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Hell Screen
"There can be no doubt that Akutagawa] had more individuality than any other writer of his time and has left in Japanese literature a mass of artistic work, often grotesque and curious, that, while it undoubtedly angers the proletarian experimenters who now hold the stage and fight with lusty pens and a highly developed class consciousness against all that he stood for, will continue to live as long as men go on treasuring the fancies their fellows from time to time set down with care on paper."--Glen W. Shaw
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First published January 1, 1918
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About the author
Ryūnosuke Akutagawa
1,317 books2,123 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 - 30 of 311 reviews
April 5, 2018
Ryūnosuke Akutagawa wrote Rashomon and Seventeen Other Stories, one of the greatest pieces of Japanese literature since the beginning of it's existence, these two stories, maintain him at such a level. His most beautiful stories tend to take place in a dark world, that lies between reality, myth, and fiction, or all three combined. They are tragic, and involve complex characters that rank from sociopaths to nice old ladies, but he webs all types so beautifully and perfectly, that suddenly, a short story about them is not enough.
This work contains two stories, Hell Screen and The Spider's Thread , both dealing with villanous types, reedemable or not.
In Hell Screen we get the story of an artist, whose only love aside art, is his daughter (something might have happened to her, but there is no definite answer). Then the Lord of Horikawa wishes for this painter to do a depiction of Hell, and he does. But his art comes with a prize, from the mistreatment of his apprentices to extreme circumstances, to someone's death. Is it a story solely based on artistic obsession or is it something more? Most likely something more.
In The Spider's Thread there is a criminal, who die to one act of kindness is given a chance by Buddha to make into Heaven, by climbing to it on a spider thread. He is not the only one to notice this form of escape, and what he does next will define his end, and will show a nature of other characters, not only him.
For an introduction to this genius, this is a perfect sample of two of his greatest stories, but I recommend everyone read his collections, much more to read there, and so much beauty, and carnage, and knowledge.
This work contains two stories, Hell Screen and The Spider's Thread , both dealing with villanous types, reedemable or not.
In Hell Screen we get the story of an artist, whose only love aside art, is his daughter (something might have happened to her, but there is no definite answer). Then the Lord of Horikawa wishes for this painter to do a depiction of Hell, and he does. But his art comes with a prize, from the mistreatment of his apprentices to extreme circumstances, to someone's death. Is it a story solely based on artistic obsession or is it something more? Most likely something more.
In The Spider's Thread there is a criminal, who die to one act of kindness is given a chance by Buddha to make into Heaven, by climbing to it on a spider thread. He is not the only one to notice this form of escape, and what he does next will define his end, and will show a nature of other characters, not only him.
For an introduction to this genius, this is a perfect sample of two of his greatest stories, but I recommend everyone read his collections, much more to read there, and so much beauty, and carnage, and knowledge.
December 11, 2025
Arrogance, selfishness and the depravity that occurs when man’s ambition becomes his master.
I’ve never read anything by Akutagawa before but… I guess sometimes Goodreads does give good recommendations? Anywho, I didn’t really expect much except to be disappointed by yet another too-short story and instead I’m still processing the events of those last few pages I read.
Hell Screen immediately grabs your attention with its elegant, almost musical prose and there’s just the right amount of foreshadowing to make you want to continue reading.
Despite the lull of the beautiful, immersive writing, the tone of foreboding carried throughout the piece keeps you on edge, which is only furthered with the events that follow, leaving you uneasy and slightly dreading where this might end.
The ending, while foreseeable, still halts you in your tracks and leaves you staring at the wall. It’s not just what happened, but the reactions of those who witnessed it that leave you disgusted and perturbed.
I can’t say much because it’ll spoil it but this is a very short and easy read that hooked me from beginning to end and it reminded me of a quote I read in one of the Little House on the Prairie books once:
“Ambition is, like other good things, a good only when used in moderation. It has worked great good for the world, and great evil also.
Alexander is an example of a man completely carried away by ambition: so much so that when he had conquered the whole world (which one would suppose was enough to satisfy ambition); he wept because there were no more world to conquer.
Ambition is a good servant, but a hard master; and if you think it is likely to become your master: I would say to you in the words of the immortal Shakespeare: 'Cromwell, I charge thee fling away ambition, by that sin fell the angels.”
Just... wow
I’ve never read anything by Akutagawa before but… I guess sometimes Goodreads does give good recommendations? Anywho, I didn’t really expect much except to be disappointed by yet another too-short story and instead I’m still processing the events of those last few pages I read.
Hell Screen immediately grabs your attention with its elegant, almost musical prose and there’s just the right amount of foreshadowing to make you want to continue reading.
Despite the lull of the beautiful, immersive writing, the tone of foreboding carried throughout the piece keeps you on edge, which is only furthered with the events that follow, leaving you uneasy and slightly dreading where this might end.
The ending, while foreseeable, still halts you in your tracks and leaves you staring at the wall. It’s not just what happened, but the reactions of those who witnessed it that leave you disgusted and perturbed.
I can’t say much because it’ll spoil it but this is a very short and easy read that hooked me from beginning to end and it reminded me of a quote I read in one of the Little House on the Prairie books once:
“Ambition is, like other good things, a good only when used in moderation. It has worked great good for the world, and great evil also.
Alexander is an example of a man completely carried away by ambition: so much so that when he had conquered the whole world (which one would suppose was enough to satisfy ambition); he wept because there were no more world to conquer.
Ambition is a good servant, but a hard master; and if you think it is likely to become your master: I would say to you in the words of the immortal Shakespeare: 'Cromwell, I charge thee fling away ambition, by that sin fell the angels.”
Just... wow
August 25, 2017
كتاب پرده جهنم/ريونوسكه اكتاگاوا/جلال بايرام/انتشارات نيلوفر/٢١٧ صفحه
ريونوسكه اكتاگاوا را پدر داستان كوتاه ژاپن ميدانند.او راهي را اغاز كرد كه بعدها منجر به بردن ٢ جايزه ادبي نوبل براي ژاپن شد.
اكيرا كوراساوا كارگردان برجسته ژاپني فيلم تحسين شده اش به نام راشومون را بر اساس ٢ داستان راشومون و در بيشه از اكتاگاوا ساخت.
مادر اكتاگاوا در زمان كودكي او به دليل مرگ يكي از فرزندانش به جنون دچار شد.اكتاگاوا كودكي درون گرا،بسيار حساس و تا حدودي عجيب بود.او تنها ٣٧ سال زندگي كرد و در اواخر عمرش دچار شيزوفرني شد،بطوريكه شبها از ترس ريختن ديوارهاي اتاق به روي خود به گريه مي افتاد.در نهايت او كه ديگر تحمل چنين شرايطي را نداشت اقدام به خودكشي با قرص كرد.
كتاب حاضر ٤ داستان كوتاه از اوست.او در داستانهايش هجمه هاي زيادي به شخصيت ادمها كرده.او به هر طريقي منش و كردار انسانها را به سخره گرفته و از هيچ راهي براي طعنه زدن به ان دريغ نكرده.
در داستان "كاپا" (نام موجودي در فرهنگ عامه ژاپن به قد ٦٠ تا ٧٠ سانتيمتر و وزن ٢٠-٣٠ كيلوگرم.كاپاها روي سرشان كاسه اي دارند كه چنانچه درون ان اب باشد تقريبا هيچ كس زورش به انها نميرسد)..مردي به صورت اتفاقي كاپايي ميبيند و سعي ميكند او را بگيرد ولي در گودالي مي غلتد و وارد يك شهر زيرزميني كاپايي ميشود.بر خلاف تصورش كاپاها كاملا متمدن و جامعه اي پيشرفته دارند.ضمن انكه انها هم مثل انسانها بعضا اخلاقياتي نا درست مثل دروغگويي،غرور،ريا،دزدي،تجمل گرايي و..دارند..
