ჯადოქარი

by Ryūnosuke Akutagawa

ეს უცნაური, მისტიკური ამბავი გარდასულ საუკუნეებში კი არა, „თანამედროვე, ცივილიზაციის შუქით გაბრდღვიალებულ” ტოკიოში ხდება. ყველაფერი იმით დაიწყო, რომ 23 წლის სინძომ მისთვის საინტერესო ერთ საკითხზე მკითხავთან მისვლა გადაწყვიტა. რა სურდა სინძოს, ვისი ბედი და ამბავი აწუხებდა, რატომ გადადგა ასეთი უცნაური ნაბიჯი? ამაზე საინტერესო ის არის,რაც და ვინც მკითხავის სახლში დახვდება და კიდევ უფრო საინტერესო, რაც შემდეგ მოხდება!

Genres: Japanese Literature

48 pages, Paperback

First published January 1, 1919

About the author

Akutagawa 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

Reviews

[Ana · Rating 5 out of 5]

მართლა რა კარგი ყოფილა აკუტაგავა:)

[Beka Sukhitashvili · Rating 3 out of 5]

ეს მოთხრობა ყველა ადრე გამოცემულ კრებულშია და ცალკე რაღატო გამოსცეს.
#ღმერთისჯული

[Thako klimiashvili · Rating 5 out of 5]

ძაან მომეწონა აკუტაგავას წერის სტილი

[Dimitri Shiukashvili · Rating 3 out of 5]

ლოგიკას მოკლებული დასასრული.

[NatalieWithAnE · Rating 3 out of 5]

აკუტაგავასგან არ ველოდებოდი😡
თავიდან რაც ტრამვაიზე ეწერა, მთელ მოთხრობას მგონი ეგ სჯობდა.

[Khari · Rating 5 out of 5]

今回の多読の本は「魔術」でした。作者は芥川龍之介です。彼の人生は悲劇でした。若い時に両親を失って、35歳で自殺しました。とても勿体ないと思います。

この本は他の多読の本と明らかに違います。この本は「私小説」として書かれています。そのおかげで、登場人物の行動はもっと面白くて信じられるようになりました。他の多読本を読んでいる時は「私は読んでいる」の認識が残っていましたが、「魔術す」を読んでいる時は話に入ってキャラと同じ経験をしているようでした。とえも面白かったです。もっと芥川先生の本を読みたいと思います。しかし一ヶ所のことだけあまり好きではなかったです。それは陳腐な筋書きなので、少々がっかりしました。

[Michelle Kwon]

魔術はたぶんだれでも一同だけやってみたいと思います。「魔術」にはある男が「お金持ちになりたい」の思いを捨てて魔術を使う条件で魔術が使えるようになりました。でも、結局、なにかがほしいと思ってしまい、魔術が使えなくなります。魔術という不思議なことを使うためにはなにかがほしいと思ってはいけないのに、自然とそう思っちゃうのはやっぱり私たちが不完全な人間だからでしょ。

[Levan Shakulashvili · Rating 5 out of 5]

ძალიან საინტერესო დასასრული აქვს ამ მოთხრობას. და მგონია, რომ ძალზე კარგი ფილმის ანდა უფრო ანიმეს გადაღება შეიძლება ამ სიუჟეტზე, ბასარა–სამას ბნელ წყლებში მოსრიალე შავი მფრინავი–გველისებრი სულით მთავარ კადრად.

[ალექსანდრე გუნია · Rating 4 out of 5]

すごい神秘的スタイル ალბათ დამეთანხმებით

[John Brown]

არც არაფერი წაიღო, არც არაფერი დამიტოვა.

[თინათინ გაბუნია · Rating 4 out of 5]

აკუტაგავას ვერ დავაკლებ ქულას. საშინელი თარგმანი იყო, კატასტროფა.

[თორნიკე ბაკურაძე]

¶

[Daniel Clausen · Rating 5 out of 5]

いつも通り、日本語多読シリーズをとても楽しんでいます。今回の物語も最後まで興味津々でした！

[ბარბარე · Rating 5 out of 5]

თავისუფლად შემიძლია ვთქვა, რომ Reading slump გამიქრა

[RoseMary · Rating 3 out of 5]

დასაწყისი მომეწონა და ალბათ მაგიტომ დამაინტერესა, დასასრული ვერ გავიგე