26, 53, 60, 75,
81, 88“The Painter of Modern Life” [“Le
peintre de la vie moderne”], 161Baudrillard, Jean, 119Bennett, John, 53Bentham, Jeremy, 25, 138Bernheimer, Charles, 30, 57Bhabha, Homi K., 2, 11Biedermeier, 21Bildungsroman, 92, 95, 96, 150, 160,
168, 179Binni, Walter, 28, 60Birth of Japan’s Aesthetic School, The
[Nihon Tanbiha bungaku no tanjō] (Noda), 20
Bleuler, Eugen, 85
Index
Note: Foreign language titles of literary works follow their English translations in square brackets.
234 / index
Blood and Roses [Chi to bara] (literary group), 26–7, 157–8
Bourget, Paul, 31, 32, 34, 147, 178“Brief Reflection on Decadence, A”
(Satō), 112Brinkley, Edward S., 160Browning, Robert, 97Buddhism
The Idiot (Sakaguchi) and, 132mappō, 182n13“On Annihilation” (Takeda)
and, 139Spring Snow (Mishima) and,
145, 146
Caillois, Roger, 33Calinescu, Matei, 30Carducci, Giosuè, 28Cat’s Bridge, The (Sudermann), 70Cavour, Camillo, 59Channel Buoys [Miotsukushi]
(Ueda), 91Charterhouse of Parma,
The (Stendhal), 98Chikamatsu Monzaemon, 73Chikamatsu Shūkō, 7, 55Child of Pleasure, The (D’Annunzio),
154, 160, 161, 163Chu Guang-yi, 112Chūōkōron (magazine), 39Cixous, Hélène, 136Collection of Ten Thousand Leaves
[Manyōshū], 3“Comforting the Occupation Army
and the Reorganization of Prostitution” [“Senryōgun no ian to baishunsei no saihen”] (Hayakawa), 216n7
Comte, Auguste, 19Confessions of a Mask (Mishima), 164Confessions of an Opium Eater (de
Quincey), 72Confucianism
English empiricism and, 19Fukuzawa Yukichi’s shift from, 48The Idiot (Sakaguchi) and, 135ie system and, 64–5individualism and, 65
Sooty Smoke (Morita) and, 73suicide themes and, 73
Crime and Punishment (Dostoevsky), 70
Critique [Hihyō] (Mishima), 158Croce, Benedetto, 28Cursed Play, The [Norowareta gikyoku]
(Tanizaki), 113
Dan Kazuo, 112D’Annunzio, Gabriele
Blood and Roses and, 26The Child of Pleasure, 154, 160,
161, 163influence on Mishima, 147,
159, 160Kōu in Kafū’s Sneers, 87, 90, 96The Novels of the Roses, 61, 68,
112, 161Romanticism and, 28The Triumph of Death, 33, 58–60,
61–2, 63, 67, 68, 73–4, 76Dante Alighieri, 74daraku (downfall), 1, 25, 188n148
see also DecadenceDazai Osamu, 25, 157Decadence
Aestheticism and, 8–9as creative labor, 13–18definitions, 1–3, 30, 31–2fin-de-siècle, 9–13, 30, 35–6,
157–60kichōsha stories as, 34, 79–83; see
also Sneers [Reishō] (Nagai); Vortex, The [Uzumaki] (Ueda)
Naturalism and, 7–8, 39, 41, 42, 50–5; see also Indulgences [Tandeki] (Iwano); Indulgences [Tandeki] (Oguri); Sooty Smoke [Baien] (Morita)
as refuge, in early Meiji period, 38taihai (degeneration) and, 1, 25,
131, 165–6, 168Taishō period and, 46, 103–5, 147,
148–9; see also Fool’s Love, A [Chijin no ai] (Tanizaki); Pastoral Spleen, A [Den’en no yūutsu] (Satō)
index / 235
uselessness, as ideology, 18–27; see also labor; uselessness
uselessness and, historical perspective, 18–27, 177–80
uselessness as motif and, 3–7World War II and, 130, 134,
137–8, 139see also individual names of authors;
