The Asia-Pacific Journal | Japan Focus Volume 13 | Issue 15 | Number 2 | Article ID 4306 | Apr 13, 2015

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Illusions of Self: The Life and Poetry of Ishikawa Takuboku 幻想の自己　石川啄木の生涯と短歌

Roger Pulvers

Ishikawa Takuboku and Horiai Setsuko after theirengagement in 1904. Courtesy of the IshikawaTakuboku Memorial Museum.

The society of Ishikawa Takuboku’s era was indramatic political flux, and its complex issuesbecame his personal obsessions. After hisdeath, Takuboku’s preoccupations came to beseen as a symbol of the social and emotionalupheavals of his times.

The key word in the last two decades of theMeiji era (1868-1912) was “polemics.”Intellectuals and socially conscious people wereactively involved in a nationwide discourse,p l a y e d o u t i n a l l a s p e c t s o f t h eculture—literature, theater, graphic arts,journalism—as to what the nature of futureJapanese society should be. In essence it is thesame current that continues to rage today:Should society be open to ideas on the basis oftheir true merit, creating a fluid situation thatleads to the betterment of all classes? Orshould the body polity be unified in thought andaction behind one ethnic, religious orideological idea, an idea that purportedlymakes the nation “stronger” and moresuccessful at engaging in conflicts with othercountries?

It is clear that Takuboku identified in hiswriting with those people who wanted ferventlyto liberalize Japanese society; and this at a timewhen the nation was on a mission to create anempire in its expanding hemisphere ofinfluence.

Takuboku wrote about the downtroddenbecause he saw himself as one of them. Life forhim, with a wife, daughter and mother tosupport, was a struggle for bare survival. Thelack of job security that plagued Takuboku'slife, the necessity to move from place to placewherever there was work to be had, the anxietycaused by the fact that a person could beshunned for arguing against injustice, theintroduction of restrictions on freedoms, theburgeoning oppression of people seen by thegovernment as “radical” … these aspects ofTakuboku's times have once again become all

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too familiar in today's Japan. This is reasonenough to consider him our contemporary.

He is best remembered for his tanka. The tankais one of Japan’s oldest native forms of poeticexpress ion. Tanka—l i tera l ly “shortpoems”—contain 31 syllables. The genre datesback to the 8th century anthology “Manyoshu,”and was refined in the “Kokinshu,” the primaryanthology of the Heian period (794-1185).

One of Takuboku’s most famous tanka is“Labor” (I have given these short poems titlesto sharpen their focus in translation). Here wesee the struggle and the toll it takes on hispsyche.

However long I work

Life remains a trial.

I just stare into my palms.

Another is “Revolution” …

Nothing seems to disconcert my wife andfriends

More than my going on about revolution

Even when struck down by illness.

Two crucial historical events occurring inTakuboku's lifetime deeply affected him. Thefirst is the attempt by activist Tanaka Shozo tohand a petition to Emperor Meiji to halt thetoxic waste produced by the Ashio Copper Minein Tochigi Prefecture that was polluting thewaters at farms downstream. Though Takubokuwas only 15 at the time of this incident(December 1901), it impacted deeply on hisconsciousness.

Tanaka Shozo was one of the world's firstecological pioneers. Not only an amazing socialthinker who formulated the 「根本的河川法」, or“Fundamental River Law,” setting out theprinciples of 流れ (flow) and 毒 (poison) toshow the vital importance of protecting nature

from manmade pollution, he was also aprogressive intellectual and agitator who, aseditor of the Tochigi Shimbun, today’s ShimonoShimbun, propagated the works of John StuartMill and Jeremy Bentham. He was elected tothe Diet in 1890, which itself shows thatJapanese democracy was sufficiently developedto accommodate such a visionary in the“establishment.”

I was reminded of the 1901 petition to theemperor when Diet member Yamamoto Tarohanded an anti-nuclear letter to the emperor in2013, exactly a century after the death ofTanaka Shozo; and I was dismayed at thevilification poured on Yamamoto by the media.Not much has changed in a century. Perhaps insome ways Meiji Japan was even more tolerantof dissent than today's Japan.

Just one more note on Tanaka Shozo, aquotation of his that rings true today.

