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Mandariinid tihnikus
Valimik jaapani novelli isaks tituleeritud Akutagawa Ryūnosuke (1892-1927) tekstidest. Kogumik sisaldab juba varem ilmunud tõlkeid autori kuulsaimatest novellidest, aga ka uustõlkeid eesti lugejale seni veel tundmata, kuid maailma novelliklassikasse kuuluvatest teostest. Tõlkevalikus on esindatud kõik Akutagawa loomingu põhiteemad: kiretu vaheduse ja harvaesineva psühholoogilise tabavusega manatakse lugeja ette väikese inimese elu keskaegses ja autori kaasaegses Jaapanis, tagakiusatud jaapani kristlaste maailm ning see, mis toimub autori enese hullumeelses peas. Ryunosuke Akutagawa sündis 1892. aastal Jaapanis. Et ta ema läks peagi pärast poja sündi hulluks, kasvas poiss ema venna peres ja sai onult ka oma perekonnanime. Kirjanduse vastu tundis ta huvi juba varases eas. 1914. aastal asutas Akutagawa koos koolivendadega kirjandusajakirja, kus nad avaldasid nii W.B. Yeatsi kui ka Anatole France´i tõlkeid, aga ka omaenda kirjutisi. 1915. aastal avaldas ta oma esimese lühijutu "Rashomon" ühes kirjandusajakirjas ning seda pandi tähele. Võib öelda, et sellest algas ka Akutagawa tõsisem kirjanikukarjäär. Kartes, et ta on pärinud ema vaimuhaiguse, sooritas Akutagawa 35-aasta vanuselt enesetapu. Tema kirjanduslik pärand koosneb 150 lühijutust.
- GenresJapan
240 pages, Hardcover
First published January 1, 2011
65 people want to read
About the author
Ryūnosuke Akutagawa
1,327 books2,137 followersAkutagawa Ryūnosuke (芥川 龍之介) was one of the first prewar Japanese writers to achieve a wide foreign readership, partly because of his technical virtuosity, partly because his work seemed to represent imaginative fiction as opposed to the mundane accounts of the I-novelists of the time, partly because of his brilliant joining of traditional material to a modern sensibility, and partly because of film director Kurosawa Akira's masterful adaptation of two of his short stories for the screen.
Akutagawa was born in the Kyōbashi district Tokyo as the eldest son of a dairy operator named Shinbara Toshizō and his wife Fuku. He was named "Ryūnosuke" ("Dragon Offshoot") because he was born in the Year of the Dragon, in the Month of the Dragon, on the Day of the Dragon, and at the Hour of the Dragon (8 a.m.). Seven months after Akutagawa's birth, his mother went insane and he was adopted by her older brother, taking the Akutagawa family name. Despite the shadow this experience cast over Akutagawa's life, he benefited from the traditional literary atmosphere of his uncle's home, located in what had been the "downtown" section of Edo.
At school Akutagawa was an outstanding student, excelling in the Chinese classics. He entered the First High School in 1910, striking up relationships with such classmates as Kikuchi Kan, Kume Masao, Yamamoto Yūzō, and Tsuchiya Bunmei. Immersing himself in Western literature, he increasingly came to look for meaning in art rather than in life. In 1913, he entered Tokyo Imperial University, majoring in English literature. The next year, Akutagawa and his former high school friends revived the journal Shinshichō (New Currents of Thought), publishing translations of William Butler Yeats and Anatole France along with original works of their own. Akutagawa published the story Rashōmon in the magazine Teikoku bungaku (Imperial Literature) in 1915. The story, which went largely unnoticed, grew out of the egoism Akutagawa confronted after experiencing disappointment in love. The same year, Akutagawa started going to the meetings held every Thursday at the house of Natsume Sōseki, and thereafter considered himself Sōseki's disciple.