در داستان پرده جهنم كه نام كتاب برگرفته از ان است داستان يك نقاش و اثر مشهورش از طريق يك راوي گمنام روايت ميشود.او داستان را از ٢ طريق روايت ميكند.يكي شنيده هايش از مردم و ديگري ذهنيت خودش از ان ماجراها.
يوشي هيده نقاشي ست در دربار حاكم بزرگ هوريكاوا..او پادشاهي ست عدل گستر و يوشي هيده نقاشي مغرور و متكبر و منفور..او به مقدسات احترام نميگذارد و احترام مردم و تا حدودي پادشاه را هم نگه نميدارد.ضمنا دختر زيبايش در دربار پادشاه كنيز است.
هر چه داستان جلو ميرود به طرز نامحسوسي متوجه ميشويم كه تقريبا تمام روايات بر عكس بوده اند.يوشي هيده ادمي معمولي و حتي خوبي بوده كه چون كاري به كار كسي نداشته منفور همگان ميشود.ضمن اينكه انقدر دخترش را عاشقانه دوست دارد كه چندين بار جسارت كرده و از پادشاه درخواست ازادي او را كرده.در اخر حاكم به او دستور ميدهد يك نقاشي از جهنم بكشد.همين موضوع باعث بروز اتفاقاتي ميشود..
داستان بعدي به نام تار عنكبوت داستان بوداست كه در بهشت در حال نظاره جهنم است و چشمش به راهزني مي افتد كه روزگاري كار نيكي انجام داده.بودا سعي ميكند فرصت دوباره اي به او بدهد،پس مقدماتي فراهم ميكند تا راهزن از ان طريق خودش را برهاند..ولي زمانيكه راهزن در حال فرار بقيه جهنميان كه از همان طريق در حال فرار هستند را به ناسزا ميگيرد بودا نا اميد ميشود و راه هاي فرار برا ي راهزن هم بسته ميشود.
و اما داستان اخر با نام "دماغ" كه يكي از مشهورترين اثار اوست..كاهني به نام ذن چي دماغ بزرگي به طول ٥ بند انگشت دارد بطوريكه در حين غذا خوردن كسي بايد دماغش را با يك تكه چوب بالا بگيرد.دماغ تمام فكر و ذكر كاهن را فرا گرفته.او كه به عنوان يك فرد روحاني عذاب وجدان دارد كه چرا اين موضوع برايش مهم است توان رهايي خودش از فكر كردن به ان را ندارد.كاهن هر كاري براي كوچك كردن دماغش ميكند ولي هيچكدام افاقه نميكند.كارش به جايي ميرسد كه در حياط معبد بشيند و ببيند ايا در بين زائرين يا بقيه كاهنان كسي هست كه دماغي به بزرگي او داشته باشد.يا حتي شروع به جستجو در كتابهاي تاريخي ميكند تا مگر كسي را پيدا كند كه دماغ بزرگي داشته و همين امر موجب تسكينش شود.
روزي يكي از شاگردانش از پزشكي چيني نحوه كوچك كردن دماغ را مي اموزد و طي يك عمليات دشوار دماغ كاهن به اندازه يك دماغ معمولي در مي ايد..كاهن سعي ميكند نشان ندهد تا چه اندازه خوشحال است ولي در باطن او شادترين انسانها بود.ولي همه چيز ارام ارام تغيير ميكند.مردم شروع به پچ پچ كردن پشت سرش ميكنند و با دست او را به همديگر نشان ميدهند.كار به جايي ميرسد كه با صداي بلند به او ميخندند.ذن چي كه در ابتدا دوباره نسبت به اين كانون توجه بودن بي اهميت است،تحملش را از دست ميدهد و تبديل به مردي پرخاشگر ميشود و دعا ميكند كه دماغش دوباره به حالت اول برگردد.
اكتاگاوا در اين داستان انتقاد تند و تيزي به دو دسته ادمها ميكند..قرباني كننده و قرباني شونده..
او ميگويد ذات ادميزاد جوري ست كه اگر نقصي در درون كسي ديد برايش دل مي سوزاند و حتي با او ابراز همدردي ميكند ولي چنانچه ببيند همان ادم مشكلش حل شده در باطن ناراحت ميشود و حسادت مي ورزد و حتي دست به دشمني بي موردي با او ميزند.چرا؟چون ان ادم ديگر ان انسان ضعيف و ناقص قبل نيست.
انتقاد ديگر او به افرادي ست كه اجازه ميدهند نظر مردم راجع به زندگي شان چنان پر اهميت شود كه بدون تاييد انها زندگي شان به هم بريزد.
ريونوسكه اكتاگاوا را پدر داستان كوتاه ژاپن ميدانند.او راهي را اغاز كرد كه بعدها منجر به بردن ٢ جايزه ادبي نوبل براي ژاپن شد.
اكيرا كوراساوا كارگردان برجسته ژاپني فيلم تحسين شده اش به نام راشومون را بر اساس ٢ داستان راشومون و در بيشه از اكتاگاوا ساخت.
مادر اكتاگاوا در زمان كودكي او به دليل مرگ يكي از فرزندانش به جنون دچار شد.اكتاگاوا كودكي درون گرا،بسيار حساس و تا حدودي عجيب بود.او تنها ٣٧ سال زندگي كرد و در اواخر عمرش دچار شيزوفرني شد،بطوريكه شبها از ترس ريختن ديوارهاي اتاق به روي خود به گريه مي افتاد.در نهايت او كه ديگر تحمل چنين شرايطي را نداشت اقدام به خودكشي با قرص كرد.
كتاب حاضر ٤ داستان كوتاه از اوست.او در داستانهايش هجمه هاي زيادي به شخصيت ادمها كرده.او به هر طريقي منش و كردار انسانها را به سخره گرفته و از هيچ راهي براي طعنه زدن به ان دريغ نكرده.
در داستان "كاپا" (نام موجودي در فرهنگ عامه ژاپن به قد ٦٠ تا ٧٠ سانتيمتر و وزن ٢٠-٣٠ كيلوگرم.كاپاها روي سرشان كاسه اي دارند كه چنانچه درون ان اب باشد تقريبا هيچ كس زورش به انها نميرسد)..مردي به صورت اتفاقي كاپايي ميبيند و سعي ميكند او را بگيرد ولي در گودالي مي غلتد و وارد يك شهر زيرزميني كاپايي ميشود.بر خلاف تصورش كاپاها كاملا متمدن و جامعه اي پيشرفته دارند.ضمن انكه انها هم مثل انسانها بعضا اخلاقياتي نا درست مثل دروغگويي،غرور،ريا،دزدي،تجمل گرايي و..دارند..
در داستان پرده جهنم كه نام كتاب برگرفته از ان است داستان يك نقاش و اثر مشهورش از طريق يك راوي گمنام روايت ميشود.او داستان را از ٢ طريق روايت ميكند.يكي شنيده هايش از مردم و ديگري ذهنيت خودش از ان ماجراها.
يوشي هيده نقاشي ست در دربار حاكم بزرگ هوريكاوا..او پادشاهي ست عدل گستر و يوشي هيده نقاشي مغرور و متكبر و منفور..او به مقدسات احترام نميگذارد و احترام مردم و تا حدودي پادشاه را هم نگه نميدارد.ضمنا دختر زيبايش در دربار پادشاه كنيز است.
هر چه داستان جلو ميرود به طرز نامحسوسي متوجه ميشويم كه تقريبا تمام روايات بر عكس بوده اند.يوشي هيده ادمي معمولي و حتي خوبي بوده كه چون كاري به كار كسي نداشته منفور همگان ميشود.ضمن اينكه انقدر دخترش را عاشقانه دوست دارد كه چندين بار جسارت كرده و از پادشاه درخواست ازادي او را كرده.در اخر حاكم به او دستور ميدهد يك نقاشي از جهنم بكشد.همين موضوع باعث بروز اتفاقاتي ميشود..