individual titles of worksDécadent, Le (magazine) (Baju), 30Decadent Genealogies (Spackman), 161Decadent Sisters [Taihai shimai]
(Shimada)labor and capitalism, 35,
165–6, 179plot and characters of, 166–75
Decay of the Angel, The [Tennin gosui] (Mishima), 153
Declaration of the Human Being [Ningen sengen], 133
“Defining Decadence in Nineteenth-century French and British Criticism” (North), 187n140
Deleuze, Gilles, 129, 133Dellamora, Richard, 14“Demise of the Logic of the Meiji
Restoration, The” [“Bunmeikaika no ronri no shūen nitsuite”] (Yasuda), 23
de Quincey, Thomas, 72Derrida, Jacques, 154, 155Descartes, René, 24dilettantism
defined, 83Iwano and, 44Nagai and, 6, 9–10, 34, 57, 90Ueda and, 34, 57, 91–100Ueda on kyōraku shugi, 80
“Discourse in the Novel” (Bakhtin), 82
“Discourse on Decadence” [“Darakuron”] (Sakaguchi), 25, 127–30, 165, 171, 178
“Discourse on Decadent Literature” [“Dekadan bungakuron”] (Sakaguchi), 130
Divine Comedy (Dante), 74Dōgen, 3
Dostoevsky, Fyodor, 59, 70, 75, 133, 208n17
Dower, John, 140Duus Masayo, 167
economic issues, see labor; uselessnessEdo culture, Meiji period contrasted
with, 80, 83–4, 85–7, 88, 90, 92, 100
Eight Laughing Men [Hasshōjin] (Ryūtei), 86, 90
Eliade, Mircea, 133Ellis, Havelock, 31Embarkation for Cythera, The
(Watteau), 92, 99Emerson, Ralph Waldo, 65Emperor
as patriarch, 64–5shinmin (subjects ruled by
Emperor), 129worship of, 171see also individual names of emperors
Encouragement of Learning [Gakumon no susume] (Fukuzawa), 18, 47, 49
Engels, Friedrich, 15, 16“Eradication of Decadent Literature,
The” [“Yūtōbungaku no bokumetsu”] (Akagi), 7
Eroticism (Bataille), 148Essais de Psychologie Contemporaine
(Ellis), 31Ethics of the Man of the Polis
[Porisutekei ningen no rinrigaku] (Watsuji), 24
Ethics [Rinrigaku] (Watsuji), 24European Decadence
individualism and, 24, 31Italian-Japanese parallels, 27–32; see
also D’Annunzio, GabrieleJapanese Decadence contrasted
with, 6, 7–9, 11, 12, 14–15, 17, 20–1, 26–32, 33, 79, 177–80
Sneers (Nagai) and, 80, 82, 84Sooty Smoke (Morita) and, 58–9, 61,
70–1, 73, 74Spring Snow (Mishima) and, 146,
147, 149, 152, 153–4, 157–60Taishō period and, 105, 177
236 / index
European Decadence—ContinuedTriumph of Death (D’Annunzio)
and, 61The Vortex (Ueda) and, 80, 82, 91
Expansion of Great Japan, The [Dainihon bōcherōn] (Tokutomi), 19
expenditureunproductive, 15–16, 29, 54wealth versus, 150–1, 152–3see also labor
Family Registry System, 37Faust (Goethe), 106, 110feminist theory
The Idiot (Sakaguchi) and, 136–7“New Woman,” 70
“femme fatale” charactersIndulgences (Iwano), 44–5Sooty Smoke (Morita), 63, 68–9,
70, 75Spring Snow (Mishima), 160–2
fête galante, 92–3Field of Musashino, The [Musashino]
(Kunikida), 107fin-de-siècle Decadence, defined,
9–13, 30, 35–6, 157–60see also Spring Snow [Haru no yuki]
(Mishima)“Fireworks” [“Hanabi”] (Nagai), 7, 85Flaubert, Gustave, 59“Flesh Is the Human Being, The”
[“Nikutai ga ningen de aru”] (Tamura), 131
