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Луна в тумане
В книгу включены лучшие образцы японской классической прозы, от анонимной "Повести о старике Такэтори" (IX - X вв.), получившей мировую известность, до не менее знаменитого сборника волшебных новелл Уэда Акинари (1734-1809 гг.) "Луна в тумане".
480 pages, Paperback
First published January 1, 1776
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About the author
Ueda Akinari
25 books70 followersUeda Akinari or Ueda Shūsei (上田 秋成) was a Japanese author, scholar and waka poet, and a prominent literary figure in 18th century Japan. He was an early writer in the yomihon genre and his two masterpieces, Ugetsu Monogatari ("Tales of Rain and the Moon") and Harusame Monogatari ("Tales of Spring Rain"), are central to the canon of Japanese literature.
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Displaying 1 - 30 of 271 reviews
September 13, 2019
Perhaps this has happened to you too: touched by a new enthusiasm—for Iranian cinema, troubadour poetry, a new Olympic sport—you seek out a specialist for a little background. He smiles, and tells you that his specialty is so unique, its aesthetic pleasures so subtle, its cultural assumptions so complex, that its proper appreciation will require of you a life-long habit of dedication and study. After an hour of his monologue, drained of all enthusiasm, you finally tear yourself away, vowing never to speak of the subject again.
Something similar—although not so severe—happened to me when I read Anthony H. Chambers introduction to his translation of Ueda Akinari's Tales for a Rainy Moon. I approached the work with interest, since I love ghost stories, have a particular affection for Japanese supernatural tales (acquired through my reading of Lafcadio Hearn), and revere Kenji Mizoguchi's Ugetsu Monogatari—a 1953 movie adapted from two of these stories—as one of the greatest films of all time. Moreover, I knew this was a celebrated traditional work, written in the 18th century, and considered a classic of the Edo period.
I began to read Chambers' introduction (supplemented by eight pages of notes), and soon I was not only swamped with Japanese literary terms--I learned, for example, that Akinari was a bunjin inspired by wen-jen who sought ga and avoided zoku—but also confronted by intimidating charts and categories, including the typical elements (ten!) of the Japanese supernatural tale and the relevant aspects (four!) of the Noh play (which it somewhat resembles). Sure, I could have skipped all this, but I'm a good boy, the kind who always eats his spinach, and I thought I might learn something. And I did learn something; in fact, I learned much that was helpful. But Chambers still told me much more than I will ever need to know.
What is worse, though, is that this passion for preserving every cultural nuance and subtlety carries over into Chambers' translation. A good translator must walk a fine line between conveying the cultural uniqueness of the work while also communicating its universality. Chambers errs on the side of uniqueness almost every time.
Still, all nine stories are evocative, and Chambers translation is good enough to display their power and beauty. My favorites are the two that inspired Mizoguchi: “The Reed-Choked House” (the female ghost as faithful peasant wife) and “A Serpent's Lust” (the female ghost as aristocratic snake-demon). I also particularly liked “The Kibutsu Cauldron” (another faithful wife ghost), “The Chrysanthemum Vow” (the passionate love of two men triumphs even over death), “The Blue Hood” (a crazy cannibal monk foiled by a zen master), and “The Carp of My Dreams” (a monk who is a superb painter of fish dreams he is a fish himself). This last is a real reality-bender. I think Philip K. Dick would have liked it, and it is my third favorite story in the collection.
August 1, 2017
Acknowledgments
Introduction & Notes
Preface & Notes
Book One
Preface
--Shiramine
--The Chrysanthemum Vow
Book Two
Preface
--The Reed-Choked House
--The Carp of My Dreams
Book Three
Preface
--The Owl of the Three Jewels
--The Kibitsu Cauldron
Book Four
Preface
--A Serpent's Lust
Book Five
Preface
--The Blue Hood
--On Poverty and Wealth
Bibliography
Introduction & Notes
Preface & Notes
Book One
Preface
--Shiramine
--The Chrysanthemum Vow
Book Two
Preface
--The Reed-Choked House
--The Carp of My Dreams
Book Three
Preface
--The Owl of the Three Jewels
--The Kibitsu Cauldron
Book Four
Preface
--A Serpent's Lust
Book Five
Preface
--The Blue Hood
--On Poverty and Wealth
Bibliography
June 26, 2015
Anthony Chambers, who is a professor of Japanese literature and literary translation at Arizona State, has brought together these little tales of ghosts, spirits and other things in this slim little volume. The title "alludes to the belief that mysterious beings appear on cloudy, rainy nights and in mornings with the lingering moon;" it's a great book to read on a dark night when all is quiet -- rain is a definite plus -- and for someone like me who is very deep into history, it goes well beyond just the stories.
There are a couple of different ways a reader might approach this book.
1. Chambers offers information about each story just prior to its beginning, offering information and history on Title, Characters, Places, Time, Background and Affinities. If you are not at all interested in the literary, cultural, political and historical background of the stories, then skip to #2 approach which is to
2. skip directly to the story itself. The downside of that approach is that in footnotes, annotations, etc., there are references to other literary works, so just watch out.
In either case, I would skip the intro and return to it after you've read the entire book, but of course, that's my own preference (I do that in every book I read) -- but it is also very interesting in terms of historical background so do not miss it.
As for the stories themselves, there are nine. I have to say that I've recently discovered Hulu's collection of 900+ Criterion films, and watched one called "Ugetsu." I fell instantly and deeply in love with this movie, so I did a bit of research on it. It turns out that the movie is a combination of two stories in this book -- "The Reed-Choked House" and "A Serpent's Lust", and I was elated to discover that I actually had this collection in my home library. In fact, the title of the film references the Japanese title of this collection -- "Ugetsu Monogatari.
The story list is as follows:
"Shiramine"
"The Chrysanthemum Vow"
"The Reed-Choked House"
"The Carp of My Dreams"
"The Owl of the Three Jewels"
"The Kibitsu Cauldron"
"A Serpent's Lust"
"The Blue Hood"
"On Poverty and Wealth"
The collection itself dates back to the 18th century; it is a classic in the world of Japanese literature. A number of these tales have been borrowed by Ueda from Chinese literature; he changed them to Japanese settings and adapted them to fit into Japanese culture. Samurai abound, for example; Buddhism and Shinto also play major roles in these tales. All of these little stories are quite good (with the exception of "On Poverty and Wealth," which I did not particularly care for), but my favorites were "The Reed-Choked House" and "A Serpent's Lust," followed by "The Kibitsu Cauldron" "The Chrysanthemum Vow" and "The Carp of My Dreams," the greatness of which is in the author's ability to blur the line between dreams and reality to an uncanny extreme.
While not exactly the mainstream fodder of modern readers of supernatural tales, this collection is beyond outstanding. Anyone who is one-hundred percent serious about literary horror/dark fiction should have this book in his or her library; for me it's a beautiful blending of works from two cultures I love and it perfectly suits my need for reading something different every time I pick up a work of dark fiction. Just so I feel like I'm being honest here, it is not always an easy read -- you have to read, think, and do both slowly.
It is an absolutely stunning collection I can highly, highly recommend. Even if you want to bypass the scholarly approach, the stories themselves are amazing.
There are a couple of different ways a reader might approach this book.
1. Chambers offers information about each story just prior to its beginning, offering information and history on Title, Characters, Places, Time, Background and Affinities. If you are not at all interested in the literary, cultural, political and historical background of the stories, then skip to #2 approach which is to
2. skip directly to the story itself. The downside of that approach is that in footnotes, annotations, etc., there are references to other literary works, so just watch out.
In either case, I would skip the intro and return to it after you've read the entire book, but of course, that's my own preference (I do that in every book I read) -- but it is also very interesting in terms of historical background so do not miss it.
As for the stories themselves, there are nine. I have to say that I've recently discovered Hulu's collection of 900+ Criterion films, and watched one called "Ugetsu." I fell instantly and deeply in love with this movie, so I did a bit of research on it. It turns out that the movie is a combination of two stories in this book -- "The Reed-Choked House" and "A Serpent's Lust", and I was elated to discover that I actually had this collection in my home library. In fact, the title of the film references the Japanese title of this collection -- "Ugetsu Monogatari.
The story list is as follows:
"Shiramine"
"The Chrysanthemum Vow"
"The Reed-Choked House"
"The Carp of My Dreams"
"The Owl of the Three Jewels"
"The Kibitsu Cauldron"
"A Serpent's Lust"
"The Blue Hood"
"On Poverty and Wealth"
The collection itself dates back to the 18th century; it is a classic in the world of Japanese literature. A number of these tales have been borrowed by Ueda from Chinese literature; he changed them to Japanese settings and adapted them to fit into Japanese culture. Samurai abound, for example; Buddhism and Shinto also play major roles in these tales. All of these little stories are quite good (with the exception of "On Poverty and Wealth," which I did not particularly care for), but my favorites were "The Reed-Choked House" and "A Serpent's Lust," followed by "The Kibitsu Cauldron" "The Chrysanthemum Vow" and "The Carp of My Dreams," the greatness of which is in the author's ability to blur the line between dreams and reality to an uncanny extreme.