داستان بعدي به نام تار عنكبوت داستان بوداست كه در بهشت در حال نظاره جهنم است و چشمش به راهزني مي افتد كه روزگاري كار نيكي انجام داده.بودا سعي ميكند فرصت دوباره اي به او بدهد،پس مقدماتي فراهم ميكند تا راهزن از ان طريق خودش را برهاند..ولي زمانيكه راهزن در حال فرار بقيه جهنميان كه از همان طريق در حال فرار هستند را به ناسزا ميگيرد بودا نا اميد ميشود و راه هاي فرار برا ي راهزن هم بسته ميشود.
و اما داستان اخر با نام "دماغ" كه يكي از مشهورترين اثار اوست..كاهني به نام ذن چي دماغ بزرگي به طول ٥ بند انگشت دارد بطوريكه در حين غذا خوردن كسي بايد دماغش را با يك تكه چوب بالا بگيرد.دماغ تمام فكر و ذكر كاهن را فرا گرفته.او كه به عنوان يك فرد روحاني عذاب وجدان دارد كه چرا اين موضوع برايش مهم است توان رهايي خودش از فكر كردن به ان را ندارد.كاهن هر كاري براي كوچك كردن دماغش ميكند ولي هيچكدام افاقه نميكند.كارش به جايي ميرسد كه در حياط معبد بشيند و ببيند ايا در بين زائرين يا بقيه كاهنان كسي هست كه دماغي به بزرگي او داشته باشد.يا حتي شروع به جستجو در كتابهاي تاريخي ميكند تا مگر كسي را پيدا كند كه دماغ بزرگي داشته و همين امر موجب تسكينش شود.
روزي يكي از شاگردانش از پزشكي چيني نحوه كوچك كردن دماغ را مي اموزد و طي يك عمليات دشوار دماغ كاهن به اندازه يك دماغ معمولي در مي ايد..كاهن سعي ميكند نشان ندهد تا چه اندازه خوشحال است ولي در باطن او شادترين انسانها بود.ولي همه چيز ارام ارام تغيير ميكند.مردم شروع به پچ پچ كردن پشت سرش ميكنند و با دست او را به همديگر نشان ميدهند.كار به جايي ميرسد كه با صداي بلند به او ميخندند.ذن چي كه در ابتدا دوباره نسبت به اين كانون توجه بودن بي اهميت است،تحملش را از دست ميدهد و تبديل به مردي پرخاشگر ميشود و دعا ميكند كه دماغش دوباره به حالت اول برگردد.
اكتاگاوا در اين داستان انتقاد تند و تيزي به دو دسته ادمها ميكند..قرباني كننده و قرباني شونده..
او ميگويد ذات ادميزاد جوري ست كه اگر نقصي در درون كسي ديد برايش دل مي سوزاند و حتي با او ابراز همدردي ميكند ولي چنانچه ببيند همان ادم مشكلش حل شده در باطن ناراحت ميشود و حسادت مي ورزد و حتي دست به دشمني بي موردي با او ميزند.چرا؟چون ان ادم ديگر ان انسان ضعيف و ناقص قبل نيست.
انتقاد ديگر او به افرادي ست كه اجازه ميدهند نظر مردم راجع به زندگي شان چنان پر اهميت شود كه بدون تاييد انها زندگي شان به هم بريزد.
December 7, 2012
The two stories that make up this short book in the Penguin Mini Modern Classics series were a pleasant surprise. I had never read anything by Ryunosuke Akutagawa before so I did not know what to expect. Despite these stories having been first published in 1918, I felt them to be contemporary in style, although this may partly be due to the work of the translator, Jay Rubin.
Both stories - 'Hell screen' and 'The spider thread' - can be described as horror in a medieval setting, so they appealed as much to the horror fan as to the historian in me. The stories deal with pride, arrogance and selfishness and especially cruelty - themes that refer not only to the protagonists of the stories but also, more pervasively, to the wider social milieu of medieval Japan.
This wider societal cruelty (as well as arrogance and selfishness) can be seen in 'Hell Screen' when the narrator recalls how, 'when construction of Nagara Bridge seemed to be running counter to the will of a local deity, [the local lord] offered up a favourite boy attendent as a human sacrifice to be buried at the foot of a pillar' (p. 3). That hapless boy would not be one to cross the new bridge, unlike his lord. Implied cruelty can be seen when the protagonist of 'Hell Screen' - a painter - is mentioned as having gone out 'specially to inspect a corpse lying on the roadside - the kind of sight from which any ordinary person would recoil - and spent hours sitting before it, sketching its rotting face and limbs without missing a hair' (p. 19). We are not told whose corpse it was, but one supposes that he or she had died here by the roadside, alone and exposed to the elements without any assistance offered to him or her and, once dead, nobody thought to bury or cremate his/her remains. Also, there is this hint of the cruelty of war:
To mention the cruelty described in the course of the narrative would give too much away of the story, so I won't refer to it here, but the narrator is as shocked by what he witnesses and hears as might the modern reader be. This implies, of course, that while cruelty might have been commonplace in medieval Japan, it was not necessarily accepted as the norm by all Japanese.
Overall, while I preferred 'Hell screen' to 'The spider web', I liked Akutagawa's two stories for their rich description and for the strangeness of the narrative, as well as for their accessibility to the 21st-century reader. I will probably explore more of Ryunosuke Akutagawa's writing in future.
4 April 2011
Both stories - 'Hell screen' and 'The spider thread' - can be described as horror in a medieval setting, so they appealed as much to the horror fan as to the historian in me. The stories deal with pride, arrogance and selfishness and especially cruelty - themes that refer not only to the protagonists of the stories but also, more pervasively, to the wider social milieu of medieval Japan.
This wider societal cruelty (as well as arrogance and selfishness) can be seen in 'Hell Screen' when the narrator recalls how, 'when construction of Nagara Bridge seemed to be running counter to the will of a local deity, [the local lord] offered up a favourite boy attendent as a human sacrifice to be buried at the foot of a pillar' (p. 3). That hapless boy would not be one to cross the new bridge, unlike his lord. Implied cruelty can be seen when the protagonist of 'Hell Screen' - a painter - is mentioned as having gone out 'specially to inspect a corpse lying on the roadside - the kind of sight from which any ordinary person would recoil - and spent hours sitting before it, sketching its rotting face and limbs without missing a hair' (p. 19). We are not told whose corpse it was, but one supposes that he or she had died here by the roadside, alone and exposed to the elements without any assistance offered to him or her and, once dead, nobody thought to bury or cremate his/her remains. Also, there is this hint of the cruelty of war:
'One among them appeared most eager to be of service to His Lordship, a burly samurai who had distinguished himself in the campaign against the northern barbarians some years earlier. He was said to have survived starvation by eating human flesh, after which he had the strength to tear out antlers of a living stag with his bare hands.' (pp. 41-2)
To mention the cruelty described in the course of the narrative would give too much away of the story, so I won't refer to it here, but the narrator is as shocked by what he witnesses and hears as might the modern reader be. This implies, of course, that while cruelty might have been commonplace in medieval Japan, it was not necessarily accepted as the norm by all Japanese.
Overall, while I preferred 'Hell screen' to 'The spider web', I liked Akutagawa's two stories for their rich description and for the strangeness of the narrative, as well as for their accessibility to the 21st-century reader. I will probably explore more of Ryunosuke Akutagawa's writing in future.
4 April 2011
July 30, 2023
این ایدههای دستنخورده و مخوف چجوری به ذهنشون میرسه؟
ادبیات ژاپن واقعاً بکره، مشتاق شدم بیشتر ازش بخونم.
ادبیات ژاپن واقعاً بکره، مشتاق شدم بیشتر ازش بخونم.
June 4, 2025
ادبیات ژاپن هیچوقت نااُمیدم نمیکنه ^^
اولین کتابی بود که از آکوتاگاوا میخوندم و واقعا شگفتانگیز بود.
مشتاق شدم که کتابهای بیشتری از این نویسنده بخونم.