Flowers of Evil (Baudelaire), 202–3n1Fool’s Love, A [Chijin no ai] (Tanizaki)
artificial paradise and, 34, 103–5, 123–5
A Pastoral Spleen (Satō) compared to, 113–23
plot and characters of, 113–23Forbidden Colors (Mishima), 164Forerunner, The [Senkusha], 45Foucault, Michel, 136, 138French Stories [Fransu Monogatari]
(Kafū), 9, 20–1Freud, Sigmund, 158, 161Fujiwara family, 128
Fujiwara no Kusuko, 181–2n7Fukuzawa Yukichi, 6, 18–19, 47–8
Garibaldi, Giuseppe, 59Gate, The [Mon] (Sōseki), 124Gateway to the Flesh [Nikutai no mon]
(Tamura)body and sexuality, 34–5, 130–1The Idiot (Sakaguchi) compared to,
132–40plot and characters of, 140–4
Gautier, Théophile, 20, 81, 202–3n1Gay Science, The (Nietzsche), 161Gemeinschaft, 49Genealogy of Useless Men, The
[Muōysha no keifu] (Junzō), 2, 13generosity, through malaise, 160–4German Romanticism, 22, 111gesaku (trivial work)
defined, 5Nagai and, 7, 9, 10, 84, 85, 86, 90
Gesellschaft, 49, 147–8Gibbon, Edward, 163Gift, The [Essai sur le don]
(Mauss), 147gift giving, 68–9Gift of Death (Derrida), 154Gilman, Richard, 30, 81Goethe, Johann Wolfgang von, 105,
106, 110–11, 112Golden Death, The [Konjiki no shi]
(Tanizaki), 114Goncourt brothers, 59, 87, 90Gotō Sueo, 7, 55Guattari, Félix, 129
Haniya Yukata, 26, 75Hardt, Michael (Negri, Antonio),
15–17, 115, 116, 119, 173Hasegawa Tenkei, 20Hashikawa Bunzō, 23Hata Toyokichi, 22Hayakawa Noriyo, 216n7Hegel, Georg Wilhelm Friedrich, 24Heian period, Fujiwara
Family and, 128Heidegger, Martin, 24Heijō, Emperor, 2
index / 237
Heliogabalus (Roman Emperor), 163Heraclitus, 92–3Heretics [Jashūmon] (Kitahara), 20hermaphroditism, 162–3heteroglossia, 79, 82, 88, 93, 99Hiraoka Toshio, 193n101Hiratsuka Haruko (Raichō), 58, 62,
69, 70, 72Hirohito, Emperor, 133–4Hirotsu Kazuo, 105, 110History of the Decline and Fall of the
Roman Empire (Gibbon), 163Hosoe Eikoh, 26Hugo, Victor, 87, 94Huizinga, Johan, 117Hunter’s Sketches, The (Turgenev), 108Husserl, Edmund, 24Hutchinson, Rachael, 84Huysmans, Joris-Karl, 26, 29, 53, 59,
105, 107hyōmen byōsha (flat narrative), 82
Ibsen, Henrik, 59, 66ichigen byōsha (monistic narration),
50–1Idiot, The (Dostoevsky), 208n17Idiot, The [Hakuchi] (Sakaguchi)
body and sexuality, 34, 127–30Gateway to the Flesh (Tamura)
compared to, 140–4plot and characters of, 132–40
ie system, 37–8, 40, 41, 43–4, 48–53, 64–5, 66–7, 76, 116
Ikuta Chōkō, 59, 63Inagaki Taruho, 26individualism
Mishima on, 147–8Morita on, 59, 66–77Nagai and Ueda on, 80, 81, 83, 84,
85, 86, 89, 90, 91, 93–4, 96–9Tamura on, 143
Indulgences [Tandeki] (Iwano)Indulgences [Tandeki] (Oguri) and,
39–42plot and characters of, 42–6unproductivity and waste as themes
in, 33, 37–9, 46–55Indulgences [Tandeki] (Oguri)
Indulgences [Tandeki] (Iwano) compared to, 42–6
plot and characters of, 39–42unproductivity and waste as themes
in, 33, 37–9, 46–55inja (hidden men), 5I-novel
Indulgences (Oguri) and Indulgences (Iwano), 38, 41, 47, 52, 53–5