While not exactly the mainstream fodder of modern readers of supernatural tales, this collection is beyond outstanding. Anyone who is one-hundred percent serious about literary horror/dark fiction should have this book in his or her library; for me it's a beautiful blending of works from two cultures I love and it perfectly suits my need for reading something different every time I pick up a work of dark fiction. Just so I feel like I'm being honest here, it is not always an easy read -- you have to read, think, and do both slowly.
It is an absolutely stunning collection I can highly, highly recommend. Even if you want to bypass the scholarly approach, the stories themselves are amazing.
February 26, 2021
In "Racconti di pioggia e di luna" vi sono 9 racconti del folklore e leggende di epoche antiche ed all'interno delle dinastie ormai remote, che l'autore ci racconta con piglio a tratti umoristico, altri tragico, altri ancora rigoroso.
Si parla di dèmoni, di animali quali le carpe per esempio, oppure del paesaggio rigoglioso di un tempo e di esponenti di dinastie lontane nel tempo.
Con uno stile scorrevole ed a tratti poeticamente magico, l'autore ci accompagna nelle tradizioni giapponesi, nelle usanze di secoli passati e un sottile strato di suggestione e coinvolgimento scaturisce dalle pagine che scorrono via...
Si parla di dèmoni, di animali quali le carpe per esempio, oppure del paesaggio rigoglioso di un tempo e di esponenti di dinastie lontane nel tempo.
Con uno stile scorrevole ed a tratti poeticamente magico, l'autore ci accompagna nelle tradizioni giapponesi, nelle usanze di secoli passati e un sottile strato di suggestione e coinvolgimento scaturisce dalle pagine che scorrono via...
August 10, 2021
ตอนได้เล่มนี้มา เห็นภาพตัวเองใส่ยูกาตะ นั่งเท้าแขนบนโต๊ะญี่ปุ่น ได้กลิ่นหอมอุ่นจากพื้นเสื่อทาทามิจางๆ มือถือหนังสือ กำลังแหงนหน้ามองเหม่อนอกหน้าต่างในคืนฝนพรำ มีพระจันทร์เร้นหลังเมฆให้อารมณ์เหมือนอยู่ในภาพ Rain at Omiya ของคาวาเสะ ฮะซุย หุหุ ... โดยทั้งนี้ทั้งนั้นเรื่องข้างในเป็นอย่างไรไม่รู้นะ นี่อาศัยแค่ชื่อเล่มบวกชื่อคนเขียนที่ไพเราะจนล่องลอยได้มโนล้วน
รายละเอียดของเล่มคือ รวมเรื่องสั้นลี้ลับที่เขียนขึ้นสมัยเอโดะของอุเอะดะ อากินาริ (ดูสิ แค่ชื่อนักเขียนยังพาเคลิ้ม) ก็ตามสมัย คือเป็นเรื่องผีสาง วิญญาณอาฆาต ปีศาจบนภูเขา ฯลฯ เดาตอนจบได้เกือบทั้งหมด อะไรทำนองนี้ ดำเนินการแปลโดยคณะนักแปลผู้ทรงคุณวุฒิ คือไม่เป็นอาจารย์ก็เคยเป็นอาจารย์อ่ะ แบบแค่คุณอยากอ่านงานแนวนี้ ย้อนยุคแบบนี้ต่อ ให้ลองเอาชื่อพวกเขาไปกูเกิ้ล งานวิจัยวรรณกรรมเก่าแก่โดยคนเหล่านั้นจะขึ้นมาให้อ่านอีกพรึบ นี่ถูกใจบทวิจัย/วิจารณ์บทละครโนมาก มาร์คไว้ละ รอมีมู้ด
เรื่องทั้งเก้าเรื่องผ่านการคิดคำนวนในการวางลำดับมาอย่างดี อย่างเรื่องที่สองก็จะยืมประเด็นบางอย่างจากเรื่องแรก เรื่องที่สามก็จะพูดถึงประเด็นที่งอกขี้นมาใหม่ของเรื่องที่สอง เป็นอย่างนี้ไปเรื่อยๆ จนถึงเรื่องที่ 9 ในภาพรวม เนื่องจากเป็นงานค่อนข้างเก่าสองร้อยกว่าปีก่อน บวกกับพื้นฐานของเรื่องที่ใช้เค้าโครงเรื่องเล่าของจีนมาแต่งเติมใหม่ บางเรื่องเราเลยคุ้นเคยพอสมควร อย่าง บาปรักนางพญางู นี่ นางพญางูขาว ช่องสามชัดๆ แค่เปลี่ยนโลเคชั่น กับตัวละครเล็กน้อย นอกนั้นก็น่าจะใกล้เคียงกัน (จริงๆ จำฉบับจีนไม่ได้แล้ว (อ่าว) แต่ทั้งนี้ การดำเนินเรื่องยังคงสนุกใช้ได้ นี่อ่านวันละเรื่อง หัวก็คิดภาพตามไปด้วย นับว่าผู้แปลใช้ภาษาได้สละสลวยทีเดียว ประกอบกับถ้าคนอ่านพอจะมีพื้นความรู้จำพวกสถานที่ในญี่ปุ่นบ้างจะสนุกยิ่งขึ้น แบบพอพูดว่าโคยะซัน แล้วภาพสุสานโอคุโนะอิน ทิวสนร้อยปี ผุดขึ้นมาพร้อมกลิ่นธูปเจือจาง .. อืม ถ้ามาได้ขนาดนี้ ฟันธงว่าอ่านได้เพลินแน่
ข้อด้อยหนักๆ ของเล่มนี้คือ ปริมาณเชิงอรรถ โดยเฉพาะเรื่องแรกนี่วัดใจคนอ่านมาก เรื่องพูดถึงช่วงต้นมุโรมาจิที่มีราชวงศ์เหนือ-ใต้ ชื่อพระจักรพรรดิ ขุนนาง ระบบต่างๆ มาให้อ่านกันในเชิงอรรถแทบทุกหน้า ย้ำว่าแทบทุกหน้า! บางหน้าคือมากกว่าเนื้อเรื่องอีก เกินครึ่งหน้าไม่พอ อธิบายไม่จบ กลัวคนอ่านงง เลยไปต่อหน้าต่อไปให้ / กราบ เอาเชิงอรรถไปรวมเล่มขายได้เลยนะครับ แต่พอผ่านมรสุมเชิงอรรถของเรื่องแรกมาได้แล้ว หลังๆ ก็จะเบาขึ้น จนเรื่องอื่นที่มีเชิงอรรถน้อย ถึงไม่มีเลย แม้จะธรรมดามาก ก็กลายเป็นสนุกได้ง่ายๆ
แต่อย่าเพิ่งวางใจ หากคุณคิดว่าเชิงอรรถปริมาณนี้เบสิคๆ ชั้นเคยผ่านเฮย์ออนไวย / เมือง / รัก / หนังสือมาแล้ว (ขออนุญาตพาดพิง) โปรดพึงระลึกไว้ว่า การถอดเสียงคำอ่านภาษาญี่ปุ่นในเล่มใช้ระบบตัวสะกดแบบสมบูรณ์ อาทิเช่น ซะโต โนะริกิโยะ, โฮเง็นโมะโนะงะตะริ, ฌิเกียะโกนิง, อะเมะวะ ฮะเระเตะ ท์ซุกิวะ โมะโระโนะโยะรุ, ฌินเสะอิ, ทะอิระ โนะ คิโยะโมะริ, ทะอิระ โนะ อะท์ซุโมะริ, โกะชิระงะวะ, มินะโมะโตะ โนะ โยะชิโทะโมะ บลาๆ ถ้าทนได้ ก็ลุยโลดครับ ส่วนผม ถ้าจะให้อ่านอะไรแนวๆ นี้ ภาษาคิคุคะคิอย่างนี้อีก ต้องรอมู้ดเท่านั้นเลย
ส่วนตัวชอบ บุปโปโซ ตอนอ่านหนาวสันหลังวาบ ภาพขบวนขุนนางยามค่ำคืนบนโคยะซันช่างแจ่มชัด บรรยากาศการต่อโครงกลอนในสุสาน รอยยิ้มที่ชวนให้ขนลุก และเสียงนกร้องวังเวงลอยมาตามลมหนาว หูย, ปลาไนในฝัน บทบรรยายตอนปลาว่ายน้ำงดงามเกินจะอธิบาย สัมผัสได้ถึงความชุ่มฉ่ำของสายน้ำเลยครับ, หม้อทำนายแห่งศาลเจ้าคิบิท์ซุ ตอนจบให้อารมณ์เหมือนโยทสึยะไคดัน คือสะใจกันไปข้าง