راجع به داستان چیزی نمیگم چون کوتاهه و باید خودتون بخونید تا اونطور که باید، اثرشو حس کنید.
پ.ن: من این کتاب رو با ترجمهی خانم مرضیه خسروی خوندم ولی توی گودریدز ثبت نشده بود.
اولین کتابی بود که از آکوتاگاوا میخوندم و واقعا شگفتانگیز بود.
مشتاق شدم که کتابهای بیشتری از این نویسنده بخونم.
راجع به داستان چیزی نمیگم چون کوتاهه و باید خودتون بخونید تا اونطور که باید، اثرشو حس کنید.
پ.ن: من این کتاب رو با ترجمهی خانم مرضیه خسروی خوندم ولی توی گودریدز ثبت نشده بود.
August 29, 2017
دو داستان کوتاه ژاپنی.
داستان جالبی داشت و نحوه بیاناش هم متفاوت و ژاپنی بود و داستان رو از بقیه نوشتهها متمایز میکرد. گاهی راوی مستقیم با خواننده صحبت میکرد و گاهی سوم شخص میشد و صرفن واقعیات رو ثبت میکرد. داستان، بیشتر شبیه قصهها و افسانهها بود و کمتر شبیه داستانهای امروزی.
داستان جالبی داشت و نحوه بیاناش هم متفاوت و ژاپنی بود و داستان رو از بقیه نوشتهها متمایز میکرد. گاهی راوی مستقیم با خواننده صحبت میکرد و گاهی سوم شخص میشد و صرفن واقعیات رو ثبت میکرد. داستان، بیشتر شبیه قصهها و افسانهها بود و کمتر شبیه داستانهای امروزی.
November 23, 2024
Mind-blowing stuff!
This is the first work by Ryunosuke I’ve read, originally published in 1918.
It’s about an Emperor people see as a Buddha, but then he goes and does something totally insane.
I’m not gonna spoil the plot here, just read it and see how brilliant it is!
This is the first work by Ryunosuke I’ve read, originally published in 1918.
It’s about an Emperor people see as a Buddha, but then he goes and does something totally insane.
I’m not gonna spoil the plot here, just read it and see how brilliant it is!
May 16, 2023
Hell Screen [1918/48] - ★★★★★
This is a short story by "the father of the Japanese short story" who is probably best known for such short stories as Rashomon [1915] and In a Grove [1922]. Said to be the reworking of the Uji Shūi Monogatari, Japanese tales written in the thirteenth century, Hell Screen tells the story of Yoshihide, an eccentric painter and allegedly a despicable human being, who resides at the court of one powerful Lord Horikawa. When the Lord requests Yoshihide to paint the picture of Hell, the artist takes this request too close to heart. Moreover, slowly, Yoshihide's beautiful daughter becomes the centre of the newest rumour and intrigue. Akutagawa's story may be short, but it also evokes the most powerful imagery. The author was a master of story-telling, and in this story we are presented with vivid descriptions that he also coupled with the peculiarly Japanese literary minimalism. The outcome is one disturbing, unforgettable story of obsession and damnation.
This is a short story by "the father of the Japanese short story" who is probably best known for such short stories as Rashomon [1915] and In a Grove [1922]. Said to be the reworking of the Uji Shūi Monogatari, Japanese tales written in the thirteenth century, Hell Screen tells the story of Yoshihide, an eccentric painter and allegedly a despicable human being, who resides at the court of one powerful Lord Horikawa. When the Lord requests Yoshihide to paint the picture of Hell, the artist takes this request too close to heart. Moreover, slowly, Yoshihide's beautiful daughter becomes the centre of the newest rumour and intrigue. Akutagawa's story may be short, but it also evokes the most powerful imagery. The author was a master of story-telling, and in this story we are presented with vivid descriptions that he also coupled with the peculiarly Japanese literary minimalism. The outcome is one disturbing, unforgettable story of obsession and damnation.
June 28, 2021
The seductive mystique that the European vampire/ghost chooses to hide behind is tainted by the current nude vulgarity of the West, and in that stride, they aren't really mysterious. Cold isn't that scary anymore. Japenese ghosts, however, represent the sonorous quiet of taboos that must accompany transgressions of any kind, peak perversity. Spring is still the most treacherous of all seasons.Japenese horror, therefore, is more batshit than the European one.
This barely has anything to do with the story. All of this is just to say that I am more scared of the Japenese ghosts than I am of the English ones. And I am going to dream about the Dantean depths of art that the Hell Screen plunges into for days to come! My poor impressionable brain!
This barely has anything to do with the story. All of this is just to say that I am more scared of the Japenese ghosts than I am of the English ones. And I am going to dream about the Dantean depths of art that the Hell Screen plunges into for days to come! My poor impressionable brain!
October 31, 2023
An interesting collection of eerie short stories in translation from a Japanese author in the early 1900's. I liked a couple of these a lot- the titular Hell Screen was a standout. But the last few were just kind of depressing and semi-autobiographical in a way that was very sad boy navel-gazing which I'm less a fan of. But still worth a read and interesting as a piece of classic literature.
Big content warning for suicide and suicidal ideation in multiple stories.
Big content warning for suicide and suicidal ideation in multiple stories.
July 14, 2018
I have only read 'Hell Screen' (twice) and not the second story in this collection so I can only comment on that. In short, it is a superb and horrific tale of artistic obsession.
Famous as the author of 'Rashomon', this work haunts as it sets the formal judicial cruelty of power alongside the blind obsessive cruelty of the artist. The former finally tests the latter by destroying a human love and the artist responds with ecstasy as it enables him to fulfil his project.
In fact, there is not much to say about this work because it stands entirely for itself, filled with ambiguities and suggestion, perfect in fact. And, while the debt to Western symbolism is clear, the sensibility is fully Japanese with a sense of the supernatural hovering just at the edge of the natural.
February 17, 2015
کتاب نگارشی عجیب دارد، بیش از حد سیاه است و لبریز است از وحشتی خالص، اما هیچ نمیترساندتان. ریونوسکه آکوتاگاوا با این کتاب بی برو برگرد به نویسندهی محبوب ژاپنی زبانم تبدیل شد.
October 20, 2020
I like 'Hell Screen' a lot more than the second story in the book : 'The Spider's Thread'. Mostly read this little book to make sure that I like Akutagawa's writing enough to read his full novels. And I most definitely will be reading his other books.
December 16, 2021
Very strange, slightly terrifying and brilliant.
November 21, 2023
Ryunosuke Akutagawa, a renowned Japanese author born in 1892, is celebrated for his innovative and psychologically shrill short stories. His early life was marked by tragedy and emotional turmoil, which significantly influenced his writing.
Akutagawa experienced the loss of his mother at a young age and was subsequently raised by his father, who suffered from mental illness and eventually passed away by suicide when Akutagawa was still a teenager. These traumatic events profoundly impacted his own mentality and informed the elements of despair, existentialism, and the darker aspects of the human psyche prevalent in his literary works.
Throughout his life, Akutagawa struggled with mental illness, which manifested as bouts of depression and intense self-reflection. His personal struggles with identity, morality, and the meaning of existence became recurrent themes in his writing. Akutagawa's exploration of human nature often depicted characters grappling with moral dilemmas, inner conflicts, and the complexities of human behavior.
This is noticeable in this collection of his short stories and poems- a prime example of his exploration of the ambiguity of truth and the intricacies of the human mind. Akutagawa's writing style, characterized by its psychological depth, symbolism, and intricate narrative structures, reflected his own introspective nature and the inner turmoil he grappled with throughout his life.
Tragically, Akutagawa died by suicide in 1927 at the age of 35. While his life was marked by personal struggles, Akutagawa's introspective and psychologically rich literary contributions continue to be revered for their profound insights into the complexities of human existence. Akutagawa profoundly influenced a generation of writers who followed in his footsteps, leaving an indelible mark on the landscape of Japanese literary tradition.