shinkyō shōsetsu (state-of-mind novel) and shishōsetsu, 183n34
Sooty Smoke (Morita) and, 57–8, 60, 62–3, 66, 67, 72, 73, 76
Ippenshōnin, 3Iser, Wolfgang, 99Ise Stories, The [Ise Monogatari]
(anonymous), 2–3Ishikawa Gian, 61Ishikawa Takuboku, 20Ishino Iwao, 53Italian Decadentism, Japanese
parallels with, 27–32see also European Decadence
Itō Sei, 46Iwanō Hōmei, 7, 33, 38, 42–50, 52
Japanese Recreation and Amusement Association (RAA), 167–8
Jijyoron (Nakamura), 49Johnson, Frank A., 190n24Josei (magazine), 113jyōfu mono (story of the mistress), 113
kabuki, 96Kafū the Scribbler (Seidensticker), 83Kajii Motojirō, 109Kamei Hideo, 73Kamishima Jirō, 2Kamono Chōmei, 5, 107Kant, Immanuel, 24Karaki Junzō, 2–5, 12, 13, 53, 85Karatani Kōjin, 174Kasai Zenzō, 7Katagami Tengen, 7, 20Kataoka Ryōichi, 68Kawabata Yasunari, 55Kawaji Utako, 106Kawamoto Saburō, 21, 104, 109
238 / index
Kawamura Masatoshi, 106Kenyūsha, 38kichōsha stories (returnees from the
West), 34, 79–83see also Sneers [Reishō] (Nagai);
Vortex, The [Uzumaki] (Ueda)Kinoshita Mokutarō, 20Kitahara Hakushū, 20Kitamura Tōkoku, 65Kobayashi Hideo, 11, 52, 134Kobayashi Takayoshi, 167Kokumin Shinbun (newspaper), 91Komori Yōichi, 84, 124Koschmann, J. Victor, 130Kōtoku Shūshui, 6–7Kristeva, Julia, 84–5Kubota Mantarō, 7, 8Kunikida Doppo, 38, 107–8kyōraku shugi, 80
laborexpenditure versus wealth, 150–1,
152–3function of “labor” in Decadent
literature, 32ideology of uselessness and, 13–18;
see also uselessnessMarxism on, 14, 16Morita on, 57; see also Sooty Smoke
[Baien] (Morita)Shimada on, 167, 169, 173; see also
Decadent Sisters [Taihai shimai] (Shimada)
Tanizaki on, 115–19; see also Fool’s Love, A [Chijin no ai] (Tanizaki)
unproductive expenditure and, 15–16, 29, 54
Labor of Dionysus (Hardt, Negri), 16–17, 115
Leonardo da Vinci, 96Lévinas, Emmanuel, 155Links of All Sciences [Hyakugaku
renkan] (Nishi), 19“Literature Without Solutions”
[“Mukaiketsu no bungaku”] (Katagami), 20
“Little Child, The” (“Il fanciullino) (Pascoli), 200n38
Lombroso, Cesare, 28, 60, 110, 161Love Suicides at Amijima, The
(Chikamatsu), 73Love Suicides at Sonezaki, The
(Chikamatsu), 73Lyotard, Jean-François, 15, 16, 148,
156, 157, 165
Madness and Civilization (Foucault), 136
malaise, generosity through, 160–4Malinowski, Bronislaw, 159Mallarmé, Stéphane, 9, 81Manifesto of the Communist Party,
17, 115“Man of Letters as a Critic of
Civilization, The” [“Bunmei hihyōka to shite no bungakusha”] (Takayama), 66
Manon Lescaut (Prévost), 134Mantegazza, Paolo, 159mappō (law of end of world), 182n13Marquis de Sade, 22, 26, 157Maruki Sado, 22Maruyama Masao, 18, 48, 129Marx, Karl, 15, 16, 173Marxism
on Aestheticism, 8–9, 10on labor, 14, 16Naturalism and, 21Yasuda on Japanese literature and,
23–4Matsuo Bashō, 5, 107Maupassant, Guy de, 6, 9, 52Mauss, Marcel, 32, 147, 150,
157, 159Meiji period
art themes of, 96–7, 100bundan (literary circles), 57–8Decadent literature and Italian-
Japanese parallels, 32Decadent literature development