แนะนำสำหรับนักอ่านที่ชอบการสร้างบรรยากาศ และสนใจงานญี่ปุ่นเก่าๆ ภาษาสละสลวยครับ
รายละเอียดของเล่มคือ รวมเรื่องสั้นลี้ลับที่เขียนขึ้นสมัยเอโดะของอุเอะดะ อากินาริ (ดูสิ แค่ชื่อนักเขียนยังพาเคลิ้ม) ก็ตามสมัย คือเป็นเรื่องผีสาง วิญญาณอาฆาต ปีศาจบนภูเขา ฯลฯ เดาตอนจบได้เกือบทั้งหมด อะไรทำนองนี้ ดำเนินการแปลโดยคณะนักแปลผู้ทรงคุณวุฒิ คือไม่เป็นอาจารย์ก็เคยเป็นอาจารย์อ่ะ แบบแค่คุณอยากอ่านงานแนวนี้ ย้อนยุคแบบนี้ต่อ ให้ลองเอาชื่อพวกเขาไปกูเกิ้ล งานวิจัยวรรณกรรมเก่าแก่โดยคนเหล่านั้นจะขึ้นมาให้อ่านอีกพรึบ นี่ถูกใจบทวิจัย/วิจารณ์บทละครโนมาก มาร์คไว้ละ รอมีมู้ด
เรื่องทั้งเก้าเรื่องผ่านการคิดคำนวนในการวางลำดับมาอย่างดี อย่างเรื่องที่สองก็จะยืมประเด็นบางอย่างจากเรื่องแรก เรื่องที่สามก็จะพูดถึงประเด็นที่งอกขี้นมาใหม่ของเรื่องที่สอง เป็นอย่างนี้ไปเรื่อยๆ จนถึงเรื่องที่ 9 ในภาพรวม เนื่องจากเป็นงานค่อนข้างเก่าสองร้อยกว่าปีก่อน บวกกับพื้นฐานของเรื่องที่ใช้เค้าโครงเรื่องเล่าของจีนมาแต่งเติมใหม่ บางเรื่องเราเลยคุ้นเคยพอสมควร อย่าง บาปรักนางพญางู นี่ นางพญางูขาว ช่องสามชัดๆ แค่เปลี่ยนโลเคชั่น กับตัวละครเล็กน้อย นอกนั้นก็น่าจะใกล้เคียงกัน (จริงๆ จำฉบับจีนไม่ได้แล้ว (อ่าว) แต่ทั้งนี้ การดำเนินเรื่องยังคงสนุกใช้ได้ นี่อ่านวันละเรื่อง หัวก็คิดภาพตามไปด้วย นับว่าผู้แปลใช้ภาษาได้สละสลวยทีเดียว ประกอบกับถ้าคนอ่านพอจะมีพื้นความรู้จำพวกสถานที่ในญี่ปุ่นบ้างจะสนุกยิ่งขึ้น แบบพอพูดว่าโคยะซัน แล้วภาพสุสานโอคุโนะอิน ทิวสนร้อยปี ผุดขึ้นมาพร้อมกลิ่นธูปเจือจาง .. อืม ถ้ามาได้ขนาดนี้ ฟันธงว่าอ่านได้เพลินแน่
ข้อด้อยหนักๆ ของเล่มนี้คือ ปริมาณเชิงอรรถ โดยเฉพาะเรื่องแรกนี่วัดใจคนอ่านมาก เรื่องพูดถึงช่วงต้นมุโรมาจิที่มีราชวงศ์เหนือ-ใต้ ชื่อพระจักรพรรดิ ขุนนาง ระบบต่างๆ มาให้อ่านกันในเชิงอรรถแทบทุกหน้า ย้ำว่าแทบทุกหน้า! บางหน้าคือมากกว่าเนื้อเรื่องอีก เกินครึ่งหน้าไม่พอ อธิบายไม่จบ กลัวคนอ่านงง เลยไปต่อหน้าต่อไปให้ / กราบ เอาเชิงอรรถไปรวมเล่มขายได้เลยนะครับ แต่พอผ่านมรสุมเชิงอรรถของเรื่องแรกมาได้แล้ว หลังๆ ก็จะเบาขึ้น จนเรื่องอื่นที่มีเชิงอรรถน้อย ถึงไม่มีเลย แม้จะธรรมดามาก ก็กลายเป็นสนุกได้ง่ายๆ
แต่อย่าเพิ่งวางใจ หากคุณคิดว่าเชิงอรรถปริมาณนี้เบสิคๆ ชั้นเคยผ่านเฮย์ออนไวย / เมือง / รัก / หนังสือมาแล้ว (ขออนุญาตพาดพิง) โปรดพึงระลึกไว้ว่า การถอดเสียงคำอ่านภาษาญี่ปุ่นในเล่มใช้ระบบตัวสะกดแบบสมบูรณ์ อาทิเช่น ซะโต โนะริกิโยะ, โฮเง็นโมะโนะงะตะริ, ฌิเกียะโกนิง, อะเมะวะ ฮะเระเตะ ท์ซุกิวะ โมะโระโนะโยะรุ, ฌินเสะอิ, ทะอิระ โนะ คิโยะโมะริ, ทะอิระ โนะ อะท์ซุโมะริ, โกะชิระงะวะ, มินะโมะโตะ โนะ โยะชิโทะโมะ บลาๆ ถ้าทนได้ ก็ลุยโลดครับ ส่วนผม ถ้าจะให้อ่านอะไรแนวๆ นี้ ภาษาคิคุคะคิอย่างนี้อีก ต้องรอมู้ดเท่านั้นเลย
ส่วนตัวชอบ บุปโปโซ ตอนอ่านหนาวสันหลังวาบ ภาพขบวนขุนนางยามค่ำคืนบนโคยะซันช่างแจ่มชัด บรรยากาศการต่อโครงกลอนในสุสาน รอยยิ้มที่ชวนให้ขนลุก และเสียงนกร้องวังเวงลอยมาตามลมหนาว หูย, ปลาไนในฝัน บทบรรยายตอนปลาว่ายน้ำงดงามเกินจะอธิบาย สัมผัสได้ถึงความชุ่มฉ่ำของสายน้ำเลยครับ, หม้อทำนายแห่งศาลเจ้าคิบิท์ซุ ตอนจบให้อารมณ์เหมือนโยทสึยะไคดัน คือสะใจกันไปข้าง
แนะนำสำหรับนักอ่านที่ชอบการสร้างบรรยากาศ และสนใจงานญี่ปุ่นเก่าๆ ภาษาสละสลวยครับ
November 23, 2021
Ờ thì con rắn trông ghê ghê gian gian nên hay bị coi là quỷ quyệt nhưng mà tự dưng bảo nó dâm là sao. Đừng như vậy, bị thích í =)))))))
Truyện ông này thì đỉnh của đỉnh rồi. Nó là minh chứng cho câu của Picasso: "Nghệ sĩ giỏi sao chép, nghệ sĩ vĩ đại ăn cắp". Ngoài ông Ueda Akinari có thể kể thêm các ông Akutagawa, Nguyễn Du hay James Joyce. Toàn là "ăn cắp" đỉnh cao cả =))) Thế mới nói mọi thứ là ở góc nhìn thôi. Đạo nhái cũng có lúc công khai đáng tự hào =))
Ôi thích mê mấy cái truyện cổ Nhật Bản. Viết cứ tưng tửng mà lại rất là thiền. Trước đọc Hẹn mùa hoa cúc mê kinh lắm, giờ lại thêm cuốn này. Càng già càng mê mấy thể loại đơn giản nhẹ nhàng như thế. Giờ thấy ai viết lên gân là hơi hãi hoho
Truyện ông này thì đỉnh của đỉnh rồi. Nó là minh chứng cho câu của Picasso: "Nghệ sĩ giỏi sao chép, nghệ sĩ vĩ đại ăn cắp". Ngoài ông Ueda Akinari có thể kể thêm các ông Akutagawa, Nguyễn Du hay James Joyce. Toàn là "ăn cắp" đỉnh cao cả =))) Thế mới nói mọi thứ là ở góc nhìn thôi. Đạo nhái cũng có lúc công khai đáng tự hào =))
Ôi thích mê mấy cái truyện cổ Nhật Bản. Viết cứ tưng tửng mà lại rất là thiền. Trước đọc Hẹn mùa hoa cúc mê kinh lắm, giờ lại thêm cuốn này. Càng già càng mê mấy thể loại đơn giản nhẹ nhàng như thế. Giờ thấy ai viết lên gân là hơi hãi hoho
December 7, 2014
These were light short stories mixed with Japanese and Chinese myth: fundamentals I generally find enjoyable but, in this version, poorly presented in a disconnected flow by prefacing each tale with the origins of the myth, historical background and synopses.
March 17, 2023
Przyjemna i oryginalna lektura.