One such prominent figure influenced by Akutagawa was Yukio Mishima, hailed as one of Japan's most prolific and controversial authors of the 20th century. Mishima's early exposure to Akutagawa's writings left an enduring impact on his literary style. Like Akutagawa, Mishima crafted stories that delved into the human psyche, existentialism, and the conflict between tradition and modernity. He admired Akutagawa's narrative techniques and psychological depth, drawing inspiration from his ability to explore the darker facets of human nature in his own works.
Another notable author influenced by Akutagawa's literary legacy was Yasunari Kawabata, the first Japanese recipient of the Nobel Prize in Literature. Kawabata, known for his delicate prose and contemplative narratives, admired Akutagawa's innovative storytelling and psychological insight. He, too, was drawn to Akutagawa's exploration of human emotions and the complexities of the human condition. Kawabata's focus on introspection, subtlety, and the beauty of fleeting moments in his writing echoed the influences drawn from Akutagawa's works.
Kenzaburo Oe, a Nobel laureate and influential post-war writer, acknowledged Akutagawa's impact on his literary career. Oe found inspiration in Akutagawa's ability to fuse reality with imagination, paving the way for his own experimentation with narrative techniques and social commentary. Oe's exploration of societal issues, ethical dilemmas, and the human experience bore traces of Akutagawa's thematic influence.
And perhaps more well known, author Osamu Dazai was also profoundly influenced by the works and legacy of Ryunosuke Akutagawa. He admired Akutagawa's ability to infuse psychological complexity into his characters and narratives, prompting Dazai to embark on a similar introspective journey within his own literary works.
In Dazai's acclaimed novel "No Longer Human," echoes of Akutagawa's influence can be observed in the portrayal of the protagonist's internal conflicts and existential angst. Dazai, much like Akutagawa, delved into the complexities of the human psyche, probing the depths of despair, alienation, and the search for identity.
Moreover, Dazai's admiration for Akutagawa extended beyond literary technique; it encompassed a deep appreciation for Akutagawa's ability to navigate the complexities of morality, society, and the individual. Akutagawa's writing served as a catalyst for Dazai's introspective narratives, infusing his works with a sense of psychological depth and emotional resonance.
The legacy of Ryunosuke Akutagawa reverberates through the works of these esteemed Japanese authors and countless others. His contributions to literature, philosophical inquiries into the human condition, continue to inspire generations of writers, leaving an enduring imprint on the rich tapestry of Japanese literary tradition.
In short: An absolute masterpiece, by an absolute legend.
Akutagawa experienced the loss of his mother at a young age and was subsequently raised by his father, who suffered from mental illness and eventually passed away by suicide when Akutagawa was still a teenager. These traumatic events profoundly impacted his own mentality and informed the elements of despair, existentialism, and the darker aspects of the human psyche prevalent in his literary works.
Throughout his life, Akutagawa struggled with mental illness, which manifested as bouts of depression and intense self-reflection. His personal struggles with identity, morality, and the meaning of existence became recurrent themes in his writing. Akutagawa's exploration of human nature often depicted characters grappling with moral dilemmas, inner conflicts, and the complexities of human behavior.
This is noticeable in this collection of his short stories and poems- a prime example of his exploration of the ambiguity of truth and the intricacies of the human mind. Akutagawa's writing style, characterized by its psychological depth, symbolism, and intricate narrative structures, reflected his own introspective nature and the inner turmoil he grappled with throughout his life.
Tragically, Akutagawa died by suicide in 1927 at the age of 35. While his life was marked by personal struggles, Akutagawa's introspective and psychologically rich literary contributions continue to be revered for their profound insights into the complexities of human existence. Akutagawa profoundly influenced a generation of writers who followed in his footsteps, leaving an indelible mark on the landscape of Japanese literary tradition.
One such prominent figure influenced by Akutagawa was Yukio Mishima, hailed as one of Japan's most prolific and controversial authors of the 20th century. Mishima's early exposure to Akutagawa's writings left an enduring impact on his literary style. Like Akutagawa, Mishima crafted stories that delved into the human psyche, existentialism, and the conflict between tradition and modernity. He admired Akutagawa's narrative techniques and psychological depth, drawing inspiration from his ability to explore the darker facets of human nature in his own works.
Another notable author influenced by Akutagawa's literary legacy was Yasunari Kawabata, the first Japanese recipient of the Nobel Prize in Literature. Kawabata, known for his delicate prose and contemplative narratives, admired Akutagawa's innovative storytelling and psychological insight. He, too, was drawn to Akutagawa's exploration of human emotions and the complexities of the human condition. Kawabata's focus on introspection, subtlety, and the beauty of fleeting moments in his writing echoed the influences drawn from Akutagawa's works.
Kenzaburo Oe, a Nobel laureate and influential post-war writer, acknowledged Akutagawa's impact on his literary career. Oe found inspiration in Akutagawa's ability to fuse reality with imagination, paving the way for his own experimentation with narrative techniques and social commentary. Oe's exploration of societal issues, ethical dilemmas, and the human experience bore traces of Akutagawa's thematic influence.
And perhaps more well known, author Osamu Dazai was also profoundly influenced by the works and legacy of Ryunosuke Akutagawa. He admired Akutagawa's ability to infuse psychological complexity into his characters and narratives, prompting Dazai to embark on a similar introspective journey within his own literary works.
In Dazai's acclaimed novel "No Longer Human," echoes of Akutagawa's influence can be observed in the portrayal of the protagonist's internal conflicts and existential angst. Dazai, much like Akutagawa, delved into the complexities of the human psyche, probing the depths of despair, alienation, and the search for identity.
Moreover, Dazai's admiration for Akutagawa extended beyond literary technique; it encompassed a deep appreciation for Akutagawa's ability to navigate the complexities of morality, society, and the individual. Akutagawa's writing served as a catalyst for Dazai's introspective narratives, infusing his works with a sense of psychological depth and emotional resonance.
The legacy of Ryunosuke Akutagawa reverberates through the works of these esteemed Japanese authors and countless others. His contributions to literature, philosophical inquiries into the human condition, continue to inspire generations of writers, leaving an enduring imprint on the rich tapestry of Japanese literary tradition.
In short: An absolute masterpiece, by an absolute legend.
May 7, 2024
I've come to realize that some of the most impactful books to me tend to be on the shorter side, and Hell Screen is definitely one of them. Comprising two stories the book masterfully interweaves the darkest side and the unthinkable of human nature, with the supernatural.
The first story, "Hell Screen," spotlights an extremely talented painter, Yoshihide who boasts to be the best painter in the country, and is at the behest of the Lord of Horikawa. He often commissions Yoshihide to make the most breathtaking paintings — ones that highlight the beauty of ugliness. This includes a large project that depicts Hell in its full fury. But the painter's arrogance and infatuation with his potential magnus opus becomes ultra disturbing and comes at a hefty price.
I particularly love dark fiction that explores the concept of beauty in contrast to ugliness, and how they synthesize well to either produce the most disturbing thing to humans, or the complete opposite. Everyone has their "ugly" side, and this story hyperbolizes that in a way that underscores the relation between the surreal and reality. The line becomes blurry, and art further allows our imagination to ascend (or descend, rather) to the point where our humanity is scarcely in tact. Akutagawa's descriptions of Yoshihide's transformation are truly horrific yet mesmerizing, and the ending culminates in a plot twist that concludes where his priorities lie as an artist and a human being.
"In a sense, the hell in his painting was the hell into which Yoshihide himself, the greatest painter in the realm, was doomed one day to fall."
The second story, "The Spider's Thread," focuses on a criminal in Hell who's been given a second chance at redemption after committing a small act of kindness. But as the saying goes, no good deed goes unpunished, and his chance of escaping Hell seems to be narrowing, he suspects. It's a short but dark fable foregrounding the concept of selflessness, and ironically self-sabotaging due to one's selfishness.
