A Biographical Note
Junichiro Tanizaki was born in Tokyo in 1886. Upon his graduation from the Secondary School in 1905, he entered the First Higher Preparatory School where he took a course in law. “Swayed by the desire, unforsakable and strong, to take up literary pursuit,” to quote his own words, he changed for the course in English Literature two years later, giving up what little ambition he may have had in legal line. Next year, he advanced to the literary course in the Imperial University, Tokyo. In 1909, he was one of those youthful aspirants to venture upon the publication of a monthly magazine, “Shin Shichyo” (New Thought Current.) His interest and activity in the literary work had grown so intensive, by this time, that he was willing to give up his collegiate career. His trips to China, first in 1918 and second in 1926, were productive of travel sketches marked by keen power of observation and broad sympathy.
When the Taisho Eiga Kaisha (Taisho Moving Picture Company) was founded in 1920, Tanizaki engaged himself as advisor to the Scenario Department, which duty, however, he held only for a year. Brief as his connection was with the motion picture industry, he was responsible for some productions worked by a distinct literary quality.
Since then he has been devoting himself to his literary work, steadily contributing to monthly publications serials, short stories, plays and essays.
Junichiro Tanizaki Is the author of The Tattoo Artist and Kirin, 1909; The Youth, 1910; Atumono, 1912; O-Tsuya Koroshi 1915; O-Sai To Minokichi, 1915; Sorrows of a Pagan, 1916; Sickbed Images, 1916; Fears of a Certain Boy, 1919: A Shark Man, 1920; A Story of A and B, 1921; Honmoku Nights, 1922; Between God and Man, 1923; The Heart of a Dolt, 1924; All For The Love, 1921; Light, Shade and Love, 1924; Shanghai Sketches, 1926; and others.
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Footnotes
1 “Cho”, generally translated as “street,” is used in designating a particular locality of town, including a street line and, often, its neighbourhood.
2 “O-Tami don” is one of familiar ways of addressing people. “O”, one of the honorific terms, carries often an endearing tone. “Don,” placed after one’s name, is used generally among people of working or servant classes in greeting one of their own number.
3 The value of gold pieces is hard to ascertain, as there were in circulation coins minted in different ages, and their qualities were of as different grades. However, one “ryo”, as the larger gold money was termed, is about equivalent to a hundred yen according to the present scale of currency and its purchasing power, or it is, at least, an approximation as near as needed for our present purpose.
4 “Chan” is used in accosting a person in an endearing way. “Tsu”, an abbreviation for “Tsuya” as “Shin” is for “Shinsuké”, is an instance of shortening a name in familiar speech.
5 The “Bon” holidays which fall on the middle of the seventh month are observed in honor of the return of the dead souls to their former earthly abode. It is still kept to this day not so much for general religious fervor as a convenient time to mark off the first half portion of the year. It is at this time and also just before or during the New Year’s holidays, twice in a year, that people exchange presents as greetings of the season. One who receives a call at such time by a man below oneself generally acknowledges the same with small or large tips.
6 Incorrectness in the manners or conduct of a man in a lower level of culture or intellect, if not ill meant and not pushed too far, is generally taken as a matter of course more or less, and treated as such. Benevolence and understanding have always been regarded by the Japanese as so much of virtue as well as the prerogative of a man in a more favoured position of life. Thus it is seen why the boatman’s manners, above described, coming so openly and frankly from a man who knew no better, were accepted as a well-meant effort to amuse the company at the expense of nobody but himself.
7 In old times the theatre generally opened at about 10 o’clock in the morning, continuing until about 9 o’clock in the evening. What of the distance to cover on foot and of this early performance, theatre-goers had to leave their homes early and made a complete day and evening of it.
8 When the succession of a family line was considered paramount, no parents would agree to their heir or heiress marrying out of their family. The eldest son succeeded to the family name and estate. In case of a daughter being the only one to succeed, a man was chosen to marry her and take her family name, so that it would not pass out for the absence of a male child.
9 In old time the geisha was not permitted to wear foot-cover in company of her guests, an idea to keep herself low out of her respect for their lordly patronage. However, the custom was often looked on as a privilege for a woman of dainty feet to indulge in.
10 “San”, used after one’s name, is an honorific term used in more formal language and the one most used in accosting people.
11 Ten o’clock.
12 The 8th year of Bunsei was 1825 A.D.
13 “Hatamoto”, the Shogun’s bodyguards; therefore, the most honoured amongst the “samurai” under the Shogunate regime.
14 It is customary that the husband calls his wife’s name without any honorific term, whilst the wife addresses to him in a more honoured way.
15 “Saké”, drink made from rice and the most common drink among the Japanese.
16 “Samisen” or, often pronounced “shamisen”, is a musical instrument of three strings. It plays invariably a chief part in the music entertainment given by the geisha.
17 “Katobushi”, a distinct musical product of “Yeddo civilization,” is one of those tunes which are played secondary to the chanted words often telling a dramatic episode or a tale complete in itself.