January 12, 2023
Sadece bir hikayeyi beğendim onun dışında bence sıkıcıydı 😐
January 12, 2023
Japonya kültürü-tarihi bana uzak olduğu için, doğal olarak çoğu detayı aklımda kurgulayamadım. Bir de öyküler kasvetli, melankolik ve boğucu olduğu için okuması hepten zor geldi.
Türe dair ilk denemem olduğu için doğru bir inceleme olmaz benimkisi ama kişisel zevkim için çok zor bir okuma oldu.
Türe dair ilk denemem olduğu için doğru bir inceleme olmaz benimkisi ama kişisel zevkim için çok zor bir okuma oldu.
June 23, 2024
Più che le storie, di questi racconti ricordavo le atmosfere che sono quelle del Giappone medievale. Sono storie di fantasmi, di demoni in cui l'autore intreccia il racconto storico all'elemento fantastico. A predominare sono gli elementi naturali come volpi e tassi, carpe e serpenti ma anche la pioggia, gli alberi o la luna la fanno da padrone. Le persone sembrano avvolte in un mondo mistico dove l'espressione del divino è in tutte le cose. Sono molto forti poi i sentimenti, come la vendetta, la passione, l'amicizia da cui nascono le esperienze soprannaturali. L'elemento comune delle storie è spesso l'illusione, in cui il piano spirituale e quello reale si sovrappongono.
Sono racconti che mostrano l'anima buddista e shintoista del Giappone.
Sono racconti che mostrano l'anima buddista e shintoista del Giappone.
Read
November 6, 2016Lepo kažu ljudi da je teško napisati stvarno dobru priču o duhovima, a naročito iznenađujuću, jer nema mnogo osnovnih varijacija te teme. Ali Priče kiše i meseca su kao pravi osvedočeni klasik uspele da me iznenade; i to pre svega zahvaljujući odličnoj kompoziciji cele zbirke koja počinje nekim blagim, lirskim i poučnim susretima s duhovima i onda se sasvim malo pojača da bi pred kraj, u sedmoj i osmoj priči, stepen užasa i grozote odjednom samo sunuo u visine (Plava kapuljača omg). I onda ništa, opet blaga poučna priča za kraj.
Takođe: ovo izdanje ima 180 strana, od čega šezdesetak otpada na predgovor sa objašnjenjima i analizom (malko suvoparnom ali ipak) svake priče. Pošteno.
Takođe: ovo izdanje ima 180 strana, od čega šezdesetak otpada na predgovor sa objašnjenjima i analizom (malko suvoparnom ali ipak) svake priče. Pošteno.
February 10, 2011
If you've seen Mizoguchi's Ugetsu then you know not to expect horror stories from this collection. But hey haven't you seen all those Asian horror flicks?, you'll ask. That's scary stuff! Yes, but the way they scare you is they get under your skin and then grow aliens in your brain. These are a bit more subtle. Symbolic, atmospheric and rooted in tradition, the stories won't give you nightmares if you read them before bedtime, just a twinge that there's a world out there beyond the touchable.
April 22, 2011
I enjoyed Akinari's Tales of Moonlight and Rain - eventually. Unfortunately, the translator's introduction is long and gives the impression that one simply will not possibly be able to understand or enjoy the tales unless one is a scholar of Japanese history and literature - if that's not bad enough, the intro also contains spoilers! This is a great shame because, while of course one will get more out of them if one has read the same texts as the author and has in mind the same history as readers of the day, they are perfectly accessible stories which can be enjoyed for their own sake.
If I may be so bold, I'd like to suggest a different order in which to read this book.
1)skip the book introduction and the introduction to each tale and go straight to the tales themselves (marked by a dark moon and a large, illustrated first letter) and read them for pure enjoyment, first. The footnotes that the translator supplies relate to notes at the end of each tale (not the notes at the bottom of the pages which are essentially language notes) and they provide plenty of information, if not a little too much, for pure enjoyment.
2)AFTER you have read each tale, read the translator's introduction to each one, they will give you historical notes etc... which will shed a little more light on what you've just read but will also make more sense to you after you've read the tale, and you'll also avoid spoilers.
3)After THAT, if you want to know more about the author and the place of the Tales in Japanese literature, read the introduction and the bibliography and throw yourself into an academic frenzy!
If you do enjoy the tales, then look for the works of Lafcadio Hearn :)
If I may be so bold, I'd like to suggest a different order in which to read this book.
1)skip the book introduction and the introduction to each tale and go straight to the tales themselves (marked by a dark moon and a large, illustrated first letter) and read them for pure enjoyment, first. The footnotes that the translator supplies relate to notes at the end of each tale (not the notes at the bottom of the pages which are essentially language notes) and they provide plenty of information, if not a little too much, for pure enjoyment.
2)AFTER you have read each tale, read the translator's introduction to each one, they will give you historical notes etc... which will shed a little more light on what you've just read but will also make more sense to you after you've read the tale, and you'll also avoid spoilers.
3)After THAT, if you want to know more about the author and the place of the Tales in Japanese literature, read the introduction and the bibliography and throw yourself into an academic frenzy!
If you do enjoy the tales, then look for the works of Lafcadio Hearn :)
March 5, 2023
Primo libro edito con la repubblica e curato da Orsi. Oltre alle copertine estremamente piacevoli nello stile, questa collana ha delle introduzioni molto interessanti che aiutano a contestualizzare e orientarsi e una mini biografia dell'autore: insomma ti forniscono tutte le coordinate base per muoverti nel testo senza essere completamente scevri da ogni nozione e finire a pesce nel mare del caos.
È sicuramente uno dei miei primi approcci ai classici della narrativa giapponese(conoscevo giusto Ōë, Dazai e Mishima) e approcciarsi commi racconti è sicuramente un vantaggio. Personalmente adoro la forma fiabesca, l'allure di leggenda che li permea, le metafore e similitudini che delinea il racconto, i luoghi e i personaggi che mi hanno ricordato i classici greci e latini come Omero e mi hanno fatto sentire a casa: una forma espressiva immaginifica e che mi conquista sempre, come la presenza di un elemento fantastico che intriga e affascina.
È sicuramente uno dei miei primi approcci ai classici della narrativa giapponese(conoscevo giusto Ōë, Dazai e Mishima) e approcciarsi commi racconti è sicuramente un vantaggio. Personalmente adoro la forma fiabesca, l'allure di leggenda che li permea, le metafore e similitudini che delinea il racconto, i luoghi e i personaggi che mi hanno ricordato i classici greci e latini come Omero e mi hanno fatto sentire a casa: una forma espressiva immaginifica e che mi conquista sempre, come la presenza di un elemento fantastico che intriga e affascina.
March 5, 2023
Η συλλογή ''Ουγκέτσου Μονογκατάρι'' του Ueda Akinari, που μπορεί να αποδοθεί ως "Ιστορίες της σελήνης μετά τη βροχή", περιλαμβάνει εννέα ιστορίες που διεισδύουν τα πνεύματα στον κόσμο των ανθρώπων, άλλοτε με εκδικητική μανία, άλλοτε με φιλική διάθεση. Οφείλω να παραδεχτώ ότι ο ιαπωνικός τρόμος διαφέρει πολύ από τον κλασικό, δεν προκαλεί τον έλεο και τον φόβο των αναγνωστών αλλά όπως αναφέρεται στην εισαγωγή ανήκει στα γιόμιχον, τα βιβλία που προορίζονται για σοβαρή ανάλυση εξ' ου και συνοδεύουν το κάθε διήγημα σημειώσεις. Πέρα ότι ενώνει τον κόσμο της καθημερινότητας με τον κόσμο των πνευματικών όντων, ενώνει και δύο λογοτεχνικά είδη παραθέτοντας ποιήματα μέσα στις διηγήσεις τα οποία αποπνέουν λυρισμό και δραματικότητα. Μακράν το αγαπημένο μου διήγημα που θα ήθελα να έχει την έκταση μίας νουβέλας ήταν ''Ο πόθος του ερπετού'' που αφορά την ερωτική επιθυμία μίας γυναίκας, το λάτρεψα και σίγουρα θα το ξαναδιαβάσω στο μέλλον γιατί μου προκάλεσε πληθώρα συναισθημάτων. Μετά ακολουθεί ''Το καζάνι του Κιμπίτσου'' και ''Ο όρκος της γιορτής των Χρυσανθέμων''. Δυστυχώς, οι υπόλοιπες ιστορίες δεν με άγγιξαν αλλά θεωρώ πως παίζει ρόλο ότι δεν είμαι τόσο μυημένη στην ιαπωνική κουλτούρα για να αντιληφθώ κάθε τι.
''Μη λείψεις για πολύ και μην κάνεις αυτή τη μέρα την τελευταία που βλεπόμαστε. Η ζωή είναι σαν αφρός που επιπλέει στο νερό. Ποιος μπορεί να πει αν θα σβήσει αυτό το πρωί ή το βράδυ;''
''Σε ποιον να πω η έρημη
τον πόνο της καρδιάς μου;
Μα, ω συ πουλί του Όοσακα
το βράδυ που αναγγέλλεις
πες του ότι το φθινόπωρο
πια πέρασε και πάει''.