"All was silent as the grave, and when a faint sound did break the stillness, it was the feeble sigh of a sinner."
Really impressed with the lovely, detailed prose that somehow doesn't meander, and I'll be reading more of Akutagawa's works.
The first story, "Hell Screen," spotlights an extremely talented painter, Yoshihide who boasts to be the best painter in the country, and is at the behest of the Lord of Horikawa. He often commissions Yoshihide to make the most breathtaking paintings — ones that highlight the beauty of ugliness. This includes a large project that depicts Hell in its full fury. But the painter's arrogance and infatuation with his potential magnus opus becomes ultra disturbing and comes at a hefty price.
I particularly love dark fiction that explores the concept of beauty in contrast to ugliness, and how they synthesize well to either produce the most disturbing thing to humans, or the complete opposite. Everyone has their "ugly" side, and this story hyperbolizes that in a way that underscores the relation between the surreal and reality. The line becomes blurry, and art further allows our imagination to ascend (or descend, rather) to the point where our humanity is scarcely in tact. Akutagawa's descriptions of Yoshihide's transformation are truly horrific yet mesmerizing, and the ending culminates in a plot twist that concludes where his priorities lie as an artist and a human being.
"In a sense, the hell in his painting was the hell into which Yoshihide himself, the greatest painter in the realm, was doomed one day to fall."
The second story, "The Spider's Thread," focuses on a criminal in Hell who's been given a second chance at redemption after committing a small act of kindness. But as the saying goes, no good deed goes unpunished, and his chance of escaping Hell seems to be narrowing, he suspects. It's a short but dark fable foregrounding the concept of selflessness, and ironically self-sabotaging due to one's selfishness.
"All was silent as the grave, and when a faint sound did break the stillness, it was the feeble sigh of a sinner."
Really impressed with the lovely, detailed prose that somehow doesn't meander, and I'll be reading more of Akutagawa's works.
April 2, 2023
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قرار نیست خود اتفاق غافلگیری رو یه وجود بیاره، از همون توصیف خود پرده مشخصه که چه اتفاقی قرار بیفته. اون چیزی ک غافلگیرت میکنه بی شرمی اتفاق افتادنشه. چطور چنین اتفاق بیرحمانهای به همین سادگی رخ میده؟ و به طرز عجیبتری پذیرفته میشه ک این سادگی طبیعیه.
شاید داستان ساده به نظر بیاد ولی حقیقتن به استادی نوشته شده، این احساسات متناقض به چیزی که فقط یه واکنش باید بگیره مثل خود پرده، واقعن ستودنیه.
لینک طاقچه
قرار نیست خود اتفاق غافلگیری رو یه وجود بیاره، از همون توصیف خود پرده مشخصه که چه اتفاقی قرار بیفته. اون چیزی ک غافلگیرت میکنه بی شرمی اتفاق افتادنشه. چطور چنین اتفاق بیرحمانهای به همین سادگی رخ میده؟ و به طرز عجیبتری پذیرفته میشه ک این سادگی طبیعیه.
شاید داستان ساده به نظر بیاد ولی حقیقتن به استادی نوشته شده، این احساسات متناقض به چیزی که فقط یه واکنش باید بگیره مثل خود پرده، واقعن ستودنیه.
لینک طاقچه
March 19, 2011
In celebration of the fiftieth anniversary of Penguin Modern Classics, a diverse set of acclaimed novels and anthologies that over the years have been packaged and repackaged by the world’s leading trade publisher between distinctively expressive and sophisticated covers, a smaller set of short literary works — modern classics, really — is reissued by Penguin UK for readers all over the world, especially lovers of short fiction. Dubbed Penguin Mini Modern Classics, the collection gathers novellas and short stories from fifty dignitaries of world literature, including Italo Calvino, Angela Carter, H. P. Lovecraft, F. Scott Fitzgerald, and Frans Kafka. True to their literary form and moniker, the Penguin Mini Modern Classics are available as tiny pocket books sporting a look similar to the current Penguin Modern Classics design by Jim Stoddart sans the cover photographs. Also, each of the books is so short and engaging that it can be easily read in one sitting — or less.
Such is the case for the Penguin Mini Modern Classics book Hell Screen, which contains a couple of hard-hitting short stories by the father of the Japanese short story himself, Ryunosuke Akutagawa. Both stories, Hell Screen and The Spider’s Thread, share the same publication date (1918) as well as the same themes of afterlife and retribution. Less notably, both stories are translated here by Haruki Murakami’s frequent collaborator, Jay Rubin, so brilliantly, it must be said, that none of the presumptive heft of the original Japanese is lost in translation.
The title story is a chilling tale of obsession involving a painter named Yoshihide. Known for his frighteningly realistic visual representations of fantastical scenes as much as for his self-importance, he is commissioned by his longtime employer, the Lord of Horikawa, to compose a folding screen depicting the eight Buddhist hells. For somebody who is hailed as “the Greatest Painter in the Land” and is a self-described advocate of “the beauty of ugliness,” the task should be nothing but a piece of ke-ki-. But here’s the thing with the great Yoshihide: “As a rule,” he says, “I can only paint what I have seen.”
And so for some key details of the hell screen not only does he draw from his nightmares inhabited by monsters and demons but he also uses extremely unorthodox methods to recreate hellish scenes right before his eyes. In one instance, Yoshihide has one of his unfortunate apprentices stripped of his clothes, bound in chains, and tortured by a wild, enormous bird. And in the story’s subtly foreshadowed climax, he demands that a woman of noble beauty be burned to death in a grand carriage just so he can accurately portray the hell screen’s fiery centerpiece.
These and the other episodes that bear a similarly bloodcurdling effect in this twenty-section short story are narrated by a servant who in his atypical lucidity as narrator is obviously partial to Yoshihide’s patron, His Lordship, who in turn evidently harbors lust for an attractive lady-in-waiting. Understandably, one may have a sneaking suspicion that behind it, like the titular painting, the weaving of the story itself was commissioned by the powerful lord, if only to have himself exonerated of charges of assault against the supposed object of his desire. There is no doubt however that Akutagawa’s morbid tale, which those familiar with the author’s short life will deem semi-autobiographical in more than one sense, is, despite — or because of — its brevity, an effective depiction of the power of madness and the madness of power and the price of perfection.
Turning the page following the intense conclusion of Hell Screen, one is likely to consume the far shorter short story of The Spider’s Thread as a mere afterthought. It’s a story whose length and structure resemble that of a typical Aesop’s fable. No wonder: The Spider’s Thread is said to be an expanded retelling of a fable, albeit one attributed not to the ancient storyteller but to Fyodor Dostoyevsky. As does The Fable of the Onion in Brothers Karamazov, The Spider’s Thread begins with a deity who learns about “a single act of goodness” done on earth by a sinner now suffering in hell and decides to give the sinner a chance at salvation by making the sinner endure a long and arduous climb from the nether world. In Dostoyevsky’s story-within-a-story the sinner, a shameful woman, once gave a beggar an onion and now must hold on to the same onion until she is successfully pulled out; here in the updated version the sinner, a thief-arsonist-murderer named Kandata, once spared a spider its life and now must make his ascent along, of course, a spider’s thread. The situation, sneeringly, gives literal meaning to the often figurative phrase, “hanging by a thread.”
The Spider’s Thread starts on an agreeable note, but in an Akutagawa story that is barely five pages long, things make a tragic, if predictable, turn in no time. A companion piece to Hell Screen, it’s a parable of karmic comeuppance and a curiously delightful coda to the famed Rashomon and In A Grove author’s danse macabre.
--
Originally posted here.
Such is the case for the Penguin Mini Modern Classics book Hell Screen, which contains a couple of hard-hitting short stories by the father of the Japanese short story himself, Ryunosuke Akutagawa. Both stories, Hell Screen and The Spider’s Thread, share the same publication date (1918) as well as the same themes of afterlife and retribution. Less notably, both stories are translated here by Haruki Murakami’s frequent collaborator, Jay Rubin, so brilliantly, it must be said, that none of the presumptive heft of the original Japanese is lost in translation.
