index

Part 2: Modern era

Chapter 9: Writers 4. Literary figures active during the Showa era

MURO Saisei, 1889–1962

Muro was a poet and novelist. His real name was Terumichi. At age 22, he moved to Tokyo and continued to write poetry while living in financial hardship. His poetry collections such as Jojo shokyokushu earned high acclaim, and he was active in Taisho poetry circles as a leading figure in modern lyric poetry. In 1919, he published his first autobiographical novel Yonen Jidai (lit. Childhood), gaining recognition as a novelist. During Showa period, his representative works included Ani imoto, which captures the emotions of everyday life, and Anzukko, a postwar autobiographical novel.

149 Mangekyo, 1921 [本別3-77]

An autograph manuscript. Published in the March 1921 issue of Chuo koron. Mangekyo (lit. Kaleidoscope) is an overarching title encompassing three short pieces: Kawaebi, Haikaiji issa, and Shunbun. Among these, Haikaiji issa had not been included in any book or compilation of collected works until 1986, when it appeared in Muro Saisei mikanko sakuhin shu I (Taisho 1), published by Miyai shoten.

KUBOTA Mantaro, 1889–1963

Kubota was a novelist, haiku poet, and playwright. While studying at Keio University, he made his literary debut with the short story Asagao (lit. Morning Glory), which was published in the magazine Mita bungaku. He became known for his vivid and lifelike portrayals of the human side of Tokyo's shitamachi. He was also active as a playwright and stage director, cofounding the Bungakuza troupe with Kishida Kunio and others. Although he regarded haiku as a mere hobby, the lingering emotional resonance that his verses brought about earned him considerable popularity. In October 1926, he worked part-time at the Tokyo Central Broadcasting Station of the Japanese Broadcasting Corporation (NHK), and in 1931, he served full-time as the head of its literary division.

150 Hana bie, 1938 [本別3-98]

An autograph manuscript. Published in the June 1938 issue of Chuo Koron. The book is about the ill-fated life of a young man who died suddenly in the cherry-blossom season, as recalled through the eyes of the friends he left behind; the protagonist was reportedly modeled after one of Kubota's colleagues at the Tokyo Central Broadcasting Station. Shortly after the story's publication, Kubota resigned from the station. This work spurred him to devote his focus to creative writing and, according to the postscript to a later standalone-book edition of this work, one that "evoked a particularly special affection in him." The manuscript allows us to witness Kubota's distinctive style of prose that is marked by a frequent use of ellipses (…) and has been teasingly described as "literature that reads like raindrops."

NAKAZATO Kaizan, 1885–1944

A novelist. His real name was Yanosuke. After drifting between jobs, he joined Miyako Shimbun (later Tokyo Shimbun) in 1906. Although initially interested in Christianity and the socialist ideas of the Heiminsha group, he later leaned toward Buddhism. From 1913 to 1941, he serialized his epic novel Daibosatsu toge, which was set at the end of the Edo period. Although unfinished, this work is regarded as one of the masterpieces of Japanese popular literature.

151 Nakazato Kaizan shokan, September 12, 1933 [YAMAMOTO Koji Papers: 131]

A letter addressed to the Minister of the Navy, Osumi Mineo. The Yamamoto Koji Papers consists of a draft of the prosecutor's closing statement for the court-martial of the May 15 Incident, along with letters and other writings expressing opinions on the verdict and the prosecutor's closing statement. The material presented here is a letter appealing for clemency toward the defendants. At that time, the young naval officers at the center of the incident were being tried by court-martial, and recommended sentences had just been announced, including the death penalty for three officers. Although it was a serious incident involving the assassination of the prime minister, the trial and reports of it stirred public sympathy, and a nationwide movement emerged calling for leniency toward the young officers.

中里介山書簡（冒頭）

（署名部分）

SATO Haruo, 1892-1964

Sato was a novelist and a poet. He debuted as a romantic lyric poet but became a leading Taisho era writer with his novels, Den'en no yuutsu, Tokai no yuutsu and others. He became acquainted with Tanizaki Jun'ichiro around 1917, and Tanizaki wrote the preface to his first book Yameru bara (year 1918, later renamed as Den'en no yuutsu). Their relationship is said to have had a great influence on each other's works.

152 Omoide no naka kara, [1919] [本別3-97]

This autograph manuscript was written by Sato. It has the subtitle, "Watashi no chichi to chichi no tsuru tono hanashi (lit. Story of my father and his crane)". The story was first written for the evening edition of the Osaka Asahi Shimbun in July 1919 as a part of the novel, " Waga oitachi (lit. My upbringing)". In the following year, it was published in a magazine San'esu under the new title with the final adjustment. The inserted material is thought to be the manuscript that appeared on San'esu. The story is about the crane his father who was a doctor brought home when Sato was a little boy. In a tranquil tone, it talks about how his father took care of the crane with affection, how the family reacted when the crane died. Later, it was included in Sato's first collection of children's stories, Inago no dairyoko published in 1926.

DOI Bansui, 1871-1952

Bansui was a poet and an anglicist. After graduating from the Imperial University of Tokyo, he published his first collection of poems, Tenchi ujo, and became a great poet ranked with Shimazaki Toson. He is known as the lyric writer of "Kojo no tsuki". He slipped out of the mainstream of the parnassus, but his translations in his later years, Iriasu (Iliad), Ojussea (Odyssey) and others are highly valued.

153 Iriasu, 1936-1938 [本別3-63]

This is a manuscript of Homer's Iriasu (Iliad) translated from the Original Greek by Doi Bansui. Bansui learned Greek by himself, and published a part of the Iriasu (Iliad) in the form of poetry in 1914. However, he stopped translating after he translated the first and the second books out of 24. About 20 years later, he decided to translate the rest of the books, and completed the whole poem in 1939. His translation with a total of 25 years' work is till referred to as a milestone for the translation of Homer's works.
The National Diet Library has three notebooks with manuscripts written around 1913, and eleven manuscripts and other items written from around 1936.

イーリアス（第1冊）

OSARAGI Jiro, 1897-1973

Osaragi was a novelist. He was a popular writer representing the Showa era. His well-known works include Kurama tengu, Pari moyu and Tenno no seiki. He wrote not only period novels but also great contemporary novels. He devoted himself to improving the quality of popular literature in Japan with his abundant Western knowledge.

154 Fusen, [1955] [YS1-16]

This is an autograph manuscript by Osaragi. It was serialized in the morning editions of the Mainichi Shimbun from January 20 to September 10, 1955. The story is about the people who "live as balloons (fusen) which just float with no destination" set in Japan under the Occupation by the United States. Osaragi puts special emphasis on this title and said, "I personally believe Fusen is a far better work than Kikyo (Homecoming) which is said to be my representative work ("Watashi no gendai bungaku", Nihon meisaku jisen bungakukan, [6]). Manuscript paper with Osaragi's name printed is used. There are many parts revised by Osaragi himself on the document. Parts written in red ink were added by the newspaper company.

風船