''Μη λείψεις για πολύ και μην κάνεις αυτή τη μέρα την τελευταία που βλεπόμαστε. Η ζωή είναι σαν αφρός που επιπλέει στο νερό. Ποιος μπορεί να πει αν θα σβήσει αυτό το πρωί ή το βράδυ;''
''Σε ποιον να πω η έρημη
τον πόνο της καρδιάς μου;
Μα, ω συ πουλί του Όοσακα
το βράδυ που αναγγέλλεις
πες του ότι το φθινόπωρο
πια πέρασε και πάει''.
July 17, 2017
An interesting collection of old Japanese ghost/spirit stories. Each one has a lesson for you to learn, for example do not eat those that you love once they have died or you'll turn into a demon.
The stories are quite mixed, they were pretty gruesome at times, I'm sure when this was written they would have been terrifying but in this day an age they are tame.
The version I read had tonnes and tonnes of extra info about the characters, the setting, the plot and theories on what the story was about, I ended up skipping the last few as it was just too much and took away any of your own thoughts you have about each story, I'd recommend reading the story before the extra info.
Just realised this is the 1000th book I've read according to Goodreads. woooooo
The stories are quite mixed, they were pretty gruesome at times, I'm sure when this was written they would have been terrifying but in this day an age they are tame.
The version I read had tonnes and tonnes of extra info about the characters, the setting, the plot and theories on what the story was about, I ended up skipping the last few as it was just too much and took away any of your own thoughts you have about each story, I'd recommend reading the story before the extra info.
Just realised this is the 1000th book I've read according to Goodreads. woooooo
November 16, 2022
Kitap, bir erdemler kitabı olduğunu düşündüren, sekiz güzel gotik öyküden oluşuyor.
Okuması keyifli, akıcı, güzel bir Türkçe ile yazılmış.
Beğendim.
Okuması keyifli, akıcı, güzel bir Türkçe ile yazılmış.
Beğendim.
June 23, 2024
Shiramine
L'apparizione di un imperatore defunto ad un monaco diviene l'occasione per una riflessione sulla storia e sul karma.
Il racconto è reso complesso dal riferimento ad una molteplicità di personalità e fatti del medioevo giapponese. Il corposo apparato di note permette di districarsi tra nomi e fatti, ma la scorrevolezza della lettura ne risente.
L'appuntamento dei crisantemi
Il concetto di onore e la capacità di mantenere le promesse sono tenute in gran conto in tutta la cavalleria, ma in questo racconto emerge quanto per i giapponesi possano essere presi alla lettera. Per tenere fede all'appuntamento nel giorno dei crisantemi, è possibile arrivare anche a misure estreme. Per me che sono occidentale, è difficile capire e condividere una morale così stringente.
La casa tra gli sterpi
Versione al femminile del racconto precedente. Questa volta però la promessa non viene mantenuta con altrettanto infauste conseguenze.
La carpa del sogno
Racconto che esemplifica bene la teoria buddista della reincarnazione. Chi di noi mangerebbe della carne o del pesce se pensasse che in essi si è reincarnato qualche amico o parente?
La ghiandaia celeste
Altra storia di fantasmi che, questa volta, si riuniscono presso un tempio a banchettare e discettare di poesia fino all'irrompere del tradimento.
La pentola di Kibitsu
Una profezia, un tradimento e una vendetta. Questi i tre ingredienti di questo racconto in cui le anime defunte non riescono a trovare pace fino alle esteme conseguenze.
La passione del serpente
Una storia di persecuzione, uno stalking ante litteram da parte di un demone innamorato di un giovane bellissimo. Sarà solo con grandi difficoltà e sofferenze che Toyoo riuscirà a liberarsene.
Il cappuccio blu
Sulla baia splende la luna
Il vento mormora tra i pini
La notte è eterna e pura
Per quale ragione?
Con questa poesia/enigma un monaco esegue un esorcismo su un indemoniato liberando il villaggio che perseguitava. Un racconto che, calato nella tradizione buddista, ha un significato profondamente morale e pedagogico. Solo liberandosi dalle passioni è possibile raggiungere l'illuminazione (o evitare di regredire allo stato demoniaco!)
Dibattito su ricchezza e povertà
Racconto "furbetto" in cui, con la scusa di incontrare lo spirito del denaro, l'autore racconta un pezzo di storia del Giappone e come al solito di filosofia buddista.
L'apparizione di un imperatore defunto ad un monaco diviene l'occasione per una riflessione sulla storia e sul karma.
Il racconto è reso complesso dal riferimento ad una molteplicità di personalità e fatti del medioevo giapponese. Il corposo apparato di note permette di districarsi tra nomi e fatti, ma la scorrevolezza della lettura ne risente.
L'appuntamento dei crisantemi
Il concetto di onore e la capacità di mantenere le promesse sono tenute in gran conto in tutta la cavalleria, ma in questo racconto emerge quanto per i giapponesi possano essere presi alla lettera. Per tenere fede all'appuntamento nel giorno dei crisantemi, è possibile arrivare anche a misure estreme. Per me che sono occidentale, è difficile capire e condividere una morale così stringente.
La casa tra gli sterpi
Versione al femminile del racconto precedente. Questa volta però la promessa non viene mantenuta con altrettanto infauste conseguenze.
La carpa del sogno
Racconto che esemplifica bene la teoria buddista della reincarnazione. Chi di noi mangerebbe della carne o del pesce se pensasse che in essi si è reincarnato qualche amico o parente?
La ghiandaia celeste
Altra storia di fantasmi che, questa volta, si riuniscono presso un tempio a banchettare e discettare di poesia fino all'irrompere del tradimento.
La pentola di Kibitsu
Una profezia, un tradimento e una vendetta. Questi i tre ingredienti di questo racconto in cui le anime defunte non riescono a trovare pace fino alle esteme conseguenze.
La passione del serpente
Una storia di persecuzione, uno stalking ante litteram da parte di un demone innamorato di un giovane bellissimo. Sarà solo con grandi difficoltà e sofferenze che Toyoo riuscirà a liberarsene.
Il cappuccio blu
Sulla baia splende la luna
Il vento mormora tra i pini
La notte è eterna e pura
Per quale ragione?
Con questa poesia/enigma un monaco esegue un esorcismo su un indemoniato liberando il villaggio che perseguitava. Un racconto che, calato nella tradizione buddista, ha un significato profondamente morale e pedagogico. Solo liberandosi dalle passioni è possibile raggiungere l'illuminazione (o evitare di regredire allo stato demoniaco!)
Dibattito su ricchezza e povertà
Racconto "furbetto" in cui, con la scusa di incontrare lo spirito del denaro, l'autore racconta un pezzo di storia del Giappone e come al solito di filosofia buddista.
June 24, 2025
Ήξερα το Ουγκέτσου Μονογκατάρι ως ένα από τα αριστουργήματα του ιαπωνικού και του παγκόσμιου κινηματογράφου, αλλά ποτέ δεν περίμενα ότι θα κυκλοφορήσει στα ελληνικά το βιβλίο που το ενέπνευσε, μια συλλογή διηγημάτων που κυκλοφόρησε το 1776 κι έκτοτε αποτελεί σημείο αναφοράς της κλασικής ιαπωνικής πεζογραφίας και της λογοτεχνίας του μεταφυσικού με έναν τρόπο που αποκαλείται ιαπωνικός ακριβώς λόγω κειμένων σαν κι αυτό.
Το Ουγκέτσου Μονογκατάρι δεν είναι μια απλή συλλογή ιστοριών με φαντάσματα, δεν επιδιώκει τον εύκολο εντυπωσιασμό και τον τρόμο και δεν αναλώνεται σε τεχνικές που σοκάρουν, αλλά επιδιώκει κάτι βαθύτερο, μια ηθική θεώρηση του κόσμου, όπου το ρεαλιστικό με το μεταφυσικό συνυφαίνονται και τα φαντάσματα αποτελούν αντικατοπτρισμούς και αντανακλάσεις των ματαιώσεων, των ενοχών και των απωθημένων των ζωντανών, επιβάλλοντας την τιμωρία και τη συντριβή ως ένα είδος συμπαντικής ισορροπίας.
Όπως εύγλωττα δηλώνει και ο επεξηγηματικός τίτλος, η φύση παίζει κεντρικό ρόλο ως ρυθμιστής αυτής της ισορροπίας και γίνεται μέσα από τις λυρικές και μετρημένες περιγραφές το αλληγορικό πεδίο στο οποίο ξεδιπλώνονται οι ανθρώπινες αδυναμίες. Κι αν κάποιες φορές η ηλικία του κειμένου δεν μπορεί εκ των πραγμάτων να κρυφτεί, παραμένει εντυπωσιακό πόσο διαχρονικά και παγκοσμίως αδιόρθωτη παραμένει η ανθρώπινη φύση.