「真の文明は、山を荒らさず、川を荒らさず、村を破らず、人を殺さざるべじ」 “A truecivilization does not destroy mountains, defilerivers, tear apart villages or murder people.”

If any quotation from the Meiji era proves thatthe issues in which Takuboku and hiscontemporaries were deeply and personallyinvolved are any different from those that affectus today, this one does. A society withoutvigorous polemics that reach the publicthrough various forms of media is a societydestined to stagnate.

The second incident affecting Takuboku, to aneven greater degree, was that involving thesocialist author, translator and journalistKotoku Shusui, who was arrested for treasonon trumped-up charges and executed togetherwith others on January 24, 1911. This date hasto be seen as an important moment markingthe decline of Japanese democracy, a declinethat took the country down the dark spiralstaircase to the dungeon of defeat on August15, 1945.

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The cause and fate of Kotoku Shusui stunnedTakuboku. Both men were enamored of thewritings of the Russian scientist, philosopherand anarchist Pyotr Kropotkin, whose bookswere banned in Japan at the time. On June 15,1911, less than half a year after the execution,Takuboku wrote the long poem that can beseen as a call to action to the young people ofJapan, 「はてしなき議論の後」(“After EndlessArgument”) in which he bemoaned the lack ofactivism in Japan, employing the Russianexhortation “V NAROD!”

V narod! is a call to action that has its roots inthe middle of the 19th century, primarily as afeature of the anti-feudal philosophy of theRussian socialist Aleksandr Herzen. Theprinciple was народничество (narodnichestvo),which means “unity with the people.” Thosewho held this belief were called “narodniki”and they advocated that activists of all sortsshould “V narod!”, that is, “Go to the People!”This became the basis of Takuboku's ideal ofactivism.

Yet despite his belief, he found himself unableto become an active protester, and he hadpangs of conscience over this personalshortcoming. Even so, his honesty shinesthrough. He admits his shortcomings andcontinues to support progressive peoplethrough his writing. In this sense, he is anactivist. His self-searching introspection has aring of truth to us today at a time when what isneeded more than anything in Japan now is“endless argument.” Alas, we are getting theopposite: discussion and polemics that aretruncated by authority and suppressed to servea false sense of unity.

TRANSFORMATION

Takuboku’s transformation from provincialromantic to national firebrand came with thetumult of his times.

He was born in Iwate Prefecture on February20, 1886, in a little village not far from

Shibutami, where his family moved when hewas one year old. Takuboku is a pen name; hisgiven name was Hajime. His father was chiefpriest at a Buddhist temple. As an adult helonged for this home.

His hometown reminds him of the time he wasa child; and most people look back to theirchildhood with deep emotions of one sort oranother. To Takuboku such reminiscing usuallybrings tears to the eyes. The volume of tears inTakuboku's tanka is large indeed. And he canbe assaulted by them anywhere and be caughtunawares. Suddenly an autumn wind will blowand he will be transported back home … andtears will flow, or if not tears, a flood ofregrets.

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Majestic Mount Iwate .Takuboku’s classroom at Shibutami Primary School.The house in Morioka, Iwate, in which Takuboku andhis wife first lived together.Courtesy of the Ishikawa Takuboku MemorialMuseum.

Miyazawa Kenji, in that sense, is a much freertraveller. He is generally ecstatic when “on theroad.” He is not always drawn home. Kenjilooks outward to discover the world; Takubokulooks inward to discover the world. Both poets,however, are deeply affected by their ownagitated mental state when they write. Bothfind joy in sadness and sadness in joy.

Both poets, too, are obsessed with modernity.Coming from what was a remote location inJapan at the time, trains and electric lights andall sorts of other inventions appear often intheir works. Takuboku wrote his works in thelate Meiji era; and Kenji in the Taisho and earlyShowa eras. But the presence of moderntechnology and its importance to their view ofthe world is equally strong. Theirs is not anostalgia for the past per se. They arethoroughly modern men and they both believein human progress, economic development andthe social betterment of humankind. They mayhave been seen as being provincial by somepeople in Tokyo, but they are genuine forward-looking cosmopolitans.

