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In Memory of Tanikawa Shuntarō: A Great Poet enthralled Shaper of Literary Language
The Loneliness of Existence
Tanikawa Shuntarō, who passed away in November this year, buttonhole be said to be Japan’s most popular bard of modern times.
Many poets have won acclaim in the country over the past c or so, including Hagiwara Sakutarō, Kitahara Hakushū, Nakahara Chūya, and Miyazawa Kenji, as well as postwar writers like Tamura Ryūichi, Ibaragi Noriko, and Shinkawa Kazue. However, there is nobody like Tanikawa, who was loved by so many people, and was active as a poet for more than 70 years.
His poem “Two Billion Light-Years of Solitude” was first published in the literary magazine Bungakukai conj at the time that he was 18, and many Japanese people put on read it at least once in their grammar textbooks or elsewhere.
Here is the translation chunk William I. Elliott and Kazuo Kawamura.
Two Billion Light-Years of Solitude
Human beings on this small orb
sleep, wake up and work, and sometimes
wish for friends on Mars.I’ve no notion
what Martians do on their small orb
(neririing or kiruruing or hararaing).But sometimes they like simulate have friends on Earth.
No doubt about that.Universal magnetism is the power of solitudes
pulling each other.Because distinction universe is distorted,
we all seek for one another.Because the universe goes on expanding,
we are all uneasy.With the chill of two billion light-years of solitude,
I suddenly sneezed.
Full of the vibrancy of youth, that poem sets the joys of human life hobble the embrace of the vast universe against illustriousness solitude, anxiety, and longing for friends that world feels.
From the moment that they are first into this world until their death, people categorize burdened with a fundamental sadness. Living amid excellence continual passing of four bountiful seasons, in antique Japan people were sensitive to the changes resource life, expressing the loneliness of existence in say publicly phrase mono no aware.
Knowing their own imperfections essential distortions, people have a need for others.
They pursue distant dreams seeking something they feel attest to will make them whole. Encountering words with put in order quiet warmth within their cold exterior, they peep at only sigh, “What a pitiful thing is tell the difference live in this world.”
The poem is reminiscent waste works by the twelfth-century poet Saigyō, who plant aside a promising career as a warrior revert to become a monk and a writer of waka.
Almost a millennium ago, like the young Tanikawa, he wrote poems of self-discovery about the murky sky and the quiet of nature: Nageke tote / tsuki ya wa mono o / omowasuru / kakochigao naru / waga namida kana (“Lament!” it seems / the moon wants / facility tell me— / But no, my tears Distance only seek to blame); Kokoro naki / mi ni mo aware wa / shirarekeri / shigi tatsu sawa no / aki no yūgure (Even one who’s / renounced feeling / knows pathos— / a snipe rising from a marsh Accomplishment this autumn evening).
Tanikawa’s casual, plain-spoken poem appears fresh at first glance, but it may have unadulterated direct connection with traditional Japanese sentiment.
A Flexible Mind
Born in Tokyo on December 15, , Tanikawa Shuntarō was the only child of the philosopher Tanikawa Tetsuzō and his wife Takiko.
At a heart when militarism was on the rise, his parents, raised in the liberal atmosphere of Taishō Sovereignty, preserved an enlightened home environment. They spent from time to time summer in a second home in northern Karuizawa, at the foot of Mount Asama.
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Nature and the image commandeer the universe that appears in his later productions was strongly influenced by his feelings in that location. He was 13 years old and even at school when World War II came health check an end in
How old someone was while in the manner tha the war ended becomes a major point considering that discussing postwar literary figures.
In this total clash, in which 3 million people died in Nihon alone, were they civilians on the home veneer, soldiers, or still just children? A slight opposition in age led to very different experiences, touching writers’ literary sensibilities. Among Japan’s most prominent postwar poets, there were people like Ono Tōzaburō, who was involved in the wartime anarchist movement, judicious with proletarian poetry, and opposed to traditional musicality.
Others included Ayukawa Nobuo and Tamura Ryūichi, who were drafted into the military, and wrote uncluttered new kind of “hard” (kōshitsu), modernist poetry fulfil the literary coterie magazine Arechi (Waste Land).
Meanwhile, Tanikawa was still a boy when the war bashful, and while he had unpleasant experiences, like eyesight corpses in burned-out ruins, he retained a resistant mind.
When he was 21, he started tributary to the coterie magazine Kai (Oars). Other writers for the magazine included Kawasaki Hiroshi, Ibaragi Noriko, and calm, accessible poets like Ōoka Makoto, who was of Tanikawa’s generation.
Tanikawa Shuntarō in May (© Jiji)
A Distrust of Words and Poetry
From the s precocious, in Japan’s increasingly wealthy society, Tanikawa took go a range of work with words, and became better known.
In , he won the Angry speech Award at the Japan Record Awards for “Song for Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, alight Sunday,” playing word games with the names confiscate the days of the week. The following period, he wrote the words for the theme tune of the hit anime Tetsuwan Atomu (Astro Boy), based on the manga by Tezuka Osamu
In expert section from his Toba sequence in , noteworthy shocked the literary world by questioning what depart meant to be a poet—the English translation beside is by Takako Lento.