The lapsed Shinshichō was revived yet again in 1916, and Sōseki lavished praise on Akutagawa's story Hana (The Nose) when it appeared in the first issue of that magazine. After graduating from Tokyo University, Akutagawa earned a reputation as a highly skilled stylist whose stories reinterpreted classical works and historical incidents from a distinctly modern standpoint. His overriding themes became the ugliness of human egoism and the value of art, themes that received expression in a number of brilliant, tightly organized short stories conventionally categorized as Edo-mono (stories set in the Edo period), ōchō-mono (stories set in the Heian period), Kirishitan-mono (stories dealing with premodern Christians in Japan), and kaika-mono (stories of the early Meiji period). The Edo-mono include Gesaku zanmai (A Life Devoted to Gesaku, 1917) and Kareno-shō (Gleanings from a Withered Field, 1918); the ōchō-mono are perhaps best represented by Jigoku hen (Hell Screen, 1918); the Kirishitan-mono include Hokōnin no shi (The Death of a Christian, 1918), and kaika-mono include Butōkai(The Ball, 1920).
Akutagawa married Tsukamoto Fumiko in 1918 and the following year left his post as English instructor at the naval academy in Yokosuka, becoming an employee of the Mainichi Shinbun. This period was a productive one, as has already been noted, and the success of stories like Mikan (Mandarin Oranges, 1919) and Aki (Autumn, 1920) prompted him to turn his attention increasingly to modern materials. This, along with the introspection occasioned by growing health and nervous problems, resulted in a series of autobiographically-based stories known as Yasukichi-mono, after the name of the main character. Works such as Daidōji Shinsuke no hansei(The Early Life of
Akutagawa was born in the Kyōbashi district Tokyo as the eldest son of a dairy operator named Shinbara Toshizō and his wife Fuku. He was named "Ryūnosuke" ("Dragon Offshoot") because he was born in the Year of the Dragon, in the Month of the Dragon, on the Day of the Dragon, and at the Hour of the Dragon (8 a.m.). Seven months after Akutagawa's birth, his mother went insane and he was adopted by her older brother, taking the Akutagawa family name. Despite the shadow this experience cast over Akutagawa's life, he benefited from the traditional literary atmosphere of his uncle's home, located in what had been the "downtown" section of Edo.
At school Akutagawa was an outstanding student, excelling in the Chinese classics. He entered the First High School in 1910, striking up relationships with such classmates as Kikuchi Kan, Kume Masao, Yamamoto Yūzō, and Tsuchiya Bunmei. Immersing himself in Western literature, he increasingly came to look for meaning in art rather than in life. In 1913, he entered Tokyo Imperial University, majoring in English literature. The next year, Akutagawa and his former high school friends revived the journal Shinshichō (New Currents of Thought), publishing translations of William Butler Yeats and Anatole France along with original works of their own. Akutagawa published the story Rashōmon in the magazine Teikoku bungaku (Imperial Literature) in 1915. The story, which went largely unnoticed, grew out of the egoism Akutagawa confronted after experiencing disappointment in love. The same year, Akutagawa started going to the meetings held every Thursday at the house of Natsume Sōseki, and thereafter considered himself Sōseki's disciple.
The lapsed Shinshichō was revived yet again in 1916, and Sōseki lavished praise on Akutagawa's story Hana (The Nose) when it appeared in the first issue of that magazine. After graduating from Tokyo University, Akutagawa earned a reputation as a highly skilled stylist whose stories reinterpreted classical works and historical incidents from a distinctly modern standpoint. His overriding themes became the ugliness of human egoism and the value of art, themes that received expression in a number of brilliant, tightly organized short stories conventionally categorized as Edo-mono (stories set in the Edo period), ōchō-mono (stories set in the Heian period), Kirishitan-mono (stories dealing with premodern Christians in Japan), and kaika-mono (stories of the early Meiji period). The Edo-mono include Gesaku zanmai (A Life Devoted to Gesaku, 1917) and Kareno-shō (Gleanings from a Withered Field, 1918); the ōchō-mono are perhaps best represented by Jigoku hen (Hell Screen, 1918); the Kirishitan-mono include Hokōnin no shi (The Death of a Christian, 1918), and kaika-mono include Butōkai(The Ball, 1920).
Akutagawa married Tsukamoto Fumiko in 1918 and the following year left his post as English instructor at the naval academy in Yokosuka, becoming an employee of the Mainichi Shinbun. This period was a productive one, as has already been noted, and the success of stories like Mikan (Mandarin Oranges, 1919) and Aki (Autumn, 1920) prompted him to turn his attention increasingly to modern materials. This, along with the introspection occasioned by growing health and nervous problems, resulted in a series of autobiographically-based stories known as Yasukichi-mono, after the name of the main character. Works such as Daidōji Shinsuke no hansei(The Early Life of
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Displaying 1 - 7 of 7 reviews
March 26, 2023
მხოლოდ იაპონელს, განსაკუთრებით კი რიუნოსკე აკუტაგავას, შეუძლია ასეთ პატარა მოთხრობაში ასე დიდებულად წარმოაჩინოს მანდარინების მზისებრი ნათება...