Japanese people were more mobile in the Meijiera than at any other time in Japan's modern

history except, perhaps, for the years afterWorld War II. (By mobile I mean frequentlymoving house, not travelling for pleasure.) Ofcourse, many men in late Showa and HeiseiJapan have been sent by their companies toother cities in Japan and the world. But this ishardly at their own initiation. In Meiji, menmoved from one city to another, usuallydragging their family along, in search of work.The Meiji Restoration saw great waves ofupheaval in all aspects of social life, and peoplewere carried on those waves. Large cities suchas Tokyo and Osaka were the usual repositoriesfor these waves of internal migrants, but many,especially people from Tohoku, went to otherplaces, such as Hokkaido, which was to Japanwhat the West was to America, a place ofopportunity where the indigenous populationhad been all but wiped out. So, there were fewpeople already there with a stake to defend.Land and opportunity seemed waiting to betaken. In his 1923 poem “Asahikawa,” Kenjispeaks of the horse-drawn carriage he is ridingon through that town as being “in the colonialstyle.” Is it perhaps really the place and not thecarriage, though, that he sees as “colonial”?Hokkaido was, in a sense, a colony, an outpostof Honshu at the time … and Takuboku wasthere 15 years before Kenji wrote that poem.

Mobility created the kind of atmosphere inMeiji Japan in which people felt insecure abouttheir future but also felt freer than they didwhen, in the Showa era, moving around to seekemployment was equated with beingunsuccessful in a single steady job and withbeing “bad for the children.” Needless to say,with the exception of the rich, people had manyfewer possessions than they do now. You couldpack a few suitcases and move house rathereasily. Perhaps Japan in the Meiji era was amuch less materialistic society than it becameafter World War II.

Takuboku might have returned to hishometown had he lived longer. His reputationeven when he was alive was huge. He could

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have moved back to Iwate with his family,maybe even taken up a teaching position inMorioka. But his life was short and he wasdestined to suffer for being away.

He attended primary school at Shibutami; andthe school, with the very same classroom inwhich he sat, is beautifully preserved today inits natural setting alongside the museumdedicated to his life and work. He moved on tomiddle school in the Iwate prefectural capital,Morioka, where he first met and becameinfatuated with Horiai Setsuko. By age 16 hewas producing work of such quality that histanka were accepted by the premier tankajournal, “Myojo,” and he promptly dropped outof middle school to pursue a career inliterature.

RECOGNITION

It wasn’t long before he was recognized by thelikes of Yosano Tekkan and Akiko, the leadinglights in the genre of tanka, as a brilliant newvoice. At the beginning of May 1905 hepublished his first collection of poetry, 「あこがれ」(“Yearning”), and, at the end of the month,married Setsuko. The little home in Moriokathat they moved into still stands and can bevisited today. Takuboku, who was in Sendaiscrounging loans from friends, had missed hisown wedding, obliging his bride to wait at themarriage home for him until June 4. Since hisparents and younger sister Mitsuko were alsoliving at the house, the family discord that is amajor theme of his poetry was to rear its headquite early on.

Setsuko gave birth to a daughter, Kyoko, at theend of December 1906. Adding to the domesticturbulence was the defrocking of his father forfailing to pay dues to the temple, leavingTakuboku as the entire family’s breadwinner.

“Akogare,” a collection of 77 poems, is the kindof lyrical outpouring one would expect from adisaffected, sentimental and self-indulgentyoung man. He would not come into his own as

the keenest observer of his life and times until1910 and 1912, when his two major collectionsof tanka, 「一握の砂」 (“A Handful of Sand”)and 「悲しき玩具」 (“Sad Toys”) came out,respectively. The latter was published in June1912, two months after his death.

In 1907 Takuboku travelled alone to Hakodatein Hokkaido, becoming a substitute teacher at aprimary school. But the school burned down ina fire and he went to Sapporo, where, inAugust, he found work as a proofreader at anewspaper. By September he was in Otaru, thistime writing for the Otaru Nippo. Alas, a violentaltercation with the editor in Decemberbrought an abrupt end to that employment.

Takuboku moved to Tokyo in 1908, and thenext year began work ing aga in as aproofreader, now at the Tokyo Asahi Shimbun.His wife, daughter and mother joined himthere, but the atmosphere in the home was, atbest, strained and, at worst, internecine. A son,Shinichi, was born to the couple in 1910, butthe infant died three weeks after birth.