and, 14, 18–20, 23–4, 28female stereotypes in literature
during, 70fukoku kyōhei (rich nation, strong
army), 33, 47individualism and, 64–6
index / 239
individualism and, Nagai and Ueda on, 80, 81, 83, 84, 85, 86, 89, 90, 91, 93–4, 96–9
Meiji Civil Code, 37, 50, 65Nagai and Ueda on Edo culture
contrasted with, 80, 83–4, 85–7, 88, 90, 92, 100
Pax Tokugawa transition to, 37Restoration, 86Taishō transition and, 147, 148–9
mental disordersdivision between sanity and
insanity, 136; see also Idiot, The [Hakuchi] (Sakaguchi)
neurasthenia, 108schizophrenia, 68, 85–6, 110
Merezhkovskii, Dmitri Sergeevich, 45Merleau-Ponty, Maurice, 99Mill, John Stuart, 19, 29, 31, 146Mishima Yukio, 26
influence of fin-de-siècle Decadence and Bataille on, 157–60
The Sea of Fertility, 35, 145–6, 160Spring Snow, generosity through
malaise, 160–4Spring Snow, plot and characters,
146–57Mita Literature [Mita bungaku]
(magazine), 85Miyamoto Yuriko, 9–10, 11Mori Ōgai, 20Morita Sōhei, 33, 57–77Moto Izumi, 69Muyōsha no keifu (Karaki), 2muyōsha (useless man), 85My Fair Lady, 120“Mystical Semi-Animalism”
[“Shinpiteki hanjūshugi”] (Iwano), 42
Nagai Kafū, 6–7, 9–10, 11, 20, 30, 34, 114
“Fireworks,” 85Sneers, plotlines and characters,
83–91Sneers as kichōsha story, 34, 79–83Sneers compared to Vortex (Ueda),
91–101
Nagata Kimihiko, 7naibu seimeiron (philosophy of the
inner life), 65Nakamura Masanao, 49Nakamura Mitsuo, 118, 123NALP (the Japan Proletarian Writers’
Alliance), 23Narushima Ryūhoku, 6Native American culture, potlatch
and, 147, 151Natsume Sōseki, 59, 61, 70, 72–3,
77, 124Naturalism
defined, 7–8Iwanō and, 7, 33, 38, 42–50, 52Morita’s use of Symbolism and,
57–8, 61, 72–4; see also Sooty Smoke [Baien] (Morita)
Naturalist School ideology, 19–21Negri, Antonio (Hardt, Michael),
15–17, 115, 116, 119, 173neurasthenia, 108New Collection of Poems Ancient and
Modern [Shinkokin wakashū], 156“Newly Born Woman, The”
(Cixous), 136“New Woman,” 70Nibuya Takashi, 146Nietzsche, Friedrich
Bleuler influenced by, 85Eliade’s views on, 133European Decadence and,
12–13, 28rhetoric of disease and, 161Übermensch (superman) theme of,
58–60, 63, 66, 74, 76, 94Ueda influenced by, 81, 94
Nii Itaru, 22nikutai bungaku (carnal literature),
130–1, 167Nishi Amane, 19Nishiyama Sōin, 4Noda Utarō, 20Nordau, Max, 28, 148North, Julian, 187n140Novels of the Roses, The [I Romanzi
della Rosa] (D’Annunzio), 61, 68, 112, 161
240 / index
Oda Sakunosuke, 25, 157Oguri Fūyō, 33, 38–42, 46, 51–2“On Annihilation” [“Metsubō ni
tsuite”] (Takeda), 139On Decadence [Darakuron]
(Sakaguchi), 34, 127–44, 178“On Decadent Literature” [“Dekadan
bungakuron”] (Ango), 25“On Desire” [“Yokubō ni tsuite”]
(Ango), 134“On the Demise of the Logic
of the Meiji Restoration” [“Bunmeikaika no ronri no shūen ni tsuite”] (Yasuda), 23
On the Genealogy of Morals (Nietzsche), 66
“On the Impossibility of Eradicating Decadent Literature” [“Yūtōbungaku bokumetsu fukanōron”] (Yasunari Sadao), 8