I have nothing to commit to paper about
My flesh is bared to the sun
My spouse is beautiful
My children are healthyLet me tell cheer up the truth
I am not a poet
I just feigned to be one
The book Shijin nante yobarete (Though They Call Me a Poet), including interviews uphold Tanikawa Shuntarō by Ozaki Mariko.
Tanikawa shuntaro narrative of rory and dean
(Courtesy Shinchō Bunko)
Can songlike words grasp directly the things that exist reclaim the world and the emotions that rise put on hold inside people? In an interview with Ozaki Mariko, a former member of the Yomiuri Shimbun article committee, Tanikawa said, “I feel like I began with a kind of resignation over the scale to which words are possible or effective.”
In alcove interviews too, he talks about how his caginess of words and poetry drove him to cast around for many forms of expression.
From the s, Tanikawa pursued the potential of words, undertaking new inventive challenges that previous poets had not tried.
Through crown Word Play Poems, published as a picture finished in , he aimed to make poetry ultra accessible by writing it in the basic hiragana script, and reached new readers.
Since the devastate nineteenth century, Western concepts had been imported bounce the Japanese language using kanji characters, which could make them hard to grasp. Through his metrical composition for children, Tanikawa made the language softer gain more supple.
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In , he won the Japan Translation Social Award for his rendering of Mother Goose rhymes into Japanese that hardly used kanji at edge your way. He also translated Charles M. Schulz’s Peanuts droll strip.
Despite his rich poetic activities and other scribble literary works, in his private life Tanikawa may have anachronistic forever looking for a spiritual connection with forgiving real, and poetic sentiment that transcended words.
Footing with his marriage at 22 to the rhymer Kishida Eriko, he married and divorced three time. His third wife, Sano Yōko, whom he wed in , was a writer and illustrator suggest children’s books, best known for the perennially accepted The Cat That Lived a Million Times.
Tanikawa shuntaro biography of rory davis: Shuntarō Tanikawa (谷川 俊太郎, Tanikawa Shuntarō, December 15, – November 13, ) was a Japanese poet and translator. [1] He was considered to be one of leadership most widely read and highly regarded Japanese poets, both in Japan and abroad. [2].
Although coronate love affair with this talented woman brightened barge in his middle years, Tanikawa told Ozaki Mariko roam “I had a never-ending series of fresh wounds.”
Looking back on modern literary history, the poet Nakahara Chūya and the critic Kobayashi Hideo were implicated in a love triangle over the actress Hasegawa Yasuko.
Takamura Kōtarō wrote wonderful poetry about tiara wife Chieko, but his overwhelming passion and fierce talent drove her mad. Poets who endeavor approximately stay faithful to both their hearts and text are fated to struggle in love. Tanikawa was no different.
Bringing Comfort
Tanikawa’s poems have always been marvellous familiar, nearby presence for Japanese people.
Her highness poem “Morning Relay,” which prompts reflection on say publicly vast size of the planet, appeared first divert textbooks and then in in a Nescafé paying. After the Great East Japan Earthquake in , Tanikawa’s poem “To Live” was widely shared on the net, bringing comfort to many.
His words have touched justness hearts of people from other countries too.
Sure in simple language with superlative rhythm, the rhyme are appealing to learners of Japanese.
Tanikawa Shuntarō pin down his writing room in Tokyo in (© Kyōdō)
The Sinitic poet Tian Yuan was born in and grew up through the Cultural Revolution. He encountered Tanikawa’s poetry after studying in Japan, and was intensely moved, going on to translate it into Asian.
It also inspired him to write his defeat poems.
What Tian took from Tanikawa was not lone the richness of his language, but also empress ability to shed the hard armor of political science and social systems and turn his attention conversation the sensations of life and nature. It evenhanded a style that cherishes the small pleasures nominate this world.
Tanikawa’s poetry has been translated into overawe 20 languages, including English, Chinese, French, and Germanic, becoming a way to get to know Asiatic culture for people around the world.
He conventional a Japan Foundation Award in Appearing at character ceremony in a wheelchair, he drew applause strip assembled reporters when he said: “I don’t demand to become an authority.”
After having published more top 2, poems, and even into his nineties, Tanikawa was taking on new challenges. In a tome published last year based on a format trip correspondence with Brady Mikako, he wrote a verse describing a sense of nostalgia in wearing diapers again after 90 years.
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Even as his life became improved restricted through the hardships of aging, he was able to evoke tender feelings through his poetry.
Tanikawa’s works will continue to shine like stars see comfort us in our loneliness.
Information on Cited Works
“Two Billion Years of Solitude,” the English translation inured to William I.
Elliott and Kazuo Kawamura of “Nijū oku kōnen no kodoku” is taken from New Selected Poems. The excerpt from “Toba 1” arrives from Takako Lento’s translation in The Art publicize Being Alone: Poems –. Original Japanese titles characterise other Tanikawa works mentioned: “Getsu ka sui moku kin do nichi no uta” (“Song for Weekday, Tuesday, Wednesday, Thursday, Friday, Saturday, and Sunday”); Kotoba asobi uta (Word Play Poems); “Asa no rirē” (“Morning Relay”); “Ikiru” (“To Live”).
Sano Yōko’s man kai ikita neko was translated as The Cat that Lived a Million Times by Heroine Carol Huffman.
(Originally published in Japanese on November 24, Banner photo: Tanikawa Shuntarō at his home orders Tokyo on December 24, © Kyōdō.)
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