Takuboku himself was plagued by illness butcould ill afford to see a doctor. He was urgentlyhospitalized in 1911 and diagnosed withchronic peritonitis, spending 40 days inhospital after surgery. His mother died oftuberculosis in March 1912; and on April 13, hepassed away from the same illness, age 26.

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T a k u b o k u ' s t w o d a u g h t e r s , K y o k o a n dFusae. Courtesy of the Ishikawa Takuboku MemorialMuseum.

After his death, Setsuko took Kyoko to Awa inChiba Prefecture, where she gave birth toanother daughter, Fusae. In September of thatyear, she returned to her family home inHakodate with the two girls. In March 1913,Takuboku’s ashes were brought to Hakodateand interred there. Setsuko died of TB in Mayof that year, age 28. The daughters succumbedto illness in December 3, 1930, Kyoko topneumonia at age 23 and Fusae to TB at 18,both dying at a younger age than their parentswere when they passed away.

Takuboku had begun writing diaries in 1902,the most famous of them being his 「ローマ字日記」 (“Diary in Roman Letters”), which he wrotein that script as an obstacle to his wife’sreading it and as an experiment to escape fromthe confines of orthodox Japanese style. In fact,his tanka taken together also loosely form akind of diary of events, internal and external.Takuboku wrote that poetry itself was a reportin detail of changes in an individual’s emotions.His diaries and his poetry are permeated with asearching self-examination. They are deepstabs at truth.

He fell hopelessly in love with a number ofwomen, the most acclaimed in his poetry beingTachibana Chieko and the geisha Koyakko,whose real name was Konoe J in . Ms.Tachibana, a fellow teacher in Hakodate, didnot return his affection and married someoneelse. Takuboku was, after all, a married man.The truly beautiful Koyakko, however, hadardent feelings for him. She possessed anincisive intellect and recognized his talent. Andsurely she also possessed the most famousearlobes in literary history (see poems).Koyakko died in 1965, outliving her poet loverby 53 years.

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Koyakko, geisha from Kushiro, Hokkaido.

Takuboku likened pining for his hometown toillness, and he longed for the innocence that hehad once wallowed in, for the ability to laughand cry without being judged, for the freedomto express what he felt without fear of beingcensured.

While he was convalescing in hospital, visits bymembers of his family were special buta w k w a r d , a s t h e y c a n b e i n s u c hcircumstances. After all, Setsuko too had TB,and she was forced to carry on with herhousehold duties though debilitated and unableto breathe properly.

In hospital Takuboku's world shrank. Witnesshim in “The Patient” …

One push of the door, a single step

And the corridor seems to stretch

As far as the eye can see.

And yet he never lost his compassionate gaze,evident in another tanka about a patientwritten while convalescing.

I called out to him but he didn't answer.

When I took a good look

The patient in the next bed was weeping.

Drugs and medical practices in his day oftendid more harm to patients than good. Takubokutook a drug called Pyramidon for his TB. Thiswas a kind of anti-inflammatory that, needlessto say, did not cure the disease. In fact, its sideeffects on the immune system could be serious;and in 1936 it was officially designated as apoison in Britain.

DEATH WISH

While it is not possible to make a certaindiagnosis of Takuboku's mental state, I dobelieve that he suffered from a form ofdepression. He also feigned illness, perhaps togive grounding to his intense feelings of self-pity. As if this weren't enough of an excuse tostay away from work, he once inflicted harm onhimself by cutting his chest with a razor, butthankfully was stopped by his friend KindaichiKyosuke. Kindaichi, ever the compassionatecompanion, pawned his overcoat and took thesulking Takuboku out for a tempura dinneraccompanied by much alcohol.

Takuboku, from time to time, exhibited what iscalled in modern psychiatry a “death wish.”This is a desire to die expressed often,particularly in olden times, in romantic orheroic imagery. Many people saw a youngdeath as somehow “beautiful.” Why not, forafter all there were many of them. You may aswell idealize young death if you are going tosee it everywhere you look. Children who diedwere called “little angels.”

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Takuboku idealizes the death of people he seesas political martyrs. If only he himself could diesuch a death instead of just wasting away! Butif we look behind this, more deeply into hispsyche, we see that there are serious signs ofthe kind of depression that triggers a deathwish, particularly withdrawal from humancontact and self-reproach.