The title story is a chilling tale of obsession involving a painter named Yoshihide. Known for his frighteningly realistic visual representations of fantastical scenes as much as for his self-importance, he is commissioned by his longtime employer, the Lord of Horikawa, to compose a folding screen depicting the eight Buddhist hells. For somebody who is hailed as “the Greatest Painter in the Land” and is a self-described advocate of “the beauty of ugliness,” the task should be nothing but a piece of ke-ki-. But here’s the thing with the great Yoshihide: “As a rule,” he says, “I can only paint what I have seen.”
And so for some key details of the hell screen not only does he draw from his nightmares inhabited by monsters and demons but he also uses extremely unorthodox methods to recreate hellish scenes right before his eyes. In one instance, Yoshihide has one of his unfortunate apprentices stripped of his clothes, bound in chains, and tortured by a wild, enormous bird. And in the story’s subtly foreshadowed climax, he demands that a woman of noble beauty be burned to death in a grand carriage just so he can accurately portray the hell screen’s fiery centerpiece.
These and the other episodes that bear a similarly bloodcurdling effect in this twenty-section short story are narrated by a servant who in his atypical lucidity as narrator is obviously partial to Yoshihide’s patron, His Lordship, who in turn evidently harbors lust for an attractive lady-in-waiting. Understandably, one may have a sneaking suspicion that behind it, like the titular painting, the weaving of the story itself was commissioned by the powerful lord, if only to have himself exonerated of charges of assault against the supposed object of his desire. There is no doubt however that Akutagawa’s morbid tale, which those familiar with the author’s short life will deem semi-autobiographical in more than one sense, is, despite — or because of — its brevity, an effective depiction of the power of madness and the madness of power and the price of perfection.
Turning the page following the intense conclusion of Hell Screen, one is likely to consume the far shorter short story of The Spider’s Thread as a mere afterthought. It’s a story whose length and structure resemble that of a typical Aesop’s fable. No wonder: The Spider’s Thread is said to be an expanded retelling of a fable, albeit one attributed not to the ancient storyteller but to Fyodor Dostoyevsky. As does The Fable of the Onion in Brothers Karamazov, The Spider’s Thread begins with a deity who learns about “a single act of goodness” done on earth by a sinner now suffering in hell and decides to give the sinner a chance at salvation by making the sinner endure a long and arduous climb from the nether world. In Dostoyevsky’s story-within-a-story the sinner, a shameful woman, once gave a beggar an onion and now must hold on to the same onion until she is successfully pulled out; here in the updated version the sinner, a thief-arsonist-murderer named Kandata, once spared a spider its life and now must make his ascent along, of course, a spider’s thread. The situation, sneeringly, gives literal meaning to the often figurative phrase, “hanging by a thread.”
The Spider’s Thread starts on an agreeable note, but in an Akutagawa story that is barely five pages long, things make a tragic, if predictable, turn in no time. A companion piece to Hell Screen, it’s a parable of karmic comeuppance and a curiously delightful coda to the famed Rashomon and In A Grove author’s danse macabre.
--
Originally posted here.
September 28, 2021
داستان اول به شدت تکاندهنده و وحشتناک بود. داستان از جانب نگهبانی بیان میشد که تمام حقایق رو نمیدونست و همین جذابترش میکرد.
داستان دوم رو قبلا جایی خونده بودم اما به این شکل نبود. دونستن نسخهی اصلیش برام جالب بود.
داستان دوم رو قبلا جایی خونده بودم اما به این شکل نبود. دونستن نسخهی اصلیش برام جالب بود.
January 26, 2022
The first story, Hell Screen, was a really disturbing one. But I loved it nonetheless. Everything he depicted in the Hell Screen strongly reminded me of the paintings of Bosch though I don't know if there is any connection there. I am very curious about other works of him now. I just learned he had a famous(?) dispute with Tanizaki too. I would love to read more about it, if I can find a good source.
September 19, 2024
''other painters are such mediocrities, they cannot appreciate the beauty of ugliness.''
April 19, 2018
I read this book as part of my renewed admiration for the land of the rising sun and cat-eared girls. The second story is mostly a short parable, but both have to do with Hell. The first story centers around an unpleasant painter that'll go to any lengths to create perfection, and the sacrifice he makes at the climax, while somewhat predictable, is effective and shocking. At certain points I was in awe of the vividness of the prose as it attempted to capture your senses, and some sequences remain clear in my mind.
The whole thing reminded me of one of my favorite novels, Joris-Karl Huysmans' Là-Bas, also having to do with someone drifting mentally towards Hell. That one was published in 1891, and Akutagawa's book in 1918. Did Huysmans' reach his desk, or Hell was simply in the air during that time? Although I didn't expect to flinch at Hell Screen's climax, it did get to me. Maybe I assume that not much published before the World Wars will shock me significantly, even though Là-Bas should have cured me of that presumption: some of the passages in Huysmans' novel get far darker than basically anything published these days. Both also share a certain naturalistic vibe, and I'm guessing they would have loathed postmodernism to a similar degree as I do.
Hooray for Japan.
The whole thing reminded me of one of my favorite novels, Joris-Karl Huysmans' Là-Bas, also having to do with someone drifting mentally towards Hell. That one was published in 1891, and Akutagawa's book in 1918. Did Huysmans' reach his desk, or Hell was simply in the air during that time? Although I didn't expect to flinch at Hell Screen's climax, it did get to me. Maybe I assume that not much published before the World Wars will shock me significantly, even though Là-Bas should have cured me of that presumption: some of the passages in Huysmans' novel get far darker than basically anything published these days. Both also share a certain naturalistic vibe, and I'm guessing they would have loathed postmodernism to a similar degree as I do.
Hooray for Japan.
May 26, 2025
Akutagawa is a Great of Japanese Literature. THE Japanese literature prize is named after him. He was talented, he was brilliant, very self centred and very sad (aren’t they all? Looking at you, Dazai, Mishima, Sōseki…).
“Rashōmon”, the first story in this collection, breaks my heart every time while the second, “In the Bamboo Grove” always makes me laugh. The last two, “The LIfe of a stupid man” and “Spinning Gears” are just weirdly depressing when you read them as autobiographical and keeping in mind that my man offed himself…. The thing is, every single story will make you feel things. There is even one for those that think Christians are oppressed.
This is a classic for a reason and I am glad to say I have now read it in three different languages.
Recommend.
“Rashōmon”, the first story in this collection, breaks my heart every time while the second, “In the Bamboo Grove” always makes me laugh. The last two, “The LIfe of a stupid man” and “Spinning Gears” are just weirdly depressing when you read them as autobiographical and keeping in mind that my man offed himself…. The thing is, every single story will make you feel things. There is even one for those that think Christians are oppressed.
This is a classic for a reason and I am glad to say I have now read it in three different languages.
Recommend.
March 1, 2022
Akutagawa's stories fascinate me, in pace, wording ,world and character building in so few pages, and leave my brain spinning afterwards. His writing keeps me hooked and engrossed .
September 12, 2023
none of these stories sparked joy
November 30, 2020
Rating: 5/5 for its pure terror
Akutagawa's Hell Screen is a short story that managed to gather terrors and having it push to your face. It was a tragic read of a wrecked life of an arrogant soul that makes you experience hell even before entering the real one. What other words suffice to say then the hell you had tasted was equal enough to rob your heart and make you wish you don't go through that.
When reading this, you don't comment whether it's too short, but rather on the impact it left you.
This story just sends chills to my body😱. With a feel so shocked, disgust, and yet so painful it was hard to overlook. The details are too vivid as if the story shouts a scream at you. It's built-in tension. And yet, in dread of it, sadness 😭 is much strongly felt.