December 25, 2017
"Ööl kui päeval elan sihitult unistades ja ootan vaid millegi imepärase saabumist. Nii nagu Biseigi, kes õhtuhämaruses ootab armsamat, kes iial ei tule."
"Kui võrrelda elu öise pimeda merega, siis teeb elu väärtuslikuks see, kes maisetesse muredesse maetud taevas pilved laiali lööb ning veel välja ilmumata kuu sära oma lainetesse püüab."
"Kui võrrelda elu öise pimeda merega, siis teeb elu väärtuslikuks see, kes maisetesse muredesse maetud taevas pilved laiali lööb ning veel välja ilmumata kuu sära oma lainetesse püüab."
September 15, 2017
Midagi nii melanhoolset ja nukrat pole ammu lugenud. Kohati on seal ka huumorit, aga järelmaitse on ikkagi kuidagi kaunilt-veidralt kurvameelne. Doseerida ettevaatlikult, aga selleks ongi novellid ju loodud.
January 22, 2021
Mulle on Jaapan pikalt selline unistuste maa olnud. See tundub nii eriline ja teistsugune, et tekitab tahtmise vähemalt üks kord ka ise kohal käia ja see ilmaime üle vaadata.
Jaapani kirjandusse pole ma eriliselt süüvinud aga idamaade jutukesi olen lugenud, nii et ma tean, et seat võib oodata igasugu asju. Mõned põnevad ja müütilised, teised sellised millest tuhkagi ei jaga.
“Mandariinid tihnikus” olid õnneks sellist tüüpi, mis olid lihtsalt ilusad kirjeldused jaapani elust-olust aga ka põnevad, müütilised lood. Kuigi on tunne, et sa saad kõigest aru siis kohati hõljub sul kuskil teadmine, et ega sa kõigest ikka päriselt aru ei saa. Nagu need vanad Jaapani jumalad lendleks ümberringi ja ütleks, et eurooplane ei hakka kunagi päriselt mõistma. Aga seal kus enda jaoks mõistatusi leiad on minu meelest alati põnev.
Ma ei oskagi ühtki lugu väga esile tuua. Võibolla Põrgusirm oli selline veidi hullumeelne ja õudne aga samas mulle tundus see kõige põnevam.
Jaapani kirjandusse pole ma eriliselt süüvinud aga idamaade jutukesi olen lugenud, nii et ma tean, et seat võib oodata igasugu asju. Mõned põnevad ja müütilised, teised sellised millest tuhkagi ei jaga.
“Mandariinid tihnikus” olid õnneks sellist tüüpi, mis olid lihtsalt ilusad kirjeldused jaapani elust-olust aga ka põnevad, müütilised lood. Kuigi on tunne, et sa saad kõigest aru siis kohati hõljub sul kuskil teadmine, et ega sa kõigest ikka päriselt aru ei saa. Nagu need vanad Jaapani jumalad lendleks ümberringi ja ütleks, et eurooplane ei hakka kunagi päriselt mõistma. Aga seal kus enda jaoks mõistatusi leiad on minu meelest alati põnev.
Ma ei oskagi ühtki lugu väga esile tuua. Võibolla Põrgusirm oli selline veidi hullumeelne ja õudne aga samas mulle tundus see kõige põnevam.
December 22, 2025
Kogumik üsna tüütuid jutukesi. Võib-olla on tegu jaapani novelli eripäraga aga mind jätsid need lood täiesti külmaks, panid rohkem haigutama ja tüütasid päris kõvasti. Pingutustega läbisin korra, rohkem mitte kunagi.
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March 27, 2020Jaa! Novellikogud ikka veel meeldivad!
December 31, 2019
Minu arust nii mõtlikud ja kurvad ning samas nii jaapanlikud. Igal õhtul lugesin end nendega magama.
Displaying 1 - 7 of 7 reviews