Isn't this precisely what we see in Japan acentury later—young people who shy awayfrom human contact, withdraw and tend toblame themselves, often erupting in suddenanger? Takuboku expressed these feelings withintense honesty.

Other modern writers have exhibited a deathwish, a wish that, unlike Takuboku, theycarried out. Akutagawa Ryunosuke andArishima Takeo; Dazai Osamu, Mishima Yukioand Kawabata Yasunari. Though these writersdiffer in the method they chose to take theirlives, they all experienced a profound despair,either over their personal condition or the stateof society as they saw it (the latter isparticularly strong in Mishima's case). Butnone of these writers analyzed his condition orstate of mind with the forthright candor that wesee in the writing of Takuboku.

Takuboku wrote profoundly, in poetic terms,about the psychology of dreams. Carl Jung, theSwiss psychoanalyst, was just developing hisideas about the subconscious, introversion andextroversion around the time of Takuboku'sdeath. In fact, he published his ground-break ing book , “Psycho logy o f theUnconscious,” in 1912, the year of Takuboku'sdeath.

Miyazawa Kenji used the term 「心象スケッチ」(mental sketches) to describe the poems hewrote. He insisted to the publisher of his onlypoetry collection that came out in his lifetimethat it was not a collection of poems but rather“modified mental sketches.”

In a sense, Takuboku too writes “modified

mental sketches.” But there seems to me to bea difference in approach between the two greatpoets of Iwate.

Kenji, for all his compassion for others, viewsthe outside world through the prism of his ownmental state. His descriptions of nature are notnature itself but the re-creation of nature in hismind. Kenji's eye on the world and himself isutterly subjective in its essence.

Takuboku's eye on the world and himself is, onthe other hand, essentially objective. Of course,he is the subject who observes, so he cannotdisassociate himself entirely from what he seesoutside himself. No one can do that. But hestrives to be objective, to tell the “truth” aboutthe world of others as well as his own innerworld. Kenji strives to teach us about how hehimself views the world, and fervently wishesfor us to enter his world (and accept hisreligious values).

For both poets, however, the poetic self is anillusion. But it is an illusion that is invented andreinvented time and time again with eachdiscrete observation and experience. When allof these discrete illusions are put together, wereceive a whole picture of the writer and histimes.

Both poets accept the fact that their illusions ofreality are made up. Kenji's world is groundedin realism; and in my book 「賢治から、あなたへ」I coined the term “Kenji realism” to describehis worldview. But this realism is only alaunching pad for the rocket of his imagination.

As for Takuboku, he confesses in a tanka thathe pictures himself as “a bundle of lies.” And inanother tanka, to which I have given the title“In One Way or Another,” he confesses …

I picture myself

As a mass of lies.

I shut my eyes.

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He admits that knowing or saying this giveshim no comfort. And yet, it gives much comfortto us to read these revelations because, thanksto his frankness, they allow us to be more openand honest about ourselves, to question ourown opinions and feelings. This is the value ofTakuboku's poetic objectivity. It is “Takubokurealism.”

Unambiguous empathy, deep introspection,stark sincerity, the aspiration to be close topeople and share their plight, even if unable toembrace or march with them … these are thequalities created in poetry by IshikawaTakuboku.

He is a model for today’s self-sequesteredyouth, with his ardent commitment to life andword, his constant seeking of something betterfor himself, his family, to whom he was devotedin his own way, and his care for people whofound themselves living at the lower economicand social strata in his country.

And he is a model to all, not only for thiscandor and compassion, but for his insight intohis own psyche and his willingness to share itunequivocally with us. There is nothing deviousor calculating about Takuboku; and if such atendency does show up, he is the first to put hisfinger on it and bathe it in a bright light.

In the mirror of his works we are compelled toexamine the features of our own face in thisbright and wholly revealing light as it reachesus, without diminishing, from another time.

The Illusions of Self: 200 Tanka by IshikawaTakuboku

Roger Pulvers’ collection of 200 translations of tankaby Takuboku was published in April by Kawade ShoboShinsha under the Japanese title, 「英語で読む啄木　自己の幻想」.

TANKA BY TAKUBOKU

Labor

However long I work Life remains a trial. I just stare into my palms.