Ōoka Makoto, 21Orikuchi Shinobu, 5Ōsaka Asahi Shinbun (newspaper), 113Ozaki Kōyō, 38
“Painter of Modern Life, The” [“Le Peintre de la vie moderne”] (Baudelaire), 161
Pan no kai (Group of Pan), 20, 61, 100panopticism, 137Panta Rhei (Heraclitus), 92–3, 98, 155Part Maudite, La (Bataille), 147Pascoli, Giovanni, 28, 60, 87, 90,
200n38Pastoral Spleen, A [Den’en no yūutsu]
(Satō)artificial paradise and, 34,
103–5, 123–5A Fool’s Love (Tanizaki) compared
to, 113–23plot and characters of, 105–13, 178
Pater, Walter, 93paternalism, 40patriarchy
Decadent Sisters (Masahiko), 172The Idiot (Sakaguchi) and, 136–7ie system, 37–8, 40, 41, 43–4,
48–53, 64–5, 66–7, 76, 116saikun mono genre, 113
Spring Snow (Mishima) on, 151–3The Vortex (Ueda) and, 89
“Phenomenology of Perception, The” (Merleau-Ponty), 99
Picture of Dorian Gray, The (Wilde), 149, 154
Pierrot, Jean, 17, 31, 103Pireddu, Nicoletta, 147, 153Poe, Edgar Allan, 26, 60, 105, 109, 111Poetry and Decadence [Shi to
dekadansu] (Karaki), 12potlatch, 147, 151Praz, Mario, 28Prévost, Abbé, 134prostitution
as capitalism, 165–6; see also Decadent Sisters [Taihai shimai] (Shimada)
World War II “comfort” facilities, 165–6, 167–8, 169–70, 172
Quilt, The [Futon] (Tayama), 38, 39, 42, 50, 51
Red and the Black, The (Stendhal), 97“reiki,” 181n5Renaissance, The (Pater), 93Rodenbach, Georges, 87Romance of Leonardo da Vinci, The
(Merezhkovskii), 45Romantic Agony (Praz), 70Romanticism
Oguri on, 50; see also Indulgences [Tandeki] (Oguri)
in A Pastoral Spleen (Satō), 106–7, 109, 111–13, 124
Ueda and, 81Rubin, Jay, 54Runaway Horses [Honba]
(Mishima), 145Russo-Japanese War
individualism and, 64infrastructure and industry, 37Meiji period timeframe and, 14; see
also Meiji periodRyūtei Rijō, 86, 90
Saeki Junko, 70Saeki Shōichi, 118
index / 241
Saga, Emperor, 181–82n7Saigyō Hōshi, 3saikun mono (story of the wife), 113Saionji Kinmochi, 65Saitō Dōsan, 67Sakaguchi Ango, 26
Decadent Sisters (Shimada) compared to works of, 157, 165–7, 171
“Discourse on Decadence,” 25, 127–30, 132, 134, 135, 137, 139, 140, 142, 144, 165, 171, 178
“Discourse on Decadent Literature,” 130
The Idiot, body and sexuality, 34, 127–30
The Idiot, plot and characters, 132–40
The Idiot compared to Gateway to the Flesh (Tamura), 140–4
Salome (Wilde), 29, 72, 179Satō Haruo, 21, 85
A Pastoral Spleen, and artificial paradise, 34, 103–5, 123–5
A Pastoral Spleen, plot and characters, 105–13, 178
A Pastoral Spleen compared to A Fool’s Love (Tanizaki), 113–23
“Saufen und Huren” (drinking and whoring), 55
see also Indulgences [Tandeki] (Iwano); Indulgences [Tandeki] (Oguri)
schizophrenia, 68, 85–6, 110Schnitzler, Arthur, 7School of Decadence [Buraiha]
(Sakaguchi, Dazai, Oda), 157Schopenhauer, Arthur, 28, 60Sea of Fertility, The [Hōjō no umi]
(Mishima), 35, 145–6, 164Seidensticker, Edward, 83self, see individualismSelf Help [Jijyoron] (Nakamura,
translation), 49Self Help (Smiles), 49“Sequel to ‘Discourse on Decadence,’
The” [“Zoku darakuran”] (Ango), 25