Στις εννιά ιστορίες του Ουέντα Ακενάρι, άψογα μεταφρασμένες στα ελληνικά και συνοδευόμενες από έναν κυριολεκτικά τεράστιο πλούτο υποσημειώσεων και επεξηγήσεων που εμβαθύνουν και αναδεικνύουν λεπτομέρειες και πληροφορίες που αλλιώς θα περνούσαν απαρατήρητες από τον εκτός Ιαπωνίας αναγνώστη, βρίσκει και καταλαβαίνει κανείς όχι μόνο τον Μουρακάμι, την Ογκάουα, τον Αμπέ και τον Μισίμα, αλλά και τον Κουροσάουα, τον Μιζογκούτσι, μέχρι και τον Μίικε, εντρυφώντας εν τέλει στο πως διαμορφώθηκε μια τόσο ιδιαίτερη κουλτούρα.
Το Ουγκέτσου Μονογκατάρι δεν είναι μια απλή συλλογή ιστοριών με φαντάσματα, δεν επιδιώκει τον εύκολο εντυπωσιασμό και τον τρόμο και δεν αναλώνεται σε τεχνικές που σοκάρουν, αλλά επιδιώκει κάτι βαθύτερο, μια ηθική θεώρηση του κόσμου, όπου το ρεαλιστικό με το μεταφυσικό συνυφαίνονται και τα φαντάσματα αποτελούν αντικατοπτρισμούς και αντανακλάσεις των ματαιώσεων, των ενοχών και των απωθημένων των ζωντανών, επιβάλλοντας την τιμωρία και τη συντριβή ως ένα είδος συμπαντικής ισορροπίας.
Όπως εύγλωττα δηλώνει και ο επεξηγηματικός τίτλος, η φύση παίζει κεντρικό ρόλο ως ρυθμιστής αυτής της ισορροπίας και γίνεται μέσα από τις λυρικές και μετρημένες περιγραφές το αλληγορικό πεδίο στο οποίο ξεδιπλώνονται οι ανθρώπινες αδυναμίες. Κι αν κάποιες φορές η ηλικία του κειμένου δεν μπορεί εκ των πραγμάτων να κρυφτεί, παραμένει εντυπωσιακό πόσο διαχρονικά και παγκοσμίως αδιόρθωτη παραμένει η ανθρώπινη φύση.
Στις εννιά ιστορίες του Ουέντα Ακενάρι, άψογα μεταφρασμένες στα ελληνικά και συνοδευόμενες από έναν κυριολεκτικά τεράστιο πλούτο υποσημειώσεων και επεξηγήσεων που εμβαθύνουν και αναδεικνύουν λεπτομέρειες και πληροφορίες που αλλιώς θα περνούσαν απαρατήρητες από τον εκτός Ιαπωνίας αναγνώστη, βρίσκει και καταλαβαίνει κανείς όχι μόνο τον Μουρακάμι, την Ογκάουα, τον Αμπέ και τον Μισίμα, αλλά και τον Κουροσάουα, τον Μιζογκούτσι, μέχρι και τον Μίικε, εντρυφώντας εν τέλει στο πως διαμορφώθηκε μια τόσο ιδιαίτερη κουλτούρα.
December 22, 2023
Μη σας προϊδεάσει ο τίτλος, όπως κι αν μπορεί να προϊδεάσει κάποιον ένας γιαπωνέζικος τίτλος και το υπέροχο art του εξώφυλλου. Οι ιστορίες του Akinari, είναι μικρές, "τρυφερές" και απλοϊκές, σαν πορσελάνες με γραμμικά σχέδια... φαντασμάτων.
Ναι, στις ιστορίες της σελήνης μετά τη βροχή, το στοιχείο του υπερφυσικού δίνει δυναμικό παρών, είτε πρόκειται για την κερατωμένη σύζυγο που κυνηγάει μετά θάνατον τον άπιστο άντρα, είτε για τη λυσσασμένη από πόθο "λάμια" που έχει βάλει στο μάτι έναν νεαρό και τον ακολουθεί παντού.
Βέβαια, μέρος του προβλήματος ως προς το να απολαύσει κανείς το περιεχόμενο πέρα από την αφέλεια και την απλοϊκότητα των ιστοριών είναι (ας μην κρυβόμαστε) και η παντελής άγνοια του μέσου δυτικού για την ιαπωνική κουλτούρα της εποχής Έντο ή και γενικότερα.
Η μοναδική ιστορία που κάπως κατάφερε να με "συγκινήσει" είναι η τελευταία, στην οποία το βράδυ, ο πλούτος επισκέπτεται τον φιλάργυρο (που δεν είναι τσιγγούνης) και έχουν μια εκτεταμένη συζήτηση πάνω στη φύση και τα αίτια του πλούτου (όχι των εθνών, αυτό το έγραψε ο Άνταμ Σμιθ) η οποία εκτείνεται και σε άλλες παραμέτρους της φεουδαλικής ζωής της ιαπωνίας των αρχών του 19ου αιώνα. Εκεί, ομολογώ, αισθάνθηκα έντονα την έλλειψη γνώσεων που θα μου επέτρεπαν να κατανοήσω καλύτερα τα νοήματα και τις υπόρρητες νύξεις των διαλόγων.
Πέρα από την λογοτεχνική του αξία -η οποία δύσκολα μπορεί να κριθεί από το μεταφρασμένο κείμενο και την έστω και φαινομενικά απλοϊκή πλοκή- το βιβλίο χρησιμεύει και σαν εικονογράφηση της ζωής σε μια χώρα τόσο μακρινή και αλλιώτικη από οτιδήποτε έχουμε φανταστεί, έστω και μέσα από αφελείς ιστορίες "φαντασίας και -ήπιου- τρόμου"
Παλιότερα, όταν τα σύνορα μεταξύ των πολιτισμών ήσαν σαφή και απτά, η ανάγνωσή του ίσως έδινε περισσότερα απ' όσα σήμερα που η πληροφορία είναι τόσο εύκολα προσβάσιμη και ο κόσμος ολόκληρος ένα μικρό χωριό γεμάτο καλώδια (τα οποία ξηλώθηκαν χάρη στις ασύρματες επικοινωνίες). Δυστυχώς, το "ξεμάγεμα του κόσμου" είχε και τις αρνητικές του συνέπειες.
Γενικός βαθμός χαρακτηρισμός: Χαριτωμένο και... έμμεσα ενδιαφέρον, αλλά όχι κάτι για το οποίο αξίζει να χάσετε τον ύπνο σας. Στα συν και ο πολύ καλογραμμένος και εκτεταμένος πρόλογος (για τον οποίο κάποιοι γκρινιάζουν, αλλά αν τους ενοχλεί μπορούν εύκολα να τον προσπεράσουν, δεν είναι υποχρεωτικός, ούτε μέρος κάποιας εξεταστέας ύλης), που βάζει τον Έλληνα αναγνώστη όσο μπορεί στα δεδομένα της Ιαπωνίας που θα συναντήσει στα διηγήματα.
Ναι, στις ιστορίες της σελήνης μετά τη βροχή, το στοιχείο του υπερφυσικού δίνει δυναμικό παρών, είτε πρόκειται για την κερατωμένη σύζυγο που κυνηγάει μετά θάνατον τον άπιστο άντρα, είτε για τη λυσσασμένη από πόθο "λάμια" που έχει βάλει στο μάτι έναν νεαρό και τον ακολουθεί παντού.
Βέβαια, μέρος του προβλήματος ως προς το να απολαύσει κανείς το περιεχόμενο πέρα από την αφέλεια και την απλοϊκότητα των ιστοριών είναι (ας μην κρυβόμαστε) και η παντελής άγνοια του μέσου δυτικού για την ιαπωνική κουλτούρα της εποχής Έντο ή και γενικότερα.
Η μοναδική ιστορία που κάπως κατάφερε να με "συγκινήσει" είναι η τελευταία, στην οποία το βράδυ, ο πλούτος επισκέπτεται τον φιλάργυρο (που δεν είναι τσιγγούνης) και έχουν μια εκτεταμένη συζήτηση πάνω στη φύση και τα αίτια του πλούτου (όχι των εθνών, αυτό το έγραψε ο Άνταμ Σμιθ) η οποία εκτείνεται και σε άλλες παραμέτρους της φεουδαλικής ζωής της ιαπωνίας των αρχών του 19ου αιώνα. Εκεί, ομολογώ, αισθάνθηκα έντονα την έλλειψη γνώσεων που θα μου επέτρεπαν να κατανοήσω καλύτερα τα νοήματα και τις υπόρρητες νύξεις των διαλόγων.