Now in the pang of all sorts of emotions, I ask myself, does real affection and devotion can far stretch beyond the circle of basics? Must be. There's just so much entice you.
Akutagawa's Hell Screen is a short story that managed to gather terrors and having it push to your face. It was a tragic read of a wrecked life of an arrogant soul that makes you experience hell even before entering the real one. What other words suffice to say then the hell you had tasted was equal enough to rob your heart and make you wish you don't go through that.
When reading this, you don't comment whether it's too short, but rather on the impact it left you.
This story just sends chills to my body😱. With a feel so shocked, disgust, and yet so painful it was hard to overlook. The details are too vivid as if the story shouts a scream at you. It's built-in tension. And yet, in dread of it, sadness 😭 is much strongly felt.
Now in the pang of all sorts of emotions, I ask myself, does real affection and devotion can far stretch beyond the circle of basics? Must be. There's just so much entice you.
May 13, 2025
4.5/5
A nice short read that you can get done under an hour. minus 0.5 bcus the translation was kinda confusing but im also stupid so take that with a grain of salt. it kept my attention the whole time (mostly bcus they don't rewrite the same paragraph 5 times like some other book *cough cough* DEMIEN). I liked it but i dunno if you will. not too overly deep and philosophical (i think) you're kinda just like huh that was fucked up and just move on with your day.
A nice short read that you can get done under an hour. minus 0.5 bcus the translation was kinda confusing but im also stupid so take that with a grain of salt. it kept my attention the whole time (mostly bcus they don't rewrite the same paragraph 5 times like some other book *cough cough* DEMIEN). I liked it but i dunno if you will. not too overly deep and philosophical (i think) you're kinda just like huh that was fucked up and just move on with your day.
September 17, 2022
Horrifying but so well written!
April 7, 2012
For a list of the 50 titles in this series visit my blog
In celebration of their 50th birthday, Penguin Modern Classics launched a series of 50 mini books to honour and bring to light the lesser known works of famous authors like Samuel Beckett, Truman Capote and Vladimir Nabokov.
These pocket-sized books may be very quick reads, but the stories in them certainly pack a punch and are guaranteed to stay with you for a long time. By chance I picked up 'Hell Screen' by Akutagawa, which is the first in the series, and was completely blown away by the brilliance of the prose.
In this slim volume the reader gets to know the more spiritual side of Akutagawa through the short stories 'Hell Screen' and 'The Spider Thread', the latter of which is more like a parable. Both stories are told in a conversational tone, bringing us closer to Akutagawa as 'story-teller' rather than author. They are also cautionary tales that show us how our actions (whether good or bad) will be rewarded in like regardless of whether we are in the land fo the living or the dead.
'Hell Screen' is the macabre tale of the nefarious yet gifted painter Yoshihide, who is notorious for his obsession with his art, so much so that he will do anything to be the best. The repellent nature of the man is constantly mentioned, his cruelty, borderline insanity and unorthodox ways of approaching his craft is also ilustrated with examples. He will stop at nothing to create the most realistic portrayals of beauty and suffering and claims he can only paint what he has seen. Therefore when his Imperial Majesty orders him to paint a screen depicting the sufferings of hell, Yoshihide shuts himself up in his atelier and commences to produce the most terrifying images conceivable - to the great suffering of his apprentices.
"Being attacked by the owl however was not what frightened the lad. What really made his flesh crawl was the way master Yoshihide followed the commotion with his cold stare, taking his time to spread out a piece of paper, lick his brush, and then set about capturing the terrible image of a delicate boy being tormented by a hideous bird."
However, one image, the crowning glory of the screen, is to be of a beautiful woman crashing down a cliff in a horse-drawn carriage enveloped in flames. This being beyond Yoshihide's means, he decides to request a true-life re-enactment from the Imperial Majesty himself. To the horror of the townsfolk, his request is granted, and what follows is the beginning of Yoshihide's undoing.
'The Spider Thread' also deals with visions of heaven and hell, but is much shorter and more vivid in it's description. It starts with one of the most elegant descriptions of paradise I have ever come across and ends in much the same way:
"And now, children, let me tell you a story about the Lord Buddha Shakyamuni.
It begins one day as He was strolling along in Paradise by the banks of the Lotus Pond. The blossoms on the pond were like perfect white pearls, and from their golden centers wafted forth a never-ending fragrance wonderful beyond description. I think it must have been morning in Paradise."
The beauty of this last story actually surpasses 'Hell Screen', the execution of story absolutely masterful. Again the focus is on the merits of mercy and cruelty and how a single act of kindness no matter how small, can give a sinner the slimmest of chances to enter the grace of heaven.
I fully intend to read the next 49 in this series. If you have not read Akutagawa yet, then these two stories are an excellent introduction to him. 'In a Grove' and 'Rashoumon' might be his most famous works, but I feel 'Hell Screen' and 'The Spider's Thread' are far superior when it comes to literary merit.
In celebration of their 50th birthday, Penguin Modern Classics launched a series of 50 mini books to honour and bring to light the lesser known works of famous authors like Samuel Beckett, Truman Capote and Vladimir Nabokov.
These pocket-sized books may be very quick reads, but the stories in them certainly pack a punch and are guaranteed to stay with you for a long time. By chance I picked up 'Hell Screen' by Akutagawa, which is the first in the series, and was completely blown away by the brilliance of the prose.
In this slim volume the reader gets to know the more spiritual side of Akutagawa through the short stories 'Hell Screen' and 'The Spider Thread', the latter of which is more like a parable. Both stories are told in a conversational tone, bringing us closer to Akutagawa as 'story-teller' rather than author. They are also cautionary tales that show us how our actions (whether good or bad) will be rewarded in like regardless of whether we are in the land fo the living or the dead.
'Hell Screen' is the macabre tale of the nefarious yet gifted painter Yoshihide, who is notorious for his obsession with his art, so much so that he will do anything to be the best. The repellent nature of the man is constantly mentioned, his cruelty, borderline insanity and unorthodox ways of approaching his craft is also ilustrated with examples. He will stop at nothing to create the most realistic portrayals of beauty and suffering and claims he can only paint what he has seen. Therefore when his Imperial Majesty orders him to paint a screen depicting the sufferings of hell, Yoshihide shuts himself up in his atelier and commences to produce the most terrifying images conceivable - to the great suffering of his apprentices.
"Being attacked by the owl however was not what frightened the lad. What really made his flesh crawl was the way master Yoshihide followed the commotion with his cold stare, taking his time to spread out a piece of paper, lick his brush, and then set about capturing the terrible image of a delicate boy being tormented by a hideous bird."
However, one image, the crowning glory of the screen, is to be of a beautiful woman crashing down a cliff in a horse-drawn carriage enveloped in flames. This being beyond Yoshihide's means, he decides to request a true-life re-enactment from the Imperial Majesty himself. To the horror of the townsfolk, his request is granted, and what follows is the beginning of Yoshihide's undoing.
'The Spider Thread' also deals with visions of heaven and hell, but is much shorter and more vivid in it's description. It starts with one of the most elegant descriptions of paradise I have ever come across and ends in much the same way:
"And now, children, let me tell you a story about the Lord Buddha Shakyamuni.
It begins one day as He was strolling along in Paradise by the banks of the Lotus Pond. The blossoms on the pond were like perfect white pearls, and from their golden centers wafted forth a never-ending fragrance wonderful beyond description. I think it must have been morning in Paradise."
The beauty of this last story actually surpasses 'Hell Screen', the execution of story absolutely masterful. Again the focus is on the merits of mercy and cruelty and how a single act of kindness no matter how small, can give a sinner the slimmest of chances to enter the grace of heaven.
I fully intend to read the next 49 in this series. If you have not read Akutagawa yet, then these two stories are an excellent introduction to him. 'In a Grove' and 'Rashoumon' might be his most famous works, but I feel 'Hell Screen' and 'The Spider's Thread' are far superior when it comes to literary merit.
Displaying 1 - 30 of 311 reviews