sexualityhermaphroditism, 162–3The Idiot (Sakaguchi), 34, 127–30;
see also Idiot, The [Hakuchi] (Sakaguchi)
Mishima on, 151–3, 159; see also Spring Snow [Haru no yuki] (Mishima)
post-World War II body and sexuality and, 127–30, 134, 137–8, 139
prostitution and World War II “comfort” facilities, 165–6, 167–8, 169–70, 172
prostitution as capitalism, 165–6; see also Decadent Sisters [Taihai shimai] (Shimada)
Tamura on, 34–5, 130–1; see also Gateway to the Flesh [Nikutai no mon] (Tamura)
see also feminist theory; “femme fatale” characters; prostitution
Shibusawa Tatsuhiko, 26–7, 157–8
Shimada MasahikoDecadent Sisters, labor and capitalist
themes, 35, 165–6, 179Decadent Sisters, plot and characters,
166–75Shimamura Hōgetsu, 20, 61shinkyō shōsetsu (state-of-mind novel),
183n34Shinshōsetsu (magazine), 42shishōsetsu (I-novel), 183n34
see also I-novelShōji Hajime, 136“Short Essay on the Emperor, A”
[“Tennō shōron”] (Ango), 133Shōwa period, Decadence and
uselessness during, 22–7Silverberg, Miriam, 22simulacra, 118–19Sino-Japanese War, 37Smiles, Samuel, 49–50, 146Sneers [Reishō] (Nagai)
as kichōsha story, 34, 79–83plotlines and characters of, 83–91The Vortex (Ueda) compared to,
91–100
242 / index
Snow Country [Yukiguni] (Kawabata), 55
Snyder, Stephen, 84Sōgi, 4Sooty Smoke [Baien] (Morita)
individualism and, 59, 66–77Naturalism and Aestheticism, 33–4,
57–61plot and characters of, 62–6Triumph of Death (D’Annunzio)
compared to, 33, 58–60, 61–2, 63, 67, 68, 73–4, 76
Sōseki, Natsume, 70, 72–3, 77Sounds of Tides [Kaichōon] (Ueda), 91Spackman, Barbara, 68, 71, 161, 162Spariosu, Mihai I., 99Spinoza, Baruch, 85Spring Snow [Haru no yuki] (Mishima)
generosity through malaise, 160–4plot and characters, 146–57
“Statue and the Bust, The” (Browning), 97
Stendhal, Marie-Henri Beyle, 97Studies on Hysteria (Freud), 161Subaru (The Pleiades) (magazine),
20, 61Sugawara no Tukasue no Musume, 146suicide
Decadent Sisters (Shimada), 170–2in I-novels, 73; see also Sooty Smoke
[Baien] (Morita)Mishima and, 146
Sun and Steel [Taiyō to tetsu] (Mishima), 162
Swinburne, Algernon Charles, 26Symbolism
Italian Decadents and, 28Iwano on, 38, 42; see also
Indulgences [Tandeki] (Iwano)Katagami and, 20Morita’s use of, and Naturalism, 34,
57–8, 61, 72–4Nagai and, 6–7, 9–10, 80, 90Ueda and, 80, 81, 91
Symbolism, The Sacred, and the Arts (Eliade), 133
taihai (degeneration), 1, 25, 131, 165–6, 168
Taishō periodliterary characteristics of, 103–5literati withdrawn from official
capacities during, 46Meiji transition to, 147, 148–9uselessness and, historical
perspective, 21–2, 179see also Fool’s Love, A [Chijin no ai]
(Tanizaki); Pastoral Spleen, A [Den’en no yūutsu] (Satō)
Takahashi Isao, 24Takahashi Toshio, 54Takayama Chogyū, 66Takeda Taijun, 139Tale of the Hamamatsu Counselor
[Hamamatsu chūnagon monogatari] (Sugawara no Takasue no Musume), 146
Tamura TaijirōDecadent Sisters (Shimada)
compared to works of, 165, 167Gateway to the Flesh, body and