はたらけどはたらけど猶わが生活楽にならざりじっと手を見る

Revolution

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Nothing seems to disconcertmy wife and friends More than my going onabout revolution Even when struck down byillness.

友も妻もかなしと思うらし病みてもなお革命のこと口に絶たねば

The patient One push of the door, asingle step And the corridor seems tostretch As far as the eye can see.

ドア押してひと足出れば病人の目にはてもなき長廊下かな

The patient I called out to him but hedidn't answer. When I took a good look The patient in the next bedwas weeping.

話しかけて返事のなきに よくみれば泣いていたりき隣の患者

In one way or another

I picture myself As a mass of lies. I shut my eyes.

何となく 自分を嘘のかたまりの如く思いて目をばつぶれる

On a lark I lifted my mother onto myback. She was so light I wept Stopped dead after threesteps.

たはむれに母を背負いて そのあまり軽きに泣きて三歩あゆまず

Weather

The rain brings out theworst In every single member ofmy family. Oh for one clear day!

雨降れば わが家の人誰も誰も沈める顔す雨晴れよれよかし

Intentions A husband intent on gettingaway A wife intent on scolding, achild on bawling … Ah, the breakfast table!

旅を思う夫の心 叱り、泣く、妻子の心朝の食卓

Old love letters

There are so many spellingmistakes In those old love letters. I never noticed until now.

その頃は気つかざりし 仮名違いの多きことかな昔の恋文

Words

My daughter is picking upwords like “Workers” and “Revolution” At the tender age of five.

「労働者」「革命」などという言葉を聞きおぼえたる五歳の子かな

Jesus

It grieved me that my littlesister Looked upon me with suchpity When I said, “Jesus was justa man.”

クリストを人なりといへば 妹の眼がかなしくもわれをあはれむ

Unforgettable I can't get them out of mymind … Lovely Koyakko's softearlobes Among other things.

小奴といひし女の やはらかき耳朶なども忘れがたかり

At the station

I slip into the crowd Just to hear the accent Of my faraway home town.

ふるさとの訛なつかし停車場の人ごみの中に そを聴きにゆく

Seeing off at the trainstation

My wife came with ourdaughter on her back. I caught sight of hereyebrows Through a blanket of snow.

子を負ひて 雪の吹き入る停車場にわれ見送りし妻の眉かな

The nasty carpenter's son

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It's saddening. Among many The young man went to war To come back dead.

意地悪の大工の子などもかなしかり戦に出でしが生きてかへらず

Indelible ink

I hear the autumn windblowing As I blacken in A map of Korea.

地図の上朝鮮国にくろぐろと墨をぬりつつ秋風を聴く

In the hospital

Oh the joy of leaning out thewindow And for the first time in ages Catching sight of apoliceman!

病室の窓にもたれて 久しぶりに巡査を見たりとよろこべるかな

Trembling I feel so sorry for the youngnurse Dressed down by the doctor Because her hand trembledon my pulse.

脈をとる手のふるいこそ かなしける医者に叱られし若き看護婦

For some reason There is a cliff inside myhead. And day by day a fragment ofearth Crumbles off it.

何がなしに頭のなかに崖ありて日毎に土のくづるるごとし

Translated by Roger Pulvers.

Roger Pulvers is the author of more than 40books in Japanese and English. His novel “TheD r e a m o f L a f c a d i o H e a r n(http://amzn.com/4902075415/?tag=theasipacjo0b-20)” is published by Kurodahan Press.Hismost recent book is Illusions of Self: 200 Tankaby Ishikawa Takuboku Translation, Notes andCommentary.

This is a revised and expanded version of anarticle that appeared in The Japan Times onApril 12, 2015.Recommended citation: Roger Pulvers,"Illusions of Self: The Life and Poetry ofIshikawa Takuboku", The Asia-Pacific Journal,Vol. 13, Issue 15, No. 2, April 13, 2015.

His profiles of major Japanese writers andthinkers include: The Life and Death ofLafcadio Hearn: A 110-year perspective(https://apjjf.org/-Roger-Pulvers/4186) andMiyazawa Kenji’s Prophetic Green Vision:Japan’s Great Writer/Poet on the 80 t h

A n n i v e r s a r y o f H i s D e a t h(https://apjjf .org/-Roger-Pulvers/4021)