Πέρα από την λογοτεχνική του αξία -η οποία δύσκολα μπορεί να κριθεί από το μεταφρασμένο κείμενο και την έστω και φαινομενικά απλοϊκή πλοκή- το βιβλίο χρησιμεύει και σαν εικονογράφηση της ζωής σε μια χώρα τόσο μακρινή και αλλιώτικη από οτιδήποτε έχουμε φανταστεί, έστω και μέσα από αφελείς ιστορίες "φαντασίας και -ήπιου- τρόμου"
Παλιότερα, όταν τα σύνορα μεταξύ των πολιτισμών ήσαν σαφή και απτά, η ανάγνωσή του ίσως έδινε περισσότερα απ' όσα σήμερα που η πληροφορία είναι τόσο εύκολα προσβάσιμη και ο κόσμος ολόκληρος ένα μικρό χωριό γεμάτο καλώδια (τα οποία ξηλώθηκαν χάρη στις ασύρματες επικοινωνίες). Δυστυχώς, το "ξεμάγεμα του κόσμου" είχε και τις αρνητικές του συνέπειες.
Γενικός βαθμός χαρακτηρισμός: Χαριτωμένο και... έμμεσα ενδιαφέρον, αλλά όχι κάτι για το οποίο αξίζει να χάσετε τον ύπνο σας. Στα συν και ο πολύ καλογραμμένος και εκτεταμένος πρόλογος (για τον οποίο κάποιοι γκρινιάζουν, αλλά αν τους ενοχλεί μπορούν εύκολα να τον προσπεράσουν, δεν είναι υποχρεωτικός, ούτε μέρος κάποιας εξεταστέας ύλης), που βάζει τον Έλληνα αναγνώστη όσο μπορεί στα δεδομένα της Ιαπωνίας που θα συναντήσει στα διηγήματα.
June 1, 2025
Μια συλλογή διηγημάτων που άπτονται του υπερφυσικού δια της θρησκευτικής και μυθολογικής οδού, με αρκετή έμφαση στην ιστορία (θρυλική και μη) της Ιαπωνίας (ειδικά για αυτό είναι πολύ χρήσιμη τόσο η εισαγωγή όσο και οι πολυάριθμες σημειώσεις του μεταφραστή). Μετά την πολύ ενδιαφέρουσα εισαγωγή, η πρώτη ιστορία (Η λευκή κορυφή) μου προκάλεσε ενδοιασμούς για την αναγνωσιμότητα της συλλογής, μιας και περιείχε πάμπολλα ιστορικά γεγονότα που θόλωσαν την όποια ροή της πλοκής. Όμως ευτυχώς από την επόμενη η ποιότητα και το ενδιαφέρον ανεβαίνει κατακόρυφα, με μια πανδαισία από παράξενα πλάσματα, πανέμορφα τοπία και μελαγχολικές καταστάσεις. Φαντάσματα, χθόνιες ερπετόμορφες οντότητες, πτωματοφάγοι μοναχοί, μεταμορφώσεις, μικροσκοπικοί θεοί - το βιβλίο είναι ένα tour de forxe της θρυλικής Ιαπωνίας. Διαβάζεται πολύ γρήγορα χάρη στην θεσπέσια μετάφραση.
Want to read
May 1, 2025*finishes the new bsd chapter*
*adds this to tbr immediately*
*adds this to tbr immediately*
April 12, 2018
Dal libro:
Non far crescere mai nel tuo giardino i salici che mettono germogli verdi all'arrivo della primavera. Non legarti a una persona dal cuore volubile. I salici crescono subito ma non resistono al primo soffio del vento d'autunno; le persone volubili si legano con facilità ma se ne vanno presto e se i salici rinnovano il loro colore a ogni primavera, una persona infedele non farà più ritorno.
November 19, 2024
Ben Japon klasiklerini ve Japon hikayelerini çok seviyorum. Budizm hakkında daha fazla bilgim olsa eminim çok daha fazla severdim. Bu kitabı okurken hep çok sevdiğim bir anime olan InuYasha aklıma geldi.
September 10, 2014
Even though all the stories were good and I really enjoyed the book, my favorite story is the one that Mizoguchi's Ugetsu is based off, how cliche of me.
July 8, 2024
Skaičiau rusišką 2023 m. leidimo knygą, kurioje dvi dalys - "Mėnulis rūke" ir "Pavasarinio lietaus pasakos". Apsakymai: Šaunuolis Siramine, Pasimatymas chrizantemų šventėje, nakvynė nendrynuose, Persikūnijimas sapne, Buposo, Kibicu šventyklos katilas, Pasileidusi gyvatė, Žydra kepurė, Pasvarstymai apie turtą ir neturtą; kitoj dalyje - Mirusios galvos šypsena, Miyagi kapas, Suteishi Maru ir Dviejų gyvenimų ryšiai (turinys ir pavadinimai paprastai nenusiję).
Tai žinokit truputį be ryšio. Ypač kai tikėjausi siaubo (bent jau Kimetsu no Yaiba lygio). O čia daugiau moralų, nei siaubo. Tėvų reikia klausyti, įstatymų laikytis, žmonos apgaudinėti nevalia, bet visko pasitaiko.
Iš man labiausia patikusių - Kibicu šventyklos katilas. Spoilinu: normalioje šeimoje buvo palaidas sūnus, kuris gėrė ir po mergas lakstė. Tėvai nusprendė, kad surimtės apvesdintas. Apvesdino, o jis toliau savo. Net meilužei namuką nupirko ir ten vis ilgiau - dieną, savaitę, mėnesį gyvendavo. Žmonelė gi auksas - patarnavo uošviams žodžio prieš nesakydama. Tada tėvukai jį kažkaip namo parsivedė ir uždarė (man įdomu kaip). O žmonelė, auksas, jam skaniausius patiekalus nešė. Tada vyrelis jai pasakė esą viską suprato, bus geras, bet reikia gi ta vargše pasirūpinti, ji nieko šioje žemėje neturi (aka meiluže). Žmonelė atidavė savo auksinius papuošalus, kad jau vyrui reikia. O tas pabėgo su visu auksu ir meiluže. Tada apsistojo pas giminaitį (tas tipo - ai, aš čia vienišas, ten - tuščias namas, gyvent, vietoj to, kad spyriai išvytų). O va tada žmonelė jau susirgo ir numirė. Ir pradėjo meilužę naktimis smaugti, kol toji numirė. O kai vyrelis anos raudojo kapinėse, tai suvaideno jam tarnaitę ponios, kuri bais gedi savo vyro, tad anas nutarė ją guosti - šaunuolis gi koks. Ir vos nenumirė iš baimės, kai suprato kas slepiasi už gražiosios ponios. Bet pagalvojo, kad.... aha, lapės. Blogos lapės Japonijoje, žinau. Nulėkė pas šventiką, tad jam populiariai išaiškino, kad čia jo pavydžios (rimtai?) žmonos vėlė supykus ir jam dabar šakės. Liepė ten kažkiek dienų užsidarius sėdėti ir ant visų langų ir durų šventus žodžius iškabinti. Tai sėdėjo, į kelnes dėjo, nes žmonelė kas nakt aplink langus ir duris braižėsi. O praėjus terminui sugalvojo, kad jau gerai ir gali išeiti. O nė velnio! Ten jo laukė žmonelė ir gabaliukais sudraskė, tik porą kasnelių ant lempos kyboti paliko...
Argi ne mielas pasakojimas? Ir su moralu toks :)
Klausiate prie ko tas katilas? Tai ten tradicija buvo, kad norint sužinoti ateitį, žmonės Kibicu šventykloje aukodavo, o šventikas užvirdavo katile vandenį. Jeigu, užvirus vandeniui, katilas suriaumodavo - bus laimė, jeigu tylėdavo - ne kažkas. O va tam palaidų kelnių vyreliui ir jo ausinei žmonai, kaip tyčia, tylėjo... Vyro charakteris, gyvenimo būdas ir poelgiai ne prie ko:)
Nes ir pasakojimas prasideda citata, kad "Sunku gyventi su pavydžia žmona, nors tai suprantama tik pasenus" ir pridedama: "Teisingai sakoma, kad paukštį paklusnų daro narvelis, o moterį - vyro tvirtumas."
Tai žinokit truputį be ryšio. Ypač kai tikėjausi siaubo (bent jau Kimetsu no Yaiba lygio). O čia daugiau moralų, nei siaubo. Tėvų reikia klausyti, įstatymų laikytis, žmonos apgaudinėti nevalia, bet visko pasitaiko.