sexuality, 34–5, 130–1Gateway to the Flesh, plot and
characters, 140–4Gateway to the Flesh compared to
The Idiot (Sakaguchi), 132–40Tanemura Suehiro, 26Tanizaki Jun’ichirō
exoticism and, 21A Fool’s Love, and artificial paradise,
34, 103–5, 123–5A Fool’s Love, plot and characters of,
113–23A Fool’s Love compared to A Pastoral
Spleen (Satō), 113–23Tao Qian, 107Tatooer, The [Shisei] (Tanizaki), 105Tayama Katai, 38, 39, 42, 52, 82Théorie de la Décadence
(Bourget), 31“Theorizing Aesthetic Life” [“Biteki
seikatsu o ronzu”] (Takayama), 66Theory of the Three Human Treasures,
The [Jinsei sampōsetsu] (Nishi), 19Thornton, R. K. R., 30Thus Spoke Zarathustra (Nietzsche), 66tōhigata (escapism), 46–7Tōjō Hideki, 129
index / 243
Tokuda Shūsei, 7Tokugawa shōgunate
class hierarchy of, 64kabuki plays and, 96
Tokutomi Sohō, 19, 47, 148–9Tokyō Mainichi Shinbun
(newspaper), 83Tolstoy, Leo, 59Tōyama Shigeki, 129Triumph of Death, The [Il Trionfo della
morte] (D’Annunzio), 33, 58–60, 61–2, 63, 67, 68, 73–4, 76
Turgenev, Ivan, 107–8
Ueda Bin“Aristocratism and Populism”
[“Kizokushugi to Heiminshugi”], 80–1, 88
D’Annunzio’s work and, 59fin-de-siècle Decadence and, 30Subaru (magazine) and, 20The Vortex, plot and characters,
91–100The Vortex as kichōsha story, 34,
79–83The Vortex compared to Sneers
(Nagai), 83–91, 100–101Ueno Chizuko, 64Unagami Masaomi, 109uselessness
alea, 33, 123, 156, 164defined, 3–7historical background, 18–27,
177–80ideology of uselessness and, 13–18inja (hidden men), 5muyōsha (useless man), 85potlatch and, 147, 151; see also
Spring Snow [Haru no yuki] (Mishima)
utilitarian theory and, 19, 29, 31, 146
Utilitarianism (Mill), 19
Valéry, Paul, 12, 13Verga, Giovanni, 60verismo (realism), 60Verlaine, Paul, 53
Visions of Excess; or, The Accursed Share [La Part Maudite] (Bataille), 15
Vita Sexualis (Mori), 20Vittorio Emmanuele II, King, 59Vortex, The [Uzumaki] (Ueda)
as kichōsha story, 34, 79–83plot and characters of, 91–100Sneers (Nagai) compared to, 83–91,
100–101
Wagner, Richard, 12, 28, 87, 96, 97Waki Isao, 60Walker, Janet, 64Watsuji Tetsurō, 24, 25Watteau, Antoine, 92, 99Weltschmerz (worldly pain), 75“What Does the Challenge of Life
Mean?” [“Jinsei ni aiwataru towa nanno iizo”] (Tōkoku), 65
Whistler, James McNeill, 109Wilde, Oscar, 7, 29, 58, 72, 105, 147,
149, 154Willmot, Glenn, 68Wilson, Michiko, 213n45Women [Josei] (magazine), 113Wordsworth, William, 108, 113World War II
postwar body and sexuality and, 127–30, 134, 137–8, 139; see also Gateway to the Flesh [Nikutai no mon] (Tamura); Idiot, The [Hakuchi] (Sakaguchi)
prostitution and comfort facilities, 165–6, 167–8, 169–70, 172
Yamaji Aizan, 65Yamamura Kōzō, 189n2Yasuda Yojūrō, 23–4, 105–6, 127Yasunari Sadao, 8, 10, 12, 55Yiu, Angela, 107Yoko’o Tadanari, 26Yōrō Takeshi, 135Yoshida Seiichi, 84Yoshii Isamu, 7Yoshimoto Takaaki, 57Youth, The [Seishun] (Fūyō), 39
Zola, Émile, 6, 7, 9, 59, 85, 90
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