The poetry and poetics of Nishiwaki Junzabur: modernism in translation PDF
Preview The poetry and poetics of Nishiwaki Junzabur: modernism in translation
The Poetry and Poetics of Nishiwaki Junzaburo Studies of the East Asian Institute, Columbia· University The East an isAInstitute is Columbia University's center or f reasearch, publication, and teaching on modern East a. isAThe Studies of the East an isA Institute were inaugurated in 1962 to bring to a wider public the results of nt acifingis new research on modern and contemporary East a. isA A STUDY OF THE EASTASIAN INSTITUTE The Poetry and Poetics of Nishiwaki Junzaburô MODERNISM IN TRANSLATION Hose a Hirata P R I N C E T ON U N I V E R S I TY P R E SS PRINCETON • NEW JERSEY - MCMXCIII Copyright © 1993 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom Princeton University Press, Chichester, West Sussex All Rights Reserved Library of Congress Cataloging in Publication Data Nishiwaki, Junzaburo, 1894- The poetry and poetics of Nishiwaki Junzaburo modernism in translation / Hosea Hirata ñ cm — (Studies of the East Asian Institute) Includes selections from Chogenjitsu shugi shiron, Ambarvalia, Tabibito kaerazu, and Eterumtasu Includes bibliographical references and index ISBN 0-691-06981-6 1 Nishiwaki, Junzaburo, 1894—Translations into English I Hirata, Hosea, 1952- II Title III Series PL834 I76A24 1993 895 6º4—dc20 92 42404 CIP This book has been composed in Adobe Galhard Princeton University Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources Printed in the United States of America 10 9 8 7 6 5 4 3 21 For Catherine Contents Preface ix Introduction xv Part One: Translations SURREALIST POETICS Profanus 5 The Extinction of Poetry 20 Esthetique Foraine 29 AMBARVALIA 45 NO TRAVELLER RETURNS 69 ETERUNITASU 117 Part Two: Modernism in Translation CHAPTER ONE: Modernist Poetry in Japan 131 CHAPTER TWO: Pure Poetry and Reality 149 CHAPTER THREE: The Detour of Translation 167 CHAPTER FOUR: Ambarvalia to Eternity 183 Notes 213 Bibliography 245 Index 253 Preface he Tthing is not ng imst ng uirjhotefmonws sss oat htto cuaclsI id y) ly ly leeetavvuqiiedr, otat(on cceey, jrjhe atbrbtnooucs d, nah). yellarcthe iohphe thing rtfoly moeepootis hBerrr, htihe ntat(ne ly pch imnot his iwaw sles a tw, ies the rtch ch aawtiother ichor hildww us oily rebpamiity, al arlustnaenitnaturae (lex ibrerum), ut nifnan i es vloon vitnen cen nhis iuwjhvntif, ech ito lhI weought sct eyjto bums s, drawreat tfed lf ang he trng iiend yrvetesal, eudfhof a yto it fuqmcoa fe th it, iing wind in htae, ermioklmy ssto ede. arutangismy . . . is hjT[ on itpre an iie, tatcidris uchqcsetnriss ehe tnetuof mhe tthing. es vIt ig es Derrida uqca(cid:151)J.tnelng inile iaimsehrrs ewdro Nishiwaki is paradisal. Admittedly this is an awkward and remote x›e pression, yet it marks the beginning of this writing as no other ex› pression could. The paradisal is necessarily remote. Writing begins only from the knowledge of this remoteness and moves toward what has ly lacissalc been termed telos, or eschatos, which, in turn, the same remoteness i›s multaneously shows and hides. This paradox situated at the end of our desire to write can also be described as the "end" of writing: that is, the death of a certain language-movement. Writing is seduced by its own end(cid:151)paradise. But paradise must exist utterly alone, as the abso› lute, sovereign region of language, in order to be such. That it is, must refuse writing’s entry in order to protect ists tatus. Unlewss riting dies, unless writing reaches its end, this paradise ll iwnever appear as such. Nishiwaki has written a paradise. That is quite possible; there is essentially no other explanation or fthe coming-into-being tof his writ› ing. Nishiwaki is paradisal. More precisely, the Nishiwaki-text is para› disal. This statement, however, belatedly announces a death. Nishi- waki’s writing has already died, entombed in his canonized texts, only to be read from r. afaAs a translator I approach his paradisal text and
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