Iš man labiausia patikusių - Kibicu šventyklos katilas. Spoilinu: normalioje šeimoje buvo palaidas sūnus, kuris gėrė ir po mergas lakstė. Tėvai nusprendė, kad surimtės apvesdintas. Apvesdino, o jis toliau savo. Net meilužei namuką nupirko ir ten vis ilgiau - dieną, savaitę, mėnesį gyvendavo. Žmonelė gi auksas - patarnavo uošviams žodžio prieš nesakydama. Tada tėvukai jį kažkaip namo parsivedė ir uždarė (man įdomu kaip). O žmonelė, auksas, jam skaniausius patiekalus nešė. Tada vyrelis jai pasakė esą viską suprato, bus geras, bet reikia gi ta vargše pasirūpinti, ji nieko šioje žemėje neturi (aka meiluže). Žmonelė atidavė savo auksinius papuošalus, kad jau vyrui reikia. O tas pabėgo su visu auksu ir meiluže. Tada apsistojo pas giminaitį (tas tipo - ai, aš čia vienišas, ten - tuščias namas, gyvent, vietoj to, kad spyriai išvytų). O va tada žmonelė jau susirgo ir numirė. Ir pradėjo meilužę naktimis smaugti, kol toji numirė. O kai vyrelis anos raudojo kapinėse, tai suvaideno jam tarnaitę ponios, kuri bais gedi savo vyro, tad anas nutarė ją guosti - šaunuolis gi koks. Ir vos nenumirė iš baimės, kai suprato kas slepiasi už gražiosios ponios. Bet pagalvojo, kad.... aha, lapės. Blogos lapės Japonijoje, žinau. Nulėkė pas šventiką, tad jam populiariai išaiškino, kad čia jo pavydžios (rimtai?) žmonos vėlė supykus ir jam dabar šakės. Liepė ten kažkiek dienų užsidarius sėdėti ir ant visų langų ir durų šventus žodžius iškabinti. Tai sėdėjo, į kelnes dėjo, nes žmonelė kas nakt aplink langus ir duris braižėsi. O praėjus terminui sugalvojo, kad jau gerai ir gali išeiti. O nė velnio! Ten jo laukė žmonelė ir gabaliukais sudraskė, tik porą kasnelių ant lempos kyboti paliko...
Argi ne mielas pasakojimas? Ir su moralu toks :)
Klausiate prie ko tas katilas? Tai ten tradicija buvo, kad norint sužinoti ateitį, žmonės Kibicu šventykloje aukodavo, o šventikas užvirdavo katile vandenį. Jeigu, užvirus vandeniui, katilas suriaumodavo - bus laimė, jeigu tylėdavo - ne kažkas. O va tam palaidų kelnių vyreliui ir jo ausinei žmonai, kaip tyčia, tylėjo... Vyro charakteris, gyvenimo būdas ir poelgiai ne prie ko:)
Nes ir pasakojimas prasideda citata, kad "Sunku gyventi su pavydžia žmona, nors tai suprantama tik pasenus" ir pridedama: "Teisingai sakoma, kad paukštį paklusnų daro narvelis, o moterį - vyro tvirtumas."
January 14, 2023
"Chừng nào con người còn đắm mình trong thất tình lục dục ở bờ bên này (thử ngạn) và đang lo lắng về những gì đang chờ đợi họ ở cõi u linh phía bên kia bờ (bỉ ngạn) thì chừng đó văn chương chí quái và truyền kỳ vẫn còn lý do tồn tại."
Đọc từ đầu tháng 5 năm 2022 cho tới giữa tháng 1 năm 2023. Cuốn sách sử dụng nhiều điển tích, chắt lọc từ những huyền thoại như Truyện Genji, Vạn Diệp Tập,.. và mang màu sắc liêu trai chí dị này xứng đáng để Min bỏ nhiều thời gian ra tìm hiểu bối cảnh lịch sử, Nho Giáo Phật Giáo và đi xem nhũng đoạn kịch phim chuyển thể.
Với bản dịch và chú thích này, bác Nguyễn Nam Trân vẻ như muốn dịch toàn bộ sang tiếng Việt, cực hạn chế Hán Việt. Điều này làm Min thấy vừa để mọi người dễ hiểu nhưng đồng thời mất màu sắc huyền ảo và xưa cũ ấy, chưa hiểu rõ sao bác lại làm vậy. Nhưng ngoài ra bác chú thích rất kỹ, tiện cho mọi người theo dõi.
Rất thích truyện Khăn lam trùm đầu, màu sắc grotesque rất rõ và đáng ngẫm.
(sẽ còn viết thêm khi nào ăn Tết xong)
Đọc từ đầu tháng 5 năm 2022 cho tới giữa tháng 1 năm 2023. Cuốn sách sử dụng nhiều điển tích, chắt lọc từ những huyền thoại như Truyện Genji, Vạn Diệp Tập,.. và mang màu sắc liêu trai chí dị này xứng đáng để Min bỏ nhiều thời gian ra tìm hiểu bối cảnh lịch sử, Nho Giáo Phật Giáo và đi xem nhũng đoạn kịch phim chuyển thể.
Với bản dịch và chú thích này, bác Nguyễn Nam Trân vẻ như muốn dịch toàn bộ sang tiếng Việt, cực hạn chế Hán Việt. Điều này làm Min thấy vừa để mọi người dễ hiểu nhưng đồng thời mất màu sắc huyền ảo và xưa cũ ấy, chưa hiểu rõ sao bác lại làm vậy. Nhưng ngoài ra bác chú thích rất kỹ, tiện cho mọi người theo dõi.
Rất thích truyện Khăn lam trùm đầu, màu sắc grotesque rất rõ và đáng ngẫm.
(sẽ còn viết thêm khi nào ăn Tết xong)
February 15, 2022
Xưa giờ đọc truyện chí quái - truyền kỳ tui nghĩ ngay tới Bồ Tùng Linh và Nguyễn Dữ, nhưng tui chưa bao giờ có hứng đọc bằng hết truyện của hai ông, chắc do nhiều quá. Nay vinh hạnh được biết thêm Ueda Akinari. Tập này ngắn, tui đọc hết.
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Tui thích cái nhan đề rất nhiều, cả trăng và mưa đều thơ mộng và kỳ ảo, từ đó nảy nòi ra được cả mớ câu chuyện dị thường, có tính gợi rất cao. 9 truyện ngắn tui đều ưng, bởi mặc dầu vẫn bị ảnh hưởng của Trung Quốc, nhưng Akinari vẫn hết lòng đưa cái hồn cái túy của tinh hoa văn học nghệ thuật Nhật Bản vào, Vạn Diệp Tập, thơ Waka, thơ Haikai, những phong tục tập quán, lối hành xử đậm chất Phù Tang, làm tui rất thưởng thức khi đọc.
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Mà, cái hình ảnh khi tác giả viết xong, vào "một đêm cuối xuân năm Minh Hòa thứ 5, lúc mưa vừa tạnh nhưng nhìn qua khung cửa sổ trăng hãy còn lu" đã làm tui thẫn thờ quá đỗi.
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Tui thích cái nhan đề rất nhiều, cả trăng và mưa đều thơ mộng và kỳ ảo, từ đó nảy nòi ra được cả mớ câu chuyện dị thường, có tính gợi rất cao. 9 truyện ngắn tui đều ưng, bởi mặc dầu vẫn bị ảnh hưởng của Trung Quốc, nhưng Akinari vẫn hết lòng đưa cái hồn cái túy của tinh hoa văn học nghệ thuật Nhật Bản vào, Vạn Diệp Tập, thơ Waka, thơ Haikai, những phong tục tập quán, lối hành xử đậm chất Phù Tang, làm tui rất thưởng thức khi đọc.
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Mà, cái hình ảnh khi tác giả viết xong, vào "một đêm cuối xuân năm Minh Hòa thứ 5, lúc mưa vừa tạnh nhưng nhìn qua khung cửa sổ trăng hãy còn lu" đã làm tui thẫn thờ quá đỗi.
March 1, 2023
RACCONTI DI UN MONDO SOPRANNATURALE
Spettri e demoni che camminano nel mondo reale sono i soggetti di questa raccolta. Non si tratta però di racconti dell'orrore, ma quasi malinconici, dove il mondo fantastico è parallelo alla realtà e gli umani non si stupiscono più di tanto delle apparizioni; le stesse creature soprannaturali provano pulsioni di avidità, amore, lussuria che li ancorano alla nostra realtà.
Il mio racconto preferito è stato senza dubbio "L'appuntamento dei crisantemi", dove un uomo si tramuta in spettro per rispettare l'incontro con il suo fratello di spirito/amante, struggente nella sua devozione e fedeltà.
Spettri e demoni che camminano nel mondo reale sono i soggetti di questa raccolta. Non si tratta però di racconti dell'orrore, ma quasi malinconici, dove il mondo fantastico è parallelo alla realtà e gli umani non si stupiscono più di tanto delle apparizioni; le stesse creature soprannaturali provano pulsioni di avidità, amore, lussuria che li ancorano alla nostra realtà.
Il mio racconto preferito è stato senza dubbio "L'appuntamento dei crisantemi", dove un uomo si tramuta in spettro per rispettare l'incontro con il suo fratello di spirito/amante, struggente nella sua devozione e fedeltà.
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